Filling the gap : Nietzsche's account of authenticity as a supplementary ideal
- Authors: Baker, Michaela Christie
- Date: 2004
- Subjects: Nietzsche, Friedrich Wilhelm, 1844-1900 -- Ethics , Authenticity (Philosophy) , Ethics, Modern , Normativity (Ethics) , Self-knowledge, Theory of
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2727 , http://hdl.handle.net/10962/d1003734 , Nietzsche, Friedrich Wilhelm, 1844-1900 -- Ethics , Authenticity (Philosophy) , Ethics, Modern , Normativity (Ethics) , Self-knowledge, Theory of
- Description: This thesis examines the ideal of authenticity: why we might want or need such an ideal, what such an ideal would look like, and what mechanisms we would need to ensure the successful operation of such an ideal. The thesis has three main parts. The first part of the thesis aims at motivating the need to look to authenticity as a supplementary ideal to normative moral theory. I do this by drawing a distinction between ethics and morality and arguing that there are important aspects of our lives (such as our relations to ourselves) our beliefs and projects) about which normative moral theory fails to give us guidance and about which an ethical ideal, namely that of authenticity, can provide us with the requisite guidance. The second part of the thesis elucidates Nietzsche's view of authenticity as eternal return. I argue that eternal return consists in holding a particular attitude to one's life - one's past, present and future. I then demonstrate that what is fundamental to successfully living authentically in accordance with eternal return is a rigorous search for self-knowledge. In the third part of the thesis I argue that, in order to achieve the self-knowledge necessary to being a successful authentic agent, one must acquire it through a process of dialogue with other agents. I give a model of self-knowledge as a dialogic encounter that provides two important mechanisms whereby such self-knowledge can be gained.
- Full Text:
- Date Issued: 2004
- Authors: Baker, Michaela Christie
- Date: 2004
- Subjects: Nietzsche, Friedrich Wilhelm, 1844-1900 -- Ethics , Authenticity (Philosophy) , Ethics, Modern , Normativity (Ethics) , Self-knowledge, Theory of
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2727 , http://hdl.handle.net/10962/d1003734 , Nietzsche, Friedrich Wilhelm, 1844-1900 -- Ethics , Authenticity (Philosophy) , Ethics, Modern , Normativity (Ethics) , Self-knowledge, Theory of
- Description: This thesis examines the ideal of authenticity: why we might want or need such an ideal, what such an ideal would look like, and what mechanisms we would need to ensure the successful operation of such an ideal. The thesis has three main parts. The first part of the thesis aims at motivating the need to look to authenticity as a supplementary ideal to normative moral theory. I do this by drawing a distinction between ethics and morality and arguing that there are important aspects of our lives (such as our relations to ourselves) our beliefs and projects) about which normative moral theory fails to give us guidance and about which an ethical ideal, namely that of authenticity, can provide us with the requisite guidance. The second part of the thesis elucidates Nietzsche's view of authenticity as eternal return. I argue that eternal return consists in holding a particular attitude to one's life - one's past, present and future. I then demonstrate that what is fundamental to successfully living authentically in accordance with eternal return is a rigorous search for self-knowledge. In the third part of the thesis I argue that, in order to achieve the self-knowledge necessary to being a successful authentic agent, one must acquire it through a process of dialogue with other agents. I give a model of self-knowledge as a dialogic encounter that provides two important mechanisms whereby such self-knowledge can be gained.
- Full Text:
- Date Issued: 2004
Lived bodies: women’s experience of sex and gender
- Authors: Lothian, Julie-Anne
- Date: 2014
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/69445 , vital:29538
- Description: This thesis will discuss the category of women, as a social group, through a phenomenological understanding of women’s subjective experiences. In arguing for the phenomenological perspective of the lived body, I show the ways in which other conceptions of women’s embodied subjectivity ultimately fail to provide comprehensive accounts of the lived experience of being a woman. I begin with an investigation into how biological determinists hypothesise women’s bodies as sexed. I then move to respond to Judith Butler’s poststructuralist feminist account of the gendered body. Finally, I argue that the embodied experience of being a woman is best explained as an ambiguous relationship between socially constructed expectations of femininity and biological materiality.
