Aesthetics and Universality

in Perspective
By Cynthia Barnes Gallagher

June 22, 2010

Author of wayward LOCHES, Pirouetting Spheres, Arising Ode

 Aesthetics and Universality in Perspective 2

Table of Contents
Abstract..........................................................................................................................................................................3
Description ................................................................................................................................................................ 4
Overview ...................................................................................................................................................................4
Introduction ............................................................................................................................................................... 5
I. Aesthetics and Universality in Perspective: Learning Outcomes ...............................................................................6
1. Recognize aesthetical and cultural qualities of literature. ......................................................................................6
2. Apply approaches to their reading and critical analyses of rhetorical, literary, and aesthetical issues of
numerous genres. .......................................................................................................................................................6
3. Synthesize understanding for progressive education in respect to integrated aesthetical values within cultural
contexts. .....................................................................................................................................................................7
4. Demonstrate competency in respect to literary genre, philosophic foundation, and literary form ........................7
5. Consider and write about analytical characteristics of the psyche in terms of characterization, plot dynamics,
conflict, and aesthetic ................................................................................................................................................8
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). .............................................................................................. 9
7. Recognize and validate the language acquisition device associated with linguistic universals and
transformational grammar. ........................................................................................................................................9
8. Demonstrate understanding of the “innate knowledge of universals,” “linguistic experience,” and
“idiosyncratic, language-particular properties of a target language”—“the language of the mind”--from a
psycholinguistic approach (Radford, 1989, 37). ...................................................................................................... 10
9. 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). ........................................................................................................................................................................... 10
10. Recognize instances of subconscious, conscious, unconscious, and subliminal associative thought ................ 11
II. Exercises Involving the Classic Prose of Confucius ............................................................................................... 11
III. Exercises Involving the Classic Work of the Gilgamesh Epic .............................................................................. 13
IV. Exercises Involving the Classic Work of Homer................................................................................................... 14
V. Exercises Involving the Work of Christopher Marlow ........................................................................................... 14
VI. Exercises Involving the Classics of William Shakespeare .................................................................................... 15
VII. Exercises Involving the Work of Ben Jonson ...................................................................................................... 16
IIX. Exercises Involving the Work of James Joyce ..................................................................................................... 17
IX. Exercises Involving the Work of Dylan Thomas................................................................................................... 18
References ................................................................................................................................................................... 20
Appendix A: Literary Terms ....................................................................................................................................... 22
Appendix B: Syntactic Terms Essential to Universal Grammar .................................................................................. 22
Appendix C: Syntax Review ....................................................................................................................................... 22
1. Expletive Patterns ................................................................................................................................................ 22
2. Parallelism ........................................................................................................................................................... 24
Appendix D ................................................................................................................................................................. 26
 Aesthetics and Universality in Perspective 3

Abstract
Aesthetics directly correspond with the study of ethical values, progressive philosophical values

between cultures, and developmental foundations of grammar. Involving truth, beauty,

symmetry, and ethical values that continue to merge across cultures, aesthetical qualities

influence 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 contradictory

meanings 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.

 Aesthetics and Universality in Perspective 4

Description
Aesthetics integrates values and progressive philosophy within all literature. Including

concepts that are important to linguistics and literature in cultural ways, aesthetics relates to

democratic universality of perception and insight that writers and speakers often convey in a

dramatic and creative unique style. Universality is the integral component that expands sympathy

and compassion across cultures, and the universal grammatical device essential to

transformational grammar and the translation of one language to another.

Aesthetics and Universality introduces learners to important concepts that have initiated

and sustained academic schools since esoteric times of the ancients. The influence of Confucius,

hieroglyphs, the Gilgamesh epic, the Homeric epic and ode, William Shakespeare, Ben Jonson,

Christopher Marlow, James Joyce, and Dylan Thomas serve as precedents in a tradition or

inspiration of dramatic, politically inspiring, and philanthropic literature. The psyche of the

oppressed, the horrors of combat, and the sovereign mind serve as interesting case studies and

models. Before adult students can read aloud or silently profound and dramatic prose, and before

they can discuss the contents of such monumental literature, they should have an opportunity to

learn of the epic and dramatic history in the terms of Shakespeare‟s influences such as Seneca

and Euripides, for example, and the causes that compelled such work.

