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Comparative Survey, Descriptive Research

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  Comparative survey research is a type of descriptive survey where it aims to compare the status of two or more variable, institutions, strategies etc. This technique often uses multiple disciplines in one study.This does not only compare different groups but also same group over time.Few points are to be kept in mind before starting the comparative survey. ·        Comparison Points -The research should be very clear regarding the points to be compared. This can also be identified through review of literature and experience of experts. ·        Assumption of Similarities -  One has to be clear about the similarities the two variable hold. If the researcher do not find this there is no point of comparison. Criteria of Comparison - The researcher has to identify the criteria of comparison keeping in mind the fairness and objectivity. Appropriate tools has to be identified for measurement of criterion variables. Comparative survey research is carried on when the researcher cannot
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Define Objective Correlative

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Poetic Diction                  Dissociation of Sensibility

Colonialism

 Objective Correlative is a term introduced by T.S.Eliot in his essay Hamlet and his Problems (1919). His doctrine of poetic impersonality finds its most classical formulation. He says,

The only way of expressing emotion in the form of art is by finding an ‘objective correlative’; in other words a set of objects, a situation, a chain of events which shall be the formula of that particular emotion, such that when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked.  

According to him the writer cannot communicate his emotions directly to the readers, he has to find some object suggestive of it and only then he can evoke the same emotion in his readers. It is through objective correlative that the transaction between author and the reader takes place. Eliot illustrates this by giving examples from Shakespeare’s successful plays. Considering Macbeth, you will find that the state of mind of Lady Macbeth walking in her sleep has been communicated by a skilful accumulation of imagined sensory impressions. He says that in Lady Macbeth’s sleepwalking scene, and in speech that Macbeth makes when he hears of his wife’s death, the words are completely adequate to the state of mind. Eliot ascribes the alleged artistic failure of the play Hamlet to the fact that Shakespeare had been unable to find a proper chain of events or set of words to evoke the emotions. The protagonist Hamlet is dominated by an emotion which is inexpressible, because it is in access of the facts as they appear.

 However, the term first appears with a different meaning in the American aesthetician Washington Allston’s Lectures on Art (1850), to suggest the relation between the mind and the external world. This notion was enlarged upon by George Santayana in Interpretations of Poetry and Religion (1900), where he suggested that correlative objects could not only express a poet’s feeling but also evoke it. Eliot was probably influenced by the latter.      

Before Eliot, Ezra Pound and T.E.Hulme too approached the problem of artistic representation. Pound says, Poetry provides equations like mathematics, but equations for emotions. T.E.Hulme in his Lecture on Modern Poetry says, The poet is moved by a certain landscape, he selects from that certain images which, put into juxtaposition in separate lines serve to suggest and evoke the state he feels.

According to Eliot, the artist presents the ‘formula’ of a particular emotion. There is an ‘exact equivalence’ between an object or situation and the emotion it is supposed to evoke. The emotion can only be evoked and it cannot be expressed directly. He was concerned with the problems of artistic expression. The poet/writer has to transmute his personal and private agonies into something rich and strange, something universal and impersonal, and this can be done by finding an objective correlative.

However, Eliot’s formulation has often been criticised for falsifying the way a poet/writer actually writes. Since, no object or situation is in itself ‘a formula’ for an emotion but depends in an expression and emotional significance and in a way it is rendered by the poet/writer.

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