Perversion’s Beyond reviewed in Interdisciplinary Studies of Literature

The international journal Interdicsiplinary Studies of Literature features a review of Perversion’s Beyond written by Professor Jørgen Veisland in their most recent issue. Veisland writes:

Dr. Fjeld’s book is a tour de force through Freudian and Lacanian theory. The book offers innovative interpretations of major works in world literature and is furthermore written in a lucid style that makes it attractive to the reader interested in philosophy, cultural theory and literature.

Jørgen Veisland in Interdisciplinary Studies of Literature 文学跨学科研究 , Vol. 3, No. 3 September 2019, p. 558.

Read the entire review here.

Fosse in support of Handke

In these times when literature is sold cheaply and those who raise the banner of arts as a distinct domain are in short supply it is refreshing to review a statement made by the highly acclaimed Norwegian playwright Jon Fosse on the work of Peter Handke.

Some context: Handke was recently awarded the 2019 Nobel Prize in Literature along with Polish writer Olga Tokarczuk. The committee decided to give out two awards this time after a one-year hiatus. A debacle concerning some prominent members of the committee had led to the prize not being awarded in 2018. It would be logical to think, then, that previous conflicts have now been assigned to the past. Unfortunately, that is not the case. Recently two more committee members announced their resignation, citing a disagreement over awarding the prize to Handke.

Controversies regarding Handke’s work is nothing new. A few years ago he was awarded a different prize, the Ibsen Award for outstanding achievements in dramatic writing. On arriving in Norway to collect the prize, Handke was met by around 200 protesters who claimed he was a fascist, and in denial of the Holocaust.

When freedom of speech is increasingly encroached upon; when artists who sympathise with those brutally crushed by Western military powers are rendered as demons; and when a writer who demonstrates his affection for his mother’s homeland is haunted as if he were a war criminal, it is refreshing to see a literary luminary such as Jon Fosse come to Peter Handke’s defense. In an interview with the literary magazine Vinduet in 2014 Fosse was asked what his opinions were of giving the Ibsen Award to Handke. These were his thoughts:

Did Peter Handke deserve the 2014 Ibsen Award?

I fully support giving the Ibsen Award, as the prize has become known by now, to Peter Handke. He deserves it, not as a person, or as a political speaker and essayist, but as the author Peter Handke, the one who, as far as I can tell, is possibly our most significant living author, all things considered, that is to say if we include prose and drama and essays, i.e., the entire authorship. I have been asked several times who I believe deserves the Nobel Prize in Literature, and every time I have given the answer Peter Handke.

Subsequently, it is in my view as misguided to ground an award for aesthetic activity in political motivations, for instance in order to promote the position of women in society, as it is to ground a refusal to give such an award in political motivations. To pass over Peter Handke when this prize was awarded would have been a political act, or at least a political decision. Furthermore, there were others who had misgivings when NATO’s bombs descended onto Serbia, such as the Nobel laureate Harold Pinter. Lastly, when Elfriede Jelinek was awarded the Nobel Prize in Literature she remarked that it should have been given to Peter Handke; she won simply for being a woman.

It is true that a remarkable amount of authors have had fairly extreme political sympathies. In many cases it is as if a sovereign aesthetics is extended into the political domain; in any case we see an aestheticisation of the political. This tendency is particularly apparent in the case of Peter Handke. In his books the Slavic, and particularly what was once referred to as Yugoslavia, features as a dream world of sorts, where aesthetic considerations governed at the expense of the brutal capitalism he believed to see in the West. Notice how he describes his love for the Slavic tongues: you need go no further than Wunschloses Unglück (A Sorrow Beyond Dreams, 1972). It tells the story of his mother’s suicide; she was a Slovenian, living in the Austrian village where Handke himself grew up. In this text we can trace this characteristic trait of his aesthetics.

What political responsibilities rest on authors?

I am against turning the political into an aesthetic domain; it may for instance lead to a celebration of rules who have committed genocide, such as Pol Pot, or Mao, or Stalin, or Hitler, or Mussolini. And yet I cannot hold the view that the author of On Overgrown Paths did not deserve his Nobel Prize. Furthermore, I cannot deny that Dag Solstad is the greatest living author in Norway; and I can clearly not let these considerations serve as the ground for an attack on Øyvind Berg because of his translations of the anti-Semite Ezra Pound’s texts into Norwegian, even if the Swedish Academy believed that they were unable to award Pound a Nobel Prize for this reason. Finally, it is difficult to deny Céline any literary qualities on the grounds of his opinions.

In the same manner as I am against subordinating politics to aesthetic considerations, I am against politicizing aesthetics. Brecht wrote many good texts, but it is always when an imposed political frame loosens its grip that his talent lifts us up, such as in his poetry, or in lyrical passages in his [dramatic] works. In any case, I have little regard for the political literature of the 1970s in Norway, where mountains were dressed up with weapons.

Yet, ever since my debut in 1983, I have frequently been asked whether I write politically, which, more often than not, implies that I should do so. I have time and again wondered what the point of such a question might be, and I have arrived at the conclusion that there must be something immoral about me, since I don’t commit to political writing, whatever that might mean. I have always said the same thing: I do not write politically. However, the aesthetic and the ethical domains are connected, as for instance Wittgenstein has noted; and embarking from the ethical dimension of literature it is also possible to arrive at politics, if one pleases. And from such a perspective it is clear that there is something quite different from a praise of genocide that lies at the core of Peter Handke’s aesthetic programme. Similarly, there is no praise of Nazism in Knut Hamsun’s aesthetics. In both these cases we should take the contrary view.

