Sex and the Aesthetics of Existence

PMLA ◽  
2010 ◽  
Vol 125 (2) ◽  
pp. 387-392 ◽  
Author(s):  
Tim Dean
Keyword(s):  
Queer Theory ◽  
Human Subject ◽  
The Self ◽  
Preferred Basis ◽  
Principal Reason ◽  
The World

Leo Bersani's contributions to Queer Theory have been essentially traumatic. Ever since “Is the Rectum a Grave?,” with its startling opening sentence (“There is a big secret about sex: most people don't like it” [197]), Bersani's writing on sexuality has disrupted the conceptual coordinates of queer theory, a field that officially welcomes the disruptive. What has made Bersani hard to assimilate is less his psychoanalytic emphasis on the ineluctable masochism of sexuality (a principal reason for the aversion to sex) than his insistent conceptualization of sexuality in aesthetic terms. Although his work has never shied from the rebarbative aspects of erotic life, it is, in fact, Bersani's speculations about relationality as irreducibly aesthetic that have proved tougher for the field of queer theory to countenance. (Queer theorists take sexual variance in stride; we have a harder time dealing with art.) It is not merely that Bersani draws examples from literature, painting, sculpture, and cinema when discussing erotic relationality. More fundamentally, his earlier work claimed that art has effects on the human subject akin to those of sexuality, while his later writing proposes a specifically aesthetic subjectivity—rather than the sexual kind—as the preferred basis for relating to the world beyond the self.

Freedom and Culture

2018 ◽  
Vol 48 (2) ◽  
pp. 175-194 ◽  
Author(s):  
Shuchen Xiang ◽  
Keyword(s):  
Human Subject ◽  
Human Agency ◽  
The Self ◽  
Chinese Tradition ◽  
Symbolic Forms ◽  
The World ◽  
Book Of Changes ◽  
Philosophy Of Symbolic Forms ◽  
Symbolic Formation

Through a key passage (Xici 2.2) from the Book of Changes, this paper shows that Ernst Cassirer’s philosophy of symbolic forms shares similarities with the canonical account of symbolic formation in the Chinese tradition: the genesis of xiang (象), often translated as image or symbol. xiang became identified with the origins of culture/civilisation itself. In both cases, the world is understood as primordially (phenomenologically) meaningful; the expressiveness of the world requires a human subject to consummate it in a symbol, whilst the symbol in turn gives us access to higher orders of meaning. It is the self-conscious creation of the symbol that then allows for the higher forms of culture. For both the Xici and Cassirer, symbols and the symbolic consciousness that comes with it is the pre-condition for the freedom, ethics and the cultivation of agency. As for both the Xici and Cassirer, it is human agency that creates these symbols, it will be argued that the Xici is making a Cassirerian argument about the (ethical) relationship between human agency, symbols and ethics/freedom.

Skinscapes

2015 ◽  
Vol 1 (1-2) ◽  
pp. 133-151 ◽  
Author(s):  
Amiena Peck ◽  
Christopher Stroud
Keyword(s):  
Human Subject ◽  
Power Relations ◽  
The Body ◽  
The Self ◽  
Linguistic Landscape ◽  
Landscape Studies ◽  
Future Selves ◽  
The World ◽  
Phenomenological Methodology ◽  
The Creation

The paper argues for extending linguistic landscape studies to also encompass the body as a corporeal landscape, or ‘moving discursive locality’. We articulate this point within a narrative of a developing field of landscape studies that is increasingly attentive to the mobility and materiality of spatialized semiotics as performative, that is, as partially determining of how we come to understand ourselves ‘in place’. Taking Cape Town’s tattooing culture as an illustration, we unpack the idea of ‘the human subject as an entrepreneur of the self, as author of his or her being in the world’ (Comaroff & Comaroff, 2012: 23), by using a phenomenological methodology to explore the materiality of the body as a mobile and dynamic space of inscribed spatialized identities and historical power relations. Specifically, we focus on: how tattooed bodies sculpt future selves and imagined spaces, the imprint they leave behind in the lives of five participants in the study and ultimately the creation of bodies that matter in time and place. The paper will conclude with a discussion of what studies of corporeal landscapes may contribute to a broader field of linguistic landscape studies.

