INT. PARIS. ARTIST’S STUDIO. DAY. 1869.

Amy is looking through her own paintings and sketches and has a disturbed expression on her face. Laurie enters.
His lot in life is always to be apologizing to one March sister or another, and he looks truly contrite.
LAURIE Hello Amy!
AMY(not turning around)
I don’t want to see you.
65.
LAURIEOh, Amy I’m so sorry for how I
behaved. Please? Forgive me?
AMY (still not turning)
Have you been drinking /again?
AMY Someone has to do it.
LAURIE/Only a little, and it’s 4pm,
you can’t be too hard on me.
LAURIESo when do you begin your great
work of art, Raphaella?
AMY (finally turning)
Never.He sees her face, the ashen worry traced on it.
LAURIE What - why?
AMY (grim)
I’m a failure. Jo is in New York, being a writer, and I am a failure.
LAURIEThat’s quite a statement to make at
twenty.
AMYRome took all the vanity out of me.
And Paris made me realize I’d never be a genius. I’m giving up all my foolish artistic hopes.
LAURIEWhy should you? You have so much
talent and energy.
AMYTalent isn’t genius, and no amount
of energy can make it so. I want to be great, or nothing. I won’t be a common-place dauber, so I don’t intend to try
anymore.
Laurie watches her and then says conspiratorially:
66.
LAURIEWhat women are allowed into the
club of geniuses anyway?
AMY The Brontes?
LAURIE That’s it?
AMY I think so.
LAURIEAnd who always declares genius?
AMYWell, men, I suppose.
LAURIE They’re cutting down the
competition.
AMYThat’s a very complicated argument
to make me feel better.
LAURIEDo you though? Feel better?
AMYI do think that male or female, I’m
a middling talent.
LAURIEMiddling talent? Then may I ask
your last portrait be of me? Amy laughs.
AMY All right.
LAURIENow that you’ve given up all your
foolish artistic hopes, what are you going to do with your life?
AMYPolish up my other talents and be
an ornament to society.
67.
I suppose.
AMY Don’t make /fun!
LAURIE (laughing)
LAURIEHere is where Fred Vaughn comes in,
/I’m not! You are not engaged, I hope?
AMY No...
LAURIEBut you will be, if he goes down
properly on one knee?
AMY Most likely, yes.
AMYHe’s rich, richer than you, even.
LAURIEI understand queens of society
can’t get on without money. But it does sound odd coming from one of your mother’s girls.
AMYI’ve always known that I would
marry rich. Why should I be ashamed of that?
LAURIEThere is nothing to be ashamed of,
as long as you love him.
AMYWell, I believe we have some power
over who we love, it isn’t something that just happens to a person.
LAURIEI think the poets might disagree.
AMYWell. I’m not a poet, I’m just a
woman. And as a woman I have no way to make money, not enough to earn a living and support my family.
LAURIE
68.
AMY (CONT'D)Even if I had my own money, which I
don’t, it would belong to my husband the minute we were married. If we had children they would belong to him not
me. They would be his property. So don’t sit there and tell me that marriage isn’t an economic proposition, because
it is. It may not be for you but it most certainly is for me.
The sound of a carriage approaching, and Amy gives a little start:
AMYThat will be Fred now.
(to Laurie)How do I look? Do I look all right?
Laurie looks at her, really looks at her for the first time.
LAURIEYou look beautiful. You are...
beautiful.
She suddenly blushes, but smiles in thanks. And then runs off to greet Fred. From the top of the staircase, Laurie
looks at her and Fred embrace, not sure of what he’s feeling.
THE PAST. EXT. BEACH. DAY. 1862.
On a perfect spring day, Laurie, playing the host, makes the introductions of the British family to the March women.
And he introduces Fred Vaughn, who, of course, we already know as Amy’s potential husband.
LAURIE This is Fred Vaughn,
(a handsome young man) and his sister Kate,
(a prim looking girl)and of course you know Mr. Brooke - and this is Meg, Amy, Beth and Jo.
Jo tips her oversized hat.
FRED (British accent)
So pleased to meet you.
AMY Oh, how elegant.
69.
AMY (CONT'D)
(suddenly intense)Remember the name “Amy March.” I’m going to come find you one day in London.
FREDOh, I certainly will!
EXT. BEACH. DAY. 1862.
KITES! BADMINTON! OCEAN!
- A badminton game between Fred and Amy on one team and Jo and Laurie on the other while Beth cheers on both
sides.
- Sallie tries to impress Kate and flirt with Fred. - Fred tries to flirt with Jo, who kicks him.- Everyone flies kites.- Jo
and Laurie run into the ocean.
- Amy settles with a sketchpad, drawing Laurie - this is the picture we will see later (earlier).
Later
Painting
Fred away on business Laurie asking not to marry him

I have been second to Jo my whole

life in everything and I will not be the person you settle for just because you cannot have her. I won’t do it, not
when, not when I’ve spent my entire life loving you.

Later
Tells aunt march
She tells Fred no

Growth from child to a more empathetic mature young woman

Jo and Amy develop a harsh rivalry that drives the plot of “Little Women.” They are alike in their passion but hold
different values: Jo, the writer, would willingly cut off her long hair, her “only beauty,” to help provide for her
family without much concern for vanity, while Amy, the artist, shamelessly celebrates and covets beauty, going so
far as to cast the image of her own “pretty foot” to impress a crush. Angry that her big sister Jo wouldn’t take her to
the theater (and jealous over Jo’s relationship with her handsome best friend Laurie), Amy goes so far as to burn
Jo’s long-belabored manuscript in retaliation. Yet, when Amy nearly drowns in her attempt to make amends, Jo
forgives this unforgivable act.
“Siblings typically fight about two things; whether things are fair in terms of them having the same opportunities
and when siblings try to take something that is theirs. Both of these apply when you are talking about Jo and Amy,”
says Killoren. Aunt March is no help, pitting them against each other as she dangles the possibility of a trip to
Europe over their heads. Eventually, when Amy moves in on Jo’s soulmate Laurie (after Jo had rejected him), Jo
owns her part in the situation and finds a way to forgive her once more, saying, “life’s too short to be angry,”
ultimately driving home that the only antidote to sibling rivalry is forgiveness and unconditional love.

Discuss the journey on which Amy is embarked on in order to make their life “meaningful,” “purposeful,” or
“coherent.” Discuss the “stages” or “key features” or “aspects” in their journey of self-becoming. Again, be sure to
refer to illustrative evidence from the film to warrant your claims.

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In Greta Gerwig's adaptation of "Little Women," Amy March embarks on a journey to make her life "meaningful,"
"purposeful," and "coherent." Her journey of self-becoming is marked by distinct stages and key features that
contribute to her personal and artistic growth. Let's explore these stages with illustrative evidence from the film:
1. Artistic Aspirations:
• Illustrative Evidence: Amy's early passion for art is evident in her desire to become a painter. In the film,
she expresses her artistic ambitions and the importance of leaving a lasting legacy through her creative endeavors.
2. Educational Pursuits in Europe:
• Illustrative Evidence: Amy's decision to go to Europe for art studies is a pivotal stage in her journey. This
choice reflects her commitment to honing her artistic skills and gaining exposure to different cultures. The scenes in
Europe showcase her dedication to learning and developing her craft.
3. Cultural Immersion:
• Illustrative Evidence: Amy's time in Europe provides her with cultural experiences that contribute to her
growth. Scenes depict her exploring art museums, engaging with different perspectives, and broadening her
understanding of the world.
4. Evolution of Romantic Relationships:
• Illustrative Evidence: Amy's relationships with Laurie and later with Fred Vaughn represent significant
aspects of her journey. The film portrays the evolution of her views on love and marriage, emphasizing the
importance of personal fulfillment and genuine connection in romantic partnerships.
5. Family Bonds and Sisterhood:
• Illustrative Evidence: Amy's interactions with her sisters, especially Jo, showcase the importance of
family bonds in her journey. The film captures moments of support, understanding, and conflict that contribute to
her sense of identity within the context of sisterhood.
6. Navigating Societal Expectations:
• Illustrative Evidence: Amy's decisions regarding marriage and societal expectations are key aspects of her
journey. The film illustrates her negotiation of societal norms, particularly in scenes where she reflects on the
pragmatic aspects of marriage and her desire for personal agency.
7. Loss and Resilience:
• Illustrative Evidence: Coping with loss, particularly the death of her sister Beth, is a crucial stage in
Amy's journey. The film portrays her resilience and the emotional impact of loss on her character, contributing to
her understanding of life's complexities.
8. Artistic Expression and Identity:
• Illustrative Evidence: Amy's artistic expression becomes a means of self-discovery and self-expression.
Scenes depicting her paintings and her discussions about the significance of art illustrate how her creative pursuits
contribute to her sense of identity.
9. Independence and Self-Reliance:
• Illustrative Evidence: Amy's independence and self-reliance emerge as key features in her journey. The
film showcases scenes where she asserts her agency, makes decisions for her own well-being, and pursues a life that
aligns with her values and aspirations.
10. Reflection and Maturity:
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- **Illustrative Evidence:** As the film progresses, Amy's character undergoes significant reflection and
maturation. Her conversations with Laurie and her poignant reflections on love, ambition, and fulfillment highlight
her evolving wisdom and depth of understanding.
In summary, Amy's journey in "Little Women" encompasses various stages and key features, including her artistic
pursuits, educational endeavors, cultural experiences, relationships, family bonds, societal negotiations, resilience in
the face of loss, and the development of a strong sense of identity and purpose. The film carefully illustrates these
aspects, providing a nuanced portrayal of Amy's path toward a meaningful and coherent life.