Overview

In respect to the rapid integration of diverse cultures, aesthetics, viscerally moving

literature, and universal grammar function in unison. Due to the transparent communication of

interactive online structures, the concept of aesthetics in literature is important to the progressive

development of every learner. As infrastructures and linguistic patterns continue to coalesce into
 Aesthetics and Universality in Perspective 5

a universal language that is readily distinguishable to every viable individual of the functional

work dynamic, adult learners must remain perceptive and knowledgeable to progressive change

of semantic and literary components. This project focuses on these integral systems.

Introduction

As they read aloud passages of dramatic works both of Confucius and of Renaissance

writers, for example, adult learners have an opportunity to participate in a kind of role play as

they identify with the authors, subjects, characters, cultural dynamics, atmosphere, conflict, and

aesthetics of uniquely different times and lands. Upon delivery of the dramatic presentations

noted here, the glossaries noted in Appendix A and Appendix B, and the lesson will serve as

important guidelines toward complete discussion about the open-ended questions regarding

culture and aesthetics. This is an introduction to questions pertaining to ancient and precedential

works, to the Ode--the vision, observations, and perspectives of today‟s combatant; a literary

work that must be preceded by a study in aesthetical literary issues and questions.

Regarding a Case Study and an open-ended question, the project will also feature a

PowerPoint Presentation and an audio recording—the project is actually an exploration of the

mind of the ancient philosopher and the causes that motivate hostility and struggle. The analysis

of combat requires a psychoanalytic review of motives. Learning-experience contexts include

further research and reading that pertain to aesthetics in literature, psychology, and the social

sciences, for example, and in the progressive learning, environment, and collaboration through

further adult-learner instruction. I have included appendices of glossaries and reading material to

assist in understanding and analyzing the dynamics of dramatic prose. The first simple lesson

will involve short classic works of Confucius. I include extra reading material that will

augment the objectives of the project, and that will enhance the reading experience of the adult
 Aesthetics and Universality in Perspective 6

learner. As they read aloud dramatic classics, learners will be motivated to explore and to share

aesthetics from an authentic but universal domain as they identify with the author‟s voice.

I. Aesthetics and Universality in Perspective: Learning Outcomes

Having followed and read the sequence of the program, adult learners shall be able to:

1. Recognize aesthetical and cultural qualities of literature.

Associated with axiology, aesthetics involves the study of ethical values and value

judgments regarding truth, beauty, and symmetry which include cultural and ethical influences.

Original aestheticism involved the philosophy of Immanuel Kant (1724-1804) who taught “l’art

pour l’art” (art for art‟s sake)—philosopher‟s and critics of all art forms, both literary and visual,

attempted to define the properties of rational understanding. Kant recognized that the concept of

beauty and of normality varied from culture to culture. Walter Pater (1839-1894) influenced

European Aestheticism with the idea that artistic style and moral effect must expand sympathies

and compassion across cultures (See Appendix A).

2. Apply approaches to their reading and critical analyses of rhetorical,

literary, and aesthetical issues of numerous genres.

Ancient philosophers such as Plato and Aristotle had written that an object either

possesses a quality such as beauty with no regard to the culture through the object‟s observer. At

last, David Hume (1711-1776) taught that specific qualities of an object, such as beauty and

symmetry, were subjective—the qualities represented the perspective of the observer (or

beholder). The viewpoint of Kant resolves the conflict regarding cultural diversities—Kantian

philosophy involves aesthetics as subjective views that may be universally valid. These concepts

are presented in poetry, political treatises, biographies, histories, and in both fiction and

nonfiction, for example.

 Aesthetics and Universality in Perspective 7

3. Synthesize understanding for progressive education in respect to integrated

aesthetical values within cultural contexts.

