For half a century, readers of C. S. Lewis had only two problematic and at times obscure spiritual autobiographies to use in attempts to understand Lewis’s journey to faith through what he called Joy, Sehnsucht, or longing. Both books, though important and full of key insights, in some ways hid more than they revealed. Recent discoveries, however, have widened the arc of autobiography. Lewis’s landmark pre-Christian account of his conversion to theism, ‘Early Prose Joy’, published in 2013, monumentally widened (...) and deepened our understanding of Lewis’s spiritual journey to faith. And the fragmentary poem ‘I Will Write Down the Portion that I Understand’ also adds significant insight, at least into Lewis’s composition process of grappling with conversion. Insightful recent scholarship by Alister McGrath suggests widening the scope of what we consider spiritual autobiography in Lewis to include A Grief Observed; this idea opens the door to a broader view of how autobiography functions both in Lewis’s compositional life and in the categorization of his writings. This essay accepts that invitation, finding clear autobiographical efforts to capture the role of Joy in Lewis’s early poetry, including Dymer, and in his late novel Till We Have Faces. That last book, written with soon-to-be-wife Joy Davidman, serves crucially to change the focus of Lewis’s spiritual autobiographies from Joy to love. By thus expanding and exploring Lewis’s autobiographical arc, this essay brings to light an almost teleological understanding of love and the central theme of Lewis’s life and work. (shrink)

Ovid's Tristia4.10 has in the past chiefly been considered as a source of biographical information rather than as a poem, but increasing interest in the poetry of Ovid's exile has now at last started to promote serious efforts to appreciate its literary qualities. The poem presents a formidable challenge to the critic: at first reading it seems a singularly pedestrian account of the poet's life and, although one may adduce plenty of parallels for details in its phrasing elsewhere in the (...) poetry of Ovid and the other Augustans, it is clear that Ovid's thought-processes are not to be explained solely in terms of the main stream of Greco-Roman poetic tradition. Prose biography and autobiography, rhetorical apology and eulogy, subliterary epitaphs and inscriptional lists of achievements: all these types of writing could have influenced Ovid's selection of data. (shrink)

Simone Weil (1909-1943) was one of the foremost French philosophers of the 20th century; a mystic, activist, and writer whose profound work continues to intrigue and inspire today. -/- Mirror of Obedience collects together Weil's poetry and autobiographical writings translated into English for the first time. It offers a rare glimpse into a more personal and introspective Weil than we usually encounter. She was writing and re-working her poems until the end of her life and in a letter from (...) London to her parents, dated 22 January 1943, she expressed the wish for her verses to appear together in print in chronological order, a wish which this volume honours. -/- Weil was a thinker who wrote with discipline and spareness and cherished the poetic form for its power to compress language and distill meaning. In these poems and literary writings, we see her own efforts to craft poems as essential expressions of thought, bringing into view another aspect of Weil's quest for beauty and truth. (shrink)

Author: Czardybon Barbara Title: THE MARBURG EXPERIENCES OF WŁADYSŁAW TATARKIEWICZ AND BORIS L. PASTERNAK (Doświadczenia marburskie Władysława Tatarkiewicza i Borysa L. Pasternaka) Source: Filo-Sofija year: 2011, vol:.13/14, number: 2011/2-3, pages: 505-520 Keywords: WŁADYSŁAW TATARKIEWICZ, BORIS L. PASTERNAK, HERMANN COHEN, NEO-KANTIAN PHILOSOPHY Discipline: PHILOSOPHY Language: POLISH Document type: ARTICLE Publication order reference (Primary author’s office address): E-mail: www:The article deals with the Marburg studies of Władysław Tatarkiewicz and Boris L. Pasternak, especially with the principles and the research practices prevailing at The (...) Philipps University of Marburg. The main bibliographic sources present the memoirs of Tatarkiewicz. When discussing Pasternak’s activities, plans and thoughts, is used of his Marburg correspondence and his autobiographical prose. The article shows Marburg’s influence on personality and views of both thinkers. There is Tatarkiewicz and Pasternak’s similarity of their experiences. This article takes up the problem of the defensive nature of the Marburg school of neo-Kantian philosophy, i.e. its doctrinal closure. In the case of Tatarkiewicz, his contact with the professors of the University of Marburg was conducived to working on his own, different philosophical outlook. It is surprising that Pasternak’s attitude as an artist was influenced by the Marburg philosophical thought. The Marburg studies have provided him an ease to use the philosophical vocabulary. (shrink)

