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Quote by Abhijit Naskar

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Azad Earth Army: When The World Cries Blood

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Abhijit Naskar

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“The works of the poets, sculptors, and representative artists in general contain an unacknowledged treasure of profound wisdom; just because out of them the wisdom of the nature of things itself speaks, whose utterances they merely interpret by illustrations and purer repetitions. On this account, however, every one who reads the poem or looks at the picture must certainly contribute out of his own means to bring that wisdom to light; accordingly he comprehends only so much of it as his capacity and culture admit of; as in the deep sea each sailor only lets down the lead as far as the length of the line will allow. Before a picture, as before a prince, every one must stand, waiting to see whether and what it will speak to him; and, as in the case of a prince, so here he must not himself address it, for then he would only hear himself.”

ArtPerceptionAppreciation
Book:The World as Will and Representation: A Philosophical Foundation of Western Metaphysics and Aesthetics
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“They say women have no conscience about laws, don't they?" Mrs. MacAvelly suggested. "Why should we?" answered her friend. "We don't make 'em—nor God—nor nature. Why on earth should we respect a set of silly rules made by some men one day and changed by some more the next?" (from According to Solomon)”

MenGodReligionFeminismPatriarchyRulesLawsCharlotte Perkins GilmanAccording To Solomon
Book:The Yellow Wallpaper and Other Stories
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“The anthropologist Arnold van Gennep coined the expression ‘rites of passage’ after noticing the important structural analogy between ceremonies of birth, puberty, initiation, marriage and death. The ceremonies, he argued, involve three components, ordered successively: separation of the individuals or groups from their previous condition; existence on the margin (marge) during which they remain suspended in limbo, and incorporation (agrégation) as participants in their new condition. Thus the initiation into full membership is preceded by a period of alienation, as the youth is cast out from childhood and care, and forced to earn the fruits of adult freedom. Imagine, however, a situation in which the adult world is clouded over: everything pertaining to adulthood has become dark, forbidding, treacherous. The only freedom lies in youth itself. Identity must be forged by the youth from his own adolescent experience – the experience of alienation, in which the protection of the adult world has been withdrawn, and nothing put in place of it. The traditional totems, which represent the continuity and longevity of the tribe, now lose their significance. The youth must construct his own totem, his own ceremonies of initiation and membership, his own sense of togetherness, while borrowing nothing at all from the expertise and knowledge of his forefathers. His dances must be formless and violent, so that only youth can dance to them; sexual pleasure, the mark of youth, must occupy the foreground of the ritual, but sex must be meticulously divorced from marriage and the birth of children. His totems must be formed in his own image – perpetually young, perpetually transgressive, perpetually incompetent. As he dances among his kind, such a youth will be conscious of a lack. All this commotion ought to mean something; it ought to be lifting him to a higher plane. But it leaves him exactly where he was – on the margin of society, enjoying a freedom that is empty since it has no goal. He tries to lift himself with drugs, and as a result sinks further into the void. His protest resolves itself at last in a strangulated cry – a song which sounds like music only when the drumming feet of adolescents sound along with it. And if he discovers words for this song, they will probably be these: I can’t find words to say About the things caught in my mind.”

ArtGrowthFreedomMaturityRitual
Book:An Intelligent Person's Guide to Modern Culture
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