Aesthetics and Universality in Perspective Revised

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Aesthetics and Universality

in Perspective

By C. Barnes Gallagher

June 22, 2010; Revised on April 12, 2013

Author of wayward LOCHES, Pirouetting Spheres, Arising Ode


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Aesthetics and Universality in Perspective 2

Table of ContentsAbstract.......................................................................................................................................................................... 3

Description ................................................................................................................................................................ 4Overview ................................................................................................................................................................... 4Introduction ............................................................................................................................................................... 4

I. Aesthetics and Universality in Perspective: Learning Outcomes .......... ........... .......... ........... .......... ........... .......... ...... 51. Recognize aesthetical and cultural qualities of literature. ........... .......... ........... .......... .......... ........... .......... ........... .. 52. Apply approaches to their reading and critical analyses of rhetorical, literary, and aesthetical issues of

numerous genres. ....................................................................................................................................................... 53. Synthesize understanding for progressive education in respect to integrated aesthetical values within cultural

contexts. ..................................................................................................................................................................... 54. Demonstrate competency in respect to literary genre, philosophic foundation, and literary form ...... .......... ........ 65. Consider and write about analytical characteristics of the psyche in terms of characterization, plot dynamics,

conflict, and aesthetic ................................................................................................................................................ 6

6. Objectively and persuasively combine the rhetorical strategies of narration, exposition, persuasion, and

description that demonstrates a command of standard English and the research, organizational, and drafting

strategies of Writing Standard 1.0 (ICAS, 2002, 70). .............................................................................................. 77. Recognize and validate the language acquisition device associated with linguistic universals and

transformational grammar. ........................................................................................................................................ 78. Demonstrate understanding of the innate knowledge of universals, linguistic experience, and

idiosyncratic, language-particular properties of a target languagethe language of the mind--from a

psycholinguistic approach (Radford, 1989, 37). ......... ........... .......... ........... .......... ........... .......... ........... .......... .......... . 79. Demonstrate an ability to critique diction and syntax to the purpose of oral communication and the impact of

words, and to analyze the technique used in media passages and to evaluate their effectiveness (ICAS, 2002,

76). ............................................................................................................................................................................. 710. Recognize instances of subconscious, conscious, unconscious, and subliminal associative thought .......... ........ 8

II. Exercises Involving the Classic Prose of Confucius ......... ........... .......... ........... .......... ........... .......... ........... .......... .... 8III. Exercises Involving the Classic Work of the Gilgamesh Epic ............... .......... ........... .......... ........... .......... ........... .. 9IV. Exercises Involving the Classic Work of Homer..... .......... ........... .......... .......... ........... .......... ........... .......... ........... .. 9V. Exercises Involving the Work of Christopher Marlow ........... .......... ........... .......... .......... ........... .......... ........... ....... 10VI. Exercises Involving the Classics of William Shakespeare ........... .......... ........... .......... .......... ........... .......... ........... 10VII. Exercises Involving the Work of Ben Jonson ......... ........... .......... ........... .......... ........... .......... ........... .......... ......... 11IIX. Exercises Involving the Work of James Joyce .......... ........... .......... .......... ........... .......... ........... .......... ........... ....... 11IX. Exercises Involving the Work of Dylan Thomas............... ........... .......... .......... ........... .......... ........... .......... ........... 11References ................................................................................................................................................................... 13Appendix A: Literary Terms ....................................................................................................................................... 14Appendix B: Syntactic Terms Essential to Universal Grammar .......... ........... .......... ........... .......... ........... .......... ......... 14Appendix C: Syntax Review ....................................................................................................................................... 14

1. Expletive Patterns ................................................................................................................................................ 142. Parallelism ........................................................................................................................................................... 15

Appendix D ................................................................................................................................................................. 16


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Abstract

Aesthetics directly correspond with the study of ethical values, progressive philosophicalvalues between cultures, and developmental foundations of grammar. Involving truth, beauty,

symmetry, and ethical values that continue to merge across cultures, aesthetical qualitiesinfluence semantics at all levels as specific groups of languages evolve and coalesce into a

coherent universal communicative system. Through an introduction to literary aesthetics, the

perceptive learner will realize that words have evoked progressive and even contradictorymeanings since their origin; and that linguistic and aesthetic components are integrated into the

theories and ongoing history of all academic subjects. Of foremost importance, they become

conscious of the need to select words with great care.


