In this essay, I demonstrate the value of the Bildungsroman for philosophy of education on the grounds that these narratives raise and explore educational questions. I focus on a short story in the Bildungsroman tradition, Thomas Hardy’s “A Mere Interlude”. This story describes the maturation of its heroine by narrating a series of events that transform her understanding of what it means to lead a human life. I connect her conceptual shift with two paradigms for leading a human (...) life. One stresses the exercise of distinct human capacities like agency and autonomy, whereas the other stresses human vulnerability to fate or moral luck. I conclude by offering important reasons for educators to adopt the later paradigm over the former. (shrink)

Professional ethics has currently raised its public profile in the UK as part of social anxiety around governance of health and social care, fuelled by catastrophically bad practice identified in particular healthcare facilities. Professional ethics is regulated by compliance with abstracted, normative codes but experienced as contextualised exercise of personal qualities, understanding and engagement. This study examined how practitioners from one speciality of occupational therapy, an Allied Health Profession, develop ethical practice through dialogical engagement in local OT communities of practice, (...) supporting and modifying understanding of and approaches to specific situations experienced as ethically difficult and individual reflection on the personal bildungsroman underpinning their own professional practice. Engagement in community of practice and personal reflection contributed to ethical development for participating OTs. Opportunities to engage in peer OT groups and professional reflection should be considered by employers as integral to productive practice and not a distraction from it. (shrink)

In this article, I investigate Either/Or’s generic affinity with the Bildungsroman. I demonstrate that it both imitates the topological structure of this genre and that it is likewise composed of a number of formation narratives and tropes that mirror the Bildungsroman. This is documented by following the development of an often-overlooked textual figure at the conclusion of the second part of Either/Or and through a reading of “The Seducer’s Diary” as a demonic Bildungsroman with maieutic implications. Finally, (...) I examine the relationship between the Bildungsroman and the Entwicklungsroman [novel of development] with particular attention to Kierkegaard’s late authorship. (shrink)

In his philosophical history of nineteenth-century mathematics, Proofs and Persuasions: The Logic of Mathematical Discovery, Imre Lakatos asserts that mathematical criticism was the driving force in the growth of mathematical knowledge during the nineteenth century, and provided the impetus for some of the deepest conceptual reformulations of the century. The philosophy of mathematics represented by Proofs and Refutations also presents a rich analysis of how mathematics can be thought of as an essentially historical discipline. Despite protestations by Lakatos that he (...) completely discarded Hegel when he discovered the work of Karl Popper, his philosophy of error closely resembles Hegel's in the Phenomenology of Spirit. According to Lakatos, the impact of proofs and refutations on naive concepts is to erase them completely and replace them by proof-generated concepts. His historical point about proofs and refutations is that this pattern in the growth of mathematical knowledge is a relatively recent innovation. Hegel's and Lakatos' shared vision of theoretical knowledge is that rather than being the inspired work of timeless, totally subjective, intellectual intuition , it is, more often than not, mediated by a lengthy history of speculation and failure. (shrink)

The appearance of several new works and a multivolume critical anthology devoted to Richard Rorty casts in bold relief the surprising lack of sympathetic interpretations his work has generated over the past few decades. After examining the complex nature of the critical reaction to Rorty, this essay reviews two new introductions to his thought that attempt to approach him in a spirit of hermeneutic charity. I argue that Rorty's somewhat neglected idea of treating philosophy as a Bildungsroman may shed (...) some light on the problem of how to read Rorty usefully. (shrink)

Il contributo si propone di indagare lo scandaglio euristico di un mezzo espressivo sempre più frequentato, il graphic novel. In ragione di ciò, analizzare l’ibridazione tra parola e immagine da un lato rispetto all’immediatezza del disegno, dall’altro in relazione al grado di approfondimento psicologico dei personaggi, permette di mettere in luce la possibilità di considerare il romanzo a fumetti come un genere letterario in dialogo con la più classica forma narrativa. Dunque, privilegiare un lavoro di stampo metodologico-teorico può porre delle (...) premesse adeguate a una successiva focalizzazione su un caso di studio. In particolare, «La linea dell’orizzonte». Un ethnographic novel sulla migrazione tra Bangladesh, Italia e Londra dialoga non soltanto con la forma romanzo in generale, ma anche con il reportage narrativo, l’autobiografia e il Bildungsroman, o romanzo di formazione. È evidente che questo stretto dialogo con la critica letteraria non possa non prendere in considerazione, oltre a uno studio dei generi letterari maggiormente in dialogo con La linea dell’orizzonte, anche un’analisi delle peculiarità stilistiche e tematiche presenti nell’ethnographic novel, con particolare attenzione al tema della migrazione. (shrink)

The aim of the present study is to rebuild the way in which Schelling's later philosophy –that which is represented by his reflection concerning mythology and rational foundations of revelation– describes the triple division of the Absolute in diverse potencies that takes place with the entry of God in temporality and becoming. The process that leads to such fragmentation of the divine is interpreted as a “formation novel” analogous to the odyssey that the finite conscience experiences as a result of (...) its constituent openness to Being. (shrink)

