By Alexandru Giuculescu (auth.), Anna-Teresa Tymieniecka (eds.)
Are feelings, emotions, sentiments no longer the stuff of literature? that's the place they venture their `inner good judgment' of aesthetic transmutation; there, past the tool of language that they command. This assortment explores how the lyrical virtualities of life-experience and the elegiac kind in literature proportion a typical center, lifting the human value of existence from abysmal power to esoteric heights, from abysmal grief to a serene reconciliation with future.
The `elegiac series' within the play of feelings, emotions, sentiments brings jointly existence and literary creativity in its transformatory energy.
With papers via A. Giuculescu, John McGraw, R. Ellis, A. Carillo Canán, B. Watson, S. Bindeman, R.J. Wilson, L. Kimmel, B. Prochaska, T. Raczka, Chr. Eykman, J.S. Smith, G. Scheper, S. Feshbach, I. Vayl, H. Rudnick and others.
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Extra resources for Life Creative Mimesis of Emotion: From Sorrow to Elation: Elegiac Virtuosity in Literature
Sample text
Do what thou canst for attention, For hearts of truest mettle Absence doth join, and time Doth settle. Of course, missing also occurs when the absence of the other is lamented simply because one has grown accustomed to his sheer "being around," as it were, even if his "thereness" exudes hostility and indifference. One may decide it is better to be lonely within a relationship than lonely all alone, as the following refrain ofC. E. S. Norton's implies: I do not love thee - no! I do not love thee!
19 While giving, and in particular generous giving, is normally considered a condition sine qua non for love, if not its essence, for Sartre, "to give is to enslave" the other. " Thus, he maintains that "the craze to destroy which is at the bottom of generosity is nothing else than a craze to possess," all of which means that such bountifulness is in reality totally acquisitive. "22 This "solitude" is decidedly not the positive kind of aloneness referred to above as solitude nor is it one that betokens mere physical separateness from others.
Is merely an abstraction from the total response in the mind of the reader or spectator, brought into being by written or spoken words" (quoted in Holland 265). F. R. Leavis echoes these sentiments - or should I say anti-sentiments - by writing, "A novel, like a poem, is made of words; there is nothing else one can point to. We talk of a novelist as 'creating characters,' but the process of 'creation' is one of putting words together" (quoted in Holland 265-66). Structuralism, which has been so influential in the latter half of this century, also refuses to accept characters in stories as persons or even pretended persons.
