Ce e estetica?Poate sa fie arta analizata ?

Catharsis si imitatie 154Certainly our society has achieved its present state of aesthetic development as the result of a process of cumulative change from ealier states;it may be,as I have suggested,that this change follows a rather definite pattern.

Aristotel

The problem which Aristotle was concerned about when he composed the Poetics can be located in chapter four of his treatise:In birth of poetry in general seems due to two tendencies innate in man.From ealiest childhood the instict for imitation is natural to us,as is the universal pleasure in imitation.(THen he continues:)Now not only is imitation instictive but also harmony and rhythm..SO people starting with such original predispositions developed these elements in their improvisations ..until they produced poetry.iubirea de armonieiubirea de ritm

This study will be seen to reveal what we need to know about the nature of catharsis.The most useful method of procedure for preent purposes will be to begin with certain myths and analogies familiar generally to the Greek and to note how Aristotle s doctrine and our concept of catharsis is derived from these.155

Platon

platon face distinctia in discursul lui Pausanias in Symposium.He points out thaT LOVE is not one god but two;there is the vulgar Polyhymia observable in may form in every byway;and there is the heavenly and pure Urania.A similar disctions between the two loves is made in the myth of Eros.But the analogue most familiar to the Greek,as Nietzche has showsn,is to be found in their dual gods of art:DIonysios si Apollo(..).DIonysus is a version of the archaic fertility god,deity and wine,of wild vernal orgies,of ecstasy and enthusiam.His worshipers,worked up to the acceptable state of frenzy by wine,dance,and the uncontrolled music of pipes (which Aristotle significantly calls the music of passion)believed themselves possesed by the god himself,and were,beyond a doubt,receptive of any suggestion which tradition or leader of their rituals might make.And this is their hallmark:their receptivity,their openness to suggestion.The drama,originated in these ritualistic orgies,as Aristotle recognized,was sacred to Dionysus.On the other hand Apollo is a self-contained and intellectual god.He and his followers are pg 155self-depend and self-directing.pg 156In this way they are quite unlike the wild Bacchantes who are out of their own minds and absorved into something other than themselves.Unlike Dionysus,APollo loves clarity,self-control,harmony,and wisdowm.Approproately his music instrument is the lyre.156

156What kind of trace was made between these antithetical gods that they should walk peacebly hand in hand through the greatest of our literature?drama e compusa din aceste doua puterIdionisiacul e pasiv,imita.He always finds his being in another.156

In this tendency to imitate or to become one with something or someone else,one may recognize the operation of the erotic impulse.When this impulse operates without any restraint it leads into dangerous paths,for anyone under its domination tends to abandon hiself.

EMPATIAAAA=LOSS OF SELF

The phenomenon ofempathymay be regarded as the beginning of this self abandonment or loss of self idenity,a beginning which might progress to the extremes reached by the Bacchae in their Dyonisiac orgies,were it not arrested by a counter movement within the psyche.156=157Opposing this Dionysian urgeis the Apollonian.The invidual in whom this element is strong strives to become self-suffcient.He does not find his being in another but rather is content to find his being in himself.He wishes to maintain his own separate identity or to ''distance'' himself from the model of his imitation.But again,if this Apollonian impulse be allowed to develop without limit,the individual will find himself,under its domination,merely himself, separated from all else.This isolation is a death,a fear of which provides the second basic theme of myth. IZOLAREA DUCE LA MOARTEThe Apollonian principle has been recognized in the classic tradition as the notion of structure or form.As such it is the object of the intellect or of intellectual contemplation.lyre-instrumentul lor.157Apollo-structure or formal

passively imitative and forally harmonious (..)the impulse to identify the self emphathetically with the loved object and the impulse to maintan a self-protecting distance from it,-may be recognized as the archais forms of the two principles of Aristotelian analysis.157Aristotel

AristotelianThe consequence of his investigation of these two concepts ofdependenceandindependencewas the development of his concept of substanceSUBSTANTAAA!!!!!.Substance,according to his view,signifies a composite of matter of passivity and the form on which depends for pg 157 its 158 identity and definiteness.

Conversely anything which possesses unity and definteness is to that extent formed matter or substantial.158

The frenetic and passive is the material for drama,and the intelligible harmonny is its form.Under happy circumstances provided by the artist the two may blend.

materia ,dionisiac,si apolinic,form.forta apolinica,rationalA este aceea ce modeleaza materia,dandu I o forma insa in acelasi timp forma poate sa ia nastere doar daca exista la dispozitie o materie,dionisiaca

Ideea de tragedieThe tragedy,as Aristotle saw it,was a process in which the hero(the matter) acquired certain forms.(..)Here the important point is to note that tragedy begin s with the her o decision or resolution to identity himself with a cause or point of view which he,mistakenly of course,believes to be appropriate for him.He is ,thus,at the beginning merely imitative.The,attempting to remain true to the identity which he has more or less blindly chosen for himself,the protagonist enters in on the complication and denouement,which brings him to the end,the illumination orideophanywhich purges him of his initial blindness so that he is able to view his first decision from a more inde pg 159 pendent and adequate perspective.)..)

CUM SE MISCA TRAGEDIAThe rhythm of tragedy,then,is an articulation of the myth of progress.It moves through this cycle:one passes from a decision made udner the aegis of Dionysus through the catharsis to insight,seen by grace of Apollo.THe form(Apollo) becomes active only through matter (Dionysus);matter acquires idenity through form.pg 159

One achieves harmony and beauty only through an imitation whose akwardness,error,and vagueness have been purged away.

