Fiction & Phenomenology

context: an idea represented in post structuralist theories, nothing is absolute and what needs focus is the fact that things are constructed and provisional.

Poetics of the novel: p 221-269 STRUCTURAL POETICS

Being and time: Introduction: p 21-63 PHENOMENONOLOGY. UNDERSTANDING OF IDENTITY, EXISTENCE, BEING.

On speculating that Individualism is the most valued novelty of our time we will draw from HEIDEGGER'S BEING AND TIME. To understand the difference between (Phenomenology) and Individualism. WHY? Understanding Phenomenology might help us better utilize its various aspects into CONTEMPORARY Fiction. WHAT IS THE NEED OF DOING THAT? We will also read Derrida's deconstruction AS READ BY CULLER alongside Heidegger's Being and Time. TO UNDERSTAND REALISM THROUGH THAT LENS CREATED BY THE HYBRIDITY OF HEIDEGGER AND DERRIDA. WIKI HEIDEGGER (INFLUENCE ON DERRIDA). Our objective will be to theorize the creation of Fiction OF REALISM. FROM WHERE ARE WE LOOKING AT THE MOVEMENT IN REALISM? PLEASURES OF THE SUBLIME. IS THIS IN OPPOSITION TO THE SUBLIME?HOW IS THE UNDERSTANDING OF HEIDEGGER'S BEING CONNECTED TO REALISM AND DECONSTRUCTION? 

CREATION. The objective here is to elaborate the fiction experience, slide it into the ability of an artist to covert REALITY AND IMAGINATION into FICTION. THUS WE ASK WHAT IS FICTION AND WHAT IS REAL. 

To shape world views or perceptions, to theorize for the masses BOTH sociologically AND psychologically, and compare the fiction experience with the experience of observing REALITY in its totality as fiction. WHAT DOES THIS MEAN? ELABORATE.

Undoubtedly, even today the ideology of unity (ARISTOTLE'S POETICS?) reigns supreme. In all art forms, societies, even in ECONOMIC/INDUSTRY forces that HOLD monopoly OVER TRENDS need theorizing for the sake of embrace by the lay person. In other words the Ideology (MARXISM) should be unified till the extent it is possible to unify IDENTITY/EXISTENCE/BEING. HEIDEGGER'S BEING AND TIME ON UNITY, SIGNS OF THE TIME, IDEOLOGY, AND CREATION.

Things that we have thought of as constant, including the notion of our own identity (gender identity, national identity, for example), are not stable and fixed, but rather are fluid, changing, and unstable. Rather than being innate essences, these qualities of identity are ‘socially constructed’ – and a lot of the theories we’ll look at are concerned with how such identities are constructed so that they feel as though they are constant. (Klages, Mary: LITERARY THEORY: A GUIDE FOR THE PERPLEXED, p 50)

[So for example if in a work, let's say NAMDEO DHASAL'S SELECT POEMS, A unity OF TROPES REPRESENT/REVEAL the most obvious SOCIO-CULTURAL FORMS/forces, THE TEXT remains united BY A PLAY BETWEEN ALL OF THEM.] EACH UNIT COMPRISING THE POEM IS SUBJECT TO INTERPRETATION. 

This question of (how) needs answering to peek into the nature of a resolve OF CREATION (STRUCTURAL POETICS) than DECONSTRUCTION. Each category WITHIN THE STRUCTURE OF THE POEM, A LITERARY FORM, IS A STRUCTURE IN ITSELF FOR EXAMPLE, WITH A LANGUAGE OF ITS OWN. SO FORMS EXIST THRIVING FOR A LANGUAGE SO THAT THEY CAN make THEMSELVES worthy representatives of IN the greater cause. 

CAN WE FOLLOW THE SAME approach to understand CREATING FICTION? We will look towards Heidegger's BEING AND TIME for advice ON ARTICULATING THE IMAGINARY. IS IT ANYTHING DIFFERENT FROM IDENTITY, EXISTENCE AND BEING? IS IT THE LANGUAGE OF INTERPRETING THE VARIOUS COMPONENTS OF A FORM OR A STRUCTURE?

