There has been a steady stream of articles written on the relations between political thought and the interpretation of literature, but there remains a need for a book that both introduces and significantly contributes to the field – particularly one that shows in detail how we can think more freely and creatively about political possibilities by reading and reflecting on politically significant literature. This volume offers analytically acute and culturally rich ways of understanding how it is that we can productively (...) think philosophically about political literature and what kind of distinctive conceptual progress we can make by doing so. Given the extremely widespread interest in political issues, this volume will strike resonant chords far and wide, while offering something that has not been done quite in this way and for which the time certainly seems right. (shrink)

There has been a steady stream of articles written on the relations between political thought and the interpretation of literature, but there remains a need for a book that both introduces and significantly contributes to the field – particularly one that shows in detail how we can think more freely and creatively about political possibilities by reading and reflecting on politically significant literature. This volume offers analytically acute and culturally rich ways of understanding how it is that we can productively (...) think philosophically about political literature and what kind of distinctive conceptual progress we can make by doing so. Given the extremely widespread interest in political issues, this volume will strike resonant chords far and wide, while offering something that has not been done quite in this way and for which the time certainly seems right. (shrink)

This edited collection investigates the kinds of moral reflection we can undertake within the imaginative worlds of literature. In philosophical contexts of ethical inquiry we can too easily forget that literary experience can play an important role in the cultivation of our ethical sensibilities. Because our ethical lives are conducted in the real world, fictional representations of this world can appear removed from ethical contemplation. However, as this stimulating volume shows, the dichotomy between fact and fiction cannot be so easily (...) categorised. Moral perception, moral sensitivity, and ethical understanding more broadly, may all be developed in a unique way through our imaginative life in fiction. Moral quandaries are often presented in literature in ways more linguistically precise and descriptively complete than the ones we encounter in life, whilst simultaneously offering space for contemplation. The twelve original chapters in this volume examine literary texts – including theatre and film – in this light, and taken together they show how serious reflection within fictional worlds can lead to a depth of humane insight. The topics explored include: the subtle ways that knowledge can function as a virtue; issues concerning our relations to and understanding of each other; the complex intertwining of virtues and vices in the modern world; and the importance of bringing to light and reconsidering ethical presuppositions. With an appreciation of the importance of richly contextualized particularity and the power of descriptive acuity, the volume maps out the territory that philosophical reflection and literary engagement share. (shrink)

Living in Words: Literature, Autobiographical Language, and the Composition of Selfhood pursues three main questions: What role does literature play in the constitution of a human being? What is the connection between the language we see at work in imaginative fiction and the language we develop to describe ourselves? And is something more powerful than just description at work -- that is, does self-descriptive or autobiographical language itself play an active role in shaping and solidifying our identities? This adventurous book (...) suggests that interdisciplinary work interweaving philosophy and literature can answer these questions. Main sections investigate the relational model of the self derived from American pragmatism, the sense of rightness that can attach to descriptions of ourselves and our actions, the analogy between interpreting works of art and the interpretation of persons, the special power of literature as a self-compositional tool and the "architecture" of self-narratives and the corresponding growth of self-understanding, what we can learn from cautionary tales concerning the tragic lack of self-knowledge, the possibility of "rewriting" and "rereading" the self, and overall, the assembly of real-life structures of self-definition through our reflective engagement with literature. Throughout, the book develops a model of active, self-constitutive literary reading that provides language for, and sharpens, self-individuation and sensibility. Conjoining a relational conception of selfhood to a narrative conception of self-understanding, Living in Words makes a powerful claim that aesthetic experience and our engagement with the arts is a far more serious matter in human life and society than it in some quarters is taken to be. (shrink)

In 1931, in the remarks collected as Culture and Value, Wittgenstein writes: ‘A thinker is very much like a draughtsman whose aim it is to represent all the interrelations between things.’ At a glance it is clear that this analogy might contribute significantly to a full description of the autobiographical thinker as well. And this conjunction of relations between things and the work of the draughtsman immediately and strongly suggests that the grasping of relations is in a sense visual, or (...) that networks or constellations of relations are the kinds of things brought into focus by seeing in the right way. (shrink)

