InscriptionsPub Date : 2020-01-01DOI: 10.59391/inscriptions.v3i1.51
Jørgen Veisland
{"title":"Imagination and reality","authors":"Jørgen Veisland","doi":"10.59391/inscriptions.v3i1.51","DOIUrl":"https://doi.org/10.59391/inscriptions.v3i1.51","url":null,"abstract":"To Wallace Stevens the artist is determined by his relation to the \"pressure of reality.\" When the artist erases or evades the pressure reality is absorbed by the imagination so that the interdependence between reality and imagination is aesthetically metamorphosed by a process of abstraction, and the artist's power is measured by his ability to abstract himself and to withdraw reality with him into his abstraction. Here, Stevens has formulated nothing less than a poetics of abstraction. In this essay the significance of his poetics will be examined by applying it to modernist fiction, embarking from a reading by Stevens' own poem \"The Snow Man” (1921), where the aural sense, listening, prevents and excludes a fanciful attachment to the unreal and allows for the interdependence and the merging of imagination and reality, a poetic abstraction that is embedded in nature itself. In Alain Robbe-Grillet's novel Jealousy (1957), Haruki Murakami's short story \"TV People” (1993), and Paul Auster's novel 4321 (2017) we find a problematising, even a denigration of vision as the characters are drawn to petrified images that obviate perception and insight. Bruno Schulz' novella \"Cinnamon Shops” (1934) forms an exception in that the experience of illumination and expansion, taking place in winter, is precipitated by a unifying of the senses, aural, visual and tactile. The first-person narrator abstracts himself and abstracts reality by placing it in the imagination, to use Stevens' phrase.","PeriodicalId":32883,"journal":{"name":"Inscriptions","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85241233","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
InscriptionsPub Date : 2020-01-01DOI: 10.59391/inscriptions.v3i1.52
Tidhar Nir
{"title":"The aesthetics of the shock, part II","authors":"Tidhar Nir","doi":"10.59391/inscriptions.v3i1.52","DOIUrl":"https://doi.org/10.59391/inscriptions.v3i1.52","url":null,"abstract":"This second part of Tidhar Nir's essay on the aesthetics of the shock deals with Adorno and Benjamin's dialectical implementations of Freudian concepts such as Thanatos, repetition compulsion, and Eros as part of their relation to the autonomy of art. Interpreting works of art as uncanny and as animistic fantasies reveals how art, in their mind, is related to social reality and social struggles for individuality. Benjamin's account of the French photographer Atget stresses commercial fetishism by giving the inanimate new life through the absence of subjectivity. Atget's empty city is uncanny in its repetitiveness of unused objects, and nostalgic trends give a paradoxical expression to a yearning for innovation amidst the ``always the same.'' Alienation in this context can be understood in two different ways: 1) as the conjunction of inner and outer reality that takes place when the ego is objectified and comes to be regarded as a mere instrument; or 2) as a blurring of ego with outer reality in an effort to undermine the forces that have fixated the ego erotically by conjoining it with other life elements. Adorno designates this phenomenon as the ``return of nature'' or the aesthetization of the ego. Adorno's interpretation of poetic language draws the contours for a narcissism in which repetition compulsion may be expressed as an unintelligible sound. But that sound is not meaningless: it reiterates and uncovers the trauma inherent in the reification of language.","PeriodicalId":32883,"journal":{"name":"Inscriptions","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81779609","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
InscriptionsPub Date : 2019-07-01DOI: 10.59391/inscriptions.v2i2.33
Tidhar Nir
{"title":"The aesthetics of the shock, part I","authors":"Tidhar Nir","doi":"10.59391/inscriptions.v2i2.33","DOIUrl":"https://doi.org/10.59391/inscriptions.v2i2.33","url":null,"abstract":"Even though Freud's well-known concept of the uncanny has gained considerable influence in the field of aesthetics and beyond, the meaning of the term still remains vague. Is it a mere psychological concept with aesthetic and social implications or is it a culturally produced experience? And although Adorno’s aesthetic theory does not place the concept of the uncanny as its central axis, when linked to Freud's theory, Adorno's conception deepens not only various interpretations of modern art, but also our understanding of the very nature of artistic practice. Psychoanalytic interpretations of modern art couple the uncanny with technology and progress since human-machine interactions usually entail disturbing experiences. Yet no psychoanalytic interpretation of art to date has seen the uncanny as the theoretical foundation of all art. The first part of this essay deals with Adorno’s concept of aesthetic representation in relation to Freud’s uncanny and examines Benjamin’s application of that reasoning in interpreting the technological uncanny and the artistic uncanny.","PeriodicalId":32883,"journal":{"name":"Inscriptions","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83213895","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
InscriptionsPub Date : 2019-07-01DOI: 10.59391/inscriptions.v2i2.44
Kresten Lundsgaard-Leth
{"title":"Fathers and sons","authors":"Kresten Lundsgaard-Leth","doi":"10.59391/inscriptions.v2i2.44","DOIUrl":"https://doi.org/10.59391/inscriptions.v2i2.44","url":null,"abstract":"In this article, I take a closer look at the inconsistencies of Johannes de Silentio's position in Fear and Trembling. First, the article lays out the different inconsistencies of de Silentio's text. Secondly, I argue the case that the ultimate tension of the Abraham narrative is the way in which it points toward the self-sacrifice - and teachings - of Christ. Thirdly, I consider Robert A. Paul's reconstruction of Freud's analysis of the foundational myth of Moses and the establishment of Western civilization. Whereas it is Paul's point that we need to re-experience the guilt of mythical crimes to make sense of Christian atonement, I suggest that we must go through Abraham's - potentially fatal - faithful suspension of the ethical in order to understand why both God and loving deeds must ultimately be understood as self-sacrificial and other-concerning. ","PeriodicalId":32883,"journal":{"name":"Inscriptions","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79647971","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
