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, and also the psyche being a consciousness. As being a basis, the prerequisites for creative imagination, these sides are inseparably in theory. In science, we count on a consciousness that runs with essences, trying to expel thoughts and experiences. In art and literature, emotion contains thought, in idea – emotion. The image is really a synthesis of psyche and consciousness, thoughts and feelings.

What is the basis for artistic creativity in literary analysis?

This appears to be the true foundation of artistic creativity, which can be possible only because awareness and psyche, being autonomous spheres, are in the same time inextricably connected. It is impossible to reduce steadily the image to your idea (to your aim of the principles): we must distract ourselves from feelings. To cut back the image to direct experience way to „not notice“ the turnover of the psyche, being able to be fraught with thought.

However, the integrity for the image isn’t just a sensually sensed idea (concept). The image just isn’t yet a means of this existence of simultaneously concepts that are severala system of concepts). The image is fundamentally multivalued, it simultaneously contains several aspects. Technology can maybe not pay for this. Concepts decrease an object (trend) to 1 aspect, up to one minute, intentionally abstracting from all others. Science explores phenomena analytically with subsequent synthesis, exercising all of the moments of interrelation. Art, but, thinks with regards to the definitions. Moreover, the current presence of the sum of meanings is a vital condition for the „life“ of this image that is artistic. It is often impractical to determine what may be the true meaning, what is the „more important“ meaning.

Concept of artistic idea of literary work

Theoretically, creative content may be paid off up to a medical, up to a logically developed system of concepts. However in training this really is impossible, and it’s also not essential. Our company is dealing with the abyss of definitions. Even throughout the dilemma of the look of brand new overtones that are semantic new deep definitions, about „self-production“ of definitions in traditional works. Since a work may be comprehended towards the end only once the absolute rational unfolding of pictures is recognized, it could be argued that the information of an extremely artistic tasks are a process that is endless.

So, the image is indecomposable. Its perception is only able to be holistic: as an event of thought, as a sensually recognized essence. For this reason the analysis that is scientific of tasks are a „double general“ cognition of creative integrity: besides that the inexhaustibility of definitions cannot be paid off to a system, with such cognition, the adequate perception of emotions – empathy – is left out from the brackets.

The utmost full perception of this aesthetic item is always multifaceted:

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

Exactly What provides the richness up to a work that is literary?

It is an aesthetic (indistinguishable) perception. It is usually one-time, one-act. Perfectly alert to the fact the integrity of a work of art cannot be exhaustively described within the language that is formal of, we come across just one way of systematic comprehension of the integrity: it should be studied as a method that has a tendency to its limitation (this is certainly, ag e changing into its opposing). The literary critic does not have to do just about anything else, like analyzing a work supposedly as a system, keeping constantly in your mind it is perhaps not the device, but integrity. Another approach that is intuitive product can be done, as well as necessary, however it is not taught. These approaches must certanly be mutually complementary, perhaps not exclusive. It must also be borne in mind that any artistically reproduced image of the world can be a decrease (the world that is whole never be mirrored). To be able to reproduce the reduced picture associated with world, generate a „model of life“, a particular code that is artistic needed. This rule should so lessen the global world, so that it is achievable to state the author’s worldview. Such rule cannot be a picture in itself. A holistic image that is artistic all its unique possibilities remains just a way, an easy method.

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