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Art as Dialogue...
Art as Dialogue
Essays in Phenomenology of Aesthetic Experience by: Goutam BiswasThe original work presents a totally new methodology for understanding the concept of aesthetic experience through the medium of dialogue a dialogue between the subject and object, I and Thou.
₹180.00
ISBN: 9788124600436
Year Of Publication: 1995
Edition: 1st
Pages : xv, 155
Bibliographic Details : Index
Language : English
Binding : Hardcover
Publisher: D.K. Printworld Pvt. Ltd.
Size: 23 cm.
Weight: 400
This refreshingly original work presents a totally new methodology for understanding the concept of aesthetic experience. The traditional model of explaining this experience through the dichotomy of the creator, beholder or critic on the one hand, and the object of art, on the other is challenged and replaced by the new model which the author prefers to call dialogue a dialogue between the subject and the object, I and Thou. The epistemological and ontological methods which rely heavily on the bifurcation of the subject and the object fails to reveal the true nature of the experiential whole that forms the real core of aesthetic experience. The authors innovative methodology holds the promise for transcending the bounds of all such limitations and distinctions. Most significantly, the conception of art as dialogue is stipulated to work not as a means, but as an end, i.e., the consummation of art-experience itself. In this scheme the principle of relationship, not the substance, constitutes the reality of aesthetic experience and the model allows one to encompass within its scope the pre-linguistic, linguistic and trans-linguistic phases of the relationship between the man and the art. Dr. Biswas long training in Phenomenology and Existentialism makes his study of Martin Buber and Michael Polanyi lucid and stimulating. And his immense interest in Modern Indian Philosophy results in a superb analysis of Tagores and Radhakrishnans aesthetic approach
Foreword
Acknowledgements
1. Introduction
2. The Phenomenology of Aesthetic Experience: A Dialogical Perspective
3. Martin Bubers Concept of Art as Dialogue
4. Michael Polanyis Aesthetics: A Phenomenological Study
A Critique of Objectivism
Subsidiary Awareness and Focal Awareness
The Tacit Dimension of Knowledge
5. Personal Man and Aesthetic Truth: A Dialogical View of Rabindranath Tagores Philosophy of Art
6. Artistic Knowledge: Sarvepalli Radhakrishnans Phenomenology of Art
Index
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Sale!Asian Aesthetic Theories and Art Forms ₹3,420.00
The centuries-old exchange of ideas, knowledge systems, resources, skills and materials among the people of the Asian continent left a lasting legacy in various spheres of human experience. This was a dialogue that involved rich exchange of religious, literary, aesthetic and artistic ideas and forms across the regions of Asia. The general impressions of an art, which is spiritual and magical in character, highly charged with literary myths and legends, and presented through a seemingly improvised styles in various art forms, provide us with a clue of an understanding of the fundamental foundations of the arts in Asia.
This volume contains the papers of the panel on ‘Asian Aesthetic Theories and Art Forms’ in first two sections. This panel was a part of the international conference on “Asian Encounters: Networks of Cultural Interaction” held in New Delhi. The volume reaffirms that the Indian theory of art as a creative process and creative expression is broadly true for entire Asian theory of art and aesthetics and it opens up a pan-Asian theory of art and aesthetics.
‘Representation of Asian Art in Asian Museums’ was another panel of the conference. The volume contains three papers from that panel also and the transcript of the dialogue held on ‘Cross Cultural Frontiers in the Study of the Past’. -
Sale!Hindustani Sangeet and a Philosopher of Art ₹765.00
The book is decidedly the very first of its kind. It seeks to weigh some basic facts and concepts of Hindustani sangeet (music, rhythm, and Kathak dance) against the art theories of Susanne K. Langer, an eminent aesthetician of the recent past; but nowhere without meticulous attention to the text of her writings. The expression theory of art has for long dominated the history of aesthetics. At the hands of Langer, however, the theory takes a new turn. She conceives of art not as a direct self-expression of the artist’s immediate affective state, but as a symbolic expression of his knowledge of what she terms variously as felt life, sentience, or forms of feeling. Drawing freely upon examples from the region of Hindustani sangeet, the present book accepts Langer’s protest against the popular view of artistic expression, but contends that there is a good deal in our music and dance which has nothing to do with feeling, and is admired simply because of its sweetness, clarity, shapeliness, and accordance with grammatical norms. In the chapter on music, while discussing Langer’s emphasis on commanding form in a total performance, the author proposes a quite new definition of raga which seeks to integrate the various points in its traditional characterizations. The third chapter too, which deals with Langer’s view of rhythm, is not merely explanatory, but ventures to propose a fresh and fairly defensible definition of rhythm. The closing chapter, devoted to dance, not only essays to meet some key objections to Langer’s writing on this art, but clarifies some atypical language that she uses in this context: apparition of vital powers; the dynamic image; virtual realities; and the created, superhuman dance-personality. But perhaps the two most striking features of the book are: first, a lucid exposition of the essentials of Langer’s aesthetics in the opening chapter; and, second, abounding illustrative references to Hindustani sangeet.