Peter Kivy has said that the power of purely instrumental music remains an unexplained wonder. With this larger question in mind, I will consider: the issues in musical aesthetics that led to what Kivy termed his enhanced formalism, his conception of expressive properties in music and how a distinction between having and understanding an emotion can help clarify this issues here, and, most importantly for Kivy’s larger mystery, the way that counterpoint, in an often unrecognized way, can present mimetic content (...) of a kind that can explain the sense of musical profundity that it often awakens. It may turn out that absolute music’s profundity can be explained by the resonances this kind of layered and complex music has with the living, the ordering, the making sense, of a life. (shrink)

This book investigates the significance of Wittgenstein’s philosophy for aesthetic understanding. Focusing on the aesthetic elements of Wittgenstein’s philosophical work, the authors explore connections to contemporary currents in aesthetic thinking and the illuminating power of Wittgenstein’s philosophy when considered in connection with the interpretation of specific works of literature, music, and the arts. Taken together, the chapters presented here show what aesthetic understanding consists of and the ways we achieve it, how it might be articulated, and why it is important. (...) At a time of strong renewal of interest in Wittgenstein’s contributions to the philosophy of mind and language, this book offers insight into the connections between philosophical-psychological and linguistic issues and the understanding of the arts. (shrink)

This chapter contains sections titled: Attentiveness Awareness of the Circumstances of Action Acknowledging the Autonomy of Others Respecting Complexity Memory Respecting Individuality Rethinking the Past The Habit of Resourcefulness Kantian Mutual Respect Genuineness and Insight Sensitivity to the Context of Discourse Excessive Attentiveness The Diversity of Intentional Action.

Wittgenstein’s scattered remarks on music, when brought together and then related to his similarly scattered remarks on culture, show a deep and abiding concern with music as a repository and conveyer of meaning in human life. Yet the conception of meaning at work in these remarks is not of a kind that is amenable to brief or concise articulation. This paper explores that conception, considering in turn the relational networks within which musical meaning emerges, what he calls a discernible “kinship” (...) between composers and styles, the embodied character of musical content, the close and too-little-appreciated intricate connections between our capacity to make sense in music and in language and the interaction of the musical theme with spoken language, and music as a culturally-embedded phenomenon that is, as he said of language, possible only in what he evocatively, if too briefly, called “the stream of life.”. (shrink)

'What is the meaning of a word?' In this thought-provoking book, Hagberg demonstrates how this question—which initiated Wittgenstein's later work in the philosophy of language—is significant for our understanding not only of linguistic meaning but of the meaning of works of art and literature as well.

This book investigates the scope and significance of Stanley Cavell’s lifelong and lasting contribution to aesthetic understanding. Focusing on various strands of the rich body of Cavell’s philosophical work, the authors explore connections between his wide-ranging writings on literature, music, film, opera, autobiography, Wittgenstein, and Austin to contemporary currents in aesthetic thinking. Most centrally, the writings brought together here from an international team of senior, mid-career, and emerging scholars, explore the illuminating power of Cavell’s work for our deeper and richer (...) comprehension of the intricate relations between aesthetic and ethical understanding. The chapters show what aesthetic understanding consists of, how such understanding might be articulated in the tradition of Cavell following Wittgenstein and J. L. Austin, and why this mode of human understanding is particularly important. At a time of quickening interest in Cavell and the tradition of which he is a central part and present-day leading exponent, this book offers insight into the deepest contributions of a major American philosopher and the profound role that aesthetic experience can play in the humane understanding of persons, society, and culture. (shrink)

This article undertakes a comparison between Wittgenstein's philosophy of the early and late periods with the musical theories of Wittgenstein's contemporary, Heinrich Schenker, an influential Viennese theorist of tonality, as well as those of their contemporary Arnold Schoenberg. Schenker's reductive analytical procedure was designed to unveil fundamental and uniform ways in which all works of music function, unfolding a deep structure constituting their essence. Schoenberg deplored this line of thought, and for reasons strikingly parallel to those that led Wittgenstein back (...) to what he called the ‘rough ground’ in his Philosophical Investigations. Ultimately, for Wittgenstein, the abstracted picture of the musical work as a platonic entity is nourished by grammatical conflations as well as by the Platonic and Cartesian legacies. (shrink)

