TODAY -

Literary aesthetics' representation of political violence
- The intrinsic-extrinsic dialogue of the significant form -
- Part 3 -

Dr. P. Milan Khangamcha *



It is an internally vibrant existential pathos and indomitable power of aesthetics as its socio-cultural upsurge as a symbolically representational democratic discourse or a kind of de-centering of power of discourse from the mainstream core to the India's regional periphery. Art also may turn out to be a socio-cultural form of self-reflexive protest through the medium of the generalised symbolic aesthetic representation.

It may also serve as an expression of collective unconscious which releases the long repressed and suppressed negative collective emotions being released via the art works. In the work cited here, speaks about the especial value of works of art in terms of its progressions in the stream of history which as 'A tradition is impersonal'. The character of generalisation and symbolic aesthetic representation may agree with the tradition of the intrinsic worth of art works as being impersonal.

For a subsequent treatment of aesthetic aspect of works of art that have the generalised emotive content of political violence and its built in message of sublime and subjectively universal tragedies in its progression 'in an entirely new element' it is necessary to analyse as to how an artist '…stands in the stream of history and he is duty bound much less with the (customer) audience than with art.

It is also true that, due to the communicative nature of art works and the very structure of intersubjectivity of the human life world, in the light of the view of 'art-as-an-end-in-itself' or as having its own intrinsic worth and the larger contexts of the artists' situatedness in his particular dynamic socio-temporal set up, somehow its form/meaning/message being suggestively conveyed by its aesthetico-symbolic representation as significant forms to the spectators.

The success or failure of art works consists in their capability to evoke the same emotive content to the aesthetically cultivated spectators with the accompanying newer and newer hermeneutically unconcealing relish of art unalloyed experience. Once again whether, this ends up as a protest, propaganda or as a pure of act of aesthetic joy depends upon the depth, dexterity, skills of the creative talents of the artists.

This author had elsewhere brought this case out in the relation between art and morality that, without being directly didactic innovative art works can smoothly take the members of the audience to the level of catharsis where art releases negative human tendencies and indirectly reveals via its power of suggestivity in a non-discursive way an order of existential truth. Even if great art works have failed to take mankind from their state of nature towards an ideal order of existence, great works of art may remain as a standing call to mankind to a common good of mankind.

There seems to be a timelessness in its significant form with its revelation of the futility, mindlessness and self-destructive actions of mankind in their acts which are symptomatic of being polarised and fragmented in their expressions which will ultimately get boomeranged to the eventual self-destructions of those very human agents who enjoy basking in their temporary gains and glitters born out of their violent actions perpetrated towards the helpless and marginalised fellow beings.

Now, this ideal demand is not something which an artist of substance discursively does from his position of dichotomised subjectivity which stands in opposition to other selves, society and reality at large as objects to be overcome. This evident from the sciences' relentless search for the attainment of objective truths that are mostly turning out to be instrumental in nature for serving as the ends of the inalienable derivative rights of the possessive tendencies of highly fragmented and polarised human individuality and its accompanying sense of liberty.

But the ingenious work of art of artist of creative genius is a response of his whole being (this may be explained with reference to Heidegger and Jidu Krishnamurti) as an expression of the given ontological structure of the larger world of which he/she is existentially structured. His work is not that of a subject who causally produces his work as a product. In Heidegger's language it is 'earth' which has become unhidden as 'world' of equipmental totality with its underlying structure of unitary system of assignments through a form which it has taken as 'matter'.

And this aesthetically constituted (significant) 'form' is not a mere 'form', but 'formed matter' that shows something other than itself, that in some way has an intellectual content or meaning [Carrier, 2008: 38]. His concept of 'worldhood-of-the- world' as being revealed to the interpretative understanding of an ontologically situated Dasein as a 'being-in-the-world', is not something causally produced as a 'product' by an 'efficient causality'.

This model of Heidegger may be adapted to a work of art as something that is not a product but as a revelation or the appearing of the appearance which is a meeting point of showing nature of non-Dasein beings in general and the seeing capability of Dasein. That is, a new order of non-propositional truth is being cleared or unconcealed to the artist-Dasein to whom only the question of being is an issue, and who only can understand meanings of exitence.

The aforesaid idea of the stream of history is echoed in the contention of Heidegger [Heidegger, 2006: 168] that, '…in emphasizing the strangeness and thickness of art, regarded a meaningful work less as an object (and thereby subject to stable conceptual aesthetic categories) than an event in the world.

