By J.J.A. Mooij
This ebook is a examine of the position of the mind's eye. It makes a speciality of the ingenious use of language in literature (poetry and narrative prose); however it additionally touches on a few extra finished matters, for the questions it discusses are questions concerning the dating among brain, truth and unreality. the 1st chapters survey the considering the mind's eye within the heritage of philosophy. the most tendencies and the most difficulties are mentioned, quite in recognize of the (positive or damaging) evaluate of mind's eye. the following chapters examine the function of the mind's eye from a better viewpoint. How is it that mind's eye seems to be in literary paintings? important subject matters of debate are the character of narrativity, of fictional discourse and fictional gadgets, of life like fiction, of symbolism and metaphor. furthermore, the similarities (both actual and imagined) among literature and the opposite arts are explored. In all chapters cognizance is paid to the matter of the price of artwork and literary mind's eye. The final bankruptcy addresses this factor head-on. particularly, it makes an attempt to outline the price of literature with regards to technological know-how.
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Additional resources for Fictional Realities: The uses of literary imagination
Trusler, dated 23/8/1799. These quotations also figure in Diffey 1981. Diffey argues that Blake's objects of imaginative vision should not be thought to be too transcendental, nor (apparently) too personal; they are the objects of sensitive perception, parts of the ordinary world. See Diffey 1981: 169 and 173-176. 36 Fictional Realities state of mind is worlds apart from Hume's skeptical position and ironical attitude. Blake believes that real (as opposed to perverse) imagination - which anyhow, according to him, has nothing to do with memory - stems from God; at times, he seems to imply that it is God.
While the products of nature also seem to embody such a unity, here there is no question of real harmony since there is no infinite duality to begin with. The mind, on the other hand, knows about the distinction between ego and nonego, consciousness and reality (things), subjectivity and objectivity. Artistic activity starts as a conscious process. But to be completely successful, it is dependent on a gift from without, a favour from nature. In other words, it is only by virtue of this outside gift that the artistic product will embody (although in a mysterious and incomprehensible way) the unity of subjectivity and objectivity.
21. 29 Biographia Literaria, ch. 13; 1983: I, 304. Fichte had used the formula "Ich bin Ich" and, more briefly, "Ich bin", as the first, logical foundation of the positing of the absolute Self. Both Coleridge and Fichte seem to allude to the Biblical phrase "I am that (who) I am" in Exodus 3:14. See also Schelling, System: III, 339-346 and 367, and Coleridge, Biographia Literaria: Ch. 12, Thesis VI (1983: I, 272-275). Philosophers on the Imagination 27 tendencies does not depend, of course, on this etymological presumption.