Writing (And Righting) Wrongs: Feminist Art Publications: Carrie Rickey

Yukta (1124132)

Writing (And Righting) Wrongs: Feminist Art Publications

Thesis Statement: Although through the twentieth century women artists had been part of vanguard movements, in the 1970s women artists were the vanguard of vanguard.

Paragraph 1:

Topic Sentence: Imagine, if you will, a far flung network of moles, each tirelessly burrowing underneath a cultural landscape that spans from Los Angeles County Museum of Art to the Whiteny Museum in New York.

Key Word: Massive Reconfiguration of American art.

Key Ideas: Imagine- network of moles- tirelessly burrowing- unaware- history of women's achievements-anticipation of art and intellectual inquiry- result: massive reconfiguration of American art.

Paragraph 2:

Topic Sentence: The moles, of course are the many feminist artists, historians, critics, chroniclers, and theorists who, during the 1970s, created a thriving cultural network that, despite the demise of many venues and outlets, continues to influence the discourse about – not to mention the practice of – art well into 1990s.

Key Word: Feminist Art Press

Key Ideas: Moles- feminist artists, historians, critics etc of 1970s- produced great works – influenced 1990s art also – feminist art press of 1970s: one of the best predictors of American Art during 1980s

Paragraph 3 - 4:

Topic Sentence: In newsletter and reviws as different in frequency and texture as the monthly Women Artists News, the quarterly Feminist Art Journal, those quasi-quarterlies Chrysalis and Heresies, and the semiannual Woman's Art Journal, interviwes, manifestos, and questions appeared, presaging the changes in American Art.

Key Word: Presaging the changes in American Art

Key Ideas: Women began to be highlighted – questions rose by 1978 asking, 'why art history has reverses and feminine, lyrical or luxurious styles are replaced by virile, heroic and austere ones.

Paragraph 5:

Topic Sentence: From the vantage of the mid – 1990s, just the right distance if you're farsighted, it appears during the 1970s and 1980s that yes, many feminine and expressive styles of art dramatically replace the virile and impersonal austerity of Minimalism.

Key Word: Feminie and expressive style of art dramatically replace the virile and impersonal austerity of Minimalism.

Key Ideas: Mid- 1990s: appears that from 1970s and 1980s feminie style of art began replacing virile ones – Feminie style first surfacing in theory, discussion etc – feminist periodicals of 1970s.

Paragraph 6:

Topic Sentence: The monochrome of Minimalism predominated, from the works on the walls and floors to the walls and floors themselves.

Key Word: Minimalism dominated architecture.

Key Ideas: Vanguard American gallaries or museums – frequented between 1968 and 1978 -

if not frequented: need some color to evoke the period.

Paragraph 7:

Topic Sentence: Minimalism was the final stage (or do you call it the last gap?) of modernism – the belief in the tenet that art had to divest itself of anything not intrinsic to the medium.

Key Word: Evolved

Key Ideas: Minimalism - final stage of modernism – vanguard art evolved – painting: merely pigment on unstretched canvas – further elimination leads to blanks.

Paragraph 8:

Topic Sentence: Minimalism, it must be stressed, was not a men's only club.

Key Word: Not a men's - only club

Key Ideas: Minimalism – not only for men – many women also numbered.

Paragraph 9:

Topic Sentence: The feminist art press that flourished during the 1970s and beyond was not conceived as an aestheic antidote to the prevailing theory and practice of minimalism.

Key Word: Aesthetic antidote

Key Ideas: Feminist art press- 1970s – not conceieved as an aesthetic antidote to prevailing theory and practice of Minimalism – monastic backdrop of Minimalism – antiwar art actions – give rise to feminism and other movements – played out- Flatness of modernist canvases and austerity of Minimalism – brought art world politics into the highest relief.

Paragraph 10:

Topic Sentence: In her critical history of the Feminist Art Journal, Christine C. Rom perceived that the "increasingly obvious gap between the reform rhetoric of the late 60s and the reality of the traditional view of the sexes spawned the feminist artists' movement much as it had the larger American women's movement."

