DOCSLIB.ORG

This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. • The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. • When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. I hereby declare the following doctoral thesis to be my entirely own work. SIGNED: ……………………………………………... DATE: ……………………………………………… Mark Bolsover Artistic Inspiration and the Figure of the Artist in the works of James Joyce and Friedrich Nietzsche Mark Bolsover PhD English Literature The University of Edinburgh 2011 2 Acknowledgements My sincere thanks to Dr Simon Malpas who has unflaggingly and generously supported my writing and academic career since my days with him as an undergraduate student at Manchester Metropolitan University and whose supervision and example have been invaluable to me. My thanks also to Christos Hadjiyiannis for his friendship and knowledge of the works of T.E. Hulme, to Sharon Selby for her help with Aquinas and to Dr Lee Spinks for his advice on Joyce and Nietzsche. My thanks, finally, to my parents, Ray and Margaret, for their unflagging and profoundly undeserved support. 3 Contents Declaration 1 Title Page 2 Acknowledgements 3 Introduction 6 Chapter 1. Nietzsche’s early Schopenhauerian—anti-Schopenhauerianism: 21 Intuition, Flux and Anti-metaphysics between ‘On Truth and Lies in a Nonmoral Sense’ and The Birth of Tragedy I – On ‘intuition’ and the laceration of the concepts of the intellect: 22 Nietzsche’s early ironic anti-Schopenhauerianism II – On the Undivided Continuity of States: the ‘primal unity’, 43 ‘duration’ and ‘the will to power’ Chapter 2. On ‘Art and Life’: The ‘classical’ as Romantic—anti- 55 Romanticism in the development of Stephen’s aesthetic theory between Stephen Hero and A Portrait of the Artist as a Young Man I – On ‘applied Aquinas’: the evolution of the ‘epiphany’ into the 57 ‘esthetic image’ between Stephen Hero and Portrait II – On the Becoming Actual of the Being of Beauty: anti-metaphysics 82 and ironic anti-romanticism in the definition of the ‘classical’ in Joyce, Nietzsche and T.E. Hulme Chapter 3. On the ‘artist’s metaphysics’: Romantic—anti-Romanticism in 125 the fold of the self-creation of the artist in The Birth of Tragedy I – On ‘Incorporation’ and the Apollinian sublime 128 II – On ‘Purgation’ and the Dionysian sublime 143 III – The Lyric Poet: the fold in the self-creation of the artist 159 (i) – On Rapture and Nausea as artistic inspiration 161 (ii) – Nietzsche’s ‘Classicism’: the ‘artists’ metaphysics’ (the 166 self-creation of the artist) 4 (iii) – In-between ‘exuberant mockery’ and the sublime: the 190 Affect of Tragedy Chapter 4. The Fold in the self-creation of the artist between ‘the smoke 205 and breakers’ and ‘the rock’: Romantic—anti-Romanticism in Joyce’s Ulysses I – ‘The beautiful ineffectual dreamer who comes to grief against 212 hard facts’: the two poles of the debate in ‘Scylla and Charybdis’ II – ‘quintessential triviality ’: the genesis of Hamlet and the Romantic- 224 anti-Romanticism of the fold in the ‘image’ of the artist III – The ‘present-day scientist’: On the Politics of Classicism in 260 ‘Scylla and Charybdis’ Conclusion 268 Appendix: ‘Transfiguration’ 272 Bibliography 273 5 Introduction This thesis will seek to examine the parallel which it will argue exists between the theorising of artistic inspiration and the resulting conception of the figure of the artist in the works of Joyce and Nietzsche. Recent critical work on the relationship between Joyce and Nietzsche has tended to focus exclusively on the question of influence . In ‘The Struggle against Meta (Phantasma)-Physics: Nietzsche, Joyce and the “Excess of History”’, for example, drawing his reading in particular from The Use and Abuse of History , Joseph Buttigieg gives a broad account of Nietzsche’s conception of history, but, in effect, uses his reading of Nietzsche to simply augment his reading of Joyce, arguing that his conception of the ‘postmodern’ Nietzsche can ‘illuminate and give depth’ to the works of the ‘modernist’ Joyce. 1 In The Aesthetics of James Joyce , Jacques Aubert discusses what he calls the ‘Nietzschean overtones’ of Joyce’s work. 2 Aubert focuses on what he argues is Hegel’s crucial influence on Joyce and appears to align Nietzsche, and Nietzsche’s influence on Joyce, with what he allusively refers to as ‘post-Hegelian’ or ‘Neo-Hegelian’ philosophy, though it is never clear precisely what he intends these to denote. 