CELE DOUA SURSE DE PLACERE IN POEZIEIAR DIONISOSThe two sources of pleasure in poetry,the natural impulse to imitate and the impulse to produce and enjoy harmony are analogues of the hero s own two tendencies:to identity himself with another and to be independent ,separate,and self-sufficient.(..)These two impulses translated into mythological terms are theDionysiacandApollonianprinciples;in psychological term they are the erotis and thanatotic urges;and in Aristotelian terms they reflect one s material and formal components.THe progress of struggle through whih the dramatic matter moves to incorporate the dramatic form is reflected affectively by the audience s passing through a state of conflicting pity and fear,since the audience indentifies itself with the hero and also forsees the impending catastrophe.Finally the audience passes through catharsis to the insight and its accompanying state of peace.Along with the protagonist it is purged of blindng and conflicting emotions and thus is able to contemplate its pattern of life in something more like its wholeness.159

Mila si frica!!!!!!!!!!cele doua emotii importante

Exista doua etape,doua imitari cum le numeste autorul

There is the initial enthusiastic Dionysean absorption in the object imitated;then there is the purged and perfected Apollonian achievement.THe dynamics means by 159 which one moves from first to the second of these is catharsis.160

PITYTHE MOST difficult notion to understand here is the notion of catharsis.Aristitle speaks of the tragedy as producing a catharsis of pity and fear .poetics IV.aMila este prima emotie asociata cu identificarea personajelor de pe scena

pity:The affectice tone associated with the Dionysian impulse to imitate or to identify oneself with another is pity.We feel pity when we identity ourselves with someone who is to suffer.AsAristotleexpresses it,pityis a ''feeling of pain caused by the sight of some evil..which we might expect to befall ourselves.''rhet,II,8.pg 160

On the other hand,we feel fear or awe when anything calls our own self-identification into doubt,as the analytic gaze of the god-or goddess-of the intellect is apt to do.160

Hence,for the audience at least,the tendency to pity and to imitate Orestes is held in check by the contrary tendency to fear and to whish to be independent.160

Together the audience and hero emerge to a state of more definitely formed character where each may a better hypothesis about himself and enter in again on the tragic cycle.160

cum trebuie sa fie publicul? Well trained audience

MASTI!!!!!!!!!!!!!!!Its emphathy is distanced:theframe,the masks,the setting of the play are symbols which persuade the audience to remain aware of it nonidentity or distance from the figures on the stage.160stare ideala

!!!161The distanced emotional state which is akin to the pressumed emotions of the original actor and yet alien from his is sometimes describedas ''idealized''emotion,a term which is probably noworse than another.

Cum sunt dionisiacii din Bacchae a lui Euripide?each a little model of the god,each feeling the god within him.''

trebuie sa citesc bacchaewhat the god in them is?Inevitably they find that they are not really identical with the object imitated,They separate out,as the result of this examination,elements in their enthusiasm in which they cannot recognize the god and pass through this catharsis to a clearer self-knowledge.THUS A CRUCIAL POINT IN THE CAREER OF THE TRAGIC HERO OCCURS when he separates himself from the Dionysiac route,for he turn from the accepted pattern of his significant catharsis or purging away of the vague ideas and passions which had earlier confirmed him in habits of a life that was no more than a siple minded imitation of tradition,a visionless routine.!!!!!!!!!!!!!!!!!!!!!!!!!!161

treceea de la pasiune la virtute cum o descrie Lessing''(..)through a moral crisis to a comparatively self-knowing person.Debarasare de sentimentalisme,de emotii individuale ,pe care Edward G.Ballard le numeste(exact asa le numeste)emotii personalizate,asociate patologic ,este necesara pentru ca

artatrebuie perceputa nu doar la nivel fizic ,ci si la nivel psihic,emotionalsa o percepi la nivel emotional si sa intelegi conceptul ,ceea ce reprezinta sa o percepi la nivel conceptualdionisiac si apolinic.162A prima example of muddled confesions of the unpracticed appreciator is the man who wants the potrait to ''look like'' its subject(..~).Se identifica total cu opera de arta,(..(his Dionisyac drive to find his being in another has become his preponderant drive.trebuie mentinuta distanta estetica,iar cu ajutorul apolinicului,indentificare totala este stopata That is,he must recognize that his tendencey to identify with something external to himself must be tempered with recognition that the work of art is a symbol and not an item in ''real''life which may be dealt with in the usual cognitive and instrumental ways.''163One moves to each new analogue through a catharsis.The catharsis may be brief and easily passed through for the practiced appreciator,or it may be laborious for the neophite;nevertheless,the movement for each appears to be the same in kind.

BUN Pentru prima paginaThis cathartic stage through which the appreciator must pass is crearly analogous to ancient ritual.Each leads the neophitefrom the profane into the holy or exceptional,from convention and routine into a moment of intuition or inspiration from which he returns to the world with forces revivified.''163 RITUAL???

164

As thus isolated,and in its proper status as an aesthetic object,aestheticians have sometime called the work of art an appearance,a semblance,schein,or imitation,with the imputation that it has acquired an altogether unique ontological status.164

cate tipuri de catharsis exista????

Care must be taked to distinguish clearly between catharsis as a device often used within the work of art,for examle within the Greek tragic art,and catharsis as the process by which an object is set apart aesthetically within one s experience of it.164 doua tipuri de catarsis

Every movement from one analogue to another leads through a catharsis.By means of this movement we mold the disharmony,the confusion and the blindness within us upon the harmony,clarity and order without;we subordinate the Dionysus within us to the Apollo,ad end by appreciating the whole work of art with the whole person.IN SUM,AESTHETIC EXPERIENCE IS A DRAMATIC OR CATHARTIC PROCESS BY WHICH THE FORM OF A WORK OF ART IS INCORPORATED IN THE METARIAL OF OUR own psyches.By means of this achievement the significances of a self-significant symbol are grasped and may be entertained and enjoyed for their own sakes.165

In masura in care catharsisul este definit ca un proces,niciun contact cu obiectul sau fenomenul contemplat nu poate avea o natura pasiva.

