Ethics and Literary Practice

A special issue of Humanities (ISSN 2076-0787).

Deadline for manuscript submissions: closed (31 March 2019) | Viewed by 56724

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Department of English, Yeshiva University, New York, NY 10033, USA
Interests: ethics of reading; literary criticism and theory; modern Jewish thought; comparative literature; narrative poetics and the novel
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Special Issue Information

Dear Colleagues,

As a resurgent theoretical trend in humanities scholarship now in its fourth decade (cf. Nussbaum 1985, Miller 1987, Booth 1988, Siebers 1988, Phelan 1989, Newton 1995, McCance 1996, Eaglestone 1997, Posner 1997, Altieri 1998, Adamson, Freadman, Parker 1998, Attridge 1999, Buell 1999, Gibson 1999, Garber, Hanssen, Walkowitz 2000, Davis and Womack 2001, George 2005,  Attridge 2006, Levine 2009, Rossiter 2010, Altes 2014, Biwu 2014, Gregory 2019, Serpell 2014, Kingwell 2014, Doran 2017, Meretoja and David, 2018), “ethics and literary practice” names an inquiry that remains productively open to question. This special issue of Humanities will explore intersections between its organizing concepts as provocations rather than givens within a range of fields, heuristic frames, analytical categories, and discourses. Take the following as illustrative.

  1. “[I]insofar as we take literature to be ethically significant in an exemplary way, we may want to start thinking about locating its ethical force not so much in its referential makeup and thematics as in, among other things, what I would call, for lack of a better term, its discursive transformational ‘‘capaciousness,’’ that is, in its ability to absorb and transform virtually any kind of discourse, including the discourse of ethics” (Eskin, 2004).
  2. “How to think of ethics? Can one think of ethics? As the locus of otherness, ethics seems to lack integrity ‘in itself,’ and perhaps ought to be considered a matrix, a hub from which various discourses, concepts, terms, energies, fan out, and at which they meet, crossing out of themselves to encounter the other, all the others. E]thics exerts whatever forceit does by virtue of its singular capacity to adhere to, affiliate with, bury itself in, provoke, or dislodge other discourses; ethics realizes its full creative potential not in ‘itself’ but as a kind of x-factor, a bracingly alien incitement to inquiry and discrimination” (Harpham, 1999). 

Each of these meta-statements lays claim to either ethics or literature as the more multiplicative factor, the integer that boasts coefficient pride of place.  A conjunction as ancient as any topic in the philosophical tradition evidently remains just as protean and generative for post-traditional thought—perhaps even more so. 

Traditionally, ethical questions about literary practice have taken the form of, “is this book morally praiseworthy?”; or, “does this character model virtue and the good life?”;  or, “does that story satisfactorily emplot life’s moral complexity?”;  or, “has my reading of this text enlarged or deepened me?”  More recently, such problematics have been formulated as questions about otherness and witnessing, i.e., how are readers obliged for responsible to what they read (Attridge 2006)?  What, in turn, do such texts owe their readers as imaginative vehicles for the representation and productive misrepresentation of reality?  How, accordingly, do texts remain answerable to themselves, to their own formal, and deforming, dictates?   How does the act of reading train or practice answerability?  Which modality of reading, say, symptomatic vs. surface (Best and Marcus, 2009), am I being called upon to exercise and report on, and how do they differ, ethically speaking?  Do I read alone or in company?  How is the question of ethics also a question of politics: or are these different questions?   How might such concerns be adapted for other kinds or orders of textuality, say, the scriptural and religious, or for photography and cinema, which utilize an alternative “grammar or ethics of seeing” (Sontag, 1977)?  Loss, accord, appeal, wound, insomnia, touch: what does literary reading make happen?  How exactly does a text “advene” (Barthes, 1980)?  What does it mean to read “like a professor”—or for that matter, like an insurgent, like a native, like Proust, like Thoreau, Baldwin, like (Zadie) Smith, like another?    