Each of the March sisters represents a different facet of femininity. The eldest, Meg (Emma Watson), perfectly
embodies the gendered expectations of a 19th century Massachusetts woman. She longs for a family, and she gets
one — Meg marries a tutor, who earns a small income, and takes care of her children and home. Jo is adamant that
Meg could be a great actress and is heartbroken on her sister’s wedding day, but Meg kindly reminds Jo, “Just
because my dreams are different than yours doesn’t make them unimportant.” This is a key sentiment to explore,
both in the story’s setting and today’s modern world. Modern feminism sometimes shames women for having
domestic desires; in Little Women, the uniqueness and individuality of each of the March sisters is integral to their
family dynamic, making Meg’s domesticity important.
Jo is, perhaps, the antithesis of Meg. Headstrong and stubborn, Jo is almost too independent. She rebels against any
notion of domestic life and every gendered expectation. She reacts defensively to any criticism of her writing, often
alienating others with her anger. She rejects Laurie’s (Timothée Chalamet) proposal, but later tells her mother that
she is lonely, and that, “if he asked me again, I think I would say yes.” She acknowledges that she does not love
Laurie, but instead wants to be loved and not alone. Jo’s rejection of love and connection outside of her nuclear
family can be viewed as self-reliant, but this moment humanizes her. Jo’s need to rebel against the patriarchal
standards of society often leaves her isolated, watching as her sisters’ lives go on around her — Meg raises her
family, Amy travels Europe, but Beth (Eliza Scanlen) falls ill and dies.
Beth is shy and quiet, the kindest of the sisters. She is loved dearly by her family, especially Jo; for viewers, Beth’s
role in the story is much more passive than her sisters’, as her tragic death by scarlet fever serves as the catalyst for
Jo’s novelization of their lives. Of the March sisters, Beth’s character is the least fleshed out and is therefore
difficult to analyze in depth. However, though her role in the story is less active than her sisters’, Beth is incredibly
important to the story, as she is the glue that holds their family together.
And then there’s Amy. The youngest March sister, Amy is considered immature and bratty; she is only twelve in the
first part of the story, and twenty in the second. She burns Jo’s manuscript out of jealousy and pesters her sisters
relentlessly, begging to tag along to parties and the theater. She speaks of marrying rich — of being rich — and her
sisters tease her. She is a child when we meet her. She dyes her shoes blue to make them look prettier, she makes a
plaster cast of her foot to present to Laurie, and she complains about her nose. On the surface, Amy appears shallow,
vain, and immature. However, Gerwig’s script, and Pugh’s performance, prove that Amy’s character is far more
multidimensional.

Imp scene

One pivotal scene in the film shows Amy’s true depth of emotion. While in Paris, Amy speaks to Laurie of her
expected engagement to a rich man. Laurie pokes fun at her, questioning her decision to become engaged to a man
she does not love and saying, “I understand queens of society can’t get on without money, although it does sound
odd from the mouth of one of your mother’s girls.” Amy responds that she is not ashamed, and in one of the most
moving moments of the film, defends herself, stating:
“Well, I’m not a poet. I’m just a woman. And as a woman, there’s no way for me to make my own money. Not
enough to earn a living or to support my family. And if I had my own money, which I don’t, that money would
belong to my husband the moment we got married. And if we had children, they would be his, not mine. They would
be his property. So don’t sit there and tell me that marriage isn’t an economic proposition because it is. It may not
be for you, but it most certainly is for me.”
In this scene, we see that Amy has undergone true growth, from an unruly child to a mature, young woman. Initially
she sounds dejected, disappointed with her lot in life; as the scene progresses, her voice grows strong and defiant,
and she holds Laurie’s gaze. She never stumbles or hesitates, as if this thought has run through her head a thousand
times. Amy clearly understands what she can achieve as a woman, even if she has at other times seemed self-
centered or vapid. It is at this moment that we realize Amy is no longer a girl, but a woman.
The cinematography in this scene is incredibly effective. During their conversation, the camera cuts between Amy
and Laurie in the standard shot/reverse shot that is used in film to show dialogue, but the moment her monologue
begins, the camera stays on Amy. It tracks her movement as she slowly moves towards Laurie, never cutting to get
his reaction shot. The shot starts as a medium shot and, as she moves, ends in a medium close-up, bringing us closer
to Amy and her emotions. For thirty-five seconds, we see only her.
This is because this moment is, truly, about Amy. She is expressing her frustration, and the strategic decision to
view marriage as “an economic proposition” that will help her get further in life than she could on her own. She is a
talented artist, but Amy realizes she is not good enough to make a living to support herself. She knows and accepts
the limits of being a woman in the 1800s, but this proves she is doing everything she can to give herself — and, by
extension, her family — the best life possible. She is not shallow; she is clever. In maintaining this shot, Gerwig
creates a connection between the audience and Amy. We see her emotions and we do not get a break, the same way
that Amy, much like her sister, cannot get away from the reality of her class and gender.

The source of conflict between Amy and Jo comes not from their differences or jealousy over Laurie, but their
similarities, and how they navigate the world despite those similarities makes Amy the story’s true heroine. They
both feel things passionately, and although they often bicker, they love each other with that same intensity. Amy
burns Jo’s manuscript in anger but exhibits genuine remorse when she sees how badly she has hurt her sister.
Though still angry, Jo helps Laurie save her sister from drowning in a frozen pond. Both are devastated when Beth
dies and make life-altering decisions — Amy cuts her trip to Europe short to return home, and Jo leaves New York
to move back in with her parents. They feel Beth’s loss deeply.