Key Word: Feminist artists' movement

Key Ideas: Critical history of Feminist Art Journal - Cristine C. Rom - percieved gap between rhetoric form of the late 60s and reality- traditional view spawned feminist artists' movement.

Paragraph 11:

Topic Sentence: In New York in 1969, female members of the Art Workers Coalition, appalled to learn that AWC's protests against the art establishment were waged on behalf of minority men only, splintered off from the group to found Women Artists in Revolution (WAR).

Key Word: Female abolitionists

Key Ideas: History repeats itself - debate - female abolitionists: feminists should seek the vote for black men first v/s should seek vote for all women first.

Paragraph 12:

Topic Sentence: LACWA analyzed the museum's exhibition record, which revealed that the fifty-three one - artist shows hosted by the museum; only one was dedicated to a woman, photographer Dorothea Lange.

Key Word: LACWA emerged to protest

Key Ideas: West Coast counterpart to the WAR mobilization – early 1970s – LACWA (group of feminist artists) - emerged to protest – no women artists were invited to participate – only 1/53 shows hosted was dedicated to woman.

Paragraph 13 – 14:

Topic Sentence: Each month, the WEB newsletter originated from a different city, educating its subscribers about the latest happenings, conducting a census of women faculty at major institutions, maintaining a slide registry so that curators and critics would have a visual data bank of work by women.

Key Word: First newsletter

Key Ideas: Curatorial defense: women artists are not exhibited because there are no significant women artists – WEB was conceived, gestated and birthed – women's art movement needs delegates across the country – 1^st newsletter typed – WEB bloomed – representatives in 12 states and 5 nations – each month newsletters originated from different cities – latest happenings published

Paragraph 15:

Topic Sentence: Largely as a result of these political actions and intelligence-sharing, the ususal 5% representation of women artists rises to 22% in the 1971 Whiteny Annual.

Key Word: 5% representations of women rises to 22%

Key Ideas: Political actions – intelligence sharing – 5% representations of women artists rise to 22% in 1971 - Linda Nochilin's essay "Why have there been no great women artists?", January (ARTnews).

Paragraph 16 - 17:

Topic Sentence: While there are no women equivalents for Michelangelo or Rembrandt, Delacroix or Cezanne, Picasso or Matisse, Nochilin argues, "In actuality, as we know, In the arts as in a 100other areas, things remain stultifying, oppressive and discouraging to all those – women included – who did not have a good fortune to be born white, preferably middle – class and above all, male.

Key Word: Fault lies in our institution and our education.

Key Ideas: Nochilin – white western male view points accepted as art historian – inadequate – no women equivalent to many great male artists – women : those who are not fortunate enough to be born as a male – fault: in our institution and education.

Paragraph 18:

Topic Sentence: Though many burrowed before her, Nochlin is the mother mole who displaced the most earth and who challenges other historians, artists, and critics to question their institutions of learning and their received wisdom.

Key Word: Institutionalization of inequality.

Key Ideas: Historically, women artists could not paint from the nude – institutionalization of inequality – Nochlin's essays – demand reviewing of whole of western art.

Paragraph 19:

Topic Sentence: The historical/institutional critique provided by Nochlin's essay swiftly achieved critical mass given the feminist art – world activism already sustaining the Ad Hoc Women Artists Groups, LACWA, WAR, and WEB.

Key Word: Conducted a chain reactions from coast to coast.

Key Ideas: Groups formed – groups came together – conducted chain reactions – many participants joined forces – formed Women's Caucus of the College Art Association – ideas exchanged – gave rise to publications of many provocative subjects.

Paragraph 20:

Topic Sentence: During all this intellectual and social ferment many general feminist periodicals were being founded, from the mainstream Ms. to the scholarly Signs.

Key Word: General Feminist periodicals were being founded.

