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Angst
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The Scream (1893) by Edvard Munch represents his experience of "an infinite scream passing through nature."
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Emotions
Emotions

Angst is a feeling of anxiety, apprehension, or insecurity.[1] Anguish is its Latinate equivalent, and the words anxious and anxiety are of similar origin.

Etymology

[edit]

The word angst was introduced into English from the Danish, Norwegian, and Dutch word angst and the German word Angst. It is attested since the 19th century in English translations of the works of Søren Kierkegaard and Sigmund Freud.[1][2][3] It is used in English to describe an intense feeling of apprehension, anxiety, or inner turmoil.

In other languages (with words from the Latin pavor for "fear" or "panic"),[4] the derived words differ in meaning; for example, as in the French anxiété and peur. The word angst has existed in German since the 8th century, from the Proto-Indo-European root *anghu-, "restraint" from which Old High German angust developed.[5] It is pre-cognate with the Latin angustia, "tensity, tightness" and angor, "choking, clogging"; compare to the Ancient Greek ἄγχω (ánkhō) "strangle". It entered English in the 19th century as a technical term used in psychiatry, though earlier cognates existed, such as ange.

Existentialism

[edit]
See also: Philosophy of Søren Kierkegaard § Dread or anxiety

In existentialist philosophy, the term angst carries a specific conceptual meaning. The use of the term was first attributed to Danish philosopher Søren Kierkegaard (1813–1855). In The Concept of Anxiety (originally translated as The Concept of Dread), Kierkegaard used the word Angest (in common Danish, angst, meaning "dread" or "anxiety") to describe a profound and deep-seated condition. Where non-human animals are guided solely by instinct, said Kierkegaard, human beings enjoy a freedom of choice that we find both appealing and terrifying.[5][6] It is the anxiety of understanding of being free when considering undefined possibilities of one's life and the immense responsibility of having the power of choice over them.[6][7] Kierkegaard's concept of angst reappeared in the works of existentialist philosophers who followed, such as Friedrich Nietzsche, Jean-Paul Sartre, and Martin Heidegger, each of whom developed the idea further in individual ways. While Kierkegaard's angst referred mainly to ambiguous feelings about moral freedom within a religious personal belief system, later existentialists discussed conflicts of personal principles, cultural norms, and existential despair.

Music

[edit]

Existential angst makes its appearance in classical musical composition in the early twentieth century, both as a result of philosophical developments and as a reflection of the war-torn times. Notable composers whose works are often linked with the concept include Gustav Mahler, Richard Strauss (operas Elektra and Salome), Claude Debussy (opera Pelléas et Mélisande, ballet Jeux), Jean Sibelius (especially the Fourth Symphony), Arnold Schoenberg (A Survivor from Warsaw), Alban Berg, Francis Poulenc (opera Dialogues of the Carmelites), Dmitri Shostakovich (opera Lady Macbeth of Mtsensk, symphonies and chamber music), Béla Bartók (opera Bluebeard's Castle), and Krzysztof Penderecki (especially Threnody to the Victims of Hiroshima).[citation needed]

Angst began to be discussed in reference to popular music in the mid- to late 1950s, amid widespread concerns over international tensions and nuclear proliferation. Jeff Nuttall's book Bomb Culture (1968) traced angst in popular culture to Hiroshima. Dread was expressed in works of folk rock such as Bob Dylan's "Masters of War" (1963) and "A Hard Rain's a-Gonna Fall". The term often makes an appearance in reference to punk rock, grunge, nu metal, and works of emo where expressions of melancholy, existential despair, or nihilism predominate.[citation needed]

See also

[edit]