How can Africans escape the control of the complex power relationships established during Colonization and successfully achieve self-development? More importantly, and the primary concern of this book, can African female characters ever hope to arrive at such individuation given the dual challenges of the power structures defined and enforced by European colonizers and the patriarchal structures that contort issues related to gender? Tracing Personal Expansion reads late 20th Century works by African female novelists Buchi Emecheta, Tsitsi Dangarembga, and Calixthe Beyala (...) as modern Bildungsromane, novels of self-development, to reveal the dynamics, complexities, and challenges the characters and authors experience. By exploring the possibility of self-development in African female protagonists, this engrossing work augments existing feminist critiques that have analyzed the possibilities and potentials for the individuation of mostly Western, mostly European female characters. (shrink)

This article argues that Hegel’s book The Phenomenology of Spirit can be read as a Bildungsroman or a theory of reception. Hegel (as he appears in this book) sets forth to educate his readers to a historical understanding. This is the article’s main argument which will be split up in three parts. First, it seems that Hegel tries to lead the uneducated reader to his own ideal philosophy. If so, the reception will be merely technical, i.e., the book has (...) only one answer and the reader has to submit to Hegel to get him right. The article argues against such a reading. Secondly, it seems more likely that Hegel invites his readers to take an active part in the interpretation of the book. To substantiate this claim, the article argues that the hitherto unknown phenomenon in the book “touches” and challenges the reader, who must “touch” back and accept the challenge in order to grasp the phenomenon. This reception involves the experience of “touch” (not physical) and is therefore haptic. Thirdly, and in extension of the haptic reception, the article argues that there is a reception as recollection, meaning that Hegel invites the reader to reflect upon the recollected experiences or “the gallery of images” that Hegel has archived in his book. In doing so, the reader will see the gallery of images with new eyes—which ultimately is a process of Bildung as the reader gains self-awareness and knowledge through Hegel’s images. (shrink)

The article is an examination of the 1930 play Brain. A Play of the Whole Earth, by an obscure early twentieth-century British writer, Lionel Britton, in the light of the writings of Polish Jewish physician and philosopher of science Ludwik Fleck and the sociologist Émile Durkheim. A consideration of the notion of collectivity as depicted in the text, its complex representation of a posthuman existence, and the unusual generic characteristics of the play lead to the suggestion that Brain may be (...) regarded as a utopian bildungsroman whose main focus is the life of an idea in society. (shrink)

This study asks how Sartre’s version of the dialectic of recognition is present in Kierkegaard’s works. For Sartre, the dialectic begins with an awareness that the other sees me and judges me. I experience this as a threat to my autonomy, and I fight back with a variety of strategies designed to mitigate the effects. Inter-subjective relationships are grounded in conflict from which there is no exit. Similarly, Kierkegaard characterizes the natural, self-centered way of seeing the other as inherently self-centered (...) and contentious. And yet some of Kierkegaard’s texts lay the ground for a way out. Unlike Sartre, he is sensitive to modifications to the structure of the dialectic of recognition that depend on a change in the basic mode of looking. That is, how I see, evaluate, and judge the other can alter the foundation of the interaction from something mutually contentious to something mutually edifying. (shrink)

This paper explores Bakhtin’s reception of Goethe’s Wilhelm Meisters Lehrjahre with a view to assess how Bakhtin’s interest in this early chronotopical masterpiece can be understood in the wider context of his utopian thinking and his political eschatologies. Bakhtin reads Goethe’s novel as a critique of totalitarian forms of Socialist Realism as well as Dostoyevsky’s bourgeois realism. Like his contemporary Ernst Bloch, Bakhtin praises the complexity and richness of Goethe’s concept of realism. In the wake of Hermann Cohen, Georg Simmel (...) and Friedrich Gundolf to whom Bakhtin alludes and whom he quotes, Goethe is regarded as a modern literary and anthropological role model, the epitome of Bildung. For Bakhtin, Goethe’s and Rabelais’ writings about the carnivalesque constitute complementary forms of reflection of and agents for social and cultural transformation in modernity. (shrink)

Abstract:Elena Ferrante’s Neapolitan Quartet – an almost continuous rave of interconnected love and desire, anger and violence – is also a story of the protagonist’s struggle to make sense of her life by writing it. She turns a traditional genre of a young person’s coming of age into a neurologically realistic portrait of the growth of an artist by multiplying narrative voices and by ignoring conventional bounds of narrative probability. Her story of the growth of a creative mind adumbrates well (...) the picture of brains and their processes currently being described and developed as a “predictive processing” model. Work in neurobiology and neurophysiology has been producing empirical demonstrations of the centrality of failure to successful human cognition. (shrink)

Much writing on scientific biography focuses on the legitimacy and utility of this genre. In contrast, this essay discusses a variety of genre conventions and imperatives which continue to exert a powerful influence on the selection of biographical subjects, and to control the plot and structure of the ensuing biographies. These imperatives include the following: the plot templates of the Bildungsroman (the realistic novel of individual self-development), the life trajectories of Weberian ideal types, and the functional elements and personae (...) of the folkloric tale of the "hero's quest." The essay discusses the nature and application of these genre conventions in some detail, with the conclusion that biography, however useful, exerts a powerfully distorting influence on the image of how most science gets done. (shrink)

Introduction -- From paideia to humanism -- Pietism and the problem of human craft (Menschen-Kunst) -- The harmonious harp-playing of humanity: J. G. Herder -- Ethical formation and the invention of the religion of art -- The rise of the Bildungsroman and the commodification of literature -- Authorship and its resignation in Goethe's Wilhelm Meister -- "The Bildung of self-consciousness itself towards science": Hegel.