3 In ‘Beyond Truth and Freedom: The New Faith of Joyce and Nietzsche’, Joseph Valente gives an illuminating account of Joyce and Nietzsche’s mutual rejection of metaphysics, but focuses exclusively on the later Joyce and Nietzsche. Again, Valente frames his argument specifically in terms of an influence, drawing on an idiosyncratic reading of the concept of the ‘superman’ and 1 Buttigieg refers to Nietzsche, The Use and Abuse of History , trans. Adrian Collins (Indianapolis: Bobbs-Merrill, 1957). Buttigieg, Joseph A., ‘The Struggle against Meta (Phantasma)-Physics: Nietzsche, Joyce and the “Excess of History”’, boundary 2 , 9 (1981), 187-207 (see 189). 2 Jacques Aubert, The Aesthetics of James Joyce (Chicago: John Hopkins University Press, 1992). 3 66. See references throughout. F.C. McGrath also seeks to characterise Nietzsche in this way, arguing that ‘turn-of-the-century aesthetics’ ‘was thoroughly imbued’ with Hegel and that ‘neo-Hegelianism’ had been made ‘widespread in Britain and Europe through the works of Nietzsche and Wagner’, though, again, he appears to offer little evidence to clarify Nietzsche’s ‘neo-Hegelian’ status, or to substantiate his historical claims. See F.C. McGrath, ‘Laughing in His Sleeve: The Sources of Stephen’s Aesthetics’, James Joyce Quarterly , 23, (1986), 259-275, 259-275 (see 260). 6 identifying Stephen Stephen as ‘recognizably Zarathustrian’. 4 The central problem with the critical approach these accounts share in common, which concerns itself with the question of influence, is that it obliges itself to attribute a detailed and philosophically thoroughgoing reading of Nietzsche’s works to Joyce, one not always necessarily in evidence in the criticism itself. It must thus be at pains to stretch available biographical information on Joyce’s reading of Nietzsche, as well as examples drawn from Joyce’s texts, in order to fit a partial, incomplete or inaccurate characterisation of Nietzsche’s thought; threatening to transform Joyce into some kind of ‘Nietzschean’ and Nietzsche into some kind of anticipatory ‘Joycean’. 5 By contrast, then, this thesis will seek to set aside the problematic question of influence from the outset, instead seeking to examine the mutually illuminating parallel which it will argue exists between the theorising of artistic inspiration and the resulting conception of the figure of the artist in the works of Joyce and Nietzsche. It will argue that this parallel has mutually illuminating consequences for an understanding of both Nietzsche and Joyce’s relationships to metaphysics and, through this, to Romanticism. It will be the task of this thesis to explain the way in which both Nietzsche and Joyce retain the key terms of Romantic accounts of artistic inspiration, whilst rejecting the metaphysical claims at stake in them. My argument will be grounded in a reading of Nietzsche focussing on an in- depth close-reading of the opening sections of The Birth of Tragedy . In particular I will argue for a critical reappraisal of the Apollinian and Dionysian within the text, 4 ‘Beyond Truth and Freedom: The New Faith of Joyce and Nietzsche’, James Joyce Quarterly , 25 (1987), 87-103. 5 In his biography of Joyce, Richard Ellmann claims that Joyce had read some of Nietzsche’s work during 1903, but does not provide any details of the extent or depth of Joyce’s reading, nor of Joyce’s possible consultation of whatever critical material was available on Nietzsche at that time. This leaves little biographical evidence to on which ground a thesis of influence. See Ellmann, James Joyce: New and Revised Edition (Oxford: Oxford University Press, 1982), 142. 7 and of the relationship between them. I want to locate this reading in the context of recent critical debates which have sought to identify Nietzsche’s work as a philosophy of naturalism. 6 These debates have focussed exclusively on the nature of Nietzsche’s naturalism in his later philosophy, from Human, All Too Human (1878-1880), onwards, dismissing Birth as part of an early Schopenhauerian, Wagnerian and Romantic ‘phase’ of Nietzsche’s work. Brian Leiter, for instance, argues that Nietzsche’s naturalism constitutes a ‘Methodological Naturalism’ (‘M-Naturalism’), according to which ‘philosophical inquiry […] should be continuous with empirical inquiry in the sciences’. 7 It is a naturalism whose claims are not necessarily confirmed in a scientific manner and which therefore remains a ‘ Speculative M-Naturalism’, and yet is also in part a ‘Substantive’ naturalism insofar as it holds ‘the (ontological) view that the only things that exist are natural ’. 8 For Leiter then, Nietzsche’s is a naturalism which remains ‘speculative’ insofar as it is intuitive and artistic and yet also empirical and, therefore, ‘substantive’ in its rejection of metaphysical explanations of phenomena; limiting its own project to an examination of natural drives and forces.