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Sale!The Principal Ragas of Indian Music (भारतीय संगीत में आश्रय राग) ₹765.00
Music has been the subject of study in India since Vedic period. Various ragas are the life of Indian music. ‘Thaat’ is the method of dividing ragas in Hindustani classical music. The main raga of each ‘Thaat’ is called the ‘Ashraya’ raga and other ragas are ‘Ashrita’ ragas. Extracting from the texts written by Pt. Vishnu Narayana Bhatkhande, Pt. Narayana Moreshwar Khare and other well-known musicians, this book is an attempt to make the readers aware of the ‘Ashraya’ ragas. Through this book, Shobha Singh has very clearly presented the concept of Ashraya’ raga and its significance. The language of this book is simple and easy to comprehend. भारत में संगीत वैदिक काल से ही अध्ययन का विषय रहा है। विभिन्न राग भारतीय संगीत की जान हैं। थाट (अथवा ठाट) हिंदुस्तानी शास्त्रीय संगीत में रागों के विभाजन की पद्धति है। प्रत्येक थाट के प्रमुख राग को आश्रय राग एवं अन्य रागों को आश्रित राग कहा जाता है। पं. विष्णु नारायण भातखण्डे, पं. नारायण मोरेश्वर खरे एवं अन्य जाने-माने संगीतज्ञों द्वारा लिखित ग्रंथों को निचोड़ते हुए, यह पुस्तक पाठकों को आश्रय रागों के बारे में अवगत कराने का प्रयास है। इस पुस्तक के माध्यम से शोभा सिंह ने आश्रय राग की अवधारणा और उसे महत्व को बहुत ही स्पष्ट रूप से प्रस्तुत किया है। इस पुस्तक की भाषा सरल एवं पठनीय है।
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Sale!Hindustani Music and the Aesthetic Concept of Form ₹720.00
With its roots in the Samaveda (which treats it as a divine art), music in India has a long, splendid tradition. Over the centuries, it has absorbed fresh influences and experimented with new forms to finally evolve into two meticulously codified classical systems: Hindustani and Carnatic. In todays growing library of writings on Hindustani music, Anjali Mittals research is yet another valuable addition adopting, as it does, a viewpoint which has been neglected so far, namely, the viewpoint of contemporary western aesthetics. It is for the first time that this monograph examines the concept of form in Hindustani classical music. In this context, analytic attention has been focussed on some select compositions in dhruvapada, dhamar, tarana, vilambit and drut khyal genres of Hindustani classical vocal music. A wide variety of drut tanas has also been analysed in terms of notation and linear diagrams. Such diagrams, in fact, distinguish the present volume. Analysis of some rhythm-cycles and rhythmic patterns is another feature of this book. Thoroughly documented and written in a jargon-free language, the study includes a contextual discussion of aesthetics, artistic expression, aesthetic predicates and, above all, the concept of artistic form. The work may be expected to interest all those who want an analytic understanding of what form (or bandisha) means in the region of Hindustani classical vocal music.
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Sale!Hindustani Music Today ₹540.00
Stating that Hindustani music should be rightly termed Art music and not classical music, the book begins by discussing the features of Art music and presents an approach to appreciating Hindustani music. It provides a detailed understanding of the components of the raga experience in Hindustani music, including their time theory and the role of Gharanas of the musical tradition.
It deals with genres of raga-based vocal music which have been performed over the last five centuries: Dhrupad, which has its moorings in devotional music; Khayal vocalism shaped by Sufi influences; the thumree, which originated as an accompaniment to the Kathak dance; and the tappa, adapted from the songs of camel drivers in the north-west frontier. It takes up the use of instruments in Hindustani music, especially the Rudra Veena, Sitar, Surbahar, Sarod, Santoor, the Shehnai, Pakhawaj, the Hawaiian Guitar and many others, giving an account of their origin, performing styles and lineages relating to them.
Throughout, the emphasis is on contemporary trends in Hindustani music and its prospects in the future. It mentions the significant practitioners of Hindustani music, both vocal and instrumental.
The volume will interest lovers of Indian music and also scholars who want to have a greater understanding of its traditions, its contemporary appeal and trends in practice.
