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The promise and premise of creativity : why comparative by Eugene Eoyang

By Eugene Eoyang

The Promise and Premise of Creativity considers literature within the higher context of globalization and "the conflict of cultures." Refuting the view that the examine of literature is "useless," Eoyang argues that it expands 3 certain highbrow talents: inventive mind's eye, vicarious sympathy, and capacious intuition.

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Engaging with either the idea and perform of literature, its earlier and its power destiny, Eoyang claims that our feel of the area at huge, of the salient similarities and changes among cultures, will be severely reduced with out comparative literature.

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Argues for the usefulness of examining and learning literature by way of contemplating comparative literature within the greater context of globalization and the "clash of cultures." Read more...

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1 Not wanting to appear naive, the student assures me that she thinks this sort of thing is “too superstitious,” but her account is somehow compelling. Praying to the wrong tree. That notion intrigued me, as it prompted some ruminations on literature and life. How useless, not only to believe in superstition, but to miscalculate our prayers, and propitiate the wrong god. That is how one might characterize the fictions in literature. When we believe in fairy tales, listen to stories that people make up, follow the narratives of mythos and myth—in short, when we read literature, we may be, in the minds of many, praying to the wrong tree.

Axes will never shorten its life, nothing can ever harm it. ”3 Literature, just because it is, ultimately, immaterial in more than one sense of the word, may outlast all the material objects that suffer obsolescence and oblivion—like the perfectly functioning computers that are discarded after some three or more years of use. Utility is a sometime thing, and it takes imagination to make use of something which is commonly regarded as useless. Take, for example, the burrs and nettles that one fi nds in the shrubs and undergrowth in the woods.

4 Stephen Jay Gould, “Afterword: The Truth of Fiction,” in George Gaylord Simpson, The Dechronization of Sam Magruder (New York: St. Martin’s Griffin, 1996), p. 107. , p. 106. 6 The Sense of an Ending (New York: Oxford University Press, 1966), pp. 134–5. 7 Guy Davenport, The Hunter Gracchus and Other Papers on Literature and Art (Washington, DC: Counterpoint Books, 1996), p. 28. ” 9 Frank Kermode (p. 131) applies this phrase to the nouveau roman, but I think it applies to all great fiction. The nouveau roman only makes explicit this speculation between reality and fiction.

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