Friday, July 08, 2011
Thursday, July 07, 2011
Nagamandala and Translation
(The following write is a classroom note prepared by Preethi Ayyalusami base on the lecture given by Anil Pinto on 'Nagamandala and Translation' on 6 July 2011 at Christ University for BA English Honours students)
The students were asked to give their opinions on Translation or what they thought translators are:
The students called translators as conspirator, untruthful- Historians phrased them as infidels and traitors. They are doing a bad job by not being truthful and spoil the aesthetics of the work.
The problem of non translatability due to cultural difference
Translation is a selective transmission of culture
The question of Original vs. Copy:
Is the translated text different from original translation?
Is translation rewriting?
Nagamandala-
An Indian folk tale.
A rework of Indian mythologies
Which one is original English or Kannada?
Questions the sanctity of marriage.
Questions the legality of transgression.
What is translation-?
Oral to writing.
Writing to writing
Thought to writing
There are two approaches to a literary text:
I. Literary Textuality.
II. Locate it in social context.
Most often individuals become experts in social context. It is important to fundamentally know the text well. One needs to do close reading of the text. While the first approach hinges on Kant the second hinges on Marx by looking at text as a social production that no text can have autonomous existence. According to Kant anything that appeals to an individual without any motive is aesthetic pleasure without any ulterior motive.
How many stories are in Nagamandala?
Story tells the story; a song comes out of the old women’s house where story becomes a women and song the sari. In Kannada version story and song go together like the women and the sari.
The play does not happen at a visual level it’s based on narrative telling
Perhaps the man in the story was dreaming.
Rani, flames, story and Kurudava everybody has a story/ies.
Karnad gives emphasis on different layers of symbolism.
The test becomes aesthetic by infusing multiple layers of signification. The actions, staging, strategies are ways of authors crafting.
There are many symbolisms in Nagamandala.
E.g.: The door, the symbol of closed door.
She steps out of the house twice which leads to transgression.
Moving out of the door can be considered as a sexual transgression.
Karnad was heavily influenced by psychoanalysis.
Snake denotes sexuality.
Crossing a threshold- a woman going out of the house is considered as disobeying. It's going against the societal norms.These both transgressions give her liberation.
Karnad has depicts the stories like opening and closing a mathematical problem. Its evident in the play as the story comes up at some point and ends within the story. Similarly the man starts it and ends it.
In the text the story at some instance talks to Rani and asks her to behave.
A dues ex machina (a plot device whereby a seemingly inextricable problem is suddenly and abruptly solved with the contrived and unexpected intervention of some new event, character, ability, or object.)
A play is a better craft when a story leads to another. Without stories's intervention the play cannot progress.
Knowledge:
Awareness – birth of knowledge.
Transgression - loss of faith, defiance
Renaissance evolved due to disagreement with church and challenging the given beliefs.
Aristotle disagrees with Plato, hence science was originated.
Adam and Eve get knowledge by eating the apple.
Therefore sexuality is also a form of knowledge which is gained through experience of the union. Rani, the protagonist of the novel is no more a young innocent girl. She is a new Eve, a complete person.
Knowledge:
Epistemologyseeks to strive for concept not word and language. The concept should be that strong that the discipline boundary starts collapsing. “Knowledge is the considerable understanding where further theory develops”.
Higher education should give you concepts and skill.
We don’t have a concept of translation; hence anybody can question it and object it.
Similarly, who is a subaltern?
We use it without knowing the concept of subaltern.
What’s the difference between oppressed, exploitation and subaltern?
Women are oppressed in India. They work for commitment, family and due to the precondition of institution.
Exploitation is an economic category which refers improper reward to labour.
Anybody who cannot access the state is called subaltern. Both oppressed and exploited people can access the state but a subaltern can’t.
Answers to the questions asked in the beginning of the class regarding translations.
The question of origin is a historical and philosophical development of platonic thoughts. It’s a European problem of understanding context.
Feminists study the translation discourses mapping process of translation on to a female body. Words like infidelity and truthfulness are associated to it.
The whole debate of originality hinges on platonic problem.
Non translationabitlity - philosophy of language believes that it’s not a universal problem. E.g.: Math is explained in English and it’s understood by people all over the world.
English has evolved as a international language its ‘ globish’.
Who decides what is to be translated?
i. The industry- the global capital market decides what is in need.
ii. dominant sections of a community decide.
The students were asked to give their opinions on Translation or what they thought translators are:
The students called translators as conspirator, untruthful- Historians phrased them as infidels and traitors. They are doing a bad job by not being truthful and spoil the aesthetics of the work.
The problem of non translatability due to cultural difference
Translation is a selective transmission of culture
The question of Original vs. Copy:
Is the translated text different from original translation?
Is translation rewriting?
Nagamandala-
An Indian folk tale.
A rework of Indian mythologies
Which one is original English or Kannada?
Questions the sanctity of marriage.
Questions the legality of transgression.
What is translation-?
Oral to writing.
Writing to writing
Thought to writing
There are two approaches to a literary text:
I. Literary Textuality.
II. Locate it in social context.
Most often individuals become experts in social context. It is important to fundamentally know the text well. One needs to do close reading of the text. While the first approach hinges on Kant the second hinges on Marx by looking at text as a social production that no text can have autonomous existence. According to Kant anything that appeals to an individual without any motive is aesthetic pleasure without any ulterior motive.
How many stories are in Nagamandala?
Story tells the story; a song comes out of the old women’s house where story becomes a women and song the sari. In Kannada version story and song go together like the women and the sari.
The play does not happen at a visual level it’s based on narrative telling
Perhaps the man in the story was dreaming.
Rani, flames, story and Kurudava everybody has a story/ies.
Karnad gives emphasis on different layers of symbolism.
The test becomes aesthetic by infusing multiple layers of signification. The actions, staging, strategies are ways of authors crafting.
There are many symbolisms in Nagamandala.
E.g.: The door, the symbol of closed door.
She steps out of the house twice which leads to transgression.
Moving out of the door can be considered as a sexual transgression.
Karnad was heavily influenced by psychoanalysis.
Snake denotes sexuality.
Crossing a threshold- a woman going out of the house is considered as disobeying. It's going against the societal norms.These both transgressions give her liberation.
Karnad has depicts the stories like opening and closing a mathematical problem. Its evident in the play as the story comes up at some point and ends within the story. Similarly the man starts it and ends it.
In the text the story at some instance talks to Rani and asks her to behave.
A dues ex machina (a plot device whereby a seemingly inextricable problem is suddenly and abruptly solved with the contrived and unexpected intervention of some new event, character, ability, or object.)
A play is a better craft when a story leads to another. Without stories's intervention the play cannot progress.
Knowledge:
Awareness – birth of knowledge.
Transgression - loss of faith, defiance
Renaissance evolved due to disagreement with church and challenging the given beliefs.
Aristotle disagrees with Plato, hence science was originated.
Adam and Eve get knowledge by eating the apple.
Therefore sexuality is also a form of knowledge which is gained through experience of the union. Rani, the protagonist of the novel is no more a young innocent girl. She is a new Eve, a complete person.
Knowledge:
Epistemologyseeks to strive for concept not word and language. The concept should be that strong that the discipline boundary starts collapsing. “Knowledge is the considerable understanding where further theory develops”.
Higher education should give you concepts and skill.
We don’t have a concept of translation; hence anybody can question it and object it.
Similarly, who is a subaltern?
We use it without knowing the concept of subaltern.
What’s the difference between oppressed, exploitation and subaltern?
Women are oppressed in India. They work for commitment, family and due to the precondition of institution.
Exploitation is an economic category which refers improper reward to labour.
Anybody who cannot access the state is called subaltern. Both oppressed and exploited people can access the state but a subaltern can’t.
Answers to the questions asked in the beginning of the class regarding translations.
The question of origin is a historical and philosophical development of platonic thoughts. It’s a European problem of understanding context.
Feminists study the translation discourses mapping process of translation on to a female body. Words like infidelity and truthfulness are associated to it.
The whole debate of originality hinges on platonic problem.
Non translationabitlity - philosophy of language believes that it’s not a universal problem. E.g.: Math is explained in English and it’s understood by people all over the world.
