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Ursula K. Le Guin - Wikipedia

Ursula K. Le Guin - Wikipedia

Ursula K. Le Guin

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Ursula K. Le Guin
Le Guin in 1995
Le Guin in 1995
BornUrsula Kroeber
October 21, 1929
Berkeley, California, U.S.
DiedJanuary 22, 2018 (aged 88)
Portland, Oregon, U.S.
OccupationAuthor
Education
  • Harvard University (BA)
  • Columbia University (MA)
Periodc. 1959–2018
Genre
  • Science fiction
  • fantasy
  • realistic fiction
  • literary criticism
  • poetry
  • essay
Notable works
  • Earthsea (1964–2018)
  • The Left Hand of Darkness (1969)
  • The Dispossessed (1974)
Spouse
Charles Le Guin
 
​
(m. 1953)​
Children3
Parents
  • Alfred Kroeber
  • Theodora Kroeber
RelativesKarl Kroeber (brother)
Website
www.ursulakleguin.com Edit this at Wikidata

Ursula Kroeber Le Guin (née Kroeber; /ˈkroʊbər lə ˈɡwɪn/ KROH-bər lə GWIN;[1] October 21, 1929 – January 22, 2018) was an American author best known for her works of speculative fiction, including science fiction works set in her Hainish universe, and the Earthsea fantasy series. Her work was first published in 1959, and her literary career spanned nearly sixty years, producing more than twenty novels and over a hundred short stories, in addition to poetry, literary criticism, translations, and children's books. Frequently described as an author of science fiction, Le Guin has also been called a "major voice in American Letters".[2] Le Guin said she would prefer to be known as an "American novelist".[3]

Le Guin was born in Berkeley, California, to author Theodora Kroeber and anthropologist Alfred Louis Kroeber. Having earned a master's degree in French, Le Guin began doctoral studies but abandoned these after her marriage in 1953 to historian Charles Le Guin. She began writing full-time in the late 1950s and achieved major critical and commercial success with A Wizard of Earthsea (1968) and The Left Hand of Darkness (1969), which have been described by Harold Bloom as her masterpieces.[4] For the latter volume, Le Guin won both the Hugo and Nebula awards for best novel, becoming the first woman to do so. Several more works set in Earthsea or the Hainish universe followed; others included books set in the fictional country of Orsinia, several works for children, and many anthologies.

Cultural anthropology, Taoism, feminism, and the writings of Carl Jung all had a strong influence on Le Guin's work. Many of her stories used anthropologists or cultural observers as protagonists, and Taoist ideas about balance and equilibrium have been identified in several writings. Le Guin often subverted typical speculative fiction tropes, such as through her use of dark-skinned protagonists in Earthsea, and also used unusual stylistic or structural devices in books such as the experimental work Always Coming Home (1985). Social and political themes, including race, gender, sexuality, and coming of age were prominent in her writing. She explored alternative political structures in many stories, such as in the philosophical short story "The Ones Who Walk Away from Omelas" (1973) and the anarchist utopian novel The Dispossessed (1974).

Le Guin's writing was enormously influential in the field of speculative fiction, and has been the subject of intense critical attention. She received numerous accolades, including eight Hugos, six Nebulas, and twenty-four Locus Awards, and in 2003 became the second woman honored as a Grand Master of the Science Fiction and Fantasy Writers of America. The U.S. Library of Congress named her a Living Legend in 2000, and in 2014, she won the National Book Foundation Medal for Distinguished Contribution to American Letters. Le Guin influenced many other authors, including Booker Prize winner Salman Rushdie, David Mitchell, Neil Gaiman, and Iain Banks. After her death in 2018, critic John Clute wrote that Le Guin had "presided over American science fiction for nearly half a century",[5] while author Michael Chabon referred to her as the "greatest American writer of her generation".[6][7]

Life[edit]

Childhood and education[edit]

Ursula's father, Alfred Kroeber, with Ishi, the last of the Yahi people (1911)

Ursula K. Le Guin was born Ursula Kroeber in Berkeley, California, on October 21, 1929. Her father, Alfred Louis Kroeber, was an anthropologist at the University of California, Berkeley.[8][9] Le Guin's mother, Theodora Kroeber (born Theodora Covel Kracaw), had a graduate degree in psychology, but turned to writing in her sixties, developing a successful career as an author. Among her works was Ishi in Two Worlds (1961), a biographical volume about Ishi, an Indigenous American who had been studied by Alfred Kroeber. Ishi was the last known member of the Yahi tribe after the rest of its members were killed by white colonizers.[8][10][11]

Le Guin had three older brothers: Karl, who became a literary scholar, Theodore, and Clifton.[12][13] The family had a large book collection, and the siblings all became interested in reading while they were young.[12] The Kroeber family had a number of visitors, including well-known academics such as Robert Oppenheimer; Le Guin would later use Oppenheimer as the model for Shevek, the physicist protagonist of The Dispossessed.[10][12] The family divided its time between a summer home in the Napa Valley, and a house in Berkeley during the academic year.[10]

Le Guin's reading included science fiction and fantasy: she and her siblings frequently read issues of Thrilling Wonder Stories and Astounding Science Fiction. She was fond of myths and legends, particularly Norse mythology, and of Native American legends that her father would narrate. Other authors she enjoyed were Lord Dunsany and Lewis Padgett.[12] Le Guin also developed an early interest in writing; she wrote a short story when she was nine, and submitted her first short story to Astounding Science Fiction when she was eleven. The piece was rejected, and she did not submit anything else for another ten years.[4][14][15]

Le Guin attended Berkeley High School.[16] She received her Bachelor of Arts degree in Renaissance French and Italian literature from Radcliffe College of Harvard University in 1951, and graduated as a member of the Phi Beta Kappa honor society.[17] As a child she had been interested in biology and poetry, but had been limited in her choice of career by her difficulties with mathematics.[17] Le Guin undertook graduate studies at Columbia University, and earned a Master of Arts degree in French in 1952.[18] Soon after, she began working towards a PhD, and won a Fulbright grant to continue her studies in France from 1953 to 1954.[10][18]

Married life and death[edit]

In 1953, while traveling to France aboard the Queen Mary, Ursula met historian Charles Le Guin.[18] They married in Paris in December 1953.[19] According to Le Guin, the marriage signaled the "end of the doctorate" for her.[18] While her husband finished his doctorate at Emory University in Georgia, and later at the University of Idaho, Le Guin taught French: first at Mercer University, then at the University of Idaho after their move.[20] She also worked as a secretary until the birth of her daughter Elisabeth in 1957.[19] A second daughter, Caroline, was born in 1959.[21] Also in that year, Charles became an instructor in history at Portland State University, and the couple moved to Portland, Oregon, where their son Theodore was born in 1964.[18] They would live in Portland for the rest of their lives,[22] although Le Guin received further Fulbright grants to travel to London in 1968 and 1975.[10]

Le Guin's writing career began in the late 1950s, but the time she spent caring for her children constrained her writing schedule.[18] She would continue writing and publishing for nearly 60 years.[22] She also worked as an editor, and taught undergraduate classes. She served on the editorial boards of the journals Paradoxa and Science Fiction Studies, in addition to writing literary criticism herself.[23] She taught courses at Tulane University, Bennington College, and Stanford University, among others.[22][24] In May 1983, she delivered a commencement speech entitled "A Left-handed Commencement Address" at Mills College in Oakland, California.[25] It is listed as No. 82 in American Rhetoric's Top 100 Speeches of the 20th Century,[26] and was included in her nonfiction collection Dancing at the Edge of the World.[27]

Le Guin died on January 22, 2018, at her home in Portland, at the age of 88. Her son said that she had been in poor health for several months, and stated that it was likely she had had a heart attack. Private memorial services for her were held in Portland.[9][28] A public memorial service, which included speeches by the writers Margaret Atwood, Molly Gloss, and Walidah Imarisha, was held in Portland on June 13, 2018.[29][30]

Views and advocacy[edit]

Further information: Authors Guild, Inc. v. Google, Inc.

I think hard times are coming when we will be wanting the voices of writers who can see alternatives to how we live now and can see through our fear-stricken society and its obsessive technologies. We will need writers who can remember freedom. Poets, visionaries – the realists of a larger reality.

—Ursula K. Le Guin[31]

Le Guin refused a Nebula Award for her story "The Diary of the Rose" in 1977, in protest at the Science Fiction Writers of America's revocation of Stanisław Lem's membership. Le Guin attributed the revocation to Lem's criticism of American science fiction and willingness to live in the Eastern Bloc, and said she felt reluctant to receive an award "for a story about political intolerance from a group that had just displayed political intolerance".[32][33]

Le Guin once said she was "raised as irreligious as a jackrabbit". She expressed a deep interest in Taoism and Buddhism, saying that Taoism gave her a "handle on how to look at life" during her adolescent years.[34] In 1997, she published a translation of the Tao Te Ching.[34][35]

In December 2009, Le Guin resigned from the Authors Guild in protest over its endorsement of Google's book digitization project. "You decided to deal with the devil", she wrote in her resignation letter. "There are principles involved, above all the whole concept of copyright; and these you have seen fit to abandon to a corporation, on their terms, without a struggle."[36][37] In a speech at the 2014 National Book Awards, Le Guin criticized Amazon and the control it exerted over the publishing industry, specifically referencing Amazon's treatment of the Hachette Book Group during a dispute over ebook publication. Her speech received widespread media attention within and outside the United States, and was broadcast twice by National Public Radio.[31][38][39]

Chronology of writings[edit]

Early work[edit]

Le Guin's first published work was the poem "Folksong from the Montayna Province" in 1959, while her first published short story was "An die Musik", in 1961; both were set in her fictional country of Orsinia.[40][41] Between 1951 and 1961 she also wrote five novels, all set in Orsinia, which were rejected by publishers on the grounds that they were inaccessible. Some of her poetry from this period was published in 1975 in the volume Wild Angels.[42] Le Guin turned her attention to science fiction after a lengthy period of receiving rejections from publishers, knowing that there was a market for writing that could be readily classified as such.[43] Her first professional publication was the short story "April in Paris" in 1962 in Fantastic Science Fiction,[44] and seven other stories followed in the next few years, in Fantastic or Amazing Stories.[45] Among them were "The Dowry of Angyar", which introduced the fictional Hainish universe,[46] and "The Rule of Names" and "The Word of Unbinding", which introduced the world of Earthsea.[47] These stories were largely ignored by critics.[43]