What changes ethically if literature names an “act” (Derrida, 1992) as opposed to a “thing done” (James, 1904), an event or eventuation alongside a deed?   What, indeed, are the ethics of literature, and further, of reading, of genre, of performance, of translation, of fiction, of critique, of practice?  With the late Philip Roth, are we satisfied that literature’s “high calling” is a function of an “ethical dimension that had to do with being true to the words, with being true to the imagined thing” (2008), the moral perfectionism, as it were, of sentences?  What other dimensions lie alongside or even vie with rhetorical/imaginative fidelity, of truth-telling? Similarly, do acts of reading and criticism do more or otherwise than tell truth? If criticism, for example, “exists as a public’s mode of comportment…detach[ing] art from its irresponsibility by envisaging its technique” (Levinas, 1968), where does annotation end and adjudication begin?  What is “the ethical turn” in literary questioning turning from or towards or around or against, as overseen by modulations in the last thirty years or so of humanities research?

Under this special issue’s governing rubric, propositions and citations like those above map provisional coordinates for its conceptual focus.  Papers that explore inter-discursive possibilities are particularly welcome, as are those that situate themselves in the contested “between” of literature-and-ethics. Essays might feature treatments of individual texts or genres, (including film and other media), the elaboration of intertexts, or theoretical interventions, both literary and philosophical. Following are some suggested perspectives: meta-ethical and literary theory; analytic and continental philosophical schools; “the way we read now”; rhetoric(s); interpretive community, technology of representation; cultural, historical, national/hemispheric context; ancient, modern, or contemporary cultures; comparative frameworks; language and translation; aesthetics, truth, eventfulness; ethno-racial identity, nationality, and gender; embodiment and materiality; humanism and posthumanism; digital humanities, intermediality, and the 21st century university; pedagogy and the archive; politics and the political; the public space; globalism and the planetary; ecocriticism and environmental humanities; the human and its others; the contemporary post-/anti-liberal moment; homage, e.g. Roth, Ashbery, Le Guin, Walcott, C.D. Wright, Imre Kertész, Liu Xiaobo, Stanley Cavell.

Please send a one-page proposal by the middle of October 2018 including your name, the title of your paper, any academic or community affiliations, and email address to [email protected].

Dr. Adam Zachary Newton
Guest Editor

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Keywords

  • ethics
  • literature
  • reading
  • criticism
  • practice
  • event
  • responsibility
  • politics
  • humanities

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Published Papers (15 papers)

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Editorial

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16 pages, 899 KiB  
Editorial
Introduction: Alienated Majesty: On Reading as Othering
by Adam Zachary Newton
Humanities 2020, 9(1), 16; https://doi.org/10.3390/h9010016 - 6 Feb 2020
Viewed by 2899
Abstract
Diese Gewähr eines moralischen Gewinns liegt in einer geistigen Disziplin, die gegenüber dem einzigen, was ungestraft verletzt werden kann, der Sprache, das höchste Maß einer Verantwortung festsetzt und wie keine andere geeignet ist, den Respekt vor jeglichem andern Lebensgut zu lehren [...] Full article
(This article belongs to the Special Issue Ethics and Literary Practice)

