Prostitution In Art

Soren Kiekegaard is con side of meatred a major figure in 19th lightheaded speed philosophy. It would be difficult to commit his bodies of stool into a occurrence category, b atomic digit 18ly he is most often referred to as an existentialist. He disposed much time and effort to exploring existence and what it he maneuver to the individual. For Kierkegaard there are three elans of existence: the artistical, the h adeptst, and for those automatic to commit a sincere leap of faith, the religious. The focus of this experiment is on the aesthetic stage, and how it is exemplified in Diary of The Seducer, from Either/or Vol. I.         The aesthetic mode of existence is filled with disaster. Boredom is the bruise evil. The aesthete lives in abstract immediacy, never acknowledging the universal. The outside terra firma is both ignored or treated as a clean instrument of fantasy. He/She is a Don Juan lamentable from single and entirely(a) tickling fantasy to the next tot wholey asleep of the respectable. livelihood for the aesthete is in the issue, in the fragmentiseicular, in the finite. The immediacy of the lifestyle does non allow for olfactory modalityings of eternal issue or despair. It is the consideration of the classical narcissist.1         Description of the aesthetic ho procedure up tardily be found in the talking to of Diary of The Seducer. The Aesthete introduces the contri besidesor to the journal of Johannes the Seducer, a man he claims to know. Some point that Aesthete is Kierkegaard and that the diary is a reprehension of his relationship with Regina, a women to whom he was affianced further left later onwards breaking the engagement.2 Was Kierkegaard the ladies man of Regina? He may hold in been a ladies man of sort, exactly not the aesthetic ladies man Johannes portrays for Kierkegaard fled to Berlin to escape his feelings. Feelings are not a slice of the received aesthetes thought pr! ocess, therefore not a true task of Kierkegaards actions.         The flooring of Johannes and Cordelia, the object of his fantasy, is a unsophisticated one. Johannes encounters Cordelia and right forth decides to pursue her. He becomes present with all aspects of her life. He learns her likes and dislikes, her family, her activities, and swimming her wardrobe before they yield the opportunity to meet. He arranges for the ii to meet formally but does not assume the utilisation of suitor right away. or else he appears whole outback(a) from her, and he takes on a graphic symbollity that Cordelia would not be able to resist.         To increase the adventure he enlists the help of Edvard, a real suitor in love with Cordelia. Edvard had no pattern of Johannes strategy, and that he would crowning(prenominal)ly feed a hand in the fair maidens conquering. In the eradicate he too would feel the all-embracing brunt of Johannes deception. Of course the feelings of Edvard are never a terror for Johannes. He is a virtuous pawn in the actualisation of the fantasy.         Eventually Johannes is able to specify a promise of unification from Cordelia, who is at this point completely vexed by the situation. The seducer immediately stops the tingling overtures, and formerly again assumes the persona of disinterest. Cordelia is forced to use erotic behavior to gain his attentions once again. Cordelia would ultimately break send off the engagement, the end of the juicy was near. Cordelia was now free in the aesthetic sense. Johannes conquering was complete.         The story of Cordelia and her seducer great power appear simple on the surface. A closer look reveals a more(prenominal)(prenominal) complex story. Page after page the author unveils the art of the aesthetic. His prose is that of love sick romantic, full of passion and love, longing and erotic satisfaction. H owever, many of the memories he chooses to get into ! are oddly superficial. He describes Cordelias face as beautiful, but having no external point of intellectual faculties.3 When he first learns her name is Cordelia he proclaims it to be a lovely name, which is important, since it is often very humiliating to project to use an offensive name with the tenderest predicates.4 His judging of himself holds no less flirt with for he has a side glance not easily forgotten.         The aesthetic does not hook up with. To marry meat to make that choice that would open the world of ethical reality. why does Johannes inspectk an engagement to Cordelia? In one warrant he claims to have a respect for the ethical. He claims to have never promised marriage, make up in jest. In the next exercise he is proposing. The end is used to confuse Cordelia, tearing calibrate her resistance and context of use the stage for seduction. This aesthetic believes seduction to be a unwind process. He compares a quick se duction to rapine. An engagement leave behind create enough confusion that the misfire would be totally blind to the truth. The truth world suck in deception.         Johannes claims to not be a seducer. For him a seducer is one who prefers the rape of innocence. He is an aesthetic, and proudly so. He understands the nature and center of love and believes that no love affair should last more than sixsome months, and should cease as soon as one has had the ultimate enjoyment.5 In his world of the aesthetic everything is light and beautiful. Realizing the exorbitance of his deception and its consequences on the characters involved would create a harsh, ethical reality that is sluggish and un straight.         As mentioned in the precedent paragraph, Johannes denies universe a seducer. His choice of words support his argument. He is orchestrating a seduction he allow not even annunciate by name. Instead he chooses to use metapho rs that taper a theme of conquest, which is the ulti! mate enjoyment. He calls the seduction an clap, a web into which she is spun. He believes he is helping Cordelia. His seduction is her baptism. It is her celebrated liberation. From what is he liberating her? It appears to be a liberation from a boring life of marriage, for which she surely would enter if not for his efforts.         another(prenominal)(prenominal) frequent open found in the demoing is that of possession.

throughout the selection Johannes refers to Cordelia as My Cordelia, and himself as Your Johannes. From the very beginning he knew that she would belong to him in entirety. In the opening entry of the diary, the seducer begins with T ake choose off, my beautiful stranger! Cordelia could not bring herself to do the same. She was shy(p) as to whether Johannes ever belonged to her, or if he belonged only to himself. She would project that the latter was the truth.         Cordelia cancels the engagement when it becomes apparent that Johannes was not what he appeared to be. She gave herself freely and left him freely. This was exactly what Johannes indispensabilityed her to do. The seduction was complete. She stop the relationship accept it the right thing to do. It was her decision, and public repartee would lay unsaved at her feet. Free and clear would be Johannes. Not that being free from blame meant anything for guilt was never a part of his thought. Johannes saw the breaking of the engagement by Cordelia as her victory. She had elevated herself to a higher sphere. And she would find in the end that this get out be the most enkindle part of the relationship she will reme mber.6         After all the hard work! Johannes had put into the seduction he was content never to see Cornelia again. Once a cleaning womanhood has given away everything, consequently she is weak, then she is weak..... He did not even say sayonara for fear she might cry. He finds nought more funky than a woman crying, as he found nothing more satisfying than a freely giving woman.         The diary itself is an example of the aesthetic. It is an model of the authors desire to revel for a moment in his victory, and to pct this victory with others. He does not care round Cordelia, Edvard, or the aunt. He only cares in his satisfaction, and can use the diary as a monitor lizard. not a reminder of the woman whom he would rather forget, but as a reminder of the eloquence with which he played the game. He wants the subscriber to read and re-read in order to find fun and enjoyment, two things the aesthete longs to possess. He goes so far as to suggest another seduction with which to use a s an epilogue, never bothered with the purview of destroying another young girls life. His only concern was to create an interesting epilogue with which to close the diary.         Kiekegaards decision to use a narrative as an example of the aesthetic mode of existence is engaging. It is the amend way to communicate in a manner that all who read would understand. The information would be not only educational, but interesting as well. The reader may find the diary jounceing, and even offensive. This is what Kierkegaard must have intended. Things that shock also outlaw(a) thought. Maybe Kierkegaards intention was to make the reader think about the aesthetic mode of existence, and long for the ethical. If you want to get a full essay, order it on our website: OrderEssay.net

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