Ace Books released Rocannon's World, Le Guin's first published novel, in 1966. Two more Hainish novels, Planet of Exile and City of Illusions were published in 1966 and 1967, respectively, and the three books together would come to be known as the Hainish trilogy.[48] The first two were each published as half of an "Ace Double": two novels bound into a paperback and sold as a single low-cost volume.[48] City of Illusions was published as a standalone volume, indicating Le Guin's growing name recognition. These books received more critical attention than Le Guin's short stories, with reviews being published in several science fiction magazines, but the critical response was still muted.[48] The books contained many themes and ideas also present in Le Guin's better known later works, including the "archetypal journey" of a protagonist who undertakes both a physical journey and one of self-discovery, cultural contact and communication, the search for identity, and the reconciliation of opposing forces.[49]

When publishing her story "Nine Lives" in 1968, Playboy magazine asked Le Guin whether they could run the story without her full first name, to which Le Guin agreed: the story was published under the name "U. K. Le Guin". She later wrote that it was the first and only time she had experienced prejudice against her as a woman writer from an editor or publisher, and reflected that "it seemed so silly, so grotesque, that I failed to see that it was also important." In subsequent printings, the story was published under her full name.[50]

Critical attention[edit]

Le Guin's next two books brought her sudden and widespread critical acclaim. A Wizard of Earthsea, published in 1968, was a fantasy novel written initially for teenagers.[4] Le Guin had not planned to write for young adults, but was asked to write a novel targeted at this group by the editor of Parnassus Press, who saw it as a market with great potential.[51][52] A coming of age story set in the fictional archipelago of Earthsea, the book received a positive reception in both the U.S. and Britain.[51][53]

Le Guin with Harlan Ellison at Westercon in Portland, Oregon (1984)

Her next novel, The Left Hand of Darkness, was a Hainish universe story exploring themes of gender and sexuality on a fictional planet where humans have no fixed sex.[54] The book was Le Guin's first to address feminist issues,[55] and according to scholar Donna White, it "stunned the science fiction critics"; it won both the Hugo and the Nebula Awards for best novel, making Le Guin the first woman to win these awards, and a number of other accolades.[56][57] A Wizard of Earthsea and The Left Hand of Darkness have been described by critic Harold Bloom as Le Guin's masterpieces.[4] She won the Hugo Award again in 1973 for The Word for World is Forest.[58] The book was influenced by Le Guin's anger over the Vietnam War, and explored themes of colonialism and militarism:[59][60] Le Guin later described it as the "most overt political statement" she had made in a fictional work.[58]

Le Guin continued to develop themes of equilibrium and coming-of-age in the next two installments of the Earthsea series, The Tombs of Atuan and The Farthest Shore, published in 1971 and 1972, respectively.[61] Both books were praised for their writing, while the exploration of death as a theme in The Farthest Shore also drew praise.[62] Her 1974 novel The Dispossessed again won both the Hugo and the Nebula awards for best novel, making her the first person to win both awards for each of two books.[63] Also set in the Hainish universe, the story explored anarchism and utopianism. Scholar Charlotte Spivack described it as representing a shift in Le Guin's science fiction towards discussing political ideas.[64][65] Several of her speculative fiction short stories from the period, including her first published story, were later anthologized in the 1975 collection The Wind's Twelve Quarters.[66][67] The fiction of the period 1966 to 1974, which also included The Lathe of Heaven, the Hugo Award-winning "The Ones Who Walk Away From Omelas" and the Nebula Award-winning "The Day Before the Revolution",[68] constitutes Le Guin's best-known body of work.[69]

Wider exploration[edit]

Le Guin published a variety of work in the second half of the 1970s. This included speculative fiction in the form of the novel The Eye of the Heron, which, according to Le Guin, may be a part of the Hainish universe.[41][70][71] She also published Very Far Away from Anywhere Else, a realistic novel for adolescents,[72] as well as the collection Orsinian Tales and the novel Malafrena in 1976 and 1979, respectively. Though the latter two were set in the fictional country of Orsinia, the stories were realistic fiction rather than fantasy or science fiction.[73] The Language of the Night, a collection of essays, was released in 1979,[74] and Le Guin also published Wild Angels, a volume of poetry, in 1975.[75]

Between 1979, when she published Malafrena, and 1994, when the collection A Fisherman of the Inland Sea was released, Le Guin wrote primarily for a younger audience.[76] In 1985 she published the experimental work Always Coming Home.[77] She wrote 11 children's picture books, including the Catwings series, between 1979 and 1994, along with The Beginning Place, an adolescent fantasy novel, released in 1980.[35][76][78] Four more poetry collections were also published in this period, all of which were positively received.[75][76] She also revisited Earthsea, publishing Tehanu in 1990: coming eighteen years after The Farthest Shore, during which Le Guin's views had developed considerably, the book was grimmer in tone than the earlier works in the series, and challenged some ideas presented therein. It received critical praise,[79] won Le Guin a third Nebula Award for Best Novel,[80] and led to the series being recognized among adult literature.[81]

Later writings[edit]

Le Guin returned to the Hainish Cycle in the 1990s after a lengthy hiatus with the publication of a series of short stories, beginning with "The Shobies' Story" in 1990.[82] These stories included "Coming of Age in Karhide" (1995), which explored growing into adulthood and was set on the same planet as The Left Hand of Darkness.[83] It was described by scholar Sandra Lindow as "so transgressively sexual and so morally courageous" that Le Guin "could not have written it in the '60s".[82] In the same year she published the story suite Four Ways to Forgiveness, and followed it up with "Old Music and the Slave Women", a fifth, connected, story in 1999. All five of the stories explored freedom and rebellion within a slave society.[84] In 2000 she published The Telling, which would be her final Hainish novel, and the next year released Tales from Earthsea and The Other Wind, the last two Earthsea books.[41][85] The latter won the World Fantasy Award for Best Novel in 2002.[86]

From 2002 onwards several collections and anthologies of Le Guin's work were published. A series of her stories from the period 1994–2002 was released in 2002 in the collection The Birthday of the World and Other Stories, along with the novella Paradises Lost.[87] The volume examined unconventional ideas about gender, as well as anarchist themes.[88][89][90] Other collections included Changing Planes, also released in 2002, while the anthologies included The Unreal and the Real (2012),[41] and The Hainish Novels and Stories, a two-volume set of works from the Hainish universe released by the Library of America.[91]

Other works from this period included Lavinia (2008), based on a character from Virgil's Aeneid,[92] and the Annals of the Western Shore trilogy, consisting of Gifts (2004), Voices (2006), and Powers (2007).[93] Although Annals of the Western Shore was written for an adolescent audience, the third volume, Powers, received the Nebula Award for Best Novel in 2009.[93][94] In her final years, Le Guin largely turned away from fiction, and produced a number of essays, poems, and some translation.[5] Her final publications included the non-fiction collections Dreams Must Explain Themselves and Ursula K Le Guin: Conversations on Writing, and the poetry volume So Far So Good: Final Poems 2014–2018, all of which were released after her death.[41][95][96]

Style and influences[edit]

Influences[edit]

Once I learned to read, I read everything. I read all the famous fantasies – Alice in Wonderland, and Wind in the Willows, and Kipling. I adored Kipling's Jungle Book. And then when I got older I found Lord Dunsany. He opened up a whole new world – the world of pure fantasy. And ... Worm Ouroboros. Again, pure fantasy. Very, very fattening. And then my brother and I blundered into science fiction when I was 11 or 12. Early Asimov, things like that. But that didn't have too much effect on me. It wasn't until I came back to science fiction and discovered Sturgeon – but particularly Cordwainer Smith. ... I read the story "Alpha Ralpha Boulevard", and it just made me go, "Wow! This stuff is so beautiful, and so strange, and I want to do something like that."

—Ursula K. Le Guin[97]

Le Guin read both classic and speculative fiction widely in her youth. She later said that science fiction did not have much impact on her until she read the works of Theodore Sturgeon and Cordwainer Smith, and that she had sneered at the genre as a child.[34][97] Authors Le Guin describes as influential include Victor Hugo, William Wordsworth, Charles Dickens, Boris Pasternak, and Philip K. Dick. Le Guin and Dick attended the same high-school, but did not know each other; Le Guin later described her novel The Lathe of Heaven as an homage to him.[14][34][98][99] She also considered J. R. R. Tolkien and Leo Tolstoy to be stylistic influences, and preferred reading Virginia Woolf and Jorge Luis Borges to well-known science-fiction authors such as Robert Heinlein, whose writing she described as being of the "white man conquers the universe" tradition.[100] Several scholars state that the influence of mythology, which Le Guin enjoyed reading as a child, is also visible in much of her work: for example, the short story "The Dowry of Angyar" is described as a retelling of a Norse myth.[14][101]

The discipline of cultural anthropology had a powerful influence on Le Guin's writing.[102] Her father Alfred Kroeber is considered a pioneer in the field, and was a director of the University of California Museum of Anthropology: as a consequence of his research, Le Guin was exposed to anthropology and cultural exploration as a child. In addition to myths and legends, she read such volumes as The Leaves of the Golden Bough by Lady Frazer, a children's book adapted from The Golden Bough, a study of myth and religion by her husband James George Frazer.[58][102][103][104][105] She described living with her father's friends and acquaintances as giving her the experience of the other.[34] The experiences of Ishi, in particular, were influential on Le Guin, and elements of his story have been identified in works such as Planet of Exile, City of Illusions, and The Word for World Is Forest and The Dispossessed.[58]

Several scholars have commented that Le Guin's writing was influenced by Carl Jung, and specifically by the idea of Jungian archetypes.[106][107] In particular, the shadow in A Wizard of Earthsea is seen as the Shadow archetype from Jungian psychology, representing Ged's pride, fear, and desire for power.[108][109][110] Le Guin discussed her interpretation of this archetype, and her interest in the dark and repressed parts of the psyche, in a 1974 lecture.[109] She stated elsewhere that she had never read Jung before writing the first Earthsea books.[108][109] Other archetypes, including the Mother, Animus, and Anima, have also been identified in Le Guin's writing.[106] the planetary forests featured in multiple Hainish works are described as a metaphor for the mind, and of Jungian "collective unconscious.[111]

