Integrity of creative image for writing an analysis of literary work
Consciousness can work as a psyche, additionally the psyche as a consciousness. The prerequisites for artistic creativity, these sides are inseparably in principle as a basis. In science, we count on a consciousness that runs with essences, trying to eradicate emotions and experiences. In art and literary works, emotion contains thought, in thought – emotion. The image is a synthesis of psyche and consciousness, ideas and feelings.
What’s the foundation for artistic imagination in literary analysis?
This is apparently the true foundation of artistic creativity, which will be feasible just because awareness and psyche, being autonomous spheres, are in the time that is same linked. It is impractical to reduce steadily the image into the basic idea(into the goal of the concepts): we must distract ourselves from feelings. To reduce the image to direct experience way to « not notice » the turnover regarding the psyche, being able to be fraught with idea.
But, the integrity associated with image isn’t just a sensually sensed idea (concept). The image just isn’t yet a means for the presence of simultaneously a few ideas (a system of principles). The image is fundamentally multivalued, it simultaneously contains several aspects. Technology can maybe not afford this. Principles reduce an object (trend) to at least one aspect, up to one moment, deliberately abstracting from others. Science explores phenomena analytically with subsequent synthesis, practicing all of the moments of interrelation. Art, however, thinks with regards to the definitions. Moreover, the current presence of the sum of the meanings is a vital condition for the « life » regarding the creative image. It is impossible to decide what could be the true meaning, what’s the « more important » meaning.
Meaning of artistic notion of literary work
Theoretically, creative content could be reduced to a clinical, to a logically developed system of concepts. But in practice this is certainly impossible, which is not essential. We are coping with the abyss of meanings. Also throughout the issue of the look of new overtones that are semantic brand new deep meanings, about « self-production » of meanings in classical works. Since a work may be recognized to the end only if the absolute rational unfolding of images is recognized, it could be argued that the information of a very creative tasks are a process that is endless.
Therefore, the image is indecomposable. Its perception can only just be holistic: as an event of idea, as a sensually sensed essence. For this reason, the analysis that is scientific of work is a « double general » cognition of artistic integrity: apart from that the inexhaustibility of definitions cannot be paid off to a method, with such cognition, the adequate perception of emotions – empathy – is kept out from the brackets.
The most complete perception for the object that is aesthetic constantly multifaceted:
- method of integrity through scientific dialectical logic.