AT the time of contact with the work of art and even after the words of the poem are read,after one turns away from the portrait,or after the curtain falls on the last act,the mind is most active,moving along the lines initiated by the concrete work,on a voyage of its own discovery.The mind moves among analogues of the artist s suggestion to the continuing uncovering of his meaning.165166If the creation of art is an Illiad,an aggressive projection of the concept or inspiration into the stone or the image,then the appreciation of art is the Odyssey of this inspiration back again into the actively receptive self.

Doar prin psihologie putem sa explicam cum functioneaza catharsisul,avand in vedere ca acest proces ia loc doar prin prisma umana.cum putem sa facilitam acest proces altor oameni?

Sunt conditii ce pot sa faca abatere de la individualitate fiercarui spectator?

Sa nu uitam insa faptul ca trebuie totusi mentinuta o stare de claritate,prin urmare o stare de accesibilitate a miscariilor si imaginilor propuse de noua conventie a teatrului cruzimii.Trebuie mentinuta o inteligibilitate.

Myth ,magic and art capitolul 8

de ce e interesat esteticianul?The aesthetician,rather,is interested in those general characteristics of the context wherein art has developed which throw light upon the nature of art.JUst as society suffers when work of art are segragated within the museum,so the definition of art is distorted when it is compartamentalized and isolated from the movement and ferment of ideas and feelings of which it should be an organic part.''137

Arta izolata si compartimentata,segredata -arta segregata

simbolurile

''An understanding of myth will yield insight into the way primitive impulses and emotions were first represented in symbols and then,finally,rendered available for aesthetic use.138

separarea dintre real si imaginar nu exista in mit!La fel si in schizofrenie:)))

.Destroying something which belongeg to a person is a destruction of that person.The shadow or reflected nature of a man is identical with that man.To the primitive mind analogue and analogon are identical.''138

Others are like oneself.One is aware that another is angry or pleased because his own mood is the sympathetic reflection of the anger or pleasure of the other.

OMUL PRIMITIVSI RITUALUL

(..)primive man evidently achieved a sense of group unity,of communal personality through mutual identification,which individuals of today can scarcely apprciate.''138=139

Natural objects or manifestations which bore some resemblance to human characteristics were regarded as human.(..)He could scarcely be said to be aware of himself as a separate person,so powerful was his identification with the group.The point is that primitive man regarded all things as like the consciousness whch he had of himself'139cele trei atitudini sunt impartite de catre scriitorul bla in ' cea magica,cea mitologica si cea civilizata.

ARTAUD DORESTE O INTOARCERE la constiinta primitiva,in care legatura dintre om si mediul acestuia este nemediata,si imediata!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! ATITUDINI ATROPOLOGICE

IN the magical state the individual,still psychologically Narcissistic,felt himself to be the king of his environment and able to control it according to his whishes by sound or gesture.Legatura dintre el si mediul acestuia este nemediata,'''(..)symply because he scarcely recognized any distincion between himself and the nature around him or between himself and the group.''139

2.in etapa mitologicaIN the mythological stage man came to recognize the being of powers external to himself,though doubless still immanent in nature and in the tribe,which must be placated by rite and speech of he is to survive.He projected his sense of mana into external beings of varying character and functions with whose requirements he felt it necessary to bring his own actions into harmony if he was to grafity his wishes and satisfy his needs.Then finally,as the men grew older or as the tribal group emerged into something like civilization,this power or mana came to be recognized 139 pg 140 as transcendent and as laying down standards for man to which he must conform both inwardly and outwardly.THis DEVELOPMENT is reflected in the individual by the emerge of conscience(..)140

de la per sona ,as expressing hmself in an through the ritual mask,the disguise of group natural power,to the person regarded as per se una ,as expressing himself in separation from these primitive emotional constructs.It is harder to be suspected,however,that in this process of social and psychic growth any earlier stage is ever left wholly behind.Further,no man would want to leave them altogether behind,for growth into new phases of life is like a journey into a new land:adventurous but awesome.The brave man will wish to maintain some tie with ancient security and custom.140cand apare dansul?se sugereaza ca unele ritualuri din ancient stories si mituri au ajutat la trecerea prin aceste etape.luate din carte,respectiv de la de la etapa magica la cea mitologica ,ca apoi sa se ajunga la cea civilzata.

Etapa magica MITUL!!!!

The primitive magical attitude was first verbalized in myth.WE interpret myth and ritual as the earliest anaogues of the primitive emotional stage,voicing come concern for the archaic identification with the group and with nature.140

preocuparea omului primitiv cu schimbarile ce implica moarte si viata

Moving from one hunting ground to another,or leaving the family and moving into the larger life of the tribe are such changes.WAr,marriege,death are other similar changes.Primitive required soething to assure him that changes such as these were not a separation and a real death,but movement from one form of security to another.To achieve this end rituals developed whih tended to persuade him that change is not death but is a rebirth always into a larger group with greater power,greater security.pg141

Separation and alonenessfor the primitive man mean certain death,in the jungle or perhaps anywhere else.FOr themodernman,even,the many separations whih he must go through,from birth itseld through the many changes of work,travel,marriege,etc.,produce not infrequently a separation anxiety which has become part of our zeitgest.At the same time it must be remembered that old structures of society and of personality,becoMe conventional routines,are stultifying.CHange and movement into the new are actually desired,though desired with fear and trembling.FOr both primitive and modern man,some means are needed for integratin the person into the new group and the new freedom which will also provide a new security.''pg 141

ritualurileee.THe rituals attending birth,initiation,marriage,travel,death,etc.are all 'rites of passage',mimetic means of transferring a person safelu from one situation where he was familiar and secure to another less familiar and therefore less apparently secure.''142

super-personal,special powers or special insight to be obtained

''This is a formula which many of the rites connected with Attis,DIonysus,Orpheus follow,and which the ives of these god-heroes exemplity.It is the pasage from the profane to the sacred world,and back again with renewed power.(..)Thus finally,man makes himself feel at home in the cosmos by understanding it as human and consequently moving through the same stages of life as he himself does.''142

Separarea temporara,pentru a facilita schimbarea!!''Separationis death,but a separation which is really a transferene is a rebirth.''143''This Identification ,however,can also go too far.Just as separation and isolation bring one kind of death,so complete identification with the group is an annihilation of the self.''