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Accumulative perceptions as introduced by Hume refer to the impressions of physical influences,

the perceptions which relate to the concept of universal form that is independent of specific

material qualities. Language and images that evoke perception and that goad the senses relate toaesthetics, because aesthetics cannot prefer one culture over another for causes that reflect

unsound or inhumane judgment, discrimination that contradicts conditioned values and

preferencesaesthetics is oriented not about the physical but about the conditioning of culturalimpression. In fact, aesthetics nurtures compassion through constructivist impressions andinsight rather than through the physical form alone.

4. Demonstrate competency in respect to literary genre, philosophic foundation, and

literary form.

Chinese aesthetics include impressions to diverse influential reactions: To Confucius, thehumanities of musical and poetic literature expanded etiquette, the li of humanity; to Mozi,

musical and artistic literature were classist and harmful to common people. Associated with the

Yin and Yang, concepts of virtue, and the defined family-role in government, all of which

influence literary genre, philosophic foundation, and literary form, Confucianism and the Choudynasty impress us even today. Indian aesthetics include kavya, which can refer to procedures,

symbols, detailed spiritual states, and rasa aesthetics, the universal bliss of the self. These are

concepts that contribute to our understanding of aesthetics and universality.

5. Consider and write about analytical characteristics of the psyche in terms of

characterization, plot dynamics, conflict, and aesthetic.

Reflecting on cultural distinctions within the multicultural domains of the internet, one

may note unique aesthetic variables across specific contexts that for thousands of years have

remained the same, aesthetic variables that, through transparent interest and communication, are

becoming subjective and universal. Accumulative perceptions as introduced by Hume refer to

the impressions of physical influences, the perceptions which relate to the concept of universalform that is independent of specific material qualities. Language and images that evoke

perception and that goad the senses relate to aesthetics because aesthetics cannot prefer oneculture over another for causes that reflect unsound or inhumane judgment which contradicts

conditioned values and preferencesaesthetics is oriented not about the physical but about the

conditioning of cultural impression. In fact, aesthetics nurtures compassion through

constructivist impressions and insight rather than through the physical form alone. For example,the Chinese did for many years attribute very small feet as a feminine quality while other

cultures have regarded voluptuousness as a sign of femininity. Some cultures advocate for

effective diplomatic relations and peace-keeping while others through history advocate forhighest military competencies. Some cultures emphasize the value of purity and compassion;

others, fire and the dragon. These cultural dimensions and affects are integrated with the learningof learner, attributes that the progressive teaching philosophy continues to refine through

aesthetics, a subject that universal language and philosophy involvethe scope of my project.


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The deep structure of sentences is defined by the standard theory that Radford and

Chomsky refer to as generative grammar. English existential statements include there is. In

Spanish, one will note Hay; in French, Il y a, and in German, forms of haber preceded by apronoun or proper noun. When the existential form is overused, the impact of words and of

meaning becomes hazy if not lost altogether (See Appendix B, Appendix C).

10. Recognize instances of subconscious, conscious, unconscious, and subliminal associative

thought.

Conditioning begins while an individual is an infant, and the process is most complex by

the time an individual becomes an adult; however, some adults are more objective than others,

and some are able to substantiate their aptitudes and their open-mindedness as they are able to

control their environment and the expectations imposed by authoritative figures. Some parents,one must bear in mind, are more universally minded and objective than other parents. For more

information regarding this subject, please refer to Steven Paglieranis coverage (Paglierani,

2005).

The succeeding exercises involve concepts that have influenced aesthetical values andprinciples of universality since not only the ancients but now.

II. Exercises Involving the Classic Prose of Confucius

Acquainted with literary terms, aesthetical qualities, and linguistic components, the

individual will consider and meaningfully respond to simple exercises in respect to a review of

Confucius and related teachings that align with Benjamin Bloom's Revised Taxonomy PyramidTable, "the six levels of the Cognitive Process" (Forehand, 2005) para. 12). Remember that, with

its origin in the Chou dynasty (1027-256 B.C.), Confucianism is a teaching and official Chinese

creed that recognizes Confucius (551?-479 B.C.) as an exemplary writer. Although many of his

works have vanished, he remains a universal model whose name does call to our attention his

work as an Imperial University and as an evaluating system by which governmental employeesdo maintain its powerful influence. Distinct from Buddhism and Taoism that one may understand

through its important relationship withjen (humanity), its reverence for ancient sages, moralinstruction, personal virtue within government, and its holistic rational philosophy,

Confucianism has influenced universal aesthetics, philosophy, and social domains. The first set

of learning exercises should encourage the adult learner to continue to develop original responses

about Confucius work in respect to the example provided in Appendix D:

Remember--Describe the environment or place in which the literary or artistic worktakes place: An example of a relevant response may include reference to Confucius as a

focus on the domain of a sage (the wise), the distinct recognized role of family and socialrelationships, the Yin and Yang theory, or neo-Confucianisma metaphysical system

that also influenced Japan.

