Chartist historiography is inevitably inflected by the political desires of its authors. This desire, combined with the contingent nature of history, imparts a fictive dimension to Chartist historiography. In support of these claims, this article applies the literary concepts of plot and character to Mark Hovell’s The Chartist Movement. It argues that Hovell’s political desire leads him to construct a tragic and entropic plot for Chartism, which is often contradicted by his own assessment of the movement’s vitality. (...) Similarly, Hovell’s plotting is also driven by his reading of Chartism as a conflict between two characters, a flawed hero and a villain. The article closes with a close reading of Hovell’s characterisation of O’Connor, which demonstrates the skill with which he interweaves fact and interpretation. (shrink)

It seems that the Timaeus is independent of the Critias, that the Critias is incomplete, and that the two dialogues are parts of a tetralogy contemplated but not completed by Plato. As Welliver remarks, most commentators have taken these seeming facts to be facts; some have proffered outlines of the supposed tetralogy; some have explained its supposed incompleteness by making Plato old and weary. Welliver believes that the Timaeus-Critias is a complete dramatic work, and most of his book represents an (...) attempt to justify this belief. (shrink)

Enlightening and entertaining, _Philosophical Tales_ examines a few of the fascinating biographical details of history’s greatest philosophers and highlights their contributions to the field. By applying the true philosophical approach to philosophy itself, the text provides us with a refreshing 'alternative history' of philosophy. Opens up new philosophical debate by applying the true philosophical approach to philosophy itself Provides summaries of the most celebrated and philosophically interesting tales, their backgrounds, and assessments of the leading players Explores philosophers and schools of (...) thought in one key philosophical text to supply a solid grounding in philosophical ideas and individuals Shakes some of the foundations of philosophy with the aim of encouraging the reinvigoration of philosophy itself. (shrink)

Enlightening and entertaining, _Philosophical Tales_ examines a few of the fascinating biographical details of history’s greatest philosophers and highlights their contributions to the field. By applying the true philosophical approach to philosophy itself, the text provides us with a refreshing 'alternative history' of philosophy. Opens up new philosophical debate by applying the true philosophical approach to philosophy itself Provides summaries of the most celebrated and philosophically interesting tales, their backgrounds, and assessments of the leading players Explores philosophers and schools of (...) thought in one key philosophical text to supply a solid grounding in philosophical ideas and individuals Shakes some of the foundations of philosophy with the aim of encouraging the reinvigoration of philosophy itself. (shrink)

Justification for reading Pride and Prejudice as a philosophical novel may be found in its much cited and variously interpreted opening sentence: "It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife." This universal law is the first principle of a philosophical novel, although I shall also interpret it as the statement of a scientific law of human nature, a characterization of the civility of English society, and (...) as a pronouncement on the manners of an economic class. Pride and Prejudice is a philosophical novel both in the sense of presenting a philosophy in exposition and of embodying a philosophy in action, and literary criticism exercises its proper function by expounding that philosophy and by explicating and clarifying the thought and action of the novel by means of it. The thought of Pride and Prejudice may be uncovered by interpreting it in accordance with any of a variety of philosophies, but it is peculiarly appropriate, and enlightening, to recognize its Platonizing echoes since the dialogues of Plato have gone through a history of interpretation that has evolved distinctions which are useful in interpreting Pride and Prejudice. Many interpreters of Plato's dialogues, in antiquity and later, argue that they are not statements of thoughts or opinions but are simply exhibitions of how philosophers talk; others, beginning with the Old Academy, interpret them as the expression of the truth not of the doctrines of one philosopher, but of all philosophers; some, beginning with the skepticism of the Middle or New Academy, hold that the method of Socrates was to demonstrate that all doctrines are false and therefore, by the same token, true; and some, following the Neoplatonists, sought in them the adumbration of a truth transcending human thought and expression. Neoplatonic truths are suited to tragedy and epic; skeptical Academic opinions provide a place and expectation proper to comedy. All Platonisms share hierarchical structures of being, thought, and aspiration. Plato himself describes three ladders of being, knowledge, and love in the Republic and the Symposium. The New Academic skepticism chooses a low place on those ladders, which is excellently named in the opening sentence of Pride and Prejudice: knowledge is based on self-evident truths, opinion can rise no higher than "a truth universally accepted," "possession of a good fortune" is a dubious degradation of vision of the ideal God to possession of material goods, and "want of a wife" is a transformation of charity or agape or love of the good in itself to concupiscence or eros or matrimony. Richard McKeon is the editor of The Basic Works of Aristotle and coeditor of Peter Abailard, Sic et Non: A Critical Edition. He delivered an earlier version of this paper at the 1977 Modern Language Association's session of the Division on Philosophical Approaches to Literature. His previous contributions to Critical Inquiry are "Arts of Invention and Arts of Memory: Creation and Criticism" and "Canonic Books and Prohibited Books: Orthodoxy and Heresy in Religion and Culture". (shrink)