''THEN FOLLOWS the movement from this absorption to a rebirth,the rite of segretation,restoring to the person a sense of independence and separation,yet with such power as is needful for his functioning in his new capacity or in his new group.THe identity with the group,once achieved,is then broken,THe initiate receives the needed sense of power and yet retains his own individuality.''143

144

DIONIS INSEAMNA RITM''The god-hero of the myth,-e.g.Dionysus-is a project of group feeling about itself.Jane Harrison has noted that Dionysus is man s life regarded as one with nature,man is going through the same rhythm as the rhythm of nature.It will be recalled thaT Dionysus in Euripi e s Bacchae was always dying and coming to life again and that the man,Pentheus,was unable to resist the impulse to imitate him.THis was his rhythm,the rhythm of nature nature and of man.Primitive man sought to avoid death by beaing continually reborn;or,as it is expressed in Plato s Symposium,he sought eternity through generation.MYTH,THEN,is the verbal transform of the feeling and movement of ritual;it is the large scale example of what Cassier called radical metaphor.''144

de la mitologic la civilizatie

MYTHOLOGICAL''It is the story of his growth from the stage in which at the beginning he recognizes no difference between himself and his tribal group to the stage in which he recognizez a different yet also is conscious of his dependence.''

apollo''Some anthorpologists have interpreted the movement of the old tribal gods from their immanent life within the tribe to a separate and transcendent life upon Olympus as the mythological expression of this emerge of the individual into consciousness of himself as at least partly separate from the group.THe Olympian Apollo,god of self-knowdledgte,represents man as separate from nature and fron the old tribal unity.The Olympians are separated from man.They have shed their plant and animal forms.They vanquished such earth born god-heroes as Prometheus who lingered on into their time.They achieve eternity by not dying at all.Men must still placate them for they are dangerous and unpredictable,like his own not entirely civilized insttincts,but already by Homer s pg 145 time they could be handled a lttle irreverently,and Aristophnaes could poke fun at them.

145''They are not of us,and still they are like us;as it were,they are projections of our own primitive past which can look at now with a certain affectionate sophistication.''

''Emerge from the primitive to the civilized attitude is just this habit of distinguishing between natural symbol and referent,of taking myths as representative or symbolic of the play of forces of life and death rather than as identical with them.''145 ???

DE CE ARE NEVOIE OMUL DE MIT?''The lesson which primitive man taught himself through his myths was that death can be avoided by the continual renewal of life.The pattern of life is cyclical,and through an eternal return to the communal sources of power,as achieved in the rites of passage which avoid both the death of separation and the death of complete reabsorption into the group,a man can maintain himself throughout the changes of his existence.In an analogues manner the art of the cililized man renews his life.pg 145

Arta in contextul contemporaneitatii devine responsabila de schimbarile individului./individualeIn urma disparitiei ritualurilor de orice fel,arta dramatica ramane singura forma artistica ce poate provoca si schimba omenirea.

.pg 146

DISTANTA

''IN any appreciation,however,it is evident that one identifies himself empathetically with the object appreciated and yet maintains ''distance'' from it.One projects some aspect of himself into the object and yet recognizes that the object is different from himself'.

PRIMEJDIA-MODERN TIMES

146''It seems to be quite possible that the same development should continue,that civilizations should,progress so far and men become so self-dependent,that they lose consciousness of the play of forces of life and death both within and without them.Then they place their faith in technical routines,materialistic metaphysics,and fail to recognize the naturalness of myth symbols.They tend rather to regard all myths as completely irrelevant to mand an nature,as arbitrary and possibly even foolish old wives tales.In such an age it is difficult to see how an art which aims at provoking the psychically deeper layes of our being to activity can be effective.The myths are at hand, 1but modern ''mythless man'' is out of raport with them.1.Cf.J.K Feibleman ,Aesthetics chapter XIX.

O noua mitologie,o noua forma rde rit

'' IN the midst of all the glories of an individualistic and mechanized civilization one feels more and more strongly that something is missing.It is only regretable that so many turn to something external,to war or to some other destructive means of externalizing the inner turmoil and guilt instead of turning to ritual,myth,and to the art which can spring from them,in oder to achieve the needed sense of peace,order and significance.''147

RESPECT PENTRU ORIGINI''For the heal of both,some relationship to their respective origins must be maintained.The fertilityreligions,the mysteries of Eleusis,performed this function for the Greek s myths,at least for some of them.For the rituals maintained a lively sense of the reality of the forces of life and death,with the result that the great dramatists were able to use the myths connected with these forces with telling effect.Perhaps the relation between art and religion is more close than is often realized.Perhaps an important part of our art is its unconscious religion.PPFFFUUUAAIS ART BECOMING RELIGION???intrebarea meaDevine arta noua forma de ritual/religie in absenta ritualurilor postmoderne?

?
is art becoming the new religion in the absence of (post)modern rituals?

''The point which I wish to make is this:myths which are at once separated from the exigencies of their religious tradition but wich still retain from the exigencies of their religious tradition but which still retain the marks of their oneirical origin are the most apt matter for art.''147

''From the mythopoetic mind,this act of setting the sacred place apart had,apparently,the significance of placing it in the center (or navel) and source of life.'Time similarly-that is,the duration of a rite when actual contact was thought to be made with this source of life and power during the mythical pg 149sojourn in the underworld,-was also set apart and endowed with special significance.''