Arthur Rimbaud, a prominent figure in the late 19th-century literary scene, is often celebrated for his groundbreaking contributions to modernist poetry. His work, characterized by its experimental form and vivid imagery, embodies many of the philosophical tenets of modernism. This essay explores how the philosophy of modernism manifests in Rimbaud's poetry, focusing on themes of rebellion against tradition, fragmentation, subjectivity, symbolism, and alienation. -/- 1. Rebellion against Tradition -/- One of the hallmark features of modernist poetry is its defiance of (...) traditional forms and conventions. Rimbaud was a pioneer in this regard, rejecting the rigid structures of classical poetry in favor of free verse and unconventional rhythms. In works such as "A Season in Hell" ("Une Saison en Enfer"), Rimbaud employs a prose-poetic style that eschews the constraints of meter and rhyme, allowing for a more fluid and dynamic expression of thought. This rebellion against tradition reflects a broader modernist impulse to break free from the past and explore new artistic possibilities. -/- Fragmentation and Juxtaposition -/- Modernist poets often use fragmentation and juxtaposition to create complex layers of meaning and challenge readers' perceptions. Rimbaud's poetry is replete with abrupt shifts in imagery and tone, resulting in a disjointed yet evocative narrative. In "The Drunken Boat" ("Le Bateau Ivre"), for example, Rimbaud presents a series of vivid, seemingly unrelated images that collectively convey a sense of disorientation and liberation. This technique mirrors the fragmented nature of modern existence, as well as the modernist desire to capture the multiplicity of human experience. -/- 2. Subjectivity and Inner Experience -/- A key aspect of modernist philosophy is its emphasis on subjectivity and the inner workings of the mind. Rimbaud's poetry delves deeply into the realm of personal experience, exploring themes of identity, perception, and self-discovery. His work often blurs the line between reality and imagination, reflecting the modernist interest in the unconscious and the fluidity of human consciousness. In "A Season in Hell," Rimbaud's introspective journey becomes a vehicle for examining the complexities of the self and the elusive nature of truth. -/- Exploration of Identity and Self-Discovery -/- Rimbaud's poetry is marked by a profound introspection and a quest for self-discovery. In works such as "A Season in Hell" ("Une Saison en Enfer"), Rimbaud embarks on a journey of inner exploration, grappling with questions of identity and the nature of existence. The poem is a confessional and autobiographical narrative that delves into the poet's inner turmoil and existential angst. Through vivid and often surreal imagery, Rimbaud articulates the fragmented and fluid nature of the self, reflecting the modernist emphasis on the subjective experience of the individual. The theme of self-discovery is also evident in Rimbaud's famous assertion, "I is another" ("Je est un autre"), which encapsulates his belief in the multiplicity and fluidity of identity. This notion challenges the conventional understanding of a stable and coherent self, suggesting instead that identity is constantly shifting and evolving. Rimbaud's exploration of identity resonates with the modernist preoccupation with the inner life of the individual and the complexities of human consciousness. -/- Perception and the Unconscious Mind -/- Rimbaud's poetry often blurs the line between reality and imagination, reflecting his interest in the workings of the unconscious mind. His use of rich and evocative imagery invites readers to engage with his work on a deeply emotional and intuitive level. In "Illuminations," Rimbaud's prose poems are filled with dreamlike visions and hallucinatory landscapes that evoke the fluid and elusive nature of perception. The modernist fascination with the unconscious is evident in Rimbaud's exploration of altered states of consciousness. His poetry frequently delves into themes of intoxication, madness, and visionary experience, suggesting a desire to transcend the limitations of ordinary perception and access deeper layers of the mind. This exploration of the unconscious reflects the modernist belief in the power of art to reveal hidden truths and to illuminate the mysteries of the human psyche. -/- 3. Symbolism and Imagery -/- Rimbaud's use of rich, often surreal symbolism and imagery is a defining feature of his modernist sensibility. His poems are filled with metaphors and symbols that invite multiple interpretations and resonate on an emotional level. The imagery in "The Drunken Boat" is particularly striking, as Rimbaud conjures a kaleidoscopic vision of the natural world that transcends ordinary perception. This reliance on symbolism reflects the modernist belief in the power of art to evoke profound, often ineffable experiences. -/- Innovative Use of Imagery -/- Rimbaud's poetry is renowned for its striking and unconventional imagery, which often challenges readers to see the world in new and unexpected ways. In "The Drunken Boat" ("Le Bateau Ivre"), Rimbaud presents a series of vivid and hallucinatory images that evoke the disorienting experience of a boat adrift on the sea. The poem's imagery is rich and evocative, capturing the tumultuous and ever-changing nature of the protagonist's journey. For example, Rimbaud writes: > "I have seen the low-hanging sun spotted with mystic horrors, > Lighting up long violet coagulations > Like performers in very ancient dramas! > Waves rolling back the horizons and breaking forth in light." Through this kaleidoscopic vision, Rimbaud creates a sense of both wonder and disorientation, reflecting the fluid and unstable nature of reality. The imagery in "The Drunken Boat" serves to transport readers into a world of heightened perception, where ordinary experiences are transformed into extraordinary and often surreal visions. -/- Symbolism and Emotional Resonance -/- Rimbaud's use of symbolism is central to his poetic vision, allowing him to convey deep emotional and psychological truths through metaphor and allegory. In "A Season in Hell" ("Une Saison en Enfer"), Rimbaud employs a range of symbols to explore themes of suffering, redemption, and self-discovery. The poem's title itself is symbolic, suggesting a period of intense inner turmoil and transformation. -/- Throughout "A Season in Hell," Rimbaud uses symbolic imagery to represent his emotional state and spiritual journey. For example, the recurring motif of fire serves as a symbol of both destruction and purification. Rimbaud writes: > "I firmly intend to possess the truth and to behold the justice of victory! That will, is a ray of light! – Pride is the flame that devours me." Here, fire symbolizes the intense passion and inner conflict that drive the poet's quest for truth and self-understanding. The symbolic imagery in Rimbaud's poetry resonates on an emotional level, inviting readers to connect with the poet's inner experience and to reflect on their own journey of self-discovery. -/- . (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Philosophy of Modern Song by Bob DylanPeter CheyneThe Philosophy of Modern Song, Bob Dylan; 422 pp. New York: Simon and Schuster, 2022.Bob Dylan, like Dante's Virgil, takes us on an odyssey through sixty-six levels, not of the Underworld but of Songworld, in The Philosophy of Modern Song. With playful prose rhythms measured for pleasure and effect, these vistas are almost all seen through second-person portrayals. His (...) gorgeous write-up on Uncle Dave Macon's "Keep My Skillet Good and Greasy" (1924), for instance, conveys the "happy wanderer, the chicken thief," embodying the flagrant aristocracy of freedom: "You're the Dalai Lama, the Black Monk … The Thief of Baghdad … prowling and shoplifting … Multiracial, bisexual, celibate … freethinking … fucking and farting … Long John Silver … a pastry chef … hash slinger" (pp. 237–38). In Dylan's telling, this great song shimmies through a Whitmanesque catalogue of types united in aesthetic thrill.Invented characters inhabit this book, as they do Dylan's songs. Most prominent are the personae he extemporizes from others' songs in barnstorming flights of fancy. Upheld by writerly performance rather than argument, they act out his view that "it's what a song makes you feel about your own life that's important" (p. 9).The standout weird turn is the antihero he conjures from Webb Pierce's "There Stands the Glass" (1953). This is a country song about alcoholic consolation after a breakup, the toper hoping his love still thinks of him, in his misery. Simple, clichéd even, but Dylan invents a backstory hell of a Vietnam vet who "doesn't recall ever having a soul" and is "betrayed by politicians back home." Standard old-drunk fare, but then comes the nightmare of having "stuck a bayonet into babies' bellies and gouged out old men's eyes," "assassinated priests," and a concatenation of sins. "He rounds up the elderly, women and children, torches their huts" (p. 21). No bar-time happy hours for him; all those become "zero hour," "surrounded by the enemy" (p. 22). Dylan still protests the empire grotesque. Following each dark dive or wild fantasia is a straighter section that zooms out to more objective viewpoints, factoids, and historical analysis."You," ubiquitous and protean. "You," Dylan's projected center of subjective meaning. "You," his device, as he brings you along to reinvent a mood and mind frame, a world for each song. A thesis on mimesis, the second-person fantasies urge the reader to identify with the original first-person narrative, then fly it sky high. Dylan maintains that a successful song sings the listener into an alternative existence, a temporary self, through imagery and rhyme. This is just what Plato warned against, and what Dylan values: the art of making the listener mimetically become, for a few timeless minutes, what the writer and performer sing into being. In the ancient tussle between philosophers and poets, Dylan holds the agora through the harp. [End Page 254]Popular song as fiction is nothing unusual, but criticism as fiction? Is this critical license in extremis or is Dylan stressing the idea that music is always subjective? According to Dylan, songs earn their wings not just in the hearing but in how far and wide hearers can take them. While Dylan fabricates characters that weren't even dreamt of by the song performers, this book is also autobiographical throughout. The commentary relates as much of himself as the records he highlights. The book sustains a mood where the host impishly swaps masks all the while (as when he reveals, in a tiny chapter, that "Long Tall Sally" [1956] is about a one-story-tall woman from the Nephilim tribe in antediluvian Samaria). On Bobby Bare's "Detroit City" (1963), he writes, "Everybody assumes you're a bigwig, that things are cool and beautiful, but they're not." Here, many readers will flash back to young Zimmerman in Greenwich Village, desperate to pull off his move to the big city, "and the disgrace of failure is overwhelming" (p. 1). Through songs by selected others, Dylan recounts Dylan.Channeling small-hour talk radio, pulp Westerns, and hardboiled prose, the bourbon-scented mood evokes... (shrink)

“But in the history of cross-breeding, the union effected outside marriage was of infinitely greater importance. The tales of the chroniclers and missionaries often paint a dark picture of the relations between conqueror and Indian woman—rape, kidnapping, sale and exchange of women, a system of concubinage and harems etc.” (Angel Rosenblatt, La Población indigena de América)“There is racial conflict in Latin America and racial harmony which can be seen only by those who have eyes. The governments and the people themselves (...) see them only very late.” (Sarmiento, Conflicto y Armonías de las razas en América)The colonial period left no fertile seeds for a culture in the soil of South America. As Ricardo Rojas assures us, “We do not find a single imaginative work in prose in these three hundred years.” “All of our colonial literature is confined within the limits of the historical genre…everything in it is the unfolding of a chronicle. To fix the memory of social facts, memorials were written to military conquests and hagiographies of spiritual ones, poems on the English invasions and the emancipation of America. Even the brief erotic and religious poems are only monuments in verse, and so are Tejeda's works whose autobiographical character cannot be denied.” (La Literatura Argentina). (shrink)