English has evolved as a international language its ‘ globish’.
Who decides what is to be translated?
i. The industry- the global capital market decides what is in need.
ii. dominant sections of a community decide.
Sunday, July 03, 2011
ಒಂದಿಷ್ಟು ಚಿಂತನೆ ಬೇಕು ! - ಸುಂದರ್ ಸಾರುಕ್ಕೆ„
- ಒಂದಿಷ್ಟು ಚಿಂತನೆ ಬೇಕು !
- ಡಾ. ಸುಂದರ್ ಸಾರುಕ್ಕೆ„ | Jul 03, 2011
ನಾಡಿನ ಪ್ರಮುಖ ಚಿಂತಕರಾಗಿರುವ ಡಾ. ಸುಂದರ್ ಸಾರುಕ್ಕೆ„ ಅವರು ಜಗತ್ತಿನ ವಿವಿಧ ತಣ್ತೀಶಾಸ್ತ್ರೀಯ ಚಿಂತನೆಗಳನ್ನು ಪ್ರತೀ ರವಿವಾರದ ಸಂಚಿಕೆಯಲ್ಲಿ ನಮ್ಮೊಂದಿಗೆ ಹಂಚಿಕೊಳ್ಳಲಿದ್ದಾರೆ.
ತಣ್ತೀಶಾಸ್ತ್ರವೆಂಬುದು ಕೇವಲ ಬುದ್ಧಿಜೀವಿಗಳಿಗೆ ಮೀಸಲಾದ ಸಂಗತಿಯಾಗದೆ ಎಲ್ಲರಿಗೂ ಸರಳವಾಗಿ ಅರ್ಥವಾಗಬೇಕೆಂಬುದು ಅವರ ಧೋರಣೆ. ಜೊತೆಗೆ ಶಿಕ್ಷಣ ಕ್ಷೇತ್ರದಲ್ಲಿ ಅವಜ್ಞೆಗೊಳಗಾಗಿರುವ ಕಲೆ, ಮಾನವಿಕ ಶಾಸ್ತ್ರ, ಸಮಾಜ ವಿಜ್ಞಾನಗಳಂಥ ಜೀವನ ಕಲೆಯನ್ನು ಕಲಿಸುವ ವಿಭಾಗಗಳಿಗೆ ಮತ್ತೆ ಪ್ರಾಶಸ್ತ್ಯ ಸಿಗಬೇಕೆಂಬುದು ಅವರ ಆಶಯ.
ಸುಂದರ ಸಾರುಕ್ಕೆ„ ಮೂಲತಃ ಭೌತಶಾಸ್ತ್ರಜ್ಞರು. ಅಮೆರಿಕದ ಪೆರ್ಡೂÂ ವಿ. ವಿ. ಯಲ್ಲಿ ಪಿಎಚ್ಡಿ ಪಡೆದಿದ್ದಾರೆ. ಬೆಂಗಳೂರಿನ ನ್ಯಾಶನಲ್ ಇನ್ಸಿಟ್ಯೂಟ್ ಆಫ್ ಅಡ್ವಾನ್ಸ್ಡ್ ಸ್ಟಡೀಸ್ನಲ್ಲಿ ತಣ್ತೀಶಾಸ್ತ್ರ ವಿಭಾಗದ ಮುಖ್ಯಸ್ಥರಾಗಿದ್ದರು. ಪ್ರಸ್ತುತ, ಮಣಿಪಾಲ ವಿ. ವಿ.ಯಲ್ಲಿ "ಮಣಿಪಾಲ್ ಸೆಂಟರ್ ಫಾರ್ ಫಿಲಾಸಫಿ ಆಂಡ್ ಹ್ಯುಮ್ಯಾನಿಟೀಸ್' ವಿಭಾಗವನ್ನು ಆರಂಭಿಸಿ, ಅದರ ನಿರ್ದೇಶಕರಾಗಿದ್ದಾರೆ.
ಹ್ಯಾನಾ ಆರೆಂತ್ ಓರ್ವ ಪ್ರಮುಖ ರಾಜಕೀಯ ತತ್ತÌಶಾಸ್ತ್ರಜ್ಞೆ . ಅವರು ಮಹಾತತ್ತÌಶಾಸ್ತ್ರಜ್ಞರಾದ ಮಾರ್ಟಿನ್ ಹೇಡ್ಗರ್ ಹಾಗೂ ಕಾರ್ಲ್ ಜೇಸ್ಪರ್ ಇವರುಗಳ ವಿದ್ಯಾರ್ಥಿನಿ. ಓರ್ವ ಯಹೂದಿಯಾದ ಆಕೆ ಜರ್ಮನಿಯನ್ನು ತ್ಯಜಿಸಿ ಅಮೆರಿಕವನ್ನು ಸೇರಿಕೊಂಡರು. ಅಲ್ಲಿನ ಅನೇಕ ವಿಶ್ವವಿದ್ಯಾಲಯಗಳಲ್ಲಿ ತಣ್ತೀಶಾಸ್ತ್ರವನ್ನು ಬೋಧಿಸಿದರು. ಸರ್ವಾಧಿಕಾರ ವ್ಯವಸ್ಥೆಯ ಬಗ್ಗೆ , ಕ್ರಾಂತಿ-ಬಂಡಾಯಗಳ ಬಗ್ಗೆ, ಹಿಂಸೆಯ ಬಗ್ಗೆ , ಸಾಮಾನ್ಯವಾಗಿ ಮಾನವಿಕವೆನ್ನಬಹುದಾದ ಹತ್ತು ಹಲವು ಸಂಗತಿಗಳ ಬಗ್ಗೆ ಪ್ರಭಾವಕಾರಿಯಾದ ಗ್ರಂಥಗಳನ್ನು ಆಕೆ ರಚಿಸಿದ್ದಾರೆ.
ಅಡಾಲ್ಫ್ ಎಯ್cಮನ್ ಒಬ್ಬ ನಾಜಿ. ಸಾವಿರಾರು ಯಹೂದಿಗಳ ಮಾರಣ ಹೋಮಕ್ಕೆ ಕಾರಣನಾದ ವ್ಯಕ್ತಿ. ಹಿಟ್ಲರ್ನ ಆಳ್ವಿಕೆಯ ಪತನದ ಬಳಿಕ ಆತ ಜರ್ಮನಿಯಿಂದ ಹೊರಬಿದ್ದು ಅರ್ಜೆಂಟೀನಾಕ್ಕೆ ಪಲಾಯನ ಹೂಡಿ ಅಲ್ಲಿ ಅಜ್ಞಾತವಾಸದಲ್ಲಿದ್ದ. ಹಲವು ಪ್ರಯತ್ನಗಳ ಬಳಿಕ ಇಸ್ರೇಲಿ ಪೊಲೀಸರು ಆತನನ್ನು ಸೆರೆಹಿಡಿದು, ಯಹೂದಿಗಳ ವಿರುದ್ಧದ ಅಪಚಾರಕ್ಕಾಗಿ ವಿಚಾರಣೆಗೊಳಪಡಿಸಿದರು.
ಆರೆಂತ್ ಅವರು ಇಸ್ರೇಲ್ಗೆ ತೆರಳಿ ಈ ಪ್ರಕರಣದ ವಿಚಾರಣೆಯ ವಿವರಗಳನ್ನು ಪ್ರಭಾವೀ ಪತ್ರಿಕೆಯಾದ ನ್ಯೂಯಾರ್ಕರ್ಗೆ ಹಂತ ಹಂತವಾಗಿ ವರದಿ ಮಾಡುತ್ತ ಬಂದರು. ಬಳಿಕ ಈ ವರದಿಗಳನ್ನೆಲ್ಲ ಒಂದು ಪುಸ್ತಕ ರೂಪದಲ್ಲಿ ಪ್ರಕಟಿಸಿದರು. ಈ ಪುಸ್ತಕದ ಹೆಸರು - ಎಯ್cಮನ್ ಇನ್ ಜೆರೂಸಲೆಂ: ಎ ರಿಪೋರ್ಟ್ ಆನ್ ಬೆನಾಲಿಟಿ ಆಫ್ ಈವಿಲ್.