InscriptionsPub Date : 2019-07-01DOI: 10.59391/inscriptions.v2i2.34
Jørgen Veisland
{"title":"Relationality and difference","authors":"Jørgen Veisland","doi":"10.59391/inscriptions.v2i2.34","DOIUrl":"https://doi.org/10.59391/inscriptions.v2i2.34","url":null,"abstract":"Søren Kierkegaard's work The Concept of Irony is an ambivalent and subtle analysis of irony with special reference to Socrates. Kierkegaard demonstrates how irony paradoxically makes its own method into an object of irony, a process culminating in a transgression of dialectics resulting in pure negativity. Moreover, irony is only a tool whereby the philosopher approximates the Absolute through indirect communication and explores the limits of language by contrasting it with music. The ultimate goal of this speculative, rhetorical procedure is to open up the aesthetic dimension to the ethicoreligious dimension. This involves an emancipation of subjectivity entailing the subject's serious confrontation with existence as an ethically disposed interest, interesse, where the individual is in constant dialogue with her/himself. The dialogue in the individual self is propelled by longing, which may be conceived as an intensified mental force containing an erotic and religious core and manifesting the everpresent, immanent difference between self and other. That difference is emblematic of a psychological, moral and epistemological problematic indicating indeterminacy and relationality, the pivots of individual becoming.","PeriodicalId":32883,"journal":{"name":"Inscriptions","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81890333","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
InscriptionsPub Date : 2019-06-29DOI: 10.59391/inscriptions.v2i2.45
S. Doyle
{"title":"Decision, betrayal, and faith","authors":"S. Doyle","doi":"10.59391/inscriptions.v2i2.45","DOIUrl":"https://doi.org/10.59391/inscriptions.v2i2.45","url":null,"abstract":"Søren Kierkegaard rejects the Kantian argument that the universal demand of ethics is the highest claim upon the individual. Whilst his Christian existentialism focuses on existence as ethical existence, within his existential framework the highest level of existence is the religious. Kierkegaard makes a distinction on this level between Religiousness A, or the last stage before faith; and Religiousness B, true Christianity. This essay explores the movement from religiousness A to B, and questions the location of the actual transition point, the boundary zone of humour. Since, for Kierkegaard, the divine is both immanent and transcendent, the fluidity of this boundary zone opens up the possibility that religious transition entails a double transcendence. This essay suggests that the highest point of Religiousness A is a movement to a certain form of the divine, whilst the absolute movement to Religiousness B is the reclamation of true faith.","PeriodicalId":32883,"journal":{"name":"Inscriptions","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83128469","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
InscriptionsPub Date : 2019-06-25DOI: 10.59391/inscriptions.v2i2.38
C. Norris
{"title":"Saving the text (Kierkegaard): a double sestina","authors":"C. Norris","doi":"10.59391/inscriptions.v2i2.38","DOIUrl":"https://doi.org/10.59391/inscriptions.v2i2.38","url":null,"abstract":"","PeriodicalId":32883,"journal":{"name":"Inscriptions","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-06-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86011952","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
InscriptionsPub Date : 2019-06-01DOI: 10.59391/inscriptions.v2i2.40
A. Velichkov
{"title":"Trembling in fear and ecstasy","authors":"A. Velichkov","doi":"10.59391/inscriptions.v2i2.40","DOIUrl":"https://doi.org/10.59391/inscriptions.v2i2.40","url":null,"abstract":"This essay investigates how Søren Kierkegaard’s leap of faith can be viewed as a sublime esthetic experience along the lines of the theories of Longinus and Edmund Burke. In Kierkegaard leaps of faith incorporate feelings of terror and passion. Grounded in notions of eternity and truth, they create occasions for particular kinds of sublime experiences. To Kierkegaard the leap of faith is the step by which one grows into one’s authentic self. This essay suggests that the leap of faith is significant also because of its intrinsic esthetic value.","PeriodicalId":32883,"journal":{"name":"Inscriptions","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81801888","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
InscriptionsPub Date : 2019-01-21DOI: 10.59391/inscriptions.v2i1.30
Torgeir Fjeld, Stefan Chazbijewicz
{"title":"Stefan Chazbijewicz","authors":"Torgeir Fjeld, Stefan Chazbijewicz","doi":"10.59391/inscriptions.v2i1.30","DOIUrl":"https://doi.org/10.59391/inscriptions.v2i1.30","url":null,"abstract":"Filmmaker, poet and visual artist Stefan Chazbijewicz seeks to establish a mystic space in his artwork, a domain of salvaged reality, or, as he puts it, a semiotic representation of what we are after salvation. Here we present three of Chazbijewicz' recent visual artworks together with a text that introduces his approach. The three images, “apres-nous,” “Greece, Athens,” and “The Question of Acropolis” are all recent works, employing a variety of techniques and references to collectively suggest a path, a series of perspectives, and an aesthetic programme.","PeriodicalId":32883,"journal":{"name":"Inscriptions","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-01-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83146467","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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