Scenes of shame, social Roles, and the play with masks

Research output: Contribution to journalJournal articleResearchpeer-review

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Scenes of shame, social Roles, and the play with masks. / Welz, Claudia.

In: Continental Philosophy Review, Vol. 47, No. 1, 03.2014, p. 107-121.

Research output: Contribution to journalJournal articleResearchpeer-review

Harvard

Welz, C 2014, 'Scenes of shame, social Roles, and the play with masks', Continental Philosophy Review, vol. 47, no. 1, pp. 107-121. https://doi.org/10.1007/s11007-014-9286-0

APA

Welz, C. (2014). Scenes of shame, social Roles, and the play with masks. Continental Philosophy Review, 47(1), 107-121. https://doi.org/10.1007/s11007-014-9286-0

Vancouver

Welz C. Scenes of shame, social Roles, and the play with masks. Continental Philosophy Review. 2014 Mar;47(1):107-121. https://doi.org/10.1007/s11007-014-9286-0

Author

Welz, Claudia. / Scenes of shame, social Roles, and the play with masks. In: Continental Philosophy Review. 2014 ; Vol. 47, No. 1. pp. 107-121.

Bibtex

@article{8c74662fd7204035887ddd2a8394a4c9,
title = "Scenes of shame, social Roles, and the play with masks",
abstract = "This article explores various scenes of shame, raising the questions of what shame discloses about the self and how this self-disclosure takes place. Thereby, the common idea that shame discloses the self’s debasement will be challenged. The dramatic dialectics of showing and hiding display a much more ambiguous, dynamic self-image as result of an interactive evaluation of oneself by oneself and others. Seeing oneself seen contributes to the sense of who one becomes. From being absorbed in what one does, one might suddenly become self-aware, shift viewpoints and feel pressed to put on masks. In putting on a mask, one relates to oneself in distancing oneself from oneself. In being at once a moral agent and a performing actor with an audience and norms in mind, one embodies and transcends the social roles one takes. In addition to the feeling of shame, in which the self finds itself passively reflected, the self’s active reflections on its shame are to be taken into account. As examples from Milan Kundera, Shakespeare’s King Lear, a line from Kingsley Amis, a speech by Vaclav Havel and Adam Smith’s Theory of Moral Sentiments indicate, self-(re)presentation in the public and the private sphere is a complex hermeneutical process with surprising twists.",
keywords = "Faculty of Theology, shame, self-disclosure, Self-Assessment, re-presentation, masks, social role, King Lear, self-distance",
author = "Claudia Welz",
note = "Published online at Springer, 9 February 2014",
year = "2014",
month = "3",
doi = "10.1007/s11007-014-9286-0",
language = "English",
volume = "47",
pages = "107--121",
journal = "Continental Philosophy Review",
issn = "1387-2842",
publisher = "Springer",
number = "1",

}

RIS

TY - JOUR

T1 - Scenes of shame, social Roles, and the play with masks

AU - Welz, Claudia

N1 - Published online at Springer, 9 February 2014

PY - 2014/3

Y1 - 2014/3

N2 - This article explores various scenes of shame, raising the questions of what shame discloses about the self and how this self-disclosure takes place. Thereby, the common idea that shame discloses the self’s debasement will be challenged. The dramatic dialectics of showing and hiding display a much more ambiguous, dynamic self-image as result of an interactive evaluation of oneself by oneself and others. Seeing oneself seen contributes to the sense of who one becomes. From being absorbed in what one does, one might suddenly become self-aware, shift viewpoints and feel pressed to put on masks. In putting on a mask, one relates to oneself in distancing oneself from oneself. In being at once a moral agent and a performing actor with an audience and norms in mind, one embodies and transcends the social roles one takes. In addition to the feeling of shame, in which the self finds itself passively reflected, the self’s active reflections on its shame are to be taken into account. As examples from Milan Kundera, Shakespeare’s King Lear, a line from Kingsley Amis, a speech by Vaclav Havel and Adam Smith’s Theory of Moral Sentiments indicate, self-(re)presentation in the public and the private sphere is a complex hermeneutical process with surprising twists.

AB - This article explores various scenes of shame, raising the questions of what shame discloses about the self and how this self-disclosure takes place. Thereby, the common idea that shame discloses the self’s debasement will be challenged. The dramatic dialectics of showing and hiding display a much more ambiguous, dynamic self-image as result of an interactive evaluation of oneself by oneself and others. Seeing oneself seen contributes to the sense of who one becomes. From being absorbed in what one does, one might suddenly become self-aware, shift viewpoints and feel pressed to put on masks. In putting on a mask, one relates to oneself in distancing oneself from oneself. In being at once a moral agent and a performing actor with an audience and norms in mind, one embodies and transcends the social roles one takes. In addition to the feeling of shame, in which the self finds itself passively reflected, the self’s active reflections on its shame are to be taken into account. As examples from Milan Kundera, Shakespeare’s King Lear, a line from Kingsley Amis, a speech by Vaclav Havel and Adam Smith’s Theory of Moral Sentiments indicate, self-(re)presentation in the public and the private sphere is a complex hermeneutical process with surprising twists.

KW - Faculty of Theology

KW - shame

KW - self-disclosure

KW - Self-Assessment

KW - re-presentation

KW - masks

KW - social role

KW - King Lear

KW - self-distance

U2 - 10.1007/s11007-014-9286-0

DO - 10.1007/s11007-014-9286-0

M3 - Journal article

VL - 47

SP - 107

EP - 121

JO - Continental Philosophy Review

JF - Continental Philosophy Review

SN - 1387-2842

IS - 1

ER -

ID: 100196735