Understand--Summarize the meaning, moral lesson, intention, and figurative speech(rhetoric, aesthetics, and universality) of the writer or artist: An example of a relevant

response may include reference to Confucius contemplation of wisdom and justice interms of government.

Apply--Derive a theory as to why the writer or artist addressed the meaning or morallesson of a work: An example of a relevant response may include reference to Confucius


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admonishing of everyone who reads or hears his work to consider the rights and needs of

others.

Analyze--Differentiate between the main scene or dynamics and the way you wouldconstruct the main scene or dynamics: An example of a relevant response may includereference to a current civil case such as that of Oscar Grant so as to compel, in parallel to

Confucius, the sympathy and compassion from the reader or audience required toadvocate for wisdom and for the wise jurisdiction of government.

Evaluate--Assess whether or not the meaning or moral lesson is completely achievedhow it may be practical and attainable or idealistic, visionary, and explorative: An

example of a relevant response may include reference to a further uncontrolled act of

injustice that does compel concern to focus on wisdom and government as per themessage of Confucius work.

Create: Compose lyrics, dramatic prose, or a poem to convey the same meaning ormoral lesson in a new structured form. An example of a relevant response may include

the sharing of a newly written poem or song that includes Confucian qualities.

III. Exercises Involving the Classic Work of the Gilgamesh Epic

A major literary work inscribed into tablets during about 2000 B.C., those Assyrian

hieroglyphs that were originally preserved in clay tablets were discovered in the library of Assur-Bani-Pal between 668-626 B.C. as noted in the link provided to the Epic in the References

Section (Assyrian International News Agency, n.d.). An example of a relevant response about

the Epic may include the (1)remembering of the Sumerian King, a mortal seeking immortality,subjects of mythology. One may (2) understand and (3) apply the need to escape a disaster with

the relevant reference to another flood, national disaster, or major accident by living in

spacecraft. One may (4) analyze the dynamics with a relevant response pertaining to the

relationship of viability and sustainability. An example of a relevant (5) evaluation of the epiccould include a reference to a figure such as Ponce de Leon who sought the fountain of youth.

An example of a relevant analogy, or fictitious or original story could serve as a learning (6)creation about mortal struggle in quest of eternal dimensions, a concept of universal proportionsand aesthetic significance.

IV. Exercises Involving the Classic Work of Homer

Although The Battle of the Frogs and Mice, theHomeric Hymns, and some of theEpic

Cycle works are accredited by contemporary scholars to Homer (900-800 B.C.), one may provide

a relevant response to the recollection of Homers work by(1) remembering these works asoriginal legends that some Unitarians believe are compilations of several transcribers. One may

relevantly learn also by (2) understanding that the Trojan War of theIliadand the Odyssey

occurred over 400 years, and that collections of history, folk stories, and legends of the literary

works were maintained by rhapsodes and bards for many generations (Fox, 2006). Furtherunderstanding is important regarding the rebuttals over theIlliadas a work that represents the

style indicative of only one intelligence source. To (3) apply this dramatic history, one may

consider the analytic school and arrange for consideration a practical verse for recitation, (4)

analyzing the relevancy to contemporary and progressive events and issues in respect to

diplomatic relations, justice, health, industry, and commerce. One may (5) evaluate the work


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with a relevant response about the affect of the work through responses and commentary of the

audience, (6) creating important notes about flashback, parallel dynamic lines, and analysis as

components of the writing portfolio that enhance the learning, instructional, and assessmentcycles. These exercises involve concepts that have influenced aesthetical values and principles of

universality since the ancients.

V. Exercises Involving the Work of Christopher Marlow

Visionary colossal creatures that defy every convention, and that only the minde may

move, the characters and concepts of Christopher Marlowe (1564-1593) evoke the classical

mythological muse. His immortal invocations are effected by Circes wand, and the nectar ofthe Roman god Jove (short for Jupiter, the god of light, sky, wea ther, the state, welfare, and

laws) (University of Oxford, 1999, 73-74). Marlowe animated the conventionally Elizabethan

academic tragedy even before Shakespeare. Examples of relevant (1) remembering of Marlowe

include the evoking of or reference to The Tragical History of Dr. Faustus, the visceral stoictimes of Seneca (4-65: Roman statesman, dramatist, and philosopher), and the mortal combat of

the times of emperors, Persian Xerxes, Caesars, Holy Wars, and Viking-Pirate conquests. To (2)

understand Marlowe is to ponder the fiercest consequences of mere fantasy that can compel anemperor to order war and unjust execution, paralyzing tribulations that impressed the original

