James S. Hans – författare

Discusses the ethical aspects of literature.This book addresses the ethical aspects of literature by discussing three major American poets: Walt Whitman, Wallace Stevens, and A. R. Ammons. It develops a philosophical framework by which an ethics of literature can be construed, and differentiates this view from a purely political criticism on the one hand and a purely "disinterested" criticism on the other. Beginning with Nietzsche's assumption that the world itself is an aesthetic place, Hans shows how an ethic is always inevitably implicit in the aesthetic through which a writer constructs his work. At the same time, he argues that this ethic never tells us how to live our lives; it only presents us with a series of constructs through which we can begin to understand the nature of valuing in the everyday world. The book also examines some of the reasons why academics have resisted the ethical aspects of literature, confronting the two major forces in literary criticism today: political writing (chiefly feminist) and post-structuralist (chiefly deconstructionist) writing.The Value(s) of Literature goes beyond Nietzsche and Derrida's critique of Nietzsche, which does not seriously approach the need for positive evaluation of the world. It is precisely this positive attempt to weigh the value of things anew to which this book is devoted.

Based on Nietzsche's critique of religion and culture, and engaging the contemporary offshoots of that critique, this book assesses the myths of origins that have been used to articulate the fundamental attitude toward the relationship between shame and beauty. In reconsidering some of the myths upon which the West is based, from Hesiod and Greek mythology to Plato and the Bible, Hans pursues the ways in which we have habitually separated shame and beauty in order to create the grounds that would provide us with the authority for our lives we think we need. By juxtaposing Socrates' repression of violence in The Republic and Nietzsche's conception of the overman, the author revises the network of relations that are associated with the religious, the aesthetic, and the political, asserting that the religious derives from the aesthetic rather than the other way around, and establishing a necessary connection between the political and the aesthetic.Hans aims to raise yet again the questions embodied in Nietzsche's attempt to prompt humans to face the true status of their actions in the world: are we finally able to address our shame without immediately projecting it onto another or repressing it? If so, what changes might we see in the psychological, social, and political worlds we would create out of such an acknowledgment? What value is to be found in accepting the uneasy relationship between shame and beauty upon which our lives rest? While The Origins of the Gods provides no definitive answers to such questions simply because none are possible, it makes use of such queries in order to reassert the great importance of Nietzsche's affirmation of the value of the world as it is. It argues that this affirmation has something crucial to offer if we are willing to forgo an authorized existence and confront the beauty and shame from which our lives are inevitably constituted.

This book explores the relationship between authority and context and attempts to establish the ways in which authority is a function of a particular agent or set of agents, and the degree to which it is a product of a context rather than an agent. The work is not a sociological or psychological study but rather a literary/philosophical speculation into the roots of our conceptions of authority. It declares all authority to be aesthetic in nature and is based on an analysis of several key texts from various different cultural backgrounds: Foucault, Weber, Nietzsche, Confucius, and Homer.

The Mysteries of Attention explores the principles of selection through which the nature of human attention is established and delineates the modes, forms, measures, and motifs of attention. It is a literary/philosophical discussion of the ways in which our sense of the world is determined by the mechanisms of attention that always remain beyond our comprehension.

The Golden Mean reappraises the relationship among the three forms of good that exist in modern Western thought: the good of aesthetic beauty and performance, the good of right and wrong, and the forces of social resentment that shape the public debate about what is appropriate to society's needs.The book explores how the good found in aesthetics is linked to the good found in the ethical codes that govern people's lives. These "goods" interact with the sense of the community expressed in society's envy of those exemplary few who possess the powers of the aesthetic, even as they too must subscribe to the same strictures by which ordinary people live. The book also demonstrates how the concept of a middle path, a straight and narrow way, or a "golden mean" develops to provide a measure by which people can make sense out of these seemingly disparate phenomena.The Golden Mean argues that our current dilemmas both inside and outside the university should prompt us to see more clearly how the aesthetic and the ethical are intrinsically related. We need to reassess their relationship to the future of our ways of thinking and the development of our communities.