The goal of this dissertation is to generate a theoretical perspective and a political vocabulary capable of giving an account of political action proper in the context of modern democracy. The first step is that of tracing back to the origins of the theory and practice of modern democracy the appearance of the features that gave shape to the institutional constellation we now understand as democratic politics. This looking back from the perspective of the main institutions of contemporary democracy is (...) structured along the lines of the process that Lefort describes as a split of the theological and the political in early modern times. In Weber, this split takes the form of a multiplication and secularization of prophets, creating the need for a domesticated and democratized version of charismatic leadership that assumes normative standards in his idea of parliamentary democracy. Weber's solution is, of course, the opposite to that of Hobbes': the plurality of gods and demons manifested in the multiplication of prophets should be institutionalized, not eradicated. This dissertation shows that the breakdown of theological regimes and the birth of modern democracy is simply another way to describe the embracement of the fact of plurality. ;With Merleau-Ponty I thus give theoretical consistency to the emergence of modern democratic practices and institutions. In Habermas, on the other hand, I find the difficulties that a model that dismembers the strategic and communicative dimensions of human agency confronts when the task at hand is not that of a moral theory concerned with universal agreement but that of a political theory concerned with the socially enabled fact of plurality. Specifically, I show in my dissertation that Habermas's contempt for Austin's perlocutionary dimension of speech acts and his suggestion that Arendt's notions of action and speech are somehow parallel to his model spring from a still operating uneasiness with political speech and modern democracy in their phenomenal appearance. This dissertation concludes by showing that the theoretical consistency acquired with Merleau-Ponty does indeed provide a theoretical perspective and political vocabulary that puts in relief political action as a fundamental aspect of contemporary democratic politics. (shrink)

Although Merleau-Ponty’s early phenomenology of perception and his essays on art, politics, and language already showed an affinity between the aesthetic phenomena of expression and style and the political and cultural dynamics of society at large, this paper specifically focuses on his late theorizing of the notion of flesh and its relevance to his late understanding of politics and democracy. The emergence of flesh as a concept was contemporary to Merleau-Ponty’s break with Marxism as a philosophical model and with revolutionary (...) dialectics as a political project. It is by showing that such a break was consistently grounded on his theorizing of the being flesh of both the body and of society that this paper shows Merleau-Ponty’s unique contribution to democratic theory and to contemporary political philosophy. In the course of this analysis, it will become clear that in philosophically breaking with the position of a “no that is a yes”—i.e. the model of the revolution, which implies a total negation of the given that becomes a total affirmation of the new order (dictatorship) once in power—he would politically embrace the Weberian “heroic liberalism”—or his “non-communist left”—of parliamentary democracy. (shrink)

In this paper, I go back to French philosopher Maurice Merleau-Ponty’s influence on Claude Lefort’s theory of democracy in order to offer a revised understanding of political regimes as coexisting and competing horizons of politics. These horizons develop from differing positions regarding the political enigma of the institution of society—its staging, its shaping, and its making sense of itself. A theological understanding of such political institution of society will be described as fundamentally voluntaristic, while an epistemic understanding will be described (...) as, in its radical iteration, potentially totalitarian. This theorization is triggered by an interpretive perplexity: what happened to the United States in the aftermath of 9/11, in its War on Terror, in its committing of the supreme international crime of aggressive warfare, in its embracement of a massive policy of executive, global targeted assassinations and of a white nationalist, xenophobic politics? Is the theologico-political horizon becoming once again dominant in America? Is the epistemic, plutocratic regime taking over instead? Are they coordinated in their effort to undermine an egalitarian understanding of the American republic? These are the interrogative driving forces behind this investigation. (shrink)

This book focuses on Andrew Arato’s democratic theory and its relevance to contemporary issues such as processes of democratization, civil society, constitution-making, and the modern Executive. Andrew Arato is -both globally and disciplinarily- a prominent thinker in the fields of democratic theory, constitutional law, and comparative politics, influencing several generations of scholars. This is the first volume to systematically address his democratic theory. Including contributions from leading scholars such as Dick Howard, Ulrich Preuss, Hubertus Buchstein, Janos Kis, Uri Ram, Leonardo (...) Avritzer, Carlos de la Torre, and Nicolás Lynch, this book is organized around three major areas of Arato´s influence on contemporary political and social thought. The first section offers a comprehensive view of Arato’s scholarship from his early work on critical theory and Western Marxism to his current research on constitution-making and its application. The second section shifts its focus from the previous, comprehensive approach, to a much more specific one: Arato´s widespread influence on the study of civil society in democratization processes in Latin America. The third section includes a previously unpublished work, ‘A conceptual history of dictatorship (and its rivals,)’ one of the few systematic interrogations on the meaning of a political form of fundamental relevance in the contemporary world. Critical Theory and Democracy will be of interest to critical and social theorists, and all Arato scholars. (shrink)