This volume records a remarkable encounter in critical and philosophical thinking: a meeting of two of the great pioneers in contemporary thought, Maurice Blanchot and Jacques Derrida, who are also bound together by friendship and a complex relation to their own pasts. More than a literary text with critical commentary, it constitutes an event of central significance for contemporary philosophical, literary, and political concerns. The book consists of _The Instant of My Death,_ a powerful short prose piece by Blanchot, (...) and an extended essay by Derrida that reads it in the context of questions of literature and of bearing witness. Blanchot's narrative concerns a moment when a young man is brought before a firing squad during World War II and then suddenly finds himself released from his near death. The incident, written in the third person, is suggestively autobiographical—from the title, several remarks in the text, and a letter Blanchot wrote about a similar incident in his own life—but only insofar as it raises questions for Blanchot about what such an experience might mean. The accident of near death becomes, in the instant the man is released, the accident of a life he no longer possesses. The text raises the question of what it means to write about a experience one cannot claim as one's own, and as such is a text of testimony or witness. Derrida's reading of Blanchot links the problem of testimony to the problem of the secret and to the notion of the instant. It thereby provides the elements of a more expansive reassessment of literature, testimony, and truth. In addressing the complex relation between writing and history, Derrida also implicitly reflects on questions concerning the relation between European intellectuals and World War II. (shrink)

One way to teach or communicate embodied-relational existential understanding is to encourage the writing and reading of first person autobiographical phenomenological accounts. After briefly reviewing the field of first person phenomenological accounts, I offer my own example – one that uses a narrative-poetic form. I share my lived experience of coping with pain and hope to show how rich poetic phenomenological prose may facilitate lived understandings in others (be they our students, clients or colleagues). I argue that first (...) person accounts can powerfully evoke lived experience, especially where they focus on existential issues, use personal-reflexive and/or relational-dialogal forms, and draw on the arts. Indo-Pacific Journal of Phenomenology , Volume 12, Special Edition July 2012. (shrink)

For this Clarendon Paperback, Dr Griffin has written a new Postscript to bring the original book fully up to date. She discusses further important and controversial questions of fact or interpretation in the light of the scholarship of the intervening years and provides additional argument where necessary. The connection between Seneca's prose works and his career as a first-century Roman statesman is problematic. Although he writes in the first person, he tells us little of his external life or of (...) the people and events that formed its setting. Miriam Griffin addresses the problem by first reconstructing Seneca's career using only outside sources and his de Clementia and Apocolocyntosis, whose political purposes are undisputed. In the second part of the book she studies Seneca's treatment of subjects of political significance, including his views on slavery, provincial policy, wealth, and suicide. On the whole, the word of the philosopher is found to illuminate the work of the statesman, but notable exceptions emerge, and the links that are revealed vary from theme to theme and rarely accord with traditional autobiographical interpretations of Seneca's works. (shrink)

After publishing his first collection of poems entitled Interrogation (1917), Pierre Drieu La Rochelle returned to writing on the First World War in La Comédie de Charleroi (1934). The writer examined the moral and political significance of the “last war” in a retrospective manner in this collection of autobiographical short stories that he published just before his conversion to Fascism. However, Drieu did not treat his experience of the war as a distant memory. On the contrary, his texts are (...) characterised by emotivity, as if he was attempting to relive the very moment of his war. From this point of view, we examine the style and narrative structure of “La Comédie de Charleroi”. In this short story which opens the book, Drieu created a poetic narrative by mixing narrative prose and lyricism, and thus undermined realistic chronology. By means of this poetic narrative, he wrote his memory of the “last war” and, at the same time, expressed his “cry” which was the leitmotiv of his first collection of poems. This literary experience seems to have had an ideological consequence, as shown in Socialisme fasciste (1934). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Confessions of a Poisoner, Written by HerselfGail K. Hart (bio)Confessions of a Poisoner, Written by Herself. Translated and introduced by Raleigh Whitinger and Diana Spokiene. New York: MLA, 2009. xliii + 196 pp. $12.95.Confessions of a Poisoner is an epistolary, autobiographical novel, first published anonymously in German as Bekenntnisse einer Giftmischerin in 1803. Lurid accounts of sex, incest, murder, and other crimes contributed to its status as (...) a sensational document in its day, especially in light of the illicit activities of the Countess Charlotte Ursinus, who was arrested and prosecuted for multiple poisonings allegedly committed between 1779 and 1803. Readers were eager for details of the countess's affairs and crimes, and the novel can indeed be read as an account, perhaps her account, of a very busy life of iniquity.The book is extremely engaging, and absorbing because our autobiographical narrator has unusually acute insight into human affairs and human character. From early youth, she finds pleasure in the art of seeming and she is proud of the skill with which she reads those who have something to offer her. Indeed the book could double as a seminar in social manipulation as the narrator negotiates her culture's obstacles to women's self-fulfillment. One is often reminded of George Lillo's murderous Millwood from The London Merchant, who in 1731 made the observation:It is a general maxim among the knowing part of mankind that a woman without virtue, like a man without honor or honesty, is capable of any action, though never [End Page 68] so vile. And yet what pains will they not take, what arts not use, to seduce us from our innocence and make us contemptible and wicked, even in their own opinions?(I:3)The narrator of Poisoner, though she might agree with Millwood, sees her part in the vile actions as both determined and chosen. The early steps of corruption were abetted by passion (incited with some calculation by early lovers) but also by the education she received, which she describes as being more masculine than feminine. Her father's failure to guide and restrain her thirst for knowledge has apparently left her with the ambitions of a conquerer and the social duties of an aristocratic woman—and, as Countess Orsina would have it, where men use daggers, women use poison. Yet she also accepts responsibility for all that she has done, quite convinced that most of it was wrong. The moral philosophy of the piece is somewhat peculiar, but she strives in the space of the one long letter that makes up the book to give an honest account of her duplicitous deeds.This intriguing life story also has significant scholarly value, and the editors/translators, Raleigh Whitinger and Diana Spokiene, have appended an excellent introduction that examines the poisoner's confessions as a document of its time. Our narrator is both wise and well-educated, and she discourses frequently on contemporary literature and philosophy, inserting herself into a variety of cultural debates. For example, her opinions on the value of Richardson's novels for the education and protection of young woman—that Richardson's ideals of virtue are delusional and therefore dangerous—run counter to prevailing wisdom on what young ladies should read. Her struggles with Kant and critical philosophy, which, she claims, diminished her pulchritude, are also instructive. Additionally, the editors make a very convincing case for the authorship of Friederike Helene Unger, whose husband was the publisher, and whose other works bear certain strong resemblances to the prose and the ideas of Poisoner.All of this excitement and knowledge comes to us in a supremely lucid and readable translation. I rarely read fiction in translation without being regularly reminded in some way of the translator. One sees an odd word, puzzles out a sentence and thinks about how one might have done that differently—and one gets distracted. That is not the case with this text, and this is especially surprising because the original German is that "of an era both culturally and historically distant" (xxvii). Whitinger and Spokiene have done a superb job of resurrecting a forgotten German text, embedding it in... (shrink)

