Integrity of artistic image for composing an analysis of literary work

Integrity of artistic image for composing an analysis of literary work

Consciousness can work as a psyche, as well as the psyche as a consciousness. Being a foundation, the prerequisites for artistic imagination, these sides are inseparably in principle. In technology, we depend on a consciousness that operates with essences, trying to eliminate feelings and experiences. In art and literature, emotion contains thought, in idea – emotion. The image is just a synthesis of psyche and consciousness, thoughts and emotions.

What's the basis for creative creativity in literary analysis?

This is apparently the actual basis of artistic imagination, which will be possible just because consciousness and psyche, being autonomous spheres, have reached the exact same time inextricably connected. It is impractical to reduce steadily the image towards the concept (to your objective of the ideas): we ought to distract ourselves from feelings. To cut back the image to direct experience methods to "not notice" the turnover of this psyche, its capability to be fraught with idea.

However, the integrity of this image isn't just a sensually observed thought (concept). The image is certainly not yet an easy method associated with the presence of simultaneously several concepts (a system of concepts). The image is fundamentally multivalued, it simultaneously contains aspects that are several. Science can not pay for this. Principles reduce an object phenomenon that is( to 1 aspect, as much as one minute, intentionally abstracting from all others. Science explores phenomena analytically with subsequent synthesis, exercising all of the brief moments of interrelation. Art, but, thinks with regards to the definitions. Moreover, the existence of the amount of definitions is an indispensable condition for the "life" associated with the image that is artistic. It is often impractical to determine what may be the meaning that is true what's the "more crucial" meaning.

Meaning of artistic idea of literary work

Theoretically, creative content could be paid down to a systematic, to a logically developed system of concepts. But in practice this might be impossible, and it's also not required. We have been working with the abyss of definitions. Also over the dilemma of the appearance of brand new semantic overtones, new deep definitions, about "self-production" of definitions in classical works. Since a work could be recognized towards the end only when absolutely the rational unfolding of pictures is realized, it could be argued that the data of a very artistic work is an endless process.

Therefore, the image is indecomposable. Its perception is only able to be holistic: as an event of idea, as a sensually identified essence. This is exactly why the clinical analysis for the tasks are a "double relative" cognition of creative integrity: apart from that the inexhaustibility of definitions cannot be reduced to a method, with such cognition, the adequate perception of thoughts – empathy – is left from the brackets.

The most complete perception of this visual object is constantly multifaceted:

  • empathy,
  • co-creation,
  • method of integrity through clinical dialectical logic.

Just What provides richness up to a work that is literary?

This can be an aesthetic (indistinguishable) perception. It will always be one-time, one-act. Perfectly conscious of the fact the integrity of a masterpiece of design can't be exhaustively described when you look at the language that is formal of, we see just one way of clinical comprehension of the integrity: it must be examined as a system that tends to its limit (that is, e changing into its reverse). The literary critic does not need to do anything else, like analyzing a work supposedly as a method, holding constantly at heart that it's not the machine, but integrity. Another approach that is intuitive product can be done, as well as necessary, however it is not taught. These approaches is mutually complementary, maybe not exclusive. It will additionally be borne at heart that any artistically reproduced image of the entire world can be a reduction (the world that is whole never be mirrored). To be able to reproduce the reduced picture associated with the world, to generate a "model of life", a particular creative code is required. This code should so lower the world, such that it is possible to convey the author's worldview. Such code cannot be a graphic by itself. A holistic image that is artistic all its unique opportunities continues to be just a technique, a way.

What's the richness associated with the image? The clear answer, apparently, can just only be one: an individual.

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