Similarly, both girls are deeply passionate about their art, although Jo writes for fame and money, whereas Amy is
ambitious and desires greatness. Before her moving monologue in the aforementioned scene, Amy declares to
Laurie: “…talent isn’t genius, and no amount of energy can make it so. I want to be great or nothing.” Amy is driven
by ambition, and she travels to Europe to learn and grow as an artist. Though Amy eventually gives up her artistic
dreams, it can be argued that she is more successful than Jo, as “Amy’s creative talent can be seen as more authentic
than Jo’s, because Amy does recognize and accept and even enjoy her own sexuality, which is the core of the
creative self” (Hollander, 33). She has grown up with a sister who embraces conventional, gendered expectations of
femininity, and a sister who has absolutely rejected those expectations; Amy is the middle ground.
Jo’s independence is her identity. She rejects help and refuses to conform to society’s expectations, but in doing so
she makes things difficult for herself. Amy, on the other hand, “succeeds not by rebelling against the patriarchal
system that requires women to assume social value,” but by using her femininity to her advantage (Blackford 21).
She is a realist; she has not settled, but instead accepted the limitations placed on her by her gender. She is chosen to
accompany Aunt March to Europe over Jo because Jo’s attitude is off-putting. Her marriage to Laurie not only
fulfills her emotional desires, but her economic and societal goals as well. Though both girls recognize that
patriarchal system, Jo chooses to rebel without thought, while every choice Amy makes is calculated.
Consider Amy’s eventual marriage to Laurie. Although she has always loved him, her view of marriage suggests
that his family’s wealth contributes to her decision to accept his proposal. Earlier in the film, she turns him down
angrily, stating, “I have been second to Jo my whole life, and I will not be the person you settle for just because you
cannot have her.” Amy knows that she is Laurie’s second choice, but she marries him regardless. This is because
their marriage not only fulfills her emotionally but fulfills her economic and societal goals as well. She does love
Laurie, but she also knows him. Ultimately, she does marry a wealthy man who can give her everything she wants
and needs — it just happens to be a wealthy man she has trusted and loved for years.
Amy’s story comes full circle: she is married to someone she has loved since childhood, someone who is able to
provide for her and their family, and she has grown as an artist, even if she is not the great artist she hoped to be.
Aside from Beth, the other March sisters get what they want as well, but Amy undergoes true development as a
character. Amy is the most human of the March sisters: she is flawed, capable of jealousy and anger, but she is also
intelligent, observant, and caring. Her portrayal as an imperfect woman is what makes Amy the true heroine of
Gerwig’s Little Women.
References:

One of my favorite flashback scenes in the film highlights this aspect of her character best, when all four sisters are
sitting together in the living room and talking about their hopes and dreams.
“I have lots of wishes, but my favorite one is to be an artist and go to Paris and do fine pictures and be the best
painter in the world,” Amy says.
“That’s what you want too, isn’t it Jo? To be a famous writer?” responds Beth.
“Yes, but it sounds so crass when she says it,” replies Jo.
But Amy is undeterred. “Why be ashamed of what you want?”
Amy has grandiose dreams and isn’t afraid to declare what they are to everybody, even though her family finds it
silly and a little gauche when she does it as a child. But dreams become more real when you say them out loud,
especially when you are growing up in a small rural town like Amy and I did, without easy access to opportunity.
Verbalizing them is a way to prove that you take yourself seriously, even if nobody else does, and that in its own
way is a validating kind of power.
Gerwig recognizes this, and her directions allows the narrative and the audience to take Amy’s artistic ambitions as
seriously as she does, providing an empathetic context for why she makes the choices she does, compared to her
older sisters, rather than framing her as an intentional antagonist.
Amy will do whatever she can do to ensure she has access to art lessons because she understands that if she doesn’t,
no one will, and she spares no energy in enthusiastically pursuing art.
In the novel, there is a chapter called Artistic Attempts, which details all of Amy’s creative endeavors, which
include: pen and ink drawings, fire poker sketch drawings, oil paintings, charcoal portraits, clay and plaster molds
and busts, and nature sketches. In the process, Amy suffers multiple colds, “sacrifice[s] her complexion”, and even
ends up with a permanent scar on her foot after it gets stuck in a plaster mold and Jo nicks her skin while trying to
cut her out.
Alcott describes her as thus:
“If ‘genius is eternal patience’, as Michelangelo affirms, Amy had some claim to the divine attribute, for she
persevered in spite of all obstacles, failures, and discouragements, firmly believing that in time she should do
something worthy to be called ‘high art’.”
While the film wisely chooses to focus on painting as Amy’s primary choice of creative medium rather than
showing her exploring all her different endeavors, the script takes every chance possible for Amy to mention that
being a great artist is her ultimate goal, above all else.
And still, she suffers from self doubt. Pugh’s sensitive and nuanced portrayal of Amy’s internal struggles is one of
the best parts of the film, combining original dialogue with lines directly from the novel and resulting in an
impactful scene that beautifully highlights the challenge of being an ambitious artist.
“Talent isn’t genius, and no amount of energy can make it so. I want to be great, or nothing. I won’t be a common-
place dauber, so I don’t intend to try anymore,” she declares to Laurie, replete with frustration.
While Jo questions the importance of the stories she wants to tell, she never questions her own ability. Amy, on the
other hand, surrounded by artistic geniuses in Europe, comes to believe that no matter how much hard work she puts
in, it might never be enough to achieve the goals she has set for herself — because she wants to be the greatest, or
nothing.
It’s an extreme statement, to be sure, but one I have felt myself more than once, especially when I look around and
see how many talented and accomplished writers are out there in the world, many far younger than me.
To be honest, I have never had a problem with the characteristics that have made Amy a controversial and unpopular
character, because as a child, my intensity often irked people and made them extremely uncomfortable. Blunt
straightforwardness can often cause discomfort for people who aren’t ready to confront it, especially when it comes
from the mouth of a young girl.
What I love about Pugh’s performance in particular is how it highlights how many of Amy’s peculiarities and
personality quirks are simply part of who she is as a person, but also how external circumstances shape her. I know
how it feels to be young and powerless, with nothing but spite and ambition holding me together, at the cost of
alienating my own peers, similar to how Amy alienated Jo — while impressing adults with my fortitude, the same
way Aunt March ultimately rewarded Amy.
Still, unlike her, it can sometimes be difficult for me to openly verbalize my own desires the same way she does
without feeling a touch of shame. I love that she never once apologizes for being so open and straightforward about
her goals and that she is her own biggest cheerleader. I think the energy she brings to not only dreaming, but chasing
after her dreams, is deeply admirable.
Like Amy says, there’s no need to be ashamed of what I want. It’s a lesson I’m still learning, one I soon hope to
learn by heart, just like her.

Article 3

When I read [the novel] as an adult, Amy was the one who struck me as having some of the most interesting things
to say and having the most utterly clear-eyed view of the world,” she said. “I think I started seeing her as this …”
she paused. “This equally potent character to [the protagonist] Jo.”

Gerwig understands that the actions of young children should not be used to judge their true nature. It’s why she
decides to frame her film from the perspective of an adult Jo and an adult Amy. Both sisters receive the bulk of the
movie’s screentime, a major increase in spotlight for Amy and a slight narrative shift away from Jo (Saoirse
Ronan).
When we meet Amy in Gerwig’s Little Women she is already living in Europe and working on her painting. She is
already the woman that she wanted to be as a young girl, the kind of woman who might declare with naked,
unadorned ambition: “I want to be great or nothing”. That’s a wonderful Amy line pulled directly from Alcott’s
original text. Also from the book: “The world is hard on ambitious girls.”
Amy and Jo actually have a lot in common. That’s why Amy knew that burning the manuscript would cause Jo the
most pain, because she knows that if anyone did that to one of her paintings she would be distraught. Amy and Jo
are both ambitious women who dream of big, borderless lives for themselves. They both want so many things, a
desire entirely un-uttered by most of their female contemporaries. Jo wants to be a successful writer living a life that
never bores her. Amy wants to be creative too, but she also dreams of financial security. Born last into the March
family, she was raised in austerity, unlike her older sisters. Is it a crime that Amy wants these things? Should we
shame her for having these dreams, fur-trimmed and silk-lined as they may be?
Gerwig thinks not. The writer-director has penned a version of Amy that is strong but never severe and who more
than holds her own against her older sisters and Laurie (Timothée Chalamet). With Gerwig’s script and Pugh’s
bright and confident performance, Amy is given a depth that she has never had onscreen before.
Moment
Gerwig’s script subverts this characterization by telling the story in a nonlinear fashion, jumping back and forth
between the sisters as adults and flashing back to their childhood. This is a brilliant move, as Amy is first shown on
screen as an adult, rather than a child, which is in fact the part of the novel where her character shows the most
growth.
By reframing the story and juxtaposing Amy’s actions as an adult against her actions as a child, Gerwig finally gives
her character the room it deserves to breathe. Ironically, the section of the novel Amy’s first scene in the film is
based on is called New Impressions.

Amy listens to the family’s wealthy Aunt March (Meryl Streep), who takes note of Jo’s disregard for marriage and
tells the youngest March: “You are your family’s last hope.” She accompanies her aunt to Paris, where she takes
painting classes and is courted by a rich, boring man. She also encounters a slightly older Laurie, who has gotten
over Jo and questions why Amy is settling for a man she might not love.