Le mythe de L eternal retour,Paris,gallimard,1949,pg 42. eliade

Comedia

.For In comedy the hero encounters power which appear to be greater than his,but which he finds he can dominate.COMEDY HAS LIFE UNDER control.THis confidence in man s own power to triumph over the mysterious and to control it may move so far that the mystery is imprisoned and the sense of it destroyed.One may wonder whether this self-isolation from the presence and sens of mystery is not a form of self-destruction.IN the Seventeenth and Eighteenth centuries,centruries of the triumph of the comic and intellectualistic spirit,the secular outer circle was most highly valued.All areas of art showed its touch,perhaps to their impoverishment.''150'

work of art:''TO note that its function is non-cognitive and non-practical is to agree to this special status.''

de la profan la sacru!

''In sum ,the mythical movement from the profane world into the holy,from the secular outer world into the sacred underworl,and the return thence with renewed opwer,provides us with a paradigme for the movements of inspiration and,in lesser degree,of apprectiation.The the Fountain Charles Morgan has expressed the quality of this movement:''In every great work of art an artist dies and rises again;and we who enter into its illusion die to the world and are reborn.''DISTANTAESTETICA

SEMNELE

For aestheic experience,clearly,is never a complete death;it offers from mystical absorption in that the appreciator has achieved awareness of his individuality and his separateness from the work of art.He,therefore,is able to maintain aesthetic distance and to ackowledge the object as a symbol.Still,that which this symbol symbolizes is the sense of power and life which the appreciator projects into or ''invests'' in the object.This sense of significance and pregnancy is,evidently,the modern descendant of theancient mana which mythopoeic man invested in the magic symbol.''152

''After dreams ,myths are the proto-embodiments of our complex drives.When myths or dreams,or rather the complex drives which they exppress,are touched upon by art(because the work of art is analogous in some way to the complex),then are aroused those same emotions whose presence is always associated with great art.''152 '' I suggest,therefore,that the myth of progress is the expression of the prime analogon of fine art and of the experience of art.''153noul teatru

Reclaming of the body!! it s paradox,leting go and control

capitolul 3experienta estetica

Schille''When the lion is not tormented by hunger,and when no wild beast challenges him to fight,his unemployed energy creates an object for himself;full or ardor,he fills the re-echoing desert with his terrible roars,and his exuberant force rejoices in itself without an object.'' Letters upon the Aesthetical Education of Man pg 43 josarta are ca sursa joaca,play,intr o forma specifica de joaca44

Din nefericire,diferentele majore intre indivizi vor provoca raspunsuri imaginative diferinte in masura in care . Aici pun ce scrie mai jos

FrANCIS fergusson-the idea of theater-numeste notiune de sensibilitate histrionica''This sensibility is a primitive awreness of action,as he describes it in the appendix to his book.The actor,disciplinjing this sensibility,must learn to make his inner being ''an instrument capable of playing any tune.'' ''45''One s inner being-his imagination-has its own structure or ''logic'' which places a limit upon his responsiveness.(..)It is very difficult to know how this sensitive imagination behaves atprimitive and preverbal levels of its being.''45

''Similarly in Thomas Mann s Death in Venice the delopment of perverse Eros determines the selection and ordering of episodes.Beginning with the concervative,rational,social and dignified life of Aeschenbach,its write-hero,the following episodes add,bit by bit,the story of his disintegration until the pattern is complete,and he is reveales as the frenetic,irrational,a-moral Silenus following in the route of Dionysus even to complete passivity and cessation of life.''47citit pt tineeyeless in gaza48

DISTANTA SI ANALOGIA''For the present,attention is directed to the analogues of the aesthetic object which are set up within the appreciator himself.THis phenomena has been studied extensively by those psychologists and others interested in ''inner imitation,empathy,identification,and 'distance.'At this juncture it is necessary only to agree that the appreciator can respond to a truthrelation or analogy in several ways.One may respond or conform to an analogy perceptually,imaginatively,emotionally,or conceptually.More specifically one conforms to an analogy by setting up analogues of it within self.''48

privitorul raspunde emotional dar si cognitic!!!!!!!!!!!1''The first step whih a subject takes when he conforms aesthetically to an object is spontaneously to set up an analogue to the subject within himself.''49

''The experience of art is a kind of becoming,a process,or as Plato said,a ''birth in beauty''.A given work of art is always an analogue of something elese to which it should lead the mind,without,however,allowing attention to stray away from the object of art itself.''52''For the moment we accept,at leas provisionally,that one reaps the value of the work of art only when this movement of ''play'' is actually carried forward.52''The artistic venture is a venture in movement.The analogues among which one moves may be at the level of perception or imagination of emotion,or even of conceptualization.If one makes an analogue incorporating the pattern of something else in his chosen material,then he is a creative artist.If one merely responds to a work of art-organizing within himself imaginative,emotional,conceptual sets corresponding to the external work,-then he is an appreciator.In either cases there exists a conformity between the aesthetic object and the subject s state of mind.''53'pg 55''The artist,in contrast to the scientist,is absorbed by the schock of the discovery itself.And his response to it is to create form which will enable his audience to make the same discovery for themselves.''

''Where he feels the need for a white horse in his play a brown one will usually do,or lacking this,a wooden horse,-or even a broom stick.But the artist,whose sense of the logic of the imagination is oftena most jealous mistress,strives for the perfect analogue-Rouault is said to be have worked eleven years at one paiting.''

56forma estetica-''(..)that the work of art is composed of parts which are analogues of each other.Secondly is has been noted that one conforms to(or experiences)a work of art by setting up analogies of the work within oneself in various ways,perceptually,emotionally,conceptually.''