ಸ್ವತಃ ಯಹೂದಿಯಾಗಿದ್ದೂ ಆರೆಂತ್ ಅವರು ಎಯ್cಮನ್ ಬಗ್ಗೆ ಬರೆದ ಮಾತೊಂದು ಇತರ ಯಹೂದಿಗಳನ್ನು ಕೆರಳಿಸಿಬಿಟ್ಟಿತು. ಎಯ್cಮನ್ ಕುರಿತಂತೆ ಆಕೆಗೆ ಅನ್ನಿಸಿದ್ದೆಂದರೆ - ಆತ ಒಬ್ಬ "ಸಾಮಾನ್ಯ' ವ್ಯಕ್ತಿ. ಆತ ಮಾಡಿದ್ದು ವಿಪರೀತಾರ್ಥದಲ್ಲಿ ಕೆಡುಕೇ ಹೌದು. ಆ ಬಗ್ಗೆ ಎರಡು ಮಾತಿಲ್ಲ. ಆದರೆ ಎಯ್cಮನ್ ಒಬ್ಬ ರಾಕ್ಷಸನಲ್ಲ. ಇತರ ಅನೇಕರಂತೆ ಒಬ್ಬ ಸಾಮಾನ್ಯ ಮನುಷ್ಯ. ಆರೆಂತ್ ಅವರ ಈ ಅಭಿಮಧಿತ ಯಹೂದ್ಯ ಸಮುದಾಯವನ್ನು ಸಿಟ್ಟಿಗೆಬ್ಬಿಸಿತು. ಕಾರಣ, ಅವರ ಈ ಅಭಿಪ್ರಾಯ ಎಯ್cಮನ್ನ ಭೀಕರ ಅಪರಾಧವನ್ನು ಮನ್ನಿಸುವ ಸಾಧ್ಯತೆಗೆ ಹಾದಿಮಾಡಿಕೊಡುವಂಥದಾಗಿತ್ತು.
ಆದರೆ ಆರೆಂತ್ ಹೇಳಿದ್ದರಲ್ಲಿ ಗಂಭೀರ ಸತ್ಯವಿತ್ತು. ಕೆಡುಕಿನ ಮೂಲ ಕಂಡುಬರುವುದು, ಸಾಮಾನ್ಯತೆಯಲ್ಲೆ ಎಂಬುದಾಗಿತ್ತು ಅವರ ವಾದ. ದತ್ತ ಸನ್ನಿವೇಶವೊಂದರಲ್ಲಿ ದುಷ್ಟರಾಗಿ ಬಿಡುವ ಸಾಧ್ಯತೆ ನಮ್ಮೆಲ್ಲರಲ್ಲೂ ಇದೆ. ಇನ್ನೂ ಮುಖ್ಯವಾದ ಸಂಗತಿಯೆಂದರೆ ತನ್ನ ಕುಕೃತ್ಯದ ಬಗ್ಗೆ ಎಯ್cಮನ್ ಸ್ವಲ್ಪ ಯೋಚಿಸಿದ್ದಿದ್ದರೆ, ಬಹುಶಃ ಅದನ್ನು ಎಸಗುವ ಗೋಜಿಗೇ ಹೋಗುತ್ತಿರಲಿಲ್ಲ ವೇನೋ. ಏಯ್cಮನ್ನದು ಯೋಚಿಸದೆ ಮಾಡಿದ ಕಾರ್ಯ. ತಲೆ ಓಡಿಸದೆ ತೋರಿದ ವಿಧೇಯತೆ.
ಕೆಡುಕು ಎಸಗುವ ಸಾಮರ್ಥ್ಯ ನಮಗೆ ಬರುವುದು ಚಿಂತನರಹಿತ ಜೀವನ ವಿಧಾನದಿಂದ. ಆರೆಂತ್ ಅವರು ಸೂಚಿಸಬಯಸಿದ್ದು ಇದೇ ವಾಸ್ತವಾಂಶವನ್ನು. ಸಾಮಾನ್ಯರಾಗಿ ಇರುವುದೆಂದರೆ ಯೋಚನಾರಹಿತವಾಗಿ, ಚಿಂತನರಹಿತರಾಗಿ ಕಾರ್ಯವೆಸಗಲು ಮುಂದಾಗುವುದು. ಆರೆಂತ್ ಅವರ ಈ ಮಾತನ್ನು ಇತರ ಹಲವು ಮಂದಿ ತಣ್ತೀಶಾಸ್ತ್ರಜ್ಞರು ದೀರ್ಘಕಾಲದಿಂದ ಹೇಳುತ್ತಲೇ ಬಂದಿದ್ದಾರೆ. ಮಾನವೀಯವಾಗಿ ಇರುವುದೆಂದರೇನು? ಈ ಪ್ರಶ್ನೆಗೆ ಇರುವ ಒಂದು ಉತ್ತರವೆಂದರೆ, ಅರಿಸ್ಟಾಟಲ್ ಹೇಳಿದಂತೆ, "ಮನುಷ್ಯರು ವಿವೇಚನಾಶಕ್ತಿಯುಳ್ಳ ಪ್ರಾಣಿಗಳು' ಎಂಬುದೇ. ಮಾನವರಲ್ಲಿರುವ ವಿಶೇಷತೆಯೆಂದರೆ, ಚಿಂತಿಸುವ ಸಾಮರ್ಥ್ಯ ಹಾಗೂ ವಿವೇಕವನ್ನು ಬಳಸಿಕೊಳ್ಳುವ ಸಾಮರ್ಥ್ಯ. ವಿವೇಚನೆ ಅಥವಾ ವಿವೇಕಕ್ಕೆ ಹೀಗೆ ಒತ್ತು ನೀಡಿದ್ದರಿಂದಲೇ ಆಧುನಿಕ ನಾಗರಿಕತೆಯ ಉಗಮ ಸಾಧ್ಯವಾಯಿತು ಕನಿಷ್ಠ ಯುರೋಪಿನ ಮಟ್ಟಿಗಾದರೂ ಇದು ನಿಜ.
ಆದರೆ, ಚಿಂತನೆ ಎಂದರೆ ನಿಜವಾಗಿ ಏನು? ಚಿಂತಿಸುವುದು - ಎಂಬುದನ್ನು ನಾವು ಯಾವ ಅರ್ಥದಲ್ಲಿ ಬಳಸುತ್ತಿದ್ದೇವೆ? ಚಿಂತಿಸುವ ಗುಣ, ಕಲಿತು ಬರುವಂಥದ್ದೆ? ಅಥವಾ ಅದು ಅನಾಯಾಸವಾಗಿ ನಮ್ಮಲ್ಲಿ ಉದಿಸಿ ಬರುವಂಥದ್ದೆ? ಆಶ್ಚರ್ಯದ ಮಾತೆಂದರೆ ಇಂದಿನ ಸಮಾಜದ ಪಾಲಿಗೆ ಯೋಚಿಸುವ, ಚಿಂತಿಸುವ ಕೆಲಸ ಒಂದು ದೊಡ್ಡ ಸಮಸ್ಯೆಯೇ ಆಗಿಬಿಟ್ಟಿದೆ. ನಮ್ಮ ಸಮಾಜದ ಮಟ್ಟಿಗಂತೂ ಇದು ಸತ್ಯ.