Reflecting on cultural distinctions, 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 universal form 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 one culture over another for causes that reflect

unsound or inhumane judgment, discrimination that contradicts conditioned values and

preferences—aesthetics 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.

4. Demonstrate competency in respect to literary genre, philosophic

foundation, and literary form

Chinese aesthetics include impressions to diverse influential reactions: To Confucius, the

humanities 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 Chou

dynasty 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.

 Aesthetics and Universality in Perspective 8

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 universal

form 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 one

culture over another for causes that reflect unsound or inhumane judgment which contradicts

conditioned values and preferences—aesthetics 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 for

highest 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 learning

of learner, attributes that the progressive teaching philosophy continues to refine through

aesthetics, a subject that universal language and philosophy involve—the scope of my project.
 Aesthetics and Universality in Perspective 9

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).

Relating to the focus and development of a constructive, transparently universal

language, a progressive philosophy merges from aesthetical impressions, qualities that are

instructive and that are part of the process of learner-centered education. The progressive

philosophy of education also is part of interdisciplinary studies that evoke an expansive inquiry

into cultural values, “the conceptual and historical foundations” of contemporary studies in

literature (Singer & Dunn, 2000, 3). Involving theoretical and analytical relevance of the

humanities, the sciences, the creative arts, and language, overt qualities of aesthetics are

influenced by culture. However, they relate to the aesthetic value of a literary text, teachers and

critics assume that relative treatment to be “as an autonomous object” isolated “from non-literary

values and disciplines” (Singer & Dunn, 2000, 3). These issues evoke an expansive inquiry into

cultural and aesthetic values for an inherent language that is universally motivated.

7. Recognize and validate the language acquisition device associated with

linguistic universals and transformational grammar.

Aesthetics involves subjective views that are acquired through the individual‟s incipient

need to relate with environmental associations toward survival and development. That need

generates incentive required to sustain the self and to relate with environmental components

toward the achievement of such vital functions. This incipient individual need to relate with

environmental associations is a survival instinct and a universal grammar that N. Chomsky

 Aesthetics and Universality in Perspective 10

describes as an innate tendency of a “genetically preprogrammed…Language Faculty which

provides some „genetic blueprint‟ of the range of possible languages” (Radford, 1989, 36).

8. Demonstrate understanding of the “innate knowledge of universals,”

“linguistic experience,” and “idiosyncratic, language-particular properties of a

target language”—“the language of the mind”--from a psycholinguistic

approach (Radford, 1989, 37).

Involving the linguistic universals of Universal Grammar with no a priori basis, the

genetic blueprint is associated with a “language acquisition device” (LAD) by which a child or a

developing language learner is endowed. As language learners “discount some potential rules as

linguistically impossible, Chomsky‟s “structure-dependence principle” is clear. He recognizes a

dependency on “structure-dependent operations‟” that are predetermined by “a restrictive initial

schematic” toward linguistic competency, linguistic universals that include basic universal

syntactic structure also from one language to another (Radford, 1989, 35). This concept

regarding the language acquisition device and universal grammar recognized by Chomsky are

part of the aesthetical perception that learner-centered education and progressive philosophy of

education influence, especially from the diverse cultural internal environment.

9. 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).

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 a
 Aesthetics and Universality in Perspective 11

pronoun 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 Paglierani‟s coverage (Paglierani,

2005).

The succeeding exercises involve concepts that have influenced aesthetical values and

principles 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 Pyramid

Table, "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 employees

do maintain its powerful influence. Distinct from Buddhism and Taoism that one may understand
 Aesthetics and Universality in Perspective 12

through its important relationship with jen (humanity), its reverence for ancient sages, moral

instruction, 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 work

takes 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 social

relationships, the Yin and Yang theory, or neo-Confucianism—a 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 in

terms of government.

 Apply--Derive a theory as to why the writer or artist addressed the meaning or moral

lesson of a work: An example of a relevant response may include reference to Confucius‟

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 would

construct the main scene or dynamics: An example of a relevant response may include

reference 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 to

advocate for wisdom and for the wise jurisdiction of government.