Load more

Recommended publications
  • Bad Is Stronger Than Good
    Review of General Psychology Copyright 2001 by the Educational Publishing Foundation 2001. Vol. 5. No. 4. 323-370 1089-2680/O1/S5.O0 DOI: 10.1037//1089-2680.5.4.323 Bad Is Stronger Than Good Roy F. Baumeister and Ellen Bratslavsky Catrin Finkenauer Case Western Reserve University Free University of Amsterdam Kathleen D. Vohs Case Western Reserve University The greater power of bad events over good ones is found in everyday events, major life events (e.g., trauma), close relationship outcomes, social network patterns, interper- sonal interactions, and learning processes. Bad emotions, bad parents, and bad feedback have more impact than good ones, and bad information is processed more thoroughly than good. The self is more motivated to avoid bad self-definitions than to pursue good ones. Bad impressions and bad stereotypes are quicker to form and more resistant to disconfirmation than good ones. Various explanations such as diagnosticity and sa- lience help explain some findings, but the greater power of bad events is still found when such variables are controlled. Hardly any exceptions (indicating greater power of good) can be found. Taken together, these findings suggest that bad is stronger than good, as a general principle across a broad range of psychological phenomena. Centuries of literary efforts and religious pothesis that bad is stronger than good (see also thought have depicted human life in terms of a Rozin & Royzman, in press). That is, events struggle between good and bad forces. At the that are negatively valenced (e.g., losing metaphysical level, evil gods or devils are the money, being abandoned by friends, and receiv- opponents of the divine forces of creation and ing criticism) will have a greater impact on the harmony.
    [Show full text]
  • Photography As Metaphor and Material Object in Victorian Culture
    "MIRROR WITH A MEMORY": PHOTOGRAPHY AS METAPHOR AND MATERIAL OBJECT IN VICTORIAN CULTURE Sarah Worman A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2017 Committee: Piya Pal-Lapinski, Advisor Kim Coates © 2017 Sarah Worman All Rights Reserved iii ABSTRACT Piya Pal-Lapinski, Advisor In the Victorian period, photography was associated with the ghosts of history, con artists in the streets of London, and cultural anxieties about the future of Victorian society. The Victorian practice of photographing ghosts, or spirit photography, showed how Victorians viewed the past, present, and future. By examining the cultural artifact of Georgiana Houghton’s Chronicles of the Photographs of Spiritual Beings (1882), it becomes clear how photography affected Victorian literature as well as Victorian culture. In the short stories, “Oke of Okehurst” (1886) and “A Wicked Voice” (1887), Vernon Lee compared Victorian produced art to art from history. For Lee, the fast paced and highly commercialized art, which was influenced by photography, was not as powerful as art with historical context. An earlier work, Thomas Hardy’s A Laodicean: A Story of To-Day (1881), also showed the connections between photography, history, and uncertainty. The characters try to use photography to try and preserve a crumbling medieval castle, but their attempts end in failure. While technology like telegraphs gives Paula a sense of power, the novel leaves her wishing she had a more stable connection to the past and the future. These examples of Victorian literature show that photography affected Victorian culture at a deeper level than previously thought.