Philosophical Taoism had a large role in Le Guin's world view,[112] and the influence of Taoist thought can be seen in many of her stories.[113][114] Many of Le Guin's protagonists, including in The Lathe of Heaven, embody the Taoist ideal of leaving things alone. The anthropologists of the Hainish universe try not to meddle with the cultures they encounter, while one of the earliest lessons Ged learns in A Wizard of Earthsea is not to use magic unless it is absolutely necessary.[114] Taoist influence is evident in Le Guin's depiction of equilibrium in the world of Earthsea: the archipelago is depicted as being based on a delicate balance, which is disrupted by somebody in each of the first three novels. This includes an equilibrium between land and sea, implicit in the name "Earthsea", between people and their natural environment,[115] and a larger cosmic equilibrium, which wizards are tasked with maintaining.[116] Another prominent Taoist idea is the reconciliation of opposites such as light and dark, or good and evil. A number of Hainish novels, The Dispossessed prominent among them, explored such a process of reconciliation.[117] In the Earthsea universe, it is not the dark powers, but the characters' misunderstanding of the balance of life, that is depicted as evil,[118] in contrast to conventional Western stories in which good and evil are in constant conflict.[119][120]

Genre and style[edit]

Although Le Guin is primarily known for her works of speculative fiction, she also wrote realistic fiction, non-fiction, poetry, and several other literary forms, and as a result her work is difficult to classify.[2] Her writings received critical attention from mainstream critics, critics of children's literature, and critics of speculative fiction.[2] Le Guin herself said that she would prefer to be known as an "American novelist".[3] Le Guin's transgression of conventional boundaries of genre led to literary criticism of Le Guin becoming "Balkanized", particularly between scholars of children's literature and speculative fiction.[2] Commentators have noted that the Earthsea novels specifically received less critical attention because they were considered children's books. Le Guin herself took exception to this treatment of children's literature, describing it as "adult chauvinist piggery".[2][121] In 1976, literature scholar George Slusser criticized the "silly publication classification designating the original series as 'children's literature'",[122] while in Barbara Bucknall's opinion Le Guin "can be read, like Tolkien, by ten-year-olds and by adults. These stories are ageless because they deal with problems that confront us at any age."[122]

Fortunately, though extrapolation is an element in science fiction, it isn't the name of the game by any means. It is far too rationalist and simplistic to satisfy the imaginative mind, whether the writer's or the reader's. Variables are the spice of life. [If] you like you can read [a lot of] science fiction, as a thought-experiment. Let's say (says Mary Shelley) that a young doctor creates a human being in his laboratory; let's say (says Philip K. Dick) that the Allies lost the second world war; let's say this or that is such and so, and see what happens... In a story so conceived, the moral complexity proper to the modern novel need not be sacrificed, nor is there any built-in dead end; thought and intuition can move freely within bounds set only by the terms of the experiment, which may be very large indeed.

—Ursula K. Le Guin, in the introduction to the 1976 edition of The Left Hand of Darkness.[123]

Several of her works have a premise drawn from sociology, psychology, or philosophy.[124][125] As a result, Le Guin's writing is often described as "soft" science fiction, and she has been described as the "patron saint" of this sub-genre.[126][127] A number of science fiction authors have objected to the term "soft science fiction", describing it as a potentially pejorative term used to dismiss stories not based on problems in physics, astronomy, or engineering, and also to target the writing of women or other groups under-represented in the genre.[128] Le Guin suggested the term "social science fiction" for some of her writing, while pointing out that many of her stories were not science fiction at all. She argued that the term "soft science fiction" was divisive, and implied a narrow view of what constitutes valid science fiction.[15]

The influence of anthropology can be seen in the setting Le Guin chose for a number of her works. Several of her protagonists are anthropologists or ethnologists exploring a world alien to them.[129] This is particularly true in the stories set in the Hainish universe, an alternative reality in which humans did not evolve on Earth, but on Hain. The Hainish subsequently colonized many planets, before losing contact with them, giving rise to varied but related biology and social structure.[58][129] Examples include Rocannon in Rocannon's World and Genly Ai in The Left Hand of Darkness. Other characters, such as Shevek in The Dispossessed, become cultural observers in the course of their journeys on other planets.[102][130] Le Guin's writing often examines alien cultures, and particularly the human cultures from planets other than Earth in the Hainish universe.[129] In discovering these "alien" worlds, Le Guin's protagonists, and by extension the readers, also journey into themselves, and challenge the nature of what they consider "alien" and what they consider "native".[131]

Several of Le Guin's works have featured stylistic or structural features that were unusual or subversive. The heterogeneous structure of The Left Hand of Darkness, described as "distinctly post-modern", was unusual for the time of its publication.[54] This was in marked contrast to the structure of (primarily male-authored) traditional science fiction, which was straightforward and linear.[132] The novel was framed as part of a report sent to the Ekumen by the protagonist Genly Ai after his time on the planet Gethen, thus suggesting that Ai was selecting and ordering the material, consisting of personal narration, diary extracts, Gethenian myths, and ethnological reports.[133] Earthsea also employed an unconventional narrative form described by scholar Mike Cadden as "free indirect discourse", in which the feelings of the protagonist are not directly separated from the narration, making the narrator seem sympathetic to the characters, and removing the skepticism towards a character's thoughts and emotions that are a feature of more direct narration.[134] Cadden suggests that this method leads to younger readers sympathizing directly with the characters, making it an effective technique for young-adult literature.[135]

A number of Le Guin's writings, including the Earthsea series, challenged the conventions of epic fantasies and myths. Many of the protagonists in Earthsea were dark-skinned individuals, in comparison to the white-skinned heroes more traditionally used; some of the antagonists, in contrast, were white-skinned, a switching of race roles that has been remarked upon by multiple critics.[136][137] In a 2001 interview, Le Guin attributed the frequent lack of character illustrations on her book covers to her choice of non-white protagonists. She explained this choice, saying: "most people in the world aren't white. Why in the future would we assume they are?"[58] Her 1985 book Always Coming Home, described as "her great experiment", included a story told from the perspective of a young protagonist, but also included poems, rough drawings of plants and animals, myths, and anthropological reports from the matriarchal society of the Kesh, a fictional people living in the Napa valley after a catastrophic global flood.[41][77]

Themes[edit]

Gender and sexuality[edit]

Gender and sexuality are prominent themes in a number of Le Guin's works. The Left Hand of Darkness, published in 1969, was among the first books in the genre now known as feminist science fiction, and is the most famous examination of androgyny in science fiction.[138] The story is set on the fictional planet of Gethen, whose inhabitants are ambisexual humans with no fixed gender identity, who adopt female or male sexual characteristics for brief periods of their sexual cycle.[139] Which sex they adopt can depend on context and relationships.[140] Gethen was portrayed as a society without war, as a result of this absence of fixed gender characteristics, and also without sexuality as a continuous factor in social relationships.[55][139] Gethenian culture was explored in the novel through the eyes of a Terran, whose masculinity proves a barrier to cross-cultural communication.[55] Outside the Hainish Cycle, Le Guin's use of a female protagonist in The Tombs of Atuan, published in 1971, was described as a "significant exploration of womanhood".[141]

Le Guin at a reading in Danville, California (June 2008)

Le Guin's attitude towards gender and feminism evolved considerably over time.[142] Although The Left Hand of Darkness was seen as a landmark exploration of gender, it also received criticism for not going far enough. Reviewers pointed to its usage of masculine gender pronouns to describe its androgynous characters,[54] the lack of androgynous characters portrayed in stereotypical feminine roles,[143] and the portrayal of heterosexuality as the norm on Gethen.[144] Le Guin's portrayal of gender in Earthsea was also described as perpetuating the notion of a male-dominated world; according to the Encyclopedia of Science Fiction, "Le Guin saw men as the actors and doers in the [world], while women remain the still centre, the well from which they drink".[41][145][146] Le Guin initially defended her writing; in a 1976 essay "Is Gender Necessary?" she wrote that gender was secondary to the primary theme of loyalty in The Left Hand of Darkness. Le Guin revisited this essay in 1988, and acknowledged that gender was central to the novel;[54] she also apologized for depicting Gethenians solely in heterosexual relationships.[144]

Le Guin responded to these critiques in her subsequent writing. She intentionally used feminine pronouns for all sexually latent Gethenians in her 1995 short story "Coming of Age in Karhide", and in a later reprinting of "Winter's King", which was first published in 1969.[143][147][148] "Coming of Age in Karhide" was later anthologized in the 2002 collection The Birthday of the World, which contained six other stories featuring unorthodox sexual relationships and marital arrangements.[90] She also revisited gender relations in Earthsea in Tehanu, published in 1990.[149] This volume was described as a rewriting or reimagining of The Tombs of Atuan, because the power and status of the female protagonist Tenar are the inverse of what they were in the earlier book, which was also focused on her and Ged.[150] During this later period she commented that she considered The Eye of the Heron, published in 1978, to be her first work genuinely centered on a woman.[151]

Moral development[edit]

Le Guin explores coming of age, and moral development more broadly, in many of her writings.[152] This is particularly the case in those works written for a younger audience, such as Earthsea and Annals of the Western Shore. Le Guin wrote in a 1973 essay that she chose to explore coming-of-age in Earthsea since she was writing for an adolescent audience: "Coming of age ... is a process that took me many years; I finished it, so far as I ever will, at about age thirty-one; and so I feel rather deeply about it. So do most adolescents. It's their main occupation, in fact."[153] She also said that fantasy was best suited as a medium for describing coming of age, because exploring the subconscious was difficult using the language of "rational daily life".[153][154]

The first three Earthsea novels together follow Ged from youth to old age, and each of them also follow the coming of age of a different character.[155] A Wizard of Earthsea focuses on Ged's adolescence, while The Tombs of Atuan and The Farthest Shore explore that of Tenar and the prince Arren, respectively.[156][125] A Wizard of Earthsea is frequently described as a Bildungsroman,[157][158] in which Ged's coming of age is intertwined with the physical journey he undertakes through the novel.[159] To Mike Cadden the book was a convincing tale "to a reader as young and possibly as headstrong as Ged, and therefore sympathetic to him".[158] Reviewers have described the ending of the novel, wherein Ged finally accepts the shadow as a part of himself, as a rite of passage. Scholar Jeanne Walker writes that the rite of passage at the end was an analogue for the entire plot of A Wizard of Earthsea, and that the plot itself plays the role of a rite of passage for an adolescent reader.[160][161]

Each volume of Annals of the Western Shore also describes the coming of age of its protagonists,[162] and features explorations of being enslaved to one's own power.[162][163] The process of growing up is depicted as seeing beyond narrow choices the protagonists are presented with by society. In Gifts, Orrec and Gry realize that the powers their people possess can be used in two ways: for control and dominion, or for healing and nurturing. This recognition allows them to take a third choice, and leave.[164] This wrestling with choice has been compared to the choices the characters are forced to make in Le Guin's short story "The Ones Who Walk Away from Omelas".[164] Similarly, Ged helps Tenar in The Tombs of Atuan to value herself and to find choices that she did not see,[165][166] leading her to leave the Tombs with him.[167]