 Aesthetics and Universality in Perspective 13

 Evaluate--Assess whether or not the meaning or moral lesson is completely achieved—

how 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 the

message of Confucius‟ work.

 Create: Compose lyrics, dramatic prose, or a poem to convey the same meaning or

moral 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 epic

could 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 proportions

and aesthetic significance.

 Aesthetics and Universality in Perspective 14

IV. Exercises Involving the Classic Work of Homer

Although The Battle of the Frogs and Mice, the Homeric Hymns, and some of the Epic

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

a relevant response to the recollection of Homer‟s work by (1) remembering these works as

original legends that some Unitarians believe are compilations of several transcribers. One may

relevantly learn also by (2) understanding that the Trojan War of the Iliad and 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). Further

understanding is important regarding the rebuttals over the Illiad as 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

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 assessment

cycles. 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 “Circe‟s wand,” and the nectar of

the Roman god “Jove” (short for Jupiter, the god of light, sky, weather, the state, welfare, and
 Aesthetics and Universality in Perspective 15

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 stoic

times 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 an

emperor 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 with

the magnificent compassion of Marlowe is to recall moments like those of Leander whose

“quivering breast…breathless 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, in MacBeth and Twelfth Night, respectively. To understand (2) the Renaissance

contemplation and celebration of the pardonable or condemned psyche, one might share
 Aesthetics and Universality in Perspective 16

Shakespeare‟s poem The 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 bears

“every foule tyrant wing [to] save the Eagle feath‟red 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 sovereign

forces. One may (6) create important artifact notes, analogies, and new work in reference to

Shakespeare‟s orientation about universal concepts.

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, and

the encomium. To (2) understand Jonson‟s 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 practical

skit before an audience or classroom. To (4) analyze Jonson‟s work, one must consider the

masque‟s 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: “Death‟s selfe is sorry…when Fates turn‟d cruell; Yet three fill‟d

Zodiackes work had he beene…The 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 Jonson‟s Memory of my beloved Master William, one is profoundly

 Aesthetics and Universality in Perspective 17

impressed by the superhuman mind that is as he terms, the “soul” of the age. Jonson‟s encomium

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

Shakespeare‟s outstanding dedication as a playwright and poet. To (6) create notes about lasting

words such as Jonson‟s can truly be an asset to the writer‟s portfolio. Shakespeare as “a

monument” ever living “without a tomb” that can shake forever the stage—more so than Latin or

Greek, “thund‟ring Aeschylus, Euripides, Sophocles, Pacuvius, Accius”—profoundest minds are

immortal (Shakespeare, 1991, xiv-xivi).

IIX. Exercises Involving the Work of James Joyce

To remember (1) James Joyce, one must ponder the revolutionary and innovating

literary style, such as the stream of consciousness. To (2) understand this concept, one might

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

the inner flow of experience. To (3) apply the description to Joyce about the psychological

process 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 and

impressions 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 the psyche certainly must reflect the author‟s quest for universality in the terms of an

inherent consciousness or immortal dimension is a subject that one might (5) evaluate through

the author‟s biography. Joyce‟s 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)
 Aesthetics and Universality in Perspective 18

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

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 unnatural

combinations 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 to

Thomas.

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) understands “the force that through the green fuse” compels and gives physical form

that also rescinds, one can also sense another realm “that drives the water through the rocks” and

also his “blood…that 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 light

through a window that persists as an extended metaphor, “the limit of the globes,” as “daylights

the bone…when logics die” (University of Oxford, 1999, 622). As one (4) analyzes Thomas‟

powerful light, one may detect that Thomas does not believe that life must succumb to the

physical world, a value system expressed even in his titles alone, such as “And death shall have
 Aesthetics and Universality in Perspective 19

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 good

night,” 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 universality—beauty from a light of another or

eternal world; one culture, social, or individual group seeking and fulfilling a mission for victory,

success, or amnesty.
 Aesthetics and Universality in Perspective 20

References

Assyrian International News Agency (n.d.). The Epic of Gilgamesh. Retrieved July 15, 2010,

from http://www.aina.org/books/eog/eog.pdf

Confucius, K. F. (2010, June). Qufu. Retrieved July 8, 2010, from

http://community.travelchinaguide.com/forum2.asp?i=468

Dunn, A., & Singer, A. (2000). Literary aesthetics: a reader. Oxford UK: Blackwell Publishers

Ltd.