References

[edit]
[edit]
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Angst

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Angst is a German word that translates to "anxiety" or "dread," encompassing a deep emotional state of unease, apprehension, and existential distress often triggered by the human confrontation with freedom, meaninglessness, mortality, and the fundamental uncertainties of existence. In philosophical contexts, particularly , it represents not mere of specific threats but a profound, objectless anxiety that reveals the individual's isolation and responsibility in an absurd world, as articulated by thinkers like , , and . Psychologically, angst aligns with clinical anxiety, defined in the as the anticipation of future threats, distinguishing it from , which responds to immediate dangers, and it has historical roots tracing back to ancient medical descriptions while gaining modern prominence in 19th- and 20th-century . The concept of angst emerged prominently in 19th-century philosophy through Kierkegaard, who in works like The Concept of Anxiety (1844) portrayed it as the "dizziness of freedom"—a psychological state arising from humanity's departure from innocence into the realm of possibilities and sin, where individuals must choose their own path amid infinite options, fostering both despair and the potential for authentic faith. Heidegger later expanded this in Being and Time (1927), conceptualizing Angst as a fundamental mood (Befindlichkeit) that strips away everyday distractions, exposing Dasein (human existence) to its finitude, nothingness, and the call for authentic resoluteness in the face of death. Sartre, in Being and Nothingness (1943), reframed it as "anguish," the vertigo induced by radical human freedom and the absence of predetermined essence, compelling individuals to bear full responsibility for their actions in a godless, contingent universe without excuses. In psychological discourse, angst has been integrated into the study of anxiety disorders since the , with figures like distinguishing neurotic anxiety from realistic and influencing diagnostic frameworks like the DSM, where it manifests as pathological worry, somatic symptoms, or existential dread exacerbated by life crises such as illness or global events. Linguistically and culturally, the German Angst carries nuances of constriction and future-oriented uncertainty, often collective in expression (e.g., societal fears post-World War II), differing from English "" by blending personal vulnerability with broader existential frames, as evidenced in corpus analyses of media and literature. While adaptive in moderation—prompting and growth—intense angst can lead to isolation, purposelessness, and challenges, underscoring its dual role as both a philosophical catalyst for authenticity and a clinical concern requiring therapeutic intervention.

Origins and Definition

Etymology

The word "angst" originates from the German noun Angst, denoting a feeling of fear, anxiety, or apprehension. This term derives from angust (c. 750–1050 CE), meaning "distress" or "anxiety," which in turn stems from Proto-Germanic *angustiz, a of *angu- ("narrow" or "tight," evoking ) and the abstract noun suffix -stiz. The *angh- further underscores this sense of painful tightness or , as seen in cognates across like enge ("narrow") and Gothic aggwus ("narrow"). Through angest (c. 1050–1500 CE), the word evolved to emphasize emotional unease, retaining its core connotation of inner turmoil. In 19th-century and , Angst gained prominence among Romantic poets, appearing in the works of to convey profound emotional distress, as in his explorations of love, exile, and human suffering. This usage reflected the era's preoccupation with subjective experience and psychological depth. The term entered English as a in the mid-19th century, with early appearances such as George Eliot's 1849 reference to it in its German form, but it remained marginal until the early . Its adoption accelerated through English translations of existential philosophers like and psychoanalytic texts by , marking first notable uses in psychological contexts around the ; by 1944, it was fully integrated into English to describe neurotic or existential dread. In related languages, variations like Danish angst emerged similarly from Proto-Germanic roots, prominently featured in Kierkegaard's 1844 philosophical work Begrebet Angest (), where it denotes a dizzying underlying human choice. This Danish usage influenced the term's broader conceptual application in , bridging linguistic and philosophical traditions.

Conceptual Definition

Angst refers to a profound and often inexplicable feeling of anxiety, dread, or unease concerning , the , or one's place in the , typically lacking a specific external trigger. In contemporary usage, it describes an acute but unspecific emotional state that permeates one's of self and surroundings, often evoking a of existential disquiet without clear resolution. The term, borrowed from German Angst meaning "" or "anxiety," entered English in the early and carries philosophical undertones of deeper, reflective turmoil. Key characteristics of angst include its diffuse and existential nature, distinguishing it from more immediate or targeted emotional responses; it arises not from phobic reactions to particular objects but from broader themes such as personal freedom, isolation, or the perceived meaninglessness of life. This unfocused quality makes angst pervasive and introspective, often manifesting as a vague apprehension about the human condition or societal uncertainties rather than isolated incidents. Unlike transient moods, it tends to linger, prompting of one's and vulnerabilities in an unpredictable world. Angst differs from synonyms like fear, which is a direct response to an immediate, identifiable threat, or worry, which involves specific, cognitive concerns about potential outcomes. Fear activates a fight-or-flight reaction to real dangers, whereas angst remains abstract and objectless, more akin to a generalized dread without a pinpointed source. Similarly, while anxiety can overlap as a broader category of unease, angst emphasizes its philosophical depth and lack of focus, setting it apart from everyday apprehensions tied to concrete problems.

