contours which are in each case mysterious, since personality and impersonality
do not stand in a binary relation. The point of my essays is to get at the
particularity of those understandings. Weil indicates the elusiveness of the
Author: Sharon Cameron
Publisher: University of Chicago Press
Category: Literary Criticism
Philosophers have long debated the subjects of person and personhood. Sharon Cameron ushers this debate into the literary realm by considering impersonality in the works of major American writers and figures of international modernism—writers for whom personal identity is inconsequential and even imaginary. In essays on William Empson, Jonathan Edwards, Ralph Waldo Emerson, Herman Melville, T. S. Eliot, and Simone Weil, Cameron examines the impulse to hollow out the core of human distinctiveness, to construct a voice that is no one’s voice, to fashion a character without meaningful attributes, a being that is virtually anonymous. “To consent to being anonymous,” Weil wrote, “is to bear witness to the truth. But how is this compatible with social life and its labels?” Throughout these essays Cameron examines the friction, even violence, set in motion from such incompatibility—from a “truth” that has no social foundation. Impersonality investigates the uncompromising nature of writing that suspends, eclipses, and even destroys the person as a social, political, or individual entity, of writing that engages with personal identity at the moment when its usual markers vanish or dissolve.
Correspondingly, Sedgwick argues that as the will's powers are deflated, its
territory is given over to affect's “reservoir of potential” (101)—or in the language
of modernist impersonality, to H.D.'s “over-mind,” Lawrence's “chaos alive,” or
Author: Christina Walter
Publisher: JHU Press
Category: Literary Criticism
Western accounts of human vision before the nineteenth century tended to separate the bodily eye from the rational mind. This model gave way in the mid–nineteenth century to one in which the thinking subject, perceiving body, perceptual object, and material world could not be so easily separated. Christina Walter explores how this new physiology of vision provoked writers to reconceive the relations among image, text, sight, and subjectivity. Walter focuses in particular on the ways in which modernist writers such as H.D., Mina Loy, D. H. Lawrence, and T. S. Eliot adapted modern optics and visual culture to develop an alternative to the self or person as a model of the human subject. Critics have long seen modernists as being concerned with an "impersonal" form of writing that rejects the earlier Romantic notion that literature was a direct expression of its author’s personality. Walter argues that scholars have misunderstood aesthetic impersonality as an evacuation of the person when it is instead an interrogation of what exactly goes into a personality. She shows that modernist impersonality embraced the embodied and incoherent notion of the human subject that resulted from contemporary physiological science and traces the legacy of that impersonality in current affect theory. Optical Impersonality will appeal to scholars and advanced students of modernist literature and visual culture and to those interested in the intersections of art, literature, science, and technology.
The examples from Estonian, Finnish and Irish we considered above illustrate
clearly structured manifestations of impersonality in terms of both grammatical
rules and their conceptual basis. One of our most important and fruitful future
Author: Mutsumi Yamamoto
Publisher: John Benjamins Publishing
Category: Language Arts & Disciplines
In this monograph the author probes the fundamental nature of the concept of agency and its importance to human language and cognition. Whereas previous studies focused on grammatical manifestations this original work addresses such issues as the strong relationship between agency and responsibility, a philosophical interpretation of the concept of agency and a variety of epistemic attitudes towards agency that strongly influence our view of the world. Different cultures and languages process and express agency differently. To illustrate the co-relation between the linguistic expressions of agency and cultural stereotypes that lurk behind individual natural languages, the author analyses Japanese and English parallel corpora. It is shown that English tends to highlight agency in expressing actions and events, whereas Japanese largely obfuscates agency through impersonalising potential agents. Through the case studies on these languages this book sheds light on the close connection between language, thought and culture and contributes to the resurging interest in linguistic relativity.
Timon of Athens The “ impersonality " of Shakespeare . . . The date of Timon The
play analysed The Plutarch source The Lucian source The Painter source The
meaning and origin of the work . . . The Fall of Bacon . . . . . . . . His recovery .
Author: Edward George Harman
Publisher: Ardent Media
The author feels that literary criticism cannot ignore history & that historical research & writing cannot ignore literature, because literature often reflects historical events. On the basis of this duality, Mr. Harman has combined historical research with literary research to produce a valuable analysis of the Shakespearean era & of Shakespeare himself.