    [Show full text]
  • Symbolism of Surface and Depth in Edvard
    MARJA LAHELMA want life and its terrible depths, its bottomless abyss. to hold on to the ideal, and the other that is at the same Lure of the Abyss: – Stanisław Przybyszewski1 time ripping it apart. This article reflects on this more general issue through Symbolist artists sought unity in the Romantic spirit analysis and discussion of a specific work of art, the paint- Symbolism of Ibut at the same time they were often painfully aware of the ing Vision (1892) by Edvard Munch. This unconventional impossibility of attaining it by means of a material work of self-portrait represents a distorted human head floating in art. Their aesthetic thinking has typically been associated water. Peacefully gliding above it is a white swan – a motif Surface and with an idealistic perspective that separates existence into that is laden with symbolism alluding to the mysteries of two levels: the world of appearances and the truly existing life and death, beauty, grace, truth, divinity, and poetry. The Depth in Edvard realm that is either beyond the visible world or completely swan clearly embodies something that is pure and beautiful separated from it. The most important aim of Symbolist art as opposed to the hideousness of the disintegrating head. would then be to establish a direct contact with the immate- The head separated from the body may be seen as a refer- Munch’s Vision rial and immutable realm of the spirit. However, in addition ence to a dualistic vision of man, and an attempt to separate to this idealistic tendency, the culture of the fin-de-siècle the immaterial part, the soul or the spirit, from the material (1892) also contained a disintegrating penchant which found body.
    [Show full text]
  • Using an Ambiguous Cue Paradigm to Assess Cognitive Bias in Gorillas (Gorilla Gorilla Gorilla) During a Forage Manipulation
    ABC 2017, 4(1):70-83 Animal Behavior and Cognition DOI: 10.12966/abc.06.02.2017 ©Attribution 3.0 Unported (CC BY 3.0) Using an Ambiguous Cue Paradigm to Assess Cognitive Bias in Gorillas (Gorilla gorilla gorilla) during a Forage Manipulation Molly C. McGuire1, Jennifer Vonk1*, Grace Fuller2, & Stephanie Allard2 1Oakland University, Department of Psychology, Rochester, MI, USA 2Detroit Zoological Society, Royal Oak, MI USA *Corresponding author (Email: [email protected]) Citation – McGuire, M. C., Vonk, J., Fuller, G., & Allard, S. (2017). Using an ambiguous cue paradigm to assess cognitive bias in gorillas (Gorilla gorilla gorilla) during a forage manipulation. Animal Behavior and Cognition, 4(1), 70–83. doi: 10.12966/abc.06.02.2017 Abstract - In nonhumans, ‘optimism’ is often defined as responding to an ambiguous item in the same manner as to items previously associated with reward (or lack of punishment), and “pessimism” is defined as responding to an ambiguous item in the same manner as to items previously associated with a lack of reward (or with punishment). We measured the degree of “optimism” and “pessimism” in three captive male western lowland gorillas (Gorilla gorilla gorilla) during four consecutive two-week periods in which the amount of available forage material (mulberry, Moraceae or alfalfa, Medicago sativa) was manipulated. We assessed cognitive bias using an ambiguous cue paradigm for the first time. Pairs of two-dimensional shapes were presented on a touch-screen computer in a forced choice task in which one shape was always reinforced (P), one was never reinforced (N), and one was reinforced half the time, making it ambiguous (A).