In the film “Kaili Blues” by Bi Gan, intricate clues create complex connections between the plots steered by various characters. This relationship manifests in splitting time and alternating between dream and reality. This article analyzes Bi Gan’s approach to temporality and dreams by focusing on how he employs various film metaphors to deal with poetic narratives in his films. The article consists of three sections: First, it introduces the (puzzle) storytelling form of “Kaili Blues” as a promising area in many (...) Chinese films. Second, it examines how puzzle films contribute to the ambiguity (plots) between characters from the perspective of infinite games. Moreover, third, the article discusses the two levels of metaphors in “Kaili Blues” that result from the condensation and displacement of metaphors, including the mutual projection of roles caused by the time-forking effect and the audience’s associations caused by the significance of dreams in Chinese tradition (or local) culture. (shrink)

Aristotle considered the plot the most important element in tragedy. By μῦθυς--from which our word "myth" comes--he meant an imitation of action--of action in the "real world," that is. Here, as elsewhere in Greek literary criticism, "imitation" does not mean simply "exact reproduction." To what extent it may mean something like "symbolic," or otherwise "oblique," representation, is hard to determine. It will be enough, for our purposes, to think of "imitation" as exact reproduction with allowance made simply for the (...) transference--always radically transforming--into another medium: from life into art. What, then, did Aristotle mean by "action"? The noun πρᾶξις takes us back to the verb πράττω. Action meant a "doing" to Aristotle, rather as poetry meant to him a "making." Such a "doing," then, is a time-crossing event, in fact an event whose nature is closely involved with its temporal status. Such an event has a personal agent, or vehicle, and transacts with other persons, or more generally, with the "other." In fact, the notion of a transaction is especially fitting to describe action, for that notion emphasizes the dialogue-like structure of action, which always involves its agent with "the world," whether of people or of things. Plot, for Aristotle, was the turning of such action into art. (shrink)

This article discusses Aristotle’s notion of character, and how it should be presented in a play, such as a tragic drama. In Poetics 1450a 24, Aristotle entertains the possibility of a tragedy without character, and commentators have argued about whether a tragic drama can really unfold without characters of its agents being manifested; and whether Aristotle really meant a tragic drama that is completely devoid of character, or simply one that contains personalities that are considered to be (...) stereotyped or wooden. I will discuss different opinions of commentators on this issue, and offer my reasons for supporting one of their views. Since this remark on “characterless tragedy” was made in order to show the superiority of plot over character in tragedy, I will need to discuss these two elements in full; and it is in Aristotle’s discussion of the element of character that his view on women and natural slaves was presented. (shrink)

The article discusses the features of the love-passionate plot in the stories of Ivan Bunin. The question is raised why Bunin, describing the strange or immoral acts of the heroes, does not condemn them, and in general draws a bright, sometimes sad atmosphere. Analysis of L. S. Vygotsky’s short story “Easy Breathing” by Bunin allows us to express an idea about a certain strategy for building Bunin’s works. Based on this consideration, the methods by which Bunin achieves the effect (...) of perception of the characters he needs are analyzed. There are three such techniques: the convergence of the actions and behavior of the characters with the life and breath of nature, the depiction of the life of the characters from the point of view that Bunin needs, and the endowment of the characters with personality traits that exclude ethical characteristics and problems. The scientific explanation of Bunin's artistic constructions is based on the analysis of mental trauma (caused by the departure of the first wife and the horrors of the revolution), artistic understanding of the events that interest the writer, and the peculiarities of the conceptualization of these events. In addition, it is proposed to take into account that Bunin began and became famous as a poet, and as a poet he composed his prose partly according to the laws of versification. (shrink)

If there are no fictional characters, how do we explain thought and discourse apparently about them? If there are, what are they like? A growing number of philosophers claim that fictional characters are abstract objects akin to novels or plots. They argue that postulating characters provides the most straightforward explanation of our literary practices as well as a uniform account of discourse and thought about fiction. Anti-realists counter that postulation is neither necessary nor straightforward, and that the invocation of pretense (...) provides a better account of the same phenomena. I outline and assess these competing theories. (shrink)

CATEGORY: Philosophy play; historical fiction; comedy; social criticism. -/- STORYLINE: Katherine, a neurotic American lawyer, meets Christianus for a philosophy session at The Late Victorian coffee shop in London, where they also meet Wendy the waitress and Baldy the player. Will Katherine be able to overcome her deep depression by adopting some of Christianus’s satisfactionist ideas? Or will she stay unsatisfied and unhappy by stubbornly sticking to her own neti-neti nothingness philosophy? And what roles do Baldy, Wendy, and the Okefenokee (...) Man-Monster have in this connexion? -/- TOPICS: In the course of this philosophy play, Katherine and Christianus discuss many things: friendship, a Renoir painting, global warming, elephant conservation, freemasons, Prince of Wales and his tiger-hunting experience in Nepal, Victorian Chartism and a Kennington Common daguerreotype, a Mortality Proof, and, last but not least, Baldy, Wendy, and the gory plot of the Okefenokee Man-Monster. -/- NOTES: This work features elaborate footnotes and comments (including full bibliographical references) by the author, to enhance the reader's experience of the play and its philosophizing characters. (shrink)