Philosophical Perspectives

Existentialism

In existentialist philosophy, angst represents a profound psychological state that underscores the human confrontation with and possibility. Søren introduced the concept in his 1844 work , where he describes angst as the "dizziness of " that emerges when the human spirit posits the synthesis of finitude and infinitude, allowing to gaze into its own possibilities. This arises from the infinite array of choices available to the individual, creating a vertiginous awareness of potentiality that precedes and reflects the tension between human and limitation. For , angst is not merely pathological but an essential aspect of the human condition, essential for ethical and religious development, as properly navigating it enables one to embrace responsibility amid uncertainty. Martin Heidegger further developed the notion of angst in his 1927 masterpiece Being and Time, portraying it as a fundamental attunement or mood that discloses the "nothingness" inherent in , the term he uses for human . Unlike , which is directed at specific entities, angst has no object and instead reveals the world's indifference and 's thrownness into , stripping away everyday distractions to expose its finitude and lack of ultimate ground. Heidegger argues that this confrontation with nothingness individualizes , bringing it face-to-face with its ownmost potentiality-for-Being, particularly through being-toward-death, and thereby opening the path to authentic via resoluteness and ownership of one's choices. Jean-Paul expanded on existential angst in his 1943 treatise , linking it directly to the absolute freedom of consciousness, or the "for-itself," in a world devoid of predetermined essence or divine order. contends that angst arises from the realization that humans are "condemned to be free," bearing total responsibility for their actions without external justification, as and individuals must continually choose their path amid contingency. This burden intensifies in the absence of any transcendent structure, compelling one to create meaning through projects, yet evoking dread over the potential futility of those endeavors. Across these thinkers, angst emerges as a unifying catalyst in for authentic living, urging individuals to confront the of and the inevitability of mortality to forge genuine selfhood. Kierkegaard's , Heidegger's resoluteness, and Sartre's committed action all stem from this mood, transforming dread into an impetus for embracing personal responsibility and transcending inauthenticity.

Other Philosophical Traditions

In Friedrich Nietzsche's Thus Spoke Zarathustra (1883–1885), precursors to the concept of angst appear in the motifs of eternal recurrence and the "abyss," where the protagonist confronts the nihilistic implications of an infinitely repeating existence without inherent purpose, evoking a visceral dread that challenges individuals to affirm life despite its apparent meaninglessness. Nietzsche portrays this response to nihilism not as mere despair but as a transformative confrontation, urging the Übermensch to embrace the recurrence as a test of one's will to power. Ancient Greek philosophy offers early parallels to angst through Stoic and Epicurean thought. In , argued in his Discourses (c. 108 CE) that anxiety arises from false judgments about externals beyond one's control, such as fortune or reputation, rather than from the events themselves; true tranquility comes from aligning impressions with reason to distinguish what is us from what is not. Similarly, in , addressed the fear of in (c. 55 BCE) as a primary source of existential unease, attributing it to misconceptions about the and the soul's dissolution; he counters this by emphasizing that is merely the cessation of sensation, rendering it neither good nor bad, and thus unworthy of dread. Eastern philosophical traditions present analogous concepts of existential unease and its alleviation. In , dukkha—the First Noble Truth articulated in the (c. BCE)—encompasses not only physical and emotional but also a pervasive existential angst rooted in impermanence (anicca), non-self (anatta), and the cycle of rebirth (samsara), manifesting as an underlying dissatisfaction with conditioned existence. Taoist philosophy, particularly in the (c. 6th century BCE) attributed to , counters such inner turmoil through wu wei (non-action or effortless action), which promotes harmony with the by relinquishing forced striving and ego-driven interference, thereby fostering spontaneous alignment and amid life's flux. In 20th-century non-existentialist thought, Albert Camus's in (1942) frames angst as emerging from the irreconcilable tension between humanity's innate desire for meaning and the universe's indifferent silence, exemplified by Sisyphus's eternal, futile labor as a for . Camus posits that this awareness of does not necessitate despair or but invites revolt through conscious acceptance and creation of personal value in defiance of cosmic meaninglessness.

