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Laurence Sterne and an ethics of pleasureKim, Chunghee January 1997 (has links)
This thesis proposes that an ethics of pleasure informs the destabilising elements of Sterne's texts, delineated through the peculiar energies and vitality in his jesting narrative voice. I demonstrate the Sternean synthesis of two problematic principles, ethics and pleasure, incompatible for the modem mind but complementary for Eighteenth century moralists. Sterne's configuration of ethical pleasure can be differentiated from those of major moral discourses of the seventeenth and eighteenth century: 1) by his distinctive ethical position which enfranchises laughter, gaiety, and mirth which his contemporaries underplay; 2) through a Rabelaisian humour which Bakhtin sees as exemplifying signs of Renaissance folk and peasant culture, so creating a distance from the progressivistic zeal of the Enlightenment; 3) in his conjunction of Fideistic scepticism with Rabelaisian grotesque, which absorbs and transfigures a sense of the plenitude and the inexplicability of nature. The first chapter examines Sterne's incorporation of a "heteroclite" perspective into orthodox latitudinarian theism in his sermons, in the specific forms of his selectiveness in adaptations or borrowings from various divine homilies. The second chapter compares his ethics of pleasure with major contemporaneous moral discourses, focusing on the production of different moral frameworks through differing perceptions of man's place in nature. The third chapter locates Sterne's formulation of text and narrative in a material presence of communion and fellow-feeling among disparate sUbjectivities. The fourth chapter investigates the ethical significance of Sterne's particular use of laughter, in which he tries to re-enact the laughing spirit of Rabelaisian grotesque with partial success, thus suggesting his comic spirit be identified as Romantic grotesque. A fmal chapter concludes with Sterne's attempt to test his ethics through interlocution and engagement with strangers in A Sentimental Journey, charting the pragmatic obstacles to a praxis of love for the concretised being.
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Love of Humanity in Shaftesbury's MoralistsGill, Michael B 22 June 2016 (has links)
Shaftesbury believed that the height of virtue was impartial love for all of humanity. But Shaftesbury also harboured grave doubts about our ability to develop such an expansive love. In The Moralists, Shaftesbury addressed this problem. I show that while it may appear on the surface that The Moralists solves the difficulty, it in fact remains unresolved. Shaftesbury may not have been able to reconcile his view of the content of virtue with his view of our motivational psychology.
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Le style paradoxal des moralistes classiques : Montaigne, Pascal, La Rochefoucauld, La Bruyère / The paradoxical style of the classical moralists : Montaigne, Pascal, La Rochefoucauld, La BruyèreGallard, Pierre-Yves 10 December 2016 (has links)
Notre travail interroge l’affinité entre une figure – le paradoxe – et le discours sur les mœurs, tel qu’il s’invente et se développe de Montaigne à La Bruyère : il étudie l’appropriation d’un fait de langue et sa requalification en fait de style. La confrontation des théories existantes sur le paradoxe aux exemples de notre corpus fait apparaître la gradualité de la figure, dont la configuration prototypique connaît des réalisations discursives de forme et d’étendue variables, et dont l’étude stylistique implique l’articulation des points de vue microstructural et macrostructural. En promouvant une approche englobante, continuiste et contextualisée des formes de l’écriture paradoxale, nous soulignons la dimension matricielle du paradoxe, sa propension à constituer, pour les textes que nous étudions, un principe générateur, une forme ordonnatrice : l’étymon d’un style. Nous défendons en effet l’idée selon laquelle le paradoxe constitue un lieu commun de la prose moraliste, c'est-à-dire la forme-sens dans laquelle se cristallisent une éthique et une esthétique, un rapport soupçonneux aux vérités admises et aux discours institués. L’examen des différents usages de la figure et des fonctions qui lui sont dévolues nous permet ainsi d’éclairer les soubassements épistémologiques de l’entreprise moraliste. / Our work reflects upon the affinity between a figure of speech – the paradox – and the moral discourse, as it emerges and evolves from Montaigne to La Bruyère. We study the appropriation of a linguistic form and its revaluation as a stylistic trait. The comparative examination of the theoretical descriptions of the paradox, and their application to our corpus examples reveal the gradualness of the figure, and the variety of its discursive actualizations. By promoting a global, continuist and contextualized approach to the paradox, we stress out its functionality as well as its propensity to shape the reflection and the writing of the classical moralists.
