Art and Experience

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Ananta Charana Sukla
Greenwood Publishing Group, 2003 - Art - 202 pages
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In recent years, experience has been one of the most ambiguous, evasive, and controversial terms in myriad disciplines including epistemology, religion, literary theory, and philosophical aesthetics. Its association with the subjective consciousness has deprived it of the cognitive status of human knowledge. ^IArt and Experience^R aims to grasp a firmer hold on this elusive concept, via essays written by a distinguished group of international scholars who have rediscovered the foundation of experience and restored its cognitive status in understanding our cultural activities. Indeed, emotions and experience play a vital role in human cognition, and the symbiotic relationship between culture and experience is a subject long overdue for further study.

Clarifying the intricacies scholars face in understanding the concept of experience, this volume's broad approach makes it an invaluable contribution to the study of the humanities. Its uniqueness lies in its focusing on the manifold aspects of the concept rather than in drawing any singular, dogmatic conclusion about its nature and function.

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Contents

Scientific Experience and Religious Experience
1
Close Reading Distant Writing and the Experience of Language
20
Experiencing Nature and Experiencing Art
42
Experience as Art
57
Pictorial Experience
71
The Aesthetic Experience of Literature and Its Cognitive Value
91
The Experience of Music
109
Cognitivism and the Experience of Dance
121
Aesthetic Experience and Experience of Art and Nature ARGUMENTS FROM INDIAN AESTHETICS
144
Capture and Line of Flight THE EXPERIENCE OF PHOTOGRAPHY AND FILM
159
SELECT BIBLIOGRAPHY
178
AUTHORNAME INDEX
187
Copyright

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Page 95 - When shepherds pipe on oaten straws And merry larks are ploughmen's clocks, When turtles tread, and rooks, and daws, And maidens bleach their summer smocks The cuckoo then, on every tree, Mocks married men; for thus sings he, Cuckoo; Cuckoo, cuckoo...
Page 25 - I read the passage, all the familiar landmarks of my thought - our thought, the thought that bears the stamp of our age and our geography - breaking up all the ordered surfaces and all the planes with which we are accustomed to tame the wild profusion of existing things, and continued long afterwards to disturb and threaten with collapse our age-old distinction between the Same and the Other.
Page 25 - Chinese encyclopaedia' in which it is written that 'animals are divided into: (a) belonging to the Emperor, (b) embalmed, (c) tame, (d) sucking pigs, (e) sirens, (f) fabulous, (g) stray dogs, (h) included in the present classification, (i) frenzied, (j) innumerable, (k) drawn with a very fine camelhair brush, (1) et cetera, (m) having just broken the water pitcher, (n) that from a long way off look like flies'.
Page 23 - An Icon is a sign which refers to the Object that it denotes merely by virtue of characters of its own, and which it possesses, just the same, whether any such Object actually exists or not.
Page 77 - Thou shalt not make unto thee any graven image, or any likeness of anything that is in heaven above, or that is in the earth beneath, or that is in the water under the earth. Thou shalt not bow down thyself to them, nor serve them...
Page xiii - I am deceived ; and, let him deceive me as he may, he can never bring it about that I am nothing, so long as I shall be conscious that I am something. So that it must, in fine, be maintained, all things being maturely and carefully considered, that this proposition (pronunciatum) I am, I exist, is necessarily true each time it is expressed by me or conceived in my mind.
Page 25 - In the wonderment of this taxonomy, the thing we apprehend in one great leap, the thing that, by means of the fable, is demonstrated as the exotic charm of another system of thought, is the limitation of our own, the stark impossibility of thinking that.
Page 79 - They paint stuffs and masonry, the green grass of the fields, the shadow of trees, and rivers and bridges, which they call landscapes, with many figures on this side and many figures on that. And all this, though it pleases some persons, is done without reason or art, without symmetry or proportion...
Page 78 - In short, so many and so marvellous are the varieties of divers shapes on every hand, that we are more tempted to read in the marble than in our books, and to spend the whole day in wondering at these things rather than in meditating the law of God. For God's sake, if men are not ashamed of these follies, why at least do they not shrink from the expense...

About the author (2003)

ANANTA CH. SUKLA is Professor of English at Sambalpur University in India. He is the founding editor of The Journal of Comparative Literature and Aesthetics and the editor of the Praeger series Studies in Art, Culture, and Communication.

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