El artículo ofrece un estudio del Wilhelm Meister de Goethe, en especial, de Los años de aprendizaje, en cuanto paradigma del género que el romanticismo definió como “novela de formación” (Bildungsroman). También se toma en consideración la versión inicial de la novela, titulada La misión teatral. El tema fundamental es el de la formación por el teatro; éste es mucho más que un simple ideal artístico, por cuanto implica la identificación de teatro y vida, lo que determina el trabajo (...) de la formación en función de la libertad. (shrink)

El artículo ofrece un estudio del Wilhelm Meister de Goethe, en especial, de Los años de aprendizaje, en cuanto paradigma del género que el romanticismo definió como “novela de formación” (Bildungsroman). También se toma en consideración la versión inicial de la novela, titulada La misión teatral. El tema fundamental es el de la formación por el teatro; éste es mucho más que un simple ideal artístico, por cuanto implica la identificación de teatro y vida, lo que determina el trabajo (...) de la formación en función de la libertad. (shrink)

The engagement with Epicurus in the Epistulae morales is a multifaceted literary device essential to the fabric of that epistolary Bildungsroman. It characterizes a Letter Writer “Seneca” and contributes to the dramatic structure of the Epistulae morales as an introduction not just to Stoicism, but to philosophy itself. The Letter Writer develops into a serious philosopher and progresses from naïve endorsement to a more sophisticated account of Stoic thought. He draws increasingly sharper distinctions between his own views and Epicurean (...) tenets. There are two layers of reception: While the Letter Writer might be blissfully unaware of a theoretical problem, the author L. Annaeus understood Epicurus well enough to know exactly what he was doing when he cunningly manipulated Epicurean tenets and expressions in order to unfold an intellectual drama. (shrink)

In the fifth space-time dimension of the journey, in that invisible dimension of meaning, one also simultaneously enters the dimension of narration, in a double track that makes the dialogic dimension, traveling, a distinctive trait of traveling, both inside and outside oneself. The journey then becomes the occasion for a reinterpretation of meaning, the place of its return, the space within which to get lost and find oneself in a different articulation of oneself and one’s identity, the forge, the alchemical (...) _atanor_, where to live profound upheaval of oneself within a narrative and dialogic consciousness that makes the travel companion, the traveler, the other the focus and direction of our haughty representations and of our most unfathomable inner worlds. Because no one can tell only himself. We will therefore try to make people understand the special connection that exists between travel and narration, present within a literary tradition that crosses times and places, crossing the Middle Ages with Geoffrey Chaucer’s _Canterbury Tales_ up to the most recent _Drive my Car_ by Murakami, in a common narrative and existential structure that unfolds precisely in the particularity of traveling together. Everything that happens to us while traveling becomes a form of narration that combines the lived experience of consciousness, the _Erlebnis_, the poetry of the word in expression, an expression of a deeper self that can manifest itself in its epiphany through the story of what we are while we travel, while we wander, while we walk in other places, with others, lost in walking on foot, by car or train, without space-time limits, in that way of flying over the world typical of _flânerie_. (shrink)

The author claims that we should differentiate the concept, the conception and the ideal of Bildung. Based on these differences, Bildung could be considered as a kind of attitude, project, or as specific - normative and optative - practice.. Autor smatra da treba praviti formalnu razliku izmedju pojma, koncepcije i ideala Bildung-a. Na osnovu tako utvrdjene razlike, Bildung bi se mogao poimati kao stav, projekt ili specificna, u isti mah i normativno i optativno intonirana, praksa..

For the last two centuries the novel has been the predominant literary genre; but the generic identity of the novel is far from established. Attempts to define the novel have focussed on formal features of particular types of texts, with the result that definitions of “the” novel have merely canonized one or another of the innumerable novelistic manifestations—Bildungsroman, eighteenth-century English novels, novels of the kind George Eliot or Henry James or Marcel Proust or Feodor Dostoevsky wrote, etc. By basing (...) themselves upon such formal attributes, such definitions exclude a vast number of potential texts on essentially normative grounds. Further, the history of the novel has outgrown and contradicted those conceptions; no sooner than a theory has been formulated, the novel itself has moved forward, adapting to changing conditions and substituting for those formal properties a set of new ones, thus rendering the theories obsolete and revealing the inadequacy of formalist categories to define the genre. This predicament is certainly not unique to the theory of the novel but rather a necessary concomitant of any theoretical project; what makes any attempt to theorize about the novel particularly vulnerable is the genre's resistence to formalist analysis, its lack of precisely those organizing categories upon which a formalist theory of any genre can be built. (shrink)

