“Humor Saves Steps”

2021 ◽  
pp. 67-92
Author(s):  
Rachel Trousdale
Keyword(s):  
The Other ◽  
Marianne Moore ◽  
Artistic Creation ◽  
Shared Humanity ◽  
Ars Poetica

Marianne Moore treats humor as a way to recognize what we have in common with others and to create understanding across difference. In her early work, Moore experiments with combinations of satire and empathy. In “A Prize Bird” and “The Wood-Weasel,” she uses humor as a test of friendship, and suggests that sympathetic laughter constitutes a distinctively American approach to collaborative artistic creation. Humor in “The Pangolin,” like the artists’ tools Moore discusses in the poem, is an end in itself and a way to discover new possibilities: it marks shared humanity and unites the human with the divine. Moore’s laughter occurs when we understand intuitively what it is like to be someone else; the more apparently unlike us the other, the more satisfying the laughter. Throughout Moore’s work, humor can be read as an ars poetica, modeling the synthesis of diverse components that she performs in her poetry.

‘HOW HARD AN ENTERPRISE IT IS’: AUTHORIAL SELF-FASHIONING IN JOHN DOWLAND’S PRINTED BOOKS

2007 ◽  
Vol 26 ◽  
pp. 43-90 ◽  
Author(s):  
Kirsten Gibson
Keyword(s):  
Sixteenth Century ◽  
Title Page ◽  
The Other ◽  
Artistic Creation ◽  
Printed Books ◽  
The One ◽  
Intellectual Activities ◽  
Modern Sense

The naming of John Dowland as ‘Author’ on the title page of his publication The First Booke of Songes or Ayres (1597) suggests a proprietary relationship between the composer and his work. This proprietary relationship is, perhaps, reinforced with the alignment of Dowland’s intellectual activities as ‘author’ with the notions of ‘composition’ and ‘invention’ in the same passage. All three terms could be used by the late sixteenth century to refer to notions of creativity, individual intellectual labour or origination. While many early examples of the use of ‘author’ refer specifically to God or Christ as creator, such as Chaucer’s declaration that ‘The auctour of matrimonye is Christ’, by the sixteenth century it was increasingly used to refer to an individual originator of intellectual or artistic creation closer to the modern sense of the word. Its sixteenth-century usage is, for instance, reflected in the title ‘A tretys, excerpte of diverse labores of auctores’, or as in a reference in 1509 to ‘The noble actor plinius’. Likewise, ‘invent’ or ‘inventor’ could be used to refer to the process of individual intellectual creation, exemplified by its use in 1576 ‘Your brain or your wit, and your pen, the one to invent and devise, the other to write’, while ‘compose’ could mean to make, to compose in words, ‘to write as author’ or, more specifically, to write music.

Conclusion

2020 ◽  
pp. 243-252
Author(s):  
Ted Nannicelli
Keyword(s):  
Moral Psychology ◽  
Applied Ethics ◽  
The Other ◽  
Ethical Criticism ◽  
Artistic Creation ◽  
Fine Grained ◽  
Parallel Path ◽  
Ethical Context ◽  
The One ◽  
Future Work

This chapter summarizes the book’s central claims and looks at paths for future work on the applied ethics of artistic creation and ethical criticism. It suggests the need for two parallel strands of inquiry: On the one hand, as the term “applied ethics” suggests, there is a need for a finer-grained understanding of both the artistic and ethical contexts of artistic creation—an understanding that will need to be informed by research across a number of fields, including anthropology, art history, and moral psychology. On the other hand, whatever details of that context are revealed by this fine-grained analysis, there will be a more abstract conceptual challenge about how to reconcile the norms of that art-historical and ethical context with those in currency in the art-historical and ethical context from which one is judging the work. So, the parallel path of inquiry is in metaethics.

Hermeneutics from an Inter-religious Perspective?

Exchange ◽  
2005 ◽  
Vol 34 (2) ◽  
pp. 102-110 ◽  
Author(s):  
Martha Frederiks
Keyword(s):  
Cultural Context ◽  
Communication Theory ◽  
The Other ◽  
Religious Perspective ◽  
Religious Texts ◽  
Sacred Texts ◽  
Cultural Boundaries ◽  
Shared Humanity ◽  
Intercultural Hermeneutics

AbstractIn the field of inter-religious (and intercultural) hermeneutics there are two different streams of interpretation. There is a group who sees inter-religious hermeneutics as the discipline of looking at the sacred texts in an inter-religious perspective. Some interpret this as the reinterpretation of the Christian scriptures in the perspective of other traditions, whilst others see inter-religious hermeneutics as those methods of hermeneutics which have received support across the religious spectrum. And there is a group who sees inter-religious hermeneutics as a communication theory, the art of communicating across religious (and cultural) boundaries. Both groups however start from the context of shared humanity and demands a radical openness for the other in his/her religious and cultural context. This shared humanity inevitably then also leads to a renewed reflection on and interpretation of the religious texts with the other in mind.

