2020/05/28

Amazon.com: Customer reviews: Siblings: Sex and Violence

Amazon.com: Customer reviews: Siblings: Sex and Violence



Siblings and all the lateral relationships that follow from them are clearly important and their interaction is widely observed, particularly in creative literature. Yet in the social, psychological and political sciences, there is no theoretical paradigm through which we might understand them. In the Western world our thought is completely dominated by a vertical model, by patterns of descent or ascent: mother or father to child, or child to parent. Yet our ideals are ‘liberty, equality and fraternity’ or the ‘sisterhood’ of feminism; our ethnic wars are the violence of ‘fratricide’.

When we grow up, siblings feature prominently in sex, violence and the construction of gender differences but they are absent from our theories. This book examines the reasons for this omission and begins the search for a new paradigm based on siblings and lateral relationships.
This book will be essential reading for those studying sociology, psychoanalysis and gender studies. It will also appeal to a wide general readership.

Kindle $22.40 



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Editorial Reviews

Review

"Juliet Mitchell, brimming as usual with ideas, insights and reflections, has turned her attention to sibling relationships as the neglected and much underestimated influence on an individual’s identity formation. Love, hate, sexual experience, the shaping of gender roles, suffering and survival strategies are pursued as the sibling exchange. A work to provoke thought and discussion packed with real life and literary evidence."

Olwen Hufton University of Oxford

"In 1974, Mitchell’s Psychoanalysis and Feminism offered a major challenge to a resistant Anglo-Saxon feminism with her compelling case that psychoanalysis, most often seen by feminists to be part of the problem, was rather a powerful resource for feminist explanation and understanding of male domination, female oppression. Almost thirty years on, with Siblings, she has made a second, perhaps even more radical intervention. Her analysis of the lateral relations of siblings and peers promises to transform many of the recurrent issues and debates of contemporary feminism. ... This new book offers richly stimulating resources that should fuel feminist scholarship and debate for many years."

Terry Lovell, Warwick University



From the Inside Flap

Siblings and all the lateral relationships that follow from them are clearly important and their interaction is widely observed, particularly in creative literature. Yet in the social, psychological and political sciences, there is no theoretical paradigm through which we might understand them. In the Western world our thought is completely dominated by a vertical model, by patterns of descent or ascent: mother or father to child, or child to parent. Yet our ideals are ‘liberty, equality and fraternity’ or the ‘sisterhood’ of feminism; our ethnic wars are the violence of ‘fratricide’.

When we grow up, siblings feature prominently in sex, violence and the construction of gender differences but they are absent from our theories. This book examines the reasons for this omission and begins the search for a new paradigm based on siblings and lateral relationships.

This book will be essential reading for those studying sociology, psychoanalysis and gender studies. It will also appeal to a wide general readership.



From the Back Cover

Siblings and all the lateral relationships that follow from them are clearly important and their interaction is widely observed, particularly in creative literature. Yet in the social, psychological and political sciences, there is no theoretical paradigm through which we might understand them. In the Western world our thought is completely dominated by a vertical model, by patterns of descent or ascent: mother or father to child, or child to parent. Yet our ideals are ‘liberty, equality and fraternity’ or the ‘sisterhood’ of feminism; our ethnic wars are the violence of ‘fratricide’.

When we grow up, siblings feature prominently in sex, violence and the construction of gender differences but they are absent from our theories. This book examines the reasons for this omission and begins the search for a new paradigm based on siblings and lateral relationships.

This book will be essential reading for those studying sociology, psychoanalysis and gender studies. It will also appeal to a wide general readership.



About the Author

Juliet Mitchell is Professor of Psychoanalysis and Gender Studies at the University of Cambridge and a full member of the International Society of Psychoanalysis.

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Product details

Paperback: 272 pages

Publisher: Polity; 1 edition (December 30, 2003)

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4.2 out of 5 stars

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Fallen

5.0 out of 5 stars Invaluable Insight

Reviewed in the United States on May 27, 2017

Verified Purchase

Mitchell provides invaluable insights into siblingship being distinct in and of itself, as opposed to an alternative or surrogate for oedipal theory. Her comprehensive, concise perspective on historical psychoanalytic case studies and theories is articulated in accessible language and respects that are relevant to both classic theorists and contemporaries. The deconstruction of narcissism, self-concept, and self-reference is key here as Mitchell demonstrates a significance that is not simply clinical, but discursive. This enables readers to grasp the importance of siblings whose esteems underlay our egos and sociological imagination.

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Jean G. Hantman

3.0 out of 5 stars Where were the parents.

Reviewed in the United States on March 23, 2005

March 13, 2005



(c)2005 Jean Hantman [...]



On "Siblings" by Juliet Mitchell



Polity Press, 2003



"I was struck that the father was not credited with any role in the aetiology of Sarah's



illness." J. Mitchell



Mitchell, a brilliant psychoanalyst has written a book that is certainly a valuable addition to psychoanalytic literature.



All the stories we hear from patients about the major influence their brothers and sisters have



had on their psychic lives has been a significant omission in the literature. She makes a good



case for considering that the core event in many people's lives revolve around their experience



with their siblings.



And yet the question remains: Where are the parents? Where were the parents?



Mitchell herself writes: "Western psychiatrists and psychotherapists confirm that sibling



incest occurs most frequently in the context of an absence of vertical--usually, that is



parental--care. Although the context will change the implications considerably, the child feels



this neglect very acutely... the absence of adult protection is present in all cases" (italics



mine).



What then could the reason be for shifting etiology from the vertical (parental) to the



lateral (sibling)?



Mitchell makes the same omission that Freud does with the Oedipus myth: the circumstances



of Oedipus' birth and infancy: his parents abandoned him when he was born. Both Freud and



Mitchell (and most other Oedipists) skip to the patricide and incest part of the story, stricken



with the usual psychoanalytic amnesia concerning Oedipus' abandonment at birth by his parents.



Later on, when writing about patients' childhood experiences, the same amnesia and omission is



repeated. Focus on incestuous fantasies and activities and ignore the historical abandonment,



the 'absence of adult protection'. All of us in practice repeatedly hear about bad things



happening to our patients in childhood, and for some reason we collude with them by not asking



the obvious questions: Well, where were your parents?



And, because we can't be protecting the children every minute of the day, the equally



important questions: Could you tell your parents about it afterwards? Did they help you? Why not?



Raise your hand if you left your little boys and girls together in a room and walked away



for longer than it takes for one of them to get hurt. And how many times did you turn your back?



Once? Twice? Always? Where are the parents? Where were the parents?



Let's say we can't control every second of our children's time in a home. Anyone out



there let a violent situation go by without immediately taking to task the brother or sister who



stepped over the physical line and hurt his or her sibling? So that the violent child knew that



you, the parent, were unconflicted about demanding a home in which the difference between verbal



anger (murderous wishes) and physical assault (murderous actions) is discussed constantly, and



discussed again and again, and understood and abided by?



And in those (hopefully) rare situations when you (or designated other adult) weren't



where you were supposed to be, protecting your kids from their violent impulses, didn't you



generate discussion afterwards with them about the difference between impulse and action, until



they learned to put their wishes into words, discussions, stories, art etc. forever after (i.e.,



civilization), rather than punches and pushing, or repression resulting in hysteria, in homes



where discussions are forbidden?



Most of my patients have horror stories to tell about unpleasant or unspeakable



experiences they had with their siblings over time. Sometimes I wonder to myself, and sometimes



I ask, "Where were your parents when this was going on?"