Research

Jump to: Editorial, Other

19 pages, 2140 KiB  
Article
Sonic Rhetorics as Ethics in Action: Hidden Temporalities of Sound in Language(s)
by Steven B. Katz
Humanities 2020, 9(1), 13; https://doi.org/10.3390/h9010013 - 29 Jan 2020
Cited by 2 | Viewed by 4412
Abstract
Sonic rhetorics has become a major area of study in the field of rhetoric, as well as composition and literature. Many of the underlying theories of sonic rhetorics are based on post-Heideggerian philosophy, new materialism, and/or posthumanism, among others. What is perhaps similar [...] Read more.
Sonic rhetorics has become a major area of study in the field of rhetoric, as well as composition and literature. Many of the underlying theories of sonic rhetorics are based on post-Heideggerian philosophy, new materialism, and/or posthumanism, among others. What is perhaps similar across these theories of sonic rhetoric is their “turn” from language and the human in general. This short essay explores sonic rhetorics by examining three temporal dimensions found in language. Specifically, the essay focuses on the more obvious sonic dimensions of time in prosody, and then at deeper levels temporal dimensions in a couple of brief but revealing examples from ancient languages (classical Greek, and Biblical Hebrew). Further, this essay suggests some ways in which time is related to ethics in practice and action. For example, just as time is involved in the continuous creation of our increasingly vast, expanding, infinite but bounded universe, Levinas might say that time is necessary to create the ethical space, or perhaps “hypostasis,” one needs for the possibility to encounter “l’autre”—the Other. Beyond prosody, propriety, even kairos, are hidden temporal dimensions of language that may render sonic rhetorics forms of ethical practice. Full article
(This article belongs to the Special Issue Ethics and Literary Practice)
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16 pages, 838 KiB  
Article
Neorealism, Contingency, and the Linguistic Turn
by Thomas Claviez
Humanities 2019, 8(4), 176; https://doi.org/10.3390/h8040176 - 8 Nov 2019
Cited by 1 | Viewed by 3587
Abstract
Since the publication of Roman Jakobson’s famous 1956 essay “Two Aspects of Language and Two Types of Aphasic Disturbances”, we have tended to read the relationship between metaphor and metonymy as a dialectical one. The essay argues that this approach stands in need [...] Read more.
Since the publication of Roman Jakobson’s famous 1956 essay “Two Aspects of Language and Two Types of Aphasic Disturbances”, we have tended to read the relationship between metaphor and metonymy as a dialectical one. The essay argues that this approach stands in need of revision, since metonymy, as a trope—and as a trope, moreover, of contingency—undermines the dialectical relationship between the syntagmatic and the paradigmatic axes. This has far-reaching implications, specifically for the assessment of literature and its ethics. Since metaphor functions structurally analogous to dialectics itself, metonymy and its role in realism and neorealism might offer us a way to think an “ethics of contingency” that acknowledges the role of contingency, rather that suppressing it and its role in preventing closure through sublation. Full article
(This article belongs to the Special Issue Ethics and Literary Practice)
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15 pages, 249 KiB  
Article
Attention, Representation, and Unsettlement in Katherena Vermette’s The Break, or, Teaching and (Re)Learning the Ethics of Reading
by Cynthia R. Wallace
Humanities 2019, 8(4), 164; https://doi.org/10.3390/h8040164 - 16 Oct 2019
Viewed by 3795
Abstract
Theories of literary ethics often emphasize either content or the structural relationship between text and reader, and they tend to bracket pedagogy. This essay advocates instead for an approach that sees literary representation and readerly attention as interanimating and that considers teaching an [...] Read more.
Theories of literary ethics often emphasize either content or the structural relationship between text and reader, and they tend to bracket pedagogy. This essay advocates instead for an approach that sees literary representation and readerly attention as interanimating and that considers teaching an important aspect of an ethics of reading. To support these positions, I turn to Katherena Vermette’s 2016 novel The Break, which both represents the urgent injustice of sexualized violence against Indigenous women and girls and also metafictionally comments on the ethics of witnessing. Describing how I read with my students the novel’s insistent thematization of face-to-face encounters and practices of attention as an invitation to read with Emmanuel Levinas and Simone Weil, I explicate the text’s self-aware commentary on both the need for readers to resist self-enlargement in their encounters with others’ stories and also the danger of generalizing readerly responsibility or losing sight of the material realities the text represents. I source these challenges both in the novel and in my students’ multiple particularities as readers facing the textual other. Ultimately, the essay argues for a more careful attention to which works we bring into our theorizing of literary ethics, and which theoretical frames we bring into classroom conversations. Full article
