Poetics of Subjectivity : Existence and Expressivity in Simone de Beauvoir's Philosophy

In the last thirty years, primarily feminist scholars have drawn attention to and re-evaluated the philosophy of Simone de Beauvoir (1908 1986). Her philosophical practice has been described as non-systematic, and her literary writing has been viewed as part of her non-systematic mode of philosophising. This dissertation radically deepens the question concerning Beauvoir s philosophical motivations for turning to literature as a mode to express subjectivity. It explicates the central concepts of Beauvoir s philosophy of existence, which are subjectivity, ambiguity, paradox and temporality, and their background in the modern traditions of existential philosophy and phenomenology. It also clarifies Beauvoir s main reason to turn to literature in order to express subjectivity as both singular and universal: as a specific mode of communication, literature is able to make the universality of existence manifest in the concrete, singular and temporal texture of life. In addition, the thesis gives examples of how Beauvoir s literary works contribute to an understanding of the complexity of subjectivity. I use the expression poetics of subjectivity to refer to the systematic relation between Beauvoir s existential and phenomenological notion of subjectivity and her literary works, and to her articulations of a creative mode of using language, especially in the novel. The thesis is divided into five chapters, of which the first three investigate Beauvoir s philosophy of existence at the intersection of the modern traditions of thought that began with René Descartes and Søren Kierkegaard s intuitions about subjectivity. Chapter 1 interprets Beauvoir s notion of ambiguity, as compared to paradox, and argues that both determine her notion of existence. Chapters 2 and 3 investigate the phenomenological side of Beauvoir s philosophy through a study of her response to early French interpretations of transcendental subjectivity, especially in the works of Jean-Paul Sartre and Maurice Merleau-Ponty. My analysis shows that Edmund Husserl s distinction between different levels of subjective experience is central to Beauvoir s understanding of subjectivity and to the different ego concepts she uses. Chapter 4 is a study of Beauvoir s reflections on the expression of subjective thought, and, more specifically, her philosophical conceptions of the metaphysical novel and the autobiography as two modes of indirect communication. Chapter 5, finally, compares two modes of investigating concrete subjectivity; Beauvoir s conceptual study of femininity in Le deuxième sexe and her literary expression of subjectivity in the novel L Invitée. My analysis reveals and explicates Beauvoir s original contribution to a comprehensive understanding of the becoming and paradox of human existence: the fundamental insight that these phenomena are sexed, historically as well as imaginatively.

Living Poetically in the Modern Age : The Situational Aspects of Kierkegaard's Thought

How did Søren Kierkegaard (1813 1855) situate the human subject into historical and social actuality? How did he take into consideration his own situatedness? As key for understanding these questions the research takes the ideal of living poetically that Kierkegaard outlined in his dissertation. In The Concept of Irony (1841) Kierkegaard took up this ideal of the Romantic ironists and made it into an ethical-religious ideal. For him the ideal of living poetically came to mean 1) becoming brought up by God, while 2) assuming ethical-religiously one s role and place in the historical actuality. Through an exegesis of Kierkegaard s texts from 1843 to 1851 it is shown how this ideal governed Kierkegaard s thought and action throughout his work. The analysis of Kierkegaard s ideal of living poetically not only a) shows how the Kierkegaardian subject is situated in its historical context. It also b) sheds light on Kierkegaard s social and political thought, c) helps to understand Kierkegaard s character as a religious thinker, and d) pits his ethical-religious orientation in life against its scientific and commonsense alternatives. The research evaluates the rationality of the way of life championed by Kierkegaard by comparing it with ways of life dominated by reflection and reasoning. It uses Kierkegaard s ideal of living poetically in trying to understand the tensions between religious and unreligious ways of life.