This is not to discount the pain lived by people who experienced sibling violence and



deprivation and unfulfilled longing. But I continue to disagree that these experiences are core



rather than secondary to parents who look the other way. Calling sibling violence the core



issue, rather than secondary--the consequence of parents who turn their heads--is another way of



protecting the bad object.



Who is behind the secrecy that siblings share and suffer from? Are babies born learning



to keep secrets from the people who are supposed to be protecting them from danger, or are they



taught to silence themselves, and by whom? Where are the parents?



There are so many ways that therapists from every discipline protect parents from



admitting responsibility for how the phantasies of the children are negotiated in the home.



Mitchell's book, though wonderfully rich in clinical material and meticulous research, is an



addition to that particular literature, the literature that protects the bad object by drawing



attention away from the source. My own preference for the title would be "Siblings Whose Parents



Turn Their Backs". Same material, same research, same case illustrations, different core issue,



different title.

13 people found this helpful

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Maud Lavin

5.0 out of 5 stars Brilliant and useful

Reviewed in the United States on July 14, 2010

Siblings is a brilliant psychoanalytic study of lateral relationships and sibling dynamics. I've found it to be very useful as a writer and critic interested in the workings of aggression. Even groundbreaking.

4 people found this helpful

2020/05/27

Philosophy In The Flesh: The Embodied Mind And Its Challenge To Western Thought / Cheap-Library.com

Philosophy In The Flesh: The Embodied Mind And Its Challenge To Western Thought / Cheap-Library.com




Philosophy In The Flesh: The Embodied Mind And Its Challenge To Western Thought
George Lakoff


What are human beings like? How is knowledge possible? What is truth? Where do moral values come from? Questions like these have stood at the center of Western philosophy for centuries. In addressing them, philosophers have made certain fundamental assumptions—that we can know our own minds by introspection, that most of our thinking about the world is literal, and that reason is disembodied and universal—that are now called into question by well-established results of cognitive science. It has been shown empirically that:Most thought is unconscious. We have no direct conscious access to the mechanisms of thought and language. Our ideas go by too quickly and at too deep a level for us to observe them in any simple way.Abstract concepts are mostly metaphorical. Much of the subject matter of philosopy, such as the nature of time, morality, causation, the mind, and the self, relies heavily on basic metaphors derived from bodily experience. What is literal in our reasoning about such concepts is minimal and conceptually impoverished. All the richness comes from metaphor. For instance, we have two mutually incompatible metaphors for time, both of which represent it as movement through space: in one it is a flow past us and in the other a spatial dimension we move along.Mind is embodied. Thought requires a body—not in the trivial sense that you need a physical brain to think with, but in the profound sense that the very structure of our thoughts comes from the nature of the body. Nearly all of our unconscious metaphors are based on common bodily experiences.Most of the central themes of the Western philosophical tradition are called into question by these findings. The Cartesian person, with a mind wholly separate from the body, does not exist. The Kantian person, capable of moral action according to the dictates of a universal reason, does not exist. The phenomenological person, capable of knowing his or her mind entirely through introspection alone, does not exist. The utilitarian person, the Chomskian person, the poststructuralist person, the computational person, and the person defined by analytic philosopy all do not exist.Then what does?Lakoff and Johnson show that a philosopy responsible to the science of mind offers radically new and detailed understandings of what a person is. After first describing the philosophical stance that must follow from taking cognitive science seriously, they re-examine the basic concepts of the mind, time, causation, morality, and the self: then they rethink a host of philosophical traditions, from the classical Greeks through Kantian morality through modern analytic philosopy. They reveal the metaphorical structure underlying each mode of thought and show how the metaphysics of each theory flows from its metaphors. Finally, they take on two major issues of twentieth-century philosopy: how we conceive rationality, and how we conceive language.Philosopy in the Flesh reveals a radically new understanding of what it means to be human and calls for a thorough rethinking of the Western philosophical tradition. This is philosopy as it has never been seen before.
$7.72 (USD)
Publisher: Basic Books
Release date: 1999
Format: PDF
Size: 7.39 MB
Language: English
Pages: 640

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Publisher: Basic Books
Release date: 1999
Format: EPUB
Size: 3.39 MB
Language: English
Pages: 550


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Philosophy in the Flesh: the Embodied Mind & its Challenge to Western Thought Paperback – October 8, 1999

by George Lakoff  (Author), Mark Johnson (Author)

4.1 out of 5 stars    70 ratings

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Editorial Reviews

About the Author

George Lakoff is professor of linguistics at the University of California at Berkeley, and the coauthor, with Mark Johnson, of Metaphors We Live By. He was one of the founders of the generative semantics movements in linguistics in the 1960s, a founder of the field of cognitive linguistics in the 1970s, and one of the developers of the neural theory of language in the 1980s and '90s. His other books include More Than Cool Reason (with Mark Turner), Women, Fire, and Dangerous Things, and Moral Politics.Mark Johnson is professor and head of the Philosophy Department at the University of Oregon and is on the executive committee of the Institute of Cognitive and Decision Sciences there. In addition to his books with George Lakoff, he is the editor of an anthology, Philosophical Perspectives on Metaphor.

Product details

Paperback: 640 pages

Publisher: Basic Books (October 8, 1999)



George Lakoff

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Biography

George Lakoff is Richard and Rhoda Goldman Distinguished Professor of Cognitive Science and Linguistics at the University of California at Berkeley, where he has taught since 1972. He previously taught at Harvard and the University of Michigan. He graduated from MIT in 1962 (in Mathematics and Literature) and received his PhD in Linguistics from Indiana University in 1966. He is the author of the New York Times bestseller Don't Think of an Elephant!, among other works, and is America’s leading expert on the framing of political ideas.


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4.1 out of 5 stars
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lakoff and johnson philosophy in the flesh cognitive science metaphors we live western philosophy abstract thinking western thought empirically responsible findings of cognitive makes no sense strict father must read mark johnson anyone who is interested largely metaphorical evolutionary psychology george lakoff way we think abstract concepts concepts are largely
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Aquagem

5.0 out of 5 stars 
Noted philosopher and linguist team makes strong case for fundamental rewrite of Western philosophy.

Reviewed in the United States on September 27, 2013

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This heavy book's theme is essentially this: Based on what we have learned about ourselves over the several centuries from the advances in science, we can now state decisively that most of our philosophical speculations of the last 2000+ years are wrong and need to be opened up, updated, and rewritten. The pace of expansion of our modern knowledge base has left our scholarly and popular consciousness far behind, and we need a fairly radical reorientation of our world view to incorporate new findings into what Lakoff and Johnson dub "empirically responsible philosophy." Anything less than a complete rewrite will leave a detritus of old and long disproven thought to clog the path ahead. Of course, a revolutionary revision like as they suggest would be bound to create massive dislocations of its own, with results that would be inestimable in any terms. The title of the book, Philosophy in the Flesh, places Exhibit A in the trial of our legacy worldview right on the cover. Our traditional philosophy removes the mind from the body, while all current research shows it to be firmly ensconced in the brain. We are in the position of Galileo in the 17th century, who was accused of murdering the angels who had to push the planets around in their orbits to accommodate Aristotelian physical concepts. The Scientific Revolution changed everything, but much of our modern mind still clings to older views now known to be false, including a good deal of the model the Scientific Revolution posed as an alternative to even older ideas. This is a good book for anyone interested in gauging the disconnect between ancient, ancient-modern, and modern views of nature, mind, and self. Whether you agree or disagree with their claims, these authors have posed a challenge that must be met with something other than the denialism so prominent in many areas of science, history, and philosophy.