A work of art has '…extraordinary address to its viewers and their ability to put it 'to work,' transforming mere material into meaningful form ('earth' becoming 'world,' a place of unveiling, unconcealing, lighting up). Such a philosophical position is possible only when an artist is not a subject working on a product in the form of art work as an object. As a being-in-the-world his work of art is a response by him/her as a whole being where praxis and theoria are equi-primordial and, it is therefore not that, just as it was misinterpreted by Sartre, that, praxis or concrete existence precedes essence.

A more articulate discussion may be done by revisiting the two answers to the question 'what is literature'? [Claire & Zwijnenberg, 2003, eds.: 165] and Edmund Burke's the Sublime and Beautiful. [Ibid.]. The first deals with the distinction between a textual feature and an aesthetic feature. The two types of answers, however, differ sharply in that one (the former) is reductive and the other non-reductive (the latter).

This may help in discerning as to how aesthetic structure of literatures assumes the kind of aesthetic functions in portraying the emotive contents of literatures even if they are taken to be having a self-referring character (as in the reductive model of textual feature) or more indirectly or suggestively they point to a reality outside (aesthetic feature as non-reductive model).

It is necessary to see as to how these two differences of interpretations will have a bearing on the theme of this paper when one takes the relationship that is understandable between art and life or society and the reality at large. That is, if one speaks about literary aesthetics with reference to textual feature, one cannot gobble up its aesthetic structure purely within the domain of textual feature.

While they can be distinguished, their synthetic structure can only by spoken in terms of textual feature as the embodiment as well as expression through the significant form of aesthetic feature which is suggestive of its emotive content as then generalised aesthetic representation via media its non-discursive or symbolic language. While, such an emotive representation especially those existential pathos as its emotive content, if seen in terms of the autonomy of art and literature cannot be treated as propaganda tool.

The least which may be said in the light of the intimate art-life-society-relation is that, the power of aesthetics to suspend disbelief becomes a symbolic or non-discursive language of expression. In being communicative in the aesthetic way, it hints at the futility of violence as the communicated truth without being educational instruction or an idiosyncratic propaganda mouth piece.

If life imitates art just as it is also true that art imitates life, then, without being treated as a means to an end, the portrayal of the existential pathos of aesthetic representation (symbolically emotive or non-discursive language) of political violence and conflicts in their extreme forms as the emotive contents of works of art and literature, they may indirectly hint at their intrinsic worth. Their power of catharsis would not go wasted. If the characters of sublime and beauty are applicable to every extreme forms of the portrayal of tragic violence, the aesthetically empathic spectators may not be merely indulging in their pathological joy of sadism.

Concluded ...


* Dr. P. Milan Khangamcha wrote this article which was published at Imphal Times
This article was webcasted on February 28, 2019.



* Comments posted by users in this discussion thread and other parts of this site are opinions of the individuals posting them (whose user ID is displayed alongside) and not the views of e-pao.net. We strongly recommend that users exercise responsibility, sensitivity and caution over language while writing your opinions which will be seen and read by other users. Please read a complete Guideline on using comments on this website.