ನಮ್ಮಲ್ಲೊಂದು ನಂಬಿಕೆಯಿದೆ - "ಅನಗತ್ಯವಾಗಿ ಯೋಚಿಸಕೂಡದು' ಎಂಬ ನಂಬಿಕೆ! "ಹೆಚ್ಚು ಯೋಚಿಸಿದರೆ ಕೆಲಸ ನಿಂತುಹೋಗುತ್ತದೆ; ನಮ್ಮ ದಿನನಿತ್ಯದ ಕೆಲಸ ಕಾರ್ಯಗಳ ಬಗ್ಗೆ ಯೋಚಿಸುತ್ತ ಕೂರಲು ಸಾಧ್ಯವಿಲ್ಲ. ಅದಕ್ಕೆಲ್ಲ ನಮಗೆ ಶಕ್ತಿಯೂ ಇಲ್ಲ, ಸಮಯವೂ ಇಲ್ಲ' ಎಂದು ಅನೇಕರು ಹೇಳುವುದುಂಟು. ಮಾರ್ಕ್ಸ್ನ ಪ್ರಖ್ಯಾತ ಹೇಳಿಕೆ ಇದು - "ನಮಗಿವತ್ತು ಅಗತ್ಯವಾಗಿರುವುದು ಸಮಾಜದಲ್ಲಿ ಬದಲಾವಣೆಯೇ ವಿನಾ ಫಿಲಾಸಫಿಯಲ್ಲ !' ಸಮಾಜದ ಸಮಸ್ಯೆಗಳ ಪರಿಹಾರಕ್ಕಾಗಿ ಕಾರ್ಯೋನ್ಮುಖರಾಗುವ ಬದಲಿಗೆ ಆ ಬಗ್ಗೆ ಚಿಂತನೆ ನಡೆಸುತ್ತ ಕೂರುವ ಮಂದಿಯ ಬಗ್ಗೆ ಆಂದೋಲನನಿರತ ವ್ಯಕ್ತಿಗಳಿಗೆ ಅಷ್ಟೊಂದು ಗೌರವ ಇಲ್ಲ.
ನಮ್ಮ ಸಮಾಜವಾದರೋ ಚಿಂತನರಾಹಿತ್ಯದ ಸಂಭ್ರಮಾಚರಣೆಯಲ್ಲಿ ಮುಳುಗಿದೆ! ಇದಕ್ಕೆ ಅತ್ಯುತ್ತಮ ಉದಾಹರಣೆಯೆಂದರೆ ನಮ್ಮ ಶಿಕ್ಷಣ ವ್ಯವಸ್ಥೆ. ಶಾಲೆಯಲ್ಲಿ ವಿದ್ಯಾರ್ಥಿಗಳು ಅಧ್ಯಾಪಕ ಹೇಳಿದ್ದನ್ನು ಆಲಿಸತಕ್ಕದ್ದು, ಪ್ರಶ್ನೆಗಳನ್ನು ಕೇಳತಕ್ಕದ್ದಲ್ಲ ಎಂಬಂಥ ವಾತಾವರಣವಿದೆ. ವಿದ್ಯಾರ್ಥಿಗಳಿಗೆ ತಲುಪಬೇಕಾದ ಜ್ಞಾನ ಹರಿದು ಬರುವುದು ಶಿಕ್ಷಕನಿಂದ ಇಲ್ಲವೇ, ಪುಸ್ತಕಗಳಿಂದ. ಇವೇ ಪ್ರಮಾಣಗಳು. ಈ ಪ್ರಮಾಣಗಳನ್ನು ಪ್ರಶ್ನಿಸಿದ ವಿದ್ಯಾರ್ಥಿಗಳಿಗೆ ಅಪಾಯ ಕಟ್ಟಿಟ್ಟದ್ದು! ವಾಸ್ತವವೆಂದರೆ, ಕಳೆದ ಅನೇಕ ವರ್ಷಗಳಿಂದ ನಮ್ಮ ವಿದ್ಯಾರ್ಥಿಗಳು ಪುಸ್ತಕಗಳಿಂದ ಕೂಡ ಕಲಿಯುತ್ತಿಲ್ಲ ; ಅವರು ಓದುತ್ತಿರುವುದು ಪಠ್ಯಗಳನ್ನಲ್ಲ , ಕೈಪಿಡಿ (ಗೈಡ್)ಗಳನ್ನು. ನಿಜ ಹೇಳಬೇಕೆಂದರೆ ಈ ಗೈಡುಗಳು ಚಿಂತನಶೀಲತೆಯ ನಂಬರ್ವನ್ ಶತ್ರು! ಇನ್ನು , ಕಾಲೇಜುಗಳಲ್ಲಿನ ಪರಿಸ್ಥಿತಿ ಇನ್ನೂ ಹದಗೆಟ್ಟಿದೆ. ಅಲ್ಲಿ ನಡೆಯುವ ಪರೀಕ್ಷೆಗಳು ಕೂಡ ಇಂಥ ಯೋಚನೆ ಮಾಡದೆ ಕಲಿಯುವ ಕವಾಯತಿನ ಮೇಲೆ ಅವಲಂಬಿತವಾಗಿವೆ.
ಇನ್ನು ಮನೆಗಳಲ್ಲಿ ಕಂಡುಬರುವ ಪರಿಸ್ಥಿತಿಯೂ ಇದಕ್ಕಿಂತ ಭಿನ್ನವಾಗಿಲ್ಲ. ತಾನೇನು ಓದಬೇಕೆಂಬುದನ್ನು ಯೋಚಿಸುವವರು ತಮ್ಮ ಅಪ್ಪ ಅಮ್ಮ ಎಂದು ಮಕ್ಕಳು ಹೇಳುವುದನ್ನು ಕೇಳಿದಾಗಲೆಲ್ಲ ನನಗೆ ಎಲ್ಲಿಲ್ಲದ ಅಚ್ಚರಿಯಾಗುತ್ತದೆ.
ಯಾವುದಕ್ಕೂ ಸಮಯವಿಲ್ಲ ಎಂಬಂಥ ಕಾಲದಲ್ಲಿ ನಾವಿಂದು ಬದುಕುತ್ತಿದ್ದೇವೆ. ನಾವು ಕಾಲವನ್ನು ನಾಶಪಡಿಸಿದ್ದೇವೆ; ಅದರ ಸ್ಥಾನದಲ್ಲಿ ಬಯಕೆಯನ್ನು ಸ್ಥಾಪಿಸಿದ್ದೇವೆ. ಆಯ್ಕೆಗಳಲ್ಲಷ್ಟೇ ತೃಪ್ತಿಪಟ್ಟುಕೊಂಡಿದ್ದೇವೆ. ನಮ್ಮೆದುರು ಆಯ್ಕೆಗಳಿವೆ ಎಂದರಾಯಿತು, ನಾವು ಯೋಚಿಸುತ್ತೇವೆಯೆ ಇಲ್ಲವೇ ಎಂಬ ಬಗ್ಗೆ ತಲೆಕೆಡಿಸಿಕೊಳ್ಳಲು ಹೋಗುವುದಿಲ್ಲ. ಆಯ್ಕೆಯ ಕೊಡುಗೆ ಧಾರಾಳ; ಯೋಚನೆಗೆ ಅವಕಾಶ ಇಲ್ಲ - ಎಂಬಂಥ ಸನ್ನಿವೇಶಕ್ಕೆ ಉತ್ತಮ ಉದಾಹರಣೆ ಮಾಲ್ಗಳು! ಆದರೆ, ಮೂಲಭೂತ ಪ್ರಶ್ನೆ ಇದು: ಶಿಕ್ಷಣ ಕ್ಷೇತ್ರದಲ್ಲಿನ ಆಯ್ಕೆಯೆ ಇರಲಿ, ಜೀವನ ನಿರ್ವಹಣ ಮಾರ್ಗ ಕುರಿತ ಆಯ್ಕೆಯೆ ಇರಲಿ - ನಾವು ಮಾಡುವ ಆಯ್ಕೆಯ ಬಗ್ಗೆ ಎಂದಾದರೂ ಯೋಚಿಸುತ್ತೇವೆಯೇ?