The content of a work of literature, Walter Benjamin reminds us in “The Author as Producer,” is inextricably bound up with its form. Hence, it is hardly astounding that much critical attention has been focused on the proper generic classification of Harriet E. Wilson’s Our Nig . This task, though, has not been easy. Henry Louis Gates, rediscoverer and earliest critic of Our Nig, for example, goes to great length discussing parallels between Wilson’s work and Nina Baym’s ‘overplot’ of the (...) ‘women’s novel,’ before settling on reading it as a new form of distinctly African-American lit- erature that combines “conventions of the sentimental novel with certain key conventions of the slave narratives” . Elizabeth Ammons, by contrast, places Our Nig squarely in the feminist tradition of the sentimental novel and argues that “the ideal of mother love explicit in Uncle Tom’s Cabin operates implicitly in Our Nig.” 4 2 3 Contesting Ammons’ claim, Eric Gardner asserts that Our Nig is not a ‘novel of abolition’ but “a novel about Northern racial issues, a young black woman’s bildungsroman, and, as such, is far from Uncle Tom’s Cabin.” 5 Echoing some of Gardner’s points, Elizabeth Breau contends that Our Nig “is actually satiric” and therefore gives an overly “bleak picture of northern antebellum society.” Foregrounding neither Bildung nor “ironic inversions” but the “politics of rage at work in Wilson’s tale,” Julia Stern argues that Our Nig “used the sentimental form to mask a gothic message.” 7 Rejecting Gates’ attempt to posit Our Nig as “a significant beginning of an African-American literary mode, a distinctive first in a century of firsts,” John Ernest wants to read Wilson’s work as a traditional “blend of autobiography and fiction,” hoping to ‘re-place’ it “within the racial, gender, and economic matrix of secular history.” R.J. Ellis, while accepting Gates’ assessment that Our Nig “draw[s] on the genres of sentimental fiction and abolitionist slave narrative,” stresses the ways in which the ‘hybrid’ work “fractures generic boundaries” in order to provide a “full retrieval of Frado’s pain, her experience of body politics.” Lastly, offering a reading that links Our Nig to the Puritan tradition, Elizabeth West argues that Our Nig “manipulates well-known trappings of the conversion narrative” by telling “the story of the heroine’s failed initiation into the community of earthly saints.”. (shrink)

This special issue responds to the current discourse on cinema and education from a philosophical point of view. Considering the fact that young people worldwide are watching films and series via their smartphones or personal computers, we here explore the educative aspects of this popular activity. Does this wide-ranging habit mis-educate the next generation? Or does cinema carry a potential for ethical-political education, parallel to the ancient Greek tragedies and the modernist Bildungsroman? The authors of this special issue deliberate (...) this question by exploring the intersection between cinema and philosophy and the potential powers of cinematic education. (shrink)

The ethical philosophy of Emmanuel Levinas is typically associated with a punishing conception of responsibility rather than freedom. In this chapter, our aim is to explore Levinas’s often overlooked theory of freedom. Specifically, we compare Levinas’s account of freedom to the Kantian (and Fichtean) idea of freedom as autonomy and the Hegelian idea of freedom as relational. Based on these comparisons, we suggest that Levinas offers a distinctive conception of freedom—“finite freedom.” In contrast to Kantian autonomy, finite freedom constitutively involves (...) standing in certain social relations with others. And in contrast to Hegelian relational freedom, the social relations involved in finite freedom are not defined by mutual recognition, but by feelings of separation and even antagonism. Along the way, we promote a reading Levinas’s Totality and Infinity as a Hegel-style story of Bildung (development), and show how, on Levinas’s view, freedom can develop or mature in the life of the individual. (shrink)

In lieu of an abstract, here is a preview of the article: This essay begins by reviewing the strengths and weaknesses of the developmental strategy adopted in my Nietzsche’s “Genealogy of Morality” in relation to the contrasting approaches of Conway, Hatab, and Janaway in their studies of Nietzsche’s On the Genealogy of Morals. It then turns to take up a topic that, in the light of the readings of Conway, Hatab, Janaway, and myself, I now take to be much more (...) central than any of us has adequately acknowledged, namely, the relationship of GM to the Hellenistic conception of philosophy. I sketch this argument and explore its implications through Janaway’s and Hatab’s different (but not incompatible) reflections on perspectivism, before finally providing an illustration of how Nietzsche’s indebtedness to the themes of freedom and slavery in ancient philosophy illuminates our understanding of the slave revolt in morals, the psychology of the priest, and the interpretation of the sovereign individual. Given the complexity of the rhetorical and argumentative structure of Nietzsche’s On the Genealogy of Morals, any author presumptuousness enough to offer a study of this text needs to have a clear (and defensible) strategy for approaching it.1 Such strategies may be various, and in the cases under consideration, this is the case. Both Larry Hatab and Dan Conway offer textualist interpretations, with Hatab seeking to communicate the intensely radical character of GM by focusing strongly on the agonistic dimensions of its argument and rhetoric, while Conway reads GM as a Bildungsroman and so seeks to track and explicate Nietzsche’s efforts to guide his readers from innocence to experience. (Such readings need not be incompatible since it could be, for example, that it is through his efforts to construct an internal agon within the reader that Nietzsche seeks to overcome their innocence.) By contrast, both Chris Janaway and I offer more contextualist accounts. Janaway’s strategy is to take Nietzsche at his word and to offer a close reading of the argument of GM in relation to the two philosophical figures—Paul Rée and Arthur Schopenhauer—that Nietzsche identifies as his representative opponents. My own strategy is to adopt a developmental approach to considering GM, one that seeks to reconstruct the reasons—internal to his project of reevaluation—that lead Nietzsche to require a genealogical investigation of morality and to use this reconstruction as a way of orienting the analysis of this text. (And obviously there is some overlap here given Nietzsche’s varied relationships to Schopenhauer and Rée in the course of his philosophical development.) Although my own methodological commitments favor a contextualist approach, it is wise to avoid dogmatism on this issue—not least because one might reasonably note that Ridley’s Nietzsche’s Conscience, perhaps the most widely admired recent analysis of GM and one to which all of the authors considered here are indebted, is thoroughly textualist in its strategy of focusing on the central characters of GM.2 In what follows, I will briefly review my reasons for favoring a developmental form of contextualist account and what I take the strength and limitations of this approach (and of my performance of it) to be. I will then turn to consider what I now see as a central issue for understanding GM—namely, Nietzsche’s relationship to ancient philosophy—that has emerged in the light of further reflection on the arguments presented in these four works. I conclude by briefly reconsidering the nature of Nietzsche’s genealogical enterprise. (shrink)