- Full Text:
- Date Issued: 2014
- Authors: Lothian, Julie-Anne
- Date: 2014
- Language: English
- Type: text , Thesis , Masters , MA
- Identifier: http://hdl.handle.net/10962/69445 , vital:29538
- Description: This thesis will discuss the category of women, as a social group, through a phenomenological understanding of women’s subjective experiences. In arguing for the phenomenological perspective of the lived body, I show the ways in which other conceptions of women’s embodied subjectivity ultimately fail to provide comprehensive accounts of the lived experience of being a woman. I begin with an investigation into how biological determinists hypothesise women’s bodies as sexed. I then move to respond to Judith Butler’s poststructuralist feminist account of the gendered body. Finally, I argue that the embodied experience of being a woman is best explained as an ambiguous relationship between socially constructed expectations of femininity and biological materiality.
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- Date Issued: 2014
Wolfgang Koeppens auseinandersetzung mit der tradition: aspekte der intertextualität in der so genannten nachkriegs‐trilogie
- Authors: Weber, Undine S
- Date: 2015
- Subjects: Koeppen, Wolfgang, 1906-1996 -- Criticism and interpretation , Koeppen, Wolfgang, 1906-1996 -- Works -- 1986 , German fiction -- 20th century -- History and criticism
- Language: German
- Type: Thesis , Doctoral , PhD
- Identifier: vital:3658 , http://hdl.handle.net/10962/d1020833
- Description: Wolfgang Koeppen’s three post‐war novels have often been called a trilogy, purely based on their publication in rapid succession in the early 1950s. This study establishes a connection between the works by looking at their roots in Irish, Anglo‐American, French and German modernism, and shows up links between Wolfgang Koeppen, James Joyce, E.E. Cummings, Charles Baudelaire and Thomas Mann. This comparative analysis concludes, by integrating socio‐political factors of life in West Germany after World War II, that Koeppen transcends the modernist tradition – the fact that modernism has become tradition, i.e. it has become “classic”, in contradiction to being “modern”. Koeppen’s texts do not only allude to and build on classic texts and refer to stylistic and narrative modernist elements such as stream‐of‐consciousness and sketching a fragmented society in turmoil; the very act of recurring to myths and texts of the Western canon in order to depict the disaffected individual is an almost post‐modern one.
- Full Text:
- Date Issued: 2015
- Authors: Weber, Undine S
- Date: 2015
- Subjects: Koeppen, Wolfgang, 1906-1996 -- Criticism and interpretation , Koeppen, Wolfgang, 1906-1996 -- Works -- 1986 , German fiction -- 20th century -- History and criticism
- Language: German
- Type: Thesis , Doctoral , PhD
- Identifier: vital:3658 , http://hdl.handle.net/10962/d1020833
- Description: Wolfgang Koeppen’s three post‐war novels have often been called a trilogy, purely based on their publication in rapid succession in the early 1950s. This study establishes a connection between the works by looking at their roots in Irish, Anglo‐American, French and German modernism, and shows up links between Wolfgang Koeppen, James Joyce, E.E. Cummings, Charles Baudelaire and Thomas Mann. This comparative analysis concludes, by integrating socio‐political factors of life in West Germany after World War II, that Koeppen transcends the modernist tradition – the fact that modernism has become tradition, i.e. it has become “classic”, in contradiction to being “modern”. Koeppen’s texts do not only allude to and build on classic texts and refer to stylistic and narrative modernist elements such as stream‐of‐consciousness and sketching a fragmented society in turmoil; the very act of recurring to myths and texts of the Western canon in order to depict the disaffected individual is an almost post‐modern one.
- Full Text:
- Date Issued: 2015
Creative production and existential thought: a feminist existential analysis of South African visual artist Berni Searle’s artwork
- Authors: Mokwena, Palesa
- Date: 2020
- Subjects: Women artists -- South Africa , Women artists, Black -- South Africa , Existentialism and art , Feminism and art -- South Africa , Searle, Berni
- Language: English
- Type: text , Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/148005 , vital:38701
- Description: Through an analysis of the work of South African artist Berni Searle, my study will investigate feminist existential ideas and concepts that have been explored by various creative producers in and outside of Europe/South Africa through different forms of creative productions and under different epistemological categories. ‘Canons’ of European existentialist/feminist thought often exclude the existence of feminist existential knowledge productions and producers outside of Europe. In conducting this study, I am responding to the past and present separatist and identitarian categorisations of creative productions from black/African creative producers, particularly women creative producers in South Africa, creating an alternative canonisation around their selected works. Although canons have been and can be used to drive separatist and identitarian categorisations, it is my hope to elucidate a discourse around the preservations and acknowledgements of South African creative and knowledge productions through a feminist existential framework that canonises important black feminist existentialist works and thereby brings to light their intellectual contributions over and above their identities. My development of a South African feminist existentialism is an attempt to graft a more intersectional, holistic framework to introduce in the feminist and existential discourses, and to proffer a new intersectional holistic paradigm of discussing categories that do not limit creative productions. To frame this research, I will reflect on the politics of historical and contemporary South African society as it is reflected in the works of the chosen creative producers and theorists and to question how we respond as creative feminist existentialists to contemporary South African struggles and how such a lens can be activated as a creative-theoretical tool of investigation.