    [Show full text]
  • Letter from the Education and Public Engagement Department
    Letter from the Education and Public Engagement Department A team of artists, art historians, educators, interns, librarians, and visitor relations staff comprise the award-winning Education and Public Engagement Department at The San Diego Museum of Art. We work with staff from within the Museum as well as with colleagues from cultural and educational institutions throughout the world to provide programs that enhance the exhibitions presented. Through lectures, tours, workshops, music, film, events for educators, and art-making programs for visitors of all ages, we invite you to inspire your creativity and to learn about art and its connection to your life. We hope you find yourself appreciating the wide array of art culture that is presented within the Museum and its encyclopedic collection. Whether you are new to art, or a long-time member who visits the Museum frequently, we invite you to bring your family, grandchildren, and friends, and to participate at The San Diego Museum of Art. We look forward to meeting you and hearing about any ideas you may have about the Museum and our programming efforts. We hope to see you often! The Education and Public Engagement Department The San Diego Museum of Art SDMArt.org Young visitors are participating in a Museum camp program. THE SAN DIEGO MUSEUM OF ART Learning through the Museum The San Diego Museum of Art first opened its doors on February 28, 1926, as the Fine Arts Gallery of San Diego, and since that time has been building an internationally renowned permanent collection that includes European, North American, Modern Mexican, Asian, Islamic and contemporary art.
    [Show full text]
  • Loneliness and Expressive Suppression; the Role of Pessimism About Expressivity Pooya Razavi, Seung Hee Yoo San Francisco State University
    Loneliness and Expressive Suppression; The Role of Pessimism about Expressivity Pooya Razavi, Seung Hee Yoo San Francisco State University Overview Study 2 Study 3 Loneliness triggers a state of hypervigilance to social threats (Hawkley & In this study, the findings of the first study were replicated and extended in In this study, we tested the model with an experimental design. In a between- Cacioppo, 2010). As a result, lonely individuals tend to form pessimistic views three ways: subjects design, the participants were randomly assigned to think and write about a of the social world, and, accordingly, choose prevention-focused interaction (a) Vignettes were used to assess the participants’ suppression of emotions time when they felt (a) isolated, (b) socially connected, or (c) sad. Afterwards, strategies in order to minimize the possibility of negative social evaluations and attitudes towards expressivity in a specific scenario. similar to Study 2’s procedure, they imagined an interaction and reported their (Lucas et al., 2010). Ironically, these cautious strategies may harm lonely expressive suppression, and their attitudes towards emotional expressivity based on individuals’ social interactions (Pilkonis, 1977) and lead to a vicious circle of (b) In addition to negative attitudes towards expressivity (prevention the imagined interaction. loneliness. focused), positive attitudes (promotion focused) were measured. In the present research, we extended this theory to examine the relationship (c) The model was tested while controlling for two personality traits, Participants: Recruited through M-Turk; N = 220; 57.3% female; Mage = 36.70 between loneliness and expressive suppression of emotions. Specifically, we extraversion and neuroticism, which are often associated with suppression predicted that: of emotions.
    [Show full text]
  • Cosmic Pessimism
    pharmakon V Eugene Thacker COSMIC PESSIMISM Original Artwork by Keith Tilford Eugene Thacker Cosmic Pessimism by Eugene Thacker First Edition Minneapolis © 2015, Univocal Publishing Published by Univocal 123 North 3rd Street, #202 Minneapolis, MN 55401 Artwork: acrylic on duralar. COSMIC PESSIMISM All images copyright Keith Tilford. Designed & Printed by Jason Wagner Distributed by the University of Minnesota Press ISBN 9781937561864 Library of Congress Control Number 2015940595 Original Artwork by Keith Tilford ~ * ~ There is no philosophy of pessimism, only the reverse. ~ * ~ Cosmic Pessimism Cosmic Pessimism e’re Doomed. Pessimism is the night- side of thought, a melodrama of the futility of the brain, a poetry written in the graveyard of philosophy. WPessimism is a lyrical failure of philosophical think- ing, each attempt at clear and coherent thought, sullen and submerged in the hidden joy of its own futility. The closest pessimism comes to philo- sophical argument is the droll and laconic “We’ll never make it,” or simply: “We’re doomed.” Every effort doomed to failure, every project doomed to incompletion, every life doomed to be unlived, every thought doomed to be unthought. Pessimism is the lowest form of philosophy, frequently disparaged and dismissed, merely the symptom of a bad attitude. No one ever needs pessimism, in the way that one needs optimism to inspire one to great heights and to pick oneself up, in the way one needs constructive criticism, 3 advice and feedback, inspirational books or a pat on the back. No one needs pessimism (though I like to imagine the idea of pessimist self-help). No one needs pessimism, and yet everyone — without exception — has, at some point in their lives, had to confront pessimism, if not as a philosophy then as a grievance — against one’s self or others, against one’s surroundings or one’s life, against the state of things or the world in general.