LATEST IN E-PAO.NET
  • Renu Takhel: UN Human Rights, Geneva
  • Hunting in the Himalayas :: Book Review
  • Justification: against Meeteis ST demand
  • The Killing Fields 2013-18 : News Timeline
  • Executive Committee 2019 of BMSA
  • Google Workshop on Journalism
  • High level of air pollution
  • Way to go as but hopes stir
  • CCpur Dance @Keibul Lamjao : Gallery
  • The East Wind from Yunnan
  • Journey into Nature of Human Culture #1
  • Yaoshang Thabal :: Poem
  • North East NSS Festival begins
  • Talking... ending social media introversion
  • Opposing stand on ST demand
  • Kounu Lairembi Haraoba #1 : Gallery
  • Nipalsuba Mapok : Shumang Leela
  • Women's Bill : A passage to nowhere?
  • Challenges in elderly for medical tests
  • All's fair in love in war: Nitza :: Review
  • Why I write ?
  • Looking back to 2012, 2014 elections
  • Mukna Kangjei #2 : Gallery
  • Mova Cave of Hungpung in Ukhrul
  • Catapults, Molotov Cocktails & Music!
  • Appeal for Meitei's demand for ST
  • Inner Line Permit (ILP) Demand :: Timeline
  • Google News Training for Journalists
  • Of Crimes Against Humanity :: Poem
  • Bedtime beauty hacks to look young
  • Mary Kom to skip Asian championship
  • Thabal chongbagi SenKhaiba : Gallery
  • Zeliangrong women: Role in society #2
  • Eyek Tamba :: Learn Manipuri script
  • Cry of a Dying River - 69 :: Poem
  • Nationality & Gorkha statehood movement
  • Free Children Heart Surgery Camp
  • Workshop on Python Programing at MU
  • Lining up for BJP, Cong
  • Indian Politics after Pulwama Terror Attack
  • Sory Wahengbam : eRang Actress Profile
  • International River Day @ Nungbrung Village
  • Nongthombam Biren: People's CM
  • Can Jamir Do A Lazarus ?
  • Dr. Shantibala's The Sacred Witch :: Review
  • Rural development process
  • Eyeing 22 out of 25 in North East
  • Interfering the media
  • Myanmar army cracks down on NSCN (K)
  • Phayeng Koubru Haraoba #2: Gallery
  • Chirangchaibi, Abenao :: eMing
  • Komorebi - The Longing :: Poem
  • Little love in twilight of life
  • Election code of conduct anytime
  • Surveying India's unemployment numbers
  • DAMMS' statement on Meitei ST Demand
  • Choosing the right candidate
  • Demand for ILP :: Articles/Photos...
  • The Innampei festival of Chothe #2
  • CC Meet: SU vs NACO : Gallery
  • AEbu tuMduna lEKi gad_ra :: Seireng
  • That Hurts :: Poem
  • Workshop on Statistical Data at MU
  • The International Women's Day
  • Politics : A way of life !
  • Celebrate festival of democracy responsibly
  • The truth unfolded
  • Nipalsuba Mapok #1 : Gallery
  • Maisnam Renuka's Painting : Gallery
  • Parental Alienation: Poem 2 : Poem
  • The cost of a vote
  • Motivation & rewards for development
  • Career options in Commerce stream #2
  • Forest rights more than nine-tenths
  • Setting back final deal by 60 days
  • Traffic woes
  • slams Nagaland CM's statement on ILP
  • Symbolism in the Tribal Art #4
  • Laiphrakpam Ashok Kumar: Akademi Award
  • ST Demand Rally [Mar 3] #2: Gallery
  • Mee Manukhang will not be televised
  • Govt should grant prosecution sanction
  • Zeliangrong women: Role in society #1
  • General Strike mapung fana chathari
  • Rolling out Lok Sabha schedule
  • Saroi Khangba @Imphal : Gallery
  • 'Women Health' Workshop : Gallery
  • Manipuri Muslims Conference : Report
  • Meetei ST demand bu lanna uhanbiganu
  • Caveman & Children of (19)70s : Poem
  • Workshop on "Women Health" at Pune
  • Natural facial at home for glowing skin
  • Inauguration of NSS Camp at ADBU
  • Changing Manipur - which direction ?
  • Nongkhrang Ehanba @Lilong #2 : Gallery
  • Cessation of hostilities to POW
  • Magical power of music
  • Intl Women's Day requires regrouping
  • General Strike Mapung Fahanbiyu
  • Pravish's Case disposed by CJM
  • NSS Camp at Assam Don Bosco
  • Former Cong leader welcomed at Dimapur
  • Never asked India for land quip
  • Issues of women's rights
  • Barak Fest @ Senapati #2 : Gallery
  • Featured Front Page Photo 2019 #1: Gallery
  • Reading Megh-dut in Manipuri #2
  • To be a woman and to be in India
  • Cry of a Dying River - 68 :: Poem
  • Can Meitei/Meetei be a tribe ?
  • Raging debate over ST demand
  • Climate change matters
  • Class X Exam @Johnstone : Gallery
  • ciH Amadi tMgi KeYnaba :: Seireng
  • Yaoshang be observed as 'Sports Week'
  • Hmar Inpui Assembly at Churachandpur