In a powerful scene that clearly exhibits Gerwig’s stamp on the story, Amy informs Laurie that she isn’t ashamed of
her desire to marry rich. As a woman, she isn’t able to make enough money to earn a living, and whatever she earns
would belong to her husband anyway. Even their children would be his property.

As an adult, Amy’s pursuit of wealth matures into one driven not by materialistic self-interest, but by a realistic view
of how the world operates. Though Amy ends up with Laurie, her childhood crush, Gerwig doesn’t paint the
character as someone who again wriggled “out of the hard parts in life,” as a teenage Jo says of her sister, but as a
woman for whom the practical path simply wound up a pleasurable one, too.

Rome took all the vanity out of me and Paris made me realise id never be a genius so im giving up on all my foolish
artistic hopes

Polish up on my other talents and become an ornament to society

Hes rich richer than you even

• eginning: Amy is often portrayed as pragmatic and realistic, understanding the economic realities that
women face in marriage. This is evident in her views on love and marriage, which are more practical compared to
her sister Jo's idealistic notions.
• Growth: Amy's pragmatism remains a part of her character, and her views on love and marriage evolve
through personal experiences. Her decisions reflect a balance between practicality and a deeper understanding of the
emotional aspects of relationships.

Romantic Relationships:
• Beginning: Amy's initial romantic aspirations involve her admiration for Laurie and a desire for wealth and
social status. Her views on love are influenced by practical considerations.
• Growth: Amy's journey includes a shift in her perspective on love. Her relationship with Laurie undergoes
changes, and her eventual marriage to Theodore "Laurie" Laurence is portrayed with emotional complexity. Amy's
growth involves finding love on her terms and challenging societal expectations.

Greta Gerwig doesn’t shy away from the less flattering parts of Amy’s story and instead allows them to be a part of
her. Amy is allowed to be a kid, but she also has the chance to learn from her mistakes and grow from them. Gerwig
also offers Amy more kind moments that allow her to bond with her sisters, such as when she comforts Jo after she
cuts off all of her hair. While Amy is horrified that Jo has lost her “one beauty,” she later holds her as she cries and
tells Jo that she would feel the same way.

Thinkers
Søren Kierkegaard might diagnose Amy's difficulty as an existential crisis, particularly related to the tension
between aesthetic and ethical spheres. Amy is confronted with societal expectations (the ethical) that clash with her
desires for personal fulfillment, love, and individuality (the aesthetic).
Kierkegaard's Analysis:
• Ethical vs. Aesthetic Choices:
Kierkegaard distinguishes between ethical and aesthetic choices. Amy is facing the ethical imperative
imposed by societal norms, challenging her aesthetic desires for personal fulfillment and love. The difficulty lies in
reconciling these conflicting spheres.
• Existential Despair:
Kierkegaard introduces the concept of existential despair when individuals are torn between conflicting
values. Amy's situation could be seen as a manifestation of this despair, where the societal demand for a strategic
marriage clashes with her desire for authentic, aesthetically meaningful experiences.
• Authentic Existence:
Kierkegaard emphasizes the importance of authentic existence. Amy's difficulty becomes a pivotal moment
in her existential journey, prompting her to question societal norms and consider the authenticity of her choices in
the face of external pressures.
Advice Based on Kierkegaardian Philosophy:
• Leap to the Ethical:
Kierkegaard would encourage Amy to make a "leap to the ethical" by acknowledging the responsibilities
imposed by societal expectations. This involves recognizing the ethical imperative to contribute to her family's well-
being.
• Individual Subjectivity:
Amy might be advised to reflect on her individual subjectivity and desires. Kierkegaard would stress the
importance of understanding her own values and motivations, even within the context of societal expectations.
• Authentic Commitment:
Kierkegaard values passionate commitment over passive conformity. Amy could be guided to commit
authentically to her chosen path, taking responsibility for her decisions and finding meaning in the commitment to
her family.
• Religious Dimension:
Kierkegaard's later works explore the religious dimension of existence. While Amy's situation may not be
explicitly religious, Kierkegaard might encourage her to find a deeper sense of meaning and purpose in her choices,
transcending immediate societal concerns.
In essence, Kierkegaard's diagnosis would focus on the existential tension between societal expectations and Amy's
individual desires, guiding her toward an authentic commitment to her chosen path, even in the face of ethical
imperatives imposed by society. The difficulty becomes a transformative moment in her journey of self-becoming
and existential exploration.

Difficult Situation: Amy's Internal Conflict with Societal Expectations

Detailed Description:
Amy grapples with the societal pressure to marry strategically for financial stability and familial support. The
conflict intensifies when Aunt March, representing societal expectations, imposes the ethical imperative of "saving"
her family through a judicious marriage. Amy is torn between conforming to these external expectations and
pursuing her aesthetic desires for personal fulfillment, love, and individuality.
Kierkegaard's Detailed Diagnosis:
• Existential Despair:
Kierkegaard would diagnose Amy's situation as a manifestation of existential despair, a profound internal
struggle resulting from the clash between societal expectations (the ethical) and her individual desires (the
aesthetic). The despair arises from the difficulty of reconciling these conflicting spheres.
• Three Stages of Existence:
Kierkegaard's three stages of existence — the aesthetic, the ethical, and the religious — provide a
framework for understanding Amy's journey. Amy initially resides in the aesthetic stage, seeking personal
fulfillment. The difficulty represents the transition into the ethical stage, where societal duties and expectations
come to the forefront.
• Leap to the Ethical:
Kierkegaard would encourage Amy to make a "leap to the ethical" by acknowledging her responsibilities
within the societal framework. This leap involves recognizing the ethical imperative of contributing to her family's
well-being, even if it means sacrificing certain individual desires.
• Authentic Commitment:
Amy's difficulty becomes a crucial moment for authentic commitment. Kierkegaard values passionate
commitment over passive conformity. Amy would be encouraged to commit authentically to her chosen path, taking
responsibility for her decisions and finding meaning in the commitment to her family.
• Individual Subjectivity:
Kierkegaard emphasizes the importance of understanding one's own subjectivity. Amy might be advised to
reflect deeply on her individual values, desires, and motivations within the context of societal expectations. This
introspection is crucial for making authentic choices.
• Religious Dimension (Teleological Suspension of the Ethical):
While Amy's situation is not explicitly religious, Kierkegaard's concept of the teleological suspension of
the ethical might be applied metaphorically. Amy could explore a deeper sense of meaning and purpose in her
choices, transcending immediate societal concerns and finding a higher purpose in her commitment.
Advice Based on Kierkegaardian Philosophy with Nuanced Detail:
• Acknowledging Despair:
Kierkegaard would advise Amy to acknowledge the existential despair she is experiencing and understand
it as a natural part of the human condition. The difficulty is an opportunity for self-awareness and self-discovery.
• Making an Authentic Leap:
The "leap to the ethical" involves Amy making a conscious and authentic decision to embrace her familial
responsibilities. This leap is not a surrender of her individuality but a commitment made in full awareness of the
ethical imperative.
• Navigating the Three Stages:
Amy's journey through the aesthetic, ethical, and potentially religious stages becomes a nuanced
exploration. Kierkegaard would encourage her to navigate these stages with authenticity, recognizing that each stage
contributes to her self-becoming.
• Embracing Individuality Within Ethical Commitment:
Kierkegaard would emphasize that Amy's commitment to the ethical does not negate her individuality.
Within the ethical framework, she can find ways to express her unique values and contribute authentically to her
family.
• Reflecting on the Teleological Suspension:
While not explicitly religious, Amy could reflect on the teleological suspension of the ethical, considering a
higher purpose or meaning beyond immediate societal expectations. This reflection may provide a broader
perspective on her choices.
In essence, Kierkegaard's philosophy offers a nuanced understanding of Amy's difficulty, viewing it as a crucial
moment for self-awareness, authentic commitment, and a transformative journey through the various stages of
existence. The detailed diagnosis considers the intricate layers of existential despair, ethical responsibility, and the
potential for transcendent meaning in Amy's quest for self-becoming.

