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The structure of literary understanding

New York: Cambridge University Press (1978)

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  1. Psychoanalytic Facts as Unintended Institutional Facts.Filip Buekens & Maarten Boudry - 2012 - Philosophy of the Social Sciences 42 (2):239-269.
    We present an inference to the best explanation of the immense cultural success of Freudian psychoanalysis as a hermeneutic method. We argue that an account of psychoanalytic facts as products of unintended declarative speech acts explains this phenomenon. Our argument connects diverse, seemingly independent characteristics of psychoanalysis that have been independently confirmed, and applies key features of John Searle’s and Eerik Lagerspetz’s theory of institutional facts to the psychoanalytic edifice. We conclude with a brief defence of the institutional approach against (...)
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  • Literary Fictions as Utterances and Artworks.Jukka Mikkonen - 2010 - Theoria 76 (1):68-90.
    During the last decades, there has been a debate on the question whether literary works are utterances, or have utterance meaning, and whether it is reasonable to approach them as such. Proponents of the utterance model in literary interpretation, whom I will refer to as “utterance theorists”, such as Noël Carroll and especially Robert Stecker, suggest that because of their nature as linguistic products of intentional human action, literary works are utterances similar to those used in everyday discourse. Conversely, those (...)
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  • Reasoning to what is true in fiction.Peter Lamarque - 1990 - Argumentation 4 (3):333-346.
    The paper discusses the principle by which we reason to what is ‘true in fiction’. The focus is David Lewis's article ‘Truth in Fiction’ (1978) which proposes an analysis in terms of counterfactuals and possible worlds. It is argued thatLewis's account is inadequate in detail and also in principle in that it conflicts radically with basic and familiar tenets of literary criticism. Literary critical reasoning about fiction concerns not the discovery of facts in possible worlds but the recovery of meanings (...)
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  • Unreadable Poems and How They Mean.Sherri Irvin - 2015 - In John Gibson (ed.), The Philosophy of Poetry. Oxford University Press. pp. 88-110.
    Several years ago, the poet & critic Joan Houlihan offered a scathing and hilarious indictment of a lot of postmodern poetry for using words in a way that treats them as meaningless (or, perhaps, renders them meaningless). She suggested that word choice in such poems doesn’t really matter, and that the poet could just as well have substituted in other words without any change in meaning or aesthetic qualities. I argue that she’s wrong about this. I offer an account of (...)
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