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Tymieniecka’s Vindication of the Life Significance of Literature

Homo Ludens and Homo Creator: Scapino
  • Marlies Kronegger
Part of the Analecta Husserliana book series (ANHU, volume 37)

Abstract

Anna-Teresa Tymieniecka’s Logos and Life, Creative Experience and the Critique of Reason 1 is a feast for all the senses and the mind, for all the vital synergies that stream together, when “initial spontaneity … springs forth from the Human Condition.” (175) Once again she confirms that art is the sublime mission of man, since it is the exertion of the mind, trying to understand the world and the human condition, and to make the world and the human condition understood. She proposes that “the creative act of man is the Archimedean point from which to gain understanding of the life functioning, and that it is the only access to the exploration of the Human Condition.” (3–16) In the creative orchestration of human existence and of everything-there-is-alive, is Tymieniecka’s path and vision: she takes the path in order to become the path herself for us who will follow her vision in a new appreciation of Scapin, the leading character of commedia dell’arte, as he emerges in Callot’s engravings, in the writings of Molière and Claudel, and as enacted on stage in the plays of Molière and J.-L. Barrault. Tymieniecka’s treatise on the life-significance of literature has liberated it from the cultural and theoretical prisons to which it had been sentenced for many years. Her treatise finally retrieves the poetic sense, the smile of the mind, in the interplay of several modes of experience. The voices of drama, art, dance, music, poetry, sculpture, and opera are harmonized in Tymieniecka’s Logos and Life, Creative Experience and the Critique of Reason.

Keywords

Human Condition Life Significance Creative Imagination Dynamic Gesture Stock Character 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

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Notes

  1. 1.
    Anna-Teresa Tymieniecka, Logos and Life. Creative Experience and the Critique of Reason, Book I (Dordrecht: Kluwer Academic Publishers, 1988). All references in parentheses in the text refer to this edition.Google Scholar
  2. 2.
    2 Gerald Kahan, Jacques Callot Artist of the Theater (Athens: The University of Georgia Press, 1976); Thomas Schroder, Jacques Callot. Das gesamte Werk. Handzeichnungen (Herrsching: Manfred Pawlak Verlagsgesellschaft MBH, 1968).Google Scholar
  3. 3.
    Allardyce Nicoll, The World of Arlequin. A critical study of the Commedia dell’arte (Cambridge: Cambridge University Press, 1987).Google Scholar
  4. 4.
    Pierre Louis Ducharte, The Italian Comedy, trans. Randolph T. Weaver (New York: Dover, 1966); Luciano Mariti, ed. Alle origini del teatro moderno. La Commedia dell’arte (Rome: Bulzoni, 1980); Odette Asian and Denis Bablet eds., Le Masque. Du rite au théâtre (Paris: ECNRS, 1985).Google Scholar
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    Jean-Louis Barrault, The Theater of Jean-Louis Barrault, trans. Joseph Chiari (New York: Hill and Wang, 1961), p. 60.Google Scholar
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    Giuliana Cilajanni, Les scenarios franco-italiens (Rome: Edizione de Storia e Letteratura,1970).Google Scholar
  7. 7.
    Evaristo Gherardi, in Le Theatre Italien (Paris: 1694) states in his introduction: “To say a ‘good Italian actor’ is as much as to say a man who has depth, who plays more from imagination than from memory, who composes, while acting, all that he says; who seconds and supports whoever is with him on stage, that is to say, fits his words and actions so perfectly to those of his comrade that he instantly enters into all the acting and movements which the other requires of him in such a manner as to make everyone believe that they were prearranged.”Google Scholar
  8. 8.
    Paul Claudel, Journal II (Paris: Pleïade, 1965), p. 673.Google Scholar
  9. 11.
    Paul Claudel, Claudel on the Theater, ed. Jacques Petit and Jean-Pierre Kempf, trans. Christine Trollope (Coral Gables: University of Miami Press, 1972), p. 169.Google Scholar
  10. 13.
    Konstantin Stanislavsky, Selected Works, ed. Oksana Korneva (Moscow: Raduga Publishers, 1984), pp. 149–150.Google Scholar

Copyright information

© Springer Science+Business Media Dordrecht 1991

Authors and Affiliations

  • Marlies Kronegger
    • 1
  1. 1.Michigan State UniversityUSA

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