scholarly journals Relational Processes in Ayahuasca Groups of Palestinians and Israelis

2021 ◽  
Vol 12 ◽  
Author(s):  
Leor Roseman ◽  
Yiftach Ron ◽  
Antwan Saca ◽  
Natalie Ginsberg ◽  
Lisa Luan ◽  
...  
Keyword(s):  
Mental States ◽  
Social Identities ◽  
The Other ◽  
Relational Processes ◽  
Protracted Conflict ◽  
Political Reality ◽  
Shared Humanity ◽  
History Of ◽  
The Relationship ◽  
Depth Interviews

Psychedelics are used in many group contexts. However, most phenomenological research on psychedelics is focused on personal experiences. This paper presents a phenomenological investigation centered on intersubjective and intercultural relational processes, exploring how an intercultural context affects both the group and individual process. Through 31 in-depth interviews, ceremonies in which Palestinians and Israelis drink ayahuasca together have been investigated. The overarching question guiding this inquiry was how psychedelics might contribute to processes of peacebuilding, and in particular how an intercultural context, embedded in a protracted conflict, would affect the group’s psychedelic process in a relational sense. Analysis of the interviews was based on grounded theory. Three relational themes about multilocal participatory events which occurred during ayahuasca rituals have emerged from the interviews: 1) Unity-Based Connection – collective events in which a feeling of unity and ‘oneness’ is experienced, whereby participants related to each other based upon a sense of shared humanity, and other social identities seemed to dissolve (such as national and religious identities). 2) Recognition and Difference-Based Connection – events where a strong connection was made to the other culture. These events occurred through the expression of the other culture or religion through music or prayers, which resulted in feelings of awe and reverence 3) Conflict-related revelations – events where participants revisited personal or historical traumatic elements related to the conflict, usually through visions. These events were triggered by the presence of ‘the Other,’ and there was a political undertone in those personal visions. This inquiry has revealed that psychedelic ceremonies have the potential to contribute to peacebuilding. This can happen not just by ‘dissolution of identities,’ but also by providing a space in which shared spiritual experiences can emerge from intercultural and interfaith exchanges. Furthermore, in many cases, personal revelations were related to the larger political reality and the history of the conflict. Such processes can elucidate the relationship between personal psychological mental states and the larger sociopolitical context.

Still Life without References or, The Plain Sense of Things

2018 ◽  
Author(s):  
Marjorie Levinson
Keyword(s):  
The Other ◽  
Still Life ◽  
Material Conditions ◽  
Ars Poetica ◽  
The Relationship

Analysis of “The Poems of Our Climate,” Wallace Stevens’s ars poetica, reveals the value of substituting the process of recursion for the reflexivity that we often consider to be part and parcel of lyric form. The relationship between the two notions is one of three couplings the chapter investigates, the other two being remediation and representation, and—drawing on Foucault—similitude and resemblance. In each case the first term in the pairing ends up the favored one. The resulting displacement generates for the poem both a formal distinctiveness in which resistance has no share, and—through etymological investigation—a new set of intertexts in poems by Keats not usually brought to bear in such contexts. In short, rather than resist its material conditions of representation, the poem thinks through them.

Kenosis as a Model for Interreligious Dialogue

2005 ◽  
Vol 33 (2) ◽  
pp. 211-222 ◽  
Author(s):  
Martha Th. Frederiks
Keyword(s):  
Interreligious Dialogue ◽  
The Self ◽  
The Other ◽  
Human Being ◽  
The Past ◽  
Religious Person ◽  
Other Hand ◽  
Shared Humanity ◽  
Pros And Cons ◽  
The One

In the past Christians have used various models in relating to people of other faiths. Most are still in use. Four dominant models immediately come to mind: those of expansion, of diakonia, of presence, and of interreligious dialogue. This article discusses the pros and cons of these models and then proposes a fifth model: the model of kenosis. The model of kenosis calls for imitation of the self-emptying act of Jesus in his Incarnation in relation to people of other faiths, based on a shared humanity. Kenosis demands, on the one hand, a total openness for the other, as a fellow human being and a religious person, while, on the other hand, it offers the possibility to be authentically different from the other, in religion, culture, etc. Thus is seems to offer a model for interreligious living and relating, which honors religious differences, give guidelines for relating to each other, and is firmly based in a shared humanity.

The Creature as a Figure of Unrestitutability, or Monsters in Paradise not Allowed: Benevolence and Restitution in Mary Shelley’s Frankenstein

2020 ◽  
pp. 41-59
Author(s):  
Magdalena Zolkos
Keyword(s):  
David Hume ◽  
Central Place ◽  
The Other ◽  
Moral Sentiment ◽  
Conditional Logic ◽  
Human Society ◽  
Shared Humanity ◽  
Joseph Butler ◽  
Constitutive Exclusion

This chapter brings Mary Shelley’s Frankenstein in conversation with two moral sentiment philosophers of the 18th century, Joseph Butler and David Hume. It focuses on the connection between the modern restitutive trope and reparation as premised on shared humanity. The ‘problem’ that the Creature from Frankenstein illuminates is the conditional logic of restitution, which is open only to those who are already included in human society; animals, monsters, and other non-humans do not partake in restitution. By showing that the concept of benevolence has a central place in the construction of prelapsarian desires in Shelley’s novel, the chapter argues that the Creature represents for the other protagonists the humanity’s ‘radical outside’; he is both excluded from the benevolent society and divested of restitutive possibilities. The Creature is a figure of ‘unrestitutability’ because the possibilities of return, undoing and repair are barred from him by the virtue of his constitutive exclusion from humanity.