Power of Darkness: Narrative and Biographical Reflexivity in A Series of Unfortunate Events

2008 ◽  
Vol 1 (2) ◽  
pp. 200-212
Author(s):  
ELIZABETH BULLEN
Keyword(s):  
The Self ◽  
Risk Society ◽  
Project Risk ◽  
Young Readers ◽  
The World ◽  
The Face ◽  
High Earning ◽  
Textual Culture ◽  
Children’S Exposure ◽  
Central Claim

This paper investigates the high-earning children's series, A Series of Unfortunate Events, in relation to the skills young people require to survive and thrive in what Ulrich Beck calls risk society. Children's textual culture has been traditionally informed by assumptions about childhood happiness and the need to reassure young readers that the world is safe. The genre is consequently vexed by adult anxiety about children's exposure to certain kinds of knowledge. This paper discusses the implications of the representation of adversity in the Lemony Snicket series via its subversions of the conventions of children's fiction and metafictional strategies. Its central claim is that the self-consciousness or self-reflexivity of A Series of Unfortunate Events} models one of the forms of reflexivity children need to be resilient in the face of adversity and to empower them to undertake the biographical project risk society requires of them.

‘A pinch of unseen, unguarded dust’: The World and Self in Thomas Hardy's Poems

2018 ◽  
Vol 8 (1) ◽  
pp. 49-66
Author(s):  
Monika Szuba
Keyword(s):  
The Body ◽  
The Self ◽  
Phenomenological Philosophy ◽  
The Earth ◽  
The World ◽  
The Universe ◽  
Recurrent Theme ◽  
Body Subject

The essay discusses selected poems from Thomas Hardy's vast body of poetry, focusing on representations of the self and the world. Employing Maurice Merleau-Ponty's concepts such as the body-subject, wild being, flesh, and reversibility, the essay offers an analysis of Hardy's poems in the light of phenomenological philosophy. It argues that far from demonstrating ‘cosmic indifference’, Hardy's poetry offers a sympathetic vision of interrelations governing the universe. The attunement with voices of the Earth foregrounded in the poems enables the self's entanglement in the flesh of the world, a chiasmatic intertwining of beings inserted between the leaves of the world. The relation of the self with the world is established through the act of perception, mainly visual and aural, when the body becomes intertwined with the world, thus resulting in a powerful welding. Such moments of vision are brief and elusive, which enhances a sense of transitoriness, and, yet, they are also timeless as the self becomes immersed in the experience. As time is a recurrent theme in Hardy's poetry, this essay discusses it in the context of dwelling, the provisionality of which is demonstrated in the prevalent sense of temporality, marked by seasons and birdsong, which underline the rhythms of the world.

Nihilistic Thinking as the Self-Will of the Mind and the Projects of Its Overcoming

2020 ◽  
Vol 63 (10) ◽  
pp. 74-87
Author(s):  
Irina N. Sidorenko
Keyword(s):  
Significant Role ◽  
Current Situation ◽  
The Self ◽  
Spatial Perspective ◽  
The World ◽  
The Will ◽  
The Mind ◽  
Radical Transformation