The article presents the results of our observations on syntactic, semantic and plot peculiarities of oral language activity, we find it justified to consider the above mentioned parameters as identification criteria for discovering characterological differences of Ukrainian-speaking and Russian-speaking objects of contact profiling. It describes the connection between mechanisms of psychological defenses as the character structural components, and agentive and non-agentive speech constructions, internal and external predicates. Localized and described plots of oral narratives inherent to representatives of different (...) character types. (shrink)

Social movements carry out extensive character work, trying to define not only their own reputations but those of other major players in their strategic arenas. Victims, villains, and heroes form the essential triad of character work, suggesting not only likely plots but also the emotions that audiences are supposed to feel for various players. Characters have been overlooked in cultural analysis, possibly because they often take visual, non-narrative forms. By focusing on characters within movements, we illuminate some cultural (...) dilemmas that both organizers and their opponents face as they try to influence players’ reputations. (shrink)

The article sets out to explore two plays by contemporary playwrights, one American, the other Ukrainian, focusing on William Shakespeare and Lesia Ukrainka, respectively, within the framework of “the author as character” subgenre of fictional biography. Accordingly, the article considers the correlation between the factual and the fi ctional as one of its foci of attention. Drawing upon a variety of theoretical approaches, the article summarizes the principal characteristics of “the author as character” subgenre and proceeds to discuss (...) how they operate in the dramas under scrutiny. The analysis makes it abundantly clear that in Nigro’s and Nezhdana’s plays the balance between fact and fi ction is defi nitively tipped in favor of the latter. By centering their biographical plays on highly mythologized artists of national standing, both dramatists aimed at demythologizing these cult fi gures, inevitably placing them, however, within new mythical plots combining a Neo-Romantic vision of the artist as demiurge, with a Neo-Baroque as well as fin de siècle apology of death and a postmodern denial of one objective reality. (shrink)

In this paper, we set out a basic approach to the modeling of narrative in interactive virtual worlds. This approach adopts a bipartite model taken from narrative theory, in which narrative is composed ofstoryanddiscourse. In our approach, story elements — plot and character — are defined in terms of plans that drive the dynamics of a virtual environment. Discourse elements — the narrative’s communicative actions — are defined in terms of discourse plans whose communicative goals include conveying the (...) story world plan’s structure. To ground the model in computational terms, we provide examples from research under way in the Liquid Narrative Group involving the design of the Mimesis system, an architecture for intelligent interactive narrative incorporating concepts from artificial intelligence, narrative theory, cognitive psychology and computational linguistics. (shrink)

In this paper, we set out a basic approach to the modeling of narrative in interactive virtual worlds. This approach adopts a bipartite model taken from narrative theory, in which narrative is composed ofstoryanddiscourse. In our approach, story elements — plot and character — are defined in terms of plans that drive the dynamics of a virtual environment. Discourse elements — the narrative’s communicative actions — are defined in terms of discourse plans whose communicative goals include conveying the (...) story world plan’s structure. To ground the model in computational terms, we provide examples from research under way in the Liquid Narrative Group involving the design of the Mimesis system, an architecture for intelligent interactive narrative incorporating concepts from artificial intelligence, narrative theory, cognitive psychology and computational linguistics. (shrink)

In this paper, we set out a basic approach to the modeling of narrative in interactive virtual worlds. This approach adopts a bipartite model taken from narrative theory, in which narrative is composed of story and discourse. In our approach, story elements — plot and character — are defined in terms of plans that drive the dynamics of a virtual environment. Discourse elements — the narrative’s communicative actions — are defined in terms of discourse plans whose communicative goals (...) include conveying the story world plan’s structure. To ground the model in computational terms, we provide examples from research under way in the Liquid Narrative Group involving the design of the Mimesis system, an architecture for intelligent interactive narrative incorporating concepts from artificial intelligence, narrative theory, cognitive psychology and computational linguistics. (shrink)

