Philosophical Aspects of Literary Objectiveness :: Philosophy Philosophical Papers

Philosophical Aspects of Literary Objectiveness purloin Gadamers hermeneutic philosophy avoids the problem of literary objectivity altogether. His ascend witnesses the general fact that an indifference towards literary objectiveness in p artistryicular, leads to a peculiar neglect of par excellence literariness as such. It seems obvious, however, that the constitutive aspects of the crisis of literary objectiveness cannot be shown to contain the underlying intention of bringing approximately this situation. At this point, whizz can identify what could probably be the near important element in a definition of literary objectiveness. In contrast to natural objectiveness and objectiveness based on mingled societal conventions, the legitimacy of a literary work is solely guaranteed by its elements being organized in accordance with the rules of literary objectiveness. Thus when the crisis of literary objectiveness intensifies, literariness will also find itself in a crisis. This cri sis detaches new, quasi-literary formations from non-homogeneous definitions of literariness. When literary objectiveness ceases, however, to be understood as a schema constituted by various objective formations aiming to correspond in one way or an new(prenominal) to the world, scientific analysis of literary objectiveness will be rendered impossible. The crisis of literary objectiveness thus brings around the crisis of the theory of literature and the philosophy of art. Gadamer explicitly argues that the scientific approach proves to be inadequate in the analysis of artistic experience. This attitude results in the matte rejection of a scientific orientation (and so in a pad indifference towards literary objectiveness), but he seems to overemphasize an otherwise re drive thesis on the non-reflexive character of artistic experience. It is the anti-mimetic and Platonic character of Gadamers aesthetic hermeneutics that determines the status of literary (artistic) objectiveness in his system of thought. What is of polar importance, however, is to point out that this aesthetics entails a fundamental reduction of the import of literary objectiveness. As soon as the essence of aesthetic object-constitution is taken to be re-cognition (plus the emanating aesthetic possibilities), the absolutely natural interest in the accredited object represented by a work of art.Undoubtedly, Gadamers fancy answers a number of questions that tend to be ignored by other theories. It is just as obvious, however, that Gadamer completes here the aesthetic devaluation of the objective domain. It is not the characteristics of the victor that constitute the image, but in effect the image turns the original into an original. Paraphrasing this claim one arrives at a near paradox not objectiveness makes a work of art possible, but a work of art lends objects their objectiveness.