NARRATOPOETIC. STYLISTIC. ELEMENTS. IN. NAWARIS. In Literature, there are poetry, prose and in the middle, prose poetry according to the characters of the superficial and deep structures of the speaking. Every speaking or its writing ...
Author: Anwer Ghani
Category: Literary Collections
We are now in front of many facts about the beautiful artistic writing:First: In the last twenty years, the writing beautifulness and artistry in our awareness have been transmitted from the aesthetic view into the expressive view. Now the creative people concern with feeling expression more than the aesthetic applications.Second: We can differentiate three eras of stylistic approaches about the beautifulness and artistry in the writing, the pre-modernism which concerns with power of the meaning connection, the modernism which concerns with aesthetic of the writing and the post modernism, the present era, which concerns with powerful feeling expression.Third: In our globalisation and post-globalisation era, there is a powerful feeling and practice of free writing which doesn't or shouldn't observe the rules, the laws or the traditions in the beautiful writing, the literature, even the genre.Fourth: Now, we are in front of new literary writing which doesn't fit or doesn't want to follow any genre classification, it is a non-genric or trans-generic writing.Five: In this very free seeking era, why we need to study the stylistic elements of the present artistic writing and its law?I will answer the last question first and the other points I will deal with through the chapters of the book. In fact the human is a very selective creature and always seeking the better, and appreciate the best and imitate it, this is a point. In other aspect the deep humanistic instinctual recognition or experience, despite its truthfulness, it is vague and can't exit from the primary view for the world things while the soul is a very complex and a highly knowing creature and can't satisfied by the primary instinctual experience, so it needs the intellectual experience and analysis to reach its goals in everything, not just in aesthetic and beauty. In the process of the analysis, the intellectual recognition and the systematic differentiation of our experiences about the beautiful writing, we don't add or invent something, not present in the text or in the writing or we put some elements which they are strange to the instinctual experience, but in fact, the intellectual analysis of the beautiful writing is a thorough analysis of the instinctual experience. Yes, our intellectual experience is always an analysis of our instinctual experience. So this book is a collection of intellectual analysis of the instinctual experiences in different aspects of the beautiful writing. So, I won't find a new thing, but I will try to show what is present. I believe absolutely that the mind can't find anything but just a tool to explain what the instinct knows and experiences. The mind knows nothing new but shows us what we know.