This comprehensive volume offers a wide-ranging perspective on the stories that art music has told since the start of the 20th century. Contributors challenge the broadly held opinion that the loss of tonality in some music after 1900 also meant the loss of narrative in that music. To the contrary, the editors and essayists in this book demonstrate how experiments in approaching narrative in other media, such as fiction and cinema, suggested fresh possibilities for musical narrative, which composers were quick (...) to exploit. The new conceptions of time, narrative voice, plot, and character that accompanied these experiments also had a significant impact on contemporary music. The repertoire explored in the collection ranges across a wide variety of genres and includes composers from Charles Ives and the Pet Shop Boys to Thomas Adès and Dmitri Shostakovich. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Sanford Freedman CHARACTER IN A COHERENT FICTION: ON PUTTING KING LEAR BACK TOGETHER AGAIN Criticism has never been able to talk about fictionality very long without talking about an "inside" and an "outside," a fictional world's relation to a non-fictional world. And always there lies an immediate tension in this relation posed by the concept of coherence. That is, does a fictional world cohere because it corresponds to (...) meanings "outside" die text or does a fictional world cohere because its "inside" parts stand in meaningful relation to each other? Northrop Frye, in explicating his dieory of symbols, distinguishes between "inside" and "outside" critical directions: Whenever we read anything, we find our attention moving in two directions at once. One direction is outward or centrifugal, in which we keep going outside our reading, from the individual words to the things they mean, or, in practice, to our memory of the conventional association between them. The other direction is inward or centripetal, in which we try to develop from the words a sense of the larger verbal pattern they make.1 That Frye suggests that critics see in both directions at once separates him from most twentieth-century Shakespearean critics who exaggerate one direction at the expense of the other. In this essay I will examine criticism of King Lear, specifically criticism about the play's characters from the eighteenth, nineteenth, and twentieth centuries, as a way of assessing this distinction, focusing on two related problems: first, how the eighteenth and nineteenth centuries' legacy of"inside"/"outside" talk affects twentieth-century critical debate, and second, how twentieth-century controversy polarizes "insides" and "outsides" without acknowledging the implications of doing so. If such an exaimination serves to undermine dominant twentieth-century concepts of coherence within Shakespearean criticism by pointing to unwritten rules-of-thumb, it does so, ultimately, to alter perspective on the supposed rites of passage from theories which give us cleair, alternative versions of a fictional world (traditional theories) to theories which seem to leave us floundering in a pluralist acceptance of all possible versions of a fictional world (deconstructive theories). 196 Sanford Freedman197 Eighteenth-century critics do not scrutinize King Lear from the point of view of character but rather through the mental images or ideas which the characters' words evoke. When Johnson faults Shakespeare's description of Dover Cliff in IV.vi, he argues diat the passage "does not impress die mind at once with the horrible idea of an immense height. The impression is divided; you pass on, by computation, from one stage of the tremendous space to another."2 Lifting Edgar's words out of die context of character, Johnson assumes the role of the purveyor of literature, akin to the role Pope assumed when he starred the "beauties" in his Shakespearean texts. What concernsJohnson is the "true" effect of looking down from a precipice, and he implies that the description should produce in different minds the same idea, an idea which is for him a singular idea, unmediated by composite ideas because the idea of looking down from a precipice necessitates that the immediacy of effect be synonymous with that of the idea. Edgar's purpose in leading his father to the cliffis overshadowed by the idea of looking down from a cliff, and we would do well to investigate an "outside" source, Locke's An Essay Concerning Human Understanding, rather than the Shakespearean text, as a means of discovering the purposefulness of Johnson's comment. Critical significance lies notjust inJohnson's airing ofneoclassical concern, but, more importantly, in his failure to find what he expects to be "there" in the play's "inside." Ideas, not characters, matter to the eighteenth-century's coherence, and the scope or comprehensiveness of that coherence has relatively local application; that is, editors range over several lines looking for relevant ideas but not between scenes or acts. In fact, one explanation of why they do not see a double plot is that their critical attention, like that of Swift's Lilliputians, lacks scope; dierefore, they fail to anticipate, to see patterns. Again, Johnson, for example, does not observe Gloucester's, Edgar's, and the fool's repetition of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.1 (2003) 21-39 [Access article in PDF] Capability and Language in the Novels of Tarjei Vesaas Catherine Wilson I THOUGH RELATIVELY UNKNOWN to English-speaking readers, Tarjei Vesaas (1897-1970) is recognized as one of the great Scandinavian novelists and literary innovators of the last century. His oeuvre is substantial, extending to thirty-four volumes published between 1923 and 1966, many of them translated into English and European languages. (...) He was one of four nominees for the 1964 Nobel Prize in literature, and he received a number of other awards and citations in the course of his life. At the same time, his work has failed almost entirely to generate a secondary literature going beyond plot summary, stylistics, and moral approval, and even that literature remains strongly regionalized. 1 Vesaas wrote in nynorsk or "New Norwegian," the minority language of the country created from south-central dialects and distinct from the official, bureaucratic bokmal. He settled permanently on a farm in the remote Telemark district of Norway and assumed no role in European culture as critic or essayist, refusing to discuss his own work in literary or philosophical terms. As a result, analytic and comparative studies have proved difficult to launch.The present essay is intended to provide one such analytical study, addressed specifically to the philosophical themes of ethical resignation, the precariousness of communication, and inwardness. These are familiar themes in twentieth-century literature. In his study of the "literary conquest of the void," R. M. Adams shows how Moravia, Musil, and Beckett amongst others make use of devices of paralysis, immobility, exhaustion, and incomprehension that have their origins in the romantic literature of the nineteenth century, notably in Baudelaire [End Page 21] and Gogol. 2 Literary modernism rejected certain nineteenth-century conventions of plot and character, but did not abandon the fascination of the preceding century with nihilistic themes. Vesaas's work demands to be read in this literary context. The novels, at once semirealistic and highly stylized, deal almost exclusively with rural people and their struggles against the elemental forces of nature. The main characters are often children and adolescents who suffer some degree of helplessness. Simple contrasts are posed: warmth and cold; loss and retrieval, childbirth and death. Agricultural cycle motifs abound. The choice of protagonists and the dominance of vitalistic and biological themes pose the threat of sentimentality and preciousness, but it is avoided by the ubiquity of devastation and destruction in the moral landscape. According to Randi Brox's note in the Dictionary of Scandinavian Literature, the early novels in particular "advocate as the highest goal in life an accepting, contented attitude toward the human condition." 3This judgment reflects what might be termed a judicial-theological picture of fiction. On this view, a novel constitutes a testing ground for discovering what sort of world we live in and what pursuits are possible and worthwhile. Various alternatives are set up as hypotheses, and novels prove and disprove them through narrative demonstrations of the causal effects of adopting them. False theories of the human world and untenable values are subject to refutation. This template is surprisingly useful, not only with respect to the nineteenth-century novel, with its apparent tendency to confident judgment, but even to modern fiction. Moravia, for example, can be seen to be awarding divergent roles to characters and allowing the qualities they represent to struggle for supremacy. 4Yet poststructuralist and postmodernist criticism have cast doubt on the notion that, to the extent that they are important, such contests can ever be decided, and it is increasingly clear that the greatest nineteenth-century novelists, Hardy and Eliot, did not regard the hierarchy of values as settled and demonstrable. Persons, we are coming to understand, are more plausibly seen as sites of conflict; thus fictional representations of persons are repositories of opposing values. Vesaas's novels reflect such an understanding of persons and values, and so the judicial-theological template is inapplicable.The critical view that Vesaas's novels are essentially instructions in adaptation is untenable, because the goal of... (shrink)

