“The Emotional, Intellectual And Moral Orientations Of Consciousness Of The Huma

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“The Emotional, Intellectual And Moral Orientations Of Consciousness Of The Human Person And How They Become Disorientated.”

Introduction
“Man’s world is manifold, and his attitudes are manifold. What is manifold is often frightening because it is not neat or simple. Men prefer to forget how many possibilities are open to them.” (Kaufmann,1970)
The human person is neither simple nor neat. It is a dynamic structure with many correlated parts, some of which are still areas of mystery, intrigue and simple ignorance. Thus to try and discuss the orientations of the human person we must try to narrow our fields of examination. This is in no way ideal but Purcell in ‘I am I love you; the human person as friend’ implicates three distinct areas of orientation; the emotional/ aesthetic, the intellectual and the moral. These areas are actively orientated towards beauty, truth and good respectively. These orientations, when genuine, are not contained solely within the self or I but as we are dynamic structures firmly rooted within the world our orientations are projected outwards towards another or a Thou. It is when these orientations are confined within the I or when projected onto an It or We that these aspects of ourselves becomes disoriented.
Orientation
I
When we begin to try and look into the emotional orientations of the human person it is obvious that we should try and examine its product, namely Art. Art is the manifestation of emotional communication, the voice inside that cries out to the other, waiting for a reply. The composer Arnold Schoenberg described this expression best in 1909:
“Art is a cry of distress from those who live out within themselves the destiny of humanity, ……they are those who do not turn their eyes away to protect themselves from emotion but open them wide to oppose what must be attacked. They do, however, often close their eyes to perceive what the senses do not covey, to look inside of what seems to be happening on the surface. Inside them turns the movement of the world; only an echo of it leaks out ¾the work of art.”
In the first essay, called ‘dialogue’, in his “Between Man and Man”, Martin Buber describes a recurring dream he has where he lets out a cry into the world. His cry is answered by a new ‘echo’ which seems to answer questions that were, unbeknownst to him, contained within his own original cry. If we take Art as this ‘cry of distress’ it can be seen that the artist is indeed waiting for that returning cry of recogni...

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