(This article belongs to the Special Issue Ethics and Literary Practice)
17 pages, 332 KiB  
Article
Affect and Porosity: Ethics and Literature between Teresa Brennan and Hélène Cixous
by Michelle Boulous Walker
Humanities 2019, 8(4), 160; https://doi.org/10.3390/h8040160 - 11 Oct 2019
Cited by 2 | Viewed by 3844
Abstract
In her posthumously published work The Transmission of Affect, Teresa Brennan challenges the modern ego’s understanding of itself as self-contained. This illusion, she argues, is supported by what she refers to as the “foundational fantasy”. In explaining what this means, Brennan rejects [...] Read more.
In her posthumously published work The Transmission of Affect, Teresa Brennan challenges the modern ego’s understanding of itself as self-contained. This illusion, she argues, is supported by what she refers to as the “foundational fantasy”. In explaining what this means, Brennan rejects a bounded sense of the self, arguing that affect (both positive and negative) circulates energetically between subjects. In patriarchal cultures, mothers (and “feminine beings”) act as repositories of projected fear, typically carrying the greater burden of the negative affects—anger, aggression, and envy. Importantly, Brennan’s work brings the question of intersubjective boundaries to the fore, arguing that these are open, and that any account of ethical relations between self and other needs to acknowledge this. Drawing on pre-modern sources, she develops a new theory of intersubjective and energetic affectivity and, in a positive vein, offers love—in the form of attention and discernment—as the positive gift of affect that can potentially circulate between bodies, infusing intersubjective relations with life. Brennan’s work on the transmission of affect offers a bold and very political philosophical intervention into early twenty-first century ethical accounts. Her exploration of the intricacies of our relational entanglements with others and the material world challenges our understanding of what it means to be a self in relation to others. In effect, her account of the transmission of affect highlights the other’s vulnerability to my affect, to my hostile projections, even as it accounts for the flow of affect in both directions. In a slightly different way, Hélène Cixous offers us an account of our relations with others that focusses on the self’s openness to the force of the other, the self’s vulnerability to the dangerous other. Here, the other is the focus of a potential threat, a potential undoing of the self. For Cixous, writing is the place of witness to the unfolding of this vulnerability or porosity between two (entre deux). While this essay focuses on Brennan’s philosophical account, and the potentially paradoxical nature of her work to produce a theory of affect, it offers a brief discussion of the ways in which Cixous’s focus on literature and writing provide a different frame for appreciating the challenge that Brennan’s work makes. It explores the important ways in which Cixous extends Brennan’s philosophical concerns to the domains of literature and writing. Throughout her work, Brennan calls for us to invent or reinvent a vocabulary for the exploration of discernment, the protective attitude of thoughtfulness that opens us to the other. Cixous’s work, I argue, embodies this call in hopeful and optimistic ways. As such, it allows us to think of literature and writing as privileged sites for the exploration of our complex intersubjective relations. Full article
(This article belongs to the Special Issue Ethics and Literary Practice)
17 pages, 253 KiB  
Article
Reading (with) Hannah Arendt: Aesthetic Representation for an Ethics of Alterity
by Andreea Deciu Ritivoi
Humanities 2019, 8(4), 155; https://doi.org/10.3390/h8040155 - 24 Sep 2019
Cited by 4 | Viewed by 5170
Abstract
Hannah Arendt’s interest in literature was part of a broader concern, which was inspired by her reading of Kant, with the role played by aesthetic representation in ethical and political judgment. Her rich repertoire of writings about literature deserves to be considered alongside [...] Read more.
