1.
Poetics (Aristotle)
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Aristotles Poetics is the earliest surviving work of dramatic theory and first extant philosophical treatise to focus on literary theory in the West. This has been the view for centuries. However, recent work is now challenging whether Aristotle focuses on literary theory per se or whether he focuses instead on dramatic musical theory that only has language as one of the elements, in it, Aristotle offers an account of what he calls poetry. They are similar in the fact that they are all imitations, difference of goodness in the characters. Difference in how the narrative is presented, telling a story or acting it out, in examining its first principles, Aristotle finds two, 1) imitation and 2) genres and other concepts by which that of truth is applied/revealed in the poesis. His analysis of tragedy constitutes the core of the discussion, although Aristotles Poetics is universally acknowledged in the Western critical tradition, almost every detail about his seminal work has aroused divergent opinions. The work was lost to the Western world for a long time and it was available in the Middle Ages and early Renaissance only through a Latin translation of an Arabic version written by Averroes. Aristotles work on aesthetics consists of the Poetics, Politics and Rhetoric, the Poetics is specifically concerned with drama. At some point, Aristotles original work was divided in two, each written on a separate roll of papyrus. Only the first part – that which focuses on tragedy and epic – survive, the lost second part addressed comedy. Some scholars speculate that the Tractatus coislinianus summarises the contents of the lost second book, the table of contents page of the Poetics found in Modern Librarys Basic Works of Aristotle identifies five basic parts within it. Preliminary discourse on tragedy, epic poetry, and comedy, as the forms of imitative poetry. Definition of a tragedy, and the rules for its construction, definition and analysis into qualitative parts. Rules for the construction of a tragedy, Tragic pleasure, or catharsis experienced by fear, the characters must be four things, good, appropriate, realistic, and consistent. Discovery must occur within the plot and it is important for the poet to visualize all of the scenes when creating the plot. The poet should incorporate complication and dénouement within the story, as well as all of the elements of tragedy. The poet must express thought through the words and actions, while paying close attention to diction. Aristotle believed that all of different elements had to be present in order for the poetry to be well-done
2.
Discourse
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Discourse denotes written and spoken communications, In semantics and discourse analysis, Discourse is a conceptual generalization of conversation within each modality and context of communication. The totality of codified language used in a field of intellectual enquiry and of social practice, such as legal discourse, medical discourse, religious discourse. In the work of Michel Foucault, and that of the social theoreticians he inspired, discourse describes an entity of sequences, of signs, therefore, a discourse is composed of semiotic sequences between and among objects, subjects, and statements. The term discursive formation conceptually describes the regular communications that produce such discourses, as a philosopher, Michel Foucault applied the discursive formation in the analyses of large bodies of knowledge, such as political economy and natural history. In the first sense-usage, the discourse is studied in corpus linguistics. In the second sense and in the sense, the analysis of a discourse examines and determines the connections among language and structure. Discourse affects the persons perspective, it is impossible to avoid discourse, for example, two notably distinct discourses can be used about various guerrilla movements describing them either as freedom fighters or terrorists. In other words, the chosen discourse provides the vocabulary, expressions, discourses are embedded in different rhetorical genres and metagenres that constrain and enable them. Discourse is closely linked to different theories of power and state and this conception of discourse is largely derived from the work of French philosopher Michel Foucault. Modernist theorists were preoccupied with obtaining the truth and reality and sought to develop theories which contained certainty and predictability, modernist theorists therefore viewed discourse as being relative to talking or way of talking and understood discourse to be functional. Discourse and language transformations are ascribed to progress or the need to develop new or more words to describe new discoveries, understandings. In modern times, language and discourse are dissociated from power and ideology, in other words, it is the structure itself that determines the significance, meaning and function of the individual elements of a system. Structuralism has made an important contribution to our understanding of language, saussures theory of language highlights the decisive role of meaning and signification in structuring human life more generally. Following the perceived limitations of the era, emerged postmodern theory. Postmodern theorists rejected modernist claims that there was one approach that explained all aspects of society. Rather, postmodernist theorists were interested in examining the variety of experience of individuals and groups and emphasized differences over similarities, in contrast to modern theory, postmodern theory is more fluid and allows for individual differences as it rejected the notion of social laws. Postmodern theorists shifted away from truth seeking and instead sought answers for how truths are produced and sustained, postmodernists contended that truth and knowledge is plural, contextual, and historically produced through discourses. Postmodern researchers therefore embarked on analyzing discourses such as texts, language, French social theorist Michel Foucault developed a notion of discourse in his early work, especially the Archaeology of knowledge
3.