Arthur C. Danto has long defended essentialism in the philosophy of art, yet he has been interpreted by many as a historicist. This essentialism/historicism conflict in the interpretation of his work reflects the same conflict both within his thought and, more importantly, within modern art itself. Danto's strategy for resolving this conflict involves, among other things, a Bildungsroman of modern art failing to discover its essence, an essentialist definition of art provided by philosophy which is indemnified against history, and (...) a thesis about the end of art once it has been defined. Is this strategy successful, or does it result, as I argue, in a philosophical disenfranchisement of art of precisely the type that Danto himself has criticized? (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Petrarchan Love and the Pleasures of FrustrationAldo Scaglione—Think you, if Laura had been Petrarch’s wife, He would have written sonnets all his life?Lord Byron, Don Juan, canto III, st. 7As Byron ironically intimated, there is a behavioral connection between much of the literature of love and sexual frustration. What is known as medieval “courtly love” was an epiphany of idealized love. Whether self-imposed or forced restraint, it infused much (...) of Arthurian lore, the troubadours’ and then Petrarch’s lyric, and later partly merged with the Renaissance phenomenon of Platonic love. 1 But we wonder about possible historical derivation both on the cultural (literary) level and on the level of practical behavior. In other words, if taken case by case, is the similarity among cultural patterns and between literary phenomena and behavioral patterns a consequence of: 1) intertextual connections with courtly love and Petrarchism; 2) ideological circumstances similar to those which produced “courtly love”; or, inversely, 3) a broader human need that also lies in the background of courtly love? Where and how did frustration, denial, or sublimation acquire a deeper and greater value than consummation and satisfaction? Was it through religion, myth, morality, psychology, or a combination of these factors? Is this essentially an anthropological or rather a psycho-moral question? Does it originate in our perennial “nature” or in our time-bound mores?It seems safe to assume a combination of these factors. Ideals of psychologically sublimated, hence physiologically frustrated, love have an anthropological foundation and are inherent in any sophisticated cultural form. At the [End Page 557] same time, in the Western tradition they owe much to the persistence of the specific historical phenomena of courtly love and its Petrarchistic variations.Of course the folklore of love includes both satisfied and unfulfilled sorts. Jean Hagstrum’s Esteem Enlivened by Desire (1992) deals with the conjugal sort, implying consummation. He distinguishes his theme from “long-term relations that remain unconsummated, valorizing delayed or obviated climax, prolonged foreplay, ascetic discipline, traditional Platonic or Petrarchan love, or various forms of sublimation.” 2 Yet “this last... is dialectically and psychologically tied to [Hagstrum’s] main theme: it is one kind of long-term love relationship with often more than a tinge of the erotic.” 3 For Hagstrum these behavioral variations are determined by culture, since purely “natural” behavior would be more uniform and “unhistorically” steady. 4The notion that idealized desire is culture-bound finds support in Denis de Rougemont’s well-known thesis, that chivalry and courtesy are inventions of medieval Europe with no equivalent at other times and places except by direct influence or imitation: the behavior of an ancient Greek lover or a modern Japanese lover does not involve “chivalry” toward the woman. 5 For de Rouge-mont, ideal love came under the spell of what he called eros, defined as infatuation with desire itself rather than love for its natural end. Difficulties and obstacles became more meaningful than success, even to the point that, as in the story of Tristan and, differently and uniquely, in Dante’s poetry, the death of the beloved marked the culmination of eros. This eros postulates self-denial and sublimation for the sake of a higher achievement.Regardless of chivalry’s roots in medieval Europe, frustration can be a powerful ideal in non-Western cultures, too. One signal example might suffice. The Chinese literary classic, The Dream of the Red Chamber by Chan T’sao (ca. 1717–63), is the life story or Bildungsroman of a high prince who, after a [End Page 558] life of indulgence, decides to renounce the world and become an ascetic monk. 6 This problematic main character, Pao Yu, moves in the framework of Taoist and Confucian ideals, with the addition of some Buddhist religious traits. His final withdrawal from the world, however, which appears to family and society as a disappointing betrayal, obeys a psychological need for a frustration that represents a nobler achievement than the satisfaction of worldly ambition.The point of this essay is to sample a few cases of literary representations of idealized love while underlining their ideal and, at times, literal interconnections. I also mean to suggest... (shrink)

