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Date Posted: 2011-04-08 Author: yaholin Blog: Default Viewed: 561 Comments: 0 print

Literary Paradoxes

Just as fiction is sublimated drama, or theatre, the ‘drama’ of the within, the psyche, so philosophy tends to be sublimated peotry, the ‘poetry’ of the within, the psyche, of sensibility.  That partly explains why there is a lot of confusion between drama and fiction on the one hand, and between poetry and philosophy on the other, usually in terms of those disposed to drama giving themselves fictional airs and those disposed, by contrast, to poetry giving themselves philosophic airs, irrespective of the fact that both dramatists and poets kowtow, from opposite gender standpoints, to free soma from a bound psychic standpoint, a standpoint at variance with the psychic freedoms, again from contrary gender standpoints, of fiction and philosophy.
Put in elemental terms, the dramatist corresponds to either metachemistry (acting) or chemistry (speaking), outsanity of either a noumenal or a phenomenal, an absolute or a relative, kind, whereas the poet’s correspondence is to either pseudo-metaphysics (rhymed stanzas) or pseudo-physics (free verse), pseudo-insanity of either a noumenal or a phenomenal, an absolute or a relative, kind.
All of this contrasts with the correspondence of the philosopher to either metaphysics (aphorisms) or physics (essays), insanity of either a noumenal or a phenomenal, an absolute or a relative, kind, and with the correspondence of the fiction-writer to either pseudo-metachemistry (short stories) or pseudo-chemistry (novels), pseudo-outsanity of either a noumenal or a phenomenal, an absolute or a relative kind.
In axial terms, the phenomenal fiction-writer (novelist)  is no less polar to the noumenal dramatist (actor), as pseudo-chemistry to metachemistry, than the phenomenal philosopher or, rather, pseudo-philosopher (essayist) to the noumenal poet or, rather, pseudo-poet (rhymed stanzas), as physics to pseudo-metaphysics on what is the state-hegemonic/church-subordinate axis stretching from northwest to southeast points of the intercardinal axial compass.
Likewise, the phenomenal poet (free verse) is no less axially polar to the noumenal philosopher (aphorist), as pseudo-physics to metaphysics, than the phenomenal dramatist or, rather, pseudo-dramatist (spoken) to the noumenal fiction-writer or, rather, pseudo-fiction writer (short prose), as chemistry to pseudo-metachemistry on what is the church-hegemonic axis stretching from southwest to northeast points of the intercardinal axial compass.
For, when axial relativity is taken into account, the male side, viz. poetry and philosophy, is always more genuine on the church-hegemonic axis than its female counterpart (in drama and fiction, both of which, as noted above, are pseudo), whereas the female side, viz. drama and fiction, is always more genuine on the state-hegemonic axis than its male counterpart (in poetry and philosophy, both of which, as noted above, are pseudo). That tells you a lot about the axial distinctions between the Irish and the British, even if such distinctions are rarely clear-cut.



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