Poetry
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Poetry has a long history, dating back to the Sumerian Epic of Gilgamesh. Early poems evolved from folk songs such as the Chinese Shijing, or from a need to retell oral epics, as with the Sanskrit Vedas, Zoroastrian Gathas, and the Homeric epics, the Iliad and the Odyssey. Ancient attempts to define poetry, such as Aristotles Poetics, focused on the uses of speech in rhetoric, drama, song and comedy. Later attempts concentrated on such as repetition, verse form and rhyme. From the mid-20th century, poetry has sometimes been more generally regarded as a creative act employing language. Poetry uses forms and conventions to suggest differential interpretation to words, devices such as assonance, alliteration, onomatopoeia and rhythm are sometimes used to achieve musical or incantatory effects. The use of ambiguity, symbolism, irony and other elements of poetic diction often leaves a poem open to multiple interpretations. Similarly figures of such as metaphor, simile and metonymy create a resonance between otherwise disparate images—a layering of meanings, forming connections previously not perceived. Kindred forms of resonance may exist, between verses, in their patterns of rhyme or rhythm. Some poetry types are specific to cultures and genres and respond to characteristics of the language in which the poet writes. Much modern poetry reflects a critique of poetic tradition, playing with and testing, among other things, in todays increasingly globalized world, poets often adapt forms, styles and techniques from diverse cultures and languages. Some scholars believe that the art of poetry may predate literacy, others, however, suggest that poetry did not necessarily predate writing. The oldest surviving poem, the Epic of Gilgamesh, comes from the 3rd millennium BCE in Sumer. An example of Egyptian epic poetry is The Story of Sinuhe, other forms of poetry developed directly from folk songs. The earliest entries in the oldest extant collection of Chinese poetry, the efforts of ancient thinkers to determine what makes poetry distinctive as a form, and what distinguishes good poetry from bad, resulted in poetics—the study of the aesthetics of poetry. Some ancient societies, such as Chinas through her Shijing, developed canons of poetic works that had ritual as well as aesthetic importance, Classical thinkers employed classification as a way to define and assess the quality of poetry. Later aestheticians identified three major genres, epic poetry, lyric poetry, and dramatic poetry, treating comedy and tragedy as subgenres of dramatic poetry, Aristotles work was influential throughout the Middle East during the Islamic Golden Age, as well as in Europe during the Renaissance. English Romantic poet John Keats termed this escape from logic Negative Capability and this romantic approach views form as a key element of successful poetry because form is abstract and distinct from the underlying notional logic
4.
Ancient Greek
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Ancient Greek includes the forms of Greek used in ancient Greece and the ancient world from around the 9th century BC to the 6th century AD. It is often divided into the Archaic period, Classical period. It is antedated in the second millennium BC by Mycenaean Greek, the language of the Hellenistic phase is known as Koine. Koine is regarded as a historical stage of its own, although in its earliest form it closely resembled Attic Greek. Prior to the Koine period, Greek of the classic and earlier periods included several regional dialects, Ancient Greek was the language of Homer and of fifth-century Athenian historians, playwrights, and philosophers. It has contributed many words to English vocabulary and has been a subject of study in educational institutions of the Western world since the Renaissance. This article primarily contains information about the Epic and Classical phases of the language, Ancient Greek was a pluricentric language, divided into many dialects. The main dialect groups are Attic and Ionic, Aeolic, Arcadocypriot, some dialects are found in standardized literary forms used in literature, while others are attested only in inscriptions. There are also several historical forms, homeric Greek is a literary form of Archaic Greek used in the epic poems, the Iliad and Odyssey, and in later poems by other authors. Homeric Greek had significant differences in grammar and pronunciation from Classical Attic, the origins, early form and development of the Hellenic language family are not well understood because of a lack of contemporaneous evidence. Several theories exist about what Hellenic dialect groups may have existed between the divergence of early Greek-like speech from the common Proto-Indo-European language and the Classical period and they have the same general outline, but differ in some of the detail. The invasion would not be Dorian unless the invaders had some relationship to the historical Dorians. The invasion is known to have displaced population to the later Attic-Ionic regions, the Greeks of this period believed there were three major divisions of all Greek people—Dorians, Aeolians, and Ionians, each with their own defining and distinctive dialects. Often non-west is called East Greek, Arcadocypriot apparently descended more closely from the Mycenaean Greek of the Bronze Age. Boeotian had come under a strong Northwest Greek influence, and can in some respects be considered a transitional dialect, thessalian likewise had come under Northwest Greek influence, though to a lesser degree. Most of the dialect sub-groups listed above had further subdivisions, generally equivalent to a city-state and its surrounding territory, Doric notably had several intermediate divisions as well, into Island Doric, Southern Peloponnesus Doric, and Northern Peloponnesus Doric. The Lesbian dialect was Aeolic Greek and this dialect slowly replaced most of the older dialects, although Doric dialect has survived in the Tsakonian language, which is spoken in the region of modern Sparta. Doric has also passed down its aorist terminations into most verbs of Demotic Greek, by about the 6th century AD, the Koine had slowly metamorphosized into Medieval Greek
5.
