On the learning of languages

Quelle vanit que la peinture qui attire ladmiration par la

ressemblance des choses, dont on nadmire point les originaux ! .
If we would ever attempt a classification of the arts by their aesthetic
capacities to relate with the object we would easily find that literature
is among the ones who fall further apart. The plastic arts are
historically

representative

and

even

when

emancipation

from

representation is the goal they are weighted as such rather than

inherent liberty. Film, and to lower extent photography, were originally
created to fulfill a psychological fixation with realism. Only music, in its
abstractness, wings further from the shadow of its object and falls in
the psychological tramps only by the less attentive. Words are
different; the relationship between signifier and signified as first
proposed by Saussure Language, literatures matter, by its long
habitation in human apprehension, has been though even to be a
determinative of the latter as schemata. Whorf's linguistic determinism
hypothesis emphasizes exactly that. Literature in its multiple forms has
suffered from such an understanding. The question, for example,
whether a novel can utilize syntax and sound plastically and still
narrate, is culturally problematize by the reduction of language to a
communicative tool, which is the basic premises of the sciences.
Linguistics stages as working hypotheses that language is both a
completely

mechanical/computational

set

of

processes

for

communication and a something that possesses the uniqueness of

human language, even if it is just the form the latter combines. The
hypothesis is illuminating as it shows the tendency to present language
as a neural form (the unique something), which is manifested in human
behavior (mechanical or sensory-motor/ computational-intentional
systems as they are technically called) without impressions on
humans mind. Thus, we might consider language, according to
linguistics, both outside of the mind and a natural determinant of it;
the ambiguity of

The question of whether language is uniquely human is presupposed

and informs our view our language as a natural part of what we are.
Thus, the idea of an creation

Language constantly diminishes its aesthetic ambitious and it has lost

almost all its power to represent. Representation at the level of syntax
is taken for granted and in exception of an specialized group
The downplayed literary education has ossified as literary tropes and
rhetoric devices the possibilities of language to effect its possibility of
representation. On the other hand,
Cinema, on the other hand