Hannah Arendt’s interest in literature was part of a broader concern, which was inspired by her reading of Kant, with the role played by aesthetic representation in ethical and political judgment. Her rich repertoire of writings about literature deserves to be considered alongside the works more commonly associated with the ethical turn in literary studies. Arendt’s unique contribution, I argue here, is a heightened awareness of the assimilative tendencies of aesthetic and cultural representation, coupled with a critique of empathy as potentially illusory or even condescending when confronted with a political judgment that is set up to absorb difference. To recognize alterity requires us, if we follow Arendt, to understand otherness “in acting and speaking,” as she argued in The Human Condition. Much of her philosophical and political work was dedicated to understanding the obstacles facing human togetherness, so that she could suggest ways for us to overcome them. Aesthetic representation, in her view, was one of the most effective strategies for achieving community because it offers a reconstruction of another’s viewpoints that invites both an imaginative projection and a sustained cognitive effort. Full article
(This article belongs to the Special Issue Ethics and Literary Practice)
15 pages, 259 KiB  
Article
‘A Pause for Po-Ethics’: Seamus Heaney and the Ethics of Aesthetics
by Eugene O’Brien
Humanities 2019, 8(3), 138; https://doi.org/10.3390/h8030138 - 12 Aug 2019
Cited by 2 | Viewed by 4003
Abstract
In this paper, I examine the connections between ethics and aesthetics in the writing of Seamus Heaney. Looking at Heaney’s neologism of ‘po-ethics’, I move through his poetry and especially his translation of Sophocles’ Philoctetes, entitled The Cure at Troy, and [...] Read more.
In this paper, I examine the connections between ethics and aesthetics in the writing of Seamus Heaney. Looking at Heaney’s neologism of ‘po-ethics’, I move through his poetry and especially his translation of Sophocles’ Philoctetes, entitled The Cure at Troy, and focus on his Fourth Irish Human Rights Commission Annual Human Rights Lecture: Writer & Righter, wherein he traces a number of strong connections between human rights workers and creative writers. The essay is written through a theoretical matrix of the ethical theories of Jacques Derrida, Emmanuel Levinas and Simon Critchley. It looks at poems from Heaney himself, as well as work from Shakespeare, Dante Alighieri, Czeslaw Miłosz, and Primo Levi. It focuses on poetic language as a discourse that can act as a counterweight and as a form of redress on behalf of the dignity of the individual human being against the pressures of mass culture and society. Full article
(This article belongs to the Special Issue Ethics and Literary Practice)
12 pages, 241 KiB  
Article
The Answer is Paracritical: Caribbean Literature and The Limits of Critique
by Jay Rajiva
Humanities 2019, 8(3), 126; https://doi.org/10.3390/h8030126 - 16 Jul 2019
Cited by 2 | Viewed by 3364
Abstract
I argue that both Rita Felski’s postcritical model (as articulated in The Limits of Critique) and its academic reception are made possible only by ignoring or erasing African-American and Afro-Caribbean modes of engagement with art that predate and complicate the critical-postcritical binary. [...] Read more.
I argue that both Rita Felski’s postcritical model (as articulated in The Limits of Critique) and its academic reception are made possible only by ignoring or erasing African-American and Afro-Caribbean modes of engagement with art that predate and complicate the critical-postcritical binary. To counteract the vanguardism of this trend in literary studies, I pair Caribbean philosopher-poet Edouard Glissant’s meditation on the origins of Creole speech as an indirect language of “detour” with Nathaniel Mackey’s theorizing of black art as “paracritical”—a mode that assimilates performance and critique, language and metalanguage, and that sits adjacent to (and not against or behind) traditionally academic discourses of engaging with literature. If Glissant provides the cultural and philosophical frame for an Afro-Caribbean way of reading literature, Mackey supplies the artistic metaphor par excellence of the paracritical hinge, voiced in the idioms of jazz and blues. Finally, I examine how Glissant and Mackey’s ideas find formal and aesthetic expression in Trinidadian-Canadian author Dionne Brand’s 2005 novel What We All Long For, paying attention to the reader response engendered by the adjacencies of violence, empowerment, possibility, and desire in the novel. In order to analyze What We All Long For, we must promote the liveliness and vivacity of the reading experience and put the text under ethical scrutiny, evincing the paracritical faculty that Afro-Caribbean art demands: commingling the twin pleasures of reading and interpretation, establishing a counter-hegemonic model of literary engagement that implicates the reader without stripping away reading’s pleasure. Full article
