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162 Pages·2017·7.93 MB·English
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ISSN: 0252-8169 JOURNAL OF COMPARATIVE LITERATURE AND AESTHETICS AAAA VVVVIIIISSSSHHHHVVVVAAAANNNNAAAATTTTHHHHAAAA KKKKAAAAVVVVIIIIRRRRAAAAJJJJAAAA IIIINNNNSSSSTTTTIIIITTTTUUUUTTTTEEEE PPPPUUUUBBBBLLLLIIIICCCCAAAATTTTIIIIOOOONNNN VVVVOOOOLLLLUUUUMMMMEEEESSSS XXXXIIIIIIII----XXXXIIIIIIIIIIII :::: 1111999988889999----1111999999990000 Editor: Foreign Editor: A.C. SUKLA Milton H. Snoeyenbos B-8, Sambalpur University, Department of Philosophy Jyoti Vihar-768019, Sambalpur Georgia State University Orissa, India Atlanta, Georgia-30303, U.S.A. EDITORIAL BOARD Indian Members: Foreign Members K.B. Tripathy, Cuttack Rene Wellek, Yale University, U.S.A. K.R.S. Iyengar, Madras John Hospers V.K. Gokak, Bangalore University of Southern California, U.S.A. S.K. Saxena, University of Delhi John Fisher Temple University, U.S.A. Suresh Raval, University of Arizona M.H. Abrams Cornell University, U.S.A. V.K. Chari, Carleton University Benjamin Hrushovsky Tel-Aviv University, Israel J. Chakravorty, Jadavpur University Donald Crawford University of Wisconsin P.S. Sastri, Nagpur Jonathan Culler S.s. Mishra, Benaras Hindu University Cornell University, U.S.A. J.N. Mohanty, Temple University T.J. Diffey, University of Sussex, U.K. B.K. Matilal, Oxford University Denis Dutton, University of Canterbury, New Zealand S.P. Mahanty, Cornell University Ralf Chohen, University of Virgina, U.S.A. Book Review Editor W.J.T. Mitchell, Chicago University, U.S.A. Ronald Roblin Eliot Deutsche Philosophy and Religious Studies Department University of Hawaii, U.S.A. State University College at Buffalo U.S.A. Editorial Associates Indulata Sukla Donald R. Kelly, Balaram Das The University of Rochester, U.S.A. Editorial Office Christopher Norris, University of Wales B-8, Sambalpur University, Jyoti Vihar-768019, Sambalpur, Orissa, India Printed at Tarini Printers, Bulra Journal of Comparative Literature and Aesthetics Vols. XII-XIII : 1989-90 Dedicated to the Loving Memory of Late Professor John Fisher (1992-1989), Temple University (U.S.A.), who Edited JAAC for fourteen years (1974-1988) and served on the Editorial Board of JCLA Since its inception in 1978. CONTENTS 1-13 Goran Sorbom Imitation and Art 15-20 V.K.Chari The States of the Religious Emotion 27-42 Sehdev Kumar 1895-1915: The Second Renaissance 43-54 Robert Griffin Jung’s Science in “Answer to Job” and the Hindu Matrix of Form 55-74 Arthur Fine Words and Works 75-89 Ruth Roland Types of Interpretation and the Work of Art 90-99 Roger W.Roland Sociological Norms and the Heroic Epic: A Comparative Note 100-111 Ibrahim Dawood Moral Themes in Three Versions of the Bidpal Collection: A Study of Literary Adaptation 112-121 Peler Mew Mtic, Universality, Emousional Character and Authenticity 122-125 Virginia M. Giouli Kancisn Aeathetits: A Pragrmatic Crituque 126-137 Judith Lochhead Identifying Musical Works of Art Book Reviews by Books Received: Ronald Roblin, B.K. Senapati and S.K. Panda Book Reviews 1. Artrur C. Danto. Nietzsche as Philosopher MacMillan Co. 1965. 2. Yrjo Sepanmaa, The Beauty of Environment: A General Model for Environmental Aesthetics, He1sinnki : Suomalainen Tideakademia, 1986, pp, 184. 3. Gilles Deleuze and Felix Guattari Anti - Oedipus Capitalism and Schizophrenia, Viking Press, New York : 1977. Preface by Michel Foucault. Trans. by Robert Hurley, Mark Seem, and Helen R. Lane of L 'Anti -Oedipe : Capitalisme et Schizophrenie, Les Edit ions de Minuit, Paris: 1972. 4. David Patterson literature and Spirit: Essays on Bakhtin and His Contemporaries, The University Press of Kentucky, 1988, pp, 166. ISBN 0-8131-1647-3, 5. Dennis A. Foster, Confession and Complicity in Narrative. Cambridge: Cambridge University Press, 1987, pp. 146, ********* ... PROFERSOR JOHN FISHER Imitation And Art GO RAN SORBOM As far as we know man has al~ys danced, told and performed stories, made paintings, drawing, sculptures, songs, pieces of music and poetical manifestations and used these activities in a large variety of situations as entertainment, as political propaganda, magical rites, religious ceremonies etc. Someof these uses wereof great importance both to individuals anGto societies. Thus it isnatural that man also reflected over the nature of these activities and the results of them. The first big and well known attempt to characterize and collect all of these activities and the results of them under one head iscalled the theory of imitation (mimesis). \t iscommonly regarded as the oldest theory of art and as such as superficial and inadequate. At a closer look it is not, however, a theory of art proper but a theory of pictorial representation which was one of the foundations from which the concept of (fine) art and theories of fine art grewin the 18th century. Imitation as the production of a distinct kind of mental image The theory of imitation does not provide criteria in order to distinguish art from non-art but to distinguish imitations (mimemata) from 'real'things. A house, for instance, is a 'real' thing whereas a painting of a house is an imitation or an image of a house. Ajax's killing of the sheep was 'presumably a real act whereas Homer's account of it is an imitation. The painting and the text (heard or read are imitations in the iense that they bring forth mental images of a distinct kind in the mind of the beholders, listeners« readers. Mental images, basically similar in that they show sensuous qualities of particulars, can occur as perceptions, illusions, hallucinations, memories, Paper read at the fifth annual meetingofthe Scandinavian SocietyofAesthetics