Word: nineteenth
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...proposal that men could approach God directly by faith through grace, with no intermediaries, the angels were theologically unemployed. The gap they were meant to close had been written out of existence; they were reduced to mere attendant lords, thunderbolt carriers to swell a scene or two. Nineteenth century rationalism seemed to finish them off for good. The remark of a Victorian doctor, that he had never met the soul in a dissection, found its artistic parallel in Gustave Courbet...
...London. The sets are remarkable, especially Scrooge's gray, musty rooms, which made me want to sneeze just looking at the dust, and the vibrant, colorful street scenes on Christmas Eve. Some people dislike this romanticizing of London, which was a pretty grim place in the middle of the nineteenth century, saying that it's untrue to Dickens' very realistic descriptions of the place. This criticism just doesn't hold for A Christmas Carol, which is a moral fable, not a piece of social criticism. To set it in the Never-never land of the back lot of a movie...
Berman's thesis, The Evolution of Tonal Thinking in the Works of Claude Debussy, was completed in 1965, and he was awarded his Ph.D. that June. He feels that "Debussy was the final rupture from classical tonal thinking, although this break was prefigured and prepared by nineteenth century practice as far back as Beethoven. Wagner didn't make it the way Debussy did. While the concise structures of eighteenth century tonality seem almost irrelevant to the Wagnerian rhetoric, Wagner still relies on the concept of smooth progressions. Debussy's progressions are classical period. Nevertheless, Debussy does not deny tonality...
...from Mao to East, the latter film is the most violent in the Group's attempts to structure through sound our apprehension of visual meaning. At one point the screen shows us a green field, and the narrator screams, "Red! Red! Red!" Earlier, a four-minute shot of a nineteenth-century couple obscured by tall grass is described in eight different periods, and peopled by eight different historical figures. These are not empty exercises. They are instead statements of Godard's belief that any image can denote virtually anything; and more importantly, that our inability to recognize this fact...
...aesthetics too ashamed to show its face in discussions of the novel has long held sway in theories of the cinema. Writers like Kracauer and Bazin have elaborated value systems whose central equation comes whole from the nineteenth-century bourgeois novel tradition. Godard fights alone the arts' last battle against realistic representation...