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Limae labor, Untersuchungen zur Textgenese und Druckgeschichte von Shaftesburys "The moralists"Meyer, Horst, January 1978 (has links)
Slightly rev. ed. of the author's thesis, Münster, 1976. / Some text in English. Bibliography: v. 2, p. [789]-804.
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Prescrire, écrire : pour un portrait du poète en moraliste ? Michaux, Char, Jabès et Jaccottet / Prescribing & writing : questioning the portrait of the poet as a moralist (Michaux, Char, Jabès & Jaccottet)Meydit-Giannoni, Valentine 14 November 2019 (has links)
Le titre de notre thèse prend appui sur l’une des caractéristiques principales de notre corpus, constitué des quatre poètes que sont Henri Michaux, René Char, Edmond Jabès et Philippe Jaccottet : l’existence d’une modalité prescriptive à valeur éthique particulièrement forte dans leur production littéraire d’après-guerre, au point de justifier chez les critiques de tout acabit le recours au terme de « moraliste » pour les désigner. La thèse que nous avons entreprise se propose donc de donner des assises légitimes et raisonnées à ce qui n’a l’air a priori que d’une formule flirtant avec la subversion et le paradoxe. Qu’implique une telle caractérisation pour la lecture de nos poètes ? N’est-ce pas risquer de trahir leur esthétique poétique, mais aussi de trahir la définition même du moraliste ? L’hypothèse moraliste ne nous pousse-t-elle pas en effet à négliger le substrat métapoétique consubstantiel à l’écriture de nos auteurs ? Ce portrait du poète en moraliste, dès lors qu’il n’est plus une simple formule mais une véritable hypothèse de lecture, ne permet sans doute pas de prendre en compte la complexité du phénomène prescriptif, qui se décline également sur un mode métapoétique. Non seulement ces deux modalités de prescription ne sont pas exclusives l’une de l’autre, mais elles tendent à coïncider l’une avec l’autre ; s’il est des principes de vie énoncés par le poète, ils sont indissociables et superposables à des règles d’écriture nettement établies. Les poètes de notre corpus, loin d’hériter de la morale et de l’esthétique du Grand Siècle, seraient bien les héritiers du XXe siècle, et l’existence d’une indéniable teneur éthique au cœur même de leur poésie se justifierait sans doute par d’autres modèles littéraires… et sapientiaux. / The idea behind the work “Prescribing & writing: questioning the portrait of the poet as a moralist (Michaux, Char, Jabès & Jaccottet)” came from the observation of a misleading but incredibly frequent use of the term “moralist” in the 20th Century literary criticism, specially when applied to describe poets. The misuse of the term “moralist” turned out to be the consequence of its impressionist and versatile definition in the field of the 20th Century studies. Referring to a 20th century writer as a moralist implies, without anachronism intended, that there is some sort of continuity of this type of writing from the Grand Siècle to modern times. In addition, the very artificial link we could indeed try to establish between the two poetics, through the hypothesis of a trans-secular moralist poetics, seems indeed to leave aside a whole other aspect of our poets’ work. If the elements of an ethic we may find in their work are undeniable, the metapoetic reflection is just as important, if not more. The hypothesis of these poets as moralists do not enable the critics to read together the ethic and the poetics which cannot be dissociated, because they are one. The common denominator of our four poets is their incredible ability to create an “art poétique who is also an “art de vivre” and conversely. Michaux, Char, Jabès and Jaccottet shape an ethic which is a poetics and a poetics which is an ethic, so that the relationship to the reader they program also corresponds with the relationship to the other, inside the human community. Don’t these corresponding shapes of the ethic and the poetics evoke another sapiential and literary model than the seventeenth century moralists?
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