A Quote by Johannes Vilhelm Jensen

During half a century of literary work, I have endeavoured to introduce the philosophy of evolution into the sphere of literature, and to inspire my readers to think in evolutionary terms.
I have deliberated carefully about which of the terms that are unfamiliar to many of my readers I wanted to take time to introduce and explain, and which terms I would not introduce, despite the fact that I find them useful in my other work, in teaching, or in other activist contexts.
I speak about universal evolution and teleological evolution, because I think the process of evolution reflects the wisdom of nature. I see the need for wisdom to become operative. We need to try to put all of these things together in what I call an evolutionary philosophy of our time.
Considering that we live in an era of evolutionary everything---evolutionary biology, evolutionary medicine, evolutionary ecology, evolutionary psychology, evolutionary economics, evolutionary computing---it was surprising how rarely people thought in evolutionary terms. It was a human blind spot. We look at the world around us as a snapshot when it was really a movie, constantly changing.
There is behavioral ecology, which looks closely at the difference different ecologies make to behavior and other features of animals and humans. There's evolutionary individual psychology, there's evolutionary social psychology. In Darwin's terms, evolution couldn't exist without variation, and variation is important in behavioral genetics. And so on, and so on. There are so many instances in which evolution actually sharpens the precision, I think, with which one can find out the importance of differences. We're interested in differences as well as commonalities.
Literature, the study of literature in English in the 19th century, did not belong to literary studies, which had to do with Greek, Latin, and Hebrew, but instead with elocution and public speaking. So when people read literature, it was to memorize and to recite it.
I think that Indian writing in English is a really peculiar beast. I can't think of any literature - perhaps Russian literature in the nineteenth century comes close - so exclusively produced by and closely identified with a tiny but powerful ruling elite, the upper-caste, Anglophone upper middle class, and dependent for so long on book buyers and readers elsewhere.
I think there are readers out there and I don't think the book is dead. And more importantly I don't think readers have to choose between literary and commercial fiction.
There's such a wealth of literature from the 18th century and 19th century, George Eliot... Jane Austen... that's all about a genteel high society, relationships, all of that stuff. There wasn't ever really, apart from Dickens, a literary evocation of working class life.
Education is not a discipline at all. Half vocational, half emptiness dressed up in garments borrowed from philosophy, psychology, literature.
I intend Deaths in Venice to contribute both to literary criticism and to philosophy. But it's not "strict philosophy" in the sense of arguing for specific theses. As I remark, there's a style of philosophy - present in writers from Plato to Rawls - that invites readers to consider a certain class of phenomena in a new way. In the book, I associate this, in particular, with my good friend, the eminent philosopher of science, Nancy Cartwright, who practices it extremely skilfully.
This is how I understand literature - as a kind of remix or echo chamber. What's going on in a literary work are other literary things disinterred, cannibalized, and recombined.
In elaborating how "philosophy by showing" works, and in defending the idea that literature and music can contribute to philosophical "showing", I am also doing something more standardly philosophical. But I view most of the book as an interweaving of philosophy and literary criticism. If that entails a broadening of a standard idea of philosophy, it's a broadening I'd like to see happen.
I write for a certain sphere of readers in the United States who on average watch seven and a half hours of multichannel television per day.
The better a novel is, in literary terms, the more you can't be faithful. The novel succeeds on terms exclusive to literature. A good film succeeds on terms exclusive to the cinema. That's why so many bad novels can become good movies.
I dislike literary jargon and never use it. Criticism has only one function and that is to help readers read and understand literature. It is not a science, it is an aid to art.
An imbecile habit has arisen in modern controversy of saying that such and such a creed can be held in one age but cannot be held in another. Some dogma, we are told, was credible in the twelfth century, but is not credible in the twentieth. You might as well say that a certain philosophy can be believed on Mondays, but cannot be believed on Tuesdays. You might as well say of a view of the cosmos that it was suitable to half-past three, but not suitable to half-past four. What a man can believe depends upon his philosophy, not upon the clock or the century.
This site uses cookies to ensure you get the best experience. More info...
Got it!