The Fate of Desire examines the problems of living in a decentered world. Assuming that the poststructuralist declaration of the end of man is an essential aspect of our current ways of thinking, the book focuses on the positive values inherent in this shift. In substituting multiplicity and fields of play for identity and hierarchy, and in distinguishing between desire as fullness and desire as lack, Hans argues for a vision of existence that is based on the difficulties Nietzsche posited as an inevitable part of fully affirming the rich but tragic nature of life. These reconceptions of the human scene redefine self-discipline in terms of understanding and loving one's fate. Instead of providing yet one more critique of the flawed values through which the Western world has constituted itself, The Fate of Desire takes up the task of weighing the things of the world anew, revaluing them in terms of our present understanding of our positions in the world. Hans suggests that if we are fated to be driven by desire, and if we are led to accept the ways in which our desire manifests itself according to our own individual fates, there is still every reason to believe that humans can find a productive way of understanding and fully occupying their place in the world.
This book addresses the question of human uniqueness at a time when academic discourse has all but abandoned its long-held commitment to the value of individuality. Through an appraisal of the works of Emerson, Nietzsche, Heidegger, Derrida, and Foucault, the author establishes the ways in which the current critique of the self has grossly distorted the nature of the debate by reducing it to a simple choice between essential or constructed selves. Hans argues that the tradition that emerges from Emerson's work is based on a relational sense of the individual as much as it is devoted to the premise that we all have a specific form of integrity. Likewise, even though Nietzsche's critique of the fictional nature of the subject is the origin of contemporary visions of the fabricated self, Nietzsche is equally insistent that each of us is a productive uniqueness: we are all principles of selection whose links to the world embrace more than the social circumstances around us. Nietzsche's vision of our productive uniqueness is carried on in larger and smaller ways by Heidegger, Derrida, and Foucault, each of whom entertains a far more complex vision of the individual than those which currently dominate our ways of talking about what it means to be human.
The Mysteries of Attention explores the principles of selection through which the nature of human attention is established and delineates the modes, forms, measures, and motifs of attention. It is a literary/philosophical discussion of the ways in which our sense of the world is determined by the mechanisms of attention that always remain beyond our comprehension.
The Golden Mean reappraises the relationship among the three forms of good that exist in modern Western thought: the good of aesthetic beauty and performance, the good of right and wrong, and the forces of social resentment that shape the public debate about what is appropriate to society's needs. The book explores how the good found in aesthetics is linked to the good found in the ethical codes that govern people's lives. These "goods" interact with the sense of the community expressed in society's envy of those exemplary few who possess the powers of the aesthetic, even as they too must subscribe to the same strictures by which ordinary people live. The book also demonstrates how the concept of a middle path, a straight and narrow way, or a "golden mean" develops to provide a measure by which people can make sense out of these seemingly disparate phenomena. The Golden Mean argues that our current dilemmas both inside and outside the university should prompt us to see more clearly how the aesthetic and the ethical are intrinsically related. We need to reassess their relationship to the future of our ways of thinking and the development of our communities.
Based on Nietzsche's critique of religion and culture, and engaging the contemporary offshoots of that critique, this book assesses the myths of origins that have been used to articulate the fundamental attitude toward the relationship between shame and beauty. In reconsidering some of the myths upon which the West is based, from Hesiod and Greek mythology to Plato and the Bible, Hans pursues the ways in which we have habitually separated shame and beauty in order to create the grounds that would provide us with the authority for our lives we think we need. By juxtaposing Socrates' repression of violence in The Republic and Nietzsche's conception of the overman, the author revises the network of relations that are associated with the religious, the aesthetic, and the political, asserting that the religious derives from the aesthetic rather than the other way around, and establishing a necessary connection between the political and the aesthetic. Hans aims to raise yet again the questions embodied in Nietzsche's attempt to prompt humans to face the true status of their actions in the world: are we finally able to address our shame without immediately projecting it onto another or repressing it? If so, what changes might we see in the psychological, social, and political worlds we would create out of such an acknowledgment? What value is to be found in accepting the uneasy relationship between shame and beauty upon which our lives rest? While The Origins of the Gods provides no definitive answers to such questions simply because none are possible, it makes use of such queries in order to reassert the great importance of Nietzsche's affirmation of the value of the world as it is. It argues that this affirmation has something crucial to offer if we are willing to forgo an authorized existence and confront the beauty and shame from which our lives are inevitably constituted.