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20 people found this helpful

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5.0 out of 5 stars I read this book many years ago - it totally ...

Reviewed in the United States on July 25, 2018

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I read this book many years ago - it totally transformed my LIVING - I re-read it often. This purchase was one of several in the past as a gift to young people who demonstrate an interest in 'knowing thyself' as the foundation for living creatively.

4 people found this helpful

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Patrick D. Goonan

4.0 out of 5 stars 
Great attempt in trying to tackle a monumental task

Reviewed in the United States on September 23, 2006

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I read the editors reviews above and the top customer reviews for this text. I don't feel I need to cover the same ground and I'm not going to. However, I have some personal thoughts that may be useful to add.



In my opinion, Philosophy in the Flesh is a monumental undertaking because it is an attempt to topple an existing paradigm marked by many unexamined assumptions about the nature of the mind, consciousness and the mind-body relationship. This is a very tall order and while the book has some shortcomings, it successfully makes a dent in this direction.



I agree with one reviewer's comments about not including and integrating work from researchers on the relationship between consciousness, the body and emotions such as Damasio. To get this background on your own, I would consider reading "The Feeling of What Happens" and other research in the field. I also agree with this same reviewer's comment about neglecting an evolutionary perspective and to get this I would start by reading David Buss. Understanding our cognitive biases is important and many of these do come from evolutionary psychology. For dramatic examples of these, you might try reading THE EVOLUTION OF DESIRE on sexual mating strategies or JEALOUSY by David Buss. There are also other many good books in this general genre and David Buss has written more than a few of them.



With respect to PHILOSOPHY IN THE FLESH itself, I found the first 136 pages most useful. This justifies the cost of the book because it lays out the author's basic theories, the disconnects between what we know about the mind and what is assumed to be true because of an enduring, but outdated concept of the mind-body relationship. In other words, the first 136 pages are like a nitty-gritty short book on the "must know" concepts.



The remainder of the book goes more deeply into specific examples of how the mind is embodied, the role of unconscious condition as the "hidden hand" that influences our actions, etc. It basically amounts to a defense of the first 136 pages, which in itself is convincing and compelling.



This book has implications for anyone who is interested in the mind-body relation and the body's role in cognition. Not everyone will want to read all of it, but I found that picking it up periodically and diving deeper into specific areas useful. It's not a bedtime story, so plowing through all 600 pages over a week or two might be a bit too much for someone who isn't a specialist in this area.



Lakoff has also written some interesting things on metaphor in dreams. If you have an interest in dreams, this book might be thought provoking and if so, you might also be interested in some of Lakoff's articles on interpreting dreams. If you want a nice introduction to dream interpretation that has a good article by Lakoff, consider DREAMS edited by Kelly Bulkeley. (Kelly also has a lot of other excellent books on dreaming and is quite a scholar in that area.)



I liked this book and I think it made a good dent in bringing down an outdated paradigm. I think anyone who is a cognitive therapist should read this and consider the implications. This would also be a good book for people who are more somatically-oriented therapists or who have a strong interest in mind-body medicine. I think Feldenkrais practioners and Rosen Bodyworks people would also benefit greatly from understanding this material.



Lastly, if you like this book, you might also like AWARENESS THROUGH MOVEMENT (Feldenkrais), the EMBODIED MIND (Varela), THE ANATOMY OF CHANGE and The Body (Yuasa Yasuo). Some of these books are less mainstream than others, but they are ALL thought provoking in different ways.

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nicholas hargreaves

4.0 out of 5 stars 
Cognitive Science Meets Philosophy

Reviewed in the United Kingdom on April 17, 2013

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This hefty volume employs the empirical findings of second generation cognitive science to challenge the Western philosophical belief in a rational disembodied mind. The primary method of critical examination utilizes the theories of "unconscious embodied conceptual metaphor" and its origins in sensorimotor experience, to explain how philosophers (old and new) have arrived at their conclusions using a metaphoric logic they mistakenly thought was literal.

As you'd expect in a book written by career academics interested in maintaining credibility, it can be hard going at times, and it is certainly not a light read .I found the prolific re-reading of passages was necessary as the unfamiliar terms used, and the theories that where being propounded eroded my concentration somewhat. Also critical points and theories are repeated in different forms, again and again, which although convenient, gives the feeling that 50% of the book is recycled from itself and that the authors have employed a physical metaphorical trick of their own, "that large volumes carry more weight".On the whole though, if you have the time it is well worth the effort,, as it brings philosophy and modern thought in general up-to-date within the context of discoveries in neuroscience, and it makes it possible to understand the grounding and limits of conceptual reasoning and the errors that ensue when the old philosophies are taken as literal truths.

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MoQingbird

5.0 out of 5 stars Enlightening

Reviewed in the United Kingdom on February 16, 2011

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This book is everything the Amazon review says it is, and more.



I've read a lot of philosophical texts and have always struggled with their abstractness, their distance from the real world. What has Leibnitz's monad or Searle's status function have to do with real life? Not a lot as far as I can see.



Lakoff and Johnson's book takes the real world and real people's cognitive functioning as the basis for approaching philosophy and metaphor as the primary mechanism of thought. This gives it a solid grounding in reality, and hence its thesis can be ported back into real life to real effect.



A critical point to consider if the blurb for the book interests you - the text is readable!



L & J avoid the jargon saturated style of many philosophers in favor of simple, readable, plain English, and there are copious examples through out that put their theory in a real world context, so you won't find yourself having to map abstract concepts back to reality. If only all philosophical authors could write as clearly!

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---------

몸의 철학   

M. 존슨,조지 레이코프 (지은이),임지룡,노양진 (옮긴이)박이정2002-05-20원제 : Philosophy in the Flesh: The Embodied Mind and Its Challenge to Western Thought (1999년)



45,000원

판매가

기본정보

890쪽152*223mm (A5신)1246gISBN : 9788978785488



제1부 신체화된 마음은 서구의 철학적 전통에

어떻게 도전하는가?

1. 서론 : 우리는 누구인가? ...25

2. 인지적 무의식 ...35

3. 신체화된 마음 ...45

4. 일차적 은유와 주관적 경험 ...85

5. 복합적 은유의 분석 ...105

6. 신체화된 실재론 : 인지과학 대 선험철학 ...125

7. 실재론과 진리 ...151

8. 은유와 진리 ...183



제2부 기본적인 철학적 개념들의 인지과학 사건,

인과관계, 시간, 자아, 마음, 도덕성

9. 철학적 개념들의 인지과학 ...201

10. 시간 ...207

11. 사건과 원인 ...253

12. 마음 ...347

13. 자아 ...391

14. 도덕성 ...427



제3부 철학의 인지과학

15. 철학의 인지과학 ...497

16. 소크라테스 이전 철학자들

: 초기 그리스 형이상학의 인지과학 ...509

17. 플라톤 ...535

18. 아리스토텔레스 ...547

19. 데카르트와 계몽의 정신 ...573

20. 칸트적 도덕성 ...605

21. 분석철학 ...641

22. 촘스키 철학과 인지언어학 ...681

23. 합리적 행위 이론 ...743

24. 철학 이론들은 이떻게 작용하는가? ...779



제4부 신체화된 철학

25. 몸의 철학 ...795



*부록 - 언어신경이론 패러다임 ...819



접기

저자 및 역자소개

M. 존슨 (지은이) 

저자파일



최고의 작품 투표



신간알림 신청

<몸의 철학>

최근작 : <삶으로서의 은유>,<몸의 철학>,<마음 속의 몸> … 총 4종 (모두보기)

조지 레이코프 (George Lakoff) (지은이) 

저자파일



최고의 작품 투표



신간알림 신청



미국 캘리포니아 버클리대학 언어학과와 인지과학과의 골드만 석좌교수. 국제인지언어학회의 초대 회장을 지냈고 인지언어학의 창시자 중 한 사람이다. 정치 프레임 구성 분야의 미국 최고 전문가로서 라디오와 TV에 출연하고 대중 강연을 하는 동시에 미국의 사회적 쟁점을 둘러싼 진보와 보수의 프레임 전쟁에서 진보가 취해야 할 방법과 나아가야 할 방향을 제시하고 있다. 《뉴욕타임스》 선정 베스트셀러인 《코끼리는 생각하지 마》를 비롯하여 《삶으로서의 은유》, 《몸의 철학》, 《프레임 전쟁》, 《자유는 누구의 것인가》, 《폴리티컬 마인드》, 《이기는 프레임》 등의 책을 저술했다.