Political systems[edit]

Alternative social and political systems are a recurring theme in Le Guin's writing.[6][168] Critics have paid particular attention to The Dispossessed and Always Coming Home,[168] although Le Guin explores related themes in a number of her works,[168] such as in "The Ones Who Walk Away From Omelas".[169] The Dispossessed is an anarchist utopian novel, which according to Le Guin drew from pacifist anarchists, including Peter Kropotkin, as well as from the counterculture of the 1960s and 1970s.[104] Le Guin has been credited with "[rescuing] anarchism from the cultural ghetto to which it has been consigned", and helping to bring it into the intellectual mainstream.[170] Fellow author Kathleen Ann Goonan wrote that Le Guin's work confronted the "paradigm of insularity toward the suffering of people, other living beings, and resources", and explored "life-respecting sustainable alternatives".[6]

The Dispossessed, set on the twin planets of Urras and Anarres, features a planned anarchist society depicted as an "ambiguous utopia". The society, created by settlers from Urras, is materially poorer than the wealthy society of Urras, but more ethically and morally advanced.[171] Unlike classical utopias, the society of Anarres is portrayed as neither perfect nor static; the protagonist Shevek finds himself traveling to Urras to pursue his research. Nonetheless, the misogyny and hierarchy present in the authoritarian society of Urras is absent among the anarchists, who base their social structure on cooperation and individual liberty.[171] The Eye of the Heron, published a few years after The Dispossessed, was described as continuing Le Guin's exploration of human freedom, through a conflict between two societies of opposing philosophies: a town inhabited by descendants of pacifists, and a city inhabited by descendants of criminals.[172]

Always Coming Home, set in California in the distant future, examines a warlike society, resembling contemporary American society, from the perspective of the Kesh, its pacifist neighbors. The society of the Kesh has been identified by scholars as a feminist utopia, which Le Guin uses to explore the role of technology.[173] Scholar Warren Rochelle stated that it was "neither a matriarchy nor a patriarchy: men and women just are".[174] "The Ones Who Walk Away From Omelas", a parable depicting a society in which widespread wealth, happiness, and security, comes at the cost of the continued misery of a single child, has also been read as a critique of contemporary American society.[175][176] The Word for World is Forest explored the manner in which the structure of society affects the natural environment; in the novel, the natives of the planet of Athshe have adapted their way of life to the ecology of the planet.[60] The colonizing human society, in contrast, is depicted as destructive and uncaring; in depicting it, Le Guin also critiqued colonialism and imperialism, driven partly by her disapproval for U.S. intervention in the Vietnam War.[59][60][177]

Other social structures are examined in works such as the story cycle Four Ways to Forgiveness, and the short story "Old Music and the Slave Women", occasionally described as a "fifth way to forgiveness". [178] Set in the Hainish universe, the five stories together examine revolution and reconstruction in a slave-owning society.[179][180] According to Rochelle, the stories examine a society that has the potential to build a "truly human community", made possible by the Ekumen's recognition of the slaves as human beings, thus offering them the prospect of freedom and the possibility of utopia, brought about through revolution.[181] Slavery, justice, and the role of women in society are also explored in Annals of the Western Shore.[182][183]

Reception and legacy[edit]

Reception[edit]

Le Guin received rapid recognition after the publication of The Left Hand of Darkness in 1969, and by the 1970s she was among the best known writers in the field.[2][41] Her books sold many millions of copies, and were translated into more than 40 languages; several remain in print many decades after their first publication.[5][9][184] Her work received intense academic attention; she has been described as being the "premier writer of both fantasy and science fiction" of the 1970s,[185] the most frequently discussed science fiction writer of the 1970s,[186] and over her career, as intensively studied as Philip K. Dick.[41] Later in her career, she also received recognition from mainstream literary critics: in an obituary, Jo Walton stated that Le Guin "was so good that the mainstream couldn't dismiss SF any more".[56] According to scholar Donna White, Le Guin was a "major voice in American letters", whose writing was the subject of many volumes of literary critique, more than two hundred scholarly articles, and a number of dissertations.[2]

Le Guin was unusual in receiving most of her recognition for her earliest works, which remained her most popular;[100] a commentator in 2018 described a "tendency toward didacticism" in her later works,[9] while John Clute, writing in The Guardian, stated that her later writing "suffers from the need she clearly felt to speak responsibly to her large audience about important things; an artist being responsible can be an artist wearing a crown of thorns".[5] Not all of her works received as positive a reception; The Compass Rose was among the volumes that had a mixed reaction, while the Science Fiction Encyclopedia described The Eye of the Heron as "an over-diagrammatic political fable whose translucent simplicity approaches self-parody".[41] Even the critically well-received The Left Hand of Darkness, in addition to critique from feminists,[187] was described by Alexei Panshin as a "flat failure".[54]

Her writing was recognized by the popular media and by commentators. The Los Angeles Times commented in 2009 that after the death of Arthur C. Clarke, Le Guin was "arguably the most acclaimed science fiction writer on the planet", and went on to describe her as a "pioneer" of literature for young people.[100] In an obituary, Clute described Le Guin as having "presided over American science fiction for nearly half a century", and as having a reputation as an author of the "first rank".[5] In 2016, The New York Times described her as "America's greatest living science fiction writer".[188] Praise for Le Guin frequently focused on the social and political themes her work explored,[189] and for her prose; literary critic Harold Bloom described Le Guin as an "exquisite stylist", saying that in her writing, "Every word was exactly in place and every sentence or line had resonance". According to Bloom, Le Guin was a "visionary who set herself against all brutality, discrimination, and exploitation".[6] The New York Times described her as using "a lean but lyrical style" to explore issues of moral relevance.[9] Prefacing an interview in 2008, Vice magazine described Le Guin as having written "some of the more mind-warping [science fiction] and fantasy tales of the past 40 years".[15]

Le Guin's fellow authors also praised her writing. After Le Guin's death in 2018, writer Michael Chabon referred to her as the "greatest American writer of her generation", and said that she had "awed [him] with the power of an unfettered imagination".[6][7] Author Margaret Atwood hailed Le Guin's "sane, smart, crafty and lyrical voice", and wrote that social injustice was a powerful motivation through Le Guin's life.[190] Her prose, according to Zadie Smith, was "as elegant and beautiful as any written in the twentieth century".[6] Academic and author Joyce Carol Oates highlighted Le Guin's "outspoken sense of justice, decency, and common sense", and called her "one of the great American writers and a visionary artist whose work will long endure".[6] China Miéville described Le Guin as a "literary colossus", and wrote that she was a "writer of intense ethical seriousness and intelligence, of wit and fury, of radical politics, of subtlety, of freedom and yearning".[6]

Awards and recognition[edit]

Le Guin seated in a bookstore
Le Guin at a "meet the author" event in 2004

The accolades Le Guin has received include numerous annual awards for individual works. She won eight Hugo Awards from twenty-six nominations, and six Nebula Awards from eighteen nominations, including four Nebula Awards for Best Novel from six nominations, more than any other writer.[86][191] Locus Magazine subscribers have voted Le Guin to receive 24 Locus Awards.[86][192] At the time of her death she was third for total wins, as well as second behind Neil Gaiman for awards for fiction.[193] For her novels alone she won five Locus Awards, four Nebula Awards, two Hugo Awards, and one World Fantasy Award, and won each of those awards in short fiction categories as well.[33][86] Her third Earthsea novel, The Farthest Shore, won the 1973 National Book Award for Young People's Literature,[194] and she was a finalist for ten Mythopoeic Awards, nine in Fantasy and one for Scholarship.[86] Her 1996 collection Unlocking the Air and Other Stories was one of three finalists for the 1997 Pulitzer Prize for Fiction.[195] Other awards won by Le Guin include three James Tiptree Jr. Awards, and three Jupiter Awards.[86] She won her final Hugo award a year after her death, for a complete edition of Earthsea, illustrated by Charles Vess; the same volume also won a Locus award.[86]

Other awards and accolades have recognized Le Guin's contributions to speculative fiction. She was voted a Gandalf Grand Master Award by the World Science Fiction Society in 1979.[86] The Science Fiction Research Association gave her its Pilgrim Award in 1989 for her "lifetime contributions to SF and fantasy scholarship".[86] At the 1995 World Fantasy Convention she won the World Fantasy Award for Life Achievement, a judged recognition of outstanding service to the fantasy field.[86][196] The Science Fiction and Fantasy Hall of Fame inducted her in 2001, its sixth class of two deceased and two living writers.[197] The Science Fiction and Fantasy Writers of America named her its 20th Grand Master in 2003: she was the second, and at the time of death one of only six, women to receive that honor.[198][199][200] In 2013, she was given the Eaton Award by the University of California, Riverside, for lifetime achievement in science fiction.[86][201]

External videos
video icon Neil Gaiman presenting the Medal for Distinguished Contribution to American Letters to Le Guin at the National Book Awards, November 19, 2014, C-SPAN

Later in her career Le Guin also received accolades recognizing her contributions to literature more generally. In April 2000, the U.S. Library of Congress named Le Guin a Living Legend in the "Writers and Artists" category for her significant contributions to America's cultural heritage.[202] The American Library Association granted her the annual Margaret Edwards Award in 2004, and also selected her to deliver the annual May Hill Arbuthnot Lecture.[203][204] The Edwards Award recognizes one writer and a particular body of work: the 2004 panel cited the first four Earthsea volumes, The Left Hand of Darkness and The Beginning Place. The panel said that Le Guin "has inspired four generations of young adults to read beautifully constructed language, visit fantasy worlds that inform them about their own lives, and think about their ideas that are neither easy nor inconsequential".[203] A collection of Le Guin's works was published by the Library of America in 2016, an honor only rarely given to living writers.[188] The National Book Foundation awarded Le Guin its Medal for Distinguished Contribution to American Letters in 2014, stating that she had "defied conventions of narrative, language, character, and genre, and transcended boundaries between fantasy and realism to forge new paths for literary fiction".[205][206] The American Academy of Arts and Letters made her a member in 2017.[207] On July 27, 2021, Le Guin was honored by the US Postal Service with the 33rd stamp in the Postal Service's Literary Arts series. The stamp features a portrait of the author taken from a 2006 photograph against a background image inspired by her book The Left Hand of Darkness. The stamp was designed by Donato Gionacola.[208]

Legacy and influence[edit]

Le Guin had a considerable influence on the field of speculative fiction; Jo Walton argued that Le Guin played a large role in both broadening the genre and helping genre writers achieve mainstream recognition.[56][209][210] The Earthsea books are cited as having a wide impact, including outside the field of literature. Atwood considers A Wizard of Earthsea one of the "wellsprings" of fantasy literature,[211] and modern writers have credited the book for the idea of a "wizard school", later made famous by the Harry Potter series of books,[212] and with popularizing the trope of a boy wizard, also present in Harry Potter.[213] The notion that names can exert power is a theme in the Earthsea series; critics have suggested that this inspired Hayao Miyazaki's use of the idea in his 2001 film Spirited Away.[214]

Neil Gaiman, pictured here in 2013, is among the many authors who have acknowledged Le Guin's influence on their own writing.