Forehand, M. (2005). Bloom's taxonomy: Original and revised. In M. Orey (Ed.), Emerging

perspectives on learning, teaching, and technology. Retrieved July 5, 2010, from

http://projects.coe.uga.edu/epltt/index.php?title=Bloom%27s_Taxonomy

Fox, R. L. (2006). The classical work: An epic history from Homer. New York: Basic Books--A

Member of the Perseus Books Group.

Intersegmental Committee of the Academic Senates (ICAS) (Spring, 2002). Academic literacy:

A statement of competencies expected of students entering California public colleges and

universities. Sacramento, CA: ICAS. Retrieved April 18, 2008, http://icas-

ca.org/Websites/icasca/Images/Competency/AcademicLiteracy2002.pdf

Paglierani, S. (2005, November 18). The conscious, subconscious, and unconscious--A new look

at an old metaphor. Retrieved July 9, 2010, from

http://theemergencesite.com/Theory/Consciousness-Subconsciousness-2.htm

New Directions Publishing Corporation (1964). Confucius to Cummings: An anthology of poetry.

New York: New Directions Publishing Corporation.

Radford, A. (1989). Transformational grammar. Cambridge, UK: Cambridge University Press.

 Aesthetics and Universality in Perspective 21

Shakespeare, W. (1991). William Shakespeare--The complete works (2nd ed.). Oxford OX2 6DP:

Oxford University Press.

University of Oxford (1999). The Oxford book of English verse (Christopher Ricks, Ed.). Great

Clarendon, Oxford: Oxford University Press.

 Aesthetics and Universality in Perspective 22

Appendix A: Literary Terms

Before reading the literary work, please consider the literary terms which I include in my own

instructional web as per the following:

http://www.ancientskybridge.com/rosetta_stone_poem,_lit_review.htm

Appendix B: Syntactic Terms Essential to Universal Grammar

Before proceeding with the reading of Confucius and the exercises pertaining thereto, please

consider the syntactic terms essential to Universal Grammar that I include in my own

instructional web as per the following:

http://www.ancientskybridge.com/webquest.htm

Appendix C: Syntax Review

1. Expletive Patterns

a) It patterns

Please note that the expletive it is frequently overused when alternate wording and syntactic form

would produce a strong and emphatic focus at the beginning of the sentence. For example

It was Christopher who offered invaluable relief.

Functioning as the anticipatory subject of a phrase or clause that is in a succeeding place in the

sentence, the frequently used it produces obscure and muddy focus; thus, the sentence is not

easily read or understood. The following example of the “it pattern” should typically be avoided:

It is indeed obvious to anyone that our educational system

is directed poorly by the Board of Education.

 Aesthetics and Universality in Perspective 23

b) There patterns

The overuse of expletive patterns also results in poorly focused sentences. Sentences beginning

with there are called “existential sentences”—as Quirk and Greenbaum write, “when

unstressed, there is followed by a form of the verb be, the clause that expresses the notion of

existence.” There is simply means there exists, and if the main idea of the sentence is not the

simple one of existence, alternate syntactic construction should be used:

There are numerous flaws here = Numerous flaws exist here.

Despite its inappropriateness, inexperienced writers tend to begin sentences with there. The

tendency appears in numerous forms; however, the most common are similar to the following

two examples:

1. In high crime regions, there should be more security officers appointed to

patrol the streets after dark.

Or

There is more trouble stewing that they could not foresee.

2. There are legitimate concerns among educators regarding the quality of

instruction that our teachers are receiving.

