The natural philosophy of love, by Remy de Gourmont, tr. with a postscript by Ezra Pound.

Gourmont, Remy de; Pound, Ezra

doi:10.5962/bhl.title.28098

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“…(Frank 2020, 387) Die Lock'sche Stoßrichtung des assoziativen Denkmodells als Gegenstück zu apodiktischen und syllogistischen Weisen der philosophischen Wahrheitssuche wurde von Remy de Gourmot in einem Essay (1899) über die "Dissociation of Ideas" aufgenommen. (Gourmont 1921) Gourmont verstand Dissoziation im positiven Sinn als Technik der Spaltung, die es erlaubt, bestehende und teils willkürlich assoziierte Ideen aufzubrechen und neue Zusammenhänge zu denken. Er sieht die Methode der Dissoziation als Mittel, um den "kreativen Geist" von den Beschränkungen wie "Gemeinplätzen" (Commonplaces) zu befreien, die ihm durch die Gesellschaft auferlegt werden.…”

Section: Dissoziation Als Philosophische Technikunclassified

Dissoziation als Konzept der Ethik und Sozialkritik

Horn

2023

ZfPP

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Ausgehend von der Kritik einer fehlenden psychologisch informierten Subjekttheorie als Grundlage der Theorie Epistemischer Ungerechtigkeiten von Miranda Fricker wird der Begriff der Dissoziation als sozialphilosophisches Kriterium eingeführt. Die philosophische Technik der Dissoziation wird im Verhältnis zum psychologischen Verständnis des Begriffs diskutiert. Es wird die These vertreten, dass dissoziative Mechanismen und Phänomene innerpsychische und kollektive Prozesse miterklären können, die zur Genese und Aufrechterhaltung epistemischer Ungerechtigkeiten sowie insbesondere zur Persistenz von Ideologien beitragen.

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Section: Dissoziation Als Philosophische Technikunclassified

Dissoziation als Konzept der Ethik und Sozialkritik

Horn

2023

ZfPP

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“…De Gourmont's contention that 'only the intellectual knows that the framing of pigs in a trough can make a superior work of art' -the 'people' look for subject (or content), the intellectual for manner -underlines the social anxieties intrinsic to modernist aesthetics. 9 Georg Simmel's 'Das Problem des Stiles' (1908) locates the problem similarly in the tension between stylistic singularity and typicality. If we conceive of style as a law of form, as a period style -such as the baroque -then masterpieces do not have style.…”

Section: 'The Problem Of Style'mentioning

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The contemporary problem of style

Robinson

Sheils

2022

Textual Practice

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This essay sets the parameters of this special issue on the contemporary problem of style. Noting that the critical term style has returned to discursive prominence in recent years, the introduction explores the peculiarity of its status in literary studies. Asking how style underlies our critical practice today, it tracks the partially conflicting genealogies of style and the variety of its disciplinary relations. It explores the problem of style now: in its modernist inheritances; its association to class and nationality, especially Englishness; its reconfiguration through world Englishes and the global novel; its coupling with new aestheticism and new formalism; its recasting as a problem of receptivity and attachment in the era of 'post-critique'; its intimate connection to shame, affect and embodiment (given especial impetus by critical race theory and sexuality studies); and its persistent association with subcultures and the scandalous pleasures of 'lifestyle'. KEYWORDS new formalism; new aestheticism; modernism; weird English; stylistics; post-critique; shame Coleman, the protagonist of 'Prophets' (2021) by Brandon Taylor, teaches creative writing at Iowa. This information offers unusual sustenance to the student of contemporary style. It allows that Coleman's painful life predicaments are dependably enmeshed with the discourse of literary writing, that once privileged mode. Coleman feels personally rebuked by his students when they write 'stories in the forms of Spotify mixtapes, research articles, blog posts, found footage…'. And he finds himself affronted by the 'famous black writer' who has come to give a 'pyrotechnic' reading of 'experimental fiction that was really memoir but also a poem'.Coleman, too, is a black American writer, and gay, and he is harbouring a secret history of sexual abuse. 1 whiteness of a cultural space? In revealing this struggle to understand the impossible commitment to authenticity, suspicion of authorial self-exposure, wariness about the performance of identity and complicity with cultural capital, Taylor's story dramatises concerns germane to this special issue. The contemporary problem of style, we suggest, is a problem of sorting and identifying difference, of generational, technological and institutional transmission, of aesthetic judgment and affective response, of the interpretative tension between suspicion and pleasure, and of a creative practice in which historical content is constantly under erasure.The discourse of modern style has always opened a messy space between the literary and the extra-literary. Consider the German Romantic riposte to Kantian disinterest; or Nietzsche's reproval of the art-for-art's-sake movement; or the persistent failure of modernist impersonality to defend technique against life. Style comes and goes, but it always returns as a problem, in all its taxonomic unruliness, straddling disciplines and jumping between technocratic and journalistic modes. Recent work by Jacques Rancière, Rebecca Walkowitz,

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The natural philosophy of love, by Remy de Gourmont, tr. with a postscript by Ezra Pound.

Cited by 2 publications

References 0 publications

Dissoziation als Konzept der Ethik und Sozialkritik

Dissoziation als Konzept der Ethik und Sozialkritik

The contemporary problem of style

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