Imagination and diversity in the philosophy of Hobbes

This dissertation is a study of some aspects of theoretical philosophy of the early modern thinker Thomas Hobbes (1588-1679). The focal point of the work is Hobbes s conception of imagination, which is discussed from both a systematic and a historical point of view, as well as in the light of contemporary scholarship. I argue that though there are significant similarities between the view of Hobbes and that of his predecessors, he gives a novel theory of imagination, which clarifies not only early modern discussions on human nature, knowledge, science, and literary criticism, but above all his own versatile philosophy. The prologue of the dissertation introduces methodological principles and gives critical remarks on the standard view of Hobbes. In Chapter II, I discuss the prominent theories of imagination before Hobbes and link them to his account. I argue that though Hobbes adopted the Aristotelian framework, his view is not reduced to it, as he borrows from various sources, for instance, from the Stoics and from Renaissance thought. Chapters III and IV form the psychological part of the work. In the Chapter III I argue that imagination, not sense, is central in the basic cognitive operations of the mind and that imagination has a decisive role in Hobbes s theory of motivation. The Chapter IV concentrates on various questions of Hobbes s philosophy of language. The chapter ends with a defence of a less naturalistic reading of Hobbes s theory of human nature. Chapters V and VI form the epistemological part of the work. I suggest, contrary to what has been recently claimed, that though Hobbes s ideas of good literary style do have a point of contact with his philosophy (e.g. the psychology of creative process), his ideas in the field are independent of his project of demonstrative political science. Instead I argue that the novelty of his major political work, Leviathan (1651), is based on a new theory of knowledge which he continued to develop in the post-Leviathan works. Chapter VII seeks to connect the more theoretical conclusions of Chapters V and VI to Hobbes's idea(l) of science as well as to his philosophical practice. On the basis of Hobbes s own writings as well as some historical examinations, I argue that method is not an apt way to conceptualise Hobbes s philosophical practice. Contemporary readings of Hobbes s theory of science are critically discussed and the chapter ends with an analysis of Hobbes s actual argumentation. In addition to the concluding remarks, the epilogue suggest three things: first, imagination is central when trying to understand Hobbes s versatile philosophy; second, that it is misleading to depict Hobbes as a simple materialist, mechanist, and empiricist; and, third, that in terms of imagination his influence on early modern thought has not been fully appreciated.

Relook into the historical progress and philosophy of Indian space exploration

A study of the history and philosophy of the contribution of India towards the exploration of space since antiquity provides interesting insights. The contributions are described during the three periods namely: (1) the ten millenniums from 10,000 BC with a twilight period up to 900 AD; (2) the ten centuries from 900 AD to 1900 AD; and (3) the ten decades from 1900 AD to 2000 AD; called mythological, medieval, and modern respectively. Some important events during the above periods provide a reference view of the progress. The Vedas during the mythological period and the Siddhantas during the medieval periods, which are based on astronomical observations, indicate that the Indian contribution preceded other cultures. But most Western historians ignore this fact time and again in spite of many proofs provided to the contrary. This chapter also shows that Indians had the proper scientific attitude of developing any physical theory through the triplet of mind, model, and measurements. It is this same triplet that forms the basis of the present day well known Kalman filter technique. Up to about 1500 BC the Indian contribution was leading but during foreign invasion and occupation it lagged and has been improving only after independence.

Ludwig Feuerbach's Critique of Religion and the End of Moral Philosophy

Williams, H. (2006). Ludwig Feuerbach's Critique of Religion and the End of Moral Philosophy. In Moggach, D. (Ed.), The New Hegelians: Politics and Philosophy in the Hegelian School (pp.50-66). Cambridge: Cambridge University Press. Introduction; Part I. Eduard Gans: 1. Eduard Gans on poverty and on the constitutional debate; 2. Ludwig Feuerbach's Critique of Religion and the end of moral philosophy; Part II. Ludwig Feuerbach: 3. The symbolic dimension and the politics of Left Hegelianism; Part III. Bruno Bauer: 4. Exclusiveness and political universalism in Bruno Bauer; 5. Republican rigorism and emancipation in Bruno Bauer; Part IV. Edgar Bauer: 6. Edgar Bauer and The Origins of the Theory of Terrorism; Max Stirner 7. Ein Menschenleben: Hegel and Stirner; 8. 'The State and I': Max Stirner's anarchism; Friedrich Engels: 9. Engels and the invention of the catastrophist conception of the industrial revolution; Karl Marx: 10. The basis of the state in the Marx of 1842; 11. Marx and Feuerbachian essence: returning to the question of 'Human Essence' in historical materialism; 12. Freedom and the 'Realm of Necessity'; Concluding with Hegel :13. Work, language and community: a response to Hegel's critics. RAE2008

The political philosophy of Miki Kiyoshi: A close reading of the philosophical foundations of cooperative communitarianism