    [Show full text]
  • Trends, Sentiments and Emotions
    Analyzing COVID-19 on Online Social Media: Trends, Sentiments and Emotions Xiaoya Li♣, Mingxin Zhou♣, Jiawei Wu♣, Arianna Yuan, Fei Wu♠ and Jiwei Li♣ ♠ Department of Computer Science and Technology, Zhejiang University Computer Science Department, Stanford University ♣ Shannon.AI {xiaoya_li, mingxin_zhou, jiawei_wu, jiwei_li}@shannonai.com [email protected], [email protected] Abstract—At the time of writing, the ongoing pandemic of coron- People constantly post about the pandemic on social media avirus disease (COVID-19) has caused severe impacts on society, such as Twitter, Weibo and Facebook. They express their atti- economy and people’s daily lives. People constantly express their tudes and feelings regarding various aspects of the pandemic, opinions on various aspects of the pandemic on social media, making user-generated content an important source for understanding public such as the medical treatments, public policy, their worry, etc. emotions and concerns. Therefore, user-generated content on social media provides an important source for understanding public emotions and In this paper, we perform a comprehensive analysis on the affective trajectories of the American people and the Chinese people based on concerns. Twitter and Weibo posts between January 20th, 2020 and May 11th In this paper, we provide a comprehensive analysis on the 2020. Specifically, by identifying people’s sentiments, emotions (i.e., anger, disgust, fear, happiness, sadness, surprise) and the emotional affective trajectories of American people and Chinese people triggers (e.g., what a user is angry/sad about) we are able to depict the based on Twitter and Weibo posts between January 20th, dynamics of public affect in the time of COVID-19.
    [Show full text]
  • Are Emotions a Kind of Practice (And Is That What Makes Them Have a History)? a Bourdieuian Approach to Understanding Emotion
    History and Theory 51 (May 2012), 193-220 © Wesleyan University 2012 ISSN: 0018-2656 ARE EMOTIONS A KIND OF PRACTICE (AND IS THAT WHAT MAKES THEM HAVE A HISTORY)? A BOURDIEUIAN APPROACH TO UNDERSTANDING EMOTION MONIQUE SCHEER1 ABSTRACT The term “emotional practices” is gaining currency in the historical study of emotions. This essay discusses the theoretical and methodological implications of this concept. A definition of emotion informed by practice theory promises to bridge persistent dichoto- mies with which historians of emotion grapple, such as body and mind, structure and agency, as well as expression and experience. Practice theory emphasizes the importance of habituation and social context and is thus consistent with, and could enrich, psychologi- cal models of situated, distributed, and embodied cognition and their approaches to the study of emotion. It is suggested here that practices not only generate emotions, but that emotions them- selves can be viewed as a practical engagement with the world. Conceiving of emotions as practices means understanding them as emerging from bodily dispositions conditioned by a social context, which always has cultural and historical specificity. Emotion-as-practice is bound up with and dependent on “emotional practices,” defined here as practices involv- ing the self (as body and mind), language, material artifacts, the environment, and other people. Drawing on Pierre Bourdieu’s concept of habitus, the essay emphasizes that the body is not a static, timeless, universal foundation that produces ahistorical emotional arousal, but is itself socially situated, adaptive, trained, plastic, and thus historical. Four kinds of emotional practices that make use of the capacities of a body trained by specific social settings and power relations are sketched out—mobilizing, naming, communicating, and regulating emotion—as are consequences for method in historical research.