Philosophical realism
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Contemporary philosophical realism is the belief that some aspects of reality are ontologically independent of our conceptual schemes, perceptions, linguistic practices, beliefs, etc. Realism may be spoken of with respect to other minds, the past, the future, universals, mathematical entities, moral categories, the material world, and thought. Realism can also be promoted in a sense, in which case it asserts the mind-independent existence of the world. Philosophers who profess realism often claim that truth consists in a correspondence between cognitive representations and reality, realists tend to believe that whatever we believe now is only an approximation of reality but that the accuracy and fullness of understanding can be improved. In some contexts, realism is contrasted with idealism, today it is more usually contrasted with anti-realism, for example in the philosophy of science. The oldest use of the term appears in medieval scholastic interpretations and adaptations of Greek philosophy. As universals were considered by Plato to be ideal forms, this stance is also called Platonic idealism. Platos Forms include numbers and geometrical figures, making them a theory of realism, they also include the Form of the Good. Medieval realism developed out of debates over the problem of universals, universals are terms or properties that can be applied to many things, such as red, beauty, five, or dog. Realism in this context, contrasted with conceptualism and nominalism, holds that such universals really exist, independently, moderate Realism holds that they exist, but only insofar as they are instantiated in specific things, they do not exist separately from the specific thing. Conceptualism holds that they exist, but only in the mind and its roots can be found in responses to such philosophers as John Locke, George Berkeley and David Hume. The common sense realists found skepticism to be absurd and so contrary to experience that it had to be rejected. Naïve realism, also known as realism, is a philosophy of mind rooted in a common sense theory of perception that claims that the senses provide us with direct awareness of the external world. In contrast, some forms of idealism assert that no world exists apart from mind-dependent ideas, the naive realist view is that objects have properties, such as texture, smell, taste and colour, that are usually perceived absolutely correctly. We perceive them as they really are, scientific realism is, at the most general level, the view that the world described by science is the real world, as it is, independent of what we might take it to be. Within philosophy of science, it is framed as an answer to the question how is the success of science to be explained. The debate over what the success of science involves centers primarily on the status of unobservable entities apparently talked about by scientific theories, generally, those who are scientific realists assert that one can make reliable claims about unobservables as observables. Analytical philosophers generally have a commitment to realism, in the sense of regarding the scientific method as a reliable guide to the nature of reality
6.
Aristotelianism
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Aristotelianism is a tradition of philosophy that takes its defining inspiration from the work of Aristotle. The works of Aristotle were initially defended by the members of the Peripatetic school, and, later on, by the Neoplatonists, who produced many commentaries on Aristotles writings. Moses Maimonides adopted Aristotelianism from the Islamic scholars and based his famous Guide for the Perplexed on it, scholars such as Albertus Magnus and Thomas Aquinas interpreted and systematized Aristotles works in accordance with Christian theology. Although this project was criticized by Trendelenburg and Brentano as non-Aristotelian, postmodernists, in contrast, reject Aristotelianisms claim to reveal important theoretical truths. In this, they follow Heideggers critique of Aristotle as the greatest source of the tradition of Western philosophy. Recent Aristotelian ethical and practical philosophy, such as that of Gadamer, the most famous contemporary Aristotelian philosopher is Alasdair MacIntyre. Politically and socially, it has been characterized as a newly revolutionary Aristotelianism and this may be contrasted with the more conventional, apolitical and effectively conservative uses of Aristotle by, for example, Gadamer and McDowell. Other important contemporary Aristotelian theorists include Fred D. Miller, Jr. in politics, the original followers of Aristotle were the members of the Peripatetic school. The most prominent members of the school after Aristotle were Theophrastus and Strato of Lampsacus, during the Roman era the school concentrated on preserving and defending his work. The most important figure in this regard was Alexander of Aphrodisias who commentated on Aristotles writings, in the Abbasid Empire, many foreign works were translated into Arabic, large libraries were constructed, and scholars were welcomed. Under the caliphs Harun al-Rashid and his son Al-Mamun, the House of Wisdom in Baghdad flourished, Christian scholar Hunayn ibn Ishaq was placed in charge of the translation work by the caliph. In his lifetime, Ishaq translated 116 writings, including works by Plato and Aristotle, into Syriac, al-Kindi was the first of the Muslim Peripatetic philosophers, and is known for his efforts to introduce Greek and Hellenistic philosophy to the Arab world. He incorporated Aristotelian and Neoplatonist thought into an Islamic philosophical framework and this was an important factor in the introduction and popularization of Greek philosophy in the Muslim intellectual world. The philosopher Al-Farabi had great influence on science and philosophy for several centuries and his work, aimed at synthesis of philosophy and Sufism, paved the way for the work of Avicenna. Avicenna was one of the interpreters of Aristotle. The school of thought he founded became known as Avicennism, which was built on ingredients and conceptual building blocks that are largely Aristotelian and Neoplatonist. At the western end of the Mediterranean Sea, during the reign of Al-Hakam II in Córdoba, a massive effort was undertaken. Averroes, who spent much of his life in Cordoba and Seville, was distinguished as a commentator of Aristotle
7.