Psychological Aspects

Angst as an Emotion

Angst, as an , is characterized by a profound sense of restlessness, apprehension, and an overarching feeling of or existential unease. This subjective experience often manifests as an intense inner turmoil, blending emotional distress with a vague, unfocused dread about one's place in the world. Physiologically, it is frequently accompanied by somatic symptoms such as a rapid heartbeat, , sweating, or tension, reflecting the body's activation of the in response to perceived threats. Cognitively, angst involves intrusive thoughts centered on , personal insignificance, or the futility of , which distinguish it from more rational, situation-specific by their irrational, pervasive, and often obsessive quality. These mental processes can lead to rumination on profound questions like mortality or purpose, fostering a sense of helplessness or disconnection without clear resolution. Unlike fleeting concerns, this cognitive dimension permeates daily functioning, amplifying the emotion's disorienting impact. From an evolutionary perspective, angst may serve an adaptive function similar to , motivating heightened vigilance against potential threats and prompting to navigate complex social or existential challenges. Psychologists like , in their theories of basic emotions, highlight how such -related states evolved to enhance by preparing individuals for , though prolonged angst can exceed this adaptive threshold. This role underscores angst's roots in fundamental human responses to in the environment. Cross-culturally, experiences of angst exhibit universality, with similar reports of dread and unease documented across diverse societies, as evidenced by recognition of fear expressions in Ekman's global studies.

Relation to Mental Health

In clinical psychology, angst manifests as a core symptom in anxiety disorders, particularly generalized anxiety disorder (GAD), where it is characterized by excessive and uncontrollable worry about various life domains that persists for at least six months, interfering with daily functioning. According to the DSM-5 criteria, this form of angst must be accompanied by at least three additional symptoms, such as restlessness, fatigue, or muscle tension, distinguishing pathological levels from transient emotional experiences. When angst crosses this threshold, it signals a need for intervention, as untreated GAD can lead to chronic impairment in social, occupational, and personal spheres. Historically, conceptualized angst as "signal anxiety," an ego-generated warning response to internal conflicts between the id's instinctual drives and the superego's moral demands, as elaborated in his 1926 work Inhibitions, Symptoms and Anxiety. In this framework, angst arises from the repression of aggressive and sexual impulses required by societal norms, serving as a protective mechanism to avert greater psychic distress from unresolved id-ego tensions. Freud's theory laid foundational groundwork for understanding angst not merely as fear of external threats but as an internal alarm tied to unconscious conflicts. Contemporary research highlights the neurobiological underpinnings of pathological angst, with studies revealing hyperactivity in the , a key limbic structure involved in detection and emotional processing, among individuals with GAD. This overreactivity contributes to heightened vigilance and exaggerated fear responses, often decoupled from prefrontal regulatory control. Furthermore, studies from the early have linked chronic angst to dysregulated hypothalamic-pituitary-adrenal (HPA) axis activity, evidenced by elevated diurnal levels that exacerbate stress responses and sustain anxiety symptoms in GAD patients. Therapeutic interventions for angst-related mental health issues increasingly incorporate (CBT) techniques, which target the reframing of existential worries by challenging catastrophic thinking patterns and promoting adaptive coping strategies. For instance, CBT helps individuals with GAD identify and restructure irrational fears about or meaninglessness, reducing the intensity of signal-like angst without delving into full psychoanalytic exploration. These approaches have demonstrated efficacy in alleviating symptoms, particularly when angst intersects with broader anxiety disorders.