(This article belongs to the Special Issue Ethics and Literary Practice)
31 pages, 327 KiB  
Article
Towards a Decolonial Narrative Ethics
by Hille Haker
Humanities 2019, 8(3), 120; https://doi.org/10.3390/h8030120 - 3 Jul 2019
Cited by 2 | Viewed by 4813
Abstract
This essay explores the contribution of two works of German literature to a decolonial narrative ethics. It analyzes the structures of colonialism, taking narratives as a medium of and for ethical reflection, and reinterprets the ethical concepts of recognition and responsibility. This essay [...] Read more.
This essay explores the contribution of two works of German literature to a decolonial narrative ethics. It analyzes the structures of colonialism, taking narratives as a medium of and for ethical reflection, and reinterprets the ethical concepts of recognition and responsibility. This essay examines two stories. Franz Kafka’s Report to an Academy (1917) addresses the biological racism of the German scientists around 1900, unmasking the racism that renders apes (or particular people) the pre-life of human beings (or particular human beings). It also demonstrates that the politics of recognition, based on conditional (mis-)recognition, must be replaced by an ethics of mutual recognition. Uwe Timm’s Morenga (1978) uses the cross-reference of history and fiction as an aesthetic principle, narrating the history of the German genocide of the Nama and Herero people at the beginning of the 20th century. Intercultural understanding, the novel shows, is impossible when it is based on the conditional, colonial (mis-)recognition that echoes Kafka’s unmasking; furthermore, the novel illuminates the interrelation of recognition and responsibility that requires not only an aesthetic ethics of reading based on attentiveness and response but also a political ethics that confronts the (German) readers as historically situated agents who must take responsibility for their past. Full article
(This article belongs to the Special Issue Ethics and Literary Practice)
18 pages, 241 KiB  
Article
The Fallacy of Analogy and the Risk of Moral Imperialism: Israeli Literature and the Palestinian Other
by Adia Mendelson-Maoz
Humanities 2019, 8(3), 119; https://doi.org/10.3390/h8030119 - 2 Jul 2019
Cited by 2 | Viewed by 4691
Abstract
This article discusses the role of analogy within the ethics of reading. It examines how Israeli literature uses analogies when reflecting on the Israeli–Palestinian conflict. Many literary texts that depict the Israeli–Palestinian conflict draw analogies between the Israeli Jewish people and the Palestinians, [...] Read more.
This article discusses the role of analogy within the ethics of reading. It examines how Israeli literature uses analogies when reflecting on the Israeli–Palestinian conflict. Many literary texts that depict the Israeli–Palestinian conflict draw analogies between the Israeli Jewish people and the Palestinians, between specific individuals on both sides, or between historical traumas. These analogies are designed to bridge gaps and encourage empathetic reading. This article challenges this role of analogy by arguing that analogies may in fact paint an erroneous picture of symmetrical relations, strengthen victimhood that denies responsibility, and can often lead to “empty empathy.” Analogies may also create a willfully deceptive understanding of the other, while actually maintaining a narcissistic superior stance. Based on philosophical notions put forward by Emmanuel Levinas, this article suggests a different path to ethical understanding in which the literary text, while still enabling analogy, uses other rhetorical devices to create relationships that suspend it and reveal its imposture. Full article
(This article belongs to the Special Issue Ethics and Literary Practice)
10 pages, 212 KiB  
Article
Endlessly Responsible: Ethics as First Philosophy in Stanley Cavell’s Invocation of Literature
by Mette Blok
Humanities 2019, 8(2), 114; https://doi.org/10.3390/h8020114 - 17 Jun 2019
Cited by 1 | Viewed by 3750
Abstract
This essay aims to give an overview of the topic ethics and literature in Stanley Cavell’s complete oeuvre. It argues that Cavell’s preoccupation with literature is, from beginning to end, primarily ethical, even though he takes his point of departure in epistemological skepticism. [...] Read more.
