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Search Results (4)

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Keywords = David Foster Wallace

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16 pages, 310 KB  
Article
“So Beautiful That Mortal… Eyes Can’t Take It”: How Postmodernism Shows Us the Function of the Beautiful in the Landscape of the Traumatic
by Griffin Lang Pickett
Humanities 2024, 13(5), 132; https://doi.org/10.3390/h13050132 - 8 Oct 2024
Viewed by 1702
Abstract
In her 2010 article “Aesthetic Wit(h)nessing in the Era of Trauma”, Griselda Pollock lamented the aperture between psychology, particularly that of PTSD, and esthetics in the search to bear witness to traumatic experience. This article explores the gray area that exists when the [...] Read more.
In her 2010 article “Aesthetic Wit(h)nessing in the Era of Trauma”, Griselda Pollock lamented the aperture between psychology, particularly that of PTSD, and esthetics in the search to bear witness to traumatic experience. This article explores the gray area that exists when the esthetic and the traumatic converge, arguing that such areas exist not only as direct representations of the difficulty of narrativizing trauma as described by such theorists as Cathy Caruth, Onno van der Hart, and Bessel van der Kolk, but also simultaneously as windows into the moments of what Dominick LaCapra calls “the sublime object of endless melancholia and impossible mourning”. Postmodernism is argued to be the organic choice of voicing traumatic retellings, and close readings of John Hersey’s proto-postmodern Hiroshima (1946), Tim O’Brien’s The Things They Carried (1992), and David Foster Wallace’s Infinite Jest (1996) work to highlight the intersections of trauma, postmodern literature, and esthetics; or, in Wallace’s case, theoretical discussions of traumatic tropes as facilitated by the postmodern tradition. In drawing attention to this tripartite convergence, this article hopes to continue in the vein of scholarship that reaffirms the need for evermore research in the field of trauma studies as well as substantiate a claim of the heightened importance of postmodern literature in the 21st century—an epoch indelibly marked by trauma, as noted by Pollock. Full article
(This article belongs to the Special Issue Trauma, Ethics & Illness in Contemporary Literature and Culture)
16 pages, 289 KB  
Article
On the Virtues and Vices of the Singular Will: Seeking “One Thing” with Kierkegaard
by J. Aaron Simmons
Religions 2023, 14(11), 1435; https://doi.org/10.3390/rel14111435 - 19 Nov 2023
Viewed by 2454
Abstract
In this essay, I follow the example of recent Kierkegaard scholarship in the attempt to consider Kierkegaard’s work from a personal point of view. Accordingly, I begin with a biographical account of my first encounter with Kierkegaard’s notion that “purity of heart is [...] Read more.
In this essay, I follow the example of recent Kierkegaard scholarship in the attempt to consider Kierkegaard’s work from a personal point of view. Accordingly, I begin with a biographical account of my first encounter with Kierkegaard’s notion that “purity of heart is to will one thing”. I explain that were it not for the intervention of one of my early professors, David Kangas, the idea might have prevented me from getting married. I then offer a reading of “An Occasional Discourse”, where that idea is worked out, and suggest that Kierkegaard faces a serious challenge of what I call “empty formalism”. The worry is that his account offers general suggestions without any practical direction on how to live. By showing how the notion of singularly willing the eternal can be productively understood as a kind of virtue, I contend that Kierkegaard both avoids empty formalism and also manages to resist an overly determinate model of ethical life that eliminates the ambiguity of morality and the riskiness of faith. Full article
(This article belongs to the Special Issue Kierkegaard, Virtues and Vices)
15 pages, 303 KB  
Article
“My Whole Life I’ve Been a Fraud”: Resisting Excessive (Self-)Critique and Reaffirming Authenticity as Communal in David Foster Wallace’s “Good Old Neon” and Albert Camus’s The Fall
by Allard den Dulk
Humanities 2023, 12(1), 20; https://doi.org/10.3390/h12010020 - 16 Feb 2023
Viewed by 3478
Abstract
The themes of paralyzing, solipsistic self-critique versus the necessarily communal character of authentic, meaningful existence in the work of American novelist David Foster Wallace are best understood in light of existentialism. This article compares Wallace’s story “Good Old Neon” with Albert Camus’s novella [...] Read more.
The themes of paralyzing, solipsistic self-critique versus the necessarily communal character of authentic, meaningful existence in the work of American novelist David Foster Wallace are best understood in light of existentialism. This article compares Wallace’s story “Good Old Neon” with Albert Camus’s novella The Fall, as responses to similar unproductive tendencies within the respective postmodernist and Marxist discourses of their times. Both works portray an absolutist self-critique that produces feelings of (inauthentic) fraudulence and exceptionality; and both include an interlocutor that ultimately makes the reader the direct addressee of the text. In doing so, “Good Old Neon” and The Fall confront the reader with the moral task of resisting excessive (self-)critique and reaffirming authentic, meaningful existence as always arising in connection to others. Full article
(This article belongs to the Special Issue Exploring Authenticity in Contemporary Literatures in English)
11 pages, 271 KB  
Article
Post-Postmodernism, the “Affective Turn”, and Inauthenticity
by George Kowalik
Humanities 2023, 12(1), 7; https://doi.org/10.3390/h12010007 - 10 Jan 2023
Cited by 6 | Viewed by 9163
Abstract
This article considers Rachel Greenwald Smith’s concept of the “Affective Turn” in contemporary fiction by looking at a constellation of novels published near the turn of the twenty-first century: David Foster Wallace’s Infinite Jest (1996), Jonathan Franzen’s The Corrections (2001), Percival Everett’s Erasure [...] Read more.
This article considers Rachel Greenwald Smith’s concept of the “Affective Turn” in contemporary fiction by looking at a constellation of novels published near the turn of the twenty-first century: David Foster Wallace’s Infinite Jest (1996), Jonathan Franzen’s The Corrections (2001), Percival Everett’s Erasure (2001), and Zadie Smith’s White Teeth (2000). As Rachel Greenwald Smith claims, this “Turn” offers a “corrective or counter to postmodernist suspicion towards subjective emotion” and has foundations of sincerity and authenticity, which align it with the premise of post-postmodernism. These novels, I argue, collectively engage with the affective turn’s inherent post-postmodern potential, as their authors respond to, challenge, and react against postmodern irony and the license of inauthenticity that comes with this. Full article
(This article belongs to the Special Issue Exploring Authenticity in Contemporary Literatures in English)
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