This meticulously constructed book is as hard to review as would be a comparably cerebral science fiction novel the plot and characters of which have few ties to its readers' lived world. Yet it is intended to apply straightforwardly to the world in which we live and move and fight our wars. For philosopher Kai Draper seeks no less lofty a goal than to lay out the standards whereby to determine what harm done to innocents in a war is (...) ethical and what harm done to them in war is not ethical. (shrink)

This chapter contains sections titled: Introduction The Elements of Tragedy and Its Definition Plot and Character Simple and Complex Plots Good and Bad Tragic Plots Conclusion Notes Bibliography.

The extant literature on discourse comprehension distinguishes between two types of texts: narrative and expository. Narrative discourse tells readers a story by giving them an account of events; the narration informs and/or persuades the readership by using textual elements such as theme, plot, and characters. Expository discourse explains or informs the readership by using concepts and techniques such as definition, sequence, categorization, and cause-effect relations. The present study is based on two experiments. In Experiment 1, we compared the two (...) discourse types to examine if college students would be better at extracting the meanings of novel words from one of the two types of discourse structure than from the other. The findings indicated that participants were significantly better at inferring the meaning of novel words from narrative compared to expository discourse. In Experiment 2, we examined the number of situation models that a reader is required to mentally construct, as a possible characteristic that influences the difficulty of learning new word meaning within narrative discourse. Contrary to intuition, fewer novel words were learned in a single-situation, as opposed to a multi-situation model condition, suggesting that the additional inferencing needed to construct multiple models also promotes word learning. Results are discussed with respect to how the structure of written discourse can facilitate word learning in a reader’s native language. Implications for education and assessment are also discussed. (shrink)