ನಾವು ನಿಜವಾಗಿಯೂ ಆಯ್ಕೆಮಾಡಿಕೊಳ್ಳುವುದು ಯಾವುದನ್ನು? ನಮ್ಮ ಜಾತಿ, ಧರ್ಮ, ಹೆಸರುಗಳು, ಊಟ-ತಿಂಡಿ ಕುರಿತ ಇಷ್ಟಾನಿಷ್ಟಗಳು ಕೂಡ ಯಾರೋ ಈಗಾಗಲೇ ಒದಗಿಸಿರುವಂಥವೇ ಆಗಿವೆ. ನಮ್ಮ ಬಟ್ಟೆಬರೆಯ "ಆಯ್ಕೆ'ಗಾಗಿ ಸಾಕಷ್ಟು ಸಮಯ ವ್ಯಯಿಸುತ್ತೇವೆಂಬುದು ನಿಜವಾದರೂ ಅದರ ಹಿಂದೆ ಜಾಹೀರಾತುಗಳ ಪ್ರೇರಣೆಯಿರುತ್ತದೆ. ಶಾರುಖ್ ಖಾನ್ ಅಥವಾ ಅಂಥ ಇನ್ಯಾರೋ ಚಿತ್ರತಾರೆಯರ ಡ್ರೆಸ್ಗಳ ಮಾದರಿಗಳನ್ನು ನೋಡಿ ನಾವೂ ಅಂಥವನ್ನೇ ಖರೀದಿಸುತ್ತೇವೆ. ಜೇಮ್ಸ್ ಬಾಂಡ್ ಬಳಸಿದ ಸೂಟುಗಳು ಇವು - ಎನ್ನುತ್ತ ಅವುಗಳನ್ನು ಮಾರುತ್ತೇವೆ (ಅಗತ್ಯವಾಗಿ ಗಮನಿಸಿ - ಜೇಮ್ಸ್ ಬಾಂಡ್ ಅಸ್ತಿತ್ವದಲ್ಲೇ ಇಲ್ಲ; ಅವನೊಬ್ಬ ಸಂಪೂರ್ಣ ಕಾಲ್ಪನಿಕ ವ್ಯಕ್ತಿ!)
ಹೀಗೆ, ನಮ್ಮ ಜೀವನದಲ್ಲಿ ನಿಜವಾಗಿಯೂ, ನಿಜವಾದ ಆಯ್ಕೆ ಎಂಬುದೊಂದಿಲ್ಲ. ನಮ್ಮ ಸುತ್ತಲ ಸಮಾಜದ ವಿವಿಧ ವರ್ಗಗಳ ಕೈಯಲ್ಲಿ ಆಡುತ್ತಿರುವ ಗೊಂಬೆಗಳ ಹಾಗಾಗಿದ್ದೇವೆ ನಾವು. ಮಾಲ್ಗಳ ಜಗತ್ತು ಹಾಗೂ ಗ್ರಾಹಕೀಕರಣದ ಪ್ರಕ್ರಿಯೆ ನಮಗಾಗಿ ಹೊಸ ಜಗತ್ತೂಂದನ್ನು ಸೃಷ್ಟಿಸಿಕೊಡುತ್ತಿದೆ. ನಾವೋ, ಜಗತ್ತು ಹೇರಳ ಆಯ್ಕೆಗಳಿಂದ ತುಂಬಿದೆ ಎಂದುಕೊಂಡಿದ್ದೇವೆ.
ಇಂಥ ಜಗತ್ತಿನಲ್ಲಿ ಚಿಂತನೆಗೆ, ಯೋಚನೆಗೆ ಅವಕಾಶವೇ ಇಲ್ಲ.
ಯೋಚಿಸುವುದು ಒಳ್ಳೆಯದಲ್ಲ ಎಂಬುದು ನಮ್ಮ ಸಮಾಜದ ಯೋಚನೆ. ನಾವು ನಮ್ಮ ಮಕ್ಕಳಿಗೆ ಯೋಚನೆ ಮಾಡುವುದನ್ನು , ಚಿಂತಿಸುವುದನ್ನು ಕಲಿಸುತ್ತಿಲ್ಲ. ಎಳೆವಯಸ್ಸಿನ ನಮ್ಮ ಮಕ್ಕಳು ಎಲ್ಲಿ ಸ್ವಂತ ಚಿಂತನೆಗಳನ್ನು ಬೆಳೆಸಿಕೊಳ್ಳುತ್ತಾರೋ ಎಂದು ನಾವು ಹೆದರುತ್ತಿದ್ದೇವೆ! ಪ್ರತಿಯೊಬ್ಬನೂ ಒಂದೇ ರೀತಿ ವರ್ತಿಸಬೇಕು, ಒಂದೇ ರೀತಿ ಬಟ್ಟೆ ಧರಿಸಬೇಕು, ಒಂದೇ ರೀತಿ ಕೆಲಸ ಮಾಡಬೇಕು ಎಂಬುದು ನಮ್ಮ ಬಯಕೆ. ಇತ್ತೀಚೆಗಷ್ಟೇ ಒಂದು ಜಾಹೀರಾತನ್ನು ನೋಡಿದೆ. "ಯೋಚನೆ ಬೇಡಾ ಈಗ, ಕಾಲ್ ಮಾಡಿ ಬೇಗಾ!' - ಎಂದು ಕರೆ ನೀಡುತ್ತಿದೆ ಈ ಜಾಹೀರಾತು. ಹೌದು, ಕೆಲಸ ಮಾಡಲು ಹೊರಟಾಗ ಯೋಚನೆ ಮಾಡಬೇಕಾದ ಅಗತ್ಯವೇನಿದೆ?
ಮುಕ್ತವಾಗಿ ಯೋಚಿಸುವುದರ ಬಗ್ಗೆ ನಮಗೆ ಯಾಕೆ ಇಷ್ಟೊಂದು ಹೆದರಿಕೆ? ಯೋಚಿಸಿದರೆ ನಮ್ಮ ನಂಬಿಕೆಗಳು ಹಾಗೂ ಬಯಕೆಗಳು ನುಚ್ಚುನೂರಾಗಬಹುದೆಂದೆ? ಚಿಂತನೆಯ ಮೂಲಕವಷ್ಟೇ ನಮ್ಮ ನಿಜವಾದ ಬಯಕೆಗಳೇನು, ನಂಬಿಕೆಗಳೇನು ಎಂಬುದನ್ನು ಅರಿತುಕೊಳ್ಳಬಹುದೆ? ಆರೆಂತ್ ಅವರು ವಾದಿಸುವಂತೆ, ಯೋಚನೆಯನ್ನೆ ಕೈಬಿಟ್ಟ ಸಮಾಜ ವಿವಿಧ ರೀತಿಯ ಪಾತಕಗಳ ಸೃಷ್ಟಿಗೆ ಕಾರಣವಾದೀತೆಂಬ ಕಾಳಜಿ ನಮಗೆ ಬೇಡವೆ?
ಇಂಥ ಪ್ರಶ್ನೆಗಳಿಗೆ ಉತ್ತರ ಬೇಕಿದ್ದರೆ, ಎಲ್ಲಕ್ಕಿಂತ ಮೊದಲಿಗೆ ನಾವು ಯೋಚನೆಯ ಬಗ್ಗೆ ಆಲೋಚಿಸಬೇಕು. ಆಲೋಚನೆ ಎಂದರೇನು? ಅದು ಯಾವ ತೆರನ ಪ್ರಕ್ರಿಯೆ? ವಿಮಶಾìತ್ಮಕ ಹಾಗೂ ಸೃಜನಾತ್ಮಕ ಆಲೋಚನೆಗಳು ಒಬ್ಬ ವ್ಯಕ್ತಿಯ ಅಥವಾ ಒಂದು ಸಮಾಜದ ಆರೋಗ್ಯಕ್ಕೆ ಅತ್ಯಗತ್ಯ ಎಂದು ಜಗತ್ತಿನ ಕೆಲ ಪ್ರಭಾವಶೀಲ ಚಿಂತಕರು ಯಾಕೆ ವಾದಿಸುತ್ತಿದ್ದಾರೆ?
ಮೊದಲಿಗೆ ಚಿಂತನೆಯ ಸ್ವರೂಪ, ಲಕ್ಷಣ ಕುರಿತಂತೆ ನನ್ನ ಆಲೋಚನೆಗಳನ್ನು ಸಾದರಪಡಿಸುವುದು ಈ ಅಂಕಣದ ಉದ್ದೇಶ. ಈ ಅಂಕಣ ತಣ್ತೀಶಾಸ್ತ್ರ , ವಿಜ್ಞಾನ, ಸಮಾಜವಿಜ್ಞಾನ, ಸಾಹಿತ್ಯ ಹಾಗೂ ಕಲೆ ಇವುಗಳನ್ನೆಲ್ಲ ಚರ್ಚೆಗೆ ಆಹ್ವಾನಿಸುವ ವೇದಿಕೆಯಾಗಬೇಕೆಂಬುದು ನನ್ನ ಆಶಯ. ಓದುಗರೂ ಈ ಚರ್ಚೆಯಲ್ಲಿ ಸೇರಿಕೊಳ್ಳುವಂತಾಗಬೇಕು ಎಂಬುಧಿದು ನನ್ನ ಆಧಿಸೆ. ಯಾಕೆಂದರೆ ಆಲೋಚನೆ/ಚಿಂತನೆ ಆರಂಭಗೊಳ್ಳುವುದು ಸಂವಾದದಿಂದ. ಅದು ಮೊದಲು ಶುರುವಾಗುವುದು ನಾವು ನಮ್ಮೊಂದಿಗೆ ಸಂವಾದ ನಡೆಸಿದಾಗ. ಆಲೋಚನೆಯೆಂಬುದು ಎಲ್ಲಕ್ಕಿಂತ ಮೊದಲಿಗೆ ಸ್ವ-ಸಂವಾದವೇ ಆಗಿದೆ. ಇದನ್ನೇ ಮುಂದಿನ ಅಂಕಣದಲ್ಲಿ ಚರ್ಚಿಸಲಿದ್ದೇನೆ.
