Integrity of artistic image for writing an analysis of literary work

Integrity of artistic image for writing an analysis of literary work

Consciousness can work as a psyche, therefore the psyche as a awareness. As being a basis, the prerequisites for artistic imagination, these edges are inseparably in theory. In science, we count on a consciousness that runs with essences, wanting to expel thoughts and experiences. In literature and art, emotion contains thought, in idea – emotion. The image is a synthesis of psyche and consciousness, ideas and emotions.

What’s the foundation for creative creativity in literary analysis?

This seems to be the actual basis of creative creativity, that is possible only because consciousness and psyche, being autonomous spheres, have reached the exact same time inextricably connected. It really is impractical to lessen the image to your basic idea(towards the aim of the ideas): we should distract ourselves from feelings. To cut back the image to direct experience methods to “not notice” the turnover associated with psyche, its ability to be fraught with idea.

Nonetheless, the integrity associated with image is not just a sensually perceived idea (concept). The image is certainly not yet an easy method associated with the existence of simultaneously concepts that are severala system of principles). The image is fundamentally multivalued, it simultaneously contains aspects that are several. Technology can not manage this. Concepts reduce an object (phenomenon) to a single aspect, as much as one moment, intentionally abstracting from all others. Science explores phenomena analytically with subsequent synthesis, exercising most of the moments of interrelation. Art, however, thinks with regards to the meanings. More over, the existence of the sum of definitions is an indispensable condition for the “life” of the creative image. It is impractical to determine what may be the meaning that is true what’s the “more important” meaning.

Meaning of artistic concept of literary work

Theoretically, artistic content could be paid down up to a medical, to a logically developed system of concepts. However in practice it is impossible, and it is not essential. We have been working with the abyss of definitions. Also throughout the issue of the look of brand new semantic overtones, new deep definitions, about “self-production” of definitions in classical works. Since a work could be grasped to the end only if absolutely the logical unfolding of pictures is realized, it may be argued that the information of an extremely artistic work is an endless procedure.

So, the image is indecomposable. Its perception can just only be holistic: as an experience of thought, as a sensually recognized essence. This is exactly why the medical analysis of this work is a “double general” cognition of artistic integrity: besides that the inexhaustibility of definitions cannot be paid off to a method, with such cognition, the adequate perception of thoughts – empathy – is left out from the brackets.

The maximum complete perception regarding the object that is aesthetic constantly multifaceted:

  • empathy,
  • co-creation,
  • way of integrity through medical dialectical logic.

What provides the richness to a literary work?

That is a visual (indistinguishable) perception. It is usually one-time, one-act. Perfectly conscious of the fact the integrity of a work of art can’t be exhaustively described in the language that is formal of, we come across only 1 method of clinical comprehension of this integrity: it should be examined as something that has a tendency to its limitation (this is certainly, ag e changing into its other). The critic that is literary not need to do anything else, like analyzing a work supposedly as a system, holding constantly in your mind that it’s not the machine, but integrity. Another intuitive way of product is achievable, and also necessary, however it is not taught. These approaches should always be mutually complementary, not exclusive. It will be borne at heart that any artistically reproduced image of the planet can be a reduction (the whole world can never be reflected). To be able to replicate the reduced picture associated with the world, to generate a “model of life”, a particular code that is artistic required. This rule should therefore reduce steadily the world, so that it is possible to convey the writer’s worldview. Such code can’t be a picture by itself. A holistic artistic image with all its unique possibilities continues to be just a way, a means.

What is the richness for the image? The solution, evidently, is only able to be one: an individual.