Nature AND the sublime AND the surreal (TOO GOOD TO BE TRUE OR SOMETHING ELSE?). WHILE EXPERIENCING GRIEF AND LOSS OF LOVED ONE I ESCAPED TO NATURE AND FOUND the highest elation I ever come across. Sadly, life, BECAUSE OF EMOTIONS, IS cocooned with the dread and despair of desires FOR HOPE NOT PESSIMISM. IS THAT the truth about the 21st century? INDIVIDUALS STRIVE FOR meaning, AND SO BEGINS THE ACT OF CREATION. AND THEY ASSERT THEMSELVES AS REPRESENTATIVES OF THE COMPONENTS OF A FORM/STRUCTURE FOR THE REALIZATION OF THEIR PLACE IN THE STRUCTURE AS WELL AS FOR THE STRUCTURE ITSELF.

REALISM. ROMANTICISM. NOT SURREALISM.

context: an idea represented in post structuralist theories, nothing is absolute and what needs focus is the fact that things are constructed and provisional. WHAT IS THIS IDEA CALLED? HOW DOES THIS IDEA IMPACT OUR STUDY?

Against binary oppositions. It helps understand the opposites, but compares them against a center. Deconstructionism.

Where does fiction stem from? Reality? A staged reality with the use of power? Too subjective and unstable, speculative, fiction, even if we are not being objective in our perspective that is not headed towards a SUSTAININABLE MEANING. 'CENTER CANNOT HOLD PHILOSOPHY'. A STORY, A NARRATIVE, A REALITY DISCLOSE REALITY WHERE fiction DISCLOSES IMAGINATION. 

Contemporary fiction. Characteristics? (A CITATION THAT SUPPORTS THE ARGUMENT)

Characters are different shades in the same point of view within Identity, Existence and Being. ARE THEY? WHY ARE WE RESORTING TO THE IDEA OF CHARACTERS? GREEK ETHOS. 

What lies beyond Identity, Existence and Being in creation? THE STRUCTURE WAITING TO BE DECONSTRUCTED BY THE ACT OF READING AND INTERPRETING? Meaning making? CREATIVITY? (INDIAN AESTHETIC THEORY OF APPRECIATION). 

CONCLUSION: The being fiction of writing depends on THE COMPONENTS OF A TEXT (IDENTIFYING, EXISTING AND BEING) WITHIN THE DERIVED MEANING of the text BY THOSE READING/INTERPRETING THE WHOLE.

IN THIS PROCESS, THE READER AND THE AUDIENCE IS OF COURSE INTERPRETING, BUT DURING THIS ACT OF CREATION, WHAT IS THE WRITER DOING? MAKING A SUSTAINABLE MEANING, WHICH DESTABALIZES AS COMPONENTS PASS ONE AFTER THE OTHER. AND THAT IS HOW THE ACT OF CREATION IS ABLE TO CARRY A CONTINUOUS MEANING, WHICH LATER BECOMES THE STORY? (IS THERE A BETTER WORD FOR THIS?) CAN WE UNDERSTAND IT AS ETHOS? OR IS AUTOBIOGRAPHICAL PAST? 

Audience response is the aesthetic appeal of the work of art. The aesthetic appeal decides the value of art. It is then handpicked and curated by the audience for the sake its own understanding. The ability of a work of art to shelf itself is novelty. WHAT DOES EXHIBITIONISM DO TO ART? WHAT IS THE ROLE OF EXHIBITIONISM IN THE STATE OF THE ART. 

Title: Exploring phenomenology and reader-response through select prose of Forsyth.

The primary aim of this study is to re-investigate the definition of phenomenology and explore its influence on reader-response theory. The study will attempt to trace the intersection of these two concepts in the select prose writings of an author of British origin, Fredrick Forsyth. Within its scope this research will answer why phenomenology and reader response theory asserts the dominance of the reader as audience over the world within the text and meaning intended by the author through the medium of the text.

Distinguishing between the offshoots of phenomenology in both deconstruction reader response criticism, this study will elaborate and add to the ongoing discourse in the latter. In conclusion, keeping creative work at the center, this research will describe Fredrick Forsyth’s writing as it is exhibited under the lens of phenomenology and reader-response criticism.