scholarly journals BEVIDSTHED I BEVÆGELSE - OM DEN JAPANSKE FORFATTER NATSUME SŌSEKIS SANSEBEVIDSTHED

1970 ◽  
Vol 41 (116) ◽  
pp. 63-75
Author(s):  
Annette Thorsen Vilslev
Keyword(s):  
Twentieth Century ◽  
William James ◽  
Affect Theory ◽  
Stream Of Consciousness ◽  
Social Spaces ◽  
Natsume Soseki ◽  
Fredric Jameson ◽  
Japanese Writer ◽  
Theory Of Literature

CONSCIOUSNESS AS MOVEMENT — ACCORDING TO NATSUME SŌSEKI | In his Theory of Literature from 1907, Japanese writer Natsume Sōseki (1867‑1916) describes feelings as pivotal in literature worldwide. Fredric Jameson places Sōseki among the major modernists in the twentieth century. Like the western modernists, Sōseki was inspired by William James’ concept stream of consciousness, developing his own idea about literature as an affective type of continuity of consciousness. This article investigates how this idea influences the representation of characters in his last, unfinished feuilleton novel, Light and Dark from 1916. The article argues that a comparison with current day affect theory calls attention to how Sōseki not only portrays the bodily emotions, but also consciousness as embodied and embedded in particular social spaces. In this novel Sōseki depictsor sketches minor feelings or everyday affects as closely related to the experience of modernity. By exploiting its feuilleton form, Light and Dark shows how new modes of perception and movementproduce affects that stick to bodies (rather than spring from them). The article thus suggests seeing Light and Dark as a critical and nuanced comment on modernity and its discourses on emotions.

Adam Smith en Pekín. Orígenes y fundamentos del siglo xxi de Giovanni Arrighi

2009 ◽  
Vol 39 (153) ◽  
Author(s):  
HUGO RODAS MORALES
Keyword(s):  
Twentieth Century ◽  
Adam Smith ◽  
New Left ◽  
Fredric Jameson

Este libro completa otro, cuyo título destaca el largo periodo que estudia: The Long Twentieth Century. Money, Power, and the Origins of Our Times (1994), adoptado elogiosamente por la teoría posmoderna —“Cultura y capital financiero” de Fredric Jameson—. El que se reseña fue anticipado parcialmente a los lectores de los números 20 y 32 de la conocida publicación internacional New Left Review, en 2003. Del declive militarista euroestadounidense y el prometedor ascenso social y capitalista chino deriva esta mirada occidental (auto)crítica que anticipa sus desafortunadas páginas finales: declarar que Smith y Marx no han sido bien comprendidos reduce toda obra interpretativa anterior sobre dos océanos de conocimiento y otros tantos de errores.

Towards a Psyche for Psychiatry

2003 ◽  
Vol 37 (6) ◽  
pp. 689-695 ◽  
Author(s):  
Russell Meares
Keyword(s):  
Twentieth Century ◽  
Mental Illness ◽  
World War I ◽  
William James ◽  
Human Consciousness ◽  
Inner Life ◽  
World War ◽  
The Core

Objective: To draw attention to the absence of a concept of personal existence in standard psychiatric approaches to mental illness. Method: To sketch a shift in Western consciousness which occurred suddenly before World War I, involving a banishment of such notions as self and the awareness of inner life from the discourse of psychiatry, psychology and philosophy, leaving a fundamental vacancy at the heart of these disciplines. Results and Conclusion: The positivist–behaviourist hegemony of the twentieth century involved an implicit devaluation of that which is essentially human. The influence of this tradition brings with it the risk of an understanding and treatment of mental illness which leaves out issues at the core of humanity. I suggest we need to recover something of the manner of thinking of the great figures in psychological thought who were writing before the rise of behaviourism and who were contributing to the origins of dynamic psychiatry. A study of the phenomena of human consciousness was central to their work. Main figures mentioned include: Hughlings Jackson, the great neurologist who considered a career in philosophy; Pierre Janet, a philosopher turned psychiatrist; and William James, a physiologist who became a psychologist and philosopher.

scholarly journals Dissociation and the Unconscious Mind: Nineteenth-Century Perspectives on Mediumship

2020 ◽  
Vol 34 (3) ◽  
pp. 537-596
Author(s):  
Carlos S. Alvarado
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
William James ◽  
General Interest ◽  
The Unconscious ◽  
History Of ◽  
Memory States ◽  
Hippolyte Taine ◽  
Unconscious Mind

There is a long history of discussions of mediumship as related to dissociation and the unconscious mind during the Nineteenth Century. After an overview of relevant ideas and observations from the mesmeric, hypnosis, and spiritualistic literatures, I focus on the writings of Jules Baillarger, Alfred Binet, Paul Blocq, Théodore Flournoy, Jules Héricourt, William James, Pierre Janet, Ambroise August Liébeault, Frederic W.H. Myers, Julian Ochorowicz, Charles Richet, Hippolyte Taine, Paul Tascher, and Edouard von Hartmann. While some of their ideas reduced mediumship solely to intra-psychic processes, others considered as well veridical phenomena. The speculations of these individuals, involving personation, and different memory states, were part of a general interest in the unconscious mind, and in automatisms, hysteria, and hypnosis during the period in question. Similar ideas continued into the Twentieth Century.

