By R. E. Embuscado

The colonial movement in the Far East, which had reached its height about the early 1500s, was an excellent reminder that all sovereign nations could be suppressed, diversified, plundered, exploited and massacred, and finally taken for granted as a matter of economic and religious act or interest.

THE UNIFIED THEORY OF COMPARTMENTAL AESTHETICS: NOVEL AND COMICS

BY R. E. Embuscado

In the line of disectionism compartmental fiction draws parallels between the novel and comics; and for that matter, between art and life. The novel is a body of life, a world of texts, that passed through a point, were forms confined its thought and feeling, and all the characters that dwelled around it, in the beginning and at the end. Dissectional consciousness had been instrumental in getting the points of light and dark to unite the distance of contradiction, It brings together the aesthetic-scale of relationships, between high and low, which had slipped away from the processes of the creative formation. There is no unity of high and low in the modern contect; because, it had been socially, politically and aestically suppressed by their discriminating high-cultural traditions.

The shadows of fictional conflict, in the modern sense, which emerged from the novel's aesthetic form and comic's social context was absolutely proved to be more associated with the Philistine, or barbaric culture; for them, the union of communal presentation of life was wild.

It remained the same as it ever was- from the beginning of time to the end of primitive history. It is culturally static. However, if the signs of high-low art in the modern sense convey division and aesthetic assault on global culture, then it means that the certainty of modern universality had been discriminatingly established - and, its time for a compartmental reality. Because, it was clear from the start that the modernist had continually chopped up, and slammed the face of global culture in a wrong aesthetic and historical interpretations. Moreover, they wrapped the idea of primitive textures in an entirely different picture: that is, a distorted primitive mask, attached to the discriminating walls of modernism. And, they described the shadows of primitivism in a form of unrefined colonial thought, undisciplined spiritual life and full of folk tales.

The elevation of the comics, extracted from the uncharted territory of the fictional world, into the company of art and literature, and into the social context of various imiginary picture of life, inner and outer, have become a matter of cultural importance. In such unity, they embody an explecit landscape of insights, expressing the waves of logical voyage around the compartmental world. The comics and the novel, portraying the aesthetics of imagination, in which the view of mysterous forces had been built in external nature, and aided by the light, is fittingly expressed together- in the form of compartmental unity.

The compartmental theory of the novel and the comics is full of folk tales, in particular; and, a combination of social-historical perspectives, all under cover from light and darkness, in general. This is the sort of dissectional-line, blowing in a global wind of connections that the union of the text and the image's contradicting likeness, to a greater degree, that the stillness within a static point of view has shifted its movement from singular, like modern art, to plural like compartmental art. The fullness of its opposite likeness, distilled from the fruit of life, has made this mirror-like composition glowed at night.

The compartmental theory of the novel, including the comics, is something about relationships of form and content. For it is the aesthetics of distinction, from the reality of component parts to the whole of fictional order, arrange in compartmental setting, that art and life co-exist in the essence of unity.

The inequality of the novel and comics, differing from cultural constructions, shaped in diverse forms, seemed fixed in fragmented point of a disastrous view, and seemed, it is devoid of life However, the contrast between these two forms, subject and object, were floating in modern immediacy, but they are not seperated in the roots of dissectional-compartmental whole.

The theory of compartmental fiction begins with two stories, Nu-Clear=Men and Nuclear man, and in the end, it ends with one. The turning point, as the two stories wandered com partmentally with opposing life, walking in and through a line of horizantal landscapes, without illusions, is truly reflected greatly by the light.

Beginning with Nu-Clear=Men, the story runs through the middle, its setting was a view of the clouds and the five dimentions; and, in second phase without delay, it runs again very forcefully with definate aim: to draw more closely with the end, and another story. And, for the union, of all phases of wider perspectives, inner and outer stories.

Compartmental fiction is a theory of the whole spiral of unity, that every cultures of human race, life and imagination, becomes a matter of significant interest. It is not a modern theory that is concerned with daily historical propaganda, like a chaotic distortion of cultural, economics and political realities, but with general fulfillment of all life, within and outside reality, Moreover, Compartmental fiction projects a philosophical and scientific categories, that is able to exhibit the comics and the novel's contextual-validity; and, that is, wholly different from modern dung presentation of reality, their symbolic expressions are, of course, carried on for many centuries which has drawn only universal illusions.

By R. E. Embuscado

Nuclear woman was born in the storm of light, at the village of the middle-dimention. For every period of her life, she continued to choose her own destiny; her vision is not a promised destiny, which had taken place in the middle and in the nature of her life - not in the nature of an endless-thing. It was extremely difficult for her to idealize the life that she found complete, without the form of struggle. She began to see the light of life in a different context, in the historical way, which the poor human being had seen in their confined-ideals and shaded-reality; and, still without the light, they saw in their fears the ghost of impovershed life. And, in this reality the poor had always tried to defeat darkness by means of continuous struggle without the light.

Nuclear Woman traded her light for this kind of life; her destiny began to culminate in relationship with suffering and struggle. She emerged not only as a sentimental figure on a different perspective, she appealed to human vision that is fused to each other by consciousness, and by ties of life under light and dark relationship. She spoke of indifference, arising from duality of acts and thoughts. She inherited through this life, in the nakedness of day and night, a moral frame of mind handed on from one time to another by tradition.