  • Jute bags versus Lenobags
  • ...Work for social justice
  • State of higher education here
  • Creating an education-friendly atmosphere
  • Shopping for Shivaratri #1: Gallery
  • 3rd World Bamboo Workshop #3 : Gallery
  • Reinvigorating the Awl-len festival
  • I am a poet :: Poem
  • Roles of Members of Parliament
  • Don't just age gracefully - Age beautifully
  • SRF/JRF for Mizoram University [Upd]
  • ST status campaign : An overview
  • May be this time it may happen
  • ST Demand Rally [Mar 3] #1: Gallery
  • Sanaroishingee Nunit : Gallery
  • Rejoinder to TNL's Diatribe on the Kukis
  • Schemes of Panchayati Raj #2
  • Career options in Commerce stream
  • 3 Resolutions from ST Demand Rally
  • NPF on Nagaland Budget Session [Feb 25]
  • LS elections :: Key : Choice of candidates
  • Price of development
  • Phayeng Koubru Haraoba #1: Gallery
  • Nagaland Dance @Sangai Fest : Gallery
  • Bad Boy Eats the Yellow Snow
  • Name :: Poem
  • Alcohol prohibition
  • Treading murky waters
  • PM Kisan: Reducing risk..increasing return
  • Rallying around ST demand for Meiteis
  • Myanmar Army takes control of NSCN (K)
  • Henjunaha #3 :: Funga Wari
  • Reading Megh-dut in Manipuri #1
  • Purnima Ngangom's Painting : Gallery
  • Impact of Anglo Manipur War 1891 #2
  • Naga Peace Process :: News Timeline
  • Lived across LoC
  • Most Beautiful Woman in World : Poem
  • CAB no more issue
  • Traditional Raas Dance #2: Gallery
  • Cultural @Republic Day #2 : Gallery
  • RS adjourned without CAB: What now? #3
  • Retrospection on Sport person's Day
  • Marriage ceremony : Zeliangrong & Tai #3
  • Thadou Inpi & TSA not under KIM & KSO
  • Bioscope show
  • The haunt continues
  • Positive change in behaviour of cops
  • Maharaj Kumar Priyabarta Singh : Profile
  • March Calendar for Year 2019 :: Tools
  • CV Raman & National Science Day
  • Cry of a Dying River - 67 :: Poem
  • Tour of laboratory by a blood sample
  • MU celebrate National Science Day
  • Science Day at DM Community College
  • Displeasure over attitude of PDA :: NPF
  • The making of a united India
  • Morning air raid at JeM camp
  • Lui-ngai-ni @Senapati #3: Gallery
  • Arunachal PRC Issue: Vis-a-vis Gorkha
  • Literary representation of political violence
  • Understanding distance learning
  • Good governance required in Arunachal
  • Save energy, ecology & humanity
  • Framing of guideline for school transporter
  • Yubi Lakpi #1 : Gallery
  • Holi Pala @Sangai Festival : Gallery
  • Indie films: Loktak Lairembee & Soni #2
  • Workshop on Python Programming at MU
  • They say :: Poem
  • Election manifesto for all & sundry
  • Camellia oil for heavenly beauty
  • Programme on Road Traffic Safety
  • PRC: Appeal to Governor of Arunachal
  • Towards optimistic ideology
  • The task ahead of STDCM
  • The Innampei festival of Chothe #1
  • My encounter with a Japani
  • Korean Seminar of Hangeul Day at MU
  • Total ban on polythene bags need of hour
  • The Masked Painter :: Poem
  • Arunachal Issue : Representation to HM
  • The Consumers' Rights
  • CAB in a new avatar ?
  • Singcha Wuya Won @Kamjong #2 : Gallery
  • Konthoujam Maikel's Painting : Gallery
  • Impact of Anglo Manipur War 1891 #1
  • RS adjourned without CAB: What now? #2
  • Hole in the bag :: Poem
  • Climate change: Dual perspective
  • Pui Jianna Thangamliu :: eRang
  • March Past: Republic Day: Gallery
  • Dark light and The Wishess' might
  • Manipur on Meitei edge
  • Belshazzar's feast - A failed mission
  • Education in the era of Google
  • Healing is different from cure ....
  • RPL trainees of Garo Hills - II
  • MHA "notification"
  • Nagaland- Feb 26 : Sense of urgency
  • Lui-ngai-ni @Senapati #2: Gallery
  • Police check @Jirimukh, Jiri : Gallery
  • Nongkhrang Ehanba @Lilong #1 : Gallery
  • Traditional Raas Dance #1: Gallery
  • Rajkumar Singhajit : Tagore Award 2014
  • Mukna - Indigenous Games : Gallery
  • Dzukou Valley, Senapati : Gallery
  • Amuktang-Ga Haikho #2 : eRang
  • Thamoise Foidattuna :: e-pao Radio
  • Check Post (ICP) @ Moreh : Gallery
  • Konthoujam Maikel (Painter) :: Profile
  • Onetwo Okram : Singer- Profile :: eRang
  • Imoinu Erat Thouni #3 : Gallery
  • Manipuri Calendar for 2019 : Download
  • List of Restricted Holidays for 2019
  • List of Public Holidays for 2019
  • List of General Holidays for 2019
  • SPONSORED ADS