The thesis is a historical and philological study of the mature political theory of Miki Kiyoshi (1897-1945) focused on Philosophical Foundations of Cooperative Communitarianism (1939), a full translation of which is included. As the name suggests, it was a methodological and normative communitarianism, which critically built on liberalism, Marxism and Confucianism to realise a regional political community. Some of Miki’s Western readers have wrongly considered him a fascist ideologue, while he has been considered a humanist Marxist in Japan. A closer reading cannot support either view. The thesis argues that the Anglophone study of Japanese philosophy is a degenerating research programme ripe for revolution in the sense of returning full circle to an original point. That means returning to the texts, reading them contextually and philologically, in principle as early modern European political theory is read by intellectual historians, such as the representatives of Cambridge School history of political thought. The resulting reading builds critically on the Japanese scholarship and relates it to contemporary Western and postcolonial political theory and the East Asian tradition, particularly neo-Confucianism. The thesis argues for a Cambridge School perspective radicalised by the critical addendum of geo-cultural context, supplemented by Geertzian intercultural hermeneutics and a Saidian ‘return to philology’. As against those who have seen radical reorientations in Miki’s political thought, the thesis finds gradual progression and continuity between his neo-Kantian, existentialist, Marxian anthropology, Hegelian and finally communitarian phases. The theoretical underpinnings are his philosophical anthropology, a structurationist social theory of praxis, and a critique of liberalism, Marxism, nationalism and idealism emphasising concrete as opposed to abstract theory and the need to build on existing cultural traditions to modernise rather than westernise East Asia. This post-Western fusion was imagined to be the beginning of a true and pluralistic universalism.

Reclaiming the Vocal High Ground: Performing Baroque Repertoire in a Modern World

The early music revival of the late twentieth century revolutionized music with the birth of historically lnformed performance. With this revolution came a stereotype of the "early music singing voice" as small, bright, straight-toned, and unfortunately, often inferior techrucally to the mainstream opera singer. An assessment of the validity of this stereotype was made though readings of treatises and modern manuals of performance practice, and through listening to recordings. Sources on ornamentation, recitative, dance rhythm, and baroque gesture were examined, resulting in the finding that these issues are far more important to historical accuracy than are voice timbre and size. This dissertation is comprised of three historically informed performances intended to satisfy both the early music specialist and the mainstream voice teacher. Program One (May 15, 2004) is a performance of The "Peasant" Cantata, BWV 212, by J.S. Bach, with The Bach Sinfonia at the Washington Conservatory of Music. Program Two (January 29, 2005) is the role of Eurilla in a staged production of Antonio Vivaldi's serenata, Eurilla e Alcindo. The performance is a collaboration with the Baltimore-based ensemble, La Rocinante, and is conducted from the keyboard by Joseph Gascho. Program Three (March 14, 2005) is a solo recital entitled, Fairest Isle: Music of Baroque London. All three programs are documented in a digital audio format available on compact disc, with accompanying programs and notes also available in digital format.

Between “the Housewife” and “the Philosophy Professor”: Music, Narration and Address in Ousmane Sembene's Xala

The acclaimed Senegalese filmmaker Ousmane Sembene conceptualised himself as a modern day griot (West African oral performer), producing often didactic films that address a diverse spectatorship. Examining Xala, this paper argues that this address cannot be fully understood without attention to the film’s complex music/image relationships, which refigure classical and modernist film aesthetics to mobilise a discourse that recalls oral performance. In this way, Sembene negotiates the tensions of address generated by a spectatorship that is situated in the culturally hybrid spaces between the literate and the oral, the urban and the rural, and the global and the local.

'Handel's unpublished dance music':A perspective on his approach to composition

Provides incipits of the dances not then in modern editions.

Developing dance music from the song tradition

This paper takes an historical look at the development of now popular Irish dance tunes which originated in or passed through the song tradition. It discusses the role of what I have termed ‘intermediaries’ which bridge the gap between the song and dance music traditions, allowing repertoire to flow between these two tributary streams of the modern tradition. I will discuss the under-investigated practice of lilting, which I will argue has acted as an important intermediary between the dance and song traditions, particularly in the eighteenth century. before going on to discuss some examples of songs and dance tunes which have a more complex relationship.