56 artauddd!!!!!!!!!''The work of art is sometimes said,especially within the classic tradition,to represent or to imitate an object or an idea other than itself.Whatever the work represents or imitates or express is,quite obviously,an analogue of the work;there is,for example,actually some common pattern shared both by Rembrant himself and by his self-portraits.Awell known problem in aesthetics concerns the question whether the object represented or expressed enters in any aesthetic way into the aesthetic experience.Need one,for example,recognize Rembrandt orf,for that matter,and human resemblance in his self-portrait in order to appreciate the painting?''

Plotinus''We must admit that beauty is rather something wich shines through symmetry thatn symmetry itself/''sf thomas Aquinus ' il numeste claritas.7James Joyce in numeste stasis (..)a cessation of movement and a rest in the object.''57

Joyces Dubliner-este o serie de momente in which such stasis is though to be achieved.sau epifanii

Aristotel si Claritas''Aristotle has identified this Claritas which ''shnes through ''symmetry and produces a stasis in the beholder as the form or universal which the work of art imitates or expresses.''57

aristotel il iubeste pe platon?

''Plato has held (in Socrate s speech in the Symposium) that the proper appreciation of beauty is an intellectual appreciation,for a beautiful object is an object which renders the idea in which it participates more readilty intelligible.BUt the idea itself,the cause of beauty,is yet more beautiful 1.Thus an object of art in expressing an idea,also expresses its beauty,and when one can apprehend the idea through the object of art,then one has used the object for its proper end.''581.Plotinus,Enneads,I,IV.59''Jung,for example 1,has held that great art expresses myths.FOr myths which have been with man since the dawn of history represent profound schocks which occur in the life of the individual as in the life of the race.''ModernMan in Search of Soul.''ce e deus ex machina?

61''THe experience of assimilating a work of art into one s economy-or,to speak metaphorically,of beeing assimilated into the work,-takes place in two stages and according to two rules of the imagination.IMAGINATIA SI CUM SE PRODUCE ASIMILAREA UNEI OPERE DE ARTA

The fist stage is the formation of analogies,

guided by awareness of simillarities,of the object which elicited the experience.SO long as the analogies share the form of the object,they are genuine responses to the object.

The second stage is the merging of these analogies into one perception,the superimposed pg 62 analogies being,as it were,seen all at once in the object those form they share;and thus they render it intense,rich and pregnant with meaning,beyong the things ordinarlity of this world.''

pg 62

pg 64The aesthetic symbolizes''Populat usage has is that art is language.''(..)language is made of symbols.''64

ART IS LANGUAGE AND LANGUAGE IS MADE OF SYMBOLSAND IN ORDER FOR LANGUAGE TO BE UNIVERSAL WE MUST USE UNVERSAL SYMBOLS.SIMBOL WHICH SPEAK TO EVERYONE.ARTA TREBUIE SA FIE INFORMATIVA ,nu doar in legatura cu ceea ce vrea sa transmita ci si sa fie de sine statatoare.

''If a work of art is a symbol,then its value is either cognitive or practical and its purpose is to carry information.Almost with one accord,though,aestheticians deny that art is either cognitive or practical in its proper function.''64

Arta trebuie sa ambivalenta:

''Then art,if it has a meaning,must also be symbolic;it must in some sense be a language.''64Erst Cassier,S.K LANGER,and C.W Morris ''Through their work the symbolic theory in aesthetics (sometimes called the semiotic theory)...''

66

METAFORAAA''All symbolic formulation is a variety of translation,of representing one experience on terms of another.This description recalls Aristotle s definition of metaphor,which he said,''consits in giving the thing a name which belongs to another.''poetics

INTOARCEREA la etapa prelingvistica,in care comunicarea se face pornind de la sentiment si ajungand la producerea de sunet.

in etapa de formaRE a limbii :''The earliest stage,to use Cassier s phares,was that of ''radical metaphor.''de la sentiment la sunet''The translation then was not from one verbal expression to another,but rather from feeling to sound.''66

METAFORA''Metaphor is the phenomenon of the poetic soul.LIkewise it is a phenomenon of nature,-the projection of human nature on to our unviversal nature.''67'

autorul le numeste sentimente mitologice'

68''Cassier hold that art is a symbolic language.''eSSAY on man,yale,1944.

Prof.Langerin cartea Feeling and Formulation=the aesthetic symbol is not linguistic, ''because it has no vocabulary''

SIMBOLUL

pg 73According to Langer,the referent of the aesthetic symbol is the ''forms of feeling.''

miturileee

79''Another illustration of the indefinite symbol is worth examining :the myth.''80

''The suggestion is that myths are indefinite symbols whose origin,however,is communal rather than individual.''

85

patternul uman -the journey away from reality and the return to it

''The bible,similarly,is an epic.pg 85Any writing is poetry if it imitates this cycle,and contains in some form the journey and the transfiguring return/85

93

FORMA SI MATERIA

''For certainly not the materials but the form only is translated into our experience.''''The form is the self,the identity of the work of art.The material is merely a more or less pliable vehicle for the form''

Psychology of the contemplative statechapter VIPitagoras used the term metaphorically to denote a fixed gaze of the intellect.''The word 'conteplation' is still ambiguous,meaning either a physical or an intellectual gaze.''96s''Mystics have used the term to refer to their own inward gaze upon the object or vision of pg 97 their desire with the suggestion that in this particular absorption all disctions between subject and object is lost.''''The object of aesthetic contemplation is valued only for itself.''97

''When it is valued for itself alone,then its value may be aesthetic.''9899''We accept,then,the agreement that a work of art has intrinsic value.However,intrinsic values are to be recognized in many if not all categoriez of value.''un copil este la fel o valoare intrinseca

100''Certainly Western culture agrees with Kant that men are ends in themselves.''

''First,sensation is not perception.Sensation is awareness of a stimulated sense organ;this is merely he subjective material of perception.''