접기

최근작 : <나는 진보인데 왜 보수의 말에 끌리는가?>,<이기는 프레임>,<코끼리는 생각하지 마> … 총 68종 (모두보기)

임지룡 (옮긴이) 

저자파일



최고의 작품 투표



신간알림 신청

경북대학교 사범대학 국어교육과 교수

맨체스터대학 언어학과 객원교수 역임

담화인지언어학회, 한국어 의미학회, 한국어문학회, 국어교육학회, 우리말 교육현장학회 회장 역임



저서

『국어 대립어의 의미 상관체계』(1989), 『국어 의미론』(1992), 『말하는 몸: 감정 표현의 인지언어학적 탐색』(2006), 『의미의 인지언어학적 탐색』(2009), 『한국어 의미 특성의 인지언어학적 연구』(2017), 『<개정판> 인지의미론』(2018) 외 다수



공역서

『어휘의미론』(1989), 『언어의 의미』(2002), 『인지언어학 기초』(2008), 『의미 관계와 어휘사전』(2008), 『인지문법론』(2009), 『의미론의 이해』(2010), 『인지언어학 개론』(2010), 『언어·마음·문화의 인지언어학적 탐색』(2011), 『어휘의미론의 연구 방법』(2013), 『의미론의 길잡이』(2013), 『비유 언어』(2015), 『의미론』(2017), 『인지언어학 핸드북』(2018) 외 다수 접기

최근작 : <학교 문법과 문법 교육>,<한국어 의미 탐구의 현황과 과제>,<인지언어학 탐구의 현황과 과제> … 총 38종 (모두보기)

노양진 (옮긴이) 

저자파일



최고의 작품 투표



신간알림 신청

전남대학교 철학과와 동 대학원을 졸업하고 미국 서던일리노이대학교(Southern Illinois University at Carbondale)에서 철학박사 학위를 받았다. 현재 전남대학교 철학과 교수다. 주로 언어철학과 윤리학, 철학방법론에 관련된 연구를 하고 있다. 저서로 『상대주의의 두 얼굴』(2007), 『몸ㆍ언어ㆍ철학』(2009), 『몸이 철학을 말하다』(2013), 『나쁜 것의 윤리학』(2015)이 있으며, 역서로 『마음 속의 몸』(2000), 『몸의 철학』(2002, 공역), 『삶으로서의 은유』(2007, 공역), 『도덕적 상상력』(2008), 『사실과 가치의 이분법을 넘어서』(2010)가 있다. 접기

최근작 : <철학적 사유의 갈래>,<몸과 인지>,<나쁜 것의 윤리학> … 총 13종 (모두보기)







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출판사 제공 책소개



<몸의 철학>은 4부 25장 및 부록에 걸쳐 최근의 인지과학적 탐구의 성과를 포괄적으로 종합하고, 그것을 철학적 주제들에 관한 논의로 확장시키고 있는 새롭고 방대한 책이다. 이 책의 저자인 레이코프와 존슨(G. Lakoff and M. Johnson)은 1980년대 이후 지속적인 공동 작업의 성과를 한데 집약시키고 있는데, 폭넓은 일반 독자들을 감안한 쉽고 평이한 글쓰기를 시도하고 있지만, 이 책이 담고 있는 주장들은 결코 익숙한 것도 가벼운 것도 아니다. 적어도 이들의 분석을 옳은 것으로 받아들인다면 서양철학을 주도해 왔던 주요 개념들과 이론들은 대부분 전면적으로 수정되거나 폐기되어야 하기 때문이다. 그럼에도 불구하고 발간과 함께 단시간 내에 세계적으로 수많은 독자들의 관심을 불러일으킨 것은 이들이 주로 제시하고 있는 풍부한 경험과학적 증거들의 설득력 때문일 것이다.



이 책의 특징은 우선 이 책이 다루고 있는 주제들의 방대함에 있다. 레이코프와 존슨은 우선 1950년대 후반에 처음 출발했던 인지과학적 탐구를 제1세대 인지과학과 제2세대 인지과학의 두 갈래로 구분하고, 1970년대에 들어 시작된 제2세대 인지과학적 탐구가 제시하는 중심적 주제들을 다음의 세 가지로 요약한다

.

① 인간의 인지는 대부분 무의식적(unconscious)이다.

② 정신은 본성적으로 신체화(embodied)되어 있다.

③ 우리의 사고의 대부분은 은유적(metaphorical)이다.



이러한 새로운 발견은 서구의 지성사를 통해 제시되어 왔던 철학적 개념들과 이론들의 본성에 대한 전적으로 새로운 해명의 길을 열어 준다. {몸의 철학}은 바로 이러한 새로운 해명의 집약적 표현이다.



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스포일러 포함 글 작성 유의사항 

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공감순 

     

이 책, 잠깐 품절이었다가 새로 나왔네요. 근데 가격이 많이 높아졌군요  구매

HERM 2011-11-21 공감 (8) 댓글 (0)

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공감

     

2020년 현재에도 유의미한 책이다. 다만 파트별로 역자들이 다르다는 느낌이 든다. 챕터에 따라 독해에 난이도 차이가 있다. 그리고 원제가 ‘Philosophy In The Flesh‘이다. 번역본의 제목이나 부제만 읽어보면 도통 무슨 내용인 지 짐작이 어렵다.  구매

독서중 2020-02-29 공감 (3) 댓글 (0)

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공감

마이리뷰

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공감순 

     ------------

마음은 몸이다. 



이 책은 마음과 정신을 신체와 분리해서 생각하는 서구사상의 한계를 지적한다. 서구의 사상만이 아니라 종교 역시 그와 같이 보는 바가 있는 것 같다. 불교에서는 해탈에 이른 성인을 아라한이라고 일컫는데 모든 생사고락의 현세적인 것들 너머의 초월적인 그 무엇을 상정한다. 거기에 도달하려면 몸과 몸의 한계를 넘어서야 하기에 수행하고 또 수행한다.





반면 <몸의 철학>은 마음은 본유적으로 신체화 되어 있다고 파악한다. 마음은 몸이고 생각은 신체의 기능이며 신체가 작동한 결과이다. 그 생각을 우리는 은유화 된 언어를 통해 해낸다. 언어가 없이 생각은 불가능하다.





그러므로 사고는 대부분 무의식적인 것이다.







