In 1844, when Kierkegaard published his work, The Concept of Anxiety, under the pseudonym of Vigilius Haufuiensis, it constituted no mean feat for a variety of reasons. Firstly, and perhaps most obviously, was the content of the work. At that time, very little work had been done concerning the experience of anxiety and certainly no single academic work had had this issue as its formal topic. Secondly, the book was an incisive and complex theological and philosophical argument. So much so in fact, that no discussion of Haufuiensis' concept of anxiety is possible without incorporating its theological implications. Thirdly, and certainly as significant as its religious aspect, is the psychology inherent to The Concept of Anxiety. This was as innovative as the philosophical aspect, as is evinced by the pervasive influence it exercised over the development of psychology in the twentieth century. Lastly, but by no means least importantly, is the fact that Haufuiensis' work was an ingenious and derisive attack on Hegelianism, as well as a superb example of the practice of irony. The reason that I make mention of this is to briefly illustrate the depth and complexity of this "little" work. Hence, in this essay, it has been my aim to thoroughly explore all four aspects of the work and to demonstrate how each holds as much significance as the other in considering the work as a whole. In terms of methodology, I have actively refrained from limiting my investigation to one particular approach. Instead, I have endeavoured to explore Haufuiensis' The Concept of Anxiety from a myriad of different angles, including the analytical, existential, theological, linguistic and deconstructive interpretations. Furthermore, in my opinion, any sound investigation of The Concept of Anxiety cannot proceed along the lines of isolating one specific aspect of the work as being of greater significance than any other. This is in contrast to the earlier scholars of Kierkegaard, who tended to categorize him chiefly as a Christian writer, greatly at the expense of all the other facets of his work. The influence of Kierkegaard's work on the existentialist movement is well known and is encapsulated in his being cast as "the father of existentialism". In my opinion, this constitutes yet one more attempt to categorize both the man and his work, and as such constitutes a reductionism and an untenable approach to the work of this important thinker. My motivation in conducting an investigation into Kierkegaard's conception of anxiety is two-fold. Firstly, I am of the opinion that anxiety is a universal and, at the same time, intensely personal experience. As such, The Concept of Anxiety is an indispensable, and often overlooked part of Kierkegaard's philosophy. My second reason is to demonstrate, by simply concentrating on one aspect of Kierkegaard's work, the depth and scope of his corpus. The Concept of Anxiety is notoriously known as being Kierkegaard's most inaccessible work, due chiefly to the difficulty experienced in its interpretation, and the subsequent plethora of misinterpretation. It is my opinion that the principal cause of this problem is the failure on the part of readers to take heed of the fact that Haufuiensis' work is conducted by means of indirect communication and as such is fraught with irony. Finally, my conclusion after examining the conception of anxiety, as put forth by Haufniensis, as well as the reactions and influences it has elicited in the years since its publication, is that the work of the Danish author is as relevant and as important today, as it was upon being published. / Dissertation (MA (Philosophy))--University of Pretoria, 2000. / Philosophy / unrestricted

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This paper conducts a critical comparison of the correspondence of Madame de Sévigné, Empress Marie-Thérèse of Austria and Joséphine Bonaparte. These women instruct their daughters through a writerly exchange that implements a remarkably similar use of language that indicates a “performance” of her maternal role, meant to implement a personal or political agenda that requires the daughter’s acknowledgement and reciprocation. This project explores theories of speech acts and subjectivity to conduct a literary analysis of the construction of the maternal figure in a historical context, its representation in the letters of each woman with their daughters, the motivations for a “performance” of the maternal role, and the subsequent characterization, reaction, and liberation of the daughter’s voice.

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京都大学 / 新制・課程博士 / 博士(農学) / 甲第23962号 / 農博第2511号 / 新制||農||1092(附属図書館) / 学位論文||R4||N5397(農学部図書室) / 京都大学大学院農学研究科地域環境科学専攻 / (主査)教授 星野 敏, 教授 藤原 正幸, 教授 秋津 元輝 / 学位規則第4条第1項該当 / Doctor of Agricultural Science / Kyoto University / DGAM

Following the literary criticism of Zadie Smith’s NW by critics such as Lynn Wells and Wendy Knepper, this thesis seeks to engage with the social scripts and spatial dynamics of Smith’s fourth novel. I argue that NW is concerned with the neoliberalization of both real and virtual spaces, emphasizing the consequent effects of neoliberalism on agency and subjectivity and highlighting the neoliberal advancement of hyperindividualism and securitization over social responsibility and solidarity. Much detail is given to NW’s exploration of race, class and social mobility at the tail-end of the global financial crisis of 2007-08. NW’s fragmented four-part narrative channels a perspectival approach to space and place by delineating its structure through the four separate subjectivities of the main characters. I contextualize my thesis alongside Paul Gilroy’s cultural criticism of contemporary British multiculturalism, conviviality and melancholia, while also anchoring NW’s spatial concerns to Jeff Malpas’s spatial philosophy and Emily Cuming’s explication of British council estates in various forms of contemporary literature. As well, this thesis incorporates the philosophical frameworks of Søren Kierkegaard, Martin Heidegger and Maurice Merleau-Ponty as a guide for recognizing some of NW’s interest in the subjective experience of people and spaces, and to reorient the act of ‘seeing’ as a radical form of agency and mediation in itself. Ultimately, this phenomenological and epistemological approach to interpreting Smith’s fiction creates the potential for meaning to be co-constructed between author and reader, forming a new social vision for the novel as artform. / Thesis / Master of Arts (MA)