Cultural Representations

In Literature and Philosophy

In Franz Kafka's novella (1915), angst manifests as profound existential isolation through the protagonist Gregor Samsa's inexplicable transformation into a giant , severing his ties to family and society. This metamorphosis symbolizes into an uncaring world, where Gregor's dread intensifies under the weight of capitalist obligations and familial rejection, leading to his ultimate alienation and demise. Albert Camus' novel The Stranger (1942) further illustrates absurd angst via the detached protagonist Meursault, whose indifferent reactions to death, love, and trial underscore the futile human search for meaning in an irrational universe. Camus portrays this dread as arising from the tragic conflict between the desire for clarity and the world's silent indifference, compelling confrontation with life's inherent meaninglessness. These depictions align briefly with existentialist notions of angst as a catalyst for authentic existence, though literature amplifies its narrative emotional depth. Haruki Murakami's (2002) delves into modern urban alienation, with teenager Kafka Tamura fleeing a cursed family dynamic and Tokyo's conformist pressures, embodying angst as psychological fragmentation and longing for identity. The protagonist's limbo-like journeys reflect existential and isolation in a consumerist society, where societal norms exacerbate inner turmoil and the quest for self-reconstruction. Rainer Maria Rilke's (1922) hybridizes poetry and philosophy, framing angst as an anguished "not-being-at-home" in existence, where the speaker's cry—"Who, if I cried out, would hear me among the angels' hierarchies?"—evokes terror amid beauty as a pathway to disclosed truth. This dread, akin to Heidegger's Angst, burdens human temporality but enables transcendence, bridging earthly isolation to higher awareness through figures like lovers and heroes who affirm being's excess. In post-2000 literature, ' The Overstory (2018) channels angst amid global crises, portraying characters' dread over and climate collapse as an existential reckoning with humanity's anthropocentric . The novel's interconnected narratives evoke as a alienation from the natural world, urging reevaluation of human limits in the face of irreversible loss.

In Music and Art

In classical and romantic music, angst finds profound expression through orchestral works that confront existential dread and human fragility. Gustav Mahler's Symphony No. 9, completed in 1909 amid the composer's personal health crises, utilizes dissonance, chromatic tensions, and turbulent brass outbursts to evoke a sense of impending mortality and emotional upheaval, particularly in the first movement's dramatic episodes around the 10-minute mark. These elements create a sonic landscape of fragmentation and introspection, reflecting broader fin-de-siècle anxieties about life's impermanence. In modern music genres like and , angst manifests as a raw emotional core, often tied to alienation, identity crises, and societal disconnection. Radiohead's (1997), a seminal album in with post-punk influences, captures technological alienation through dystopian and mechanized soundscapes in songs like "," portraying a world of isolation induced by rampant and digital overload. Similarly, music, emerging from roots in the 1980s and gaining prominence in the 2000s, channels adolescent angst into and melodic intensity, as explored in scholarly analyses linking the genre to crises of and emotional vulnerability. , exemplified by Norwegian band Mayhem's early works like (1994), amplifies this through themes of despair and , employing harsh dissonance and screamed vocals to articulate unrelenting hopelessness and rebellion against existential voids. Visual arts have long visualized angst as inner turmoil, with Edvard Munch's (1893) serving as an archetypal image of existential despair. The painting depicts a androgynous figure clutching its head in agony against a blood-red sky and swirling , symbolizing a universal moment of anxiety that transcends personal experience to evoke the dread of modern existence. extended this motif, as seen in Salvador Dalí's paintings where symbols of fear—such as ants representing decay in (1931) or distorted, grasshopper-infested heads in (1929)—probe the subconscious anxieties of mortality, sexuality, and irrational terror. Contemporary trends in and since the have repurposed angst to critique social and political fractures, often in ephemeral, public interventions. Banksy's stencil works, such as Mobile Lovers (2014) in , illustrate relational angst amid technological distraction by showing an embracing couple absorbed in their phones, commenting on digital isolation's erosion of human bonds. His 2020 funding of the MV rescue ship, which he painted pink and marked with an artwork of a girl reaching for a flamingo, further channels collective anguish over refugee crises and governmental inaction, blending with visual provocation to heighten awareness of global inequities.

References

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