Key Ideas: General feminist periodicals being founded – Journals responsive to literary and social concerns – none sensitive to the aesthetics – feminist art press broke new grounds.

Paragraph 21:

Topic Sentence: It's tempting to think of the Feminist Art movement in terms of a university and the six principal publications that surfaced as different features and courses offered there.

Key Word: Feminist Art Movement

Key Ideas: Feminist Art Movements – in terms of university – six principal publications – different features and courses offered – Feminist Art Journal – lively speaker's program spotlighting underknown women artists.

Paragraph 22 - 23:

Topic Sentence: Finally, there is the Woman's Art Journal, a postgraduate course reexamining art historical subjects from a scholar's perspective. This academy of art publications would define – not to mention alternately embrace and reject – many feminisms.

Key Word: Reexamining art historical subject.

Key Ideas: Chrysalis – interdisciplinary graduate program – exploring confluence of psychology, literature, and art – Heresies – independent study program – devoted to feminism, art and politics of single themes.

Paragraph 24 – 25:

Topic Sentence: "As in the case of many outgrowths of the women's movement, the Feminist Art Journal was a product of collective need and individual determination," wrote editor-in-chief Cindy Nemser in a 1974 edition of the Brooklyn, New York based quarterly that was published from 1972 to 1977.

Key Word: Established Feminist Art Journal

Key Ideas: 3 goals – to be voice of women artists in the world – to improve the status of all women artists – to expose sexist exploitations and discriminations.

Paragraph 26 – 27:

Topic Sentence: However well intentioned, the first two ideals would not be realized during FAJ's five years and the third would be only intermittently addressed.

Key Word: Recorded women's art movements.

Key Ideas: FAJ recorded women's art movements – necessary resource – aesthetically far flung – publication of unusually large range.

Paragraph 28 – 33:

Topic Sentence: FAJ introduced a consideration of Renaissance patroness Marie de' Medici as a tastemaker and history shaper.

Key Word: First woman commissioned by the US

Key Ideas: FAJ considered Renaissance patroness Marie de' Medici as a tastemaker and history shaper - First woman commissioned by the US – published on aesthetic and literature – emergence of women filmmakers – resurrected the careers of architects – celebrated women writers – yet trying to achieve staged goal – magazine seen as the house organ of the Nemser cult of personality

Paragraph 34 – 35:

Topic Sentence: Seigel noted that he (Rosenberg) was quick to deny that there existed art typical of women, because if it did exist it could be used both for and against women.

Key Word: Art typical of women.

Key Ideas: Seigel – 1975 lecture by art critic Harold Rosenberg – noted he'd deny there existed typical of women art – anti-semite views.

Paragraph 36 – 41:

Topic Sentence: While other feminist journals came and went, WAN proved remarkable durable and enduring.

Key Word: WAN paid attention to real politics, chronicling the women artists.

Key Ideas: WAN flourished – feminism – postmodern – History of Art – invited 3^rd world women artists – stream-of-conscious meditation – battled sex discrimination – paid attention to real politics – other feminist journals died out – WAN : remarkably durable and enduring.

Paragraph 42 – 47:

Topic Sentence: Less than a decade after women artists' movement was officially born in 1969, womanart, an exemplary Brooklyn-based quarterly founded by Ellen Lubell in 1976, devoted much of a 1977 edition to the question, "What Ever Happened to the Women Artists' Movement?

Key Word: Womanart, the spiritual daughter of FAJ

Key Ideas: 1969 – womanart founded – spiritual daughter of FAJ – essay on "Making of Modern Art" – careful balance of historical and the current – Contemorary Reinvention of Portraiture and self – portrait – printed on slick paper – also published essays by male historians and critics

Paragraph 48 – 49:

Topic Sentence: The depolarization, anomie and alienation, so much a part of men's world, are balanced in women's by intimacy and connectedness.

Key Word: Published anything that would potentially device women's artists' movement.