In a diary entry for 1920 , Woolf comments on the difficulties of achieving impersonality in writing , claiming that ' the danger is the damned egotistical self ;
which ruins Joyce and Richardson . ' While Joyce has been ably defended , most
Author: Christine Reynier
Publisher: Presses Universitaires de la Méditerranée PULM
Technology and the Work Group So far we have presented the assumption that impersonality can be counteracted by group membership* and the hypothesis
that mass production technology increases impersonality. It should follow that the
Bureaucratic Impersonality Rule by impersonal rules is the aspect of Weberian
bureaucracy most relevant to the present paper . Impersonality was
institutionalized in bureaucracies , according to Weber , in order to circumvent
The Problem Of Impersonality and Size An address given by Dean E. McHenry,
Chancellor of the University of California, Santa Cruz, to the Utah Conference on
Higher Education, Salt Lake City, September 8, 1966. In the early stages of our ...
Author: Dr Katerina KoutsantoniPublish On: 2013-04-28
The ways in which Woolf ' s strategy of impersonality has been defined by critics
have set the foundations for this book. My core argument is that impersonality
cannot be equated with authorial absence but entails both subjective and
Author: Dr Katerina Koutsantoni
Publisher: Ashgate Publishing, Ltd.
Category: Literary Criticism
In the first comprehensive study of Virginia Woolf's Common Reader, Katerina Koutsantoni draws on theorists from the fields of sociology, sociolinguistics, philosophy, and literary criticism to investigate the thematic pattern underpinning these books with respect to the persona of the 'common reader'. Though these two volumes are the only ones that Woolf compiled herself, they have seldom been considered as a whole. As a result, what they reveal about Woolf's position with regard to the processes of writing, reading, and critical analysis has not been fully examined. Koutsantoni challenges the critical commonplace that equates Woolf's strategy of self-effacement and personal removal from her works as a necessary compromise that allowed her to achieve authorial recognition in a male-dominated context. Rather, Koutsantoni argues that an investigation of impersonality in Woolf's essays reveals the potential of the genre to function both as a vehicle for the subjective and dialogic expression of the author and reader and as a venue for exploring topics with which the ordinary reader can relate. As she explores and challenges the meaning of impersonality in Woolf's Common Reader, Koutsantoni shows how the related issues of subjectivity, authority, reader-response, intersubjectivity, and dialogism offer useful perspectives from which to examine Woolf's work.
As positive personality from a negative impersonality , or , rather a thing present
from itself absent , would be the greater from the less , which is impossible , so ,
the less is from the greater , when we say that , Second , having seen that to ...
Her writing is stylish in the best sense and, in terms of its theoretical vocabulary and assumptions, impeccable. This book marks the debut of a major literary critic.
Author: Maud Ellmann
Category: Literary Criticism
T. S. Eliot and Ezra Pound dominated English poetry and criticism in the first half of the twentieth century. At the center of their practice is what Maud Ellmann calls the poetics of impersonality. Her examination yields a set of superb readings of the major poems of the modernist canon. Eliot and Pound mounted attack after attack on nineteenth-century poetry from Wordsworth to Swinburne, poetry they believed nurtured an unhealthy cult of the self. They wanted poetry to be a transparent medium that gives its readers access to reality and meaning. Poetry, they argued, should efface itself, because writing that calls attention to itself calls attention to the distinctive personality of the writer. Ellmann convincingly shows that their arguments are self-contradictory and that their efforts to eliminate personality merely reinstate it in a different guise. After an initial section on Eliot's relation to Bergson, Ellmann goes on to analyze Eliot's "Tradition and the Individual Talent" and the later After Strange Gods, the early poems, The Waste Land, and Four Quartets; she then turns to Pound's Personae, particularly "Mauberley," and the Cantos. Ellmann looks for the contradictions inherent in modernist literary ideology and deftly teases out their implications. Her writing is stylish in the best sense and, in terms of its theoretical vocabulary and assumptions, impeccable. This book marks the debut of a major literary critic.
Impersonality and the Cultural Work of Modernist Aesthetics offers a corrective to this narrative, beginning with the claim that as human individuality seemed to become increasingly abstracted from urban life, the words impersonal and ...
