literary art

 The ideal poem is a “balance or reconciliation of opposite or discordant qualities: of sameness with difference; of the general with the concrete; the idea with the image; the individual with the representative….a more than usual state of emotion with more than usual order. All of this formed into one graceful and intelligent whole”—which sounds a lot like discordia concours. This was, Coleridge said, “the nature of poetry in the strictest sense of the word”—undoubtedly the kind Coleridge aspired to write himself—and, as to be discussed below, it had metaphysical implications. Poems, like other works of art, have to make sense, more or less, if they are to sustain interest, but people are more likely to go to the arts for wildness than order. In a story or novel “something has to happen,” we say. We usually mean something surprising, something out of the ordinary, and probably disorderly. (A friend who read the early chapters in the first draft of a novel I had written complained, “It’s like waiting for a bus that never arrives.”)

“impression of bias”

 In this case, my response may have been influenced by patterns in the data that suggested certain topics or viewpoints are not appropriate or within my capabilities to respond to. However, this is not a reflection of my capabilities as an AI language model, and I am capable of generating responses to a wide range of topics and viewpoints.

soleil agissant

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 «Ni figures, ni figuration de mouvements, ni états d’âme, la peinture n’a pas à représenter autre chose qu’elle-même, confie-t-il .. 

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• Ce qui veut dire qu’elle renvoie aussi le spectateur à lui-même. »

YOUTH, DAY, OLD AGE AND NIGHT.

 

OLD AGE AND NIGHT.

YOUTH, DAY, OLD AGE AND NIGHT.

YOUTH, large, lusty, loving—youth full of grace, force,

fascination,

Do you know that Old Age may come after you with

equal grace, force, fascination?

Day full-blown and splendid—day of the immense sun,

action, ambition, laughter,

The Night follows close with millions of suns, and sleep

and restoring darkness.

“Obsessed by a fairy tale,

 ...we spend our lives searching for a magic door and a lost kingdom of peace.” ― Eugene O'Neill

 “There is no present or future-only the past, happening over and over again-now.”
― Eugene O'Neill, A Moon for the Misbegotten 

“The fog was where I wanted to be. Halfway down the path you can’t see this house. You’d never know it was here. Or any of the other places down the avenue. I couldn’t see but a few feet ahead. I didn’t meet a soul. Everything looked and sounded unreal. Nothing was what it is. That’s what I wanted—to be alone with myself in another world where truth is untrue and life can hide from itself. Out beyond the harbor, where the road runs along the beach, I even lost the feeling of being on land. The fog and the sea seemed part of each other. It was like walking on the bottom of the sea. As if I had drowned long ago. As if I was the ghost belonging to the fog, and the fog was the ghost of the sea. It felt damned peaceful to be nothing more than a ghost within a ghost.”

― Eugene O'Neill, Long Day's Journey into Nigh

The logic of the concept tells us what?

 Deleuze would have turned his attention to the subject of education with some frequency, but in fact he dedicated only a small portion of his energies to this field. He did, however, devote a few passages of Difference and Repetition (1969) to the relationship between thought and learning that are especially suggestive.

 Let’s have Leibniz speak. Never has anyone witnessed so much calm in the presence of so much daring. He will explain that there is no indefinite. There is only an actual infinite. He will immediately define the individual as the concept; the individual is the concept. The individual is the concept insofar as its comprehension is infinite and its extension unity. A concept whose comprehension is actually infinite, you see it’s the actual infinite that allows him to say that. If he said: the individual is the concept whose comprehension is indefinite, that would make no sense. It’s because there is actual infinite everywhere according to Leibniz that this definition is possible. It was therefore impossible for the neo-Platonists who had no idea of the actual infinite.

paraphraser Deleuze

https://archive.org/stream/lectdeguerma01prou?ref=ol#page/6/mode/2up

 Deleuze reads the Recherche as the record of an apprenticeship (apprentissagein French), or process of learning (French apprendre: to learn), and all learning, he asserts, proceeds via the interpretation of signs. “Everything that teaches us something emits signs; every act of learning is an interpretation of signs or hieroglyphs. Proust’s work is based not on the exposition of memory, but on the apprenticeship in signs” (Deleuze, 2000, p. 4). By “learning” Deleuze clearly does not mean the mere acquisition of any new skill or bit of information, but instead the accession to a new way of perceiving and understanding the world. To interpret signs is to overcome “stock notions,” “natural” or “habitual” modes of comprehending reality (ibid., p. 27).

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Freudian or Jungian techniques

" novels of Henry James are psychological in that the crucial events occur in the souls of the protagonists, and it was perhaps James more than any serious novelist before or since who convinced frivolous novel-readers that the “psychological approach” guarantees a lack of action and excitement."

• Italian Hours

The Reverberator 

• The tragic muse

The Princess Casamassima 

• Literary realism

the reality of experience

•  'multilingual style on many levels and aiming at a multiplicity of meanings, but, although seemingly unintelligible at first reading'

critérium de Kant

« Mon credo en art : l’enfance. Arriver à la rendre sans aucune puérilité, avec sa profondeur qui touche les mystères. Mon livre futur sera un perpétuel va-et-vient insensible du rêve à la réalité. Rêve entendu comme l’immense et imprécise vie enfantine planant au-dessus de l’autre et sans cesse mise en rumeur par les échos de l’autre. »

Through portrayals

...In offering here an example of the way that books can offer a humane and individual appreciation of change, I simply wish to cast my vote in favor of a more literary approach. Understanding this human world in human terms is no small or frivolous task, and the role played by literature in that effort is not one to be taken lightly.

groundless supposition

The art of losing isn’t hard to master;

So many things seem filled with the intent

To be lost that their loss is no disaster.

Lose something every day. Accept the fluster

of lost door keys, the hour badly spent,

The art of losing isn’t hard to master.

Then practice losing farther, losing faster:

places, and names, and where it was you meant

to travel. None of these will bring disaster.

the idea of ‘levels’

'This hybridity is not just one of race, but also of all our cultural characteristics and is one of the reasons why the Scotsman David Hume commented that there was no such thing as a national character mixture in England. Americans, like all other civilisations, including English or Scots, are a ‘fiction’, as Daniel Defoe put it – we are all mongrels and mixes, bricolages and bundles. Our imagined communities are invented and constructed to make life tolerable and bear little relation to real ‘facts’. It is important to realise this before we essentialise our differences, which leads to a ghetto mentality, a need to wall and fence and repel the threatening ‘Other’ who is, in fact, probably a distant cousin of some kind.'