You
explain the three spheres

ChatGPT
ChatGPT
Søren Kierkegaard's philosophy introduces three spheres or stages of existence, each representing different modes of
living and ways of engaging with the world. These three spheres are commonly known as the aesthetic, the ethical,
and the religious. They are integral to Kierkegaard's exploration of the individual's journey toward authentic
existence.
1. Aesthetic Sphere:
• Characteristics:
The aesthetic sphere is characterized by a focus on personal pleasure, sensory experiences, and individual
desires.
Individuals in this stage seek immediate gratification, often prioritizing beauty, pleasure, and personal
enjoyment without much consideration for long-term consequences.
Aesthetic existence involves living in the moment and pursuing what brings immediate satisfaction.
• Challenge:
The challenge in the aesthetic sphere lies in the potential for a lack of commitment, as individuals may
constantly seek new pleasures without a sense of enduring purpose or responsibility.
2. Ethical Sphere:
• Characteristics:
The ethical sphere involves a transition from individualistic pursuits to a consideration of broader moral
and societal values.
Individuals in this stage recognize the importance of ethical principles, duties, and responsibilities that
extend beyond personal desires.
Commitment to ethical norms and societal expectations becomes central, emphasizing the need for a moral
framework that guides one's actions.
• Challenge:
The challenge in the ethical sphere lies in balancing personal desires with societal expectations. Individuals
may grapple with the tension between autonomy and conforming to established moral norms.
3. Religious Sphere:
• Characteristics:
The religious sphere represents the highest stage of existence, emphasizing a profound relationship with the
transcendent or the divine.
It involves a subjective commitment to a higher purpose, often transcending immediate ethical
considerations and embracing a deeper sense of meaning and faith.
Kierkegaard's notion of the religious sphere involves a passionate, personal relationship with God,
characterized by faith and a commitment that goes beyond rational understanding.
• Challenge:
The challenge in the religious sphere lies in the subjective nature of faith and the difficulty of expressing
the religious experience to others. It is a deeply personal and individual journey.
Nuances and Interconnections:
• Kierkegaard's model doesn't propose a linear progression through these stages. Instead, individuals may
navigate and re-navigate these spheres in a complex and dynamic manner.
• The stages are not mutually exclusive, and elements of each sphere may coexist within an individual's life.
• The goal is not necessarily to reach the religious sphere for everyone but to live authentically within one's
chosen sphere with a deep sense of commitment.
Application to Amy March's Difficulty:
Amy's difficulty may be situated in the transition from the aesthetic to the ethical sphere, where she grapples with
personal desires and societal expectations. Kierkegaard's philosophy invites a nuanced exploration of this transition,
considering the authenticity of Amy's commitment to familial responsibilities and the potential for a deeper, more
meaningful existence within the ethical sphere.
In essence, Kierkegaard's three spheres provide a philosophical framework for understanding the complexities of
human existence, emphasizing the importance of personal commitment, ethical considerations, and, for some, a
profound relationship with the transcendent.

Nietzche

Detailed Nietzschean Diagnosis and Advice for Amy March:

Nietzschean Diagnosis:
**1. Slave Morality and Herd Mentality:
• Amy's struggle can be seen through the lens of Nietzsche's critique of slave morality, characterized by
virtues such as humility and compassion. The societal pressure for a strategic marriage reflects the herd mentality,
where individuals conform to collective values. Amy's difficulty lies in navigating this conflict between societal
expectations and her individual desires.
**2. Will to Power and Individual Creativity:
• Nietzsche's concept of the will to power is evident in Amy's internal conflict. Her desire to assert her own
values and live authentically reflects a manifestation of individual creativity and the drive to overcome societal
norms. The difficulty becomes a battleground for Amy's will to power against the constraints of conventional
morality.
**3. Transvaluation of Values:
• Amy's challenge involves a Nietzschean transvaluation of values. Nietzsche would encourage her to
reevaluate the moral framework imposed by society and question the established values. This process allows Amy to
assert her own criteria for what is valuable, breaking free from the limitations of herd morality.
Nietzschean Advice:
**1. Embrace the Will to Power:
• Nietzsche would advise Amy to embrace her will to power fully. This involves recognizing her inherent
strength, creativity, and the ability to shape her own destiny. By asserting her will to power, Amy can resist external
pressures and carve out a path aligned with her individuality.
**2. Create Her Own Morality:
• Amy's journey is an opportunity to become the "artist" of her own life, creating her own moral code.
Nietzsche encourages individuals to establish values based on personal creativity and aspirations. Amy's advice
involves rejecting imposed moralities and crafting a code that resonates with her authentic self.
**3. Strive for Individual Greatness:
• Nietzsche values individual greatness, and Amy is urged to recognize and cultivate her unique potential.
This advice encourages her to transcend societal expectations and strive for excellence on her terms. Amy's
greatness lies in her ability to forge her own path, unbound by the mediocrity of herd morality.
**4. Challenge Pity and Humility:
• Nietzsche critiques virtues like pity and humility as expressions of slave morality. Amy is advised to
challenge these virtues that might constrain her individuality. Instead of succumbing to societal expectations based
on pity, she can assert her strengths and take pride in her pursuit of personal goals.
Nuanced Nietzschean Advice:
**1. Eternal Recurrence Reflection:
• Amy might engage in a deep reflection on the concept of eternal recurrence. This involves considering
whether she would be content reliving her life infinitely based on her current choices. Nietzschean advice
encourages her to make decisions that align with her desires, as they shape her eternal destiny.
**2. Affirmation of Individuality:
• Nietzsche's philosophy emphasizes the affirmation of individuality. Amy is guided to affirm her unique
qualities, strengths, and desires. By doing so, she transcends the constraints of societal norms and experiences a
more profound sense of self-actualization.
**3. Overcoming Resentment:
• Nietzsche explores the idea of overcoming resentment, and Amy is advised to rise above any resentment
towards societal expectations. Instead of reacting negatively to external pressures, she can proactively shape her
destiny, embracing a more affirmative and powerful stance.
In essence, Nietzsche's diagnosis and advice for Amy provide a rich and nuanced framework for understanding and
overcoming her difficulty. Amy's journey becomes a profound exploration of her will to power, individual
creativity, and the transformative potential of asserting her own values in the face of societal expectations.

Friedrich Nietzsche would diagnose Amy's difficulty as a manifestation of the tension between the prevailing
societal values, represented by the concept of the "last man" or the herd mentality, and her desire for individualistic
self-realization. Amy finds herself at a crossroads, torn between the societal pressure to conform and the pursuit of
her own unique path, reflecting Nietzsche's critique of herd morality.
Nietzschean Analysis:
• Slave Morality vs. Master Morality:
• Nietzsche distinguishes between slave morality, which emphasizes qualities like humility and compassion,
and master morality, which values strength, power, and individual creativity. Amy's difficulty lies in the conflict
between societal expectations (slave morality) and her desire for self-determination (master morality).
• Will to Power:
• Nietzsche's concept of the "will to power" emphasizes an individual's drive to assert their own values and
overcome societal norms. Amy's difficulty can be seen as a manifestation of her will to power, as she grapples with
societal constraints in pursuit of her own unique path.
• Overcoming Conventional Morality:
• Nietzsche encourages individuals to overcome conventional morality and create their own values. Amy's
struggle becomes an opportunity to question societal norms, challenge traditional expectations, and forge a path
aligned with her authentic desires.
Nietzschean Advice:
• Embrace the Will to Power:
• Nietzsche would advise Amy to embrace her will to power, recognizing her inherent strength and
creativity. This involves acknowledging her individuality and resisting the pressures of conforming to societal
expectations.
• Transvaluation of Values:
• Amy could engage in a transvaluation of values, reevaluating the societal expectations imposed upon her.
Nietzsche would encourage her to question the existing moral framework and redefine values based on her own
criteria, allowing for a more authentic expression of self.
• Create Her Own Morality:
• Amy might be encouraged to create her own moral code that aligns with her aspirations and desires.
Nietzsche emphasizes the importance of personal creativity in establishing values, urging individuals to become the
"artist" of their own lives.
• Individual Greatness:
• Nietzsche values individual greatness and the pursuit of one's unique potential. Amy's journey involves
recognizing and cultivating her own greatness, breaking free from the limitations imposed by societal norms.
Nuanced Nietzschean Advice:
• Strive for Individual Excellence:
• Nietzsche's advice would be for Amy to strive for individual excellence, transcending mediocrity and
societal conformity. This involves recognizing her unique strengths and capacities.
• Challenge Pity and Humility:
• Nietzsche critiques the virtues of pity and humility as aspects of slave morality. Amy might be advised to
challenge these virtues in her quest for self-realization, embracing a more affirmative and assertive stance.
• Navigate the Eternal Recurrence:
• Considering Nietzsche's concept of eternal recurrence, Amy could reflect on the idea of reliving her life
infinitely. This prompts her to make choices that are true to her desires and values, knowing they will shape her
eternal destiny.
In essence, Nietzsche's diagnosis and advice for Amy revolve around the affirmation of her individuality, the
rejection of herd morality, and the creative revaluation of values to align with her authentic self. Amy's difficulty
becomes a transformative opportunity to embrace the will to power and forge her own path toward a meaningful and
self-determined life.