In this text, the work of Serbian writer Stanislav Krakov, between the two world wars, the famous, and later, due to ideological divisions, repressed and forgotten figure, is ovserverd through the lens of philosophy of existence and phenomenology. The?philosophical? significance of Krakov?s autobiographical war prose, which in the aesthetic, especially formal-innovative aspect, represented the pinnacle of the genre of that time Serbian literature, is that it can be viewed as a first-class document of phenomenological introspection of a man (...) in situation of mortal combat; and the ragne his prose of his prose is, in some respects, without exaggeration, comparable to war prose of Ernst J?nger. But besides his authentic documentality, Krakov?s writing is characterized by brilliant insights. So, on the one hand, Krakov can be viewed as a thinker of war and corporeality avant lettre, and, on the other hand, the interpretative contextualization of his prose within the aforementioned philosophical tradition helps us to better understand his literature. nema PR Projekat Ministarstva nauke Republike Srbije, br. 179064: Istorija srpske filosofije. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:186 HISTORY OF PHILOSOPHY direction and made meaningful, whereas for Fichte they are the cognitively recognized goals of human activity. Nonetheless, I still find Lacroix' thoroughgoing teleological interpretation of Kant a bit bothersome, at points strained, although there is little doubt that teleology plays a large part in Kant's thought with respect to the realm of reason. Moreover, I'm not convinced that Kant's thought is as unified and internally (...) consistent as Lacroix would like to find it. In all fairness, however, it should be mentioned that he does not ignore the inconsistencies in Kant's thought. Lacroix' Kant interpretation certainly warrants serious consideration, for it has at least two outstanding features: It makes Kant's doctrine of the noumenal realm much more palatable than most other interpretations. Secondly, it goes a long way toward drawing out the full significance of Kant's comment, "I have therefore found it necessary to deny knowLedr in order to make room for jaith." And it is only by bringing out the significance of this statement that Kant's work can be shown to be primarily metaphysical in intention. Finally, the work's greatest virtue may be that it pulls the shroud of formalism off Kant's thought and shows it to possess a dynamic concern for living man, a concern that few, if any, have seen in it before. Incidentally, Lacroix' book is full of observations on the reception and interpretation of Kant's thought by various twentieth-century French philosophers, and these offer some nice insights into the different directions French thought is taking today. TED B. HUMPHREY Arizona State University Wordsworth--A Philosophical Approach. By Melvin Rader. (Oxford: The Clarendon Press, 1967. Pp. x -4-217.38s.) Wordsworth's poems have brought tears to many a rational mind, but Melvin Rsder manages to keep sane and sober while he expounds the poet's ideas in plain prose and interprets critically the wealth of feeling, imagination, metaphor and myth in which the ideas are clothed. This rendering of Wordsworth's mind is eloquent in its own way, sad performs a useful service to readers who are apt to miss the train of thought within the flow of poetry and of communion with the landscapes of the English Lakes. The analysis shows how, after an early enthusiasm for Locke's and Hartley's "chemistry" of experience, the poet expresses philosophically dimensions of human nature and experience that had been neglected by the more clinical models of "association~sm." Wordsworth's own statement reveals this aspect of his thinking: "Imagination...is that chemical faculty by which elements of the most different nature and distant origin are blended together into one harmonious and homogeneous whole" (p. 139). Here the words "different" and "d'tstant," as Racier points out, exclude the types of association by resemblance and contiguity that are basic to Locke and Hartley. The hberation of Coleridge, and the imaginative transcendence of Wordsworth from these limitations of rationalistic empiricism is a major theme of Rader's work. However, Ruder shows that much of Wordsworth's naturalism is traceable to Hartley's influence. Cudworth's "dynamic idealism" which pictured nature as alive and insisted on the power of ideas, was another major source. Shaftesbury's analysis of the emotional aspects of human nature which his tutor, John Locke, excluded from his Essay because they are not in "the understanding" was also an inspiration to Wordsworth. The definite conversion to transcendentalism was completed by the Kantian romanticists, who suggested to Coleridge that the categorical imperative could be transformed into an a pr/or/gospel. The subsequent divergence of Coleridge and Wordsworth is described in detail by Ruder, and reveals the fact that naturalism retained a stronger hold on Wordsworth than it did on Coleridge. Wordsworth did not follow Coleridge into his romantic spiritual nationalism, but developed a nature-mysticism and "animism" (to use Rader's term). Though this mysticism is not an articulate philosophy, Rader follows it with sympathy and under- BOOK REVIEWS 187 standing. He picks his way philosophicelly ~darough the many preludes, interludes and epilogues of the long, autobiographical poem, The Prelude. He succeeds in interpreting philosophically.Wordsworth's absorption in "the... (shrink)

Margaret Cavendish may not have described her prose narrative The Description of a New World, Called the Blazing World as a utopia, let alone assigned it a single genre or form. It contains aspects of romance, adventure, and fantasy and many of the elements that would come to be associated with utopian literature, such as world building and a detailed accounting of that world by a traveler who happens upon it. Yet The Blazing World also contains philosophy, scientific debates, (...) political discussions, and a detailed narrative of a successful military campaign. Folded into this rich hybrid text are also numerous autobiographical events, characters, and details. This rich plurality of elements offered Cavendish a... (shrink)

Perception, corps et mouvement. L’esthétique anthropologique del’expression dans l’inédit Le monde sensible et le monde de l’expression de Maurice Merleau-PontyL’article se consacre à une analyse ponctuelle du manuscrit inédit de Merleau-Ponty sur Le monde sensible et le monde de l’expression, aujourd’hui conservé à la Bibliothèque Nationale de France, et qui correspond au cours du philosophe au Collège de France durant l’année académique 1952-1953. L’analyse exclusive de l’inédit suit des perspectives bien précises : il s’agit de reconstruire, à partir d’une définition (...) merleau-pontienne originale de l’espace culturel comme espace anthropologique, ce qui pourrait ressembler à une nouvelle esthétique de l’expression d’origine anthropologique ; suivant le fil des analyses de La structure du comportement et de la Phénoménologie de la perception – non sans un remarquable sens critique vis-à-vis de ces textes des années quarante – cette analyse reconsidère la notion d’expression à la lumière de celle de mouvement. Les recherches merleau-pontiennes des années cinquante donc, – resquecontemporaines de La prose du monde et qui partagent avec celle-ci l’idée d’une origine saussurienne de la diacriticité des signes linguistiques – donnent naissance, selon nous, à une véritable esthétique du mouvement expressif, solidement fondée sur une philosophie de la biologie et sur une anthropologie philosophique. Au cours de l’article, de façon contextuelle et spontanée, on relie, de manière hypothétique, la pensée merleau-pontienne de ces années-là et celle de certains « auteurs fondamentaux » que Merleau-Ponty cite explicitement ou dont il reproduit la dynamique théorique : Helmuth Plessner, Aldolf Portmann, Jakob Von Uexküll, Friedrik J.J. Buytendijk, et en particulier – en raison de leur parenté philosophique évidente – Vicktor Von Weizsäcker, celui du Der Gestaltkreis et des écrits autobiographiques Anonyma.Perception, Body, and Movement. The Anthropological Aesthetics of Expression in Merleau-Ponty’s UnpublishedThe Sensible World and the World of ExpressionThe article is devoted to a point by point analysis of Merleau-Ponty’s unpublished manuscript on The Sensible World and the World of Expression, which is currently found in Bibliothèque Nationale de France, and which corresponds to the course he taught at the Collège de France in the academic year 1952-53. The analysis, exclusively of this unpublished course notes, follows some very precise directions. What is at issue is to reconstruct, on the basis of a definition, which is original with Merleau-Ponty, of cultural space as anthropological space; this definition could resemble a new aesthetic of expression which would have an anthropological origin. Then following the thread of analyses found in The Structure of Behavior and the Phenomenology of Perception – not without a noticeable critical stance in relation to these texts from the 1940s – my analysis considers the notion of expression in light of that movement. Merleau-Ponty investigations during the 1950s therefore – nearly contemporaneous with The Prose of the World and which share with it the idea of a Saussurean origin of the diacriticity of linguistic signs – give birth, in my view, to a genuine aesthetics of expressive movement, solidly grounded on a philosophy of biology and on a philosophical anthropology. Over the course of the article, in a way contextual and spontaneous, we reread, in a hypothetical way, Merleau-Ponty’s thought during this time period, and the thought of “fundamental writers” who Merleau-Ponty had cited explicitly or whose theoretical dynamism he had reproduced: Helmuth Plessner, Aldolf Portmann, Jakob Von Uexküll, Friedrik J.J. Buytendijk, and, in particular – because they are clearly related philosophically – Vicktor Von Weizsäcker, his Der Gestaltkreis and his autobiographical writings called Anonyma. (shrink)