As part of a Common Knowledge colloquium on “lyric philosophy,” this essay considers some of the connections between linguistic and nonlinguistic meaning, the connection between linguistic meaning and what Wittgenstein called aspect perception or imagination-enriched perception, issues in the analysis of meaning down to constituent parts and the problematic legacy of atomistic approaches to word-meaning, the inflection of experience across time and across context and the role of sensibility in both perception and linguistic meaning, and the larger problem of what (...) Simone Weil called “enslavement to one's own method.” What Jan Zwicky urges, and philosophically as well as poetically works toward, is, in Wittgenstein's terms, “a changed way of seeing,” though in her work the focus is specifically on a changed way of seeing the long-established question of linguistic meaning. Hagberg's essay seeks to specify or at least to intimate the form of human mutual understanding that, while too easily missed by traditionally entrenched approaches, Zwicky's approach nicely captures. (shrink)

© British Society of Aesthetics 2017. Published by Oxford University Press on behalf of the British Society of Aesthetics. All rights reserved. For Permissions, please email: [email protected] exists, according to Nicholas Wolterstorff in this deeply engaging and exemplary study, a Grand Narrative that runs through much of our thinking about art. That narrative, emerging from and solidified since the eighteenth century, is in essence that art is created for, and remains in museums and galleries as occasions for, abstract and transcendent (...) contemplation of a kind disconnected from life and from the rather messy social practices and embodied interactions that lie far beneath that lofty aesthetic realm. It is Wolterstorff’s chosen task here to identify that narrative, root it out, and rid us of it once and for all. He reports that his moment of realization that art needed... (shrink)

This chapter investigates the content of the concept of adaptation, as it is seen on analogy to linguistic translation and as it is seen as itself a representation of the process of human self-definition and self-composition. Word-to-word translation is uncovered as a misleading analogy, but larger frames of translation are shown to be illuminating. Quine’s work on the indeterminacy of translation is intertwined with Charlie Kaufman’s script for his film Adaptation, and the simple notion of the matching of the adaptation (...) to the original is called into question—as is the very idea of a static original against which the verisimilitude of an adaptation would be measured. The chapter concludes with an inventory of the elements that fill the creative space that is opened between an originating text and its adaptation. (shrink)

The fact that Arthur Danto is so well known for his vibrant writing on the visual arts should not blind us to his deep interest in literature and writing, his vision of its role in the living of a human life, and the special way he interweaves his literary interests with his writing on the visual arts. In Danto's life and work, the writings of Henry James proved particularly powerful in this regard. Between life and literature, Danto found parallels that (...) were metaphorical both in perspective and in structure. The appreciation of James's metaphorical style never left Danto; it remained alive and wove itself throughout his writing regardless of primary subject. Even when thinking about painting, Danto saw parallels to James's intricate and hyper‐alert mode of presentation. For Danto, art either was or strived to be what it can be at its most profound: a locus of human meaning. (shrink)

There has been a vast wave of work on narrative in the last decade: this work includes numerous volumes on the philosophy of narrative and its definition, on the place of narrative in literary analysis, on the sense-making power of narrative construction, on narrative in its evolutionary aspects, and on the relation between narrative and the constitution of personhood. However, one sees less work specifically on the relations between literary narrative and self-understanding. Self-knowledge and its philosophical questions have often remained (...) within their domain, while discussions of literature and fictional narratives have with equal frequency remained within theirs. The time seems right to bring these topics together, a project that the present volume undertakes. (shrink)

The philosophy of literature, a topic on which we publish numerous articles, concerns what we at the journal take to be engaging and interestingly intricate issues; these include the ontology of fictional characters and the precise nature of our emotional responses to fiction. Philosophy as literature, although we perhaps publish fewer works of this kind, considers philosophical writing from a literary standpoint; issues here include the varying stylistics of philosophical writing over the ages and the role of figurative or metaphorical (...) language in the writing of philosophy, as well as the settled tropes those practices have collectively engendered. Philosophy and literature—perhaps our most frequently published... (shrink)

One can characterize the relation between philosophy and literature in a number of interestingly different ways: literature provides examples that put flesh on the bones of philosophical ideas; literature shows what philosophy says; literature serves philosophy by displaying the complexity of circumstance that philosophy may oversimplify; literature captures a kind of content that is not amenable to propositional encapsulation; literature offers a portal into an imaginative world and a special kind of vicarious experience within it that philosophy does not and (...) should not try to provide; literature shows what it is like to be another person in another time and place; and.. (shrink)