This essay aims to give an overview of the topic ethics and literature in Stanley Cavell’s complete oeuvre. It argues that Cavell’s preoccupation with literature is, from beginning to end, primarily ethical, even though he takes his point of departure in epistemological skepticism. Recent research on the affinities between Cavell’s early writing on Shakespearean tragedy and the ethics of Emmanuel Levinas has helped to establish this but the question of how this part of Cavell’s work is related to his later development of Emersonian perfectionism is rarely touched upon. Consequently, this essay further argues that skepticism and perfectionism in Cavell’s thinking are two sides of one and the same ethics, which are bound together by the genre of romanticism. While Cavell’s work on skepticism is primarily concerned with the other, his work on perfectionism is primarily concerned with the self. Finally, this essay marks the point where Cavell’s and Levinas’ overall thinking part ways due to the fact that Cavell embraces Emersonian perfectionism. Full article
(This article belongs to the Special Issue Ethics and Literary Practice)
10 pages, 238 KiB  
Article
Ethical Mimesis and Emergence Aesthetics
by Josephine Donovan
Humanities 2019, 8(2), 102; https://doi.org/10.3390/h8020102 - 22 May 2019
Cited by 5 | Viewed by 3631
Abstract
In nature the transformation of dead matter (objects) into living matter endowed with green energy or subjectivity is called emergence. Art itself, I argue, is an emergence phenomenon, enacting and replicating in theme and form emergence in nature. Literature thus conceived is [...] Read more.
In nature the transformation of dead matter (objects) into living matter endowed with green energy or subjectivity is called emergence. Art itself, I argue, is an emergence phenomenon, enacting and replicating in theme and form emergence in nature. Literature thus conceived is about the emergence of spirit. It depicts forces that suppress spirit and enables the spiritual in nature to find expression. It gives voice to spirit rising. Mimesis is thus reconceived as a replication of the natural phenomenon of emergence, which brings to life what has hitherto been seen as object, dead matter. This article outlines the concept of emergence in current philosophical and scientific theories; examines the aesthetic precursors of emergence theory in certain Frankfurt School theorists, notably Theodor Adorno; and applies emergence aesthetic theory to a contemporary novel, Richard Powers’ The Overstory (2018). Full article
(This article belongs to the Special Issue Ethics and Literary Practice)
12 pages, 205 KiB  
Article
Senses of Echo Lake: Michael Palmer, Stanley Cavell, and the Moods of an American Philosophical Tradition
by Richard Deming
Humanities 2019, 8(2), 98; https://doi.org/10.3390/h8020098 - 19 May 2019
Viewed by 3237
Abstract
This essay explores a philosophical tradition that Stanley Cavell has traced out and which he emphasizes as being American inasmuch as it is arises out of the thinking of Ralph Waldo Emerson and Henry David Thoreau. It then investigates how the poems of [...] Read more.
This essay explores a philosophical tradition that Stanley Cavell has traced out and which he emphasizes as being American inasmuch as it is arises out of the thinking of Ralph Waldo Emerson and Henry David Thoreau. It then investigates how the poems of the avant-garde poet Michael Palmer link with, overlap with, this strain of American philosophy in terms of how it enacts an understanding of what we might call “philosophical mood,” on outlook based on the navigation of representation, generative self-consciousness, and doubt that amounts to a form of epistemology. The essay does not trace the influence—direct or otherwise of Cavell and his arguments for philosophy on the poems, despite a biographical connection between Cavell and Palmer, his former student. Instead it brings out the way that one might fruitfully locate Palmer’s work within an American literary/philosophical continuum. The article shows how that context opens up the work to a range of important existential and ethical implications. I endeavor to show that Notes for Echo Lake, Palmer’s most important collection, locates itself, its language, within such a frame so as to provide a place for readerly encounters with the limitations of language. These encounters then are presented as an opportunity for a deeper understanding of subjectivity and for attuning oneself to the role that active reading and interpretation might play in moral perfectionism. Full article
(This article belongs to the Special Issue Ethics and Literary Practice)