This study reflects on contemporary humanistic pedagogy by exploring the limits of the teachable. Revisiting the Bildungsroman, it studies the pedagogical relationship from the point of view of the mentor rather than of the young hero. Writers examined include Rousseau, Sterne, Goethe, Nietzsche, D. H. Lawrence, F. R. Leavis, and J. M. Coetzee.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Platonic Ethics: Old and NewEve Browning ColeJulia Annas. Platonic Ethics: Old and New. Ithaca, NY: Cornell University Press, 1999. Pp. vii + 196. Cloth, $35.00Readers of Plato's dialogues in our time are almost unanimously affected by what Annas here calls "the developmental thesis." We bring to Plato's texts as a dogma the [End Page 114] view that his doctrines evolved over time, that later dialogues return to problems (...) unsuccessfully addressed in earlier dialogues, and in short that the Platonic corpus as a whole should be arranged as a kind of intellectual "Bildungsroman." The early and inconclusive explorations of Socrates give way to mature and expansive metaphysical doctrines, which in turn are tested and revised in subsequent works.This developmentalist dogma has dominated interpretations of Plato, with few exceptions (notably Paul Shorey), for a century and more. Yet this makes it a rather young dogma after all. Annas argues that it is a product of Victorian scholars, and especially targets the highly influential work of Benjamin Jowett (95 n.56). Jowett placed the Republic at the center of Plato's works and interpreted others backward and forward from it. The influence of this developmental thesis has been sweeping and, Annas argues, unfortunate. Armed with it, we are reluctant to consider the doctrines of the dialogues on their own terms; we make problems for one dialogue with concerns expressed in quite another; we tend to force our readings to fit the progressive picture and distort the works in the process.To achieve some distance from developmentalism and other modern preconceptions and dogma, Annas proposes listening with an open mind to ancient readings of Plato, especially those of the so-called Middle Platonists. Most modern students of ancient philosophy have been accustomed to discount these ancients as either too marginal to deserve a hearing or too biased to be fair readers. (In addition, access to their works in reliable texts and translations has been impossible until quite recently.)But such ancient readers as Albinus, Alcinous, Arius Didymus, Philo, and Numenius have (Annas argues) much to offer.First, they are active participants in an ongoing intellectual conversation about "eudaimonism," or the sufficiency of virtue for happiness. They comfortably engage Plato in this conversation as a proponent of eudaimonism. This is as true for the Plato of Republic and Laws as for the earlier dialogues. These older readers of Platonic ethics demonstrate that it is indeed possible to discern a unified view of the relation between goodness and happiness, without violence to the texts. While Plato may speak with "many voices," as Arius Didymus averred, this does not entail that he held "many doctrines" (9).Another modern shibboleth which the older readers can help us dislodge concerns the proper understanding of the Republic. We have tended to classify it as political theory (and in this are supported by the Library of Congress, as Annas points out). While recognizing the hefty core of more individual ethical thinking which goes into the definition of justice in the soul, we have insisted that the "Fairest City" is a serious utopian project description and should shape and contain the Republic's ethical teachings. Here too the ancients were much less inhibited than we; most of them cheerfully ignore the city-building and attend mainly to the implications for moral life. Annas finds this not only salubrious and unity-supporting but more faithful to the text, whose political content she finds "brief and underdeveloped" (82).Many readers will find the treatment of Republic's political significance (or lack thereof) objectionable. Many readers will also find the idea of relinquishing developmentalism to be unappealing or even frightening. But Annas makes a strong case for [End Page 115] seriously consulting the ancient readers if only for their medicinal value; they can "... wake us from our developmental slumbers" (165). Moreover, she provides a friendly and accessible entree to their world, one which will be of value to many modern readers who have been mystified by them heretofore.All texts quoted are in translation, and the occasional bits of original texts are transliterated. An extremely helpful "cast of characters" (which everyone will be tempted to xerox and... (shrink)

This article studies the eugenic theories of Marathi sexological writer and novelist Narayan Sitaram Phadke, and his attempts to domesticate the modern ideal of the adult romantic couple as a yardstick of ‘emotional democracy’ in late colonial India. Locating Phadke's work against the backdrop of the Child Marriage Restraint Act (1929) and its eugenicist concerns, I argue that he conceptualized romantic love as an emotion and a form of sociability central to the state's biopolitical schemes of ensuring modern coupledom but (...) as exceeding the state's capacity to rationally order Indian sex life. Consequently, he crafted literary supplements like the bildungsroman to circulate ‘English’ idioms of emotional and corporeal intimacy in Marathi; his novels domesticated eugenic sexology for its ‘vernacular’ audiences by advocating caste-bound romantic love as the blueprint for Indian marital coupling. As exemplified by Phadke's work, an emerging Marathi discourse of love demarcated a space for the young couple to operate as a vehicle of interpersonal openness within the constraints of the upper-caste joint family. By outlining the parameters of this Brahmanical aesthetic discourse, I show that the couple became the locus of a self-styled ‘democratic’ form of emotional attachment aimed at developing a necessary dynamism within endogamous caste-based marital arrangements without radically transforming them. The science performed through the Marathi novel in the 1920s and 1930s consequently explains the increasing prominence of romantic love as a form of developmental ‘democratic’ discourse at a time when both romantic love and democracy-in-practice were widely experienced as absent from Indian society. (shrink)

Este trabalho tem como objetivo destacar a construção híbrida do romance de formação O fazedor de Velhos (2008) de Rodrigo Lacerda. Dessa forma pretende-se discutir os valores e a manutenção da literatura brasileira para jovens, verificando de qual forma esses valores estão representados no romance de formação, considerando as peculiaridades do gênero. Para tanto, serão analisados em específico os aspectos estruturais da narrativa, tendo como foco a passagem de tempo na constituição da personagem, por um viés intertextual com a literatura (...) universal. Embasado nos pressupostos críticos de Benedito Nunes (1995), Massaud Moisés (2006), Perrone-Moisés (1998), Norman Friedman (2002), visando destacar o papel do escritor contemporâneo e suas contribuições como representante da literatura brasileira juvenil moderna.Palavras-chave: Literatura brasileira contemporânea. Bildungsroman. Rodrigo Lacerda. (shrink)