Saturday, July 02, 2011
Western Aesthetics - Semiotics
The term "Semiotics" finds its roots in the Greek word semeiotikos, meaning "observant of signs". Semiotics is closely related to linguistics (the study of the structure and meaning of language) and is, essentially, the study of signs and sign processes.
Semiotics is divided into three branches: semantics (the study of the relationship between the signifier and the signified), syntactics (the study of the relationship between the signs, themselves) and pragmatics (the study of the relation between signs and the effects they have on the people who use them).
Charles Sanders Pierce (1839-1914) was an American logician who believed in removing the theory from practice and re-applying this theory to practice to form "intelligent practice". According to Pierce, symbols can be of three types:
(1) Icons - A representation is said to be an icon if there is verisimilitude between the representation and the object, itself. For example, a photograph.
(2) Index - An index refers to a sign that is of one type, yet symbolizes something else. For example, if one were to see smoke, it is automatically understood that there is a fire.
(3) Symbols - Symbols are arbitrarily decided signs that signify particular objects when arranged in a certain manner. All spoken or written words are symbolic in nature.
Visual signs are either indexical or iconic.
Pierce classified signs into three broad categories, on the basis of the sign itself (sign vehicle), the way the sign stands for its denoted subject (object), and the way the sign stands for its subject according to the interpretant (interpretor). Each of these three categories has a three-way division:
1. Sign vehicle: Qualisigns (a quality or possibility), sinsigns (an actual thing, fact, etc.), legisigns (a law, or a rule).
2. Object: icons, indices, symbols (these three have already been dealt with)
3. Interpretant: Rhemes (the symbol stands for its object in terms of quality), dicisigns (the symbol stands for its object in terms of fact) and arguments (the symbol stands for its object in terms of rule or law).
Ferdinand de Saussure (1857-1913) is believed to be the father of modern linguistics. He gave the ideas of the "signifier" and the "signified". Signifier generally refers to the symbols used to describe a particular object. On the other hand, signified refers to the object that is described by the symbols. Take, for example, the word "cat', which is used to describe a furry, four-legged animal. The word in itself - created by putting together the letters 'c', 'a' and 't' (symbols) - is the signifier, while the animal is the signified (the object). What particular combination of letters are used to signify an object is decided by society, and this relationship between the signifier and the signified can change over time, as and when society dictates.
Umberto Eco (1932 - present), in his novel, "The Name of the Rose", helped spread awareness on semiotics. He criticized Pierce's concept of "iconic signs" and, instead, proposed four modes of sign production (recognition, ostension, replica and invention).
Semiotics is divided into three branches: semantics (the study of the relationship between the signifier and the signified), syntactics (the study of the relationship between the signs, themselves) and pragmatics (the study of the relation between signs and the effects they have on the people who use them).
Charles Sanders Pierce (1839-1914) was an American logician who believed in removing the theory from practice and re-applying this theory to practice to form "intelligent practice". According to Pierce, symbols can be of three types:
(1) Icons - A representation is said to be an icon if there is verisimilitude between the representation and the object, itself. For example, a photograph.
(2) Index - An index refers to a sign that is of one type, yet symbolizes something else. For example, if one were to see smoke, it is automatically understood that there is a fire.
(3) Symbols - Symbols are arbitrarily decided signs that signify particular objects when arranged in a certain manner. All spoken or written words are symbolic in nature.
Visual signs are either indexical or iconic.
Pierce classified signs into three broad categories, on the basis of the sign itself (sign vehicle), the way the sign stands for its denoted subject (object), and the way the sign stands for its subject according to the interpretant (interpretor). Each of these three categories has a three-way division:
1. Sign vehicle: Qualisigns (a quality or possibility), sinsigns (an actual thing, fact, etc.), legisigns (a law, or a rule).
2. Object: icons, indices, symbols (these three have already been dealt with)
3. Interpretant: Rhemes (the symbol stands for its object in terms of quality), dicisigns (the symbol stands for its object in terms of fact) and arguments (the symbol stands for its object in terms of rule or law).
Ferdinand de Saussure (1857-1913) is believed to be the father of modern linguistics. He gave the ideas of the "signifier" and the "signified". Signifier generally refers to the symbols used to describe a particular object. On the other hand, signified refers to the object that is described by the symbols. Take, for example, the word "cat', which is used to describe a furry, four-legged animal. The word in itself - created by putting together the letters 'c', 'a' and 't' (symbols) - is the signifier, while the animal is the signified (the object). What particular combination of letters are used to signify an object is decided by society, and this relationship between the signifier and the signified can change over time, as and when society dictates.
Umberto Eco (1932 - present), in his novel, "The Name of the Rose", helped spread awareness on semiotics. He criticized Pierce's concept of "iconic signs" and, instead, proposed four modes of sign production (recognition, ostension, replica and invention).
Thursday, June 30, 2011
Wednesday, June 29, 2011
Monday, June 27, 2011
Sunday, June 26, 2011
Types of academic writing (Masters in Psychological Counseling 2011-13)
This is a useful link in identifying some types of academic writing required and accepted. Please feel free to post more links..
(with respect to the Academic Writing course assignment)
(with respect to the Academic Writing course assignment)
Friday, June 24, 2011
Western Aesthetics - Pre-modern, Modern and Post-modern Eras.
Given below is a brief explanation of the three different Eras into which the Western World (more specifically, the United States of America and certain European countries) divide the history of the world.
The Pre-modern Era:
The Pre-modern Era generally refers to the period prior to industrial revolution, when production and distribution were on a small scale, and more importance was given to religion and spirituality than to materialism. As sacred as religion, was tradition, which was strictly enforced on the common people. Society had a rigid hierarchical structure and, essentially, was divided into three estates: The Clergy, the Nobles and the Common People.At one point, Feudalism was believed to be the law of the land, which basically gave the nobility and the clergy power over the serfs (the peasants). The feudal system was constructed mainly for the sake of security - the delegation of power to the nobles helped the kings ensure that control was maintained over their far-reaching kingdoms. Food production was entirely organic and the food for the lord and his serfs was produced in the fields of the manor farm. Feudalism worked well for hundreds of years. However, during the medieval era of the middle ages, there was a decline in feudalism due to the crusades, the Plague in Europe, the revolt of the peasants, the centralization of the government and the movement from a land-based economy to a money based economy. The final blow to European feudalism came with King Henry VIII (king of England from 1509-1547) breaking away from the Church in his quest to find a consort who would bear him a male heir.
The Modern Era:
With the decline of feudalism, and the determination of people to better their social and economic situation came the Modern Era. Portions of the Modern World revalued the importance of religion and the power of the monarchy. There were advancements made in almost all fields of human life, including politics, economics, communication, transport and technology. Science and technology began to play an important role. There was mass literacy, leading to the rise of mass media. Industrialization, individualism and urbanization also played a major role in the transformation of society.
The Post-modern Era:
The post-modern era is believed to refer to the period after the Second World War. This period is characterised by Europe's loss of faith in the popular understanding of science. With the war, people began to feel a serious breach of their fundamental right to voluntarily not participate in the war, and this led to a distrust of the State. The post-modern era is, essentially, the coming together of the pre-modern and the modern era to produce ideas that celebrate plurality and diversity.