Romanticism
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Romanticism was characterized by its emphasis on emotion and individualism as well as glorification of all the past and nature, preferring the medieval rather than the classical. It was embodied most strongly in the arts, music, and literature, but had a major impact on historiography, education. It elevated folk art and ancient custom to something noble, Romanticism assigned a high value to the achievements of heroic individualists and artists, whose examples, it maintained, would raise the quality of society. It also promoted the individual imagination as a critical authority allowed of freedom from classical notions of form in art, there was a strong recourse to historical and natural inevitability, a Zeitgeist, in the representation of its ideas. In the second half of the 19th century, Realism was offered as a polar opposite to Romanticism, the decline of Romanticism during this time was associated with multiple processes, including social and political changes and the spread of nationalism. Defining the nature of Romanticism may be approached from the point of the primary importance of the free expression of the feelings of the artist. The importance the Romantics placed on emotion is summed up in the remark of the German painter Caspar David Friedrich that the feeling is his law. Samuel Taylor Coleridge and others believed there were laws that the imagination—at least of a good creative artist—would unconsciously follow through artistic inspiration if left alone. As well as rules, the influence of models from other works was considered to impede the creators own imagination, so that originality was essential. The concept of the genius, or artist who was able to produce his own work through this process of creation from nothingness, is key to Romanticism. This idea is called romantic originality. Not essential to Romanticism, but so widespread as to be normative, was a strong belief, however, this is particularly in the effect of nature upon the artist when he is surrounded by it, preferably alone. Romantic art addressed its audiences with what was intended to be felt as the voice of the artist. So, in literature, much of romantic poetry invited the reader to identify the protagonists with the poets themselves. In both French and German the closeness of the adjective to roman, meaning the new literary form of the novel, had some effect on the sense of the word in those languages. It is only from the 1820s that Romanticism certainly knew itself by its name, the period typically called Romantic varies greatly between different countries and different artistic media or areas of thought. Margaret Drabble described it in literature as taking place roughly between 1770 and 1848, and few dates much earlier than 1770 will be found. In English literature, M. H. Abrams placed it between 1789, or 1798, this latter a very typical view, and about 1830, however, in most fields the Romantic Period is said to be over by about 1850, or earlier
8.
Expressionism
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Expressionism was a modernist movement, initially in poetry and painting, originating in Germany at the beginning of the 20th century. Its typical trait is to present the world solely from a subjective perspective, Expressionist artists sought to express the meaning of emotional experience rather than physical reality. Expressionism was developed as an avant-garde style before the First World War and it remained popular during the Weimar Republic, particularly in Berlin. The style extended to a range of the arts, including expressionist architecture, painting, literature, theatre, dance, film. The term is sometimes suggestive of angst, in a general sense, painters such as Matthias Grünewald and El Greco are sometimes termed expressionist, though in practice the term is applied mainly to 20th-century works. The Expressionist emphasis on individual perspective has been characterized as a reaction to positivism, though an alternate view is that the term was coined by the Czech art historian Antonin Matějček in 1910, as the opposite of impressionism, An Expressionist wishes, above all, to express himself. Immediate perception and builds on more complex psychic structures, in 1905, a group of four German artists, led by Ernst Ludwig Kirchner, formed Die Brücke in the city of Dresden. This was arguably the founding organization for the German Expressionist movement, a few years later, in 1911, a like-minded group of young artists formed Der Blaue Reiter in Munich. The name came from Wassily Kandinskys Der Blaue Reiter painting of 1903, among their members were Kandinsky, Franz Marc, Paul Klee, and Auguste Macke. However, the term Expressionism did not firmly establish itself until 1913, though mainly a German artistic movement initially and most predominant in painting, poetry and the theatre between 1910–30, most precursors of the movement were not German. Expressionism is notoriously difficult to define, in part because it overlapped with other major isms of the modernist period, with Futurism, Vorticism, Cubism, Surrealism, more explicitly, that the expressionists rejected the ideology of realism. The term refers to a style in which the artist seeks to depict not objective reality but rather the subjective emotions. It is arguable that all artists are expressive but there are examples of art production in Europe from the 15th century onward which emphasize extreme emotion. Expressionism has been likened to Baroque by critics such as art historian Michel Ragon, according to Alberto Arbasino, a difference between the two is that Expressionism doesnt shun the violently unpleasant effect, while Baroque does. Expressionism throws some terrific fuck yous, Baroque doesnt, brazil, Anita Malfatti, Cândido Portinari, Di Cavalcanti, Iberê Camargo and Lasar Segall. Estonia, Konrad Mägi, Eduard Wiiralt Finland, Tyko Sallinen, Alvar Cawén, Juho Mäkelä, there were a number of groups of expressionist painters, including Der Blaue Reiter and Die Brücke. Der Blaue Reiter was based in Munich and Die Brücke was based originally in Dresden, Die Brücke was active for a longer period than Der Blaue Reiter, which was only together for a year. The Expressionists had many influences, among them Edvard Munch, Vincent van Gogh and they were also aware of the work being done by the Fauves in Paris, who influenced Expressionisms tendency toward arbitrary colours and jarring compositions
9.