inCopenhagen 20 5-1988 and inrevised form at the 11th InternatiODal Congressof Aestheticsin Notting-ham 2-9-1988 J, C. L. A. Vol. XU :N:~{1-2 : 198?, 1 dreams, imaginations and daydreams. They differ from each other in vivacity, consistency and, first of all, in their judged relations to the assumed existing world Perceptions are lively, consistent and true to the world which - ,'" causes the perceptual 'imprint' (perception isvery often described as the world's stamp on the mind through the senses like the impression in waxby a signet ringl). If the mental image isincorrect in relation to its origin, but is believed to be correct, it is called an illusion. If the mental image is the resalt of no outside perceptual 'imprint' at all but is believed to be so (maybe caused by drugs or sickness) it is named an hallucination. Dreama have regularly no perceptual counterparts in the outside world. But when asleep we believe they have. Memories, as mental images of sensuous particulars, go back to perceptions of them but they are past perceptions, or wewould call them hallucinations or dreams. Daydreams and imaginations may be lively and consequential but we always know the difference to perceptions; ifnot they would haunt us as illusions or hallucinations. The activity of tbe'perceptual apparatus to produce, on its own accorad, mental images of sensuous particulars, whether they are memories or new images composed out of elements the beholder has sensed before, is called imagination (fantasia), Further, man has developed skillsfor the communi. cation of imaginations. It is the skill of rendering the mental image created ~. by imagination in an outward form and this skill is sometimes called imitation2(the term "imitation" denotes both the activity to mal(ethe otward object according to the mental image and the result of this activity;. 1he sole function of an imitation (mimema) is to create mental images in the minds of Its beholders, Plato says, and he calls them dreams for those who are awake3. Essential to the perception of an imitation is that the beholder knows that mental image caused' by the imitation is just similar to perceptions of the kind of thing represented in tbe imitation. If not, the beholder has an illusion. He would believethat he stands in front of a house or that he sees Ajax killing the sheep. The (correct) perception of an imitation contains thus the awareness that the thing perceived is not a real thing but an imitation. Imitations can' of course, be used to cheat people. But, as a matter of fact, tbis is not very common. Most often. the purpose of making and using imitations includes the awarenesStbat it isan imagination. In most cases it is important that the beholder of imitations can tell the difference between 'real things' and imitations in order to act and react properly to the imitation, , .:! i.e. according to the further purposes of the imitation. 2 A part of the 'non-reality' of imitations resides in the basic purpose of imitations to provide men witb this distinct kind of experience and that tbis istbeir solepurpose compared to 'real' things. A painting of a house cannot be used for anything elsethan to call forth a mental image of a house. Butin its turn, the calling forth of this mental image can be used in a large variety of situations and for many secondary purposes. The 'non-reality' of imitations isthus related to the fact that the mental image caused bythe apprehension of imitation or image is not an ordinary perception in which there isa more or less correct relation between percept and perceptual object. The imitation causes an impression in the mind of its beholder, which is similar to impressions caused by things it represents, and the beholder knows that it isnothing but stmilar. Paintings and texts are, of course, real things in the sensethat they are objects in the world wecan hear and touch. But the point isthat the mental images created in the mind of the listener, reader, spectator by the painting and the text are not perceptual images of something existing in the world ofthesamekindas thething representedin theimitation. Thepaintingofa . house is perceived as a house.Jike thing, i. e. it creates and the beholder knows that it isjnst similar and that this is the basic purpose and useof it. Homer's description of Ajax killing the sheep results in a menta! image of this event, a mental image the listener or reader knows isjust similar ~othe actual perception of this kind of scene. Similarity, mental image and imitation It is evident that the relation of similarity is important to the theory of imitation but it is not. as it is commonly thought, the relation of similarity between the thing imitation and particular things in the world, for instance betweena painting of a house and houses in the world. which isthe central one There isa cluster of relations of similarity that not always are kept apart: 1. the epistemologica! similarity between percept and perceptual object. 2. the expressive similarity between the menIal image (fantasia) in the mind of the imitator and the imitation, 3. the actual and represen- tational similarity between the (thing J imitation and things in the world, 4. the memorial similarity between the mental image created by the imitation and (mental images of) things in the world stored in the memory. 5 the communicative similarity between the mental image of the maker and the beholder. .. 3

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question is appJicable to aU kinds of imitations) and he answers:' "It'is'tha't Devadeva (Siva),8. V and Bicycle", quoted approvingly in Burnham
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