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Editorial.

The strength of an artistic situation has it manifestation in the methods of valuation, comprehension, and assessment. The modes and varieties of comprehension impose a necessity to have a perfect organization and an equally well reception through the object and the medium. It means that a work of art must create a set of response to the medium and the object through which it is purported to be carried on. In this regard one can understand how a work of art has an applicability for the sake of merits that are available in the form of benefits of an internal and external environments. This stretch and immensity of artistic form, manner, method and mode of organization of contents, constructs and the categories has been at the heart of Indian and Western literary/theoretical inquiries. In Indian tradition an artistic situation comes to be interpreted and organized through content assertion and category construction. For that matter there are two broader stages through which we can arrive at this understanding. In the first place, there are primary models in the form of Sabda, Varna, Pada and Vakya and secondly there are also primary categories like Bhava, Sthayi Bhava, Vibhava, Anubhava and Sancari Bhavas. Through the terms of synthesis, convergence, association, correlation, proposition and cognition presented by each of the above, we have the creation of an artistic situation that tends to be genuine and ideal. On the other hand, in the Western tradition the possibility of valuing and comprehending the intensity of an artistic formation is limited and restricted to the particular scope of a general situation hence the theories and theoreticians right from Aristotle, Longinus, Quintilian, Horace, Coleridge, Eliot, Richards, Sassurre, Barthes, Jakobson, Lacan and Derrida have insisted that the function of an artistic situation must be assessed and determined through primordial forms obtained in the language and the meaning. Language and meaning are imminently the categories which either correlated themselves or dislocate each other through convergence and divergence. In the European literary theories the basic situation deals with the creation of an extremely local, situational and occasional form and because of this the theories commit themselves to a compulsive form and local manner of model creation. This fact could be explained on the basis of the fact that in each of the theories, the emphasis falls upon reducing the contents either for the sake of obtaining and appropriate language or even for the sake of constituting a structure of meaning. This measure of language and meaning creation through the categories is altogether unacceptable in Indian system of comprehension, valuation, assessment and analysis of the artistic form. In Indian theories, the language and meaning are obtained through a correlated universalization of the primary models (sabda, pada and vakya) and primary categories (Bhava and the like), therefore the theories are assertive in nature. The present volume has established this particular paradigm and parameter for a fair assessment of the literary theories belonging to Indian and Western traditions. It is hoped that contribution made by eminent men of letters in this volume would establish the new categories of appreciation for the sake of promotion of understanding and enjoyment of literature.

BHAVATOSH INDRAGURU

DEPARTMENT OF ENGLISH

SAGAR UNIVERSITY, SAGAR

E-MAIL: <BHAVATOSHGURU@REDIFFMAIL.COM>
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Author:Indraguru, Bhavatosh
Publication:Creative Forum
Date:Jan 1, 2007
Words:539
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