Le Guin's writings set in the Hainish universe also had a wide influence. Le Guin coined the name "ansible" for an instantaneous interstellar communication device in 1966; the term was later adopted by several other writers, including Orson Scott Card in the Ender Series and Neil Gaiman in a script for a Doctor Who episode.[215] Suzanne Reid wrote that at the time The Left Hand of Darkness was written, Le Guin's ideas of androgyny were unique not only to science fiction, but to literature in general.[55] That volume is specifically cited as leaving a large legacy; in discussing it, literary critic Harold Bloom wrote "Le Guin, more than Tolkien, has raised fantasy into high literature, for our time".[216] Bloom followed this up by listing the book in his The Western Canon (1994) as one of the books in his conception of artistic works that have been important and influential in Western culture.[217] This view was echoed in The Paris Review, which wrote that "No single work did more to upend the genre's conventions than The Left Hand of Darkness",[34] while White argued that it was one of the seminal works of science fiction, as important as Mary Shelley's Frankenstein (1818).[54]

Commentators have also described Le Guin as being influential in the field of literature more generally. Literary critic Elaine Showalter suggested that Le Guin "set the pace as a writer for women unlearning silence, fear, and self-doubt",[6] while writer Brian Attebery stated that "[Le Guin] invented us: science fiction and fantasy critics like me but also poets and essayists and picture book writers and novelists".[6] Le Guin's own literary criticism proved influential; her 1973 essay "From Elfland to Poughkeepsie" led to renewed interest in the work of Kenneth Morris, and eventually to the publication of a posthumous novel by Morris.[218] Le Guin also played a role in bringing speculative fiction into the literary mainstream by supporting journalists and scholarly endeavors examining the genre.[209]

Several prominent authors acknowledge Le Guin's influence on their own writing. Jo Walton wrote that "her way of looking at the world had a huge influence on me, not just as a writer but as a human being".[56] Other writers she influenced include Booker Prize winner Salman Rushdie, as well as David Mitchell, Gaiman, Algis Budrys, Goonan, and Iain Banks.[6][34][100] Mitchell, author of books such as Cloud Atlas, described A Wizard of Earthsea as having a strong influence on him, and said that he felt a desire to "wield words with the same power as Ursula Le Guin".[219] Le Guin is also credited with inspiring several female science fiction authors in the 1970s, including Vonda McIntyre. When McIntyre established a writers' workshop in Seattle in 1971, Le Guin was one of the instructors.[220] Film-maker Arwen Curry began production on a documentary about Le Guin in 2009, filming "dozens" of hours of interviews with the author as well as many other writers and artists who have been inspired by her. Curry launched a successful crowdfunding campaign to finish the documentary in early 2016 after winning a grant from the National Endowment for the Humanities.[221]

In October 2021, the Ursula K. Le Guin Prize for Fiction was announced. The award is managed by the Ursula K. Le Guin Literary Trust and a panel of jurors. The prize is worth US$25,000 and will be awarded annually to "a single book-length work of imaginative fiction." The inaugural shortlist was announced on July 28, 2022.[222] The prize's inaugural winner was announced on October 21, 2022, Le Guin's birthday.[223][224]

Adaptations of her work[edit]

Le Guin's works have been adapted for radio,[225][226] film, television, and the stage. Her 1971 novel The Lathe of Heaven has been released on film twice, in 1979 by WNET with Le Guin's participation, and then in 2002 by the A&E Network. In a 2008 interview, she said she considered the 1979 version as "the only good adaptation to film" of her work to date.[15] In the early 1980s Hayao Miyazaki asked to create an animated adaptation of Earthsea. Le Guin, who was unfamiliar with his work and anime in general, initially turned down the offer, but later accepted after seeing My Neighbor Totoro.[227] The third and fourth Earthsea books were used as the basis of Tales from Earthsea, released in 2006. Rather than being directed by Hayao Miyazaki himself, the film was directed by his son Gorō, which disappointed Le Guin. Le Guin was positive about the aesthetic of the film, writing that "much of it was beautiful", but was critical of the film's moral sense and its use of physical violence, and particularly the use of a villain whose death provided the film's resolution.[227] In 2004, the Sci Fi Channel adapted the first two books of the Earthsea trilogy as the miniseries Legend of Earthsea. Le Guin was highly critical of the miniseries, calling it a "far cry from the Earthsea I envisioned", objecting to the use of white actors for her red-, brown-, and black-skinned characters.[228]

Le Guin's novel The Left Hand of Darkness was adapted for the stage in 1995 by Chicago's Lifeline Theatre. Reviewer Jack Helbig at the Chicago Reader wrote that the "adaptation is intelligent and well crafted but ultimately unsatisfying", in large measure because it is extremely difficult to compress a complex 300-page novel into a two-hour stage presentation.[229] Paradises Lost was adapted into an opera by the opera program of the University of Illinois.[230][231] The opera was composed by Stephen A. Taylor;[230] the libretto has been attributed both to Kate Gale[232] and to Marcia Johnson.[230] Created in 2005,[232] the opera premiered in April 2012.[233] Le Guin described the effort as a "beautiful opera" in an interview, and expressed hopes that it would be picked up by other producers. She also said she was better pleased with stage versions, including Paradises Lost, than screen adaptations of her work to that date.[231] In 2013, the Portland Playhouse and Hand2Mouth Theatre produced a play based on The Left Hand of Darkness, directed and adapted by Jonathan Walters, with text written by John Schmor. The play opened May 2, 2013, and ran until June 16, 2013, in Portland, Oregon.[234]

Bibliography[edit]

Main article: Ursula K. Le Guin bibliography
Le Guin signing a book in 2013

Le Guin's career as a professional writer spanned nearly sixty years, from 1959 to 2018. During this period, she wrote more than twenty novels, more than a hundred short stories, more than a dozen volumes of poetry, five translations, and thirteen children's books.[9][207] Her writing encompassed speculative fiction, realistic fiction, non-fiction, screenplays, librettos, essays, poetry, speeches, translations, literary critiques, chapbooks, and children's fiction. Le Guin's first published work was the poem "Folksong from the Montayna Province" in 1959, while her first published short story was "An die Musik", in 1961. Her first professional publication was the short story "April in Paris" in 1962, while her first published novel was Rocannon's World, released by Ace Books in 1966.[40][41][44][235] Her final publications included the non-fiction collections Dreams Must Explain Themselves and Ursula K Le Guin: Conversations on Writing, both released after her death.[41][95] Her best-known works include the six volumes of the Earthsea series, and the many novels of the Hainish Cycle.[41][236]

See also[edit]

  • List of American novelists
  • List of fantasy authors
  • List of science fiction authors

Citations[edit]

  1. ^ Le Guin, Ursula. "How to Pronounce Me". Archived from the original on March 6, 2014. Retrieved March 22, 2014.
  2. ^ Jump up to:a b c d e f g White 1999, pp. 1–2.
  3. ^ Jump up to:a b Phillips, Julie (December 2012). "Ursula K. Le Guin, American Novelist". Bookslut. Archived from the original on January 20, 2017. Retrieved September 13, 2016.
  4. ^ Jump up to:a b c d White 1999, p. 2.
  5. ^ Jump up to:a b c d e Clute, John (January 24, 2018). "Ursula K Le Guin obituary". The Guardian. Archived from the original on November 9, 2019. Retrieved February 28, 2019.
  6. ^ Jump up to:a b c d e f g h i j k "Fellow writers remember Ursula K. Le Guin, 1929–2018". Library of America. January 26, 2018. Archived from the original on January 27, 2020. Retrieved March 5, 2019.
  7. ^ Jump up to:a b Chabon, Michael (November 20, 2019). "Le Guin's Subversive Imagination". The Paris Review. Archived from the original on December 24, 2019. Retrieved November 24, 2019.
  8. ^ Jump up to:a b Spivack 1984, p. 1.
  9. ^ Jump up to:a b c d e f Jonas, Gerald (January 23, 2018). "Ursula K. Le Guin, Acclaimed for Her Fantasy Fiction, Is Dead at 88". The New York Times. Archived from the original on January 23, 2018. Retrieved January 23, 2018.
  10. ^ Jump up to:a b c d e Cummins 1990, p. 2.
  11. ^ Hallowell, A. Irving (1962). "Theodora Kroeber. Ishi in Two Worlds: A Biography of the Last Wild Indian in North America". The Annals of the American Academy of Political and Social Science. 340 (1): 164–165. doi:10.1177/000271626234000162. S2CID 145429704.
  12. ^ Jump up to:a b c d Spivack 1984, p. 2.
  13. ^ Kroeber, Theodora (1970). Alfred Kroeber; a Personal Configuration. University of California Press. p. 287. ISBN 978-0-520-01598-2.
  14. ^ Jump up to:a b c Spivack 1984, pp. 2–3.
  15. ^ Jump up to:a b c d Lafreniere, Steve (December 2008). "Ursula K. Le Guin". Vice. Archived from the original on July 9, 2011. Retrieved April 22, 2010.
  16. ^ Cummins 1990, p. 3.
  17. ^ Jump up to:a b Reid 1997, p. 5.
  18. ^ Jump up to:a b c d e f Spivack 1984, p. 3.
  19. ^ Jump up to:a b Reid 1997, pp. 5–7.
  20. ^ "Ursula K. Le Guin". The Future is Female. Library of America. Retrieved January 7, 2024.
  21. ^ Brown, Jeremy K. (November 2013). "Timeline". Ursula K. Le Guin. Infobase Learning. ISBN 978-1-4381-4937-0.
  22. ^ Jump up to:a b c "Ursula K. Le Guin (1929–2018)". Locus Magazine. January 23, 2018. Archived from the original on October 1, 2018. Retrieved September 17, 2018.
  23. ^ White 1999, pp. 1–3.
  24. ^ Walsh, William; Le Guin, Ursula K. (Summer 1995). "I Am a Woman Writer; I Am a Western Writer: An Interview with Ursula Le Guin". The Kenyon Review. 17 (3): 192–205.
  25. ^ Le Guin, Ursula K. (May 22, 1983). "A Left-Handed Commencement Address". American Rhetoric. Archived from the original on October 29, 2015. Retrieved October 27, 2015.
  26. ^ Eidenmuller, Michael E. (February 13, 2009). "Top 100 Speeches of the 20th Century by Rank". American Rhetoric. Archived from the original on October 27, 2015. Retrieved October 27, 2015.
  27. ^ Le Guin, Ursula K. (1989). Dancing at the Edge of the World. Grove Press. p. v. ISBN 978-0-8021-3529-2.
  28. ^ Woodall, Bernie (January 23, 2018). "U.S. author Ursula K. Le Guin dies at 88: family". Reuters. Archived from the original on September 17, 2018. Retrieved September 16, 2018.
  29. ^ "Ursula K. Le Guin Tribute". Locus Magazine. April 20, 2018. Archived from the original on September 17, 2018. Retrieved September 16, 2018.
  30. ^ Baer, April (June 9, 2018). "Remembering Ursula K. Le Guin". Oregon Public Broadcasting. Archived from the original on September 17, 2018. Retrieved September 16, 2018.
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  232. ^ Jump up to:a b Axelrod, Jeremy. "Phantoms of the Opera". Poetry Foundation. Archived from the original on February 3, 2017. Retrieved February 2, 2017.
  233. ^ "UI Opera to Premiere New Opera by Stephen Taylor". University of Illinois School of Music. April 19, 2012. Archived from the original on August 21, 2013. Retrieved April 27, 2013.
  234. ^ Hughley, Marty (May 5, 2013). "Theater review: 'The Left Hand of Darkness' finds deeply human love on a cold, blue world". Oregon Live. Archived from the original on November 4, 2013. Retrieved November 1, 2013.
  235. ^ White 1999, pp. 9, 123.
  236. ^ White 1999, p. 1.