(Translated excerpt from “Enquête: Peter Handke og Ibsenprisen,” published in the literary magazine Vinduet, 17 September 2014. Retrieved 9 November 2019, from https://www.vinduet.no/enquete/)

Perversion’s Beyond is out

Perversion of justice, sexual perversion, perversion of tradition… The pervert has become the figure that most essentially captures what it means to live in our age. Perversion’s Beyond advocates a stricter definition of the pervert than Freud’s well-known formulation: it suggests that we should adopt the pervert as a homeostatic device. Innovation today entails perversion. Perversion’s Beyond is out on Atropos Press. Get it here from Amazon.com.

Said about Rock Philosophy (Vernon Press, 2018):

I find myself intrigued on multiple levels. When I read the words Rock Philosophy, the first thing that came to mind was the Stones, rock ‘n roll, and Queen. […] I was startled by Rock Philosophy and its reference to another, more actually stony form of rock. Sentient stones may seem an impossibility from a Western perspective that categorically separate Creator and Creation, Mind and Matter. However, consciousness appears and disappears as part of the ongoing, sometimes turbulent, sometimes placid, flows of which the world is made.

John McCreery, Visiting Professor, National Tsing Hua University, Taiwan

Rock Philosophy: https://vernonpress.com/book/770

Said about dressage and illusio (SPS, 2016):

… enters directly into current philosophical and social scientific questions regarding sport – nation – body, and anchors the debate in strong, theoretical currents … rich in perspective and original analysis.

Sigmund Loland, Professor, Norwegian University College of Elite Sports

dressage and illusio: https://dressageandillusio.wordpress.com/

CfP Inscriptions: Outsourced! Mediatisation and rivalry

Inscriptions, a #journal of contemporary thinking on #philosophy, #psychoanalysis and #art, invites contributions to our upcoming issue Outsourced! #mediatisation and #rivalry. We are looking for well-crafted and skillfully written scholarly #essays and #interviews, #reviews, short interventions, and opinion pieces that engage our mandate and the theme of this issue. Full announcement at https://inscriptions.tankebanen.no/ #interpassivity

Sports make us see our bodies differently

dressage and illusio, my study of how perceptions of our body is shaped through sports in school and in the mass media, is still available (for example from Amazon). Professor Sigmund Loland, a major voice in international sports philosophy, commented that this book “enters directly into current philosophical and social scientific questions regarding sport – nation – body, and anchors the debate in strong, theoretical currents. [It is] rich in perspective and original analysis.” Read more.

On Jon Fosse

Jon Fosse (1959-) is translated from his native Norwegian (he writes in nynorsk), to more than 40 languages. He is widely acclaimed as a pivotal voice in contemporary fiction. Since his debut with the novel Raudt, svart [Red, Black] in 1983, Fosse has published many novels, poetry, essays, children’s stories, and plays. It is perhaps as dramatist he is most widely known internationally.

His plays include Og aldri skal vi skiljast [And we’ll never part] (1993), Nokon kjem til å komme [Someone will arrive] (1996), and more than 30 other texts. Fosse became internationally recognised as dramatist with French director Claude Régy’s staging of Someone Will Arrive in Nanterre in 1999. The following year the Berlin theatre Schaubühne with their director Thomas Ostermeier performed Namnet [The Name] at the Salzburg Theatre Festival, ensuring Fosse’s reputation as one our age’s most important playwrights.

Fosse holds a Master of Arts (cand.philol.) in Comparative Literature from the University of Bergen, Norway, an institution which has since awarded him an Honourary Doctorate. He has won a long series of awards, such as the International Ibsen Award (2010), Pope Benedict XVI’s honourary medal (2009), and the Swedish Academy’s Nordic Award (2007). He is a Commandor in the Royal Norwegian Order of St. Olav, and was made a Knight in France’s National Order of Merit in 2007. In 2015 he won the prestigious Nordic Council’s Literary Award for the trilogy Andvake [Insomnia], Olavs draumar [Olav’s Dreams], and Kveldsvævd [Evening Web].

In 2011, as Norway’s Poet Laureate, Jon Fosse moved in to the official Honourary Residence for artists, after it’s previous occupier, the cherished and innovative composer Arne Nordheim had passed away. This dwelling is situated on the grounds of the Royal Palace in Oslo, and was first owned by the poet Henrik Wergeland in the early 19th Century. In recognition of this honour Fosse crafted a series of poems that take Wergeland’s lyrical treasure as their starting point; “Two angels” and “It is cramped under the arch of heaven” are from this collection (2016).

Fosse is married, and has five children. Today he lives in Oslo, Bergen, and Hainburg, Austria.

See also:

Translations from Jon Fosse, Poesiar [Lyrics] (2016):

two angels met us in the door

blind austerity
and blind satisfaction

but now they fly back to
heaven
to collect dreams
for our sleep

*

it is cramped under the arch of heaven

so I must stoop under the clouds —
I had to escape
but no further
than to beneath a woman’s hair
since there it was, the wind
that blended it all together

Watch: talk on Hamsun and psychoanalysis

Here is a video taped talk on Nobel Laureate Knut Hamsun’s On Overgrown Path and his relation to psychoanalysis. After the war Hamsun was accused of treason and subjected to involuntary psychiatric examination. The humiliation he experienced has led some scholars to argue that Hamsun was mistreated at the hands of his fellow Norwegians. This talk puts forward the perspective that not only was it reasonable to investigate Hamsun’s sanity; his ongoing relation to the burgeoning science of psychoanalysis enabled him to write several works of art that have since become regarded as literary classics. This is a taped version of a talk given at the Centre for Scandinavian Studies’ Conference in Lund, Sweden, on 17 May, 2019. The video is approx. 25 minutes.