From Childhood Experience to ARS Poetica: Forming Substitutes

2012 ◽  
Vol 46 (1) ◽  
pp. 38-52
Author(s):  
Gloria De Vincenti
Keyword(s):  
Sigmund Freud ◽  
Creative Process ◽  
The Self ◽  
Artistic Creation ◽  
Theoretical Contribution ◽  
Avant Garde ◽  
University Of Vienna ◽  
Ars Poetica ◽  
The University ◽  
Reality Principle

In 1915 Sigmund Freud began a series of three sets of introductory lectures on psychoanalysis, at the University of Vienna. During the 23rd lecture, delivered in 1917, he engaged in a discussion on the conflict between the realm of phantasy and the reality-principle. Towards the conclusion, though, he envisaged a resolution and declared that “there is a path from phantasy to reality — the path, that is, of art.” In 1915 the artist and writer Arnaldo Ginna, one of the prominent figures of the Second Florentine Futurism avant-garde movement, had been investigating the function of artistic creation in relation to dreams, namely “to evoke in the most real reality the visions that have been dreams so far.” This paper explores the significance of the creative process and the mechanisms involved in the shift from phantasy to reality. Taking a Freudian standpoint, the analysis brings the Futurists' theoretical contribution into the discussion. The study demonstrates how the artist reconnects the self, on a public ground, with the legacy of childhood which endures within us.

Introduction: Poetics and Politics of the Future: Reverberations and Continuations of Cultural Practices from Jewish/Israeli and German Perspectives

2009 ◽  
Vol 34 (2) ◽  
pp. 103-108
Author(s):  
ERIKA FISCHER-LICHTE ◽  
CHRISTEL WEILER
Keyword(s):  
Research And Development ◽  
Cultural Practices ◽  
Scientific Research ◽  
The Other ◽  
Temporal Dimension ◽  
Ongoing Research ◽  
Artistic Creation ◽  
Tel Aviv ◽  
The Future ◽  
Theoretical Category

This introduction outlines the ongoing research project (see title) jointly pursued by the theatre departments of Tel Aviv University and Freie Universität Berlin funded by the German-Israeli Foundation for Scientific Research and Development (GIF). The project pivots around two critical questions. First, how can we investigate and conceptualize the future as a theoretical category and temporal dimension with regard to performances? Second, what themes and tools can articulate the various directions for developing and negotiating political and poetic questions of identity, artistic creation, cultural transference and conceptions of the ‘other’ in and through performance in and for the future? The introduction delineates certain theoretical reflections that serve as a scaffold for meaningful investigations into the first question. The theories are tested by the following fourteen articles that analyse and reference a variety of performances and in this way highlight their particular future-oriented (indeed future-generating) qualities.

scholarly journals From Defoe to Coetzee’s Foe/Foe through Authorship

2021 ◽  
Vol 11 ◽  
pp. 121-137
Author(s):  
Andreia Irina Suciu ◽  
◽  
Mihaela Culea ◽  
Keyword(s):  
Twentieth Century ◽  
Literature Review ◽  
Daniel Defoe ◽  
The Other ◽  
Robinson Crusoe ◽  
Multiple Perspectives ◽  
Artistic Creation ◽  
Late Twentieth ◽  
The Subject ◽  
Late Twentieth Century

The article investigates the concept of authorship in the works of two authors separated by three centuries, namely, Daniel Defoe and J. M. Coetzee, both concerned, in different ways, with aspects regarding the origin and originators of literary works or with the act of artistic creation in general. After a brief literature review, the article focuses on Coetzee’s contemporary revisitation of the question of authorship and leaps back and forth in time from Defoe’s Robinson Crusoe (1719) to Coetzee’s Foe (1986). The purpose is that of highlighting the multiple perspectives (and differences) regarding the subject of authorship, including such notions and aspects as: canonicity related to the act of writing and narrating, metafiction, self-reflexivity and intertextuality, silencing and voicing, doubling, bodily substance and the substance of a story, authenticity, (literary) representation and the truth, authoring, the author’s powers, the relation between author and character or between narrator and story, authorial self-consciousness, agency, or ambiguity. The findings presented in the article show that both works are seminal in their attempts to define and redefine the notion of authorship, one (Defoe) concerned with the first literary endeavours of establishing the roles of professional authorship in England, while the other (Coetzee), intervenes in existing literary discussions of the late twentieth century concerning the postmodern author and (the questioning of or liberation of the text from) his powers.

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