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Anne Sexton’s Confessional Tradition and Individual Talent

100%

Gad B. F. B.

CLEaR

2016

vol. 3

issue 1

10-26

In his influential essay “Tradition and the Individual Talent,” T. S. Eliot emphasizes the significance of tradition as well as the inevitability of the present talent of the artist. He argues that every artist has his own original and individual themes and techniques that separate him from and link him with his predecessors at the same time. Anne Sexton, the Confessional American woman poet, is a good example that proves this everlasting notion of the allusion to “the dead poets” of the past together with the inevitable existence of the innovative original talent of the poet. Chiefly, Sexton is labeled “Confessional” and is compared with the most remarkable Confessional poets. However, the Confessional mode is not a new movement; it has its roots in the British tradition of the Metaphysical lyrics. It is also manifest in the American tradition of Puritan Poetry. Moreover, Confessional themes and techniques can be seen in the poetry of some Modernists. Meanwhile, Anne Sexton’s exceptional Confessional “individual talent” makes her a unique Confessional poet: the uncommon imperfect raw confessions, the unconventional bold sexual imagery, the fearful and astonishing religious symbols and the excessive degrees of “impersonality” are all characteristic examples of Sexton’s creative Confessional art.

Reflections of an Existential Crisis in Søren Kierkegaard’s Aesthetic Conception

67%

Andrijauskas A.

Dialogue and Universalism

2019

issue 2

29-41

This article considers the principles of philosophical thinking in Søren Kierke- gaard’s nonclassical aesthetics. Special attention is given to his radical critique of “false” and “impersonal” rationalism. This does not only mean the rejection of the tradi- tional principles of classical metaphysics which claims “universality” and “universal meaning.” Kierkegaard also bases his philosophy on individual human life, or, in other words, personal existence with its unique inner world. His critique is more profound than that by Arthur Schopenhauer. Kierkegaard develops his own philosophy of “exi- stential crisis,” opposing subjective will and internal changes to abstract thinking and external influences. Kierkegaard’s works initiate the critical or nonclassical stage in Western aesthetics. The main place in it is occupied by the idea of the disharmony of the world: its subjective reflection is “split” consciousness that has lost contact with the traditional concepts of harmony, humanism, goodness, beauty and philosophy of art. His philosophy of art is that of the internal personal world and of free choice. He opposes the famous motto of Cartesian rationalism cogito ergo sum, his own statement “I am here and think because I do exist here.” So the notion of existence becomes fun- damental for his philosophical reflection which is focused on the topics of personal existence, destiny and perspectives of being. Since personal becoming never stops, the ability to exist is treated as a great art. The aim of genuine philosophy is not a knowled- ge of the external world but an inquiry into the deepest problems of personal being and creativity; its greatest enigma is existence. Hence Kierkegaard gives a new subject and new tasks to aesthetics and philosophy of art. When treating the problems of individual human existence, Kierkegaard and other followers of nonclassical aesthetics relied on an understanding of being as non- substantial (personality is not something given but a totality of constantly emerging potentials) and at the same time subjectivized their ontological problems. Thus the stre- ngthening of subjectivist tendencies in the post-Hegelian philosophy of art reaches here culmination. “Subjective ontology,” or “ontology” in the narrow sense of the word, is that which we can call the “pontaneous ego:” It determines the unconscious functioning of human “existence” in a specific individual consciousness. The whole individual exi- stence is enclosed, as it were, in a subjective environment, but we cannot affirm that existence is subjective.

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1 CLEaR

1 Dialogue and Universalism

1 Andrijauskas A.

1 Gad B. F. B.

1 2019

1 2016

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Anne Sexton’s Confessional Tradition and Individual Talent

Reflections of an Existential Crisis in Søren Kierkegaard’s Aesthetic Conception