우리가 하는 행동 역시 아무리 의도적인 것을 상정하더라도 무의식과 연결되어 있기에 같은 실수를 반복하고 옆에서 아무리 뭐라고 토를 달아도 자신이 가고자 하는 길을 따로 염두에 둔 것 같은 경향을 보인다. 이를테면 인생에 대한 설계, 기획 역시 무의식적인 선택의 결과일 수가 있다. 이성과 합리 역시 무의식적이라는 것이며 이는 별개로 존재하는(초월적인) 정신의 영역이라기보다는 몸에서 비롯되는 것이다. 이성과 합리는 원래 냉정한 것이 아니며 감정적인 활동의 결과물이다.



이 대목은 확실히 오늘날의 우리에게 시사하는 바가 있다.







인간으로서 우리는 어떤 형태의 순수하게 객관적이거나 초월적인 이성에 접근할 수 있는 특별한 통로가 없다.







종교는 있다고 본다. 기독교가 죽고 불교가 무력해지더라도 인간이성이라는 새로운 종교가 미래사회의 새로운 종교로 등극할 수 있다.







이 책의 가장 큰 장점은 우리의 마음이나 추상적인 개념들을 저 위 초월적인 어딘가와 연결시키는 것이 아니라 인간의 사고 패턴인 은유로 설명한다는 점이다. 시간도 마음도 자아도 도덕성도 그러한 사고 패턴에서 유래한 것으로 본다.







우리는 인지적 무의식의 작용에 직접적으로 접근할 수 없으며, 따라서 우리 사고의 대부분에 직접 의식적으로 접근하지 못한다.







<코르푸스>라는 책에는 몸에 관한 한 나는 나에 관해 영원히 모를 것이라는 말이 나온다. 내가 지각하는 것은 내 몸에서 일어나는 일이되 나는 그것을 인식할 수도 있고 그렇지 못할 수도 있다.







처음으로 다초점 렌즈를 사용했을 때를 생각해 보면 참고가 된다. 평소에는 느끼지 못했던 모든 것들이 렌즈를 통해 지각으로 전달되는 그 순간의 충격을.







내가 나에 관해서도 잘 모르는데 타인에 관해서야 더 말할 것이 없겠다. 하지만 우리는 어떤가. 끝없이 남의 말과 행동에 관해 비평하고 분노하고 단정 짓는다. 이 책을 잘 읽으면 자신의 잘못된 이러한 습관에 제동을 걸 수 있다. 제동이 잘 안 걸리더라도 실망할 일은 아니다. 최소한 다시 생각해 보려고 할 것이다. 생각하고 또 생각하고 더 생각해야 한다는 것을 알게 된다.



- 접기

눈과마음 2019-02-06 공감(2) 댓글(0)

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2020/05/26

Facing Death with Tolstoy | The New Yorker



Facing Death with Tolstoy | The New Yorker

Facing Death with Tolstoy


By Mary Beard
November 5, 2013




This essay is drawn from the introduction to a new translation, by Peter Carson, of Leo Tolstoy’s “The Death of Ivan Ilyich & Confession,” which will soon be published by Liveright.

Leo Tolstoy died from pneumonia, aged eighty-two, at the railway station of Astapovo, a remote Russian village, on November 7, 1910. He had left his family home on October 28, in the middle of the night, walking out on his wife of forty-eight years—the long-suffering and increasingly paranoid Sonya. “I am doing what old men of my age usually do: leaving worldly life to spend the last days of my life in solitude and quiet,” he wrote in the uncomfortably chilly letter of explanation he left for her.


In fact, there were to be very few of those “last days.” For whatever Tolstoy’s plans for the future had been (and we can now only guess at them), they were soon interrupted when he was taken ill on board a train and forced to get out at Astapovo, where the stationmaster gave him the use of his house. And there was certainly very little solitude or quiet. His death became one of the first international media “events.” It attracted to the little station not only hundreds of his admirers (and some watchful government spies) but also a Pathé News camera team, eager to catch the great man’s final moments on film, and reporters from all over the world who wired often unreliable stories back to their editors. “Tolstoy is Better … The Count Is Very Weak, but the Doctors Say There Is No Immediate Danger,” blazed a headline in the New York Times just a couple days before his death, when he was already drifting in and out of consciousness. One of the most haunting images caught on camera is of Sonya herself, peering in through the window of the room in which her sick husband lay. She had traveled to Astapovo as soon as she heard of his illness, but the friends caring for him did not allow her in until Tolstoy was on the very point of death.


This drama at the railway station unfolded more than thirty years after Tolstoy had written the novels for which he is now best known: War and Peace, completed in 1869, and Anna Karenina, completed in 1877. His popular celebrity in 1910 owed more to his political and ethical campaigning and his status as a visionary, reformer, moralist, and philosophical guru than to his talents as a writer of fiction. Vegetarian, pacifist, and enemy of private property, he was, over the last decades of his long life, a persistent critic of the Russian imperial regime (hence the government spies infiltrating the crowds at Astapovo) and of the Russian Orthodox Church. He came to favor a primitive version of Christianity based entirely on the teachings of Jesus, rejecting the dogma of Orthodoxy (hence his excommunication by church authorities in 1901). And he was a vigorous supporter of the Russian poor. He had launched welfare programs, including soup kitchens, and funded schools. In a gesture of solidarity with the underprivileged, he renounced his aristocratic title (“Count” Leo Tolstoy) and took to wearing the characteristic dress of the peasants—though neither contemporary photographs nor the comments of eyewitnesses suggest that he ever really looked the part of an authentic laborer.

It was perhaps fitting that his final days became so celebrated across the world because, throughout his life but particularly from the late 1870s on, death was another of Tolstoy’s obsessions. He had firsthand experience of death and the dying that was unusual even for a man of his era. As an active-duty soldier in 1854-55 he had witnessed the slaughter of the Crimean War, and he vividly recalled both the agonizing death of his brother Dmitry from tuberculosis in 1856 and the appalling sight—and sound—of a man being guillotined in Paris in 1857 (it was partly this experience that made him a staunch opponent of the death penalty). Of his thirteen children with Sonya, no fewer than five had died before they were ten. But in his writing he went beyond the horrors of death to reflect on the big questions that the inevitability of death poses for our understanding of life itself: if we must die, what is the point of living? Some of his most memorable reflections on this theme are found in the novella The Death of Ivan Ilyich and in the autobiographical memoir Confession. Both were written after Tolstoy had completed Anna Karenina: the novella was begun in 1882 and finished in 1886; the memoir was completed in 1882, but fell afoul of the Russian censorship efforts and was circulated only unofficially until it was published (in Russian) in Geneva in 1884. They are both powerful reminders of just how impressive Tolstoy’s writing was, even when he had turned his back on those grand Russian novels that have become his main claim to fame. And turn his back he most certainly had: “an abomination that no longer exists for me” was his description of Anna Karenina in the early 1880s.


The Death of Ivan Ilyich, as its title plainly suggests, tells the story of the final months of one man: an ordinary, reasonably prosperous, and successful middle-aged Russian judge. An apparently trivial injury (he hurts his side in a fall from a chair while hanging curtains in his new apartment) quickly develops into something worse. Doctors offer all kinds of diagnoses, medicines, and guarded reassurance, but within weeks, Ivan Ilyich can see that he is a dying man, confronted with the agony, indignity, loneliness, and (in Tolstoy’s uncompromising description) foul stench of his own demise. For most of his family and colleagues, his death is an inconvenience and an embarrassment; they were, as the living usually are, relieved not to be dying themselves but simultaneously aggrieved by the reminder of their own mortality that Ivan Ilyich’s death gave them. It is only a young servant, Gerasim, with all of Tolstoy’s favorite peasant virtues, who can look the processes of dying in the eye and care for his master with true humanity; he deals unashamedly with excrement and allows the dying man to lie in the one position in which he can find some comfort—with his legs raised, resting on Gerasim’s shoulders.