Womanart polled feminist artists and historians – making innovations in resisting – published the artists' meditations on recurring themes in women's art.

 

yukta

Making Space:image events in an extreme state: Johanna Drucker

Neethu Ann Jose (1124113)

Map of Johanna Drucker's essay "MAKING SPACE: IMAGE EVENTS IN AN EXTREME STATE"

Thesis Statement

In place of the act of making strange, or de-familiarization, so banalized as shock-effect tactics in the last century, Jaar's Lament shows the need for refamiliarization, an act of connection and association that takes full account of the gap between image and referent, between images and systems of belief.

Para 1:

Topic sentence: In THE LAMENT OF THE IMAGES, Alfredo Jaar confronts the stark inadequacy of photographs to register with any significant impact the image-saturated state of our current culture.

Key ideas: not simply quantity of images - but breakdown in our belief in the ability of photographic documentation to bear witness - ethical dilemma and collapse of faith - traumatic blindness - exploitative tactics of media production

Para 2:

Topic sentence: Does his crisis and subsequent recoil from this documentary work apply equally to images created within the aesthetic frame of the art?

Key ideas: aesthetic images –tasked with imagining rather than presenting - exempt from breakdown of belief?

Para 3:

Topic sentence: The belief system Jaar is questioning has deep roots in Enlightenment thought and the wellsprings of modernity.

Key ideas: aesthetic images can shock us into awareness of our stable condition- inadequacy of documentary images- can no longer show us what is – elegy for aesthetic work- imaginative images show us what might be or how we think about what is-documentary images should show version of reality-"what is"

Para 4:

Topic sentence: The demise marked by Jaar's project is the end to belief in the defamiliarizing effect that was a tenet of the historical avant- garde.

Key ideas: aesthetic images linked to making strange- real and symbolic are traumatically disjunctive- need for critical shift- refamiliarization- returns images and symbolic expression to a system of cultural and symbolic production with which they are codependent- act of recovery and connection-not innovation, novelty or shock exposure

Para 5:

Topic sentence: Jaar's poignant Lament is not a work of refamiliarization.

Key ideas: activism has become impotent- effects of image culture crushed avant-garde impulse

Para 6:

Topic sentence: Jaar's work tells us much about the larger scenes of fine art and visual culture.

Key ideas: visual communication as "a regime to be managed" vs. "business as usual"- galleries become venues for image commodities- artist's dilemma to establish brand identity- offered as works of opposition or resistance- "critique" the culture industry or "transgress" the symbolic discourses of power

Para 7:

Topic sentence: When Jaar collapses his "art" work into the general category of "images" the distinction between fine and culture industry visual production becomes difficult to maintain.

Key ideas: existential dilemma- can images matter in extreme state of current visual culture?- artist as agent of social change or magical politics- counter extreme is impossibility of efficacy in our supposedly completely virtual condition or simulacral disorder

Para 8:

Topic sentence: The current crisis of visual images is twofold- epistemological and cultural.

Key ideas: structural problem- media image is most often smokescreen- images don't show us what is- managed deception- capacity to imagine and capacity to bear witness are radically different facets of visual expression

Para 9:

Topic sentence: "Exactly repeatable images," as William Ivins famously called them, provide a consensual knowledge base.

Key ideas: visual images constitute system of belief- shared social experience- mass media are symptom not cause of extreme condition in which images circulate without accountability

Para 10:

Topic sentence: Modern fine art took its historical shape from two determining moments: the separation from mass media culture brought about in the Industrial Revolution, and the utopianism that sprang from nineteenth-century romanticism to shape the early twentieth-century avant-garde commitment to alterative discourse.

Key ideas: beliefs in art's autonomy and efficacy are not un-truths but masking ideologies

Para 11:

Topic sentence: These myths are not lies, but they are structures of belief whose basis may be obsolete.