The Pre-modern Era:
The Pre-modern Era generally refers to the period prior to industrial revolution, when production and distribution were on a small scale, and more importance was given to religion and spirituality than to materialism. As sacred as religion, was tradition, which was strictly enforced on the common people. Society had a rigid hierarchical structure and, essentially, was divided into three estates: The Clergy, the Nobles and the Common People.At one point, Feudalism was believed to be the law of the land, which basically gave the nobility and the clergy power over the serfs (the peasants). The feudal system was constructed mainly for the sake of security - the delegation of power to the nobles helped the kings ensure that control was maintained over their far-reaching kingdoms. Food production was entirely organic and the food for the lord and his serfs was produced in the fields of the manor farm. Feudalism worked well for hundreds of years. However, during the medieval era of the middle ages, there was a decline in feudalism due to the crusades, the Plague in Europe, the revolt of the peasants, the centralization of the government and the movement from a land-based economy to a money based economy. The final blow to European feudalism came with King Henry VIII (king of England from 1509-1547) breaking away from the Church in his quest to find a consort who would bear him a male heir.
The Modern Era:
With the decline of feudalism, and the determination of people to better their social and economic situation came the Modern Era. Portions of the Modern World revalued the importance of religion and the power of the monarchy. There were advancements made in almost all fields of human life, including politics, economics, communication, transport and technology. Science and technology began to play an important role. There was mass literacy, leading to the rise of mass media. Industrialization, individualism and urbanization also played a major role in the transformation of society.
The Post-modern Era:
The post-modern era is believed to refer to the period after the Second World War. This period is characterised by Europe's loss of faith in the popular understanding of science. With the war, people began to feel a serious breach of their fundamental right to voluntarily not participate in the war, and this led to a distrust of the State. The post-modern era is, essentially, the coming together of the pre-modern and the modern era to produce ideas that celebrate plurality and diversity.
Thursday, June 23, 2011
Western Aesthetics - The History of Art
Despite the fact that there have been evidences of the existence of paintings even before the Neolithic Era, "Art", as a concept, is, probably, no older than 350 years. What distinguishes mere painting from art is the aura that surrounds art - the ability of the painting to command awe and respect from the viewer.
Art, as we know it, began with the birth of oil painting. Prior to this, all paintings were in the form of frescoes, which generally do not last for long periods of time, as a result of which, most of them are lost today - the only ones remaining are those that have been periodically renovated (For example, the frescoes on the walls and ceiling of the Sistine Chapel in Rome). Oil paintings go all the way back to 650 CE. Oil paintings originally started out as having three panels - a fairly broad central panel, flanked by narrower panels. The central panel generally depicted a religious scene, with a painting of the patron on either one of the side panels.
With the emergence of guilds, Nationalism, Industrialization and Capitalism, there was a shift in art as well. Art was no longer centred around religion and money began to play a more important role than it did earlier. In short, art no longer had a ritualistic or communal function. Canvases shrunk from three panels to a single panel and the main focus of the painting was either the patron or the artist, himself. Almost at the same time as this change in the economics of society came the renaissance, which caused a lot more attention to be paid to art.
From the fourteenth century to the seventeenth century, art aimed at verisimilitude (the quality of realism), which was eventually achieved by Rembrandt, who studied the play of light on objects and worked towards capturing the object and the shadows, exactly as they fell, on canvas.
From the seventeenth century CE, art began to move into the Abstract Phase. By the nineteenth century, artists, such as Monet and Manet, had contributed largely towards abstract art. Edvard Munch made the transition from Abstract Art to expressionist art with several of his paintings, the most famous, probably, being The Scream.
Not too long after, with an understanding of the fact that reality has a number of dimensions to it, came Pablo Picasso and Cubism. What cubism seeks to do is bring out the emotional and psychological side of a person as opposed to merely the outer form of the subject.
By 1939, objects began to disappear from new paintings and colour played a more prominent role. This was due to the belief that colour, itself, can create emotions in the viewer and there is, therefore, no need of a subject as such.
During the time of the Second World War, the various forms of art disappeared. However, after the war, painting picked up once more, with all the styles merging, to form today's version of Art.
Art, as we know it, began with the birth of oil painting. Prior to this, all paintings were in the form of frescoes, which generally do not last for long periods of time, as a result of which, most of them are lost today - the only ones remaining are those that have been periodically renovated (For example, the frescoes on the walls and ceiling of the Sistine Chapel in Rome). Oil paintings go all the way back to 650 CE. Oil paintings originally started out as having three panels - a fairly broad central panel, flanked by narrower panels. The central panel generally depicted a religious scene, with a painting of the patron on either one of the side panels.
With the emergence of guilds, Nationalism, Industrialization and Capitalism, there was a shift in art as well. Art was no longer centred around religion and money began to play a more important role than it did earlier. In short, art no longer had a ritualistic or communal function. Canvases shrunk from three panels to a single panel and the main focus of the painting was either the patron or the artist, himself. Almost at the same time as this change in the economics of society came the renaissance, which caused a lot more attention to be paid to art.
From the fourteenth century to the seventeenth century, art aimed at verisimilitude (the quality of realism), which was eventually achieved by Rembrandt, who studied the play of light on objects and worked towards capturing the object and the shadows, exactly as they fell, on canvas.
From the seventeenth century CE, art began to move into the Abstract Phase. By the nineteenth century, artists, such as Monet and Manet, had contributed largely towards abstract art. Edvard Munch made the transition from Abstract Art to expressionist art with several of his paintings, the most famous, probably, being The Scream.
Not too long after, with an understanding of the fact that reality has a number of dimensions to it, came Pablo Picasso and Cubism. What cubism seeks to do is bring out the emotional and psychological side of a person as opposed to merely the outer form of the subject.
By 1939, objects began to disappear from new paintings and colour played a more prominent role. This was due to the belief that colour, itself, can create emotions in the viewer and there is, therefore, no need of a subject as such.
During the time of the Second World War, the various forms of art disappeared. However, after the war, painting picked up once more, with all the styles merging, to form today's version of Art.
Western Aesthetics - Immanuel Kant (1724-1804)
The term, "aesthetics" is derived from the Greek word, aisthetikos (sensitivity) which, in turn, was derived from the Greek word, aisthanomos, meaning "to perceive" or "to understand". The actual concept of aesthetics was first given by Immanuel Kant.
Kant was a German philosopher from Konigsberg (today known as Kaliningrad of Russia). He was educated at the University of Konigsberg, where he studied philosophy under Martin Knutzen, a rationalist, who introduced him to the ideas of Newton. Kant's magnum opus, the Critique of Pure Reason , first published in 1781, was a critique on the theories put forth by Newton. Kant understood that human beings were, basically, made up of Hydrogen and Nitrogen, as were all other things on Earth. He sought to find an explanation regarding the possibility of a Hydrogen-Nitrogen Being studying other objects made of different densities of the same substance.He eventually came to terms with the idea by explaining that it was indeed possible to do so, however, only through momentary glances.
In 1788, Kant wrote Critique of Practical Reason, which was a critique on the theories formulated by Bentham, Mill and Berkley, all of whom were British empiricists. Kant emphasised the fact that the social world is known through human experiences. This critique has had notable influence over subsequent practices in the fields of ethics and moral philosophy.
In 1790, Kant wrote his third Critique, titled,Critique of Judgement. The first half of this Critique deals with the idea of Aesthetics and the four "reflective judgements" (the agreeable, the beautiful, the sublime and the good). It is this that has led to today's idea of aesthetics. The second half of the Critique of Judgement discusses teleological judgement, which is the way of judging things according to its end.
Kant was a German philosopher from Konigsberg (today known as Kaliningrad of Russia). He was educated at the University of Konigsberg, where he studied philosophy under Martin Knutzen, a rationalist, who introduced him to the ideas of Newton. Kant's magnum opus, the Critique of Pure Reason , first published in 1781, was a critique on the theories put forth by Newton. Kant understood that human beings were, basically, made up of Hydrogen and Nitrogen, as were all other things on Earth. He sought to find an explanation regarding the possibility of a Hydrogen-Nitrogen Being studying other objects made of different densities of the same substance.He eventually came to terms with the idea by explaining that it was indeed possible to do so, however, only through momentary glances.