Other

Jump to: Editorial, Research

1 pages, 147 KiB  
Erratum
Erratum: Interlocutors, Nonhuman Actors, and the Ethics of Literary Signification. Humanities 2019, 8, 108
by Donald R. Wehrs
Humanities 2020, 9(2), 40; https://doi.org/10.3390/h9020040 - 7 May 2020
Viewed by 1599
Abstract
The author would like to make the following changes to the published paper (Wehrs 2019): [...] Full article
(This article belongs to the Special Issue Ethics and Literary Practice)
5 pages, 163 KiB  
Creative
Ethics and Time: After the Anthropocene
by Steven B. Katz
Humanities 2019, 8(4), 185; https://doi.org/10.3390/h8040185 - 13 Dec 2019
Viewed by 2553
Abstract
This “treatise” on ethics and literary practice is a self-reflective piece that argues and enacts ethical criticism through poetic form as well as content. That is, I deliberately employ poetry not only as a literary genre but also as rhetorical arguments—investigative, demonstrative, and [...] Read more.
This “treatise” on ethics and literary practice is a self-reflective piece that argues and enacts ethical criticism through poetic form as well as content. That is, I deliberately employ poetry not only as a literary genre but also as rhetorical arguments—investigative, demonstrative, and evidentiary—and as forms of ethical action. The two previously unpublished poems here are drawn from a larger, lyrical discourse sequence tentatively entitled “Heidegger, Ethics, and Time: After the Anthropocene.” The “poetic arguments,” then, concern the possible interrelations and effects of time and ethics within the philosophical context of post-human “being” collectively, and also of personal death as a shared event. There are a couple of famous theories of time and ethics that ebb and flow within the different formal abridgements of time in these two poems. One set of theories is expounded in Martin Heidegger’s major work, Being and Time, as well as many of his other treatises on language, poetry, and ethics. Another set of theories is founded in Emmanuel Levinas’ work on time and alterity. But unlike these philosophies, the two poems here deal in detail with (1) the potential particularities of lived sensation and feeling (2) as they might be experienced by sentient and non-sentient ‘being’ (3) that survive death—of our species (poem II) and/or individual death (poem III). However, rather than simply rehearsing philosophy or recasting it into poetic form, these two poems argue for and against the notion that time is a physical and thus materially moral absolute, necessary for any (conscious) life to exist at all; and these two poems also argue physically, through their structure and style. They argue that physical dimension of time is not only a material force that is “unkind to material things” (aging, decay), as articulated in the content of one poem for example, but also a moral force that is revealed and played against in the constricted temporal motion and music of the poems (i.e., their forms, and variations within). In addition to philosophical arguments that poetry by its nature deliberately leaves ambiguous (indeterminate, but also will-free), the aural, temporal forms of the poems themselves flow in or move through but also reshape time. A simple instance of this is the way meter and rhyme are activated by time, yet also transform time, pushing back against its otherwise unmarked inexorable ineffable… The temporal properties of poetic forms in conjunction with content therefore constitute “lyrical ethics” in literary practice. Thinking (and putting aside as well) Heidegger and Levinas, these poems as temporal forms may physically shift, even if only momentarily, the relation of the listener or reader to Being/Death, or Alterity/Other. For example, the enhanced villanelle and modified Spenserian stanza offered here each shapes time differently, and thus differently shapes the intuitive, affective, cognitive responses of readers. With its cyclical repetition of lines, usually over five tercets and a quatrain, the villanelle with every advancing stanza physically ‘throws’ time (the concept and the line) back on itself (or perhaps is “thrown forward” [Geworfen]). In contrast, the pattern of the Spenserian nine-line stanza allows time to hover around a still but outward-expanding point (like a partial mini-[uni]verse) before drifting to the next stanza (especially here, where the final rhyme at the end of each stanza is much delayed.). Within and without the context of Heidegger and Levinas, I assert that these structural features are ethical statements in literary practice. The choice of these traditional forms of poetry in itself is an ethical statement. Stylistically as well as thematically, these two poems argue “all sides” of ethical positions in relation to the end of being human. Perhaps more importantly, these two poems explore the inevitably human experience of philosophically different ethical positions on death “post anthropocentrically”—what might come in the rhetorical after we can never know except poetically. Full article
(This article belongs to the Special Issue Ethics and Literary Practice)
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