Editorial.
Indraguru, Bhavatosh
The strength of an artistic situation has it manifestation in the
methods of valuation, comprehension, and assessment. The modes and
varieties of comprehension impose a necessity to have a perfect
organization and an equally well reception through the object and the
medium. It means that a work of art must create a set of response to the
medium and the object through which it is purported to be carried on. In
this regard one can understand how a work of art has an applicability
for the sake of merits that are available in the form of benefits of an
internal and external environments. This stretch and immensity of
artistic form, manner, method and mode of organization of contents,
constructs and the categories has been at the heart of Indian and
Western literary/theoretical inquiries. In Indian tradition an artistic
situation comes to be interpreted and organized through content
assertion and category construction. For that matter there are two
broader stages through which we can arrive at this understanding. In the
first place, there are primary models in the form of Sabda, Varna, Pada
and Vakya and secondly there are also primary categories like Bhava,
Sthayi Bhava, Vibhava, Anubhava and Sancari Bhavas. Through the terms of
synthesis, convergence, association, correlation, proposition and
cognition presented by each of the above, we have the creation of an
artistic situation that tends to be genuine and ideal. On the other
hand, in the Western tradition the possibility of valuing and
comprehending the intensity of an artistic formation is limited and
restricted to the particular scope of a general situation hence the
theories and theoreticians right from Aristotle, Longinus, Quintilian,
Horace, Coleridge, Eliot, Richards, Sassurre, Barthes, Jakobson, Lacan
and Derrida have insisted that the function of an artistic situation
must be assessed and determined through primordial forms obtained in the
language and the meaning. Language and meaning are imminently the
categories which either correlated themselves or dislocate each other
through convergence and divergence. In the European literary theories
the basic situation deals with the creation of an extremely local,
situational and occasional form and because of this the theories commit
themselves to a compulsive form and local manner of model creation. This
fact could be explained on the basis of the fact that in each of the
theories, the emphasis falls upon reducing the contents either for the
sake of obtaining and appropriate language or even for the sake of
constituting a structure of meaning. This measure of language and
meaning creation through the categories is altogether unacceptable in
Indian system of comprehension, valuation, assessment and analysis of
the artistic form. In Indian theories, the language and meaning are
obtained through a correlated universalization of the primary models
(sabda, pada and vakya) and primary categories (Bhava and the like),
therefore the theories are assertive in nature. The present volume has
established this particular paradigm and parameter for a fair assessment
of the literary theories belonging to Indian and Western traditions. It
is hoped that contribution made by eminent men of letters in this volume
would establish the new categories of appreciation for the sake of
promotion of understanding and enjoyment of literature.
BHAVATOSH INDRAGURU
DEPARTMENT OF ENGLISH
SAGAR UNIVERSITY, SAGAR
E-MAIL: <BHAVATOSHGURU@REDIFFMAIL.COM>
