“A Gathering of Fugitives” () and “Beyond Culture” (), Lionel Trilling has seen . “Sincerity and Authenticity” can read like a Commonplace Book, where According to Trilling “sincerity” was a new concept when. Lionel Trilling, Sincerity and Authenticity, Cambridge, MA: Harvard University Press, Chapter 1. Sincerity: Its Origin and Rise. 用以比較的中文翻譯：. Lionel Trilling, Sincerity and Authenticity, Cambridge, MA: Harvard University Press, Chapter 4. The Heroic, the Beautiful, the Authentic. 用以比較的中文 .
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Tocqueville’s principle of revolutions is here in point, that in the degree to which the gratification of social desires begins to be possible, impatience at the hindrances authebticity gratification increases. Most of the time, sincerity and authenticity are tools we employ in somewhat simpler ways of thinking about others, whether persons or characters.
It is definitive of Hamlet himself that in his first full speech he affirms his sincerity, saying that he knows not ‘seems’: Such Hegelian work about understanding “how we got w An impressive display of creativity and subtlety. But the form continues to press towards a more searching scrutiny of the inner life, its purpose being to enforce upon the reader the conclusion that the writer cannot in any respect be false to any man because he has been true to himself, as he was and is.
Frances Yates speaks of ‘the inner deep-seated changes in the psyche during the early seventeenth century’, which she calls ‘the vital period for the emergence of modern European and American man’. There was then, and still is, something slightly suspicious about asking whether a figure in my life appears, or worse might seek to appear, authentic to me. When, as with Oedipus Rex, a great tragedy is made to yield such conclusions as that fate is inscrutable and that it is a wise child who knows his own father, or, as with King Lear, that the [p.
Not at all like everybody, but, to be exact, the incarnation of everybody. Books by Lionel Trilling. Yet in the end there is no failure of communication. In England a century later the only requirement for speaking plain was a man’s conviction that he had the Word to speak. This book is not yet featured on Listopia.
Lionel Trilling, Sincerity and Authenticity – PhilPapers
The dialectic is, by definition, two-fold. Lione statements about the necessity of transcending or extirpating the personal self we take to be an expression of the fatigues which that self is fated to endure; or perhaps we understand them as a claim to shamanistic power: It is true that tragedies are often about knowing and not knowing, and they range themselves on the side of knowing.
Rather than pull all of these ideas into a single literary and philosophical whole, he spends the last pages attacking a then current trend of regarding mental illness and schizophrenia as an heroic assertion of the ane against the evils of society. Its earliest examples are not elaborate; chiefly they are sparse records of the events of religious experience. If false, is it society’s fault and in what way?
Late in the book, he says, with a hint of patrician bemusement: The facts to which this fact is entrance are those of the social and political life–it is through our conscious certitude of our personal selfhood that we reach our knowledge of others. The obsessiveness and obduracy of his sincerity amount to hubris, that state of being in which truth is obscured through the ascendancy of authenyicity will over intelligence. The word ‘villain’ as used in drama carries no necessary meaning of dissembling–it is possible for a villain not to compound his sinceerity with deceit, to be overt in liondl intention of doing harm.
Aug 03, Andrew rated it it was amazing Shelves: I mean that he made a number of decisions relative authetnicity featured texts and thinkers that would have gone quite differently with other lecturers on sincerity and authenticity – which sounds obvious, but goes to say that Trilling’s treatment felt interpretive to me.
Sincerity and Authenticity
Perhaps not altogether authentically. The heroic mode came under attack not only as being absurd in the grandiose elevation of its style and in the moral pretensions which this expressed, but also as standing in the way of the [p. This article about a philosophy -related book is a stub. But this fate does not consist simply in the loss of its old status and privileges; something is gained as well as lost–something is gained through the loss.
But it makes the significant modern qualification of the older primary truth–it proposes the infernal oucome of the modern social existence as Rousseau described and deplored it, in which the sentiment of individual being uathenticity upon other people. The effort to achieve this grace and charm is to be praised, he says, only if it serves some good and serious purpose.
This book traces the cultural-conceptual move from sincerity to authenticity going from Shakespeare to Freud and Conrad by way of various others. This work is a fascinating read about the changing notions around “sincerity” over time and the evolution of the idea within a cultural context. He did, however, see culture and literature as a playground and a laboratory within which we could thrash out the issues and potentially learn more about our selves.
Another connotaton of ‘please’ suggests the idea of social ingratiation.
How Do You Integrate the Self? To Fielding it was always an astonishing fact that literature as he knew it from his adoration of the Greek classics was not consonant with life as he had to deal with it in [p.
A conflict between self and society still resides in the individual. For example, we cannot say of the patriarch Abraham that he was a sincere man.
I felt the lectures tapering off in the second half, as I started pausing over Trilling’s readings and questioning the occasional point, less often lapping up his insights. To a society thus restricted, the scheme, the plot, do not seem alien; the forging or destroying of wills is a natural form of economic enterprise. I once had occasion to observe in connection with Wordsworth that in the Rabbinical literature there atuhenticity no touch of the heroic sincerityy.
Is one authentic and the other not? Not until our own time will critics give up trying to justify art by the pleasure it gives and even be willing to say, as Susan Sontag does, that pleasure has nothing to do with the artistic experience.
His height is 5ft. But at least the artist can, on some occasions, evade the general Hell.
The paradox to be discerned in the position begins, of course, in the extent to which the work of the great modern masters is preoccupied with personal concerns, with the self and with the difficulties of being true to it.