Sources[edit]

  • Bernardo, Susan M.; Murphy, Graham J. (2006). Ursula K. Le Guin: A Critical Companion. Greenwood Press. ISBN 978-0-313-33225-8.
  • Bloom, Harold (1987). "Introduction". In Bloom, Harold (ed.). Modern Critical Interpretations: Ursula Le Guin's The Left Hand of Darkness. Chelsea House Publications. pp. 1–10. ISBN 978-1-55546-064-8.
  • Cadden, Mike (2005). Ursula K. Le Guin Beyond Genre: Fiction for Children and Adults. Routledge. ISBN 978-0-415-99527-6.
  • Cummins, Elizabeth (1990). Understanding Ursula K. Le Guin. University of South Carolina Press. ISBN 978-0-87249-687-3.
  • Erlich, Richard D. (December 2009). Coyote's Song: The Teaching Stories of Ursula K. Le Guin. Wildside Press LLC. ISBN 978-1-4344-5775-2. Archived from the original on February 3, 2021. Retrieved September 18, 2018.
  • Kuznets, Lois R. (1985). "'High Fantasy' in America: A Study of Lloyd Alexander, Ursula Le Guin, and Susan Cooper". The Lion and the Unicorn. 9: 19–35. doi:10.1353/uni.0.0075. S2CID 143248850.
  • Le Guin, Ursula (1978). The Wind's Twelve Quarters Volume I. Granada Publishing. ISBN 978-0-586-04623-4.
  • Lindow, Sandra J. (2012). Dancing the Tao: Le Guin and Moral Development. Cambridge Scholars Publishing. ISBN 978-1-4438-4302-7.
  • Lothian, Alexis (2006). "Grinding Axes and Balancing Oppositions: The Transformation of Feminisms in Ursula K. Le Guin's Science Fiction". Extrapolation. 47 (3): 380–395. doi:10.3828/extr.2006.47.3.4.
  • Nicholls, Peter; Clute, John; Sleight, Graham, eds. (April 7, 2018). "Le Guin, Ursula K.". The Encyclopedia of Science Fiction. Gollancz. Archived from the original on April 26, 2018. Retrieved May 7, 2018.
  • Reid, Suzanne Elizabeth (1997). Presenting Ursula Le Guin. Twayne. ISBN 978-0-8057-4609-9.
  • Rochelle, Warren (2001). Communities of the Heart: The Rhetoric of Myth in the Fiction of Ursula K. Le Guin. Liverpool University Press. ISBN 978-0-85323-876-8.
  • Rochelle, Warren G. (2008). "Ursula K. Le Guin". A Companion to Science Fiction. John Wiley & Sons. pp. 408–419. ISBN 978-1-4051-4458-2. Archived from the original on July 7, 2014. Retrieved November 13, 2020.
  • Slusser, George Edgar (1976). The Farthest Shores of Ursula K. Le Guin. Wildside Press LLC. ISBN 978-0-89370-205-2.
  • Spivack, Charlotte (1984). Ursula K. Le Guin. Twayne Publishers. ISBN 978-0-8057-7393-4.
  • Tymn, Marshall B. (1981). The Science fiction reference book. Starmont House. ISBN 978-0-916732-49-3.
  • White, Donna (1999). Dancing with Dragons: Ursula K. Le Guin and the Critics. Camden House. ISBN 978-1-57113-034-1.

Further reading[edit]

Library resources about
Ursula K. Le Guin
  • Resources in your library
  • Resources in other libraries
By Ursula K. Le Guin
  • Resources in your library
  • Resources in other libraries
  • Bloom, Harold, ed. (2000). Ursula K. Leguin: Modern Critical Views. Chelsea House Publications. ISBN 978-0-87754-659-7.
  • Cart, Michael (1996). From Romance to Realism: 50 Years of Growth and Change in Young Adult Literature. Harper Collins. ISBN 978-0-06-024289-3. Archived from the original on February 3, 2021. Retrieved September 14, 2018.
  • Davis, Laurence; Stillman, Peter (2005). The New Utopian Politics of Ursula K. Le Guin's The Dispossessed. Lexington Books. ISBN 978-0-7391-5820-3. Archived from the original on February 3, 2021. Retrieved September 14, 2018.
  • Egoff, Sheila A. (1988). Worlds within: children's fantasy from the Middle Ages to today. American Library Association. ISBN 978-0-8389-0494-7.
  • Lehr, Susan S., ed. (1995). Battling Dragons: Issues and Controversy in Children's Literature. Greenwood Publishing Group, Incorporated. ISBN 978-0-435-08828-6. Archived from the original on February 3, 2021. Retrieved September 14, 2018.
  • Reginald, Robert; Slusser, George, eds. (1997). Zephyr and Boreas: Winds of Change in the Fictions of Ursula K. Le Guin. Borgo Press. ISBN 978-0-916732-78-3.
  • Trites, Roberta Seelinger (2000). Disturbing the universe: power and repression in adolescent literature. University of Iowa Press. ISBN 978-0-87745-857-9.
  • Wayne, Kathryn Ross (1996). Redefining moral education: life, Le Guin, and language. Austin & Winfield. ISBN 978-1-880921-85-2. Archived from the original on February 3, 2021. Retrieved September 14, 2018.

External links[edit]

Wikimedia Commons has media related to Ursula K. Le Guin.
Wikiquote has quotations related to Ursula K. Le Guin.
  • Official website Edit this at Wikidata
  • Worlds of Ursula K. Le Guin. PBS American Masters. August 2, 2019.
  • Ursula K. Le Guin papers at the University of Oregon Libraries

Interviews[edit]

  • An audio interview with Ursula K. Le Guin (MP3 format) from Hour 25
  • Jaggi, Maya (December 17, 2005). "The Magician". The Guardian.
  • "Oregon Art Beat: Author Ursula Le Guin". OPB FM. Archived from the original on December 12, 2017. Retrieved July 30, 2013.
  • Ursula Le Guin Bookworm Interviews (Audio) with Michael Silverblatt: January 1992, March 2001
  • "Mythmakers and Lawbreakers". dialogues.[permanent dead link]

Speeches[edit]

  • "Ursula K Le Guin's speech at National Book Awards: 'Books aren't just commodities'". The Guardian. November 20, 2014.
  • "Ursula K. Le Guin on speaking truth to power at National Book Awards". Los Angeles Times. November 20, 2014.
  • v
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Works by Ursula K. Le Guin
Bibliography
Earthsea
Novels
  • A Wizard of Earthsea (1968)
  • The Tombs of Atuan (1971)
  • The Farthest Shore (1972)
  • Tehanu (1990)
  • The Other Wind (2001)
Short stories
  • "The Word of Unbinding" (1964)
  • "The Rule of Names" (1964)
  • "Dragonfly" (1997)
  • "Darkrose and Diamond" (1999)
  • "The Daughter of Odren" (2014)
  • "Firelight" (2018)
Collections
  • Tales from Earthsea (2001)
  • The Books of Earthsea (2018)
Adaptations
  • Earthsea (miniseries) (2004)
  • Tales from Earthsea (film) (2006)
Related
  • Universe
  • Characters 
    • Ged
  • Earthsea Revisioned (1993)
Hainish
Cycle
Novels
  • Rocannon's World (1966)
  • Planet of Exile (1966)
  • City of Illusions (1967)
  • The Left Hand of Darkness (1969)
  • The Dispossessed (1974)
  • The Word for World Is Forest (1976)
  • Four Ways to Forgiveness (1995)
  • The Telling (2000)
Short stories
  • "The Dowry of Angyar" (1964)
  • "Winter's King" (1969)
  • "Vaster than Empires and More Slow" (1971)
  • "The Day Before the Revolution" (1974)
  • The Shobies' Story (1990)
  • "The Matter of Seggri" (1994)
  • "A Man of the People"
  • "Coming of Age in Karhide" (1995)
  • "Mountain Ways" (1996)
  • "Old Music and the Slave Women" (1999)
Related
  • Ansible
Annals of the Western Shore
Novels
  • Gifts (2004)
  • Voices (2006)
  • Powers (2007)
Other
fiction
Novels
  • The Lathe of Heaven (1971)
  • Very Far Away from Anywhere Else (1976)
  • The Eye of the Heron (1978)
  • Malafrena (1979)
  • The Beginning Place (1980)
  • Always Coming Home (1985)
  • Lavinia (2008)
Short stories
  • "The Ones Who Walk Away from Omelas" (1973)
  • "The Diary of the Rose" (1976)
  • "The Wife's Story" (1982)
  • "Paradises Lost" (2002)
Collections
  • The Wind's Twelve Quarters (1975)
  • Orsinian Tales (1976)
  • The Compass Rose (1982)
  • Buffalo Gals and Other Animal Presences (1987)
  • A Fisherman of the Inland Sea (1994)
  • Unlocking the Air and Other Stories (1996)
  • The Birthday of the World (2002)
  • Changing Planes (2003)
Children's books
  • Catwings (series) (1988–1999)
  • Cat Dreams
Non-fiction
  • The Language of the Night (1979)
  • Dancing at the Edge of the World (1982)
  • Lao Tzu: Tao Te Ching (1997)
  • Steering the Craft (1998)
Awards for Ursula K. Le Guin
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Modern history of Oregon (1890–present)
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Posted by Sejin at April 30, 2024
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感情の哲学入門講義 | 源河 亨 |本 | 通販 | Amazon

感情の哲学入門講義 | 源河 亨 |本 | 通販 | Amazon
Taechang Kim
겐까 토오루지음  《감정의 철학인문》
(케이오의숙대학출판회, 2021년 1월30일초판제1쇄발행 2022년 5월25일 초판 제4쇄발행). 