Renaissance drama for which Marlowe is accredited. Immortal beauty and passion that one may

(3) apply as a reference to the immortality, powerful eternal sovereignty that may be (4)

analyzed as a search for universal wholeness and eternal consciousness, the exploration for

justice and longevity. As one (5) evaluates Marlowe, one can sense his rapport with Shakespeare

and Thomas Nashe (1567-1601) over superhuman powers of several mutually functional

characters rather than of one main character. To create (6) a drama or another literary work withthe magnificent compassion of Marlowe is to recall moments like those of Leander whose

quivering breastbreathless spoke something, and sighed out the rest (University of Oxford,

1999, 74).

VI. Exercises Involving the Classics of William Shakespeare

Envisioning and debating ethereal dimensions and downfalls through the Elizabethan

and early Jacobean perspective, literary conceits (fanciful or startling analogies), perception,sensuality, and expressions of William Shakespeare (1564-1616) remains a profound literary

influence. One might (1) remember him for his references to the Ides of March and Epiphanies,

for example, inMacBeth and Twelfth Night, respectively. To understand (2) the Renaissance

contemplation and celebration of the pardonable or condemned psyche, one might shareShakespeares poemThe Phoenix and the Turtle, for example (University of Oxford, 1999, p.

78-81). Why does he refer to a bird that is resolved but to ashes? This (3) application of

Renaissance tradition may encourage one to (4) analyze the Elizabethan psyche that bearsevery foule tyrant wing [to] save the Eagle feathred King so strict (University of Oxford,1999, p. 79) in terms of dramatic oppression in need of philanthropic assistance. As one (5)evaluates the Renaissance nature through Shakespeare, one may detect an anathema for the

conflicts of the common individual suffering hardship imposed by monarchial or sovereignforces. One may (6) create important artifact notes, analogies, and new work in reference to

Shakespeares orientation about universal concepts.


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VII. Exercises Involving the Work of Ben Jonson

To (1) remember Ben Jonson (1573-1637) is to recall the consequences of massive

barbarism and bloodshed recalled by the stage, the masque, fervent praise, poetry, lyricism, andthe encomium. To (2) understandJonsons masque, one must envision the pantomimes,

dances, costumes, and theatrical masks that thespians and playwrights might port to royal courts

so as to garnish support, dress styles and performances that one may a (3) apply in a practicalskit before an audience or classroom. To (4) analyzeJonsons work, one must consider the

masques golden age, a quest for lyrical grace and sumptuous royal splendor, in addition to the

interlude which in the comic antimasque parodied the predominant plot in mesmerizing yet

taunting words. For example: Deaths selfe is sorrywhen Fates turnd cruell; Yet three filldZodiackes work had he beeneThe stages jewell (University of Oxford, 1999). An (5)evaluation of Jonson reveals his study and following of Seneca, a penchant for the adamant

passion for the extension of drama even since Marlowe and Seneca, the adamant need for a

supportive audience. To JonsonsMemory of my beloved Master William, one is profoundlyimpressed by the superhuman mind that is as he terms, the soul of the age. Jonsons encomium

to Shakespeare is most striking. To Jonson, not even Chaucer, Spenser, or Beaumont can match

Shakespeares outstanding dedication as a playwright and poet. To (6) create notes about lastingwords such as Jonsons can truly be an asset to the writers portfolio. Shakespeare as a

monument ever living without a tomb that can shake forever the stagemore so than Latin or

Greek, thundring Aeschylus, Euripides, Sophocles, Pacuvius, Acciusprofoundest minds areimmortal (Shakespeare, 1991, xiv-xivi).

IIX. Exercises Involving the Work of James Joyce

To remember(1) James Joyce, one must ponder the revolutionary and innovatingliterary style, such as thestream of consciousness. To (2) understand this concept, one might

consider William James who coined the term in hisPrinciples of Psychology (1890) to describe

the inner flow of experience. To (3) apply the description to Joyce about the psychologicalprocess of thought and sensations that flow through a persona for no rational cause, one may

analyze the conception and consciousness of a character such as Stephen Hero. As Joyce had

adapted the interior monologue through published French works, he influenced other twentieth

century authors such as Virginia Wolfe and William Faulkner who also enabled thought andimpressions of characters to flow as from a well through spontaneous sometimes immature

syntax. One may (4) analyze this style for inherent supernatural powers. Such a propensity to

search thepsyche certainly must reflect the authors quest for universality in the terms of aninherent consciousness or immortal dimension is a subject that one might (5) evaluate through

the authors biography. Joyces aesthetics includes a balance between his discontent with Irish

nationality and with Jesuit Catholicism in an ironic manner. The author expresses an adventurous

yearning for the innovative evocation of insight, the sudden spiritual manifestation (epiphany)of The Portrait of the Artist as a Young Man and an original version of the classic Ulysses. One

might create (6) a work in this style to add to ones writing portfolio.

