Principle of Convergence and the Theme of Disempowerment Essay

The Principle of Convergence and the Theme of DisempowermentIn this paper, I propose to present interpretations of six deeds by French artists,three painters (Watteau, Delacroix, and Manet) and three novelists (Zola, Proust, andCamus), and to report on the unexpected discovery (if it deserves to be called such) thatthese disparate works have certain principles of structuring in common. permit us eliminate from the outset a possible source of distraction these studies areinterdisciplinary in character, but that seems to have nothing to do with the discoveriesmade. wizard way to throw light on the meaning of a novel or a painting is to view it inthe light of a model drawn from another discipline. Thus the various modes ofstructuralism borrowed from structural linguistics, either directly (e.g. via certainseminal works of Roman Jakobson, such as his illustrious essay on metaphor andmetonymy) or indirectly (e.g. as mediated by the structural anthropology of ClaudeLvi-Strauss). Such i s the nature of interdisciplinary research. It is especially appropriateand valuable when a key element or a central aspect of a text has manifestly not given upits secrets to any(prenominal) of the traditional or conventional modes of analysis.In analyzing these works, I have had recourse to psychology, psychoanalysis,transactional analysis, group behaviour theory, feminism and control theory. However,the discovery I am presenting does not appear to depend in any way on theinterdisciplinary character of the perspectives used. Rather, it depends on the plausibilityof the interpretation and the central character of the aspects of the work organism interpreted.Complexity in LEmbarquement pour Cythere. The rococo is generallythough... ...often withoutany obvious link between these two features having been noticed previously, isunexpected, both for the art dilettante and the literary amateur. Equally intriguing is thediscovery that each of the works we have examined here leads the viewer/readerthrough a two-part drama of disempowerment and re-empowerment that takes very antithetical forms but in its essence recurs over and over again. As far as I know, this hasnever even been suspected by any critic or historian.It would be very interesting to know just how many great works of art andliterature can be better dumb in the light of such concepts or clusters of concepts asthose used here.When we have noted that all these works appear to represent variations on oneand the akin drama, we are left with an intriguing question that remains to beanswered do they all have the same function?