    [Show full text]
  • A Deep Learning-Based Approach for Multi-Label Emotion Classification in Tweets
    applied sciences Article A Deep Learning-Based Approach for Multi-Label Emotion Classification in Tweets Mohammed Jabreel 1,2,* and Antonio Moreno 1 1 ITAKA Research Group, Universitat Rovira i Virgili, 43007 Tarragona, Spain; [email protected] 2 Department of Computer Science, Hodeidah University, 1821 Hodeidah, Yemen * Correspondence: [email protected] Received: 15 February 2019; Accepted: 12 March 2019; Published: 17 March 2019 Abstract: Currently, people use online social media such as Twitter or Facebook to share their emotions and thoughts. Detecting and analyzing the emotions expressed in social media content benefits many applications in commerce, public health, social welfare, etc. Most previous work on sentiment and emotion analysis has only focused on single-label classification and ignored the co-existence of multiple emotion labels in one instance. This paper describes the development of a novel deep learning-based system that addresses the multiple emotion classification problem in Twitter. We propose a novel method to transform it to a binary classification problem and exploit a deep learning approach to solve the transformed problem. Our system outperforms the state-of-the-art systems, achieving an accuracy score of 0.59 on the challenging SemEval2018 Task 1:E-cmulti-label emotion classification problem. Keywords: opinion mining; sentiment analysis; emotion classification; deep learning; Twitter 1. Introduction Emotions are the key to people’s feelings and thoughts. Online social media, such as Twitter and Facebook, have changed the language of communication. Currently, people can communicate facts, opinions, emotions, and emotion intensities on different kinds of topics in short texts. Analyzing the emotions expressed in social media content has attracted researchers in the natural language processing research field.
    [Show full text]
  • What Pessimism Is
    Journal of Philosophical Research Volume 37 2012 pp. 337–356 WHAT PESSIMISM IS PAUL PRESCOTT SYRACUSE UNIVERSITY ABSTRACT: On the standing view, pessimism is a philosophically intractable topic. Against the standing view, I hold that pessimism is a stance, or compound of attitudes, commitments and intentions. This stance is marked by certain beliefs—first and foremost, that the bad prevails over the good—which are subject to an important qualifying condition: they are always about outcomes and states of affairs in which one is personally invested. This serves to distinguish pessimism from other views with which it is routinely conflated— including skepticism and nihilism—and to allow for the extent to which pessimism necessarily involves more than the intellectual endorsement of a doctrine. I. WHAT IS PESSIMISM? Many normative theories presuppose optimism—or, at least, so it has been argued1— and a close relationship between pessimism and existential topics in philosophy is clear. Much as epistemology is driven by the provocations of the skeptic, so the provocations of the pessimist implicitly lie behind many existential concerns: the meaning and value of life, the disvalue (or value) of death, and the nature of happiness and well-being, to name just a few.2 Meanwhile, in contemporary psychiatry, dominant therapeutic models (Cognitive Behavioral Therapy) and diagnostic manuals (DSM-IV, ICD-10) routinely use pessimism as a criterion of emotional or psychiatric disorder.3 In all such cases, we find normative theories—whether ethical, social-political, or nosological—sup- ported by views about the possibilities for which the world allows, and the reasonable or appropriate attitude to take in response.
    [Show full text]
  • Comparative Analysis of Joy and Awe in Four Cultures Daria B
    James Madison University JMU Scholarly Commons Dissertations The Graduate School Spring 2017 Being and beholding: Comparative analysis of joy and awe in four cultures Daria B. White James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Counselor Education Commons, and the Multicultural Psychology Commons Recommended Citation White, Daria B., "Being and beholding: Comparative analysis of joy and awe in four cultures" (2017). Dissertations. 150. https://commons.lib.jmu.edu/diss201019/150 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. Being and Beholding: Comparative Analysis of Joy and Awe in Four Cultures Daria Borislavova White A dissertation submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements for the degree of Doctor in Philosophy Department of Graduate Psychology May 2017 FACULTY COMMITTEE: Committee Chair: Dr. Debbie Sturm Committee Members: Dr. Lennis Echterling Dr. Cara Meixner Dedication I dedicate this dissertation to all the wonderful people who shared the most precious “eternal moments” of their lives with me. To all of you, I offer my heartfelt gratitude. I have rejoiced in reading and rereading your stories, living with your memories, learning from you all how to be be-filled and beholding. I write in remembrance of two beloved people who died in 2008 – my brother Ivaylo, whose bear hugs, warmth and sharing nature were a shelter for me, and my friend Mirela, whose pure soul, tinkling laughter and sharp intelligence are irreplaceable.
    [Show full text]