Writing as a technology of the self in Kierkegaard and Foucault

Writing is a very important means by which we can work on ourselves. Yet as a "technology of the self" writing has changed substantially at different times during European history. This essay sketches some of the crucial characteristics of wriring as a technology of the self for Plato's contemporaries, for the early church fathers, and then for Peter Abelard. The changes exemplified in the confessional writing of Abelard became the platform for writing as a technology of the self in European modernism. The characteristics of modernist writing as a technology of the self are examined in some detail in the work of Kierkegaard, particularly with respect to his aesthetic writings and his use of multiple narrative voices.Kierkegaard's uses of writing are compared and contrasted with those of Baudelaire and Foucault.Escriure és un important mitjà amb el qual podem actuar sobre nosaltres mateixos. Tanmateix, com a "tecnologia del jo", l'escriptura ha canviat substancialment en el temps durant la història europea. Aquest assaig esbossa algunes de les característiques més rellevants de l'escriptura com a tecnologia del jo per als contemporanis de Plató, per als primers pares de l'església i per a Pere Abelard. Els canvis exemplificats en l'escriptura confessional d'Abelard varen esdevenir la plataforma per a l'escriptura com una tecnologia del jo en la modernitat europea. Les característiques de l'escriprura de la modernirat en tant que tecnologia del jo són examinades arnb cert detall en l'obra de Kierkegaard, parricularment en rclació amb els seus escrits estètics i el seu us de múltiples veus narratives. Els usos Kierkegaardians dc l'escriptura són comparats i contrastats amb els de Baudelaire i Foucault

The Virtues of Authenticity: A Kierkegaardian Essay in Moral Psychology

Discussions of the concept of authenticity often fail to define the conditions of an appropriate emotional orientation toward the world. With a more solid philosophical understanding of emotion, it should be possible to define more precisely the necessary conditions of emotional authenticity. Against this background, I interpret Kierkegaard’s Either/Or as a narrative text that suggests a moral psychology of emotion that points toward the development of a better way of thinking about the ethics of authenticity. In the process, I also engage with the positions of other philosophers, both “existential” and “analytic.” The upshot of my argument is that a cognitive phenomenology of emotion can flesh out the ideal of truthfulness as a virtue of character, while forcing moral philosophers to question whether authenticity should be understood as an achievement of the will rather than as a matter of affective receptivity

Musil's idea of poetic mastership and responsibility or "Törless" as his first attempt to become a serious writer

Musil uses the word 'Dichter', 'poet', as a dignified title reserved for artists of great achievement (different from 'Schriftsteller', 'writer'). His use of the word emphasizes the importance of the specifically poetic qualities of literature (and of the poetic sensibility of criticism,) not as an idle objection to the contemporary merging of literary works with either pure sensation and feeling, or with other forms of discourse. Focusing on "Törless", as well as on Musil's notebooks and essays, this article shows how Musil understands the relationship between rational thinking and the latent ideas and thoughts that emerge within the poetic dimension (the 'other state of mind' or 'other condition.') This approach illuminates Musil's conception of "precision and soul" - the interlocking of sensitive perceptiveness and intellectual rigor - as a necessary pre-condition for valuable literature and valuable life.Musil costuma usar o termo 'Dichter', poeta, como um título de maior dignidade para grandes mestres (opondo esse termo à palavra mais contemporânea 'Schriftsteller', escritor). Esse uso sustenta a ideia das qualidades especificamente poéticas da literatura (e da sensibilidade poética da crítica), reagindo contra as tendências contemporâneas de fundir os discursos literários ou com a pura sensação, ou com outras formas discursivas. Partindo de "Törless" e de alguns ensaios de Musil, esse artigo mostra como Musil entende a relação entre o pensamento racional e as ideias latentes que emergem da dimensão poética (do "outro estado da mente" ou da "outra condição"). A abordagem ilumina a concepção musiliana de "precisão e alma", isto é, o entrelaçamento entre percepção sensitiva e rigor intelectual como uma condição para a busca de valores literários e existenciais

Volume 10, Number 6 – March 1930

Volume 10, Number 6 – March 1930. 42 pages including covers and advertisements. Lillie, Edward C., On the Prairie Hickey, Carroll, Little Galahads (verse) Carlson, Edward C., Zeb, the Aesthete Schneider, Francis C., His Brother\u27s Inspiration LaCroix, John, Prelude Vernal (verse) Daniels, Ralph S., Editorials Quirk, Charles C., Chronicle Hickey, Carroll, Exchange Krieger, John E., Athletic

A Perspectival Account of Acedia in the Writings of Kierkegaard

Søren Kierkegaard is well-known as an original philosophical thinker, but less known is his reliance upon and development of the Christian tradition of the Seven Deadly Sins, in particular the vice of acedia, or sloth. As acedia has enjoyed renewed interest in the past century or so, commentators have attempted to pin down one or another Kierkegaardian concept (e.g., despair, heavy-mindedness, boredom, etc.) as the embodiment of the vice, but these attempts have yet to achieve any consensus. In our estimation, the complicated reality is that, in using slightly different but related concepts, Kierkegaard is providing a unique look at acedia as it manifests differently at different stages on life’s way. Thus, on this “perspectival account”, acedia will manifest differently according to whether an individual inhabits the aesthetic, ethical, or religious sphere. We propose two axes for this perspectival account. Such descriptions of how acedia manifests make up the first, phenomenal axis, while the second, evaluative axis, accounts for the various bits of advice and wisdom we read in the diagnoses of acedia from one Kierkegaardian pseudonym to another. Our aim is to show that Kierkegaard was not only familiar with the concept of acedia, but his contributions helped to develop and extend the tradition

