In The Lily in the Field and the Bird of the Air (1849), Kierkegaard presents a succinct critique of Romantic aesthetics, in line with contemporary critiques of ecocriticism and ecophilosophy, e.g. by Timothy Morton. Whereas Romantic poets see nature as a mirror of their inner thoughts and pathos, thereby divinising themselves and their creativity, Kierkegaard emphasises the authority of the Creator and the exteriority of nature. He identifies the consequences of such Romantic self-infatuation on all levels of discourse: aesthetics, ethics, (...) epistemology and ontology, and seeks to formulate an alternative. I argue that the discourses thus represent an alternative philosophy of nature, revealing an immediate joy for the gift of being-there. Being human thus means being dependent on and embedded in nature. This makes Kierkegaard a highly relevant interlocutor for contemporary ecophilosophy and ecocriticism, as revealed by Knausgård’s novel Morgenstjernen (2020). (shrink)

The concept of “the body without organs” takes up a great part of the oeuvre of Deleuze and Guattari. Yet, it is difficult to answer their question–“How do you make yourself a body without organs?”–or to understand their answer. In this paper I propose that the body without organs is an ethical concept. To support this assertion, I relate, especially, Deleuze’s thought on the Norwegian author Karl Ove Knausgård’s auto-fictive project, My Struggle, suggesting that My Struggle can be read (...) as a body without organs. By doing so, I aim at two things: first, to illustrate a possible application of Deleuze’s ethic, and second, to show how such an ethic may guide us regarding what we ought to do. (shrink)

This article investigates how the Norwegian author Karl Ove Knausgård in My struggle uses his existential reading of 1914 and World War I to nuance our general understanding of the war. Knausgård wants to demonstrate that the collective enthusiasm, which took millions of men by storm, was existentially motivated. The war was able to give the soldiers a sense of meaning, a project and a community; feelings they needed in their civilian lives. Furthermore, Knausgård uses his reading (...) of World War I to make a connection between the soldier’s fight and his own struggle. On the basis of his existential reading of World War I, Knausgård is able to formulate a literary poetics and existential experience. Therefore, Knausgård is able to actualize World War I. (shrink)

Quoting Flaubert through time, Mieke Bal and Michelle Williams Gamaker’s Madame B brings Madame Bovary’s reflections on love and emotions to the present day, in a productive anachronism. Their work produces an intertemporal space where the past is relevant for the present, and the present enables us to understand the past. Intimacy and routine are central in their exploration of Flaubert’s contemporaneity. Those issues are precisely one of the keys in Karl Ove Knausgård’s project of literary autobiography, where he (...) expands narration foreclosing the ellipsis and giving visibility to small things and emotions; a project with some resonances with Munch’s crude-obscene uses of intimacy. This essay explores how both proposals, Bal and Williams Gamaker in film, and Knausgård in literature, can serve us to connect present and past sensibilities and, more than that, demonstrate resistances to the hegemonic discourses of temporality. (shrink)

These days there are many different understandings and definitions of the term aesthetics. Sometimes it is regarded as identical to the pleasing or the sensual, other times it has a more workaday meaning, being associated with e.g. a well-stocked lunch table. The common denominator, however, is that aesthetics is understood as something that can be recorded in the real world, having been assigned an independent existence. The concept has thus undergone ‘ontological dumping’, by which we understand that an analytical concept (...) has become a “thing in the world”, i.e. an epistemological state has been transformed into an ontological state. The problem with this is that what can potentially be used to understand has instead turned into something to be understood. In the endeavour not to downgrade the epistemological dimension in favour of the experiential dimension, we attempt in this article to re-establish aesthetics as an analytical concept: Something to be seen with – instead of something that is seen. In addition, we put it into perspective alongside culture and art, which we feel has undergone the same ontological dumping. The article concludes with some reflections on the implications this may have for educational practice. As its theoretical springboard, the article takes the philosopher Jean-François Lyotard, drawing its exemplary material from the Norwegian author Karl Ove Knausgård. (shrink)

contents: -/- 1. the Romantic fragment 2. life would want to die, a little 3. pain itself is the meaning, in Nietzsche 4. martyrs do not underrate the body 5. inwardly, an Actor prepares 5b. brother, bro: it's only you that overhears you 5c. J is like Hamlet / Herzog / Holden Caulfield / Raskolnikov 5d. they take him to a basement and they feed him METH 6. a surface is revealed / the depths are all inferred 6b. my Self (...) is all depth: a long internal vertical 6c. Joyce knows not the inside of ideas 6d. perception of depth is maladaptive 7. by knowing Death, humans are the Woken Ones 8. all as straw, or graphomania 8b. i tend to write thru / tho unless i'm imitating English 9. Finnegans Wake as Literature's endgame 10. Hard Realism: Hemingway, Knausgård 11. the cause of pain, in Buddhism 11b. duḥkha is uh-hukha: the gut's double throb. (shrink)