Confession is in a very different style and genre of writing: it is a first-person account of Tolstoy’s own spiritual journey, from his rejection of religion as a young man, through his rediscovery of the Orthodox church in middle age, to his final rejection of the myths and falsehoods of the established church (from the Trinity to the Eucharist) while embracing the simplest moral teachings of Jesus himself. It is often taken as testimony to Tolstoy’s spiritual “crisis” after he had completed Anna Karenina, and as a crucial point in his turn from fiction to politics and philosophy. But it also confronts the fear and the inevitability of death. It is in Confession that Tolstoy tells of his experience watching an execution in Paris and discusses his own dilemmas about suicide. And he broaches some of the major questions of the relationship between life and death that underlie the story of Ivan Ilyich: as he sums it up at one point in the memoir, “Is there any meaning in my life that wouldn’t be destroyed by the death that inevitably awaits me?”



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It is important to remember that when Tolstoy wrote The Death of Ivan Ilyich and Confession, preoccupied with dying as both those works are, he was still only in his fifties; he was to live another twenty-five years. Human mortality was for him, in large part, a philosophical dilemma. He also (as we see in The Death of Ivan Ilyich) relished the writer’s challenge of intimately exploring the processes of dying—when it was something he could only have observed from the perspective of the living. It was a challenge that so intrigued him that he is later supposed to have asked his friends and followers to quiz him about the experience of his own death as he was going through it. “Did human perception of life change as one approached the end?” he wanted them to inquire. “Did one feel a progression toward something different?” Cannily foreseeing that, on his deathbed, he might be unable to voice a coherent response, he had even devised a code of eye movements to express his answers. But in their distress, those gathered around him in his final hours at Astapovo apparently forgot to pose the questions.

It is a poignant irony that Tolstoy’s translator, Peter Carson, was much closer to death and dying when he was working on The Death of Ivan Ilyich and Confession than Tolstoy himself was at the time he was first writing them.

Carson was one of the finest translators there has ever been of nineteenth-century Russian literature: “I am not an expert. I merely have a good feel for it,” he once observed with typical modesty. That “feel” came partly from his family background in a social and cultural world that was in some respects not so different from Tolstoy’s own. His mother was Russian, Tatiana Petrovna Staheyeff, the daughter of an extremely wealthy commercial family. She was not of the grand order of nobility from which Tolstoy, title or no title, originated, but her family too had turned a good deal of its substantial riches to the kind of philanthropy (founding schools, for example) that was such a major part of Tolstoy’s life’s project. When she was little more than a girl, she fled the Revolution, in 1917, first to China, where she met her part-French, part-Anglo-Irish husband, and later to England. There, soon widowed, she brought up her children—Peter Staheyeff Carson, who was born in London, in 1938, and his sister, another Tatiana—almost singlehandedly in a polyglot household where Russian, French, and English were spoken more or less interchangeably. In fact, the use of French side-by-side with Russian, so characteristic of the idiom of the Russian elite and noticeable in these works of Tolstoy (comme il faut, établissement, and so on), was very close to the idiom of Carson’s early home life.

That “feel” came also, however, from a precise attention to language that was encouraged by his classical training. As a boy Carson won a scholarship to Eton, where he specialized in Latin and Greek, and he later majored in classics at Trinity College, Cambridge. It was an academic background that made him particularly alert to the forms and technicalities of language and expression. He insisted, for example, that in translating this “late Tolstoy,” one should not make the mistake of imposing on it a literary, stylish rhetoric, as so many translators have done. The Death of Ivan Ilyich and Confession were both written more simply, even awkwardly, than War and Peace or Anna Karenina, with even more frequent repetitions of the same or very similar words (in the novella, for example, the words “decorum,” “decorous,” and “indecorous” recur again and again). Carson aimed to capture that particular side of Tolstoy’s writing, retaining the repetitions (even though the works might have read more fluently if, as he put it, he had taken “evasive action” and “smoothed things over”), and so far as possible he also retained Tolstoy’s sometimes surprising sentence structure along with his original paragraphing. He wanted the reader in English to be able to see what Tolstoy had been doing in the Russian.

Carson’s main professional career, from the 1960s to 2012, was in British publishing at Penguin Books, where he ended up as editor in chief, and later at Profile Books. He had an almost unrivalled sense of what made a distinguished and sellable book. It was he, for example, who spotted the quality of Zadie Smith’s White Teeth, and he brought the work of many other authors, myself included, into the world. His own style was one of extraordinarily elegant understatement: if he tapped his fingers together and said “I don’t think so,” you knew your latest scheme was a complete no-hoper; if he twinkled and giggled a little and said of a manuscript, “It’s really rather good,” you would know you had something close to a bestseller on your hands. And his talent was based on an equally extraordinary capacity for quick and careful reading: three novels in an evening plus six new book manuscripts over a weekend were his normal regime. I suspect that his life in reading and editing gave him a sneaking sympathy for Sonya Tolstoy, who often spent her evenings copying, recopying, and tidying up Tolstoy’s manuscripts until the early hours, in addition to acting as an agent with his publishers.

Carson’s translations were largely the work of his spare time. He agreed to translate The Death of Ivan Ilyich and Confession in 2009, when he could not possibly have known how uncomfortably relevant their themes would become to his own life—and death. For only halfway through the translation it became clear, in early 2012, that his long-standing illness would not be curable—and that, most likely, he had only months to live. He nevertheless pushed on with the task, determined to complete what he had begun, working whenever he could, sometimes from bed as he became frailer. The final manuscript was delivered to the publisher by his wife on the day before he died in January 2013. We can hardly begin to imagine what it must have been like to translate the grim tale of Ivan Ilyich as one’s own life slipped away, but almost certainly the unsettling energy of Carson’s version has something to do with the circumstances in which it was written.


Carson himself was very committed to the unusual pairing within the same volume of The Death of Ivan Ilyich and Confession. The novella has long been a favorite among the later works of Tolstoy and has attracted a wide range of interpretations and explanations almost from the moment of its publication. The aggressive and unforgettable “realism” of the description of Ivan Ilyich’s final illness has prompted some critics to hunt for a factual source for the story, and indeed it does seem fairly certain that Tolstoy was partly inspired by the death of a judge called Ivan Ilyich Mechnichov who worked in the town of Tula, near the Tolstoy country estate, and whose sufferings had been described to Tolstoy by the judge’s brother. Other readers—undeterred by the fact that, whatever real-life models there may have been, the story is essentially fiction—have attempted to diagnose the illness from which Ivan Ilyich was suffering, even though the elusive uncertainty about the nature of his condition is part of the point of the tale. Was it cancer of the gall bladder? Or was it cancer of the pancreas? Questions like these, as well as the lessons they might (or might not) hold for the palliative care of the dying, have insured The Death of Ivan Ilyich, alone of all Tolstoy’s works, an unlikely foothold in modern medical journals and libraries.


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Much more significant have been the many discussions of the philosophical and ethical issues the story raises, in particular what in the end—after all the agony and the terror—allows Ivan Ilyich to approach death with some degree of equanimity? Or, to put it in terms of Tolstoy’s own vivid image of the process of dying, what enabled him to struggle through that black sack into which he felt he was being pushed and make his way through to the light on the other side?

Tolstoy seems to offer two reasons. First, Ivan Ilyich finally came to recognize the failings of his apparently successful former life: among other things, its tawdry bourgeois aspirations, its vanity (it was, after all, a fall while hanging some curtains that led to his death), and the emptiness of his marriage.