Applying to Amy March's Journey:

• Camel Stage: Initially, Amy carries the societal burden, feeling obligated to conform to societal
expectations regarding marriage and familial responsibility.
• Lion Stage: As her story progresses, Amy rebels against these expectations, asserting her individuality, and
challenges societal norms that limit her self-expression.
• Child Stage: Ultimately, Amy reaches a stage of self-creation and liberation, where she constructs her
values and lives authentically, unbounded by societal constraints, embracing her desires, and asserting her unique
self.
Nietzsche's camel-lion-child metaphor provides a framework to understand Amy's transformative journey as she
moves from shouldering societal burdens to challenging these norms and ultimately embracing her authentic self,
free from the constraints of external expectations.
Let's explore the advice Friedrich Nietzsche might offer to Amy March in each stage of the camel-lion-child
metaphor:
Camel Stage:
1. Advice for the Camel:
• Recognition of Burden: Nietzsche would advise Amy to recognize the burden of societal expectations she
carries. Understanding the weight of these expectations is the first step to gaining autonomy.
• Questioning Norms: He would encourage Amy to question the validity and purpose of societal norms. By
critically examining these expectations, she can start to discern her true desires from imposed values.
Lion Stage:
2. Advice for the Lion:
• Rebellion Against Conformity: Nietzsche would support Amy's rebellion against societal norms. He'd
advise her to reject imposed values that stifle her individuality.
• Embrace of Independence: Amy would be encouraged to embrace her independence and assert her
desires. Nietzsche values the strength to stand against convention and assert personal values.
Child Stage:
3. Advice for the Child:
• Self-Creation and Authenticity: Nietzsche emphasizes the importance of self-creation and authenticity. In
this stage, Amy would be encouraged to create her own values, independent of societal norms.
• Embrace Creativity: Nietzsche would advise Amy to embrace her creativity and embrace her desires
authentically. He values the liberated state of living in line with one's desires and aspirations.
Nuanced Advice Across Stages:
4. Transvaluation of Values:
• Throughout these stages, Nietzsche would encourage Amy to engage in a continual revaluation of values.
This involves constantly reassessing and redefining what she values and desires, moving away from societal
impositions toward authentic self-expression.
5. Overcoming Resentment:
• Nietzsche advocates for overcoming resentment against societal constraints. He would advise Amy to
channel her energy toward creating her life's values rather than resenting societal pressures.
6. Eternal Recurrence Reflection:
• Amy might be encouraged to reflect on Nietzsche's idea of eternal recurrence. Considering whether she
would live her life infinitely based on her current choices helps her make decisions aligned with her deepest desires.
In essence, Nietzsche's advice for Amy evolves as she progresses through the stages. Initially recognizing societal
burdens, rebelling against constraints, and ultimately embracing self-creation and authenticity become key themes in
his advice. Nietzsche values individual autonomy, the continual reevaluation of values, and the assertion of one's
unique self against societal pressures, guiding Amy toward a path of personal liberation and self-expression.

Heidegger's philosophy, particularly his emphasis on authenticity and individuality, can be interpreted as a critique
of an "all or nothing" mentality. He encourages individuals to live resolutely and authentically, but this doesn't
necessarily mean rejecting all aspects of conventional life. Heidegger is concerned with individuals finding their
own meaningful paths within the context of their existence.

Heidegger, known for his emphasis on authenticity, individuality, and the concept of "being-towards-death," might
interpret Amy's decision to give up painting in the context of her pursuit of authenticity and her understanding of her
own existence.
Heidegger's Diagnosis:
• Authenticity and Being-towards-Death:
• Heidegger might see Amy's decision as reflective of her pursuit of authenticity. Her statement "I want to be
great or nothing" could be viewed as her attempt to confront her own existence in the face of death, striving for
greatness as an authentic expression of herself.
• Understanding One's Existence:
• Heidegger would likely perceive Amy's decision as an existential moment, where she confronts her
limitations and attempts to define her own existence. Her acknowledgment of her perceived lack of greatness
reflects her attempt to understand her being.
Heideggerian Advice:
• Resolute Authenticity:
• Heidegger might advise Amy to confront her existence resolutely, acknowledging that greatness isn't the
only measure of authenticity. He would encourage her to embrace her artistic endeavors as an authentic expression
of herself, irrespective of societal definitions of success.
• Embrace Being-in-the-World:
• Heidegger might urge Amy to embrace her creativity as part of her "being-in-the-world." He would
encourage her to paint not solely for external recognition or greatness but as an expression of her unique existence
within the world.
• Live Towards Possibilities:
• Heidegger would emphasize the importance of embracing possibilities and potentialities within her
existence. Amy's decision need not be an "all or nothing" proposition; rather, he might suggest that she explore her
artistic expressions without fixating solely on achieving greatness.
• Embrace Finitude and Imperfection:
• Heidegger might highlight the significance of embracing her finite and imperfect nature. He would advise
Amy to view her artistic pursuits as part of her journey, emphasizing that the process itself, rather than the outcome,
holds inherent value.
In essence, Heidegger might counsel Amy to view her decision through the lens of authenticity and the exploration
of her own existence. He would encourage her to embrace her artistic endeavors as a genuine expression of herself,
rather than being solely focused on achieving external notions of greatness.

Heideggerian Interpretation and Advice for Amy's Decision:

**1. Authenticity in Confronting Limitations:
• Interpretation: Heidegger would likely see Amy's statement, "I want to be great or nothing," as a moment
of authenticity, where she confronts her own limitations and attempts to define her existence in a meaningful way.
• Advice: Heidegger might counsel Amy to embrace this confrontation authentically. Rather than fixating on
societal definitions of greatness, he would encourage her to explore her creative expressions as a way of revealing
her authentic self.
**2. Being-in-the-World and Artistic Expression:
• Interpretation: Heidegger would view Amy's artistic pursuits as a manifestation of her "being-in-the-
world." Her decision to paint reflects her engagement with the world and her attempt to find meaning through
creative expression.
• Advice: Heidegger might advise Amy to understand that her artistic endeavors are not separate from her
existence but integral to it. Embracing her creativity contributes to her authentic being within the world.
**3. Living Towards Possibilities:
• Interpretation: Amy's decision might be seen by Heidegger as an exploration of possibilities within her
existence. He would emphasize that life is a continual unfolding, and her creative pursuits contribute to the richness
of these possibilities.
• Advice: Heidegger might encourage Amy to approach her artistic journey with an openness to possibilities.
Rather than seeking predetermined outcomes, he would suggest that the process itself holds significance.
**4. Embracing Finitude and Imperfection:
• Interpretation: Heidegger's philosophy acknowledges the finitude and imperfection of human existence.
Amy's recognition of her limitations could be seen as a step towards acknowledging her own finite nature.
• Advice: Heidegger might counsel Amy to embrace her imperfections and recognize that the pursuit of
greatness doesn't negate the value of the artistic process. The act of creating holds intrinsic worth, regardless of
external judgments.
**5. Temporal Existence and Creative Exploration:
• Interpretation: Heidegger's focus on temporal existence would lead him to see Amy's decision as part of
her temporal journey. Her artistic exploration is a way of authentically engaging with the temporality of her
existence.
• Advice: Heidegger might suggest that Amy approaches her artistic pursuits with an understanding of the
temporality inherent in creativity. Each stroke of the brush contributes to the unfolding of her unique existence over
time.
In summary, Heidegger's interpretation of Amy's decision would revolve around authenticity, the integration of
artistic expression into her being-in-the-world, living towards possibilities, embracing imperfections, and
recognizing the temporal nature of her creative journey. The advice he would offer aligns with these philosophical
principles, guiding Amy to navigate her artistic pursuits in a way that resonates with her authentic self and the
unfolding possibilities within her existence.

