By Anna Mantzaris
Trivialities buffs of the worldthis is your booklet! It’s filled with 1,001 tidbits of data in such different types as nutrients & Drink, tv, artwork, company, overall healthiness, faith, etc. for instance, do you know that each strawberry comprises over 2 hundred seeds? That the 1st equipped hard work strike within the U.S. happened in Philadelphia in 1786, whilst neighborhood printers demanded greater wages? Or that Jack London used to be the 1st novelist to earn a million cash from his writing? Highlighted with maps and illustrations, this compilation incorporates a wealth of lists, together with the least densely populated international locations, the tutorial associations of the Ivy League, bands that performed at Woodstock, or even the main stressful clichés, as voted by way of humans in 70 nations.
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Additional info for 1001 Things You Didn't Know You Wanted to Know
Collingwood, The Principles of Art, 11. 22 Collingwood, The Principles of Art, 32. 23 Collingwood makes many more distinctions that fall outside the remit of this essay, but that are of potential interest to television scholars. For example, he argues that the artist creating true art is primarily concerned with expressing emotion to himself, rather than arousing emotions in an audience. Thus art proper is (a) expressive and ( b) imaginative, and it is concerned with individuals’ engagement, not groups’.
The caution with which Mittell approaches the necessity of evaluation in tension with the dangers of elitist assertions of value that is not grounded in the work itself, is characteristically expansive, detailed and anchored to a subtle comparison of the realist modes See, for example, Charlotte Brunsdon, ‘Problems with Quality’, Screen 31:1 (Spring 1990), 67–90; John Caughie, Television Drama: Realism, Modernism and British Culture (Oxford University Press, 2000); David Thorburn, ‘Television as an Aesthetic Medium’, Critical Studies in Communication 4 (1987), 161–73; Horace Newcomb, ‘Toward a Television Aesthetic’, in Television: The Critical View, ed.
In Joseph Margolis, ed. Philosophy Looks at the Arts: Contemporary Readings in Aesthetics (New York: Charles Scribner’s Sons, 1962), 15. Urmson goes on to show that the aesthetic is not found, either, in any emotion felt or caused in the onlooker. 29 30 32 TELEVISION AESTHETICS AND STYLE necessary nor sufficient to create an aesthetic situation. Perhaps therefore it is more helpful to look to the observer and consider the notion of his/her aesthetic ‘experience’ or ‘attitude’. The aesthetic experience John Hospers asks, ‘What is it to perceive something aesthetically?