Part of the rule, for Milton, was that which affirmed the unities.
“All things which have no matter are without qualification essentially unities” (1045b23).
The production might have been more claustrophobic and scary if Dear had imposed some unities of place and time – instead, months are telescoped into minutes as we follow Shelley’s monster across Europe.
Parker has been praised for the extreme economy of her stories, many of them less than ten pages long, most of them faithful to the unities of time and place (a taxi ride, a conversation on a patio), all of them sketching in their characters with a stroke or two and leaving much for us to guess.
The three unities rigidly followed by the Greeks were totally unknown to Sanskrit dramatists.
Others might find his notion of psycho-physical unities not so very offputting or indeed even attractive.
(I shall return to the issue of how a foundational monist like Moore can account for organic unities in section 2.1.)
In the French classical tragedy, the unities were adhered to literally and became the source of endless critical polemics.
Because it renounced the unities of time and place, Hernani was in the vanguard of the new, more naturalistic Romantic drama.
Armstrong’s and Olson’s facts openly go against these assumptions: they are unities that are more than just the sum of their constituents.
In drama, the second half of the century witnessed disputes concerning the Neoclassical “rules” (chiefly the unities of place, time, and action).
The French dramatists, he felt, through their observance of the unities of time and place, wrote plays characterized by a dearth of plot and narrowness of imagination.
These three unities were redefined in 1570 by the Italian humanist Lodovico Castelvetro in his interpretation of Aristotle, and they are usually referred to as “Aristotelian rules” for dramatic structure.
At this point, Bradley is no longer concerned just with arguments against the relational unity of qualities; rather, he is concerned with the possibility of there being compex unities that cannot be analyzed.
Unities, in drama, the three principles derived by French classicists from Aristotle’s Poetics; they require a play to have a single action represented as occurring in a single place and within the course of a day.
This signifies a departure from his claims in the Principles of Mathematics, where he argued that propositional unities could not be analyzed because analysis would destroy the unity of the proposition (Russell 1903: 50–51).
While §5.3 discusses what is required in order to apprehend holistic unities, and the holistic unities of artworks and natural beauties, this section focuses on the individual character of artworks and natural beauties.
In short, the method of relations is a way of doing metaphysics with strong Platonic and Kantian overtones: the fluctuating and conflicting plurality of sensible experience is “related” back to intelligible, “speculative” unities that allow us to organize the plurality in experience.
Themes, motifs, situations, and the use of stock characters by the commedia erudita greatly influenced the commedia dell’arte, whose repertoires, especially in northern Italy, resembled the commedia erudita in their tight structures based on the three dramatic unities (time, place, action).
Russell first needed to defend the process of analysis, and to argue against the view of the idealists that complex entities are in fact “organic unities” and that any analysis of these unities loses something, as the slogan was “analysis is falsification”. (1903, §439) The subject of our analysis is reality, rather than merely our own ideas:
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Russell first needed to defend the process of analysis and to argue against the view of the idealists that complex entities are in fact organic unities and that any analysis of these unities loses something as the slogan was analysis is falsification 1903 §439 The subject of our analysis is reality rather than merely our own ideas