Pierre-Alain Tilliette is a Breton writer, who lives with his family in Paris, where he is Conservateur des fonds étrangers at the Bibliothèque de l'Hôtel de Ville. The tragi-comic inventiveness of his fiction, with its Gaelic humor and extraordinary linguistic virtuosity, has made a small stir in France, but is still virtually unknown in the English-speaking world. His first novel, Gapos: vies chimériques, published by LePassage in 2011, described in Le Monde as "une des excellentes surprises de ce début de (...) l'année", placed him squarely in the lineage of Rabelais to Joyce. In 2015, Tilliette's second Bildungsroman-gone-awry, Un sentiment humain... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Surviving American Culture:On Chuck PalahniukEduardo MendietaIn an age in which American culture has become the United States' number one export, along with its weapons, low intensity conflict, carcinogenic cigarettes, its "freedom," and pornography, it is delightful and even a sign of hope that there are writers who have taken on the delicate and perilous task of offering a prognosis of what ails this culture. In the following essay I (...) argue that Chuck Palahniuk's works ought to be read as a mortician's report on American culture. Chuck Palahniuk broke into the literary world by way of the movie version of his first novel: Fight Club (1995). He has gone on to write six other novels: Survivor (1999), Invisible Monsters (2000), Choke (2001), Lullaby (2002), and Diary (2003). He also has published an interesting travel book, Fugitives and Refugees; A Walk in Portland, Oregon (2003), but since this is not properly fiction, I will not discuss it in this essay.1Clearly, Palahniuk has already produced a corpus worthy of careful consideration and analysis. Yet, as a west coast writer, far from the literary circles and brokers of the east coast, indeed far away from the clubs of self-promotion and self-monitoring that censure and hold in tight grip the monopoly of criticism that highlights "worthy literature," Palahniuk has not attracted a lot of critical attention. It is only with his most recent work Choke that he has began to be widely reviewed and commented on. In the following I provide a thematic reconstruction of each one of the six published novels, in chronological sequence. I will argue that Palahniuk is not trying to write the "great American novel," although he is profiling himself as a quintessential "American" writer in the midst of post–Cold War megalomania and celebrated Pax Americana. He has taken on a culture that has become so gargantuan, [End Page 394] fragmented, and differentiated but at the same time so rich, so self-reflexive, so historicized and also so mimicked that one novel cannot tell its story in one narrative with one dramatic thread. Many novels, many short cuts, many vignettes, are necessary: one polyphonic, asynchronous, temporally bi-directional, hyper-textual, and cyber-encyclopedic novel made up of individual novels, where each novel is the Bildungsroman of an American hero but told in reverse. These heroes, I will argue, are testimonies to the resilient power of individuals to resist even the most invasive and persistent onslaughts by culture on the physic life of freedom and individuality. I will also argue that he is neither a commercial nor academic writer; that is, he is not the kind of writer who writes either in order to maintain a living or secure tenure. He is a writer with a mission, a vision, and a very distinctive style. The stories that Palahniuk tells are stories that begin at the end, and end at the beginning: they are turned around Bildungsromans. They are, in other words, about unmaking, uncoupling, and disentangling our selves from the normal self into which we have been socialized. These stories are, thus, about the discovery of moral resources that lay dormant in the very simplicity of human solidarity and trust in our will to survive morally untainted, or at least redeemable. I will conclude by arguing that Palahniuk's novels are about surviving American Culture, and about how deviance is the health of the individual in a sick society.One could characterize Fight Club as the intelligent man's response to Robert Bly's Iron John (1990),2 or the fictionalized version of the Michael Kimmel's Manhood in America: A Cultural History (1996).3 Alternatively, one could argue that Fight Club is the fin-de-sieclé response to Barbara Ehrenreich's prognosis in her The Hearts of Men: American Dreams and the Flight from Commitment (1983) of 1970s and 1980s narcissistic and hedonistic masculinity.4 Chuck Palahniuk's first novel is a biting and poignant look at men in American culture after the end of affluence and the simultaneous "feminization" of masculinity. It is at the same time about the struggle for a viable sense of masculinity in an age in... (shrink)

Still Life: Suspended Development in the Victorian Novel rethinks the nineteenth-century aesthetics of agency through the Victorian novel's fascination with states of reverie, trance, and sleep. These states challenge contemporary scientific and philosophical accounts of the perfectibility of the self, which privileged reflective self-awareness. In dialogue with the field of literature and science studies and affect studies, this book shows how Victorian writers used narrative form to respond to the analytical practices and knowledge production of those other disciplines. Drawing upon (...) canonical texts--by Charlotte Brontë, George Eliot, George Meredith, and Thomas Hardy--Still Life contends that depictions of non-purposive perceptual experience suspend the processes of self-cultivation central to Victorian aesthetics, science, psychology, and political theory, as well as most critical accounts of the novel form. Departing from the values of individual cultivation and moral revelation associated with the genre, these writers offer an affective framework for understanding the subtly non-instrumental powers of narrative. Victorian novels ostensibly working within the parameters of the Bildungsroman are suspended by moments of "still life": a decentered lyricism associated with states of diminished consciousness. They use this style to narrate what should be unnarratable: experiences not dependent on reflective consciousness, which express a distinctive ambivalence toward dominant developmental frameworks of individual self-culture. (shrink)