For ten years, between 1903 and 1913, Gertrude Stein saw human relationships as painful mathematical puzzles in need of solutions. Again and again, she converted the predicaments of her personal life into literary material, the better to solve and to exorcise them. The revelation that relationships had a structural quality came to her during the composition of Q.E.D. , when she grasped the almost mathematical nature of her characters' emotional impasse. Stein's persona in the novel comments on their triangular affair, (...) "Why it's like a piece of mathematics. Suddenly it does itself and you begin to see."1 The theory encouraged her to examine such situations as if they were case histories: she continued to study the same piece of mathematics from different angles in Fernhurst , Three Lives , and The Making of Americans . But whatever the sexual arrangements in these triangles, the powerful generally managed to impose their wills upon the less powerful, and the triangles resolved themselves into oppositional structures, pitting two against one. Gradually, when the couple began to replace the triangle as her structural model, Stein composed numerous verbal portraits of couples and their relationships. In two of these, "Ada" and "Two Women," Stein applied her general theory of relationships to the particular puzzle of female friendships because, I think, she felt that women's characters were most intensely molded in same-sex involvements. Although she attempted to "prove" these theories in distanced, deliberately depersonalized prose, we as readers must examine "the complex interplay of self-discovery and writing" from which her portraits emerged.2Stein's portraits of women entangled in familial and erotic bonds seem to invite us into "the process whereby the self creates itself in the experience of creating art"; to read them, we must "join the narrator in reconstructing the other woman by whom we know ourselves."3 This task of reconstruction implies that we must also rethink the place of biography—generally dismissed by New Criticism and its subsequent post-structuralist permutations as "mere" biography—in feminist critical projects. If it is true that "in reading as in writing, it is ourselves that we remake," then feminist critics have a special stake in understanding the biographical, and autobiographical, impulses at work in these activities.4 Stein's portraits, which hover between fiction and biography, raise important questions about the ways in which biographical information can justify our suspicion that female writers may be "closer to their fictional creations than male writers are."5 Recently, feminist critics have adapted psychoanalytic theory to examine the particular closeness of female characters in women's writing or to suggest a related closeness between the female author and her characters. We find it useful to speak of the pre-Oedipal structures and permeable ego boundaries that seem to shape women's relationships. Although Stein used very different psychological paradigms, she approached these same issues in her own studies of female friendships. Realizing that she preferred to write about women, she observed, "It is clearer…I know it better, a little, not very much better."6 In spite of her qualifications, she knew that she could see the structuring principles of relationships with greater clarity when writing from her own perspective.1. Stein, "Fernhurst," "Q.E.D.," and Other Early Writings, ed. Leon Katz , p. 67.2. Elizabeth Abel, "Reply to Gardiner," Signs 6 : 444. For a very useful critical discussion of this complex issue, see Abel, "Merging Identities: The Dynamics of Female Friendship in Contemporary Fiction by Women," and Judith Kegan Gardiner, "The es of dentity: a Response to Abel on 'Merging Identities,'" in the same issue of Signs .3. Gardiner, "The es of dentity," p. 442.4. Jonathan Morse, "Memory, Desire, and the Need for Biography: The Case of Emily Dickinson," The Georgia Review 35 : 271. See also J. Gerald Kennedy's suggestive remarks on the "tension between personal confession and implacable theory" in Barthes' later work .5. Abel, "Reply to Gardiner," p. 444.6. Stein, The Making of Americans, cited in Richard Bridgeman, Gertrude Stein in Pieces , p. 78.Carolyn Burke, an Affiliated Scholar at the Center for Research on Women, Stanford University, has published articles on French feminist writing and on Mina Loy, whose biography she is now completing. The theoretical implications of this essay will be explored in her related study in progress on feminist biography. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Valerius Maximus and the Rhetoric of the New NobilityPatrick SinclairW. Martin Bloomer. Valerius Maximus and the Rhetoric of the New Nobility. Chapel Hill: University of North Carolina Press, 1992. viii + 287 pp. Cloth, $39.95.A new book on an imperfectly understood and neglected author is always welcome, and without a doubt this one makes a valuable contribution to our understanding of Valerius within the cultural and social conditions (...) in which he lived. The virtue of Bloomer’s work over earlier studies lies in his impulse to view Valerius’ collection of exempla as conditioned by the needs of its readers. Bloomer correctly emphasizes that Valerius’ stories largely derive from a common stock of episodes and anecdotes that was cultivated throughout the education system and especially by the declaimers. Bloomer scrutinizes the rhetorical structure Valerius gives to his individual exempla and his work as a whole, since it is in this structure that one sees the authentic stamp of Valerius’ own interests and, presumably, those of his readership. Bloomer sets out to use the evidence for Valerius’ method of organization, his handling of politically sensitive subjects, and his overt statements of his purpose to interpret Valerius’ work within its cultural context. But there are signs that Bloomer’s methodology may be at odds with itself—a conflict, moreover, that arises from and reflects the current rift among professional classicists about the relationship of traditional philological methods of analysis to the newer criteria of cultural studies (a subject much too large to address in this review).Bloomer has organized his book into six chapters with titled subdivisions, a bibliography, and an index. The first two introductory chapters are the most successful in reconciling methodologies. In chapter 1 Bloomer sketches what we know of the life of Valerius, describes his work, and characterizes the milieu in and for which Facta et Dicta Memorabilia was composed. Bloomer’s initial description of Valerius’ endeavor as one of “culling 967 stories from various authors and arranging them under categorical headings” (1) catches the ancient author in what is his most significant activity for Bloomer: excerpting, abstracting, shaping, and labeling exemplary anecdotes for the uses of declaimers. Bloomer discusses the scanty autobiographical information Valerius supplies at 2.6.8, but he is more interested in discerning the type of audience which must have been interested in Valerius’ collection of exempla. Bloomer’s view is that Valerius [End Page 151] wrote for “students and practitioners of declamation” (1), for whom he “provided a stock of rhetorical illustrations” and whom he taught by the example of his text how to “introduce, join and conclude such stories” (2). One might well have compared the no less exemplary habits of M. Porcius Latro, the elder Seneca’s paragon of declaimers in his generation. Latro (“Pilferer”?) controlled in his memory a prodigious cache of rhetorical structuring devices, including epiphonemata, enthymemes, commonplaces, and sententiae, and he regularly rehearsed these for deployment in his declamations (Controv. 1 praef. 23). More mention of Valerius’ relation to “flesh and blood” declaimers like Latro would give a fuller picture of his historical context.Bloomer identifies Valerius’ subject as the “classical past,” through which he conveys “the sensation of human nature observed, condensed, and communicated, all in an elevated if at times abstract Latin prose style.” Valerius’ work attests to the success of declamation at Rome, and it serves the practical needs of its readers in its attempt to alleviate the burden of acquiring a compendious knowledge of classical texts by serving as an abbreviated “vehicle of instruction and acculturation into the elite of Tiberian Rome” (4). Now tailoring oneself to the political and cultural climate of Tiberian Rome could involve a certain amount of risk and require a large measure of compromise, to judge by the accounts of the ancient historians. Tacitus documents several declaimers who rose socially through Sejanus’ sponsorship (e.g., Junius Otho and Bruttedius Niger, Ann. 3.66). After the fall of Sejanus, an eques Romanus named M. Terentius drew the conclusion that “tibi [sc. Tiberio] summum rerum iudicium di dedere, nobis obsequii gloria relicta est” (Tac. Ann. 6.8.4; Dio 58.19). This was the lesson of those... (shrink)

