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 works by French artists, tierce 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.Let us spurn from the outset a possible source of distraction these studies areinterdisciplinary in character, but that seems to have nothing to do with the discoveriesmade.One office to throw light on the meaning of a novel or a painting is to view it inthe light of a image drawn from another discipline. Thus the various modes ofstructuralism borrowed from structural linguistics, every directly (e.g. via certainseminal works of Roman Jakobson, such as his famous essay on metaphor andmetonymy) or indirectly (e.g. as mediated by the structural anthropology of ClaudeLvi-Strauss). Such is 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 every 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 tell 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 plausiblenessof the interpretation and the central character of the aspects of the work being interpreted.Complexity in LEmbarquement pour Cyt here. The rococo is generallythough... ...often withoutany obvious connection between these two features having been noticed previously, isunexpected, both for the art critic and the literary critic. Equally intriguing is thediscovery that each of the works we have examined here leads the viewer/readerthrough a two-p art drama of disempowerment and re-empowerment that takes veryunlike forms but in its essence recurs over and over again. As farther as I know, this hasnever even been suspected by any critic or historian.It would be very interesting to know well(p) how many great works of art andliterature can be better understood in the light of such concepts or clusters of concepts asthose used here.When we have noted that all these works appear to follow variations on oneand the same drama, we are left with an intriguing promontory that remains to beanswered do they all have the same parting?