Publishers love titles that begin How or Why. Better still, How and Why, combining edification with utility. The target group is that overlap between the self-help audience and the idly curious—which is to say, most of us. And since emotions are very much about self-help and self-harm, they offer rich pickings in a burgeoning market. Flanagan's How to Do things with Emotions is a philosopher's take on moral emotions, the allusion to J. L. Austin's How to Do Things with Words (...) chiming with the self-help milieu. Reviewing cases, Flanagan points out that most scientific work in this field derives from experiments on psychology students, about as unrepresentative a slice of humanity as you could find. For Flanagan, they are too WEIRD (Western, Educated, Industrialized, Rich, Democratic) to tell us much about the non-weird majority. To learn to “do emotions better,” he argues, we have to look farther afield. Although the emotional lives of cultural others are surely different from those taking Psychology 101, at some functional level they might be similar. Work out the conceptual logic and practical rationale of culturally elaborated emotions—Minangkabau “shame,” Ifaluk “righteous anger,” American “road rage”—and there is scope for comparison. Indeed, anthropology has shown as much, and it is from anthropology that Flanagan takes his cues. To mention two famous cases, what can we learn about anger management from Utku igloo-dwellers and Ilongot headhunters? Mutually dependent for survival in their snowy isolation, the Utku cannot risk getting angry. (They mercilessly tease their children into learning the futility of anger.) In the jungles of Luzon, Ilongot youths cast away their anger in externally directed violence: headhunting as cathartic sport. We can think of parallels closer to home.Flanagan's vigorously argued book, a tour de force of its kind, is both an anatomizing of anger and shame—two moral emotions we tend to “do badly”—and a proposal to “change how we do these emotions.” Indignation is fine, but anger that is vengeful or “pain-passing,” rather than righteous, is irrational and socially harmful. Shame can be incapacitating and cruel (the undeserved burn of a Twitter pile-on). What we need is reflective anger directed at injustice and a “mature sense of shame” that reminds us of the social contract and stops us misbehaving.In its How-and-Why format, the book combines theory and practice, metaethics with moralism. Here is how a prof should do self-help. But if the diagnosis is well made, the remedy is hard to imagine. As Flanagan recognizes, moral sentiments and practices are embedded in intricate forms of life and not readily detachable. Anger Utku-style is not a transferable skill, nor are educative routines forged in social ecologies remote from our own. Lacking serviceable models, Flanagan falls back on the anthropological justification that knowledge of cultural diversity expands our sense of human possibility, of other roads taken. In a globalizing world, difference is its own reward. For me, an anthropologist, that maxim is enough. Yet difference bedevils comparison, jinxing the units, warping criteria. Most languages lack a word for emotion or an equivalent umbrella concept; nor do emotion words translate well across languages. Emotion may be an incoherent notion, or at best a heuristic.Flanagan's use of the WEIRD tag makes things a bit too easy. Does it cover farmhands and factory workers? Are we so democratic, anyway? More damagingly, a typological approach blurs the circumstances of family, community, and biography that define an emotional episode and shape its phenomenology, the way it is felt and experienced—what a violent outburst or fearful exit means in the context of a life. Take Joseph Conrad's Lord Jim, who flees a scene of failure and derails his life. It requires a long narrative to unravel the implications of his jumping ship and the paralyzing shame he experiences before the judgment of society. Or consider the scene in Anna Karenina in which the dignified and self-important Karenin, apprised of Anna's adulterous liaison, agonizes over the threat to his existence. To call his response jealousy would not scratch the surface. Characteristically for Tolstoy, the emotions go unnamed. Instead, we witness Karenin's fervid deliberations (emotions involve thoughts), vacillations (emotions have action tendencies), anguished calculations of impending scandal (emotions are appraisals), and bodily changes (emotions are cognized feelings). We shudder at the brutal metaphors through which he grasps his predicament and its cure: like rooting out a bad tooth, he decides. That welter of particularities escapes the theorist who needs clear-cut, comparable units, formulaic instances of jealousy or anger. But what are you left with if you omit the details? What would remain of Karenin's existential crisis?The novelist's privileged access to subjectivity is, of course, unavailable to the scientist, but the larger context of plot and character—a history of relations that gives emotional episodes their shape and power—has its analog in the ethnographic domain. Emotions are public as well as private events, their meanings and effects depending on a fit with social reality, a clash of perspectives. In thought and feeling, we are never really alone. All of which suggests that narrative, fictional or nonfictional, can capture the ongoing moment in a way that eludes other methods. If what we are after is living emotion, it is the movie, not the snapshot, that surely matters. No point in comparing “emotions” no one ever really experienced outside of an experiment.But there's the rub. In generalization—the goal of emotion theory—an emotion's social meaning, personal significance, pragmatic function, and narrative context get stripped out. All that makes it what it is! Even in doggedly empirical anthropology, detailed emotional episodes are rare (Jean Briggs's Utku ethnography Never in Anger, published in 1970, is still unsurpassed). Instead we get recollections and summary examples, lacking the constitutive detail, real-time evolutions, and consequences of the real thing. Yet these must serve for comparison, fodder for countless theoretical speculations. Are we at risk of analyzing faux emotions and building theories on cardboard constructions?An empty Arctic stage, a handful of characters, life simplified to survival: Briggs is a hard act to follow. Bare life does not make for basic emotions. On the white set, emotions prove hard to parse. That gruff hesitation, that flashing glint—are they tokens of anger? Empathy will not suffice. As Briggs shows, narrative context is all. And in our more cluttered emotional worlds, the value of backstory, interwoven biographies, and emotional plots is all the greater. Flanagan is right; we must do emotions better. (shrink)

It is not possible to face a text and announce "I shall now talk about character" in the same way that one might say "I shall now talk about plot" or "metaphor." For several reasons—not least of which is the absence of a thoughtful critical tradition—character is much more difficult to talk about than most other literary concepts. Most of what has been written on the subject of character, whether in recent years or in the distant (...) past, can be seen to come under one of four possible headings. I do not think of these classifications as being mutually exclusive, although the emphasis upon one aspect of the problem of character probably tends to pull one towards a definite position. Briefly, these positions are: that characters are products of the author's mind—memories, encapsulations of his experience or else split-off slivers of his mind or self; that characters are functions of the text in which they appear—embodiments of theme and idea—to be considered much as tokens, pieces, or counters in a game; that characters are entirely artificial, constructs to be analyzed in terms of the compositional techniques that have gone into their making; that characters are, for the purposes of critical reading, to be considered as if they were actual persons, and the emphasis in criticism—its sole business, in fact—to discuss the response they engender in an intelligent reader. Rawdon Wilson, associate professor of English at the University of Alberta, has written widely on English and Spanish literature. His previous contribution to Critical Inquiry, "On Character: A Reply to Martin Price," appeared in the Autumn 1975 issue. The present essay was originally presented in an earlier form at the University of Melbourne and at the University of Alberta. (shrink)