101

empatiathoroughly102APRECIEREA unui eveniment artistic presupune si un fel de imitatie''Since the earliest time it has been recognized that apreciation (and also creation)involve something like imitation.Platon in Ion ,his remark in the Timaeus:''The movement of melody and rhythm are related to the changes of our own soul''

103

Distanta estetica104''Aesthetic distance is maintained when the symblic status of the object is acknowledged//''

raul stilizat,injunghierea stilizata

105''When an onlooker sees one person stab another,he will probably wince in sympathetic pain.When,however,he sees Hamlet stab Polonius,he will not wince,for he does not feel that kind of sympathy for Polonius.Hamlet,Polonius,and the stabbing are all symbols.The onlooker,who reads these symbols,will feel the emotions which normally accompany awareness of such symbols and their meaning and not the feeling which would have accompanied the events signified,were they actually taking place.Professor Pratt's point is thatmusic symbolizes emotion;''music sounds the way emotions feel.''

'But in what sense will one inwardly imitate or become indentified with Van Gogh s Iris?''

Function follows structure/pg 106'

puterea pe care arte o are asupra omului se afla,zace in inconstient.108.trebuie synonom la cuvantu zace

Freud -teoria sublimination110

Conscience is the place of ideals,the parental representative in one s mental economy.(..)The mature man strives to satisfy these ideals in much the same sense that the child strove to please his father and mother.

111'Hardly,therefore,is the destructive rage admitted into consciousness but a great burden of guild and anxiety is felt'.''Thus the artist,having pleased his Muse,is readmitted into his psychic family circle as lovable and obedient in his ideals.''111112They say poets never or rarely go mad..but are generally so near it that (..)''113forta distrugatoare,creatia usureaza tot''Faustus turned himself over completely to Mephistopheles the archetype of hate and destructiveness.Then after being conscience-stricken,he punishes himself and finally is redeemed after having devoted himself to the creative life.'' 113

114kafka si james joyce sunt dominat de pater

unii artisti''Their art invites contemplation of destruction itself.''

''The psychic function discharged by creating and appreciating art is the acquiring of a medicine for rage,destructiveness ,hate.The perennial theme of art is the sick sould made whole,lovableand restored to grace.''114

115''The self-significance of a work of art is precisely the signifance of the appreciator himself.''

116Art mirrors the self.

''An image which is loved for its own sake,however ''abstract''it may be,is loved because it is ametaphor of an archaic experience.And it condenses within itself other metaphors of the same experience.In other words,it is recognized as familiar by he oneirical consciousness.It is recognized as an aspect of that self which all men,if suspect,must value intrinsically.''116

metapsihologie si mitologieFreud:life and death drives or instincts

''Impulses toward retirement from a difficult situation,of self-effacement,shyness,finally of sadism,masochism,and of self-destructiveness are some of the expressions of the death wish.''118impulsuri erotice ce sunt pozitive,bringing everything together si si impulsuri mrortii,death insticts ''(..)try to bring living substance together into ever larger unities.''118

''Freud also observes that neither instict is found in isolation from the contrary drive.In conscience,as in other manifestations of these instincs,components of both Eros and Thanatos(as the death instinct is called) are both detectible.The Eroscomponent of conscience is given definite form by association and identification with the mother and other childhood 119 mentors regarded in their loving,kind,and life-giving aspects.''119''The other,the Thanatoscompotent of conscience,it seems ,is formed in the image of the refusing,nay-saying(preOedopal) mother who first shattered the infant s illusions and brought home to him his sense of impotence and limitation(..)''

120 a distruge-a crea''The inverse of an impulse to destroy something is the artistic symbol,or rather the wish to make or appreciate such a symbol of life and perfection.''122nietzche has already distinguished Apollonian(or civilized)from Dionysian or orgiastic art.

1

126''We conclude,therefore,that the experience of art is the contemplation of an intrinsically valued,self-significand natural symbol.''

135RASPUNSUL LA O OPERA DE ARTA

''Purity in one s response to a work of art is rather conformity to its form on whatever level or levels this response may occur,whetherperceptual,imaginative,emotive,or conceptual.When the response is pure('genuine' I prefer to call it )then one may say that this reponse is an analogue of the work of art.An 'impure'reaction to a work is using this work as the starting point for reverie which does not conform in its pattern to the original work.''135

Coleridge kubla kahn-poate vrei sa citestide citit din poza

''Evidently the formalists are so fearful of a misuse pg 136 of concepts by the appreciator that they stigmatize all relation between concepts and the easthetic experience as impure.''

136

''Anything,we must conlude,which possesses aeshetic form is a possible object of aesthetic experience.And any experience is aesthetic to the degree that it involves contemplation.''

171

ritul

''And myths are the seed of literature.(..)THe myth is something said at a rite.Many authorities agree that ritual and rite precede myth.THe rite is an action,often a dance,which is a spotaneous respinse to some disturbing aspect of life.Psychologically the rite,in origin al least,may be viewed as a means of discharging energy which is elicited by the disturbing factor.THis emotional energy is discharged as a preparation or subtitute for practical action.When the men of the tribe are going to face death in war or the hunt,they can scarcely be imagined to be without feeling.Here,then,is the favorable situation for the production of radical metaphor.The modern warrios marches off his excess emotion to the sound of brass music and extemporary poetry praising his ever-living patriotism.The primitive warrior danced his emotion away,and in his later development added myths which helped him to understand why he danced,myths of other heroes dead yet living in the land beyond the sunset.''

173''Epic,as Aristotle indicated,is narrative tragedy,differing only in method of presentation from its dramatic counterpart.DRAMATIC POEMS and many short stories are frequently abbreviated tragedies.''

originea tragediei e in mit???

TRAGEDIA ECELE TREI PARTI ALE DEVENIRIIAristotle has pointed out that a tragedy is a complete action.This complete aesthetic unity is to be understood in terms of its parts:the beginning(arche),middle(meros),and end(telos.)

