Cynthia R. Nielsen

Frederick Douglass, in his first autobiography, Narrative of the Life of Frederick Douglass, describes how his sociopolitical identity was scripted by the white other and how his spatiotemporal existence was likewise constrained through constant surveillance and disciplinary dispositifs. Even so, Douglass was able to assert his humanity through creative acts of resistance. In this essay, I highlight the ways in which Douglass refused to accept the other-imposed narrative, demonstrating with his life the truth of his being—a human being unwilling to be classified as thing or property. As I engage selected passages and key events from Douglass's narrative, I likewise explore the ways in which the resistance tactics.

Several prominent contemporary philosophers, including Jürgen Habermas, John Caputo, and Robert Bernasconi, have at times painted a somewhat negative picture of Gadamer as not only an uncritical traditionalist, but also as one whose philosophical project fails to appreciate difference. Against such claims, I argue that Gadamer’s reflections on art exhibit a genuine appreciation for alterity not unrelated to his hermeneutical approach to the other. Thus, by bringing Gadamer’s reflections on our experience of art into conversation with key aspects of his philosophical hermeneutics, we are able to better assess the viability of Gadamer’s contributions to contemporary discussions of difference and alterity. Sections two through six focus on key concepts in Gadamer’s account of art’s dynamic ontology and our experience of art. Such concepts include the play structure of art, hermeneutic identity, tarrying with a work, and contemporaneity. The opening sections provide not only a discussion of these central themes, but they also (1) draw attention to the various ways in which difference and otherness are integral to Gadamer’s account, and (2) utilize relevant musical examples that prepare the reader for a more focused discussion of a Gadamerian approach to free jazz in section seven. By highlighting how Gadamer’s understanding of art possesses a dialogical play structure, is characterized by identity and difference, requires actively engaged spectators and auditors, and is amenable to what many criticize as an unintelligible musical expression, viz. free jazz, Gadamer’s project is shown as other-affirming and open to ambiguity and dynamism. That is, the essential structures and concepts characterizing Gadamer’s reflections on art are likewise central to his overall hermeneutical project, and hence are not rightly described as un-attuned to difference or other-negating. Rather, Gadamer’s philosophical project upholds difference, since it requires a dialogical interplay between self and other that creates the possibility for a transformative experience.

Although contemporary Western culture and criticism has usually valued composition over improvisation and placed the authority of a musical work with the written text rather than the performer, this essay posits these divisions as too facile to articulate the complex dynamics of making music in any genre or form. Rather it insists that music should be understood as pieces that are created with specific intentions by composers but which possess possibilities of interpretation that can only be brought out through performance.

Foucault’s later writings continue his analyses of subject-formation but now with a view to foregrounding an active subject capable of self-transformation via ascetical and other self-imposed disciplinary practices. In my essay, I engage Foucault’s studies of ancient Greco-Roman and Christian technologies of the self with a two-fold purpose in view. First, I bring to the fore additional continuities either downplayed or overlooked by Foucault’s analysis between Greco-Roman transformative practices including self-writing, correspondence, and the hupomnemata and Christian ascetical and epistolary practices. Second, I add exegetical support to recent arguments denying Foucault’s advocacy for the death of the subject per se. In fact, my analyses show that Foucault’s ethico-aesthetic turn and its corresponding concern with self-transformation and self-(re)constitution via ascetical practices assumes a subject with rational and volitional capacities. Without these capacities, the art of living Foucault describes is not possible.