- Full Text:
- Date Issued: 2020
- Authors: Mokwena, Palesa
- Date: 2020
- Subjects: Women artists -- South Africa , Women artists, Black -- South Africa , Existentialism and art , Feminism and art -- South Africa , Searle, Berni
- Language: English
- Type: text , Thesis , Masters , MFA
- Identifier: http://hdl.handle.net/10962/148005 , vital:38701
- Description: Through an analysis of the work of South African artist Berni Searle, my study will investigate feminist existential ideas and concepts that have been explored by various creative producers in and outside of Europe/South Africa through different forms of creative productions and under different epistemological categories. ‘Canons’ of European existentialist/feminist thought often exclude the existence of feminist existential knowledge productions and producers outside of Europe. In conducting this study, I am responding to the past and present separatist and identitarian categorisations of creative productions from black/African creative producers, particularly women creative producers in South Africa, creating an alternative canonisation around their selected works. Although canons have been and can be used to drive separatist and identitarian categorisations, it is my hope to elucidate a discourse around the preservations and acknowledgements of South African creative and knowledge productions through a feminist existential framework that canonises important black feminist existentialist works and thereby brings to light their intellectual contributions over and above their identities. My development of a South African feminist existentialism is an attempt to graft a more intersectional, holistic framework to introduce in the feminist and existential discourses, and to proffer a new intersectional holistic paradigm of discussing categories that do not limit creative productions. To frame this research, I will reflect on the politics of historical and contemporary South African society as it is reflected in the works of the chosen creative producers and theorists and to question how we respond as creative feminist existentialists to contemporary South African struggles and how such a lens can be activated as a creative-theoretical tool of investigation.
- Full Text:
- Date Issued: 2020
Achieving a realistic utopia: Rawls, realization, and the task of political philosophy
- Authors: Terlazzo, Rosa Elizabeth
- Date: 2010
- Subjects: Rawls, John, 1921-2002 Political science -- Philosophy Justice -- Philosophy Utopias -- Philosophy
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2721 , http://hdl.handle.net/10962/d1002851
- Description: In this thesis I argue that the tradition of political philosophy which follows in John Rawls's footsteps is obligated to concern itself not only with the realizability, but also with the realization, of justice. Although Rawls himself expresses a commitment only to the former of these, I argue that the roles which he assigns to political philosophy require him to take on the further commitment to realization. This is because these roles are meant to influence not only political philosophers, but the citizens of the wider community as well. The realistically utopian role, which I take to be the central one, requires political philosophy to inspire in that population a hope which I argue that realizability alone cannot provide. Given the deep revisions regarding the political nature of justice as fairness which Rawls made on the basis of realizability concerns, I argue that his theory must in this case be committed to a similar revision. The hope which political philosophy is meant to provide is simply not realizable until the discipline concerns itself centrally with the task of realization.
- Full Text:
- Date Issued: 2010
- Authors: Terlazzo, Rosa Elizabeth
- Date: 2010
- Subjects: Rawls, John, 1921-2002 Political science -- Philosophy Justice -- Philosophy Utopias -- Philosophy
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2721 , http://hdl.handle.net/10962/d1002851
- Description: In this thesis I argue that the tradition of political philosophy which follows in John Rawls's footsteps is obligated to concern itself not only with the realizability, but also with the realization, of justice. Although Rawls himself expresses a commitment only to the former of these, I argue that the roles which he assigns to political philosophy require him to take on the further commitment to realization. This is because these roles are meant to influence not only political philosophers, but the citizens of the wider community as well. The realistically utopian role, which I take to be the central one, requires political philosophy to inspire in that population a hope which I argue that realizability alone cannot provide. Given the deep revisions regarding the political nature of justice as fairness which Rawls made on the basis of realizability concerns, I argue that his theory must in this case be committed to a similar revision. The hope which political philosophy is meant to provide is simply not realizable until the discipline concerns itself centrally with the task of realization.