Oedipus:he misjudged his own identity175

''The end is the beginng transfigurated;it is the hero s insight into the real nature of his initiating decision.THis insight(ideophany or theophany)follows and is the result of the catastrophe.''

suferinta''The characteristic of dramatic suffering,however,as exemplified in the tragic catastrophe,is the hero s consequent insight into the unsuspected significance of his initial decision.THe hero may have lost all visible goods,public respect,and even parts of his body in his struggle to be what he thinks he is;still because he does achieve a measure of insight he is noble in his defeat.''175

''Its similarity,for example,to the scientific procedure of formulating a hypothesis,testing it,and reformulating it is quite clear.Moreover,comedy,even jokes,follow the same pattern.''175176

WHAT IS TRAGEDY?????

''If now we agree that much of literature is basically traggedy and that tragedy is essentially a pattern of decision,struggle,and insight as we have described,it should not be very difficult to isolate the faith,the philosophy in literature,which renders possible the effective use of this tragic pattern.''''A drama is initiated by the hero s decision concerning his identity or the role which he is to play.''in oedip locul unde se intalnesc cele 3 drumuri

176176''Now obviously the hero must be able to make a free decision,i.e.one for which he is responsible.(..)But the hero is responsible and does sufffer for his decisions.THUS THE IMPLICIT ETHICS OF TRAGEDY REWUIRES BELIEF IN FREEDOM OF THE HUMAN WILL.''

PG 176

''THE MIDDLE of drama,the struggle,is the fire in which the hero s decision is tried.The struggle involves an order of nature intractable to the hero s wishes by which his beliefs are measured.This order is fate,against which the hero,unkowingly in the beginning,opposes his pitifully human forces.''177''The myth of progress expresses the faith that a man s struggle with a little known fate will,in the end,be fruitful.For human life,after all,is set witin fate and draws its sustenance from this source.(..)The tragic hero enters through his trials into a more rational contact with the intelligible universe around him.''

177''The end of tragedy is marked by the achievement of insight into the real meaning of the decision.Tragedy involves the attempted comparison,so to speak,of the hero s theory of himself with himself as events reveal him really to be.(..)The hero s reidentification of himself,completin the tragicmovement ,is the analogue of the rite of segragation by which the protagonist is led back to a sense of self-identity and strenghened independence.''

182''The tragic movement of the return on itself is always a return with new light which rejuvenates the secular world.AFTER THE TRAGIC CATASTROPHE THE HERO IS NOT COMPLETELY A NEW PERSON BUT THE CONTEMPLATES ASPECTS OF HIMSELF of which he was previously unaware and which change his vision of the whole but do not cut off his continuityu with the past.'asa sunt si CLASICII'.e vorba aici de un ciclu al transformarii

romanticiimai degraba o linie continua,cu melancolie''The classic is like Homer s Ulysses,who after voyage and adventure retursn home a renewed man,the better for his suffering;the Romanticist is more the Ulysses of Tennyson who sails without ceasing beneath all the Western stars and bears always before him the tantalizing vision of some infinite hoe beyond the things of earth.''182

nihilistul e impotriva miturilor de progres184''In helping to make and maintain the myth,the artist is helping,as it were,to make and maintain that within we envisage and come to understand all our values.''

THE RELATION OF METAPHYSICS TO AESTHETICS185CICA estetica este deviata din metafizica,(..)since it uses a specialized form of certain notions which are discussed and presumably defined in metaphysics.''

2 tipuri de simboluri-naturale si conventional or artificial symbolizesprimele sunt recunoscute inconstient si involuntar''The uses of symbols are usually said to be syntatic,semantic,and pragmatic,-to which I wish to add,aesthetic,the aesthetic symbol being the self-sinficiant natural symbol valued intrinsically.''186

SAME FORM BUT different meaning,pentru ca exista mereu un contextforma si materia la aristotelian

ARISTOTEL

''Thus the symbol is a (changeable) material vehicle possesing a persistant,same and definite form,the meaning.This manner of expression places the problem of explaining how the symbol has its dual nature within the wider problem of explainning the nature of the relation between matter and form.Matter and form,though,are ultimate metaphysical principles,at least in the Aristotelian metaphysic.The symbolic problem,then,is merely a special case of this more general metaphysical problem.''187

''The form is the sine qua non,the identity,of the work.''187 o conditie esentiala''But since we can distinguish between the form as embodied in the objective work of art and the sameform as embodied in the appreciator,the two being natural symbols of each other,we can distinguish between symbol and meaning.They are not completely identitcal with each other;for they are different embodiments of the same form.The aesthetic symbol,thus ,raises the same general metaphysical problem which nay other symbol raises,-the problem of the relation of matter to form.187''nu exista simbol fara om,pentru ca doar mintea umana este aceea numeste simbolul,metafizica lui artistotel

''The artificial or quasi-substances wich are produced by the fine artisi are called imitation in the Poetics,and the classical doctrine of mimesis is the outcome of this metaphhysical disctiontion.''188

''the self is nothing more than a succession of perceptions.''

190''This awareness of identity of self has been referred to,in one of its manifestatuons,as''the forms of feeling'',a sense of richness or significance,pregnancy,life.''

''(..)one becomes more aware of himself when he assimilates the work of art,-or is assimilated by it.''190191''In the Aristotelian tradition these same three aspects of the aesthetic experience were also analyzed and described to probite what might be regarded as the differentiae of the aesthetic object.The genus of the aesthetic object is imitation.The differentiae was one said to be integrity,harmony,and claritas.''192

''Picasso s series of drawings,culminating in the ''abstract'' bull may be takes as a kind of concrete symbol of this very process of building up internal formal-material responses to the original object of art.It is difficult,however,to say that any single bull in this series is the real bull.''