IX. Exercises Involving the Work of Dylan Thomas

As concerns regarding aesthetics that are culturally and ethically influenced and that must

coalesce fairly to form the perspectives of that which constitutes beauty (for example, symmetry


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versus asymmetry; landscape versus gardening preferences; masculine versus feminine

preferences, etc.), aesthetics influence literature, art, philosophy, and psychology. Aesthetical

values about incongruous effects also influence art, literature, film, and theatre through unnaturalcombinations and juxtapositions, all which we consider in respect to Dylan Thomas (1914-1953).

Values that compel the ideals, principles, or practice of creating fantastic or asymmetric imagery

are also associated with the aesthetics, therefore, that one may (1) remember in respect toThomas.Influenced by Gerard Manley Hopkins (1844-1889), Thomas surrealist lyrical qualities

evoke a supernatural world that encompasses and imbues the perceptive atmosphere of his work.

As one (2) understandsthe force that through the green fuse compels and gives physical formthat also rescinds, one can also sense another realm that drives the water through the rocks and

also his bloodthat drives the mouthing streams, turning his blood to wax (University of

Oxford, 1999, 621). One might (3) apply the powerful surrealist light and power of Thomas to

visual images such as a painting of Salvador Dali (1904-1989) or the sudden flash of lightthrough a window that persists as an extended metaphor, the limit of the globes, as daylights

the bonewhen logics die (University of Oxford, 1999, 622). As one (4) analyzesThomas

powerful light, one may detect that Thomas does not believe that life must succumb to thephysical world, a value system expressed even in his titles alone, such as And death shall have

no dominion. As one (5) evaluates the imagery and surrealism of Thomas, one detects his use

of religious but analytical qualities that are psychoanalytic as per the definition and practice set

forth by Sigmund Freud (1856-1939). Pondering Thomas Do not go gentle into that goodnight, one might create (6) a sketch of a shepherd and a staff, or a sketch or description of a star

overhead beaming effulgence where only darkness should be. These are further concepts that

comprise our understanding of aesthetics and universalitybeauty from a light of another oreternal world; one culture, social, or individual group seeking and fulfilling a mission for victory,

success, or amnesty.


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sentence, for example, and utilizes the conjunction and, one could complete the sentences in only

three ways:

John bit the cat and the dog. (parallel direct objects).John bit the cat and kicked the dog. (parallel verb phrases)

John bit the cat, and Mary kicked the dog. (parallel sentences)

Appendix D

In reference Confucius work as translated by Ezra Pound, the title included in theReferences Section is published by New Directions Publishing Company (NDPC,

1964, pp. 6-8)Baroness Mu impeded in her wish to help famine victims in WeiI wanted to harness and go

Share woe in Wei

I would have made Tsao my first halt,

It was never my fault

That a deputy went to my brotherAcross grass and water

Could he carry my grief?Without your visa I could not go,

I cannot honour your act

Nor retract.

My sympathy was real, yours the offenceIf I cannot carry my condolence,

Wrongly you wrought.

If I cannot stifle my thoughtI climb the cornered hill seeking hearts ease

If sorrow be real, let heart with sorrows loadGo its sole road

(without your visa, does honour requite it so?!Nor was my thought wrong in this

You would not approve.

I cannot take home my condolence,If thus wrongly you wrought

The H crowds vulgar cry

Sounds out presumptuouslyI wanted to go to the plains

Where the thick grain is.

I would have asked aid of great statesTheir kings and great potentates;Some would deny, some do their most,

But I would have had no blame.

All your hundred plans come to naught,

None matched my thought

Qufu (from Confucius, 2010, 1)Where Confucius


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Lived and died -

Study, not worship.

In the quiet woodsA crane resides -

Cypress, pine and flower.

A sage lived here onceAnd lives here still -Wise words and rectitude.

Known as poet, too,

He balanced infinitudes -Joining heaven and earth.

Seven-five generations ago

And now a muddy town -

Tempe, gate and home.Worlds away

The heart flies true -

The right angle of virtue

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Aesthetics and Universality in Perspective Revised