The nineteenth-century poet, critic and philosopher, Samuel Taylor Coleridge, once characterized the mind of William Shakespeare as "oceanic". Oceans, of course, teem with myriad forms of life: is philosophy one such form in the oceanic vastness of Shakespeare 's creative genius? If so, how do we identify philosophic elements in his plays and assess the place they occupy? What sense does it make to speak of "philosophical criticism" of individual plays? How does Shakespeare incorporate epistemologies of his own time and (...) how dramatically appropriate are they? To what extent is Shakespeare of use to contemporary philosophers and how does he anticipate them; and, vice-versa, can such philosophies refine our understanding of certain issues to which literary critics may fail to do justice? That is, can philosophy take us beyond the purely literary examination of plot structure, character, poetic imagery, speech rhythms, dialogues, settings, etc. to grant us new insight into the problematical issues the plays raise? In the time at my disposal, I am going to attempt some answers to at least some of these questions, by dwelling briefly on The Merchant of Venice, Romeo and Juliet, and Hamlet. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Marcia Muelder Eaton ANTHONY POWELL AND THE AESTHETIC LIFE Anthony POWELL'S work has been looked at carefully by relatively few critical scholars, in spite of the fact that he has been called "the most elegant writer presently working in the English language." ' I am surprised at how little he is read — at least in the United States. He is a splendid writer, often entertaining, always a skilled (...) craftsman. His earlier novels {Afternoon Men, 1931; Venusberg, 1932; From a View to a Death, 1933; Agents and Patients, 1936; and What's Become of Waring, 1939) are short satiric and ironic comedies dealing mainly with London bohemia in the 1920s. His later fictional work is a twelve volume tour de force (A Question of Upbringing, 1951; A Buyer's Market, 1952; The Acceptance World, 1955; At Lady Molly's, 1957; Casanova's Chinese Restaurant, 1960; The Kindly Ones, 1962; The Valley of Bones, 1964; The Soldier's Art, 1966; The Military Philosophers, 1968; Books Do Furnish a Room, 1971; Temporary Kings, 1973; Hearing Secret Harmonies, 1975) 2 in which the narrator, NicholasJenkins, attempts, with varying degrees of success, to make sense of life as A Dance to the Music of Time. Both the early and later works are populated by many characters. Manageable in the short, independent novels, they become so numerous in the interdependent volumes of Dance that several critics are dubious about anyone's keeping them straight; had I read them as they were published — with months, sometimes years and the novels of others between appearances — I am sure it would have been impossible to keep track of the minor characters. In 1960, Time and Tide published a cast ofcharacters for "readers who find it difficult to remember from book to book details of family and other more tenuous relationships between characters who have a habit of popping up surprisingly in the most unexpected places."3 The entries provide the following kinds of information: "McReith, Lady (Gwen): friend of Babs Templer and Jimmy Stripling; goes to bed with 166 Marcia Muelder Eaton167 Peter Templer when staying in the Templer (senior) house.... Tolland, George: son of Lord Warminster: was in Coldstream for some years then went into city. Very correct." More recently Hilary Spurling has compiled a book-length guide to the plots and characters ofDance. It also includes an index of books, paintings, and places referred to.4 Even with these guides there are loose ends, and it is not always clear what functions certain minor characters serve. Nonetheless, the popping-up in unexpected places is, as I hope to show, essential to the theme of the work. Powell is by no means universally acclaimed; his novels have been described as "contrived,"5 and "pseudo-Proustian" and "blandly snobbish."6 The early novels have been said to "tell about 'twentyish emancipation, silly parties at which drunks behave stupidly, ambitious young men on the make for the daughters of fox-hunting families, all with an air of slightness and couldn't-care less." 7 And Dance has likewise been scorned: To begin with, each character is introduced as he first appears to the narrator, who immediately speculates for three or four pages on the probable nature of a character who is blond, has small ears, and wears a black overcoat. The overcoat then says a few desultory words, whereupon the narrator takes several pages of pain to modify his original opinion in the light of this additional evidence.8 Like all parodies, these have some truth in them. But it is simplistic to describe his work in these terms — it amounts to painting in colors far too crude what is an enormously subtle picture of life. Powell's "easy modulations," as John Russell has called his novels,9 capture intricacies of human behavior and interaction in a profound and original way. And Powell's focus on ritual and the attempts of people to play chosen roles, ultimately provides a genuinely metaphysical, epistemological, ethical, and aesthetic interpretation of life. It is hopeless to try to provide a synopsis of the twelve volumes. The novels follow Nicholas Jenkins from his school days to late middle age. Friends such as Peter Templer, Charles... (shrink)