Like many sociocultural phenomena in Brazil, popular music, as everyone knows, is the result of a meeting of influences. It could almost be said that it is born a cross-breed, given the half-European, half-African origins of its best-known first genres, lundu, choro and maxixe. As a result of its history it comes under the sign of the Cannibalism, the metaphor invented by modernist writers in the 1920s to refer to the ‘ritual devouring’ by which Brazil assimilated foreign values and made (...) them its own.Caetano Veloso and Gilberto Gil readily used the concept of Cannibalism at the end of the 1960s, when they founded Tropicalismo, which claimed a mixture of genres, styles and arts as its basis, and married international pop music and Brazilian traditions, electric guitars and berimbau. Tropicalismo as such only lasted for a few months, but the ideas which it promoted profoundly marked contemporary Brazilian culture. Caetano Veloso returned to the history of this movement in Verdade Tropical, an autobiographical work in which he reveals his thoughts on a number of subjects close to his heart: music, the cinema, masters/teachers, friends, family, love, sexuality freedom, prison, exile, books, language, etc. For this author, composer, performer, actor, director, poet and prose writer, inveterate and voracious reader and incorrigible chatterbox, anything to do with human beings is fair game. For Caetano loves words, and loves to talk about words. As early as the acknowledgements page he praises Unamuno, the author, according to him, of comments which are “the most moving that a foreigner has ever written about the Portuguese language”. And in a chapter entitled ‘Língua’ he mentions not only the songs he has written in English and his interest in the Anglo-Saxon language, but also his attachment to Romance languages in general and Portuguese in particular. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:A Partial Truth (Poems 2015–19) by Christopher NorrisNiall GildeaNorris, Christopher. A Partial Truth (Poems 2015–19). The Seventh Quarry Press, 2019. 133pp.“No interval but some event takes place.”(Norris, “Freeze-Frame,” A Partial Truth)A Partial Truth, a collection of thirty-seven pieces, is the seventh volume of poetry by philosopher and literary theorist Christopher Norris. Nobody familiar with Norris’s distinguished career will be surprised to learn that his recent turn to versification (...) is not a repudiation of intellectual and rhetorical seriousness, but a re-emphasis of the same using resources not typically found in academic prose. Norris, an interdisciplinarian long before that term became a slogan, has in his work clocked up considerable epistemological mileage across diverse terrain, his critical friendship with deconstruction leading him to important interventions in analytic and Continental philosophy, institutional critique, philosophy of science and mathematics, legal studies, music, politics and, after all, creative criticism.Creative criticism is a relatively embryonic genre, until recently typified generally by a prose that owes a debt to Jacques Derrida’s Cir-confession, Glas and La carte postale. This is a style that foregrounds the philosophical unsaid – the repressed autobiographical, desirous, and otherwise messy constituents of that canon. It does so in part by jettisoning the academic politesse, and let’s say timidity, which help maintain such statutes of limitation. In a more specific way, creative criticism may be understood as a Romantic development set in train by the “Yale School” of deconstruction and its fellow travelers, straining in their own ways against the subordinate role of the reader and critic instituted by the likes of Matthew Arnold and T. S. Eliot.In the foreword to his 2017 volume The Winnowing Fan, Norris at once compliments this “strong” critical rebelliousness (xii), and critiques its ecstatic, quasi-apocalyptic hubris, provisionally aligning his own creative criticism with the “poetic diction” (xxi) of eighteenth-century figures such as Dryden and Pope. It is an analogy with caveats – not least Norris’s stated allergy to the “air of arrogance” (Tempus-Fugitives ix) of [End Page 122] their heavily end-stopped tendentiousness – but one which schematizes a poetics that both carries a definite argument and could not make this argument otherwise than in a manner reliant on verse’s formal properties.Note, however, the fact that Norris takes his distance from both strong criticism and those eighteenth-century essayists on the grounds of their shared self-assurance. A steadier presiding influence is William Empson, whose enmity towards Eliotic New Criticism, which “fixes a prescriptive gulf between poetry and other kinds of discourse,” makes him a political forebear, dissenting from modern forms of literary historical doctrinalism, specifically “that whole anti-rationalist complex of ideas that made the discontinuity between poetic and non-poetic language into a shibboleth of aesthetic, ethical, and (though rarely advertised as such) socio-political principle” (Tempus-Fugitives xix–xx). Norris is no straightforward disciple of Empson – who regarded Derrida, and the other “horrible Frenchmen” Norris used to invite him to read, as “so very disgusting, in a simple moral or social way, that I cannot stomach them” (qtd. in Haffenden 52). And yet, one constant quality of both Norris’s verse and prose criticism is a welcome sobriety of explication when it comes to the more recondite or outright flamboyant enclaves of modern European thought.A Partial Truth, and Norris’s books of verse generally, are explicit in outlining the ways in which his poetry functions as a reaction to the diaristic, mumbling slackness of much contemporary poetry; but does his turn to verse also indicate some reaction to contemporary theory? A Partial Truth’s “Foreword,” with modesty, states that “[i]f these poems have any distinctive merit then it lies in the treatment of interesting ideas in a way that deploys certain formal means to draw out complexities and further implications that would lie beyond the reach of a prose rendition” (14). We will specify some of the relations between form and discursive complexity presently, but for now, it is worth suggesting that Norris’s commitment to verse forms of historically recognizable kinds forecloses from him the mealy-mouthed, argumentatively fugitive character of... (shrink)

Kierkegaard wrote much on the subject of love, but few of his treatments are as eloquent and penetrating as this series of "disputations" built around texts of sacred scripture. His lucid analysis of the parallelism and divergency of worldly and Christian love make this book a great classic in the subject and a fine place to begin reading Kierkegaard if one has not had the pleasure of his acquaintance. As with other works of the author, one finds here the same (...) unique combination of impassioned argument, rapt storytelling, and flashes of wisdom. It is often impossible to say whether Kierkegaard is speaking philosophically, theologically, poetically, or autobiographically. A large part of the mesmerizing beauty of his prose comes from the interchange of earnest exegesis and lyrical digression. (shrink)

Part of a series of highly entertaining books on the history of sinning. Eating too much is one of the Western world's greatest problems, but relatively few people would consider it a crime against God. Yet even as gluttony has ceased to be an evil, food and dieting have become a cultural obsessions, with millions of pounds expended on mortifying the flesh with punishing diet and exercise regimes. This brief history of gluttony traces the changing cultural attitudes towards food and (...) pleasure, scarcity and abundance. It reveals how notions of saintliness and purity have helped form modern views of enjoyment, self-mortification, and ultimately nutrition. Restaurant-goers and readers of gourmet magazines rationalize their pursuit of too much food in many ways, but does a slight tinge of guilt makes your meal taste that much better? This book provides the answer, thoroughly exploring humankind's attempts to quell its chief survival strategy - eating. (shrink)

Richard Heersmink argues that self‐narratives are distributed across embodied organisms and their environment, given that their building blocks, autobiographical memories, are distributed. This argument faces two problems. First, it commits a fallacy of composition. Second, it relies on Marya Schechtman's narrative self‐constitution view, which is incompatible with the distributed cognition framework. To solve these problems, this article develops an alternative account of self‐narratives. On this account, we actively connect distributed autobiographical memories through distributed conversational and textual self‐narrative practices. (...) This account enhances our understanding of the memory–narrative nexus and has implications for philosophical conceptions of self. (shrink)

