A Quote by Philip Kitcher
I'm a pluralist about perspectives on literature. There seem to me to be all sorts of illuminating ways of responding to major literary works, some of them paying considerable attention to context, others applying various theoretical ideas, yet others focusing on details of language, or linking the work to the author's life, or connecting it with other works.
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A lot of us have all sorts of ideas, and we select some rather than others and give expression to those... and some works of art are more successful than others. Some languish in obscurity and are never heard of again, while others form the foundation of a whole school of art.
I use biography, I use literary connections (as with Platen - this seems to me extremely helpful for appreciating the nuances of Mann's and Aschenbach's sexuality), I use philosophical sources (but not in the way many Mann critics do, where the philosophical theses and concepts seem to be counters to be pushed around rather than ideas to be probed), and I use juxtapositions with other literary works (including Mann's other fiction) and with works of music.
In my profession more generally, it's not an exaggeration to say that masculinity is viewed as the root of all evil. If you were to take a literary theory course, you might think it would be about literature, but it's really not. It's about all the various forms of oppression on earth and how we can see them playing out in literary works. And behind all these forms of oppression is a guy.
One of the most effective ways to learn about oneself is by taking seriously the cultures of others. It forces you to pay attention to those details of life which differentiate them from you.
Life is pretty simple: You do some stuff. Most fails. Some works. You do more of what works. If it works big, others quickly copy it. Then you do something else. The trick is the doing something else.
Meditation is the activity of calling to mind, and thinking over, and dwelling on, and applying to oneself, the various things that one knows about the works and ways and purposes and promises of God.
What am I then...? Everything that I have seen, heard, and observed I have collected and exploited. My works have been nourished by countless different individuals, by innocent and wise ones, people of intelligence and dunces. Childhood, maturity and old age all have brought me their thoughts....their perspectives on life. I have often reaped what others have sowed. My work is the work of a collective being that bears the name Goethe.
Marches work, rallies work, civil disobedience works, direct action works, voting works, writing letters works, speaking to churches and schools works, rioting works.
Every author has different ways of writing and what works for one author does not necessarily work for another.
For notwithstanding this rest and cessation from labor which is required on the Lord's day, yet three sorts of works may and ought to be performed. . . . these are works of piety, works of necessity, and works of charity.
For each person, they live their life and their truth and how it works for them, and that's just kind of how it works for me. I'm not good at doing whatever the other way is - it wouldn't work for me.
The Gospels were not thought of as works of literature. People were not concerned with the literary reputation of Matthew or Mark, but with the substance of their records of our Lord's life. They did not have to respect their actual words, as they would if they were transcribing the works of Thucydides or Plato.
The world of fiction is a sovereign world that comes to life in the author's head and follows the rules of art, of literature. And that is the major difference that is reflected in the form of the work, in its language and its plot. An author invents every aspect of a fiction, every detail.
The various levels of problems and issues are interwoven, so that solving any one of them without simultaneously addressing the others rarely works for long.
I have written six symphonies, they are smaller-scale works. I seem to emit my themes, work them out, combine and intertwine them, and then come to a close. I usually feel that there are no superfluous extras, but probably most composers feel that way about their works.
There are some things you don’t have to know how it works – only that it works. While some people are studying the roots, others are picking the fruit. It just depends on which end of this you want to get in on." -- Jim Rohn
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