“Yes, everything was wrong,” he said to himself, “but it doesn’t matter. I can, I can do what is right. But what is right?” he asked himself, and at once fell silent.

This recognition of his errors is signaled in the narrative by two rare signs of genuine human interaction between Ivan Ilyich and his family: his wife at his bedside is caught weeping; and his young son, accidentally hit by one of Ivan Ilyich’s flailing arms, takes his father’s hand in his own and presses it to his lips, also in tears.

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Second, at the very end of the story, Tolstoy insists that instead of attempting to avoid his own mortality, Ivan Ilyich at last managed to look death in the eye, and that direct confrontation destroyed the terrible fear which had until then so tormented him.


He searched for his old habitual fear of death and didn’t find it. Where was death? What death? There was no fear, because there was no death.

Instead of death there was light.

“So that’s it!” he suddenly said aloud. “Such joy!”

Unlike The Death of Ivan Ilyich, Confession has had an insecure and fluctuating reputation since it was completed in 1882. In addition to the problems with Russian censors because of its attacks on the Orthodox church, Tolstoy himself changed his mind about the role and status of the memoir. It was first intended to act as an introduction to another of his religious essays, An Investigation of Dogmatic Theology, and originally carried the title An Introduction to an Unpublished Work. It was only when the first regular edition was published outside Russia in 1884 that it was entitled Confession. And it is simply Confession, not “The Confession” or “A Confession”; as Carson was keen to emphasize, this essay is not some admission of wrongdoing (“confession” in the usual modern sense), but an account of a spiritual journey in the tradition of the Confessions of Augustine or Jean-Jacques Rousseau. As such, in the late nineteenth century, it attracted considerable attention; in fact, it was one of the first of Tolstoy’s works to be translated into English (before War and Peace or Anna Karenina). But it has often seemed less appealing to modern readers. It can seem self-indulgent in its introspection (the usual fault of spiritual autobiographies, however self-critical they set out to be); it includes some fairly austere discussion of philosophers from Socrates to Schopenhauer; and the idealization of the religious faith (and approach to death) of the Russian peasant, while touching, seems also naively romantic.

Confession comes to life again if we read it alongside The Death of Ivan Ilyich rather than alongside the religious essays with which it is usually grouped. The similarities and overlaps between the two instantly catch the eye: from the discussion of the inevitability of death to the nature of human self-deception and the admiration (romantic or not) of the honorable approach to life and mortality shown by Russian peasants (in contrast to the people, as Tolstoy puts it, “in our world”; that is, among the elite). In short, the pairing encourages us to see The Death of Ivan Ilyich as a fictional exploration of the theoretical problems of religion, morality, and mortality explored autobiographically in Confession. In other words, that question directly posed in Confession—“Is there any meaning in my life that wouldn’t be destroyed by the death that inevitably awaits me?”—is answered by the novella.

Yet if Confession helps to expose the theoretical aspects of The Death of Ivan Ilyich, then the reverse is also true: The Death of Ivan Ilyich helps to expose the fictional aspects of Confession. Critics have often taken Confession as a more or less transparent account of Tolstoy’s spiritual development from his youth, and especially of the religious “crisis” he went through after finishing Anna Karenina—a crisis marked first by his turn to the Orthodox church, then by his emphatic rejection of the dogma and lies of established religion. There are certainly many overlaps between Tolstoy’s claims in Confession and what we know of his life, and of his intellectual and religious dilemmas, from other accounts. His son Leo, for example, in his own memoir of Tolstoy’s life, The Truth About My Father (written, it is true, explicitly to defend Sonya from the attacks on her after the old man’s death), claims to recall the very moment when his father rejected the Orthodox rules on fasting: during what should have been a fast for a strict observer of such things, sitting at the dinner table with the rest of the family, who were enjoying a hearty meal, Tolstoy pushed away his “ascetic fare,” turned to one of the children, and demanded what they were eating. “Ilia, my boy,” he said, “pass me the cutlets!” His days of formal religious observance were over.


It should go without saying, however, that autobiography is never quite transparent, and that first-person spiritual memoirs are always partly constructions—retrospective and simplifying fictions imposed on the confusing stream of memories and on intellectual doubts and dilemmas. In Confession Tolstoy hints at the very fictionality of his own autobiography through a series of echoes with his novels. At one point, for example, he describes his own fantasies of suicide almost exactly as he described those of Levin in Anna Karenina; this is not only a hint that there might be something of the real Tolstoy in the fictional Levin but also that there might be something of the fictional Levin in the autobiographical Tolstoy. And we find many other close doubles between Confession and The Death of Ivan Ilyich—from the description of a dying man’s attitude toward his own at first insignificant symptoms of illness to the image of the return to childhood that is so powerful in both works. It is as if Confession reminds us of the constructed nature of its autobiographical subject by anticipating many of the fictional tropes of the novella. Tolstoy was a man who defined himself in and by writing, in an inextricable amalgam of fiction and fact.


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The Death of Ivan Ilyich and Confession demand that readers reflect on what the inevitability of death means to us, and on how we shall face our own end. At Peter Carson’s funeral, the very last lines of Ivan Ilyich were read out.


“It is finished!” someone said above him.

He heard these words and repeated them in his heart. “Death is finished,” he said to himself. “It is no more.”

He breathed in, stopped halfway, stretched himself, and died.

Carson himself might not have entirely approved of parading this alignment of literature and life which, in his own dying, he was concerned to downplay.

Indeed, just three days before he died, he wrote:


It is strange that I was smitten by my illness when translating Ivan Ilyich and Confession, but to be honest I do not think it has affected anything and I have no thoughts on the matter.

In Carson we had a man who had no interest in publicity and would have hated the celebratory—almost narcissistic—display of dying that unfolded at Astrapovo station (Carson in fact died at home with his wife). But happily, in a sense, his “thoughts on the matter” are preserved for us, and will live on, in this fine translation.

Mary Beard is a professor in classics at Cambridge and author of the blog “A Don’s Life.” Her book “Confronting the Classics: Traditions, Adventures, and Innovations” will be published in March.

What Men Live By - Wikipedia 사람은 무엇으로 사는가



What Men Live By - Wikipedia



What Men Live By
From Wikipedia, the free encyclopedia


"What Men Live By" is a short story written by Russian author Leo Tolstoy in 1885. It is one of the short stories included in his collection What Men Live By, and Other Tales, published in 1885
The compilation also included the written pieces "The Three Questions", "The Coffee-House of Surat", and "How Much Land Does a Man Need?".

Aleksandr Solzhenitsyn refers to the story in Cancer Ward.


Contents

Characters[edit]

Simon – A humble shoemaker who is very poor
Matryona – Wife of Simon
Michael – Angel punished by God and is turned into a mortal


Plot[edit]

A kind and humble shoemaker maker called Simon goes out one day to purchase sheep-skins in order to sew a winter coat for his wife and himself to share. Usually, the little money which Simon earns would be spent to feed his wife and children. Simon decides that in order to afford the skins he must go on a collection to receive the five rubles and twenty kopeks owed to him by his customers. As he heads out to collect the money he also borrows a three-rouble note from his wife's money box. While going on his collection he only manages to receive twenty kopeks rather than the full amount. Feeling disheartened by this, Simon rashly spends the twenty kopeks on vodka and starts to head back home drunkenly stumbling and talking to himself cursing the coat dealer. He states that he is warm without the vodka and that he won't make it through the winter without a fur coat.