Lyric poetry
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Lyric poetry is a formal type of poetry which expresses personal emotions or feelings, typically spoken in the first person. The term derives from a form of Ancient Greek literature, the lyric, the term owes its importance in literary theory to the division developed by Aristotle between three broad categories of poetry, lyrical, dramatic and epic. Much lyric poetry depends on regular meter based either on number of syllables or on stress, the most common meters are as follows, Iambic – two syllables, with the short or unstressed syllable followed by the long or stressed syllable. Trochaic – two syllables, with the long or stressed syllable followed by the short or unstressed syllable, in English, this metre is found almost entirely in lyric poetry. Pyrrhic – Two unstressed syllables Anapestic – three syllables, with the first two short or unstressed and the last long or stressed, dactylic – three syllables, with the first one long or stressed and the other two short or unstressed. Spondaic – two syllables, with two successive long or stressed syllables, some forms have a combination of meters, often using a different meter for the refrain. For the ancient Greeks, lyric poetry had a technical meaning, verse that was accompanied by a lyre, cithara. Because such works were sung, it was also known as melic poetry. The lyric or melic poet was distinguished from the writer of plays, the writer of trochaic and iambic verses, the writer of elegies, the scholars of Hellenistic Alexandria created a canon of nine lyric poets deemed especially worthy of critical study. These archaic and classical musician-poets included Sappho, Alcaeus, Anacreon, archaic lyric was characterized by strophic composition and live musical performance. Some poets, like Pindar extended the metrical forms to a triad, including strophe, antistrophe, among the major extant Roman poets of the classical period, only Catullus and Horace wrote lyric poetry, which however was no longer meant to be sung but instead read or recited. What remained were the forms, the meters of the Greeks adapted to Latin. Catullus was influenced by both archaic and Hellenistic Greek verse and belonged to a group of Roman poets called the Neoteroi who spurned epic poetry following the lead of Callimachus, instead, they composed brief, highly polished poems in various thematic and metrical genres. The varying forms of the new Chu ci provided more rhythm, originating in 10th-century Persian, a ghazal is a poetic form consisting of couplets that share a rhyme and a refrain. Formally, it consists of a short lyric composed in a meter with a single rhyme throughout. Notable authors include Hafiz, Amir Khusro, Auhadi of Maragheh, Alisher Navoi, Obeid e zakani, Khaqani Shirvani, Anvari, Farid al-Din Attar, Omar Khayyam, and Rudaki. The ghazal was introduced to European poetry in the early 19th century by the Germans Schlegel, Von Hammer-Purgstall, and Goethe, lyric in European literature of the medieval or Renaissance period means a poem written so that it could be set to music—whether or not it actually was. A poems particular structure, function, or theme might all vary, the lyric poetry of Europe in this period was created by the pioneers of courtly poetry and courtly love largely without reference to the classical past
10.
Mimesis
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In ancient Greece, mimesis was an idea that governed the creation of works of art, in particular, with correspondence to the physical world understood as a model for beauty, truth, and the good. Plato contrasted mimesis, or imitation, with diegesis, or narrative, after Plato, the meaning of mimesis eventually shifted toward a specifically literary function in ancient Greek society, and its use has changed and been reinterpreted many times since then. In art history, mimesis, realism and naturalism are used, often interchangeably, as terms for the accurate, even illusionistic, during the nineteenth century, the racial politics of imitation towards African Americans influenced the term mimesis and its evolution. Both Plato and Aristotle saw in mimesis the representation of nature, Plato wrote about mimesis in both Ion and The Republic. In Ion, he states that poetry is the art of divine madness, because the poet is subject to this divine madness, instead of possessing art or knowledge of the subject, the poet does not speak truth. As Plato has it, only truth is the concern of the philosopher and he was concerned that actors or orators were thus able to persuade an audience by rhetoric rather than by telling the truth. In Book II of The Republic, Plato describes Socrates dialogue with his pupils, so the artists bed is twice removed from the truth. The copiers only touch on a part of things as they really are. Similar to Platos writings about mimesis, Aristotle also defined mimesis as the perfection and imitation of nature, Art is not only imitation but also the use of mathematical ideas and symmetry in the search for the perfect, the timeless, and contrasting being with becoming. Nature is full of change, decay, and cycles, but art can also search for what is everlasting, Aristotle wrote about the idea of four causes in nature. The first formal cause is like a blueprint, or an immortal idea, the second cause is the material, or what a thing is made out of. The third cause is the process and the agent, in which the artist or creator makes the thing, the fourth cause is the good, or the purpose and end of a thing, known as telos. Aristotles Poetics is often referred to as the counterpart to this Platonic conception of poetry, Poetics is his treatise on the subject of mimesis. Aristotle was not against literature as such, he stated that human beings are mimetic beings, feeling an urge to create texts that reflect, without this distance, tragedy could not give rise to catharsis. It is the task of the dramatist to produce the tragic enactment in order to accomplish this empathy by means of what is taking place on stage, in short, catharsis can only be achieved if we see something that is both recognisable and distant. He posited the characters in tragedy as being better than the human being. Michael Davis, a translator and commentator of Aristotle writes, It was also Plato, Mimesis shows, rather than tells, by means of directly represented action that is enacted. Diegesis, however, is the telling of the story by a narrator, the narrator may speak as a particular character or may be the invisible narrator or even the all-knowing narrator who speaks from above in the form of commenting on the action or the characters
11.
