Browsing by Author "Cauchi, Francesca"

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Arundhati Roy'un En Yüksek Mutluluk Bakanlığı'nda metafor ve söylenmeyenlerin gücü
(2022) Bhutta, Rida Khalid; Cauchi, Francesca
The purpose of my thesis is to sketch out all the metaphors present in the novel that shed light on the distinction between humanity and the lack thereof. Through many characters and what they and their journeys metaphorically symbolise, my dissertation attempts to shed light on the characteristic elements that starkly distinguish the politically animalistic from the socially humane. This humanity is ironically portrayed through the animals. It is also explored through journalism and the biased and unforgiving eye of the camera.
Citation - WoS: 2
Citation - Scopus: 2
Blake and Nietzsche on self-slaughter and the moral law: A reading of Jerusalem
(SAGE Publications Ltd, 2015) Francesca Cauchi; Cauchi, Francesca
Both Blake and Nietzsche deemed the perversion of energy or will by the architects and enforcers of the Judeo-Christian moral law to be the most cataclysmic event in the history of man. Coerced by a false dichotomy of good and evil man’s primordial flux is not only stymied but vitiated through the self-mutilations of bad conscience. This essay examines the specific mechanism of moral coercion – a process of sublimation and condensation whereby the agonistic contraries within man are fixed into negating absolutes – and the extent to which such a process shapes the symbolic landscape of Blake’s final prophetic work Jerusalem. At the heart of this landscape an emblematic network of trees rocks nets and sacrificial altars stands Vala the virgin-whore of Babylon. Presiding remorselessly and remorsefully over the moral law’s slaughter of innocence Vala is revealed as bad conscience personified and vilified. © 2021 Elsevier B.V. All rights reserved.
Citation - Scopus: 2
“Compunctious Visitings”: Conscience as Unequivocal Witness in Macbeth
(University of Iowa p-q@uiowa.edu, 2015) Francesca Cauchi; Cauchi, Francesca
[No abstract available]
Dangerous conceits and bloody passion: The Dual Master-Slave Reversal in Othello
(UNIV IOWA, 2020) Francesca Cauchi; Cauchi, Francesca
Citation - WoS: 3
Hegel and Nietzsche on thought freedom and the labour of the negative'
(SAGE PUBLICATIONS LTD, 2016) Francesca Cauchi; Cauchi, Francesca
The argument advanced in this essay is that Hegel and Nietzsche's method of critical enquiry is not only consonant but embraces a concept of practical freedom that for both philosophers tethers the affective will to the empty formalism of the Kantian rational will. Defining his own philosophical practice as a yea-saying to opposition and war' (Ecce Homo) Nietzsche engages in a rigorous discipline of thought that proceeds on the dialectical principle of affirmative negation thereby recuperating what Hegel in his Phenomenology of Spirit refers to as the labour of the negative'. Contrary to Deleuze's emphatically anti-Hegelian reading of Nietzsche it is contended that Nietzsche's yes is the fruit of a cruel and resolutely dialectical no - a no that not only undergirds his affirmative ideal but constitutes the sine qua non of his ethical project of self-overcoming.
My Business Is to Create: Blake’s Infinite Writing
(Auburn Univ, 2013) Cauchi, Francesca
Citation - WoS: 3
Citation - Scopus: 2
Nietzsche and Kant: Self-legislation and the rational will in Zarathustra's ethics
(Maney Publishing Suite 1C Joseph's Well Hanover Walk Leeds LS3 1AB, 2013) Francesca Cauchi; Cauchi, Francesca
Friedrich Nietzsche's wonted derision of Immanuel Kant has long-obscured striking parallels between the two philosophers' moral thought. In this essay it will be argued that the autonomous self-legislating rational will is as pivotal to the ethical project at the heart of Nietzsche's 'Thus Spake Zarathustra' as it is to Kantian ethics. Indeed it will be seen just how closely Kant's concept of the 'good will' can be mapped onto Zarathustra's vision of a creative will that through the faculty of discernment ('Erkenntniss') and its attendant powers of judgment and understanding has not only the ability and the right to devise and implement new values but the discipline to obey its self-imposed rationally-guided laws. By means of a radical re-evaluation and re-appropriation of the three Christian 'evils' of voluptuousness ('Wollust') lust for power ('Herrschsucht') and selfishness ('Selbstsucht') Zarathustra teaches how the genuinely free man can assume sovereignty over subjective motivation and direct his will towards an uncompromised and uncompromising ethical goal. © W. S. Maney & Son Ltd 2013. © 2014 Elsevier B.V. All rights reserved.
Rilke's Orpheus and Nietzsche's Übermensch: Alternative modes of being in becoming
(SAGE Publications Ltd, 2013) Francesca Cauchi; Cauchi, Francesca
Friedrich Nietzsche and Rainer Maria Rilke both seek through their work to affirm the ephemerality and mutability of life or what Nietzsche terms 'becoming' without which they believe there can be no true being in the world. The nature of their respective affirmations however is radically different. For Nietzsche man is to will becoming as a self-creative force whereas for Rilke man instantiates becoming precisely by relinquishing force and suspending the will. These divergent views are reflected in the symbolic vehicles of Rilke and Nietzsche's affirmative and celebratory ideals: the titular singing god of The Sonnets to Orpheus representing openness to and immanence in the temporal physiological becoming of the world and the Übermensch of Thus Spake Zarathustra representing a willed re-creation of a radically revalued world at the centre of which the ever-shifting self resides. This essay weighs the relative merits of these two visions of being in becoming. © The Author(s) 2013. © 2013 Elsevier B.V. All rights reserved.
Romantic Scepticism and the Descent into Nihilism in T.S. Eliot’s ‘Burnt Norton’
(Taylor and Francis Ltd. maney@maney.co.uk, 2017) Francesca Cauchi; Cauchi, Francesca
The nihilism consequent upon the First World War and which T.S. Eliot’s Four Quartets sought in some measure to dispel emerges in ‘Burnt Norton’ as the chilling culmination of a putatively redemptive idealism. In common with his Romantic forebears Wordsworth and Coleridge in particular the ambivalent narrator of Eliot’s first quartet harbours a desire to transcend the limits of temporality through the positing of an ideal world that he suspects may be illusory. The result is a descent into nihilism as extreme as it is absolute: a nihilism which Nietzsche fifty years earlier had decried as a ‘will to nothingness.’ © 2017 Elsevier B.V. All rights reserved.
The Keats Brothers: The Life of John and George
(Auburn Univ, 2013) Cauchi, Francesca