Key ideas: autonomy, once foundation of aesthetic identity is now condition of consumption- extreme state- simulacral images and rhetoric serves to produce and sustain political administration whose terrifying power is effected through visual regimes

Para 12:

Topic sentence: Under these extreme conditions, the challenge isn't to expose an imagined "real" through its representation

Sub-topic sentence: We face a more difficult task: reconceptualizing images as events that expose the systems in which cultural forces and interests create networks of power and its simulacra.

Key ideas: power – illusions-corrupt and simulacral world- epistemological and cultural crises are intertwined

Para 13:

Topic sentence: Within received convention, we think of images as things (reified, static, material, self-evident, in- themselves).

Key ideas: de-familiarization proposed slap-in-the-face shock effect- refamiliarization asks images to show relations of complex systems to expose vectors and forces of interests, desires, and power- connected to lived experience of persons and peoples- image events emerge from systems of codependency

Para 14:

Topic sentence: Our sense that the world is broken and that we have the obligation to put it right descends through the modern era from certain tenets of romanticism.

Key ideas: refamiliarization isn't prescriptive, but richly descriptive-refamilialization as a critical approach not limited to study of contemporary works

Para 15:

Topic sentence: In her current study of images of Condoleeza Rice, Karen Finley is painting and redrawing media image photographs of the Secretary of State.

Key ideas: images not the way we know Rice- public image does not mask a knowable person- persona, representations and psychic identity bound together- assumption of de-familiarization was that the surface was false- but surface is true as well- she is imaged reality-a realized image- not surface image hiding the real- not a simulation without a reality effect

Para 16:

Topic sentence: Finley's project engages directly with the epistemological crisis of images in our culture.

Key ideas: attempt to ask how knowledge is produced, visually, across these images- what appears to be natural- exposes images as documents of relations within systems of power- visual regimes

Para 17:

Topic sentence: Rice is a paradigmatic expression of the Xtreme state, the familiar face of that smiling fascism inconspicuously announced in the disappearance of discourse.

Key ideas: habits of media have become parodic- support of imperialistic impulses - commentary passing as reasoned and reasonable narrative of unjustifiable actions- are images obsolete?

Para 18:

Topic sentence: Conceived in a human – a compromised – rather than an ideal frame, fine art registers conditions within a social scale.

Key ideas: refamiliarization is always flawed, unfinished, and partial as a process- propaganda images try to show a fixed reality- partial knowledge continually provokes reading and interpretation-rather than keep familiar things out of thought, he brings masked into a familiar scene- another kind of space to refamiliarize us with set of lived conditions

Para 19:

Topic sentence: The rhetorical force of fine art also derives from the affective impact of images and from the imaginative view that powerful works bring to awareness, not just from their conceptual strength.

Key ideas: imaginatively transformative properties of works of art distinguish them from commercial or industrial ones- "Xtreme" state capable of monumental folly- casts us daily into the shadow of possible apocalypse- purveyors of visual criticism came to believe that images circulate with no referent to the real- theory language feels bankrupt in the face of destruction-images produce their own testimonial perhaps more suspect than language

Para 20:

Topic sentence: In Longo's drawings for Sickness of Reason, the new sleep. Toxic and intoxicating, rises in archetypal mushroom cloud formations as if to glory in the climax of an atomic reaction.

Key ideas: sublime is always terrifying-sickness is not sleep- sleep is forgetting and rewarding but sickness lives with its condition, perverted and compromised

Para 21:

Topic sentence: The drawings are too perfect – indeed too perfectly historical.

Key ideas: culture has become consistent- propaganga has migrated into terror industry- language, image, media, and discourse would align with facist and totalitarian agendas to cover the tracks of repression so completely that the citizens became active in their own submission to authority that did not serve their interests

Para 22:

Topic sentence: Political theory and paranoid fictions notwithstanding, the imperative to artists remains much the same today as it was in the era in which Goya raised his graphic protest to the unimaginable cruelties of human beings: to resist the closure to which administrative reason is prone when it turns culture to its propagandist purposes.