While it has perhaps always accompanied philosophical thought – one immediately thinks of Plato’s Dialogues – the problem of the communication of that thought, and therefore of its capacity to be taught, has acquired a new insistence in the work of post-Kantian thinkers. As evidence of this one could cite Fichte’s repeated efforts to formulate a definitive version of his Wissenschaftslehre, the model of the Bildungsroman that Hegel adopts for his Phenomenology of Spirit, Kierkegaard’s pseudonymous works, Nietzsche’s Thus Spoke (...) Zarathustra, and Heidegger’s uncompleted Being and Time. Certainly each of these thinkers, as well as their projects, are quite distinct from the others, but their works are also signposts. It is not a question here of reducing the puzzles and difficulties of these works to some single element, some trace of a philosophical zeitgeist. Rather, it is enough to indicate this preoccupation with the problem of the communicability of thinking in order to raise the question of the modality of such a communication. How has thinking come to be so fundamentally troubled by its own expression? That Kant’s Critical philosophy has precipitated this preoccupation ought to come as no surprise, for it was Kant, most famously in the Critique of Pure Reason, who sought to definitively set the limits of philosophical thinking. In doing so, however, Kant is unable to remain utterly silent about what he himself sets outside the bounds of meaningful thought and speech: things-in-themselves. The mere fact that this meaningless element is an essential component of Kant’s philosophical exposition is an indication of the paradoxical logic of the limit: to postulate a limit is simultaneously to set out its obverse side. In Kant’s case, then, the demarcation of what can be thought carries with it the implicit thinking of what is ruled out of bounds for thought. Beginning with Fichte, the philosophical project of Kant’s successors and inheritors is then largely determined by an effort to incorporate or at least accommodate this alien element within thinking. The initial phase of this effort is marked by a tragic motif, a conjoining of thought with the experience of loss and suffering that is characteristic of Romanticism, that culminates in the dialectic of Hegel’s Absolute Knowing. In Absolute Knowing, thought has not vanquished its limitations, it has instead discovered the resources with which it can perpetually surmount them. This first phase is followed by a reaction or response to this seeming completion and overcoming of the Kantian limitation. Now, the tragic movement of thought comes to be understood as itself limited, and necessarily so according to the logic of the limit that imposes itself upon every gesture of closure. Tragedy thereby gives way to comedy insofar as the limitation that is incorporated as an obstacle to be overcome by tragic thought is shown to be the external condition of that very thought. Finally, if the comic is the fate of the limitations of tragedy, the thought of comedy itself demands a third mode of thinking, one capable of something more than the mere reiteration of the limit between comedy and tragedy that troubles them both. This third form of expression is parody, an expression appropriate to a thinking that repeats and completes the threefold movement of tragic thought while, in this very repetition, creating a limitless domain of thoughtful expression. (shrink)

This study situates Romantic literature in a historical narrative that runs from the Fall of the Bastille to Waterloo, and places Romantic texts against contemporary events like the French Revolution, the Napoleonic Wars, and the rise of European imperialism in Africa and Asia that mark the period from 1789 to 1832. At the same time, this study considers the relation of the Romantic epic to narratives of universal history from Hegel to Marx. A central concern is the appearance of the (...) Romantic hero as a Promethean subject of history in the bourgeois social revolutions of the age. Napoleon's career provides a paradigm for the bildungsroman of the Romantic subject; while the life of Goethe expresses this dynamic life-history as an aesthetic narrative. Taken together, then, these narratives define the milieu in which the Romantic subject is constituted, and delineate the parameters of the revolutionary transformations of modernity. ;The concept of modernity as a process of development came into currency as a description of the radical changes undergone by European society during the emergence of industrial capitalism, the democratization of the public sphere, and the rise of a world-imperial order. The Romantic period thus constitutes an event like the postmodern break in which the narratives through which history is mediated to individuals are shattered by a traumatic shift in modes of cultural production. Romantic epics like Faust, Part II, Jerusalem, Don Juan and The Excursion respond to this crisis of representation by reinserting historical experience into an overarching narrative of development that describes the evolution of the representative individual or collective subject, "Man," in his fall into alienation and self-division in social forms, and his rise toward utopian self-unification as a figure of desire for restored human community. The contradictions of modernity are thus reproduced in the Romantic epic, which both projects the totalized form of an emancipatory metanarrative and records the deconstruction of that narrative by social change. Romanticism, then, is a displaced ideological afterimage of the inception of modernity as it is experienced by Romantic writers in all its apocalyptic violence and utopian promise. (shrink)

How does the concept of personal identity relate to the subject of the Phenomenology of Spirit? Throughout this “Bildungsroman,” the intersubjective, social, and institutional layers essential for the self become apparent. Tereza Matějčková proposes that the identity of the self rests in the person's ability to reappropriate norms, rituals, and intersubjective settings that he or she is a part of. However, identity is not essential at the level of consciousness since substantially, consciousness is negativity. As a person, the human (...) being is a consciousness of the self, where the self relates to the social and intersubjective realm and to consciousness as the negativity that makes meaning possible. Consequently, personal identity is conceived of as “personal difference,” which is the active relating of self and consciousness. Matějčková argues that Hegel's Phenomenology is not exclusively a Bildungsroman and that on the margins of the Bildungsroman, a “Kollapsgeschichte” evolves, which is a story where the protagonist learns that an essential part of one's personality is the ability to break with one's environment, occasionally even with one's self. (shrink)