[pt] Esta pesquisa confia em transformações positivas, relações mutuamente proveitosas e em outras formas possíveis de geração de vida. No centro desta reflexão está o design, que no encontro com a arte se experimenta, se reflexiona e se reelabora sob outro ritmo e condição. Um design distraído, artístico, que provoca mais questionamentos do que respostas aos modos de ser, ver, pensar e fazer. Para ir além, esta pesquisa invoca pensadores, projetistas e artistas para refletir sobre um campo de ideias possíveis ou impossíveis, úteis ou inúteis, especulativas ou de inspiração histórica – a partir dos anos 1960 e 1970 –, que contribuam para uma outra perspectiva mais atenta às narrativas locais e aos problemas certos – sejam as questões da subjetividades, nossa corporeidade e ativos culturais, ou; de ordem prática, no que se refere aos modos de produção, de ritmo capitalista acelerado, e sinônimo de crise ambiental, ética e humanitária. Tempos que urgem novas reflexões e práxis sobre o que nos cerca e nos afeta, como uma reconstrução da vida coletiva. / [en] This research relies on positive transformations, mutually beneficial relationships and other possible ways of generating life. At the center of this reflection is design that, in the meeting with art, experiences, reflects and rework itself under another rhythm and condition. A distracted, artistic design that provokes more questions than answers on the ways of being, seeing, thinking and doing. To go further, this research invokes thinkers, designers and artists to reflect on a projective field of possible or impossible, useful or useless, speculative or historically inspired ideas – from the 1960s and 1970s – that contributes to another perspective that is more aware to local narratives, and the right problems – whether referring to subjectivities issues, our corporeality and cultural assets; or practical nature, regarding to the producing, at an accelerated capitalist pace, synonymous of an environmental, ethical and humanitarian crisis. Times that urges new reflections and praxis on what is right and affects us, as a reconstruction of collective life.

I develop a framework for making visible the impacts that science has on human subjectivity, along with demonstrating how these transformations support the existing social order. In order to develop this framework, I critique the work of Wilfrid Sellars. Sellars is one of the few analytic philosophers of science who directly addresses the connections between science and subjectivity. What makes Sellars particularly interesting is the way he sought to preserve a strong conception of normativity alongside a quasi-eliminativist scientific realism. I set the stage for my critique of Sellars by contrasting two different accounts of subjectivity, one Cartesian, the other pragmatic. I argue in favor of the pragmatic because it completely grounds the subject in the world (a point with which Sellars basically agrees). I begin my critique of Sellars by explaining his scientific realism. This is then connected to his vision of the interconnections between science and subjectivity. I then argue that Sellars' scientific realism is fundamentally incoherent, which leads his system into nihilism. From this I trace out the role that science can play with respect to subjectivity in a nihilistic world. To partially counter this nihilism, I articulate an alternative to scientific realism that is based, in part, on my pragmatic account of subjectivity. I conclude by re-appropriating elements of Sellars' philosophy, routed through my alternative scientific realism, in order to complete the framework discussed above. / Ph. D.

This dissertation offers an exploration of the field of normative subjectivity circulated within western fine dining traditions. I use the notion of "normative subjectivity" which derives from the work of Michel Foucault. Foucault's emphasis on the use of disciplinary repetition to mold, circumscribe, and modulate the conduct of subjects informs my own argument that fine dining spaces feature a normative regime of subjectivity centered on the hegemonic governance of a figure which I call "Culinary Man." This phrase follows from Sylvia Wynter's account of "the overrepresentation of Man," which describes the colonial field of subjectivity which revolves around a normatively white, male, and European figure of authority. Drawing from these sources, this dissertation seeks to give a theoretical analysis of the governing relationship between the chef (who embodies Culinary Man) and the fine dining brigade (the organizational unit of labor within commercial kitchens). As I argue, Culinary Man deploys a heterogeneous set of disciplinary discourses and practices which have the effect of consolidating monopolies on epistemic authority and governance. Each position within the brigade's hierarchy is subject to distinct, though related, disciplinary practices. Thus, several chapters seek to identify the specific practices pertinent to each brigade subject, while also illuminating how they fit together as a coherent hegemonic project. Additionally, a genealogy, in the style of Sylvia Wynter, is carried out to illuminate points of variance as well as continuity within the figure of Culinary Man. While the bulk of the dissertation seeks to carry out a discursive analysis of Culinary Man's disciplinary regime, there are also moves toward alternative projects which do not replicate the brigade form. The concluding chapters seek to identify where extant modes of resistance or alternative forms of culinary organization may hold the potential to move beyond the hegemonic overrepresentation of Culinary Man. / Doctor of Philosophy / Within fine dining kitchens, work is generally organized by the hierarchical division of labor known as the "brigade." As the name suggests, this formation is modeled on the military, and the chef sits at the top of the brigade's hierarchy. This dissertation explores the relationship between the governing chef and the subordinate brigade of culinary laborers within western fine dining spaces. While the image of the domineering chef is somewhat ubiquitous in popular culture, this project seeks to understand how the authority of governing chefs is rooted in practices and discourses which encourage consent among the brigade, rather than merely compliance. As I argue, the field of fine dining labor is dominated by a particular set of practices, values, and habits which become solidified as norms through repetition. These norms uphold and legitimate the figure of the brilliant, masterful, and authoritative chef (called "Culinary Man") at the expense of the brigade's subordination. Additionally, there are racialized and gendered implications, as the archetype of Culinary Man is a white, male figure. This dissertation offers an exploration of the collection of practices, norms, and discourses which "shape" members of the brigade and direct the ways in which they conduct themselves. Several of the chapters identify particular positions within the brigade's hierarchy and analyze how distinct practices mold the conduct expected of culinary workers. Additionally, a genealogy of Culinary Man explores several different variations or "genres" of this figure. While much of the dissertation endeavors to identify and theorize Culinary Man's governance over the brigade, the last two chapters feature some discussion of models which might potentially move beyond Culinary Man as a normative archetype.