Key ideas: reason in the service of administration is a weapon of terror- art in the service of bureaucratic culture becomes a commodity

Para 23:

Topic sentence: Adorno's arguments remain central to any project of critical epistemology, especially in the aesthetic realm.

Key ideas: the capacity of fine art to expose the systems and forces of cultural conditions and ideological production remains vital- fine art embodies capitalist mythology

Para 24:

Topic sentence: In another series of drawings of planets, Longo's rendering shows Saturn ringed with its belt of sparkling dust, catching the sun's rays on one bald face profiled against an interstellar darkness utterly unmitigated by the presence of even a single star.

Key ideas: the sheer force of aesthetic impact is vital, not trivial to, to engagements

Para 25:

Topic sentence: Making space suggests an active role for fine art events, as Alain Badiou calls them.

Key ideas: shifting from object to process- from thing to action- substitutes systems theory for critical theory and cultural studies

Para 26:

Topic sentence: Badiou says that a "passion for the real" dominated twentieth-century thought.

Key ideas: democratic materialism means there are bodies and languages; there are individuals and communities and nothing else- multiplicity- liberty- rights-considers what exists to be objects and cultures absorbed into their market dimension

Para 27:

Topic sentence: True enough, but the reductive phrase "market dimension" with its suggestion that a critique of consumption is the goal of critical thought is naïve.

Key ideas: fine art participates in mass culture- value is a codependent entity not an essence

Para 28:

Topic sentence: The work of Geoff Mcgann brings connections between fine art and image industries into focus with different effects than those of Finley or Jaar.

Key ideas: Geoff's work comes from experience in advertising industry- combined high-end production values of the industry with intriguingly near- incidental insights- point at which document and artifice meet

Para 29:

Topic sentence: The uncompromised consumable quality of the images gives them an effervescence that arouses the most repressed imagination.

Key ideas: kitsch consumerism

Para 30:

Topic sentence: But these images are all paired with photographs that document their making.

Key ideas: angel pictures are excuse for glimpses of models in the daily business of producing themselves- the goddess portraits provide a consumable product- pretending to be more when they are less than the situation from which they are extruded

Para 31:

Topic sentence: The angel pictures are the cast-off shins of the illusion machine.

Key ideas: show that documentary photos are not authentic through a simple opposition- pictures matter because of associations to situation and circumstance, the lived and embedded relations of production and product- pseudo-documentary images are deceptive

Para 32:

Topic sentence: By contrast to McGann's flirtations with commercial culture, photographer William Wylie's work is squarely within a fine arts tradition.

Key ideas: marble is treated with reverence- the material is inherently beautiful- but also because of association with great pieces of sculpture

Para 33:

Topic sentence: Wylie is not in any sense making the marble, the quarry, or the men whose color portraits accompany the black-and-white prints of the stones "strange".

Key ideas: images of potentiality- image events show art activity as a relation between various processes of labour, social and cultural relations, skills of varying kinds and degrees- circumstances are not a context or fixed system, but a set of conditions and processes.

Para 34:

Topic sentence: Aesthetic documents in their own right – large-scale, highly refined digital prints that reward repeated looking- Wylie's images are also document of what "art" is in the refamiliarized sense.

Key ideas: ideological meanings are integral to formal richness- multiplicity of meanings is inexhaustible and unstable- chain of associations

Para 35:

Topic sentence: The split between the black-and–white images of the marble blocks and the color portraits of the men introduces one kind of "space" for critical dialogue.

Key ideas: dynamic readings- pairings create their own splits and associations

Para 36:

Topic sentence: In an era where there is no order to return to, where nothing can be made stranger than the daily business of mediated imagery and experience with its fully exploitative tactics of shock and relation to the extreme state of a politics of aggression and violence, the task of a reader of ideological values is to see how we are situated within the networks that produce us as subjects.