Romance Studies 2: Hispanic Literatures

2007 ◽  
Author(s):  
Thomas R. Hart
Keyword(s):  
Twentieth Century ◽  
Great Britain ◽  
William James ◽  
First World War ◽  
World War ◽  
The First World War ◽  
Hispanic Studies ◽  
First World

This chapter examines the history and developments in the study of medieval Hispanic literatures in Great Britain during the twentieth century. It explains that the importance of Hispanic studies in British universities increased greatly after the end of the First World War and that by 1925 there were four professorships in Spanish studies. The first chair of Spanish studies in Cambridge was J.B. Trend. Other notable British hispanists include William James Entwistle and Gerald Brenan.

Mysticism in the Twentieth Century

2018 ◽  
pp. 71-120
Author(s):  
Daniel Maria Klimek
Keyword(s):  
Twentieth Century ◽  
Case Studies ◽  
William James ◽  
Hearing Voices ◽  
Mystical Experiences ◽  
Mystical State

The chapter considers influential definitions of terms like “mysticism,” “mystical,” or “mystical experiences” as formulated by two of the most prominent scholars of mysticism of the twentieth century. The influence of William James to the study of mysticism and his famous four marks of a mystical state is observed. The influence of Evelyn Underhill to the study of mysticism and her defining characteristics of what is true mysticism is observed. The various forms of visionary experiences and locutionary experiences (mystically hearing voices) are studied and the nuances between mystical and visionary experiences are considered. Critiques of the work of James and Underhill are offered and brief case studies of three modern mystics—Maria Valtorta, Therese Neumann, and Gemma Galgani—are considered in support of the critiques.

The Impact of Alternative Exhibition Spaces on European Modern Art before World War I

2021 ◽  
Author(s):  
Nirmalie Alexandra Mulloli
Keyword(s):  
Twentieth Century ◽  
World War I ◽  
Modern Art ◽  
Social Conditions ◽  
Social Spaces ◽  
World War ◽  
The Impact

Exhibitions of modern art at the beginning of the twentieth century help to signify, in structured and identifiable nodes, the points at which the evolving visual forms of modernism were societally sanctioned and integrated into an accepted notion of what constituted art. Limited consideration has been given to examining the broader acceptance of alternative exhibition venues, previously peripheral or ephemeral, as social spaces and to considering the affect these alternative socio-spatial constellations had on the reception of the art being exhibited. By analyzing the shifting social conditions of art reception that these exhibiting spaces represent, this chapter presents a novel contextual view of how modern European artists flourished during this time in unprecedented ways.

Stream of Consciousness

2018 ◽  
Author(s):  
Jane Hu
Keyword(s):  
Mental State ◽  
Visual Art ◽  
William James ◽  
Thought Processes ◽  
Stream Of Consciousness ◽  
Dramatic Monologue ◽  
German Expressionism ◽  
Avant Garde ◽  
Human Thought ◽  
Narrative Mode

The term ‘stream of consciousness’ was first coined by psychologist William James in The Principles of Psychology in 1893, when he describes it thusly: "consciousness as an uninterrupted ‘flow’: ‘a ‘river’ or a ‘stream’ are the metaphors by which it is most naturally described. In talking of it hereafter, let’s call it the stream of thought, consciousness, or subjective life" (243). The term quickly came to mean a narrative mode that seeks to give the written equivalent of a character’s thought processes, and is sometimes described in terms of an ‘interior monologue’. As such, it differs from the ‘dramatic monologue’ or ‘soliloquy’ where the speaker addresses the audience or an implied receiver. Stream of consciousness style is often identified by fictional techniques such as lack of punctuation, long and sometimes agrammatical sentences, and a series of unrelated impressions. Stream of consciousness technique tries to represent a character’s general mental state before it is condensed, organized, or edited down into narrative coherence or sense. While stream of consciousness is often read as an avant-garde technique, its aims were to get closer to the ‘reality’ of human thought processes. As a narrative technique, stream of consciousness maintains affiliations with other modernist art forms, such as the visual art of German expressionism, Cubism, and modernist film.

The Transitive Multiverse of Charles Ives's “Concord” Sonata

2011 ◽  
Vol 28 (2) ◽  
pp. 166-194
Author(s):  
Christopher Bruhn
Keyword(s):  
Twentieth Century ◽  
Human Brain ◽  
William James ◽  
Human Mind ◽  
Turn Of The Century ◽  
Aesthetic Theory ◽  
Piano Sonata ◽  
American Philosophy ◽  
Works Of Art ◽  
Multiple Levels

The philosophy of William James can be useful in the interpretation of works of art, although James himself never specifically set forth an aesthetic theory. As an example, a Jamesian view of consciousness is enacted on multiple levels in Charles Ives's Piano Sonata No. 2, “Concord, Mass., 1840–60,” and the accompanying Essays before a Sonata. James's metaphor for the working of the human mind—a view widely circulated in Ives's day—as a “stream of thought,” the largely transitory movement of which James likened to a bird's flights and perchings; the value James finds in vagueness; and his treatment of the nature of truth as fundamentally mutable and provisional all find musical expression in the “Concord” Sonata. Additionally, the complex genealogy of the sonata and its connection to related works, notably the Fourth and Universe Symphonies, can be interpreted as reflecting James's cosmological vision of a pluralistic universe or “multiverse.” Reading the sonata through a Jamesian lens provides new insights into the behavior of Ives's music by relating it to turn-of-the-century thinking about the functioning of the human brain as well as early-twentieth-century American philosophy and cosmology.

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