Author: Heather Arvidson
Category: Modernism (Aesthetics)
This dissertation reanimates the multiple cultural and aesthetic debates that converged on the word impersonality in the first decades of the twentieth century, arguing that the term far exceeds the domain of high modernist aesthetics to which literary studies has consigned it. Although British and American writers of the 1920s and 1930s produced a substantial body of commentary on the unprecedented consolidation of impersonal structures of authority, social organization, and technological mediation of the period, the legacy of impersonality as an emergent cultural concept has been confined to the aesthetic innovations of a narrow set of writers. Impersonality and the Cultural Work of Modernist Aesthetics offers a corrective to this narrative, beginning with the claim that as human individuality seemed to become increasingly abstracted from urban life, the words impersonal and impersonality acquired significant discursive force, appearing in a range of publication types with marked regularity and emphasis but disputed valence and multiple meanings. In this context impersonality came to denote modernism's characteristically dispassionate tone and fragmented or abstract forms, yet it also participated in a broader field of contemporaneous debate about the status of personhood, individualism, personality, and personal life. This dissertation asserts impersonality's conceptual plasticity and makes a case for its paradigmatic importance in literary and cultural discourse of the 1920s and 1930s. Through literary texts that engage impersonality formally and thematically, the dissertation contextualizes narrative experiments in point of view within the broader questions about effaced individuality that the word impersonality condenses. By elaborating specific narrative criteria for impersonal fiction, Impersonality and the Cultural Work of Modernist Aesthetics also addresses a critical gap in formal understandings of impersonality. New readings of canonical as well as less often studied modernists- Virginia Woolf, Wyndham Lewis, Tess Slesinger, Djuna Barnes, and Nathanael West- suggest that modernism is invested in not only performing impersonality but also interrogating it as a contemporary mode of sociality.
Here impersonality is regarded as identical with indiflerence and sternness.
When nothing moves a person then is he regarded as firmly established in
spirituality. There are people who are afraid to give vent to any emotion lest they
would fall ...
Author: Rohit Mehta
Publisher: Motilal Banarsidass Publishe
In the Dialouge with Death the author presents the superb mtsticism of Sri Aurobindo as he has expounded it in his own inimitable style in the exquisite poem Savitri.Savitri is a movemental work in which sri Aurodindo is seen as a yogi and a philosopher a mystic and an occultist a poet and a lover all at once. It contains the quintessence of Sri Aurobindo`s great spirtiual adventure which aimed at bridging the gulf between Heaven and Earth.
“surrender” of individuality, what is quite possibly the most radical aspect of his impersonality, aligns his work with even more radical practitioners of impersonality, most notably Yeats, and attests to the possibility of an impersonality that is ...
Author: R. Rives
Category: Literary Criticism
Rives uncovers a context of aesthetic and social debate that modernist studies has yet to fully articulate, examining what it meant, for various intellectuals working in early twentieth-century Britain and America, to escape from personality.
I Duffy , Eliot and impersonality NEIL ROBERTS I n the 1992 ' Bookmark '
programme Love in a Cold Climate , directed own love poems . In most cases
they do so in the presence of their partners . In this sentimentally naturalising
context by far ...
Author: Angelica Michelis
Publisher: Manchester University Press
Category: Literary Criticism
The first full-length collection of essays on the poetry of Carol Ann Duffy. Duffy's poetry is both respected by academics, and widely read and enjoyed by both children and adults. Approaches Duffy's work from a variety of literary theoretical perspectives, including feminism, masculinity, national identity and post-structuralism. Situates Duffy's work in relation to current debates about the state, value and social relevance of contemporary British poetry. Will become the benchmark anthology on Duffy.
Beyond this question of worship , the personality or impersonality of Power , is a
mere idle inquiry to religion . Has science more reason to impersonalize force ,
than religion has to personalize it ? Indeed , science can neither affirm its ...
But this impersonality will be a unicity whose intensity is more intimate and
perhaps more “personal” than that of ipseity in philosophy. Impersonality in
Blanchot is not only a refusal of the unproblematized integrity of the humanist
Author: Joseph Libertson
Publisher: Springer Science & Business Media
The problematic reality of an alterity implicit in the concept of communication has been a consistent attestation in formal discourse. The rapport of thought to this alterity has been consistently described as a radical inadequation. By virtue of the communicational economy which produces discontinuity and relation, illumination and the possibility of consciousness, an opacity haunts the famili arity of comprehension. Consciousness' spontaneity is limited by the difference or discontinuity of the exterior thing, of the exterior subject or intersubjective other, and of the generality of existence in its excess over comprehension's closure. An element implicit in difference or discontinuity escapes the power of comprehension, and even the possibility of manifestation. Within the system of tendencies and predications which characterizes formal discourse, however, this escape of alterity is most often understood as an escape which proceeds from its own substantiality: the unknowable in-itself of things, of subjects, and of generality. Alterity escapes the power of comprehension, on the basis of its power to escape this power. That which escapes the effectivity of consciousness, escapes on the basis of its own effectivity. For this reason, the rapport of inadequation described by the escape may function in formal discourse as a correlation. The inadequation of comprehension and exteriority may function as the vicissitude of a larger adequation. The latent principles of this adequation are power and totalization.
