Ayn Rand: The Romantic Manifesto: A Philosophy of Literature

It Can’t Happen Here (Lewis), as novel of Naturalistic school with Romantic approach

Josephson, Matthew, as biographer of Victor Hugo

Karloff, Boris, movies of, as archetype of the Horror Story

Lady of the Camellias, The (Dumas fils ), and imitations of

Lang, Fritz: as director ; his film Siegfried as best of Romantic movies

Language: as means of retaining concepts; function of, in converting abstractions into concretes

Les Misérables (Hugo): theme of; plot-theme of; characterizations in

Levin, Ira, the supernatural in writing of

Lewis, Sinclair: and his characterization of Babbitt; choice of subject by; style of; as writer of Naturalistic school

Libretto, its function in operas and operettas

Liszt, Franz, his musical composition St. Francis Walking on the Waters

Literary style: fundamental elements of; and choice of words; and choice of content; comparison of, in excerpts from two novels; as most complex aspect of literature, and as most revealing psychologically ; not an end in itself ; see also Style of novel

Literature: by what means it re-creates reality; its integration of concepts to percepts; as ruler and term-setter in movies and television; Aristotelian principle of esthetics of ; novel as major literary form; and mind-body dichotomy that plagues it ; and basic premises of Romanticism and Naturalism regarding existence of man’s volition; and rules of Classicism; “serious” and popular, and the Horror Story ; eclectic shambles of today’s; nonexistence of today, as vital cultural movement; and presentation of man, prior to 19th century; modern, essential nature of man as represented in ; modern, return of, to art form of the chronicle ; as barometer of a culture ; selectivity of subject in, as cardinal aspect of; the ends and the means in, as worthy of each other; see also Fiction; Novel; Popular fiction; Thrillers

Logic: how its destruction made modern art possible

Magic Mountain, The (Mann), as bad novel

Maibaum, Richard, quoted on screenplays of Fleming’s novels

Man: as a being of self-made soul; and his need of philosophy; art as his psycho-epistemological conditioner; as an end in himself

Man Who Laughs, The (Hugo), characterization in

Manifesto, dictionary definition of

Mann, Thomas, and a bad novel

Marguerite and Armand (ballet)

Marty (Chayefsky), as work of modern Naturalism

Maurois, André, as biographer of Victor Hugo

Metaphysics: link between ethics and ; as science dealing with fundamental nature of reality ; and value-judgments; art as concretization of ; man’s need of ; of artist, and subject of his art work; of Naturalism ; music and dance as expressive of metaphysical view

Metaphysics in Marble (Sures), magazine article

Michelangelo, choice of subject by; his Pieta‘

Mind, man’s: current assaults on

Mitchell, Margaret, and plot structure in Gone With the Wind

Modern art: disintegration of man’s consciousness as goal of; its practitioners and admirers; as demonstration of cultural bankruptcy of our age; and composite picture of man; and presentation of emotions dominating modern man’s sense of life; and moral implications of trend toward lower levels of depravity in

Modern dance, characterized as neither modern nor dance

Modern philosophy, as source and sponsor of modern art

Moral sense of life: development of, in child; contribution of Romantic art to developing of ; and morality, differentiation between ; sins of adults toward child in developing of

Moral treason, and art

Morality: and moral sense of life, differentiation between ; and imposition of set of rules on the developing child; as a normative science ; mystical, social, subjective schools of

Motion pictures: role of literature and visual arts in ; work of Fritz Lang as director; reason for failure to develop as great art

Motivation, as a key-concept in psychology and in fiction

Movies, and Romanticism

Music: distinguished from other arts; pattern from musical perception to emotional response; psycho-epistemological nature of man’s response to ; role of sense of life in the response to ; hypothesis as to how and why it evokes emotions; mathematical nature of musical perception; metaphysical factors in enjoyment of; effects on mind of primitive and Oriental types; so-called “modern,” why it is not music; as related to the various performing arts

Mysticism: primitive epistemology of; and esthetics ; of Plato, resurgence of, in later part of 19th century, and effect of on Romanticism

Myths of religion

Naturalism: and anti-value orientation in work of art ; type of argument in evaluating work of art; and objection to plot of novel as artificial contrivance ; and denial of existence of man’s faculty of volition ; and assumption of mantle of reason and reality; disintegration of; Shakespeare as spiritual father of; journalistic approach of Naturalist writers; and substitution of statistics for standard of value ; and element of characterization ; final remnants of, with nothing to say about human existence ; Romanticism outlasted by; value in a Naturalist’s work and in a Romanticist’s; and imitator’s; and end of, with WW II; as man’s new enemy in art in later part of 19th century ; as dedicated to negation of art; and substitution of the collective for the objective; basic metaphysical premise of; doctrines of literary school of; and “compassionate” studies of depravity

Ninety-Three (Hugo): Introduction to, by Ayn Rand ; as uniquely “Hugo-esque,”; appraisal by two of Hugo’s biographers of; man’s loyalty to values as theme of; characterization in ; and integration of theme and plot; grandeur as leitmotif of

Notre-Dame de Paris (Hugo), characterization in

Novel: essential attributes of ; theme of ; plot of ; characterization of ; style of; as major literary form; shortcomings resulting in a bad novel; as recreation of reality; plot-theme of; and integration of major attributes of; top-rank Romantic novelists; second-rank Romantic novelists ; relation of thrillers to novels of serious Romantic literature; Victor Hugo as greatest novelist in world literature; and start and culmination of illustrious line of Romantic novelists in 19th century; and the Naturalist; see also Fiction; Popular fiction; Thrillers

Objectivism: passim

Objectivist, The, magazine

O’Hara, John: style of; as best of Naturalism’s contemporary survivors

Olympio ou la Vie de Victor Hugo (Maurois), appraisal of Ninety-Three in

One Lonely Night (Spillane), style of

O’Neill, Eugene, as imitator of Dumas fils , in Anna Christie

On the Sensations of Tone as a Physiological Basis for the Theory of Music (Helmholtz)

Opera, function of music and libretto in

Oriental music Painting: distinguished from other arts; role of sensory and conceptual factors in; color harmony in

Pantomine: dance distinguished from; classified as non-art

Performing artist: his task ; basic principles applicable to

Performing arts: relation to primary arts psycho-epistemological role of; application of basic artistic principles to inversion of ends and means in

Philosophy: as determinant of trends of world; of life, and full conceptual control; and setting of criteria of emotional integrations ; man’s need of; of man, as chosen by his mind or by chance; love as expression of; of artist, truth or falsehood of; and art, relationship between ; its practical importance ; the consequences of default in; Aristotle’s esthetics of literature ; modern, as swamp breeding ground of aborted art; dominated by doctrines of irrationalism and determinism ; since Renaissance, retrogression of, to mysticism of Plato; Romantic movement in, as unrelated to Romanticism in esthetics; new schools of, as progressively dedicated to negation of; antirational, and emotions dominating modern man’s sense of life