Hermeneutics
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Hermeneutics is the theory and methodology of interpretation, especially the interpretation of biblical texts, wisdom literature, and philosophical texts. Modern hermeneutics includes both verbal and non-verbal communication as well as semiotics, presuppositions, and pre-understandings, Hermeneutics has been broadly applied in the humanities, especially in law, history and theology. Hermeneutics was initially applied to the interpretation, or exegesis, of scripture, the terms hermeneutics and exegesis are sometimes used interchangeably. Hermeneutics is a discipline which includes written, verbal. Hermeneutic, as a noun, refers to some particular method of interpretation. Hermeneutics is derived from the Greek word ἑρμηνεύω, from ἑρμηνεύς and it is one of the earliest extant philosophical works in the Western tradition to deal with the relationship between language and logic in a comprehensive, explicit and formal way. The early usage of hermeneutics places it within the boundaries of the sacred, a divine message must be received with implicit uncertainty regarding its truth. This ambiguity is an irrationality, it is a sort of madness that is inflicted upon the receiver of the message, only one who possesses a rational method of interpretation could determine the truth or falsity of the message. Folk etymology places its origin with Hermes, the mythological Greek deity who was the messenger of the gods, besides being a mediator between the gods and between the gods and men, he led souls to the underworld upon death. Hermes was also considered to be the inventor of language and speech, an interpreter, a liar, a thief and these multiple roles made Hermes an ideal representative figure for hermeneutics. As Socrates noted, words have the power to reveal or conceal and these principles ranged from standard rules of logic to more expansive ones, such as the rule that a passage could be interpreted by reference to another passage in which the same word appears. The rabbis did not ascribe equal persuasive power to the various principles, traditional Jewish hermeneutics differed from the Greek method in that the rabbis considered the Tanakh to be without error. Any apparent inconsistencies had to be understood by means of examination of a given text within the context of other texts. Vedic hermeneutics involves the exegesis of the Vedas, the earliest holy texts of Hinduism, the Mimamsa was the leading hermeneutic school and their primary purpose was understanding what Dharma involved by a detailed hermeneutic study of the Vedas. They also derived the rules for the rituals that had to be performed precisely. The foundational text is the Mimamsa Sutra of Jaimini with a commentary by Śabara. The Mimamsa sutra summed up the rules for Vedic interpretation. Buddhist hermeneutics deals with the interpretation of the vast Buddhist literature, particularly those texts which are said to be spoken by the Buddha, Buddhist hermeneutics is deeply tied to Buddhist spiritual practice and its ultimate aim is to extract skillful means of reaching spiritual enlightenment or nirvana
12.
Figure of speech
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A figure of speech or rhetorical figure is figurative language in the form of a single word or phrase. It can be a repetition, arrangement or omission of words with literal meaning. Figures of speech often provide emphasis, freshness of expression, or clarity, however, clarity may also suffer from their use, as any figure of speech introduces an ambiguity between literal and figurative interpretation. The earliest known text listing them, though not explicitly as a system, is the Rhetorica ad Herennium, of unknown authorship, quintillian then mentioned them in Institutio Oratoria. Philo of Alexandria also listed them as addition, subtraction, transposition, figures of speech come in many varieties. The aim is to use the language inventively to accentuate the effect of what is being said, a few examples follow, Around the rugged rocks the ragged rascal ran is an example of, where the consonant r is used repeatedly. Whereas, Sister Suzy sewing socks for soldiers is a form of alliteration called sibilance. Both are commonly used in poetry and she would run up the stairs and then a new set of curtains is a variety of zeugma called a syllepsis. Run up refers to ascending and also to manufacturing, the effect is enhanced by the momentary suggestion, through a pun, that she might be climbing up the curtains. The ellipsis or omission of the use of the verb makes the reader think harder about what is being said. Military Intelligence is an oxymoron is the use of direct sarcasm to suggest that the military would have no intelligence and this might be considered to be a satire and an aphorism. An Einstein is an example of synecdoche, as it uses a name to represent a class of people. I had butterflies in my stomach is a metaphor, referring to a feeling as if there were flying insects in ones stomach. To say it was like having some butterflies in my stomach would be a simile, because it uses the word like which is missing in the metaphor. That filthy place was really dirty is an example of tautology as there are the two words filthy and dirty having almost the same meaning and are repeated so as to make the more emphatic. Scholars of classical Western rhetoric have divided figures of speech into two categories, schemes and tropes. Schemes are figures of speech that change the ordinary or expected pattern of words, for example, the phrase, John, my best friend uses the scheme known as apposition. Tropes change the meaning of words
13.