REL NOTES

Oct 4th

What’s the givenness of our situation for kikegard ?

Pursuit of flow without interruption.
I.e KFC burger - while eating not thinking about wth am I doing
We look for flow by looking for flow
When we do that, by way of looking for flow, run into interruptions
I.e, when you look for friends, you don’t find friends
Thus when you want flow, you shouldn’t look for flow, instead look for structure, patterns etc.
In the ethical sphere the rules we set for ourself, we are bound by them.
Sleep for 6-10, then exercise in flow, then study in flow. (Essentially a routine)

What’s wrong with rules?

When you are following the rules, a part of you says we want to break them bc we want flow.
When we start following rules, life becomes robotic - monotonous.
Rules = Pattern
Patterned joy, takes joy away from the pattern I.e displeasure from cheat day
Monotony characterises life.
Before you spent time with friends bc it made you get lost in the aesthetic sphere.
Now if you add it to your pattern, it takes away the fun or spontaneity.
You set the pattern to control your life, set reigns on your life, however it inevitable feel like instead the patterns
reign your life.
You want to control your life by enforcing a pattern, but you become your patterns by becoming enslaved to your
patterns.
Cookie cutter - pattern. Instead of the mould giving you something it gives you a pattern
Mould becomes a means to an end

If you chase flow - you get interruptions

If you chase pattern - for the sake of flow - you get patterns
(Patterns may give you flow in the beginning, but ultimately
You become the role of the pattern) (function of the rules that govern your life)

How do you chase flow?

Religious sphere?

Nietzche

• Unconventional stylistically
• One of his most famous books /phrases
• Unconventional not only in the questions he asks about philosophy but also how he thinks philosophy
should be done
• 3 stages of being human - Camel, lion, Child
• Stage before Camel
• Does philosophy in a prophetic voice as a stylistic choice
• Difference bw his style and keikegards style

American Dream
It says if you work hard, you will reap the rewards of your labour

Nietzches proclamation is there are not guarantees in life

• God is dead.
• Structure in Dead
• Perfection id dead
• Input - output (cocoa give 20 ,get it)
• He however says there is no structure
• There is no guarantee that if you give x, you get y
• Structure of life is more like the structure of desire, the structure of prayer (not all get kabooled)
• For him , god is dead, non guarantor, is not a big claim
• His big claim is what happens after you figure it out
If you dont get what you pay for, you may not want to work towards getting it
He says the no guarantee argument, is known
We become cynical, ahnilalistic when we realise there is no guarantee.
How do we retain optimism, and the desire to work hard, when we know we might not get what we pay for (in
money or labour)
All or nothing - problem acc to nietzche
The challenge of becoming human is how to avoid All or nothing
Wanting all - absolutism addiction - we are addicted to wanting all or nothing (guitar example)
When we know we wont get something, we give up overall

God is truth implies there is an guarantee - calls this naive

Have it all vs nothing is worth pursuing - that is our givenness - the pursuit of all or nothing games.
Descarte was addicted to finding something that cant find something that will never deceive you
Nietzsche called the naïveté
The desire that life was a perfect input output process - Naivete or absolutism addiction
Against “Kash (Urdu)”
Why?
Nietzsche’s problem is when you dont want something , when the getting isnt guarantee

Nihilism
• If I cant have clear ways of making sense of life, then life has no meaning I.e nothing
• If I dont have guaranteed certainty in something, then I will believe in nothing
• Nietchzes challenge is how do you believe in something, knowing that it will be broken and rebuilt
• Structure boils down to hope.
• The entire question of becoming human for himis - if we cant have it all, how do we not have nothing (how
to escape absolutism)

Concerned with how do you live after having certainties broken.

Nietzsche v optimsitc
How to fight this darkness of getting heartbroken
How to say yes to the rubble our lives are, and build something out of it
How do you find optimism in a dump.
Deodorised life

How do you continue to hope, dream and pray? Knowing full well your hopes can get crushed

If you believe in God, that doesn’t mean life will turn into an input output machine
(Prosperity Gospel)
Shoha (jewish world for haulacast) what kind of God can jews believe in after WW2? - A God who isnt a
guaranteur
The death of God is the death of guarantee

Anyone who has put their faith in justice, equality and freedom know that life is characterised by Heartbreak, but we
must still pursue the good

Love is the answer

Disappointment and struggle and failure is built in to hope, work and dreams
Guarantees are not built in

JOHN LENON - IMAGINE

Cartesian song

He says, whatever life has showed you - love it. Love your life as it is and that is when the journey will begin.
How can you be, aim so high, when you are socially so low.
Observe your life as it presents itself to you, this is the only life available to you, and the only place from where you
will and can find meaning.
If you say I wish my life was different, youre still stuck.
You have the inputs you have.
You cant grow if you hate yourself

OCT 9TH
Lec 10

The idea of absolutism

Say yes to life as life presents itself - not as it should, not as it could
Love is striving for nictzche
A part of life to become who we are - it is working with the possibilities that we have and become something from
them rather than waiting for a change
Goat analogy
Be unique
The way to being unique
Become a grazing animal - the max of their thinking is how to get the best grass
Apart from that , what can be the meaning of life (self preservation)
Upwards social mobility
What is the meaning of life apart from this
He says we need to have questions than just means for self preservation (grade gpa job)
If not, we are a part of the herd, we are a survivor
How do we make things desirable for us when they are not
How to make life beautiful and attractive when it is not
How to savour ones life - imagine your life as a poet
Philosopher , artist , saint (examples )

Nietzsche Is fully understanding of the fact that not everyone will be able to live up to the ideal of looking at their
life as art where you are the artist
If we look at life only as a mere input output machine it is wrong - life is like a hope/dream etc.
He is setting up something - hope - achieving which of is not guaranteed and he says that is living - hope and desire
is living
Nietsche
Not the loving yuorself where you are okay with what you are - but the kind of loving yourself where you
want to be better
People making art are making culture
Wants us to be not just a producer of culture but consumer
(Vice versa)
What do we need to produce culture
We produce culture by asking ourselves how do we enhance this experience we are going through
A New Orleans funeral
Urs - death anniversary of a saint - celebration - to make something high out of that experience
Hates washing clothes - listening to K pop gets you in the zone and you love it.
Enrichment - life - enhancement is what we aim for

How do you become we are

Spirit - Camel - lion - child

Zarathustra's Speeches
On the Three Metamorphoses

Steps to getting better

Step 1 - kneel down

Submit and kneel down before the masters of that art
And take more weight from them - you become a beast of burden
From a goat simply grazing - you become a camel being asked to be loaded up well
Enhance where u r no matter where you might end up
Your career may even end the the camel stage
Camel too challenges himself
Lettings ones folly shine through to mock ones wisdom
Why cant you mock yourself
If you mock yourself, you’ll grow
Camels shine light on their mistakes
Er

Oct 11th
(Zarathustras speeches on the three metamorphoses)
When you achieve something
The triumphs you achieve bc they are the stepping stones to the next step
Mastering a convection requires obedience
You wanna be great at something sit down and kneel
Is parting from your cause a good thing
When camels get bored they part from their cause
“Parting from our cause with triumph” - you move on
Self mastery - what more can I bear? Camel wants to test himself to see what he can do
Messi example
When you reach a certain point - you only look up
For your destination is always above
You are constantly overcoming
An obstacle for overcoming your past height - is to relish and triumph
Youre always propelled
So yes, parting with our triumph is a good thing
For Nietzsche finding good teachers is very important
No messi w/o hundreds of outer who didn’t get triumph
Single person makes art, unity makes culture - ultimately triumph is of culture
Those activities that stink we want them to leave instantly - we step into filthy waters when they are the waters od
truth
Joins filth and truth
We as humans create waste
We will create filth, but to be a camel we also have to deal with the filth
We cannot hand it over to someone else.
You cant achieve height if your life is deodorised
Life is to participate in the filth on the way, towards the pursuit towards excellence
Stepping into filthy waters of truth
• Some truths are filthy - one such truth is our waste
• Its inevitable for us to produce waste and it stinks
Loving those who despise us
Why do the haters hurt - bc there’s truth to what they are saying
Haters can see what is hatable in you
You love yourself so that you might be more than you