우리들의 감정에 관계되는 의문에 응답하는, 철학의 초심자에게 걸맞게 쓰여진 입문서. 감정과 이성은 대립하는가? 로봇은 감정을 갖일 수 있는가? 감정이나 철학의 예비지식이 없이도 편하게 읽을 수 있게 쓰여졌고 철학뿐만 아니라 심리학이나 뇌신경과학, 문화인류학, 진화생물학등등 여러 다른 분야에서의 감정연구도 소개함. 가능한한 다양한 관점에서 감정을 새밝힘하려함.


감정의 철학 입문 강의 
단행본 – 2021/1/23
위안허헝 (지은이)
4.1 5성급 중 4.1 34개의 평가

감정과 이성은 대립한다? 로봇은 감정을 갖고 있다? '감정'에 관한 의문에 답하는, 전혀 철학 초보자에게 맞춰 쓰여진 입문서 우리의 생활의 중심에 있는 감정. 우리는 날마다 기뻐하거나 슬픔으로 보내고 있습니다. 누구나가 가지는 이 「감정」이란 도대체 무엇일까요? 본서는 친밀한 「감정」을 테마로 한 철학의 입문서입니다. 대학에서 행해진 전 15회의 강의를 정리한 것이므로, 철학을 모르더라도, 감정이나 인간이 어떤 것인지, 철학이 어떤 것인지 알 수 있는 책이 되고 있습니다.

 【목차】
제1강 가이던스 
제2강 감정의 본질은 무엇인가 
제3강 감정과 신체 
제4강 감정과 사고 
제5강 감정과 가치/기본적인 감정 
제6강 복잡한 감정/감정과 문화 
제 7강 무의식의 감정/로봇의 감정 
제8강 타인의 감정을 본다 
제9강 감정과 기분/감정과 아픔 
제10강 감정과 이성은 대립할까 
제11강 도덕철학과 감정의 과학 
제12강 공포 모순된 감정 
13강 감정과 소설 
14강 감정과 유머 
15강 전체 요약

출판사의 댓글

“이 책은 감정이나 철학에 관심이 있는 사람이 처음 읽는 책을 목표로 작성한 것입니다. 타이틀
에 「감정의 철학」이라고 들어 있습니다만, 철학 뿐만이 아니라, 심리학이나 뇌신경과학, 문화인류학, 진화 생물학 등, 다양한 분야에서의 감정 연구도 소개합니다. 즉, 가능한 한 많은 관점에서 감정에 대해 생각하고 싶습니다. 그 때문에 본서는, 감정에 흥미를 가지는 모든 사람을 향해 쓰여져 있습니다」
(「소개」보다)

【서평】 「Oggi 」되었습니다. 평자는 평자는 이시이 치코씨(서평가)입니다. 요미우리 신문 2021년 4월 25일(10면) 「문화면・혼요미우리도」에 서평이 게재되었습니다. 평자는 타키자와 히로카즈씨(경제학자·중앙대 교수)입니다. 『미타 평론』2021년 3월호(No.1253)(p.98) 「집필 노트」에서, 본서가 소개되었습니다.



저자 정보
겐가 토오루 2016
년 게이오 대학에서 박사(철학)를 취득. 현재는 게이오 기주쿠 대학 문학부·일본 대학 예술 학부·입정 대학 문학부 외 비상근 강사. 전문은 마음의 철학, 미학.

저작에, 「지각과 판단의 경계선――「지각의 철학」기본과 응용」(게이오 기학 대학 출판회, 2017년), 「슬픈 곡의 무엇이 슬픈 것인가――음악 미학과 마음의 철학」( 게이오 기주쿠 대학 출판회, 2019년). 번역서에 제시 프린츠 『하라와타가 끓여 되돌아간다――정동의 신체 지각설』(공초 서방, 2016년), 시어도어 그레이식 『음악의 철학 입문』 : 키노시타 료코) 등.


===
최고 리뷰

상위 리뷰, 대상국가 : 일본


와인 오프너
5성급 중 5.0 감정, 가치, 사고, 이성의 얽힘을 깨끗이 정리2022년 2월 27일에 확인됨

학교 강의를 상정하면서 이야기가 진행되고 표현도 쉽게 단어의 정의가 명확하기 때문에 깔끔하고 머리 속을 정리할 수 있다. 현재 있는 논의, 반론도 명확하고 하나하나 의문에 응해준다.
필자에 따르면 정동과 감정은 구별하지 않아도 될 것 같다. '감정이란 원래 무엇인가'(건)에서는 정동은 외적 자극이나 내적인 기억의 생각에 따라 개체에 생기는 생리적인 반응으로 하고 있다. 또한 감정은 정동의 발생에 따른 주관적인 의식적 체험으로 하고 있다. 신체의 생리적인 반응이 심박수나 체온을 변화시키기 위해 정동이라고 부르며 감정과 구별하는 것 같다.
이 책에서는 생리적 반응은 별로 언급하지 않고 철학적 논고가 된다.

감정은 주관적인 것이라고 마음대로 떠올렸지만, 사고나 이성과 확실히 연결되어 있어, 납득할 수 있었다. 가치에 대해서도 엄밀하게는 개인의 주관이나 취향이라는 것은 아니고, 감정으로 파악한 객관적인 사실을 반영하고 있다. 예를 들어 아이에게는 위험한 것이라도 어른이 되어 신체가 커지면 위험하지 않을 수 있다. 이 경우는 신체적인 조건이라는 사실에 따라 가치가 변화한 것으로 되어, 가치가 객관적 사실에 근차하고 있는 것도 나타내고 있다.
독서에 가치를 찾아내는 것도 그렇게 생각하면 단순한 취향이라고도 말할 수 없을 것이다. 책의 스토리에서 사고를 둘러싸고 잇달아 방문하는 새로운 전개에 흥분해, 뇌의 보상계가 쾌감을 얻을 수 있는 것이나, 책의 정보를 일에 살려 현실 세계에서 성공을 얻을 수 있다는 사실에 근거하고 있다고 생각된다.
본서에서는 가치가 문화적인 조건(사실)에도 근차하고 있어 상좌하좌의 예를 들고 있다. 그 예에 비추면서 독서의 가치를 생각하면 독서에서 얻은 정보가 도움이 되는 문화가 있다는 것은 귀중하다고 생각한다. 즉, 독서가 의미있는 문화적 조건이 갖추어져 있기 때문에 독서에 가치를 느낄 수 있다. 이것이 침략에 의해 타인의 토지를 빼앗아 새로운 재물을 얻는 문화라면 폭력과 무력에 가치가 생겨 독서에는 가치가 발견되지 않을 것이다.

기분과 감정의 차이는 이것도 납득할 수 있는 설명이었다. 정신의학에서는 감정(기분)장애로서 명확한 구별은 하지 않았을까. 기분에 대해서는 우키우키라든지 좌절감이 감정이라기보다는 기분이라고 하는 쪽이 적을 쏘고 있다. 우키우키라고 하면 대상이 불명확하고, 자신을 향한 감각인데 대해, 감정이라고 하면 대상이 명확하고, 누군가에게 향한 기분이라고 한다. 분노의 모순, 승리에 대한 기쁨 등. 우울한 기분이라고 할 때 그 대상은 명확하지 않지만 복수 있어도 잔잔한 어둠 같은 그런 것을 나타내고 있는 것일까. 그러나 기분은 감정보다 약한 위치에 있는 것은 아니다. 감정과 기분은 강도로 나눌 수 있는 것은 아니다고 한다.

복잡한 감정에 대해서도 명쾌. 자랑이란 성공에 의한 기쁨이라기보다는 성공에 의해 자신의 평가가 높아지는 기쁨이라고 한다. 개인적인 감정과 사회적인 감정이라고 할 수 있을까. 자신 혼자만으로는 얻기 어렵기 때문에 자부심을 얻고 싶다면 사회에 들어가 비비는 것도 필요하다.
희망의 감정은 단순한 기쁨의 감정이 아니라 상황이 개선될 것 같은 것에 대한 기쁨이라고 한다.
그 외에도 죄악감이나 질투, 열등감 등도 설명이 있다. 슬픔이나 분노라는 기본적인 감정에 다른 요소가 더해져 복잡한 감정이 되어 있는 것은 재미있다.

감정과 이성이 대립하는가 하는 의문에 대해서도 이해하기 쉽다. 이성적이라면 현명한 인상이 있고, 감정적이라고 하면 단락적인 인상이 있지만, 아무래도 그렇지 않은 것 같다. 감정은 예를 들어 공포를 느끼고 신체 반응이 일어나고, 그에 대해 사고에 의해 대상을 파악하려고 한다. 대상의 가치를 판단하려고 한다고 한다. 즉 이 일련의 흐름은 이성의 경우와 다르지 않다. 감정도 이성과 마찬가지로 사고를 거점으로 하고 있으므로, 대립 관계에 있는 것은 아니다고 하는 것. 또 뇌과학의 연구에 따르면 전두엽 안쪽에서는 감정을 받아 그 가치를 판단하는 부위가 있어 사고와 감정의 연결을 시사하고 있다. 감정적과 이성적 간의 대립은 좀 더 다른 곳에 있어 직관적인 판단과 숙고의 끝 판단의 차이에 있다. 어느 쪽이 우수하다는 것이 아니라, 예를 들어 위기적인 장면에서는 직감이 필요하게 되고, 시험 문제를 풀 때는 숙고가 필요하게 되어, 사용하는 장면이 다르다고 한다.

