“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 .

Author: Zuran Vikinos
Country: Paraguay
Language: English (Spanish)
Genre: Business
Published (Last): 10 April 2014
Pages: 290
PDF File Size: 13.34 Mb
ePub File Size: 11.65 Mb
ISBN: 227-7-31332-265-5
Downloads: 28184
Price: Free* [*Free Regsitration Required]
Uploader: Kazram

We shall have to understand that Madame Bovary is each one of us. Oct 04, Rob Short rated it really liked it Shelves: 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.

The unfolding public events with which the psychological changes are connected–equally, we note, as cause and as effect–are the dissolution of the feudal order and the diminished authority of the Church.

Sincerity and Authenticity

Jul 22, Alex Stroshine rated it liked it Shelves: We even find it easy to believe that the changes do not always come about gradually but are sometimes quite sudden. This is what I want to explore in my personal philosophical reading project. I am about to commence a personal reading project that involves a more philosophical slant Kant, Hegel, Marx and the Continental Philosophers up to Zizek.

Aristotle’s virtuous man in his highest development quite sinccerity sees himself: Historians of European culture are in substantial agreement that, in the late sixteenth and early seventeenth centuries, sjncerity like a mutation in human nature took place.

Lionel Trilling, Sincerity and Authenticity – PhilPapers

How Do You Integrate the Self? This book traces the cultural-conceptual move from sincerity to authenticity going from Shakespeare to Freud and Conrad by way of various others. An example of this kind of epiphany is Wordsworth’s experience of the mountain dawn which dedicates him to the priesthood of the imagination. Science Logic and Mathematics.

Certain exemptions are made: Eliot’s work which are sincere and those which are not, we are inclined to note the distinction as an example of the engagingly archaic quality of Dr. The sections on Rousseau and Austen are provocative. If called upon, I could launch into a rant that defined how Sincerity and Authenticity related to my personal philosophy.


Every ridiculous person in the play has his point of pride; for Oronte it is his sonnets, for Clitandre his waistcoats, for Acaste his noble blood, his wealth, and his infallible charm.

Sincerity and Authenticity — Lionel Trilling | Harvard University Press

Were one only capable of writing a book like this Is one authentic and the other not? Thanks for telling us about the problem. Davie speaks of as a return to the romanticist aauthenticity of sincerity; the title he gives to his essay is: A synonym for the sentiment of being is that ‘strength’ which, Schiller suthenticity us, ‘man brought with him from the state of savagery’ and which he finds it so difficult to preserve in a highly developed culture.

Harvard University Press, In one, spirit shows forth from Nature; the sudden revelation communicates to the poet a transcendent liomel which bears upon the comprehension of human [p. Instances range over the whole of Western literature and thought, from Shakespeare to Hegel to Sartre, from Robespierre to R. Santoni – – Temple University Press. The conflict between these aspects of the mind are sources of disintegration, alienation and mental illness.

Johnson in his Dictionary gives priority to the meaning of the word as applied to things rather than to persons. Sign in Create an account. Alfred rated it really liked it.

But where both Burke and Schiller part company with Rousseau is in perceiving that the arts can have an intention and effect other than that of pleasing, that they can serve some other purpose than that of indulging their audience. Here is the best I can do.

This ambivalence I describe is my own as I propose the idea that at a certain point in its history the moral life of Europe added to itself a new element, the state or quality of the self which we call sincerity. And then yet again, on still another view of the case this judgment reverses itself and we find ourselves noting with eager attention all the details of assumption, thought, and behavior that distinguish the morality of one age from that of another, and it seems to us that a quick and informed awareness of the differences among moral idioms is of the very essence of a proper response to literature.


Google Books no proxy Setup an account with your affiliations in order to access resources via your University’s proxy server Configure custom proxy use this if your affiliation does not provide a proxy. Still, before authenticity had come along to suggest the deficiencies of sincerity and to usurp its place in our esteem, sincerity stood high in the cultural firmament and had dominion over men’s imagination of how they ought to be.

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 depends upon other people. Plain speaking became the order of the day. On the contrary, the devotion now given to art is probably more fervent than ever before in the history of culture. Besides, the slip looked to me more like a severe case of not remembering.

It is surely no accident that the idea of sincerity, of the own self and the difficulty of knowing and showing it, should have arisen to vex men’s minds in the epoch that saw the sudden efflorescence of the theatre.

This chaste view of literature doubtless had its corrective uses. Milton, in the Greek manner, does his best for Samson, but not even in Milton’s poem, much less in Judges, is Samson really a hero. The two selves, together, are both needed for the Spirit to move to the next stage of development.

An eighteenth-century aesthician states our concern succintly–‘Born Originals,’Edward Young said, ‘how come it to pass that we die Copies? We cannot be far wrong if we take it that a chief ground for this superlative judgement was Wordsworth’s devotion to the epiphany.