Literature by definition is superior written works having artistic merits, and on the other hand Philosophy by definition is a theory or attitude that acts as a guiding principle for any behavior or work. In simple words we can define it as mood of writer. Mood is state of mind or feeling. I don’t think any writing is without mood or feelings. I went through so many hypotheses which reflect the same theory to prove this fact.
“Philosophy's Moods: The Affective Grounds of Thinking” edited by Kenaan, Hagi, Ferber, is a collection of original essays probing the indivisible bond between mood and philosophical thinking. What is the relationship between mood and thinking? In what sense are we always already philosophizing from within a mood? …show more content…
And why did Conrad chose the Malay materials, which he was in fact not very well informed of, as the thematic concerns of his first novel? The paper believes that Conrad's initial interest for the Malay themes, although with some tendency to add unusual novelty to his writing, manifests more importantly his deep reflections upon the human condition in general. By choosing the Malay materials and writing in English language, Conrad plunges himself into certain paradoxical cultural anxiety and agony: on the one hand he had to write in English as a way to make a living, and he was indeed greatly fascinated by the moral and cultural background of English language; on the other hand, writing in English deepens his guiltiness for deserting his motherland. For Conrad, writing in English reveals a Polish heart. This reveals that thoughts supersede circumstances irrespective of ease and effort.
“Atmosphere, mood, stimmung on a hidden potential of literature” by Hans Ulrich Gumbrecht, translated by Erik Butler also proves this statement as in this it has been written that English offers “mood” and “climate”. “Mood” stands for an inner feeling so private it cannot be precisely confined. “Climate,” on …show more content…
Andreasen reflects lights on the facts that research designed to examine the relationship between creativity and mental illnesses (not exactly illness but the intensity of mood) must confront multiple challenges. How should creativity be defined? Only a restricted number of studies have examined highly creative individuals using personal interviews and a noncreative comparison group. The majority of these have examined writers. The predominance of the evidence suggests that in these creative individuals the rate of mood disorder is high, and that both bipolar disorder and unipolar depression were quite common. Physicians who treated creative individuals with mood disorders must also confronted a variety of challenges, including the fear that treatment may reduce creativity, in the case of bipolar disorder, it was possible that reducing severe manic episodes may actually enhance creativity in many individuals. That proves that mood and creativity are closely
“Philosophy's Moods: The Affective Grounds of Thinking” edited by Kenaan, Hagi, Ferber, is a collection of original essays probing the indivisible bond between mood and philosophical thinking. What is the relationship between mood and thinking? In what sense are we always already philosophizing from within a mood? …show more content…
And why did Conrad chose the Malay materials, which he was in fact not very well informed of, as the thematic concerns of his first novel? The paper believes that Conrad's initial interest for the Malay themes, although with some tendency to add unusual novelty to his writing, manifests more importantly his deep reflections upon the human condition in general. By choosing the Malay materials and writing in English language, Conrad plunges himself into certain paradoxical cultural anxiety and agony: on the one hand he had to write in English as a way to make a living, and he was indeed greatly fascinated by the moral and cultural background of English language; on the other hand, writing in English deepens his guiltiness for deserting his motherland. For Conrad, writing in English reveals a Polish heart. This reveals that thoughts supersede circumstances irrespective of ease and effort.
“Atmosphere, mood, stimmung on a hidden potential of literature” by Hans Ulrich Gumbrecht, translated by Erik Butler also proves this statement as in this it has been written that English offers “mood” and “climate”. “Mood” stands for an inner feeling so private it cannot be precisely confined. “Climate,” on …show more content…
Andreasen reflects lights on the facts that research designed to examine the relationship between creativity and mental illnesses (not exactly illness but the intensity of mood) must confront multiple challenges. How should creativity be defined? Only a restricted number of studies have examined highly creative individuals using personal interviews and a noncreative comparison group. The majority of these have examined writers. The predominance of the evidence suggests that in these creative individuals the rate of mood disorder is high, and that both bipolar disorder and unipolar depression were quite common. Physicians who treated creative individuals with mood disorders must also confronted a variety of challenges, including the fear that treatment may reduce creativity, in the case of bipolar disorder, it was possible that reducing severe manic episodes may actually enhance creativity in many individuals. That proves that mood and creativity are closely