Once we translate the first kind of sentences into sentences based on the verb exist, the problem

is clear:

1. More security officers should exist appointed to patrol the streets after dark.

2. More trouble exists stewing that they could not expect.

Clearly, the writers of these sentences did bear in mind not the idea of existence but the idea of

actions—in the first, the action of security officers being assigned; in the second, the action of

more trouble (that is) stewing. The sentences should be written as follows:
 Aesthetics and Universality in Perspective 24

1. More security officers should be appointed to patrol the streets after dark.

2. More trouble is stewing that they could not expect.

We may discover the inappropriateness of the “there” beginnings through an important clue in

the original sentences which we observe to be the presence of the verbals—“appointed” and

“stewing”--that exist after the subjects of the sentences. When constructed in this manner, the

there invariably should be eliminated, and the verbal should be changed into a finite verb.

The second there problem is different. As we reread the sentence, we discover no verbal

following the subject “concerns.” If we change this sentence into one based on “exist,” the result

is an improved syntactic structure, one with a focus that is not hazed by unnecessary verbals:

Legitimate concerns exist among educators…

Although a “concern” may exist, when one states that it exists among some group of people, one

is not focusing on the group but simply on its concern. The sentence should be written:

Educators are legitimately concerned about the quality of instruction

that our teachers are receiving.

2. Parallelism
Parallel structure (parallelism) is important to syntax. Many sentences include lists of two, three,

or more words, phrases or clauses separated by commas. These compound nouns, phrases, or

clauses should be listed in parallel. These linked components should be in the same grammatical

form. Commonly involving the coordinating conjunction “and,” they may also involve other

coordinating conjunctions—“or,” “but,” or “yet.” The rule of parallel structure is that these

conjunctions should connect similar grammatical units used in the same way. For example, two

or more nouns used as subjects of a sentence, or two or more nouns used as objects of the same

verb or of the same preposition, or two or more prepositional phrases modifying the same noun

or the same verb, and so on. Usage may be to some degree permissive about this rule at times;
 Aesthetics and Universality in Perspective 25

however, when deviation exists, the function of the units is more important than grammatical

form. For instance, the following sentences are typically considered to be correct even though

they are exceptions to the standard rule:

She hates dogs, cats, and whatever is eating her plants (a noun clause).

Martha is fascinated (a complement) by all sports but a devotee (a complement) of baseball.

George did the work speedily (adverb) and with an eye to our convenience (adverbial).

The first example includes a conjunction that links a series of two nouns and a noun clause; all

three of the linked series function as direct objects of hates. The second sentence includes the

conjunction that joins the adjective, fascinated, with a noun, devotee; both are complements of

Martha. In the third example, the conjunction joins the adverb speedily, with the prepositional

phrase, with an eye to our convenience, but the prepositional phrase is adverbial, modifying did

in the same manner that speedily does. These are three exceptions to the rule as they do not

exemplify that structure always takes precedence over grammatical form. As the parallel

structure rule indicates, both structure and grammatical form usually must be the same.

Parallel structure requires that the component which follows the conjunction is like some

structure that precedes the conjunction. If one writes a simple noun + verb + direct object as a

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)
 Aesthetics and Universality in Perspective 26

Appendix D

In reference Confucius‟ work as translated by Ezra Pound, the title included in the

References Section is published by New Directions Publishing Company (NDPC,

1964, pp. 6-8)

Baroness Mu impeded in her wish to help famine victims in Wei

I 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 brother

Across 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, your‟s the offence

If I cannot carry my condolence,

Wrongly you wrought.

If I cannot stifle my thought

I climb the cornered hill seeking heart‟s ease

If sorrow be real, let heart with sorrow‟s load

Go its sole road

(without your visa, does honour requite it so?!

 Aesthetics and Universality in Perspective 27

Nor was my thought wrong in this

You would not approve.

I cannot take home my condolence,

If thus wrongly you wrought

The Hű crowd‟s vulgar cry

Sounds out presumptuously

I wanted to go to the plains

Where the thick grain is.

I would have asked aid of great states

Their 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

Lived and died -

Study, not worship.

In the quiet woods

A crane resides -

Cypress, pine and flower.

A sage lived here once

And lives here still -

 Aesthetics and Universality in Perspective 28

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