감정, 사고, 이성, 가치 등 한마디로는 이해하기 어려운 개념이 깔끔한 말로 해설되어 있어 알기 쉬웠다.

두 고객이 이것이 도움이 되었다고 생각합니다.


아름다운 여름
5성급 중 4.0 正真正銘의 입문 강의2021년 3월 6일에 확인됨
아마존에서 구매
이 책을 구입한 이유는 올해 초부터 이와나미 서점의 '감정사란 무엇인가'라는 책에 종사하고 있지만, 전혀 이해할 수 없기 때문이다.
230페이지 정도의 책이므로 끝까지 다가가는 것은 어렵지는 않지만, 결국 문자를 추적한 것만으로는 아무것도 알지 못한다. 그것을 3회 정도 반복했다.
'정심없다'라는 감정과 띠에 '최고의 입문서'라고 쓰고 있는데 끔찍하다는 선전에 대한 '분노'의 감정이 솟아오르고 '포기하자'는 뒤로 감정과 2700엔도 지불 하지만 아깝다는 '미련'의 감정에 끼여 헤매던 끝에 먼저 다른 책을 읽고 다시 보기로 했다. 그러나 일본어로 읽을 수 있는 감정사의 통사책은 적은데, 모두 꽤 비싼 것이다.
그래서 최근 나온 감정철학의 입문서인 본서와 유카쿠의 감정심리학 입문을 구입해 기초를 굳히기로 했다. 양쪽에서 수천엔의 추가 지출이 되어 버려, 「슬퍼했다」가, 감정사 학습을 위해서는 부득이하다.
이 책은 진정한 입문 강의로 매우 쉽습니다. 애매하게 이해하고 있던 것을 확인하기에는 매우 좋은 책이었다.
다만, 전반은 느긋한 리듬이 '기분 좋았다'지만, 제8강 이후는 조금 달리게 된 느낌이 있다.

10명의 고객이 이것이 도움이 되었다고 생각합니다.


가마타 류타로
5성급 중 3.0 기초에 최적2021년 3월 28일에 확인됨
아마존에서 구매
입문서답게 기초적인 것이 배울 수 있었다.


한 고객이 이것이 도움이 되었다고 생각합니다.


yasuji
5성급 중 4.0 기본을 누른 의외로 깊은 내용2021년 2월 27일에 확인됨

　의외로 깊다고 하는 것은, 표지의 일러스트가 만화 틱이며, 그로부터 연상하는 내용과 비교해라고 하는 의미이다. 본서는 대학교양과목의 강의를 정리한 것이라고 하지만, 훌륭한 내용이며, 이런 선생님에게 가르치는 학생은 행복하다.
　본서가 나왔으니 다른 선생님은 본서를 웃도는 강의를 해야 한다. 특히 심리학계의 선생님은 그렇게 해야 한다. 능가하기 위해서는 최신 이론을 도입하는 것이 좋습니다. 예를 들어 칼 프리스턴의 "능동적 추론 내지 자유 에너지 원리"가 좋은 후보가 될 것이다.

【인지로부터 들어갈 수 있도록】
　「능동적 추론 내지 자유 에너지 원리」를 알고 나서는 것의 견해가 크게 바뀌어 버렸다. 정신분석을 알았을 때와 같은 충격이다. 본서는 이들에 대한 기술은 없지만, 이것에 가까운 발상으로서 「인지」가 있다. 이 책에서는 별로 사용되지 않는다. "그러한 사고나 판단은 인지라고 불리기도 합니다."라는 설명이 보일 뿐이다(p.59).
　인지 심리학 cognitive psychology는 자극 (입력)과 반응 (출력) 사이에서 무엇이 수행되는지에 초점을 맞 춥니 다. 즉, 입력 정보에 어떠한 내부 처리(계산)가 행해지는지, 그 결과 어떠한 출력(표상)이 만들어지는지, 또 그 내부 처리는 어떤 구조에 의해 가능해지는지를 탐구하는 것이 인지 연구가 된다(『최신 심리학사전』평범사에서).
　그렇게 하기 위해, 지각·사고·신체 반응·감각·행동 등(p.32)의 인적 활동을 총칭하게 되어, 인지의 한마디로 끝나 버리는 것을 피하기 위해서 사용하지 않는 것일까. 어쨌든, "능동적 추론 또는 자유 에너지 원리"를 이해하기 위해서는이 "인지"에서 들어가는 것이 좋습니다.

　심리학사적으로는 ‘인지’ 앞이 ‘행동주의’였다. 행동주의에서는 자극과 반응 사이의 함수 관계를 확인하는 것이 목적이었고, 양자를 연결하는 내적 과정은 문제가되지 않았다. 이에 반해 "인지"는 상기와 같이 내부 처리를 문제로 한다.
　그리고 자유에너지 원리는 이 내부처리를 중추신경이 담당하는 신념체계가 발하는 예측신호와 내장감각을 포함한 감각기관이 발하는 감각신호가 가능한 한 일치하는 예측(추론)이 선택된다. 이 예측을 인지라고 부를 수 있을까? 게다가 철학적으로는 개념이라고 해도 좋다고 생각한다.

【자유에너지 원리】
　철학이라면 분석철학자인 윌프레드 셀러스의 ‘ 주어진 신화비판’에서 들어가는 것이 좋을 것이다. 셀러스의 비판은 우리의 경험에 직접 주어지는 원시 데이터가 있으며, 이것을 추론없이 의식 할 수 있습니다. 신화」라고 불렀다. 의식에 직접적으로 현전하는 것을 당연히 하고 그것을 기점으로 하여 모든 지식을 기초로 하려고 한 것을 비판한 것이다.

　자유 에너지 원리는 위에서 설명한 원시 데이터가 직접 경험에 반영되지 않습니다. 반드시 신념이나 개념과 비추어진다.
　이 발상(개념주의)은 저자가 「독서 안내」의 네 번째로 꼽고 있는, 리사 펠드먼 바렛트 「정동은 이렇게 만들어진다─뇌의 숨은 일과 구성주의적 정동 이론」(기이쿠니야 서점)의 물건에 가깝다. 이 바렛의 책의 평가로서, 「표준적 견해가 뒤집히는 모습을 재미있게 느끼기 위해서는, 우선, 표준적 견해를 이해할 필요가 있다.(p.231)」로 한다. 아마 본서 『감정의 철학 입문 강의』는 이 표준적 견해를 해설한 것임을 좋겠다. 그러나 범인의 상식 수준에서도 그것이 뒤집히는 재미가 있다.
　또한 자유에너지 원리는 감정뿐만 아니라 의사결정, 습관학습, 동기부여, 부착, 정신분열증, 자폐증 등의 뇌기능의 연구에 응용되고 있다.
　만약 뇌가 없으면 우리는 물건을 볼 수 없지만, 마찬가지로 물건이라는 대상이 없어도 볼 수는 없다. 감정도 뇌가 없으면 느낄 수 없고, 본서도 말하는 것처럼 지향하는 대상이 없으면 감정을 느낄 수 없다. 감정을 포함한 우리의 마음은 환경과 상속불리한 것이다.

14명의 고객이 이것이 도움이 되었다고 생각합니다.

Amazon 고객
5성급 중 4.0 감정의 철학 입문이라기보다는 감정의 철학과 철학 자체의 입문서2022년 2월 20일에 확인됨

감정의 철학을 체계적으로 배울 수 있는 책이지만, 일반 교양 과목의 강의가 책이 되었다고 하는 이 책에서는, 특히 초반에서는, 감정이라는 소재를 이용해 철학을 해설하고 있다.
감정의 철학을 신속하게 체계적으로 알고 싶은 사람이나, 책의 제목 그대로의 내용을 기대해 읽기 시작한 사람에게는, 왜 이런 몹시 설명이 되어 있는지 이해할 수 없을지도 모른다.
그렇다고 해서 이 책은 쓸데없는 것이라고 하는 것은 물론 그렇지 않다. 감정의 철학과 철학 자체의 입문서가 되어 있으므로 필독이다.

3명의 고객이 이것이 도움이 되었다고 생각합니다.

황금산
5성급 중 4.0 철학을 좋아하는 사람들을위한 좋은 입문서2021년 4월 18일에 확인됨

아무것도 말하지 않지만, "입문서"라는 제목을 포함해 두면서, 초학자에게는 손을 내밀고 괴로운 뼈대한 전문서가 많은 가운데, 이 책은 가장 소박하지 않은 것으로 <입문서>에 해당 라고 생각합니다. 간판에 거짓이 없습니다.
강의라고 하는 것만 있어, 「입니다」구조로 이야기가 진행되어, 감정이라고 하는 것을 둘러싸고 철학자나 과학자가 어떻게 생각하고 있는지를 다양한 각도로부터 알 수 있습니다.
후반의 「도덕」이나 「픽션」, 「유머」의 장이 되면, 무엇인가 설이나 무엇인가 주의가 난립해, 시원하게 앞으로 가 버리기 때문에 조금 혼란했습니다만, 그때까지의 장에서 설명된 내용 (이중 과정 이론 등)이 어떻게 관련되어 오는지를 제대로 말해주기 때문에 읽고 힘들게 떨어졌습니다. 개인적으로 제비였던 것은, 「유감한 소식」이라는 말이 본문에 몇번인가 등장하는 곳입니다.
다만, 철학 같은 용어를 사용한 추상도가 높은(때로는 조금 너무 몹시 파악하는 것 같은) 논의가 페이지의 대부분을 차지하고 있기 때문에, 당연합니다만, 감정에 대해서 실험 결과나 근거 베이스로 많이 알고 싶은 사람은 , 어깨 워터마크를 하는 책이라고 생각합니다. 소개되는 논의도 극히 기본적인 것에 한정되기 때문에, 간단한 영어를 읽을 수 있는 힘이 있는 사람은 아마 이 책을 필요로 하지 않을 것이다.
또, 강조를 나타내는 굵은체가 너무 빈번하기 때문에, 정말로 중요한 포인트가 반대로 보이기 어려워지고 있는 것은 아닐까라고도 생각했습니다.

7명의 고객이 이것이 도움이 되었다고 생각합니다.
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Posted by Sejin at April 30, 2024
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