Key ideas: aesthetic acts in modern autonomy function as things apart but the task now is to reconstruct sites and circumstances of production with the meanings the images provoke

Para 37:

Topic sentence: In conclusion, I want to mention the reflections of an art historian and critic on the condition of art and theory.

Key ideas: Xtreme state conjures an image of managed and administered culture that penetrates every aspect of society – terror industry is the public relations arm of the Xtreme state.

Para 38:

Topic sentence: No truth can be revealed under such a regime.

Key ideas: entities become events and images dissolve into circumstantial expressions- splits every notion of the real into unreconcilable set of contradictory conditions

Para 39:

Topic sentence: In that space of play, we can imagine - not "otherwise" but instead – into recognition, awareness of our place within ideological conditions.

Key ideas: The more a phenomenon appears to be natural, the more truly it is cultural

Para 40:

Topic sentence: Wylie's blocks, McGann's angels, and Finley's Condoleezza Rice images are striking examples of refamiliarization.

Key ideas: images reify illusion as well as perform it- not matter of simple concealment or deception but of ignorance

Para 41:

Topic sentence: We are far from the era of the early twentieth-century avant-garde.

Key ideas: refamiliarization- an act of connection and association that takes full account of the gap between image and referent, between images and systems of belief- can aesthetic works answer the crisis of epistemology and culture?

CIA 2

Why Google+ Is an Education Game Changer - Environment - GOOD - StumbleUpon

Why Google+ Is an Education Game Changer - Environment - GOOD - StumbleUpon

The Prophet by Khalil Gibran

Attention: I MAites


Looks like the exact I emailed has created a lot of interest in many of you and has touched some of you. Amol asked for the details of the extract. The extract is from the book The Prophet (1923) by Gibran Khalil Gibran.

You can read the pdf version by clicking here.
To download the book, click here.
To read more about Gibran from Wikipedia, click here.
To find other works of Gibran click here

Google celebrated Khalil Gibran’s Birthday with special logotype - Click here to see it

National Conference on Knowledge Dissemination through Journal Publications

Christ University is organising a three-day National Conference on Knowledge Dissemination through Journal Publications from 28 through 30 September 2011 at Christ University, Bangalore. The conference is organised to help participants understand the processes of journal publications, interact with editors and journal publishers and to give a platform to share their research in the area of research publication in journals.

Call for Papers and Presentations
Papers in the following areas are invited:
Peer review
E-publishing
Journal styles
Self-publication
Citation indexes
Creative commons
Citations and review
Open Journal System
Open access initiatives
Copyright issues in academic publishing
Interdisciplinary research and challenges of publication
Disciplinary differences in research writing and publication

Important Dates
Last date for submission of abstract   :   July 30, 2011
Communication from the Centre on selected papers  :   August  16, 2011
Last date for submission of full length paper  :   September 15, 2011
Last date for  all  registrations :   September 25, 2011

Further details may be obtained from: 

www.christuniversity.in

Email:  <cedbecATchristuniversity.in>

Mobile : 080-40129442 or 40129443

Link: http://anilpinto.blogspot.com/2011/07/national-conference-on-knowledge.html

DOWNLOAD the Conference Pre-notice Clicking Here.

.: Lacan's Four Discourses - Bruce Fink

.: Lacan's Four Discourses - Bruce Fink

News: 'The Fall of the Faculty' - Inside Higher Ed

News: 'The Fall of the Faculty' - Inside Higher Ed

MA English - Western Aesthetics Course Posts

1. MEL132 Western Aesthetics Course Plan
2. On Immanuel Kant and the Philosophy of Aesthetics
3. History of Art
4. Pre-modern, Modern and Post-modern Eras
5. MA English-Western Aesthetics CIA2 - Mapping Essays

News: Wikipedia Aims Higher - Inside Higher Ed

News: Wikipedia Aims Higher - Inside Higher Ed

The Hindu : Arts / Cinema : Ode to a guru

The Hindu : Arts / Cinema : Ode to a Guru (On Mani Kaul)

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.

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.

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).