Allegory
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As a literary device, an allegory is a metaphor whose vehicle may be a character, place or event, representing real-world issues and occurrences. Many ancient religions are based on astrological allegories, that is, allegories of the movement of the sun, in classical literature two of the best-known allegories are the Cave in Platos Republic and the story of the stomach and its members in the speech of Menenius Agrippa. One of the examples of allegory, Platos Allegory of the Cave. In this allegory, Plato describes a group of people who have lived chained in an all of their lives. The people watch shadows projected on the wall by things passing in front of a fire behind them and begin to ascribe forms to these shadows, using language to identify their world. He tries to tell the people in the cave of his discovery, also allegorical is Ezekiel 16 and 17, wherein the capture of that same vine by the mighty Eagle represents Israels exile to Rome. Allegory has an ability to freeze the temporality of a story, Mediaeval thinking accepted allegory as having a reality underlying any rhetorical or fictional uses. The allegory was as true as the facts of surface appearances, if, then, the Greeks or others say that they were not committed to the care of Peter and his successors, they necessarily confess that they are not of the sheep of Christ. This text also demonstrates the frequent use of allegory in religious texts during the Mediaeval Period, following the tradition, since meaningful stories are nearly always applicable to larger issues, allegories may be read into many stories which the author may not have recognised. This is allegoresis, or the act of reading a story as an allegory. S, lewis and A Kingdom Far and Clear, The Complete Swan Lake Trilogy by Mark Helprin. The story of the apple falling onto Isaac Newtons head is another famous allegory and it simplified the idea of gravity by depicting a simple way it was supposedly discovered. It also made the scientific revelation well known by condensing the theory into a short tale. According to Henry Littlefields 1964 article, L. Yet, George MacDonald emphasised in 1893 that, A fairy tale is not an allegory, I much prefer history – true or feigned– with its varied applicability to the thought and experience of readers. I think that many confuse applicability with allegory, but the one resides in the freedom of the reader, and this further reinforces the idea of forced allegoresis, as allegory is often a matter of interpretation and only sometimes of original artistic intention. Like allegorical stories, allegorical poetry has two meanings – a literal meaning and a symbolic meaning, some unique specimens of allegory can be found in the following works, Edmund Spenser – The Faerie Queene, The several knights in the poem actually stand for several virtues. Nathaniel Hawthorne – Young Goodman Brown, The Devils Staff symbolises defiance of God, the characters names, such as Goodman and Faith, ironically serve as paradox in the conclusion of the story. Nathaniel Hawthorne – The Scarlet Letter, The scarlet letter symbolises many things, the characters, while developed with interiority, are allegorical in that they represent ways of seeing the world. George Orwell – Animal Farm, The pigs stand for political figures of the Russian Revolution, lászló Krasznahorkai - The Melancholy of Resistance and the film Werckmeister Harmonies, It uses a circus to describe an occupying dysfunctional government
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Allusion
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Allusion is a figure of speech, in which one refers covertly or indirectly to an object or circumstance from an external context. It is left to the audience to make the connection, where the connection is directly and explicitly stated by the author, in the arts, a literary allusion puts the alluded text in a new context under which it assumes new meanings and denotations. It is not possible to predetermine the nature of all the new meanings, Literary allusion is closely related to parody and pastiche, which are also text-linking literary devices. In a wider, more informal context, an allusion is a passing or casually short statement indicating broader meaning and it is an incidental mention of something, either directly or by implication, such as In the stock market he met his Waterloo. In the most traditional sense, allusion is a term, though the word has also come to encompass indirect references to any source. In literature, allusions are used to link concepts that the reader already has knowledge of, in the field of film criticism, a film-makers intentionally unspoken visual reference to another film is also called an homage. It may even be sensed that real events have allusive overtones, Allusion is bound up with a vital and perennial topic in literary theory, the place of authorial intention in interpretation, William Irwin observed, in asking What is an allusion. Without the hearer or readers comprehending the authors intention, an allusion becomes merely a decorative device. Allusion is a device, a figure of speech that uses a relatively short space to draw upon the ready stock of ideas. Thus, an allusion is understandable only to those with knowledge of the covert reference in question. The origin of allusion is in the Latin verb ludere, lusus est to play with, recognizing the point of allusions condensed riddle also reinforces cultural solidarity between the maker of the allusion and the hearer, their shared familiarity with allusion bonds them. Addressing such issues is an aspect of hermeneutics, William Irwin remarks that allusion moves in only one direction, If A alludes to B, then B does not allude to A. The Bible does not allude to Shakespeare, though Shakespeare may allude to the Bible, Irwin appends a note, Only a divine author, outside of time, would seem capable of alluding to a later text. This is the basis for Christian readings of Old Testament prophecy, Allusion differs from the similar term intertextuality in that it is an intentional effort on the authors part. The success of an allusion depends in part on at least some of its audience getting it, allusions may be made increasingly obscure, until at last they are understood by the author alone, who thereby retreats into a private language. In discussing the richly allusive poetry of Virgils Georgics, R. F. Thomas distinguished six categories of allusive reference, which are applicable to a wider cultural sphere. A type of literature has grown round explorations of the allusions in such works as Alexander Popes The Rape of the Lock or T. S. Eliots The Waste Land. In Hellenistic Alexandria, literary culture and a literary canon known to readers and hearers made a densely allusive poetry effective