In the "Imitation and the Image of Man" James S. Hans presents his conception of the mimetic. His primary goal to this study is to broaden several kinds of discourse: first, to redfine our conception of the literary; second, to expand our ideas of the kinds of things that can be treated together; third, to enrich our understanding of the possibilities of the form of the essay; and fourth, to articulate the need for these changes in terms of a non-linear theory of imitation.
The Golden Mean reappraises the relationship among the three forms of good that exist in modern Western thought: the good of aesthetic beauty and performance, the good of right and wrong, and the forces of social resentment that shape the public debate about what is appropriate to societys needs. The book explores how the good found in aesthetics is linked to the good found in the ethical codes that govern peoples lives. These goods interact with the sense of the community expressed in societys envy of those exemplary few who possess the powers of the aesthetic, even as they too must subscribe to the same strictures by which ordinary people live. The book also demonstrates how the concept of a middle path, a straight and narrow way, or a golden mean develops to provide a measure by which people can make sense out of these seemingly disparate phenomena. The Golden Mean argues that our current dilemmas both inside and outside the university should prompt us to see more clearly how the aesthetic and the ethical are intrinsically related. We need to reassess their relationship to the future of our ways of thinking and the development of our communities.
This book explores the relationship between authority and context and attempts to establish the ways in which authority is a function of a particular agent or set of agents, and the degree to which it is a product of a context rather than an agent. The work is not a sociological or psychological study but rather a literary/philosophical speculation into the roots of our conceptions of authority. It declares all authority to be aesthetic in nature and is based on an analysis of several key texts from various different cultural backgrounds: Foucault, Weber, Nietzsche, Confucius, and Homer.
This book addresses the question of human uniqueness at a time when academic discourse has all but abandoned its long-held commitment to the value of individuality. Through an appraisal of the works of Emerson, Nietzsche, Heidegger, Derrida, and Foucault, the author establishes the ways in which the current critique of the self has grossly distorted the nature of the debate by reducing it to a simple choice between essential or constructed selves. Hans argues that the tradition that emerges from Emerson's work is based on a relational sense of the individual as much as it is devoted to the premise that we all have a specific form of integrity. Likewise, even though Nietzsche's critique of the fictional nature of the subject is the origin of contemporary visions of the fabricated self, Nietzsche is equally insistent that each of us is a productive uniqueness: we are all principles of selection whose links to the world embrace more than the social circumstances around us. Nietzsche's vision of our productive uniqueness is carried on in larger and smaller ways by Heidegger, Derrida, and Foucault, each of whom entertains a far more complex vision of the individual than those which currently dominate our ways of talking about what it means to be human.
Taste is everything, Hans says, for it produces the primary values that guide our lives. Taste is the fundamental organizing mechanism of human bodies, a lifelong effort to fit one's own rhythms and patterns of the natural world and the larger community. It is an aesthetic sorting process by which one determines what belongs in - a conversation, a curriculum, a committee, a piece of art, a meal, a logical argument - and what should be left out. On the one hand, taste is the source of beauty, justice, and a sense of the good. On the other hand, as an arbiter of the laws of fair and free play, taste enters into more ominous and destructive patterns - but patterns nonetheless - of resentment and violence."--Jacket.
In the Imitation and the Image of Man James S. Hans presents his conception of the mimetic. His primary goal to this study is to broaden several kinds of discourse: first, to redfine our conception of the literary; second, to expand our ideas of the kinds of things that can be treated together; third, to enrich our understanding of the possibilities of the form of the essay; and fourth, to articulate the need for these changes in terms of a non-linear theory of imitation.
The Fate of Desire examines the problems of living in a decentered world. Assuming that the poststructuralist declaration of the end of man is an essential aspect of our current ways of thinking, the book focuses on the positive values inherent in this shift. In substituting multiplicity and fields of play for identity and hierarchy, and in distinguishing between desire as fullness and desire as lack, Hans argues for a vision of existence that is based on the difficulties Nietzsche posited as an inevitable part of fully affirming the rich but tragic nature of life. These reconceptions of the human scene redefine self-discipline in terms of understanding and loving one's fate. Instead of providing yet one more critique of the flawed values through which the Western world has constituted itself, The Fate of Desire takes up the task of weighing the things of the world anew, revaluing them in terms of our present understanding of our positions in the world. Hans suggests that if we are fated to be driven by desire, and if we are led to accept the ways in which our desire manifests itself according to our own individual fates, there is still every reason to believe that humans can find a productive way of understanding and fully occupying their place in the world.
The Mysteries of Attention explores the principles of selection through which the nature of human attention is established and delineates the modes, forms, measures, and motifs of attention. It is a literary/philosophical discussion of the ways in which our sense of the world is determined by the mechanisms of attention that always remain beyond our comprehension.
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