By Indrek Männiste
Against skeptics, Manniste argues that Miller does certainly have a philosophy of his personal, which underpins such a lot of his texts. it truly is established that this philosophy, as a metaphysical feel of lifestyles, types a method the certainty of that is essential to effectively clarify even the most easy of Miller's rules. construction upon his thought of the inhuman artist, Miller's philosophical origin is printed via his literary assaults opposed to the metaphysical layout of the trendy age. it really is argued that, by way of repudiating essentially the most effective components of overdue modernity reminiscent of background, sleek expertise and an aesthetisized view of paintings, Miller paves the way in which for overcoming Western metaphysics. ultimately it really is confirmed that, philosophically, this goal is ruled by means of Miller's idiosyncratic suggestion of paintings, during which one is led in the direction of self-liberation via transcending the trendy society and its dehumanizing pursuits.
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Extra resources for Henry Miller, the inhuman artist : a philosophical inquiry
H. ” See Michael H. Whitworth, Modernism, (Malden, MA: Blackwell Pub, 2007), 217. 8 Frank Kermode, The Sense of an Ending: Studies in the Theory of Fiction (New York: Oxford University Press, 1967), 98. 9 Matei Calinescu, Five Faces of Modernity: Modernism, Avant-Garde, Decadence, Kitch, Postmodernism (Durham: Duke University Press, 1987), 41. 10 I don’t intend, by all means, to ignore several decidedly literary modernist features that Miller unquestionably shared with the “golden era” modernists such as stream of consciousness writing, addressing the representational crisis, and the like.
74 Tristan Tzara, “Dada Manifesto, 1918,” in The Dada Painters and Poets: An Anthology, ed. Robert Motherwell (Harvard University Press, 1989a), 77. 75 Hopkins, Dada and Surrealism, 16. , 17. Hopkins also points out that Breton’s and Freud’s meeting in Vienna showed that Freud himself was not in the least interested in these artistic adoptions of his theories. 77 Short, “Dada and Surrealism,” 302. 78 Hopkins, Dada and Surrealism, 17. 79 André Breton, “First Surrealist Manifesto,” in Surrealism, ed.
This philosophical basis in Miller, in turn, can be said to have contributed to his overcoming of the transitional view of the crisis of (the history of) the age. To anticipate the account below, the transitional view, which was held by several senior moderns such as Yeats and Woolf, meant construing the historical present as the threshold to a new age or a new world soon to appear. The ahistorical dimension of the type of life that Miller comes to defend, however, rules out this view. Apocalypse and modern consciousness Even if modern apocalypse is not our main interest here, we need to explain some of its key features since they help us to understand the spiritual climate in which Miller’s ideas on history were situated.