By J.J.A. Mooij
This publication is a research of the function of the mind's eye. It makes a speciality of the inventive use of language in literature (poetry and narrative prose); however it additionally touches on a few extra complete concerns, for the questions it discusses are questions concerning the dating among brain, truth and unreality. the 1st chapters survey the puzzling over the mind's eye within the background of philosophy. the most traits and the most difficulties are mentioned, rather in recognize of the (positive or adverse) evaluate of mind's eye. the next chapters examine the position of the mind's eye from a more in-depth viewpoint. How is it that mind's eye seems to be in literary artwork? imperative subject matters of debate are the character of narrativity, of fictional discourse and fictional gadgets, of practical fiction, of symbolism and metaphor. additionally, the similarities (both actual and imagined) among literature and the opposite arts are explored. In all chapters cognizance is paid to the matter of the price of paintings and literary mind's eye. The final bankruptcy addresses this factor head-on. particularly, it makes an attempt to outline the worth of literature when it comes to technological know-how.
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Extra info for Fictional Realities: The uses of literary imagination
These are mainly to be found in some of his letters written 1850, XIV, 189-192). : II, 438-439. 9 Cf. his remark that man is "pre-eminently, an imaginative being" (Shelley, Speculations on Metaphysics, Shawcross 1909: 69). 10 A Defence of Poetry, Shawcross 1909: 121, 152, 155. Romantic Themes and Later Developments 39 during the autumn of 1817. 11 However, this could not even then, nor later, be his whole truth. For it seems that Keats always kept some doubts as to the absolute reliability and fundamental goodness of the imagination.
10 Some years before Shelley wrote A Defence of Poetry, Keats, too, had expressed strong and serious claims on behalf of the imagination. These are mainly to be found in some of his letters written 1850, XIV, 189-192). : II, 438-439. 9 Cf. his remark that man is "pre-eminently, an imaginative being" (Shelley, Speculations on Metaphysics, Shawcross 1909: 69). 10 A Defence of Poetry, Shawcross 1909: 121, 152, 155. Romantic Themes and Later Developments 39 during the autumn of 1817. 11 However, this could not even then, nor later, be his whole truth.
Occasionally it was already mentioned in connection with creativity. Indeed, creation by the imagination is mostly believed to be a kind of synthesis between opposing tendencies or entities. This is evident from the metaphysical as well as from the aesthetic and the critical positions. One may recall the views of Kant, Fichte, Schelling, Coleridge, Wordsworth, etc. Nonetheless, the notion of the synthetic power of the imagination also deserves to be considered in its own right, since it sometimes 12 See 11 above.