 | James A. Boon - 1977 - 278 pages
...Northrop Frye has thoroughly elaborated epic and romance as genres or modes of literature, for example: In every age the ruling social or intellectual class...the ideals, and the villains the threats to their ascendency . . . Yet there is a genuinely 'proletarian' element in romance too which is never satisfied... | |
 | Frank Manchel - 1990 - 988 pages
...frequently in mythical romances. That is, influential people in every age project their ideals into some form of romance, "where the virtuous heroes and...heroines represent the Ideals and the villains the threat to their ascendancy."27 Such qualities are relevant to the film producer/product/audionce triangle,... | |
 | Robin West - 1993 - 458 pages
...forms to the wish-fulfilment dream, and for that reason it has socially a curiously paradoxical role. In every age the ruling social or intellectual class...villains the threats to their ascendancy. This is the central character of chivalric romance in the Middle Ages, aristocratic romance in the Renaissance,... | |
 | Genaro M. Padilla - 1993 - 302 pages
...forms to the wishfulfillment dream, and for that reason it has socially a curiously paradoxical role. In every age the ruling social or intellectual class...to project its ideals in some form of romance.... Yet there is a genuinely "proletarian" element in romance too which is never satisfied with its various... | |
 | Bernard Semmel - 1994 - 177 pages
...9. Quoted in Wilson, "Introduction," xv. Frye has observed that "in every age the ruling social and intellectual class tends to project its ideals in some form of romance"; these are frequently stories "where the virtuous heroes and beautiful heroines represent the ideals... | |
 | Michael Dunne - 2001 - 236 pages
...fate" (99). 4. Perhaps the motivation for these romantic/ironic allusions lies in Frye's observation, "In every age the ruling social or intellectual class...and the villains the threats to their ascendancy" (Anatomy 186). If so, the narrative functions of Gatsby as hero, Daisy as love object, and Tom as villain... | |
 | Paul C. Jones - 2005 - 252 pages
...the pair has withstood the forces that have threatened it. In Anatomy of Criticism, Frye claims that "in every age the ruling social or intellectual class...and the villains the threats to their ascendancy" (186).6 Dekker similarly asserts that "chivalric romance was an aristocratic ideal or fantasy picture... | |
 | Peter Becker, William Clark - 2001 - 340 pages
...itself. Reading bureaucratic prose of the clerically disembodied as romance, we can apply the dictum "In every age the ruling social or intellectual class...tends to project its ideals in some form of romance" 1Frye 1957, 186). The ideals of the new ruling class were not those of the erstwhile horse-riding,... | |
 | Benjamin I. Page, James R. Simmons - 2002 - 848 pages
...additional magazine stories, their editors, and their readers. The Romance of Love and Modernization "In every age the ruling social or intellectual class...some form of romance, where the virtuous heroes and virtual heroines represent the ideals and the villains the threats to their existence." 25 In 1979... | |
 | Herb Wyile - 2002 - 348 pages
...first installment of her fictionalized biography of King as a romance. In romance, as Frye observes, "the virtuous heroes and beautiful heroines represent the ideals and the villains the threats to their ascendancy."169 In the course of the novel, Robertson puts a feminist spin on this moral triangle,... | |
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In every age the ruling social or intellectual class tends to project its ideals in some form of romance, where the virtuous heroes and beautiful heroines represent the ideals and the villains the threats to their ascendancy. 