83 IMPERSONALITY (1) Impersonality, particularly for high grade integrated
people, is peculiarly difficult to achieve. There is a close relation between impersonality and detachment. Study this. Many cherished ideas, many hard won
Author: Alice A. Bailey
Publisher: Lucis Publishing Companies
Category: Body, Mind & Spirit
Throughout the books of Alice Bailey we frequently come across arresting suggestions and ideas. Many of these are brought together in this book. Arranged in alphabetical subject order they form an ideal introduction to the books as a whole. Topics include: The Ancient Mysteries, Courage, Crisis, Guidance, Joy, Mind, The New Age, Visualisation.
Author: Helena Carvalhão BuescuPublish On: 2007-01
This notion of impersonality has had an important impact on literary criticism: one
can think of the doctrine of 'The Intentional Fallacy,' or Sartre's rigorous division
between poetry and littérature engagée. This view on impersonality also typifies ...
Author: Helena Carvalhão Buescu
Category: Biography & Autobiography
In contemporary societies privatization has long ceased to be just an economic concept; rather, it must increasingly be made to refer to the ongoing shrinking of the public space under the impact of the representation of individual lives and images, which cuts across all discourses, genres and media to become one of the primary means of production of culture. This volume is intended to cover such an historical, social and intellectual ground, where self-representation comes to the fore. Targeting mostly an academic readership but certainly also of interest to the general educated public, it collects a wide range of essays dealing with diverse modes of life writing and portraying from a variety of perspectives and focusing on different historical periods and media. It thus offers itself as a major contribution to a better understanding of the world we live in: its past legacy and present configuration.ContentsIntroduction: Signposts of the Self in Modernity Part I. The Representational Dilemma Christopher PRENDERGAST: The Self as a Work of Art: Proust's ScepticismPaulo DE MEDEIROS: (Re-)Constructing, (Re-)Membering Postcolonial Selves Aleksandra PODSIADLIK: `Doing Identity? in Fiction: Identity Construction as a Dialogue between Individuals and Cultural Narratives Clara ROWLAND: Self-Representation and Temporality: `Parabasis? in Guimar'es Rosa's Grande Sert'o: Veredas Daniel ROVERS: New Man: Marie Kessels? Inner Portrait of a Writing Self Gaston FRANSSEN: Good Intentions, Ethical Commitment, and Impersonal Poetry:The Work of Gerrit Kouwenaar Jan RUPP: `For-Getting? Plural Selves: Narrative and Identity in Caryl Phillips's A Distant Shore Lars BERNAERTS: The Straitjacket of Normality. The Interaction with the Psychiatrist in Maurits Dekker's Waarom ik niet krankzinnig benLars DALUM GRANILD: The Self's Struggle for Recognition: August Strindberg and the Other Marinela FREITAS: Unshaded Shadows: Performances of Gender in Emily Dickinson and Luiza Neto Jorge Part II. Signalling Identity Peter BROOKS: The Identity Paradigm Roland GREENE: The Global I Davy VAN OERS: Staining the Past with Ink in Lorenzo Da Ponte's Memorie (1830): The Fallacies of Autobiographical `Writing? Eli PARK SORENSEN: Between Autobiography and Fiction: Narrating the Self in Gabriel Garcia Marquez's Vivir para contarla Mirjam TRUWANT: The Passion of Lena Christ: From Fictionalized Autobiography to Biographical Novel Ricardo GIL SOEIRO: Dreams in the Mirror: George Steiner by George Steiner Part III. Images of the Self Across the Arts Timothy MATHEWS: Reading W. G. Sebald with Alberto Giacometti Paula MOR?O: The Impossible Self-Portrait Anna Viola SBORGI: Between Literature and the Visual Arts: Portraits of the Self in William Carlos Williams, Marianne Moore, and Fernando Pessoa Jakob STOUGAARD-NIELSEN: Photography and Shadow-Writing: Henry James's Revisions of the Self in the New York Edition Patrick VAN ROSSEM: Consumed by the Audience. Inhibition, Fear, and Anxiety in the Oeuvre of Bruce Nauman Anke BROUWERS: There Was Something about Mary: Mary Pickford's Perfect `Little American? Verena-Susanna NUNGESSER: Paint it Red: Death Artistry as a Portrait of the Self
The proponents of the Guidance Thesis have derived the demand of judicial impersonality from the needs of guidance : if judges do not apply the law
impersonally , then subjects cannot rely upon general legal rules and standards
as a basis ...