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Books > Humanities > Philosophy > Western philosophy > Modern Western philosophy, c 1600 to the present
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The Ethics of Authorship - Communication, Seduction, and Death in Hegel and Kierkegaard (Hardcover)
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The Ethics of Authorship - Communication, Seduction, and Death in Hegel and Kierkegaard (Hardcover)
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This is a book about the ethics of authorship. Most directly, it
explores different conceptualizations of the responsibilities of
the author to the reader. But it also engages the question of what
styles of authorship allow these responsibilities to be met. Style
itself is an ethical issue, since the relation between the writing
subject and the reader--and the dynamics of authority and
influence, of gift giving and friendship in this relation--have as
much to do with how one writes as what one says. The two writers
who serve as the main subjects for this work, the German idealist
philosopher G. W. F. Hegel and the Danish Christian existentialist
Soren Kierkegaard, invite us to confront particularly challenging
questions about the ethics of authorship. Each in his own way
explores styles of authorship that employ a variety of strategies
of seduction in order to entice the reader into his narratives,
strategies that at least on the surface appear to be fundamentally
manipulative and unethical. Further, both seek to enact their own
deaths as authors, effectively disappearing as reliable guides for
the reader. That might also seem to be ethically irresponsible, an
abandonment of the reader, who has been seduced only to be
deserted. This is the first work to undertake a sustained
questioning of Kierkegaard's central distinction between his own
"indirect" style of communication and the (purportedly) "direct"
style of Hegel's philosophy. Hegel was in fact a much more subtle
practitioner of style than Kierkegaard represents him as being,
indeed, a practitioner whose style is in the service of an
ambitious reconceptualization of the ethics of authorship. As for
Kierkegaard, his own indirect style raises a whole series of
ethical questions about how the reader is imagined in relation to
the author. There is finally an either/or between Hegel and
Kierkegaard, just not the one Kierkegaard proposes as between an
author devoid of ethics and one who makes possible a true ethics of
authorship. Rather, the either/or is between two competing
practices of authorship, one daunting with the cadences of a highly
technical style, the other delightful for its elegance and
playfulness--but both powerful experiments in the ethics of style.
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