engleski

The Concepts of the Real and the True in Literature and on the Stage

What I call the mimetic – or, more generally, metaleptic – fallacy, can be reduced to the faulty belief that the reality produced in a work of art must reproduce the reality of the outside world. Western literary and dramatic poetics of the past century and a half have much too often worked towards a realistic vision, envisiging an art that gets its legitimation through faithfully repeating the patterns of the artist's physical or psychic world. The aim of the presentation is to corroborate the view that the only valid reality and truth of any single work of art (especially belonging to literature and drama) is achieved within the frame of the reality and truth coordinates of the work itself. In other words, it is the work of art that establishes what is indeed real and what is indeed true within its own sphere, by creating a unique horizon that operates on its own, transcending any ready-made philosophical, religious or political world-view. Examples are taken from all around the world to show that notwithstanding – or even despite – any Western perspective, non-Western cultures (including some Western sub-cultures) traditionally nurtured a treatment of reality and truth irrespective of the literate ways they were treated within non-artistic spheres. Particular stress is put on the necessity for a single work of art to create its own standars of reality and truth if these participate in an "alternative" way to express the ultimate reality and the ultimate truth that, only at this point, enable a merging of art, philosophy, science and religion.

Language; Literature and Culture in the Context of Philosophy

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