In this paper, I describe how artifacts and autobiographical memory are integrated into new systemic wholes, allowing us to remember our personal past in a more reliable and detailed manner. After discussing some empirical work on lifelogging technology, I elaborate on the dimension of autobiographical dependency, which is the degree to which we depend on an object to be able to remember a personal experience. When this dependency is strong, we integrate information in the embodied brain and in (...) an object to reconstruct an autobiographical memory. In such cases, autobiographical memory is extended or distributed. (shrink)

Autobiographical memory and the self are closely linked. AM retrieval in depression is characterized by a lack of specificity, suggesting an impairment of episodic AM. Autonoetic consciousness and self-perspective, which are critical to episodic AM, have never been addressed in depression. Twenty-one depressed inpatients and 21 matched controls were given an episodic AM task designed to assess positive and negative memories regarding specificity, autonoetic consciousness , and self-perspective . For specificity, “remember”, and “field” responses, ANOVAs revealed a main group (...) effect and a group × valence interaction. Between groups, patients showed lower scores than controls for positive memories. Within groups, patients showed greater scores for negative memories, and controls showed greater scores for positive memories. There is a global episodic AM impairment of positive memories in depression regarding specificity, autonoetic consciousness, and self-perspective. Our results suggest new cognitive interventions to improve the self-relevance of positive memories in depression. (shrink)

Autobiographical memory (AM) is closely linked to the self-concept, and fulfills directive, identity, social, and adaptive functions. Individuals with autism spectrum disorder (ASD) are now known to have atypical AM, which may be closely associated with social communication difficulties. This may result in qualitatively different autobiographical narratives, notably regarding social identity. In the present study, we sought to investigate this concept and develop a cognitive intervention targeting individuals with ASD. First, 13 adolescents with ASD and 13 typically developing (...) adolescents underwent an AM interview featuring an original coding system designed to analyze the social self. We observed that the narratives produced by the ASD group focused more on the family than on extended social spheres, compared with those of the comparison group. Moreover, participants with ASD did not include themselves in the social groups they mentioned, and produced more references to others, compared with typically developing participants. Second, we designed a cognitive intervention program consisting of individual and group sessions that targeted AM. We conducted a pilot study among three adolescents with ASD aged 12, 16, and 17 years. Preliminary results showed that the program increased extra-family narrative references by the two youngest adolescents, who produced more social integration markers. Our study of autobiographical narratives yielded interesting findings about social positioning in ASD and showed how AM can be targeted in rehabilitation programs as a vector of social interaction. (shrink)

This study investigated autobiographical memory processes in a group of individuals diagnosed with schizophrenia and matched controls. The schizophrenia group displayed an overgeneral style of autobiographical memory retrieval on two widely used measures, and displayed problems retrieving both autobiographical facts and events. They showed a specific impairment in the recall of autobiographical events and facts in early adulthood, around the time of onset of their illness. Retrieval deficits were independent of mood state and premorbid intellectual functioning. (...) The magnitude of the deficits in autobiographical memory retrieval specificity were considerably greater than any general impairments in episodic and working memory. (shrink)

The differential activation hypothesis (DAH; Teasdale, 1988) proposes that individuals who are vulnerable to depression can be distinguished from non-vulnerable individuals by the degree to which negative thoughts and maladaptive cognitive processes are activated during sad mood. While retrieval of negative autobiographical memories is noted as one such process, the model does not articulate a role for deficits in recalling positive memories. Two studies were conducted to compare the autobiographical memory characteristics of never-depressed and formerly depressed individuals following (...) a sad mood induction. In Study 1, features of negative memories of never-depressed and formerly depressed individuals did not differ, either in neutral or sad mood. For positive memories, groups did not differ in neutral mood, but following a sad mood induction, formerly depressed individuals rated their positive memories as less vivid than their never-depressed counterparts. Study 2 examined positive autobiographical memory features more comprehensively and replicated the finding that in a sad mood formerly depressed individuals recalled less vivid positive memories than never-depressed controls. These findings suggest that the phenomenological features of positive memories could represent an important factor in depressive vulnerability, and, more broadly, that depression may be associated with a deficit in the processing of positive material. (shrink)

Autobiographical Reflections is a window into the mind of a man whose reassessment of the nature of history and thought has overturned traditional approaches to, and appraisals of, the Western intellectual tradition. Here we encounter the motivations for Voegelin's work, the stages in the development of his unique philosophy of consciousness, his key intellectual breakthroughs, his theory of history, and his diagnosis of the political ills of the modern age. Included in this revised volume is a glossary of terms (...) used in Voegelin's writings. The glossary lists, defines, and illustrates from the author's writings many of the key terms employed, paying particular attention to the Greek terms. Together, the glossary and enlarged index systematically include names, subjects, ideas, writings, and terms, making this volume an indispensable help for any serious study of Eric Voegelin's oeuvre. (shrink)

Alea, Bluck, Mroz and Edwards examine how the communication of autobiographical stories via face‐to‐face vs. instant message (IM) influences the extent to which social bonds form between strangers. The results of their study show that the in‐person communication of strangers’ autobiographical memories leads to greater engagement and higher empathy rates in the listener of those stories. That is, sharing autobiographical memories face‐to‐face (compared to IM) is positively correlated with positive feelings and closeness in the listener of those (...) stories. (shrink)

Autobiographical writing in philosophy class encourages beginning students to use their own philosophical questions, emotions, and difficult experiences to unlock the meaning of a philosophical text, and encourages advanced students to engage in original philosophical writing. Philosophical justification for the approach can be found in the concepts of metaphorical thinking, historicity, multicultural voices, textual hermeneutics, the metaphysics of experience, the logic of discovery, and intersubjectivity. Examples of student assignments and student writing illustrate the approach. Learning resources for teachers and (...) suggested solutions to practical problems offer a helpful starting point. (shrink)

Sellars's short autobiography. It covers the period of his life up to his first publications, showing the breadth of his background and influences in philosophy.

Whether or not conscious recollection in autobiographical memory is affected in schizophrenia is unknown. The aim of this study was to address this issue using an experiential approach. An autobiographical memory enquiry was used in combination with the Remember/Know procedure. Twenty-two patients with schizophrenia and 22 normal subjects were asked to recall specific autobiographical memories from four lifetime periods and to indicate the subjective states of awareness associated with the recall of what happened, when and where. They (...) gave Remember, Know or Guess responses according to whether they recalled these aspects of the event on the basis of conscious recollection, simply knowing, or guessing. Results showed that the frequency and consistency of Remember responses was significantly lower in patients than in comparison subjects. In contrast, the frequency of Know responses was not significantly different, whereas the frequency of patients’ Guess responses was significantly enhanced. It is concluded that the frequency and consistency of conscious recollection in autobiographical memory is reduced in patients with schizophrenia. (shrink)

Violence in sexual-affective relationships among teens and young people is recognized as a social, educational, and health problem that has increased worldwide in recent years. Educational institutions, as central developmental contexts in adolescence, are key in preventing and responding to gender violence through implementing successful actions. In order to scientifically support that task, the research reported in this article presents and discusses a psycho-educational intervention focused on autobiographical memory reconstruction that proved to be successful in raising young women’s critical (...) consciousness about the force of the coercive dominant discourse upon sexual-affective experiences and memories. We examined among a sample of young women (n = 32, age range 17-30) whether reading a scientific text about love, the Radical Love book, modified autobiographical memories of violent sexual-affective relationships in line with preventing future victimization. This group was compared with a control group (n = 31, age range 17-30). Memory reports were collected before and after the reading and coded to analyze their content, both quantitatively and qualitatively. Memory quality features were assessed with the Memory Quality Questionnaire. A focus group was also conducted to examine the personal impact of the intervention on participants. Compared with controls, the experimental group had stronger critical memories (of episodes involving violence), an average decrease in positive emotions induced by recall, and an average increase in negative emotions. The results show the effectiveness of the reading intervention designed in relation to gender violence prevention, as they indicate the ability of the psycho-educational action to debilitate the force of the coercive dominant discourse in young women’s memories. The findings both advance knowledge on the reconstructive nature of autobiographical memories of violent sexual-affective relationships in female youth and indicate the potential of memory-based interventions as an instrument to prevent and reduce gender violence in school contexts. Teachers and teaching staff, and educational psychologists, among others, can benefit from these results by expanding the tools they have to address gender violence among female adolescents and youth. (shrink)

In his autobiographical sketch, the author surveys sixty years of legal philosophy. He traces the major changes that have come about in the philosophy of law in the wake of the Second World War, and the gap which has been bridged between Continental and Anglo‐Saxon theories. The values of liberal democracy and the acknowledgement of human rights have helped to circumvent the gulf between natural law theories and legal positivist theories.