While approaching the chapel at the end of the road, Simon stops and notices something pale-looking leaning against it. He looks harder and notices that it is a naked man who appears poor of health. At first, he is suspicious and fears that the man may have no good intentions if he is in such a state, believing that he is just a drunk man. He proceeds to pass the man until he sees that the man has lifted his head and is looking towards him. Simon debates what to do in his mind and feels ashamed for his disregard and heads back to help the man.

Simon takes off his cloth coat and wraps it around the stranger. He also gives him the extra pair of boots he was carrying. He aids him as they both walk toward Simon's home. Though they walk together side by side, the stranger barely speaks and when Simon asks how he was left in that situation the only answers the man would give are: "I cannot tell" and "God has punished me." Meanwhile, Simon's wife Matryona debates whether or not to bake more bread for the night's meal so that there is enough for the following morning's breakfast. She decides that the loaf of bread that they have left would be ample enough to last until the next morning. As she sees Simon approaching the door she is angered to see him with a strange man who is wrapped in Simon's clothing.

Matryona immediately expresses her displeasure with Simon, accusing him and his strange companion to be drunkards and harassing Simon for not returning with the sheep-skin needed to make a new coat. Once the tension settles down she bids that the stranger sit down and have dinner with them. After seeing the stranger take bites at the bread she placed for him on his plate, she begins to feel pity and shows so in her face. When the stranger notices this, his grim expression lights up immediately and he smiles for one brief moment. After hearing the story from the stranger of how Simon had kindly robed the stranger after seeing him in his naked state, Matryona grabs more of Simon's old clothing and gives it to the stranger.

The following morning Simon addresses the stranger and asks his name. The stranger answers that his name is simply Michael. Simon explains to Michael that he can stay in his household as long as he can earn his keep by working as an assistant for Simon in his shoemaking business. Michael agrees to these terms and for a few years he remains a very faithful assistant.

One winter day a customer who is a nobleman comes in their shop. The nobleman outlines strict conditions for the construction of a pair of thick leather boots: they should not lose shape nor become loose at the seams for a year, or else he would have Simon arrested. When Simon gives to Michael the leather that the nobleman had given them to use, Michael appears to stare beyond the nobleman's shoulder and smiles for the second time since he has been there. As Michael cuts and sews the leather, instead of making thick leather boots, he makes a pair of soft leather slippers. Simon is too late when he notices this and cries to Michael asking why he would do such a foolish thing. Before Michael can answer, a messenger arrives at their door and gives the news that the nobleman has died and asks if they could change the order to slippers for him to wear on his death bed. Simon is astounded by this and watches as Michael gives the messenger the already-made leather slippers. Time continues to go by and Simon is very grateful for Michael's faithful assistance.

In the sixth year, another customer comes in who happens to be a woman with two girls, one of which is crippled. The woman requests if she could order a pair of leather shoes for each of the girls — three shoes of the same size, since they both share the same shoe size, and another shoe for the crippled girl's lame foot. As they are preparing to fill the order Michael stares intently at the girls and Simon wonders why he is doing so. As Simon takes the girls' measurements he asks the woman if they are her own children and how was the girl with the lame foot crippled. The woman explains that she has no relation to them and that the mother on her deathbed accidentally crushed the leg of the crippled girl. She expresses that she could not find it in her heart to leave them in a safe home or orphanage and took them as her own. When Michael hears this he smiles for the third time since he has been there.

After the woman and the two children finally left, Michael approaches Simon and bids him farewell explaining that God has finally forgiven him. As Michael does this he begins to be surrounded by a heavenly glow and Simon acknowledges that he is not an ordinary man. Simon asks him why light emits from him and why did he smile only those three times. Michael explains that he is an angel who was given the task to take away a woman's life so she could pass on to the next life. He allowed the woman to live because she begged that she must take care of her children for no one other than their mother could care for them. When he did this God punished him for his disobedience and commanded that he must find the answers to the following questions in order to be an angel again: What dwells in man?, What is not given to man?, and What do men live by? After Michael returned to earth to take the woman's soul, the woman's lifeless body rolled over and crushed the leg of the now crippled girl. Then Michael's wings left him and he no longer was an angel but a naked and mortal man. When Simon rescued him he knew that he must begin finding the answers to those questions. He learned the answer to the first question when Matryona felt pity for him, thus smiling and realizing that what dwells in man is "love". The answer to the second question came to him when he realized that the angel of death was looming over a nobleman who was making preparations for a year though he would not live till sunset; thus Michael smiled, realizing that what is not given to man is "to know his own needs." Lastly, he comprehended the answer to the final question when he saw the woman with the two girls from the mother of whom he previously did not take the soul, thus smiling and realizing that regardless of being a stranger or a relation to each other, "all men live not by care for themselves but by love." Michael concluded, saying, "I have now understood that though it seems to men that they live by care for themselves, in truth it is love alone by which they live. He who has love, is in God, and God is in him, for God is love." When Michael finished, he sang praise to God as wings appeared on his back and he rose to return to heaven.



See also[edit]

External links[edit]
Wikisource has original text related to this article:
What Men Live By

What Men Live By public domain audiobook at LibriVox

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Leo Tolstoy


Bibliography
Novels and
novellas

Childhood (1852)
Boyhood (1854)
Youth (1856)
Family Happiness (1859)
The Cossacks (1863)
War and Peace (1869)
Anna Karenina (1878)
The Death of Ivan Ilyich (1886)
The Kreutzer Sonata (1889)
Resurrection (1899)
The Forged Coupon (1911)
Hadji Murat (1912)
Short stories

"The Raid" (1852)
"The Snowstorm" (1856)
"Albert" (1858)
"Three Deaths" (1859)
"God Sees the Truth, But Waits" (1872)
"The Prisoner of the Caucasus" (1872)
"What Men Live By" (1881)
"Quench the Spark" (1885)
"Where Love Is, God Is" (1885)
"Ivan the Fool" (1885)
"Wisdom of Children" (1885)
"The Three Hermits" (1886)
"Promoting a Devil" (1886)
"How Much Land Does a Man Need?" (1886)
"The Grain" (1886)
"Repentance" (1886)
"Croesus and Fate" (1886)
"Kholstomer" (1886)
"A Lost Opportunity" (1889)
"Master and Man" (1895)
"Too Dear!" (1897)
"Father Sergius" (1898)
"Work, Death, and Sickness" (1903)
"Three Questions" (1903)
"Alyosha the Pot" (1905)
"The Devil" (1911)
Plays

The Power of Darkness (1886)
The Light Shines in the Darkness (1890)
The Fruits of Enlightenment (1891)
The Living Corpse (1900)
Non-fiction

A Confession (1882)
The Gospel in Brief (1883)
What Is to Be Done? (1886)
The Kingdom of God Is Within You (1894)
What Is Art? (1897)
"A Letter to a Hindu" (1908)
A Calendar of Wisdom (1910)
Family

Sophia (wife)
Alexandra (daughter)
Ilya (son)
Lev Lvovich (son)
Tatyana (daughter)
Life and legacy

Yasnaya Polyana
Tolstoyan movement
Christian anarchism
Departure of a Grand Old Man (1912 film)
Lev Tolstoy and the Russia of Nicholas II (1928 documentary)
The Last Station (1990 novel
2009 film)
Honors

Tolstoy Farm
Tolstoj quadrangle
crater
Related

The Triumph of the Farmer or Industry and Parasitism (1888)
Vladimir Chertkov
Translators of Tolstoy
Tolstoy scholars

Category

Categories:
1885 short stories
Short stories by Leo Tolstoy
Parables