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negative capability : ウィキペディア英語版
negative capability
Negative capability was first used by Romantic poet John Keats in 1818 to characterise a capacity of those capable of creative process, a capacity that negates intellectual pursuit of answers. It has recently been appropriated by philosopher and social theorist Roberto Mangabeira Unger to comment on human nature and to explain how human beings innovate and resist within confining social contexts, rigid social divisions and hierarchies, and to transcend and revise their contexts. . The concept has also inspired psychoanalytic practices and twentieth-century art and literary criticism.
The term has been used by poets and philosophers to describe the ability of the individual to perceive, think, and operate beyond any presupposition of a predetermined capacity of the human being.
==Keats: The poet's turn of phrase==
John Keats used the term ''negative capability'' to describe the artist's receptiveness to the world and its natural marvel, and to reject those who tried to formulate theories or categorical knowledge. In this concept, Keats posited the world and the human to be of infinite depth. Such a position put Keats at the forefront of the Romantic movement, and even at the cusp of modernism, according to some commentators.
In a letter to his brothers, George and Thomas Keats, on 21 December 1817, Keats used the phrase ''negative capability'' for the only time. He did so in criticism of Coleridge, who he thought sought knowledge over beauty:

I had not a dispute but a disquisition with Dilke, upon various subjects; several things dove-tailed in my mind, and at once it struck me what quality went to form a Man of Achievement, especially in Literature, and which Shakespeare possessed so enormously - I mean Negative Capability, that is, when a man is capable of being in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason - Coleridge, for instance, would let go by a fine isolated verisimilitude caught from the Penetralium of mystery, from being incapable of remaining content with half-knowledge. This pursued through volumes would perhaps take us no further than this, that with a great poet the sense of Beauty overcomes every other consideration, or rather obliterates all consideration.

Stephen Hebron comments:

''Essential to literary achievement, Keats argues, is a certain passivity, a willingness to let what is mysterious or doubtful remain just that. His fellow poet Samuel Taylor Coleridge, he suggests, would do well to break off from his relentless search for knowledge, and instead contemplate something beautiful and true (‘a fine verisimilitude’) caught, as if by accident, from the most secret part (‘Penetralium’) of mystery. The experience and intuitive appreciation of the beautiful is, indeed, central to poetic talent, and renders irrelevant anything that is arrived at through reason. Keats ends his brief discussion of negative capability by concluding that ‘with a great poet the sense of Beauty overcomes every other consideration, or rather obliterates all consideration’.''

Keats understood Coleridge as searching for a single, higher-order truth or solution to the mysteries of the natural world. He went on to find the same fault in Dilke and Wordsworth. All these poets, he claimed, lacked objectivity and universality in their view of the human condition and the natural world. In each case, Keats found a mind which was a narrow private path, not a "thoroughfare for all thoughts." Lacking for Keats were the central and indispensable qualities requisite for flexibility and openness to the world, or what he referred to as negative capability.〔Wigod, Jacob D. 1952. "Negative Capability and Wise Passiveness." PMLA 67 (4) (1 June): 384-386〕
This concept of Negative Capability is precisely a rejection of set philosophies and preconceived systems of nature. He demanded that the poet be receptive rather than searching for fact or reason, and to not seek absolute knowledge of every truth, mystery, or doubt.〔Goellnicht, Donald. "Negative Capability and Wise Passiveness" MA Thesis. (McMaster University, 1976), 5, 11-12. http://digitalcommons.mcmaster.ca/opendissertations/4675.

The origin of the term is unknown, but some scholars have hypothesized that Keats was influenced in his studies of medicine and chemistry, and that it refers to the negative pole of an electric current which is passive and receptive. In the same way that the negative pole receives the current from the positive pole, the poet receives impulses from a world that is full of mystery and doubt, which cannot be explained but which the poet can translate into art.〔Goellnicht, Donald. "Negative Capability and Wise Passiveness" MA Thesis. (McMaster University, 1976), 13. http://digitalcommons.mcmaster.ca/opendissertations/4675.

Although this was the only time that Keats used the term, this view of aesthetics and rejection of a rationalizing tendency has influenced much commentary on Romanticism and the tenets of human experience.

抄文引用元・出典: フリー百科事典『 ウィキペディア(Wikipedia)
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