A lion in their field is someone who is lonely because they have no equal. Really. With whom they can have
dialogue
And they are destroyers
Lions shouldn’t be teachers
Lions wound and hunt
Masters of their field
House (some old show) is a lion
Best at the game but also a world class jerk
House and Sherlock are two tv portrayals of lions
After mastery, we need a lion stage
Lions need no fixing , lions are necessary
Once you become a lion you run through, you get lonely
Once you scale the top you become lonely
Its lonely at the top
Why is the lion necessary?
All that the camel hears is “you shall” and all it says is “I obey”
Once you achieve mastery you need to kill the camel part of you - the part of you that rubs own direction given by
others
The part that needs to obey someone and you say I will
Lions achieve height however they will / want
Camels achieve height by obeying
Heisenberg in breaking bad
You can become a destroyer of the rules once you have mastered those rules. You can listen to your heart but only
lions can do so.
Process of becoming a lion is becoming somebody who says I will
A lion knows how to break and bend and mould and destroy the rules - a camel cant work outside the rules
Lions do not need external validation
Lions despise praise as it reminds them of a time when they depended on praise for their growth and development
When the rules start becoming a hindrance
Why dont we stop at lions— what does being a child entail that lions dont have
allenDershvertz cohwskhy debate
The camels q is mastery
What is the lion interested in ? Freedom
Not freedom for freedoms sake - “I am a master already - what now
Freedom from the connections that were necessary
Now you want freedom? Only way to get it to kill the student inside of you
A camel is a beast of burden
A lion is divided - a beast of prey - a fighter /fighting his division - lions learn how to say no and all negation divides
Why does hearing a no break you?
Wanted yes / Got no
If you had heard a yes, you would be whole

Nietsche
No such thing as a worthless truth
Why value truth? What has truth done for us?

Reading beyond good and evil

Intermingled
Pg 9 bottom - how could anything originate out of its app for e.g truth out of error

Do our mistakes teach us?

Source of truth and source of error is opposed

Its intermingled

Selflessness out of selfishness

Only one capable of selfishness is capable of selflessness

Thus they are not opp, but cohabit

So journey is not from selfishness to selflessness

Or evil to good
Aka from one to its app

i.e starting a charity for praise

“Activism for optics” vs “activism of justice”
They’re not separate
Good and bad angels coexist / commingle

Whoever wants to do it for optics, will have justice in his heart

Nobodies heart is 100%

There is always a contradiction

Sadqa and pride coexist

Good and evil are not opposites for Nietzsche

They both can originate from the same heart
That is what means to to be human for Nietzsche

Necessary hopes - necessary fictions

Concerned with if it enhances

Thats the measure
As a philosophy a way of being that beyond truth lies good and evil

Source of good and evil are not different, nor is one better than the other

Fiath in opp values

Darkness vs light
Uncertainty vs certainty
However for nietzche there is no “vs” - both sides of the argument coexist

If the truth becomes crippling and pessimism inducing then its not worth it
Hes fighting nihilism
If a truth makes you nihilistic then let the truth go to hell
Only truth that is worth it is that which enhances us - makes us more than what we are right now.
Life enhancing fictions and life enhancing truths
Some truths are not life enhancing truth - those which make you nihilistic

The falseness of a judgement is not an objection

If something is a lie, it is not an objection
The fact that they are inventions I.e math or books, is not an objection
Use fiction to enhance
Adds to imply and enhance our life
The fact that heer and ranjha dont exist is not an objection to their story
They open up possibilities of living, and possibilities to avoid for you
That is nietsches

For Martin Heidegger, "being-in-the-world" is a key concept in his existential phenomenology, particularly
developed in his major work "Being and Time." This concept reflects his departure from traditional philosophical
approaches that often treated human existence in abstract terms, divorced from lived experience.
Here are some key points regarding Heidegger's notion of "being-in-the-world":
1. Contextual Existence: Being-in-the-world means that human existence is always situated in a concrete,
lived context. It's not just about individual beings existing in isolation but about being part of a world with
which one is intimately connected.
2. Holistic Engagement: Heidegger emphasizes the holistic engagement of human beings with their
surroundings. This involves not only physical presence but also a complex interplay of perceptions,
emotions, and meaningful activities within a particular cultural and historical context.
3. Dasein and Temporality: Heidegger introduces the term "Dasein" to refer to human existence. Dasein,
translated as "being-there" or "being-in-the-world," is characterized by its temporal nature. Dasein is
always situated in a past, present, and future, and understanding one's being requires an analysis of this
temporal dimension.
4. Everydayness: Heidegger is interested in the everyday experience of ordinary life. He argues that
understanding the nature of being requires an examination of the mundane, everyday activities and the
familiarity that shapes our existence. This is in contrast to philosophical traditions that often focused on
more abstract and theoretical concerns.
5. Equipmentality: Heidegger introduces the concept of "ready-to-hand" (Zuhandenheit) to describe the way
in which we interact with tools and objects in our environment. In our everyday engagement, tools become
seamlessly integrated into our activities, and we don't necessarily perceive them as separate objects.
6. Authenticity: Heidegger is concerned with authenticity, which involves confronting the reality of one's
existence and making meaningful choices. Authentic existence, for Heidegger, entails a deep self-
awareness and a willingness to confront existential questions rather than succumbing to conformity or
escaping from the challenges of existence.
In summary, "being-in-the-world" is a foundational concept in Heidegger's philosophy that underscores the
interconnectedness of human existence with the world, emphasizing the lived, contextual, and temporal nature of
our being.

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relate this to Amy march for little women by greta girwig 2019
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Amy March, a character from Louisa May Alcott's "Little Women," has been portrayed in various film adaptations,
including Greta Gerwig's 2019 version. While Heidegger's philosophy is not explicitly addressed in "Little Women,"
we can draw connections between Amy's character and Heidegger's concept of "being-in-the-world," considering
her experiences, choices, and the context in which she exists.
1. Contextual Existence:
 Amy's character is deeply embedded in the societal and historical context of the American Civil
War era. Her experiences, decisions, and relationships are influenced by the cultural norms and
expectations of the time.
2. Holistic Engagement:
  Amy's life involves a holistic engagement with her family, artistic pursuits, and societal
expectations. Her relationships with her sisters, particularly Jo, and her aspirations as an artist are
integral to her sense of being.
3. Dasein and Temporality:
 Amy's character undergoes significant development over time. She is portrayed both as a young
girl and as an adult, and her decisions are influenced by her understanding of her past, her present
circumstances, and her future aspirations.
4. Everydayness:
 Heidegger's emphasis on the everydayness of existence can be related to the portrayal of Amy's
ordinary, day-to-day experiences. Her struggles, joys, and the choices she makes in the ordinary
moments contribute to her overall existence.
5. Equipmentality:
 Amy's artistic pursuits and the tools she uses in her craft can be seen as a reflection of Heidegger's
concept of "ready-to-hand." Her brushes, canvases, and the act of creating art become an integral
part of her everyday engagement with the world.
6. Authenticity:
 Amy's character grapples with issues of identity, societal expectations, and her own desires. Her
journey in pursuing both love and artistic success reflects a search for authenticity in the face of
societal norms and personal ambitions.
While "Little Women" may not explicitly engage with Heidegger's philosophy, exploring Amy March's character
through the lens of "being-in-the-world" allows for a deeper understanding of her experiences and choices within the
context of the story's setting and themes. Keep in mind that interpretations of characters can vary, and different
viewers may perceive and analyze Amy's character in distinct ways.

Moment of growth of amy – realizing and coming to terms with the reality