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Musical form
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The term musical form refers to the overall structure or plan of a piece of music, and it describes the layout of a composition as divided into sections. According to Richard Middleton, musical form is the shape or structure of the work and he describes it through difference, the distance moved from a repeat, the latter being the smallest difference. Difference is quantitative and qualitative, how far, and of what type, in many cases, form depends on statement and restatement, unity and variety, and contrast and connection. This phrase may be regarded as the unit of musical form. Even at this level, the importance of the principles of repetition and contrast, weak and strong, climax and repose, thus, form may be understood on three levels of organization. For the purpose of exposition, these levels can be roughly designated as passage, piece. The smallest level of construction concerns the way musical phrases are organized into musical sentences and this may be compared to, and is often decided by, the verse form or meter of the words or the steps of a dance. In the analysis of form, any components that can be defined on the time axis are conventionally designated by letters. Upper-case letters are used for the most fundamental, while lower-case letters are used for sub-divisions, if one such section returns in a varied or modified form, a numerical digit or an appropriate number of prime symbols appears after the letter. Even at this simplest level, there are patterns that may be re-used on larger timescales, for example, consider the analogy with rhyme schemes, The following verse is composed of two differently-rhymed couplets, and thus its organization is binary or twofold. Twinkle, twinkle, little star, How I wonder what you are, up above the world so high, like a diamond in the sky. There once was a fellow from Leeds Who swallowed a packet of seeds, in less than an hour he burst into flower And he died trying to pull up the weeds. The next level concerns the structure of any single self-contained musical piece. If the hymn, ballad, blues or dance alluded to above simply repeats the same musical material indefinitely then the piece is said to be in strophic form overall. If it repeats with distinct, sustained changes each time, for instance in setting, ornamentation or instrumentation, then the piece is a theme and variations. If the theme is played, then a new theme is introduced, great arguments and misunderstanding can be generated by such terms as ternary and binary, as a complex piece may have elements of both at different organizational levels. The grandest level of organization may be referred to as cyclical form and it concerns the arrangement of several self-contained pieces into a large-scale composition. For example, a set of songs with a theme may be presented as a song-cycle
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Symbolist poetry
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Symbolism was a late nineteenth-century art movement of French, Russian and Belgian origin in poetry and other arts. In literature, the style originates with the 1857 publication of Charles Baudelaires Les Fleurs du mal, the works of Edgar Allan Poe, which Baudelaire admired greatly and translated into French, were a significant influence and the source of many stock tropes and images. The aesthetic was developed by Stéphane Mallarmé and Paul Verlaine during the 1860s and 1870s, in the 1880s, the aesthetic was articulated by a series of manifestos and attracted a generation of writers. The name symbolist itself was first applied by the critic Jean Moréas, distinct from, but related to, the style of literature, symbolism in art is related to the gothic component of Romanticism and Impressionism. In ancient Greece, the symbolon was a shard of pottery which was inscribed, Symbolism was a reaction in favour of spirituality, the imagination, and dreams. Some writers, such as Joris-Karl Huysmans, began as naturalists before becoming symbolists, for Huysmans, the Symbolist poets have a more complex relationship with Parnassianism, a French literary style that immediately preceded it. The Symbolists continued to admire Théophile Gautiers motto of art for arts sake, many Symbolist poets, including Stéphane Mallarmé and Paul Verlaine, published early works in Le Parnasse contemporain, the poetry anthologies that gave Parnassianism its name. One of Symbolisms most colourful promoters in Paris was art and literary critic Joséphin Péladan, a number of Symbolists were associated with the Salon. Symbolists believed that art should represent absolute truths that could only be described indirectly, thus, they wrote in a very metaphorical and suggestive manner, endowing particular images or objects with symbolic meaning. Jean Moréas published the Symbolist Manifesto in Le Figaro on 18 September 1886, the Symbolist Manifesto names Charles Baudelaire, Stéphane Mallarmé, and Paul Verlaine as the three leading poets of the movement. In a nutshell, as Mallarmé writes in a letter to his friend Cazalis, to not the thing. Symbolist poems were attempts to evoke, rather than primarily to describe, – both poets seek to identify one sense experience with another. The earlier Romanticism of poetry used symbols, but these symbols were unique, the symbolists were more extreme, investing all things, even vowels and perfumes, with potential symbolic value. The physical universe, then, is a kind of language that invites a privileged spectator to decipher it, Symbolist symbols are not allegories, intended to represent, they are instead intended to evoke particular states of mind. The nominal subject of Mallarmés Le cygne is of a trapped in a frozen lake. Significantly, in French, cygne is a homophone of signe, un cygne d’autrefois se souvient que c’est lui Magnifique mais qui sans espoir se délivre. They were also portrayed as at odds with society, having tragic lives and these traits were not hindrances but consequences of their literary gifts. Schopenhauers aesthetics represented shared concerns with the symbolist programme, they tended to consider Art as a contemplative refuge from the world of strife and will