The paper examines an important theme in Cora Diamond’s work, as this appears particularly in her reply to Martha Nussbaum, namely the theme of moral attention—being sensitive to the complexity of facts as opposed to obtuseness, and the role that improvisation plays for moral attention. To further elucidate what improvisation is I consider its role in music and literature as mimetic portrayals of the complexity of moral life. I use the examples of Coltrane’s jazz music and of James’s rewriting of (...) his novel The American to show more specifically how improvisation can help advance and use creatively the range of implication within which moral thought can occur. (shrink)

This exciting new edited collection bridges the gap between narrative and self-understanding. The problem of self-knowledge is of universal interest; the nature or character of its achievement has been one continuing thread in our philosophical tradition for millennia. Likewise the nature of storytelling, the assembly of individual parts of a potential story into a coherent narrative structure, has been central to the study of literature. But how do we gain knowledge from an artform that is by definition fictional, by definition (...) not a matter of ascertained fact, as this applies to the understanding of our lives? When we see ourselves in the mimetic mirror of literature, what we see may not just be a matter of identifying with a single protagonist, but also a matter of recognizing long-form structures, long-arc narrative shapes that give a place to – and thus make sense of – the individual bits of experience that we place into those structures. But of course at precisely this juncture a question arises: do we make that sense, or do we discover it? The twelve chapters brought together here lucidly and steadily reveal how the matters at hand are far more intricate and interesting than any such dichotomy could accommodate. This is a book that investigates the ways in which life and literature speak to each other. (shrink)

(No abstract is available for this citation).

This chapter contains sections titled: Possible Selves and Webs of Belief The Textually Cultivated “I”: Making up One's Mind Metaphorical Identification and Self‐Individuation.

Multiple definitions of Modernism have been put forward, often focusing on the character or features of the works of art and literature produced within this cultural movement. Here I want to focus, instead, on the sensibility of Modernism as this has manifested itself to be especially concerned not with the content of representation, but with the materials out of which a representation is made. Through an analysis of eighteenth-century English portraiture, nineteenth-century French political painting, and up to twentieth-century Modernist painting, (...) I will show how one ceases to see the representational content through the materials and technique, and how we begin to see it depicted in them. I will furthermore examine some cases showing the progression into Modernism in those arts, and then consider the parallel movement in philosophy. Each, as we will see, casts important light on the other, and in the end, something essential to the Modernist achievement will emerge in high relief: just as paint and visible, attention-capturing brushstroke is constitutive of the content of modernist painting, and just as steel and glass and the purity of visible, exposed design is constitutive of architecture, so language is constitutive of us and a distinctively modern form of self-understanding. In this context we will see more of the significance of Wittgenstein’s claim that language itself is the vehicle of thought. (shrink)

We often think of works of art as possessors of meaning, and we think of museums as places where that meaning can be exhibited and encountered. But it is precisely at this first step of thinking about artistic meaning that we too easily import a conceptually entrenched model or picture of linguistic meaning that then constrains our appreciation of artistic meaning and what museum exhibitions actually do. That model of linguistic meaning is atomism: the notion that the single, self-contained word (...) is the ultimate building block of meaning. This picture was excavated with exacting precision in Wittgenstein's sustained reflections on the nature of meaning, and the new way of seeing linguistic meaning that those reflections usher in holds direct significance for our understanding of artistic meaning, as we see here in examples from Rembrandt, Rietveld, and others. A more complete understanding of a dynamic, interactive, contextual, and use-based conception of language better reveals what actually happens in museums and the nature of the meaning we find there. (shrink)

This chapter explores the significance that Wittgenstein’s work in the philosophy of mind holds for self-understanding, looking into issues of the dualist-introspectionist model of the mind, its antithesis in behaviorism, and the role of language as what Wittgenstein called “the vehicle of thought”, where these considerations are all brought together as a way of investigating how we think of the contents of consciousness. It then takes these Wittgensteinian reflections into a discussion of the way in which Henry James illuminates both (...) the contents and the nature of consciousness in The Golden Bowl. The self-understanding that Maggie Verver achieves is here seen not as a result of inner reflection on private pure or pre-linguistic thought within a metaphysically-sealed mental interior, but rather as the result of becoming ever more aware of the network of relations through which she moves and ever more aware of the power of the words and the subtly-developing narrative that gives shape to who she is and that determines what she will become. (shrink)