In 1788, Kant wrote Critique of Practical Reason, which was a critique on the theories formulated by Bentham, Mill and Berkley, all of whom were British empiricists. Kant emphasised the fact that the social world is known through human experiences. This critique has had notable influence over subsequent practices in the fields of ethics and moral philosophy.
In 1790, Kant wrote his third Critique, titled,Critique of Judgement. The first half of this Critique deals with the idea of Aesthetics and the four "reflective judgements" (the agreeable, the beautiful, the sublime and the good). It is this that has led to today's idea of aesthetics. The second half of the Critique of Judgement discusses teleological judgement, which is the way of judging things according to its end.
Saturday, June 18, 2011
Friday, June 17, 2011
Wednesday, June 15, 2011
Locating Internets: Histories of the Internet(s) in India — Research Training and Curriculum Workshop: Call for Participation
Deadline for submission: 15th July 2011-06-08; When: 19th - 22nd August, 2011; Where: Centre for Environmental Planning and Technology (CEPT) University, Ahmedabad; Organised by: Centre for Internet and Society, Bangalore and CEPT University, Ahmedabad.
LOCATING INTERNETS is an innovative, multi-disciplinary, workshop that engages with some of the most crucial debates around Internet and Society within academic scholarship, discourse and practice in India. It explores Where, When, How and What has changed with the emergence of Internet and Digital Technologies in the country. The Internet is not a singular monolithic entity but is articulated in various forms – sometimes materially, through accessing the web; at others, through our experiences; and yet others through imaginations of policy and law. Internets have become a part of our everyday practice, from museums and archives, to school and university programmes, living rooms and public spaces, relationships and our bodily lived realities. It becomes necessary to reconfigure our existing concepts, frameworks and ideas to make sense of the rapidly digitising world around us. The Internet is no longer contained in niche disciplines or specialised everyday practices. LOCATING INTERNETS invites scholars, teachers, researchers, advanced research students and educationalists from any discipline to learn and discuss how to ask new questions and design innovative curricula in their discipline by introducing concepts and ideas from path-breaking research in India.
Comprised of training, public lectures, open discussion spaces, and hands-on curriculum building exercises, this workshop will introduce the participants to contemporary debates, help them articulate concerns and problems from their own research and practice, and build knowledge clusters to develop innovative and open curricula which can be implemented in interdisciplinary undergraduate spaces in the country. It showcases the research outputs produced by the Centre for Internet and Society’s Researchers @ Work Programme, and brings together nine researchers to talk about alternative histories, processes, and bodies of the Internets, and how they can be integrated into mainstream pedagogic practices and teaching environments.
Knowledge Clusters for the Workshop
LOCATING INTERNETS is designed innovatively to accommodate for various intellectual and practice based needs of the participants. While the aim is to introduce the participants to a wide interdisciplinary range of scholarship, we also hope to address particular disciplinary and scholarly concerns of the participants. The workshop is further divided into three knowledge clusters which help the participants to focus their energies and ideas in the course of the four days.
- Bridging the Gap: This workshop seeks to break away from the utopian public discourse of the Internets as a-historical and completely dis-attached from existing technology ecologies in the country. This knowledge cluster intends to produce frameworks that help us contextualize the contemporary internet policy, discourse and practice within larger geo-political and socio-historical flows and continuities in Modern India. The first cluster chartsdifferent pre-histories of the Internets, mapping the continuities and ruptures through philosophy of techno-science, archiving practices, and electronifcation of governments,to develop new technology-society perspectives.
- Paradigms of Practice: One of the biggest concerns about Internet studies in India and other similar developed contexts is the object oriented approach that looks largely at specific usages, access, infrastructure, etc. However, it is necessary to understand that the Internet is not merely a tool or a gadget. The growth of Internets produces systemic changes at the level of process and thought. The technologies often get appropriated for governance both by the state and the civil society, producing new processes and dissonances which need to be charted. The second cluster looks at certain contemporary processes that the digital and Internet technologies change drastically in order to recalibrate the relationship between the state, the market and the citizen.
- Feet on the Ground: The third cluster looks at contemporary practices of the Internet to understand the recent histories of movements, activism and cultural practices online. It offers an innovative way of understanding the physical objects and bodies that undergo dramatic transitions as digital technologies become pervasive, persuasive and ubiquitous. It draws upon historical discourse, every day practices and cultural performances to form new ways of formulating and articulating the shapes and forms of social and cultural structures.
Workshop Outcomes
The participants are expected to engage with issue of Internet and it various systemic processes through their own disciplinary interests. Apart from lectures and orientation sessions, the participants will actively work on their own project ideas during the period in groups and will be guided by experts. The final outcome of the workshops would be curriculum for undergraduate and graduate teaching space of various disciplines in the country.
Participation Guidelines
LOCATING INTERNETS is now accepting submissions from interested participants in the following format:
- Name:
- Institutional affiliation and title:
- Address:
- Email address:
- Phone number:
- A brief resume of work experience (max. 350 words)
- Statement of interest (max. 350 words)
- Key concerns you want to address in the Internet and Society field (max. 350 words)
- Identification with one Knowledge-cluster of the workshop and a proposal for integrating it in your research/teaching practice (max. 500 words)
- Current interface with technologies in your pedagogic practices (max. 350 words)
- Additional information or relevant hyperlinks you might want to add (Max. 10 lines)
Notes:
- Submissions will be accepted only from participants in India, as attachments in .doc, .docx or .odt formats at locatingInternets AT cis-india.
org - Submissions made beyond 15th July 2011 may not be considered for participation.
- Submissions will be scrutinized by the organisers and selected participants will be informed by the 20th July 2011, about their participation.
- Selected participants will be required to make their own travel arrangements to the workshop. A 2nd A.C. return fare will be reimbursed to the participants. Shared accommodation and selected meals will be provided at the workshop.
- A limited number of air-fare reimbursements will be available to participants in extraordinary circumstances.
Chairs: Nishant Shah, Director-Research, Centre for Internet and Society Bangalore; Pratyush Shankar, Associate Professor & Head of Undergraduate Program, Faculty of Architecture, CEPT University
Supported by: Kusuma Foundation, Hyderabad
Experts:Anja Kovacs, Arun Menon, Asha Achuthan, Ashish Rajadhykasha, Aparna Balachandran, Namita Malhotra, Nithin Manayath, Nithya Vasudevan, Pratyush Shankar, Rochelle Pinto and Zainab Bawa
See the announcement on CIS website here
Distribute and share this as widely as possible.
Thanks and Regards,
Prasad Krishna
Publication Manager
Centre for Internet and Society
prasad AT cis-india.org
Prasad Krishna
Publication Manager
Centre for Internet and Society
prasad AT cis-india.org
#194, Second 'C' cross
Domlur Second Stage
Domlur
Bangalore, 560071
Domlur Second Stage
Domlur
Bangalore, 560071
Postcolonial Literatures - Expectations from III JPE
Thank you Shradha Iyer for the write up.
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What the JPites want to learn can be broadly categorized under 3 perspectives of looking and understanding the post colonization text:
1) Political
2) Historical
3) Emotionally
How we want to lean Post-colonialism
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What the JPites want to learn can be broadly categorized under 3 perspectives of looking and understanding the post colonization text:
1) Political
- Understand the political movements and situations that existed before, during and after colonization.
- Understand the politics of both – the colonizers and the colony at a large.
- Get an in depth knowledge on how the political movements were carried on by the colonized to achieve ‘freedom’.
- How the colonizers used different techniques of politics for smoother rule over their colony.
- How political boundaries were formed and changed.
- The current political situation persisting in the countries, both of the colonizers and the colonized.
2) Historical
- Go back in time and understand every detail that made up the entire process of colonization.
- Learn not only about post-colonization, but also pre colonization and colonization for a better understanding.
- How history has influences the meaning and understanding of post colonization.
- State of affairs today that has been influenced by history.
3) Emotionally
- To understand the psyche of the colonizers.
- To understand the psyche of the colonized.
- Learn about slavery, slave trade and the emotions that were followed.
- To understand how the post colonial writers wrote and with what emotions.
How we want to lean Post-colonialism
- Self-research and reading
- Documentaries and movies
- Discussions
- PPTs
- Your regular teaching methodologies
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