La ironía crítica o los amantes de las ruinas: el esteta, el dandy y el flâneur

El ensayo examina el carácter crítico de la ironía romántica de Friedrich Schlegel siguiendo las consideraciones y apropiaciones de Walter Benjamin, Harold Bloom y Paul de Man. También, el ensayo pretende mostrar el paralelismo de la actitud crítica de la ironía con tres figuras literarias románticas: el esteta, el dandy y el flâneur. Estas criaturas, unidas por una fe profética en el arte, hacen de la ironía una profesión que se mueve entre la creación y la destrucción. La apropiación en el contexto post-estructuralista nos permite percibir a la ironía en una incomprensión radical, desarrollando un patrón estético que opera entre la creación y la aniquilación.This essay examines the critical character of FriedrichSchlegel?s Romantic irony, following its considerations and appropriationsby Walter Benjamin, Harold Bloom and Paul deMan. Likewise, it shows a parallelism of this critical attitude ofirony with three Romantic literary figures: the aesthete, the dandyand the flâneur. These figures, joined by a prophetic faith inart, make of irony a profession which moves between creationand destruction. Appropriation in the poststructuralist contextallows us to perceive irony in such a radical incomprehension,developing an aesthetic pattern that operates between creationand annihilation.Fil: Garnica, Naím. Consejo Nacional de Investigaciones Científicas y Técnicas; Argentina. Universidad Nacional de Catamarca. Facultad de Humanidades; Argentin

Bewitched, Bothered, and Bewildered: Reflections on Art, Fundamentalism, and Democracy

This philosophical lecture explores the tension between art and morality, beginning with the opposing viewpoints—aestheticism and moralism—that one should trump the other. As exemplary case studies, several controversial art exhibits—works that fueled the culture wars of the 1980’s are examined to identify the concerns of advocates and critics. This leads to deeper reflections on the artistic assumptions of religious fundamentalism, the role of art in a democracy, and the possibility that artistic exploration can be a form of moral action

Function, understanding and assessment : a functionalist interpretation of the assessment of art : a thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in Philosophy at Massey University

The purpose of this thesis is to develop a functionalist interpretation of the assessment of art. In the following chapters I will explore the idea that we can assess the value of art works in terms of the various functions that they serve. Rejecting the idea that the value of art works lies in some kind of metaphysical value, I suggest that art works are valuable because we value them. We value them, I argue, on account of the various artistic functions that they perform. The purpose of chapter one is to set the scene philosophically, by explaining in greater detail what is involved in a functionalist interpretation of the assessment of art. In this chapter I suggest that the primary objections to my framework of assessment derive from the idea that only aesthetic considerations are relevant to assessment. In response I argue that this idea, which is central to both modernism, aestheticism and formalism, is based upon an unacceptably narrow conception of the nature and purpose of art, and should be rejected. In chapters two to six, I discuss in detail five of the more important non-aesthetic functions of art, providing examples which help to illustrate their contribution to the value of art works. Together these functions help to show that the idea that only aesthetic considerations are relevant to the assessment of art is unacceptably restrictive. Chapter two is a discussion of the idea that a central function of art is to represent the objects of reality. I argue that the concept of representation as ordinarily construed has serious difficulties, and is based upon assumptions which we are better off abandoning. I suggest that it would be better to conceive of art as a vehicle in which we can present ideas, depictions, and conceptualizations of various aspects of our understanding and experience. Such 'presentations', I argue, can be valued for the way in which they provide insights into different aspects of the world, and thus contribute to our understanding. In chapter three, I show that an important dimension of the value of art can be the way in which art works function to express cultural and spiritual beliefs and values. In chapter four, I discuss the way in which art can function to act as a vehicle for the expression of social and political ideas. In chapter five, I show how the moral significance of an art work can contribute importantly to its value, and in chapter six, I discuss the relevance of the expression and arousal of emotion to the value of art works. In chapter seven, I return to discuss the importance of aesthetic considerations to the assessment of art. I suggest that although it would be difficult to sustain the argument that aesthetic merit is a necessary component of artistic value, it is nevertheless true that aesthetic considerations play a particularly important role in the assessment of art works

Neo lines: Alan Hollinghurst and the apogee of the eighties

When Alan Hollinghurst’s The Line of Beauty won the Booker Prize in October 2004, it sealed the arrival in fiction of a retrospective exploration of the 1980s which had already been unmistakable in British culture. While the political continuities from Margaret Thatcher’s social revolution have been a central topic in the analysis of Tony Blair’s administrations, the return of the 1980s in popular culture has also been evident for years. Literature has not been insulated from this climate. Since the turn of the millennium Nicola Barker’s Five Miles From Outer Hope (2001), Tim Lott’s Rumours of a Hurricane (2002) and David Peace’s GB84 (2004) have been prominent examples of the ‘neo-1980s’ novel in Britain. It is on Hollinghurst’s book, however, that this essay will focus. To whose 1980s does The Line of Beauty return us? What is at stake