 The author analyzes the conceptions of ontological nihilism in the works of S. Kierkegaard, F. Nietzsche, M. Heidegger, E. Jünger. On the basis of this analysis, violence is defined as a manifestation of nihilism, of the “will to nothingness” and hypertrophy of the self-will of man. The article demonstrates the importance of the problem of nihilism. The nihilistic thinking of modern man is expressed in the attitude toward a radical transformation of the world from the position of his “absolute” righteousness. The paradox of the current situation is that there is the reverse side of this transformative activity, when there is only the appearance of action and the dilution of responsibility. Confidence in the rightness of own views and beliefs increases the risk of the violent imposition of own vision of reality. Historical and philosophical reconstruction of the conceptions of nihilism allowed to reveal the following projects of its comprehension and resolution: (1) the project of “positing of values,” which consists in the transformation of the evaluation, which is understood as another perspective of positing values, leading to the affirmation of being; (2) the project of overcoming nihilism from the space of temporality, carried out through the resoluteness to accept the historicity of own existence; (3) the project of overcoming nihilism as the oblivion of being from the spatial perspective of the “line,” allowing to realize the “glimpse” of being. The author concludes that it is impossible to solve the problem of violence and its various forms of its manifestation without overcoming “ontological nihilism.” Significant role in solving the problem of ontological violence is assigned to philosophy as a critical and responsible form of thinking, which is capable to help a person to bear the burden of the world, to provide meanings and affirm being, as well as to unite people and resist the fundamentalist claims of exclusivity and rightness.

Discovering the Self and the World through the Eyes of God

1993 ◽  
Vol 3 (0) ◽  
pp. 173-199
Author(s):  
Hein BLOMMESTIJN
Keyword(s):  
The Self ◽  
The World

Women and Agency in Bankim’s Rajmohan’s Wife and Tagore’s The Home and The World

2020 ◽  
Vol 12 (5) ◽  
Author(s):  
Manju Dhariwal ◽  
Keyword(s):  
Nineteenth Century ◽  
The Self ◽  
Indian English ◽  
Colonial India ◽  
English Novel ◽  
The World ◽  
The Status ◽  
Insight Into ◽  
Status Of Women

Written almost half a century apart, Rajmohan’s Wife (1864) and The Home and the World (1916) can be read as women centric texts written in colonial India. The plot of both the texts is set in Bengal, the cultural and political centre of colonial India. Rajmohan’s Wife, arguably the first Indian English novel, is one of the first novels to realistically represent ‘Woman’ in the nineteenth century. Set in a newly emerging society of India, it provides an insight into the status of women, their susceptibility and dependence on men. The Home and the World, written at the height of Swadeshi movement in Bengal, presents its woman protagonist in a much progressive space. The paper closely examines these two texts and argues that women enact their agency in relational spaces which leads to the process of their ‘becoming’. The paper analyses this journey of the progress of the self, which starts with Matangini and culminates in Bimala. The paper concludes that women’s journey to emancipation is symbolic of the journey of the nation to independence.

Delving into Horror

2019 ◽  
Vol 29 (5) ◽  
pp. 135-150
Keyword(s):  
The Self ◽  
Time And Space ◽  
The Third ◽  
The World ◽  
The Subject ◽  
Perception Of Time ◽  
Definition Of

The springboard for this essay is the author’s encounter with the feeling of horror and her attempts to understand what place horror has in philosophy. The inquiry relies upon Leonid Lipavsky’s “Investigation of Horror” and on various textual plunges into the fanged and clawed (and possibly noumenal) abyss of Nick Land’s work. Various experiences of horror are examined in order to build something of a typology, while also distilling the elements characteristic of the experience of horror in general. The essay’s overall hypothesis is that horror arises from a disruption of the usual ways of determining the boundaries between external things and the self, and this leads to a distinction between three subtypes of horror. In the first subtype, horror begins with the indeterminacy at the boundaries of things, a confrontation with something that defeats attempts to define it and thereby calls into question the definition of the self. In the second subtype, horror springs from the inability to determine one’s own boundaries, a process opposed by the crushing determinacy of the world. In the third subtype, horror unfolds by means of a substitution of one determinacy by another which is unexpected and ungrounded. In all three subtypes of horror, the disturbance of determinacy deprives the subject, the thinking entity, of its customary foundation for thought, and even of an explanation of how that foundation was lost; at times this can lead to impairment of the perception of time and space. Understood this way, horror comes within a hair’s breadth of madness - and may well cross over into it.

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