This article describes the pilot projectShadows&Light Within: Untold Stories—a two-phase, multi-partner community-based project that explores the hypothesis that Autobiographical Therapeutic Performance can help traumatized individuals to improve executive functioning. A group of 10 individuals ranging in age from 32 to 69, with lived experiences at the intersection of trauma, mental health, and the court system, were paired with theater mentor-coaches for a 10-month creative group process, in which they shaped their stories into autobiographical performance pieces, through movement, improvisation, (...) story-telling, and self-discovery. In the second phase of the project, their stories were merged into a theater production, weaving movement, song, and voice, and performed by an ensemble of experienced actors from the community. Pre- and post-interviews and self-report standardized measures of executive functioning were used to assist in establishing criteria and direction for future research. The results suggest that the individuals involved in this pilot may have improved executive functioning and acquired more ability to engage in human service programs designed to increase job readiness and enhance adaptive living skills. (shrink)

_Autobiographical Reflections_ is a window into the mind of a man whose reassessment of the nature of history and thought has overturned traditional approaches to, and appraisals of, the Western intellectual tradition. Here we encounter the motivations for Voegelin's work, the stages in the development of his unique philosophy of consciousness, his key intellectual breakthroughs, his theory of history, and his diagnosis of the political ills of the modern age. Included in this revised volume is a glossary of terms used (...) in Voegelin’s writings. The glossary lists, defines, and illustrates from the author’s writings many of the key terms employed, paying particular attention to the Greek terms. Together, the glossary and enlarged index systematically include names, subjects, ideas, writings, and terms, making this volume an indispensable help for any serious study of Eric Voegelin’s oeuvre. (shrink)

"This autobiographical reminiscing started more than ten years ago," wrote German-American philosopher Paul Arthur Schilpp at the age of ninety-five.

Autobiographical memory specificity has been associated with cognitive function, depression, and independence in older adults. This longitudinal study of 162 older adults moving to active supported living environments tracks changes in the role of the ability to recall specific autobiographical memory as a mediator between underlying cognitive function, or depression, and outcome perceived health or independence, across 18 months, as compared with controls not moving home. Clear improvements across time in autobiographical specificity were seen for residents but (...) not controls, supporting the role of a socially active environment, and confirmed by correlation with number of activities reported in diaries, although the impact of diary activities on the effect of time on autobiographical specificity was not found. The role of autobiographical specificity in mediating general cognition and outcome functional limitations was clear for social limitations at 12 and 18 months, but its role in mediating effects of executive function and perceived health persisted throughout. The role of specificity in mediating between depression and perceived health, IADLs, and Functional Limitations persisted throughout. Analysis examining autobiographical specificity and depression as joint mediators between cognition and independence showed a forward effect such that higher specificity scores reduced the negative mediation effect of depression on independence. Finally, data showed the reduction of many of these mediations over time, supporting the role of autobiographical memory in times of change in a person's social situation. Data support potential autobiographical memory intervention development. (shrink)

Despite severe amnesia, some studies showed that Alzheimer Disease patients with moderate to severe dementia keep a consistent, but impoverished representation of themselves, showing preservation of the sense of identity even at severe stages of the illness. Some studies suggest that listening to music can facilitate the reminiscence of autobiographical memories and that stimulating autobiographical memory would be relevant to support the self of these patients. Consequently, we hypothesized that repeated participation to reminiscence workshops, using excerpts of familiar (...) songs as prompts would participate to the enrichment of autobiographical memories, self-representation and sense of identity. We included a group of 20 AD patients with severe dementia residing in nursing homes. Their performances were compared to a control group of 20 matched healthy residents living in the same institutions. The experiment was conducted in three phases over a 2-week period. On phase 1, an individual assessment of sense of identity was proposed to each participant. On phase 2, participants joined musical reminiscence workshops. During the third phase, individual evaluation of autobiographical memory and a second assessment of sense of identity were proposed. Our results showed that, despite their massive amnesia syndrome, autobiographical memories of AD reached at the end of the 2 weeks the number and quality of those of matched controls. Moreover, we confirmed a continuity of self-representation in AD patients with a stable profile of the answers between the first and second individual assessments of sense of identity. However, the increase in number and episodic quality of autobiographical memories was not accompanied by an enrichment of the sense of identity. In a complementary study, new patients participated in the same paradigm, but using movie extracts as prompts, and showed very similar effects. We discuss all of these results with regard to the literature showing the significant impact of repetition on the reactivation of memory traces even in very amnestic AD patients at severe stages of the disease. (shrink)

The target article claims that involuntary autobiographical memories and déjà vu are based on the same retrieval processes, although they result in different phenomenological states. Here we argue that the differential engagement of attention at various stages of memory may be one of the determinants of when common retrieval processes give rise to such different experiences.

The article investigates the autobiographical aspects of Ryszard Kapuściński’s reportage pieces. The journalist’s complete works provide the material for this study. Autobiographism is understood here broadly, not only as the presence of a selfnarrative in the documentary accounts, but also as the implicit influence of the foreign correspondent’s life experiences on his interpretation of the events he reports. Kapuściński’s work early was primarily influenced by the experiences of poverty during the Second World War and the post-war period, the post-war (...) loss of his little homeland as Poland entered the orbit of the Soviet Union’s influence, as well as his involvement in a socialist youth organization. These personal experiences constitute an important context for the interpretation of his works, which is shown using examples from his reports. (shrink)

The research is based on a study of short story collections by Israeli writer Ida Fink’s, All the Stories, and French writer Charlotte Delbo’s, Auschwitz and After, to reflect the impact of the Holocaust on autobiographical elements in their work. The authors are representatives of the first generation of Holocaust survivors, which means that the mass systematic genocide during World War II was a personal traumatic experience for them. The works of female writers are studied using the theory of (...) trauma at the genre level. Since autobiography has been considered a documentary genre with its own peculiarities, works about the Holocaust were seen as historical evidence of this event. However, based on the works of Juri Lotman and some principles of Philippe Lejeune’s “autobiographical pact”, we can conclude that autobiography is similar to fiction if it can meet certain aesthetic functions. Under the influence of trauma, the genre of autobiography can be modified in the literary text in such a way that the line between autobiography and fiction is blurred. Ida Fink and Charlotte Delbo write short stories with fictional narrators, but all the situations are certainly the experiences of the writers themselves, who turn to the autofiction and conventions of Philippe Lejeune’s “autobiographical pact” to transfer their memories to literary heroes. The aim of the study is to define the peculiarities of the autobiographical genre, analyze its functions in Holocaust literature, identify poetic elements of autobiography, and prove that there is no canonical form of narration about the Holocaust-Era, as the writers were searching for how to articulate their traumatic experience in experimental forms. (shrink)