- Full Text:
- Date Issued: 2010
Being for others : critical reflections on the stranger, the estranged and the self in participatory art
- Authors: Munro, Samantha Fawn
- Date: 2015
- Subjects: Self , Identity (Philosophical concept) in art , Alienation (Philosophy) , Interactive art , Art appreciation , Art exhibition audiences , Interactive art -- Themes, motives , Social interaction
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2507 , http://hdl.handle.net/10962/d1017771
- Description: By referring to established concepts and theories which contemplate our experiences in relation to others and space, this thesis examines the interactions and responses of an audience during various participatory artworks. I draw upon Jean-Paul Sartre’s Being and Nothingness and Elizabeth Grosz’ Architecture From The Outside: Essays on Virtual and Real Space in order to understand our interactions with other people, our interactions inside an environment, and the objects and ceremonies we use during these interactions. I align these experiences with the methods which are employed to anticipate and create the interactions between an audience and a participatory artwork. Our daily interactions can be considered a frame that an artist shapes for their represented situation to allow, provide and guide an audience towards their possibilities for movements and actions within a participatory artwork. The interactions that occur in participatory art are done in relation to others and include groups of people interacting with each other rather than an individual disembodied experience. I refer to Claire Bishop in her book, Artificial Hells, and Nicolas Bourriaud in Relational Aesthetics in order to define participatory art. In defining participatory art I focus on the idea that participation is a social activity without which the artwork does not function or exist. I unravel Brett Bailey’s Exhibit A, Anthea Moys Anthea Moys vs The City of Grahamstown and Christian Boltanski’s Personnes in terms of the frame they use to construct participation and interaction. I refer to my own exhibition Ineffaceable as an exploration of these frames which encourage participation. The inside and the outside are a constant theme throughout this thesis and my exhibition. This thematic re-emerges in relation to a number of opposing and fluctuating dynamics: the self and the other; the object and the subject; familiarity and strangeness; the participator and the spectator; the immersive and the disembodied; and the artwork and the audience. Participatory art has not been sufficiently explored particularly in South Africa with South African case studies and particularly from a practical standpoint that includes methodologies for creating participation. This thesis hopes to enrich and contribute to the contemplations on participatory art by focusing on our interactions with others.
- Full Text:
- Date Issued: 2015
- Authors: Munro, Samantha Fawn
- Date: 2015
- Subjects: Self , Identity (Philosophical concept) in art , Alienation (Philosophy) , Interactive art , Art appreciation , Art exhibition audiences , Interactive art -- Themes, motives , Social interaction
- Language: English
- Type: Thesis , Masters , MFA
- Identifier: vital:2507 , http://hdl.handle.net/10962/d1017771
- Description: By referring to established concepts and theories which contemplate our experiences in relation to others and space, this thesis examines the interactions and responses of an audience during various participatory artworks. I draw upon Jean-Paul Sartre’s Being and Nothingness and Elizabeth Grosz’ Architecture From The Outside: Essays on Virtual and Real Space in order to understand our interactions with other people, our interactions inside an environment, and the objects and ceremonies we use during these interactions. I align these experiences with the methods which are employed to anticipate and create the interactions between an audience and a participatory artwork. Our daily interactions can be considered a frame that an artist shapes for their represented situation to allow, provide and guide an audience towards their possibilities for movements and actions within a participatory artwork. The interactions that occur in participatory art are done in relation to others and include groups of people interacting with each other rather than an individual disembodied experience. I refer to Claire Bishop in her book, Artificial Hells, and Nicolas Bourriaud in Relational Aesthetics in order to define participatory art. In defining participatory art I focus on the idea that participation is a social activity without which the artwork does not function or exist. I unravel Brett Bailey’s Exhibit A, Anthea Moys Anthea Moys vs The City of Grahamstown and Christian Boltanski’s Personnes in terms of the frame they use to construct participation and interaction. I refer to my own exhibition Ineffaceable as an exploration of these frames which encourage participation. The inside and the outside are a constant theme throughout this thesis and my exhibition. This thematic re-emerges in relation to a number of opposing and fluctuating dynamics: the self and the other; the object and the subject; familiarity and strangeness; the participator and the spectator; the immersive and the disembodied; and the artwork and the audience. Participatory art has not been sufficiently explored particularly in South Africa with South African case studies and particularly from a practical standpoint that includes methodologies for creating participation. This thesis hopes to enrich and contribute to the contemplations on participatory art by focusing on our interactions with others.
- Full Text:
- Date Issued: 2015
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