Offers a theory of art that overturns post-Romantic, prescriptive theories and reclaims the independent and direct experience of art as being of primary importance. The text examines the relevance of perception and attacks social usefulness as the criterion of excellence in the arts.

Is there a role for aesthetic judgements in science? One aspect of scientific practice, the use of thought experiments, has a clear aesthetic dimension. Thought experiments are creatively produced artefacts that are designed to engage the imagination. Comparisons have been made between scientific (and philosophical) thought experiments and other aesthetically appreciated objects. In particular, thought experiments are said to share qualities with literary fiction as they invite us to imagine a fictional scenario and often have a narrative form (Elgin (...) 2014). But philosophical discussions of aesthetics in science have focused mainly on the epistemic role of beauty and elegance when it comes to theories and mathematical proofs, and thought experiments have been widely overlooked. My aim in this chapter is to address how the aesthetic choices scientists make in the design of a thought experiment contribute to its function: to communicate, convince, or explain a theory or phenomenon. A key issue is whether any aesthetic features in science provide anything beyond catching our attention, or are at best, a mere heuristic aid. I respond to accounts that argue this way and show how formulation is important in scientific thought experiments and, similarly to literary fictions, there is more than one way of interpreting a thought experiment scenario. I end by considering which literary examples are most appropriate when making comparisons with thought experiments. As a result, the difference between representations in art and science raised in current discussions is not as stark as it has been made out to be, and science is a more heterogeneous practice than has been allowed. Part of the value of thought experiments in scientific practice includes the qualities they share with literary works. (shrink)

Engagements with Contemporary Literary and Critical Theory is a wide-ranging but accessible introduction that illuminates the field of theory through a variety of useful and relevant examples. Covering all key theories and theorists, this book looks at the relation of theory to form, discourses, subjectivity, media and networks, and environments. Organized thematically, Engagements with Contemporary Literary and Critical Theory illuminates the field by focusing on the concepts and methodologies of key thinkers, while also providing historical introductions that contextualize (...) the latest developments with regard to forms; discourses; subjectivities and embodiments; media, networks, and machines; and animals, affects, objects, and environments. Each chapter includes examples from a canonical novel, a contemporary text, and a new media artefact, while textboxes regularly introduce additional emerging or overlooked theorists of interest. An ideal guide for undergraduates studying literary theory, this book will give readers the background they need to continue their own fruitful explorations of this vibrant field of study. (shrink)

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public (...) domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

From its ornamental and often bookish exterior to its use as an exegetical tool for understanding the Book of Nature, the 18th-century microscope was socialized as an instrument of letters as well as of science. This essay proposes a reading of the microscope as a literary artifact by examining its bindings, its texts and its illustrations. While the instrument promised to extend human sense perception and to give its user access to invisible worlds, it simultaneously threatened to alter (...) received views concerning both aesthetics and social hierarchy. Nevertheless, the destabilizing effects of the microscopic message entered polite society cloaked in a veil of familiarity in the binding of a good book. The nostalgia-encrusted instrument absorbed the shock of the new. (shrink)

Western historiography experienced an important shift in the seventies due to the emergence of the theories associated with the linguistic turn, postmodernism and postestructuralism. Hayden White was one of the historians who led this transformation in the historical discipline. He argued that a historical text could be compared to a literary artifact on the leven of the form, since both use the same instrument —narrative— to representation the truth —whose content is factual events in history and fiction in (...) literature. This idea revolutionized contemporary approaches to the interpretation of historical texts. This paper analyzes White’s theories and its effects on contemporary historical writing. (shrink)

This article argues that cruelty, as a willingness to see or orchestrate the suffering of others, is not an unfortunate side-effect of neoliberal theories put into practice but is constitutive of the neoliberal project from its theoretical inception. Drawing on Lisa Duggan’s concept of ‘optimistic cruelty’ and treating the canonical texts of neoliberal economic theory as literary artefacts, the article develops this argument through a close reading of one of the central architects of the neoliberal project, the philosopher and (...) economist Friedrich Hayek. The first part of the article examines how Hayek attempts to justify the brutality of the market order he imagines – the catallaxy – by arguing that this brutality is the natural consequence of the spontaneous evolutionary processes that move civilisation forward. The second part brings to the fore the eugenicist undertones that suffuse this vision, despite Hayek’s apparent rejection of Social Darwinism. I analyse how Hayek’s market order operates through a series of disciplinary and biopolitical technologies that use pain, frustration, punishment and stigmatisation to eliminate bad habits, practices and subjectivities. These cruel mechanisms enable the catallaxy to sort between productive and unproductive lives to ensure that available resources are directed towards the former – even if it means that the others might be left to die. As such, cruelty is an affective atmosphere that permeates the catallaxy. (shrink)

In a number of places over the last few years Hayden White has attacked a view of history which I shall call the common-sense position and which runs as follows. Although moral and aesthetic assessments play some role in the writing of history, historians are to a large extent concerned with making true statements about the past and with giving correct explanations pf past events, and these central activities can and ought to be assessed by empirical standards, which on the (...) whole are not dissimilar to those employed in the sciences. For White, historical accounts are more like literary fictions than like scientific accounts. They are to be assessed ultimately by appeal to pragmatic, moral, and aesthetic considerations rather than to empirical ones. My aim in this paper is mainly critical. I shall examine a number of claims and arguments which White puts forward in opposition to the common-sense position and argue that they do nothing to undermine it. I shall concentrate mainly on his article "The Historical Text as a Literary Artifact" (in Clio, Vol. Ill, No. 3, June, 1974), although I shall be making some reference to his book Metahistory (John Hopkins University Press, Baltimore, 1973). (shrink)

Of the Presocratic thinkers traditionally credited with the foundation of Greek philosophy, Xenophanes, Parmenides and Empedocles are exceptional for writing in verse. This is the first book-length, literary-critical study of their work. It locates the surviving fragments in their performative and wider cultural contexts, applying intertextual and intratextual analyses in order to reconstruct the significance and impact they conveyed for ancient audiences and readers. Building on insights from literary theory and the philosophy of literature, the book sheds new (...) light on these authors' philosophical projects and enriches our appreciation of their works as literary artefacts. It also expands our knowledge of the genres in which they wrote, of the literary culture of the Western Greek world, and of the development of Greek poetics from the Archaic to the Classical periods, exposing the influence of these thinkers on more famous Sophistic and Platonic ideas about literature. (shrink)

According to many recent interpretations of Catullus 101, the ritual performance it describes serves primarily as a foil, highlighting the greater expressiveness and communicative power of the poem itself. I argue instead for using the complexities of Roman funerary ritual as a model for understanding the poem's ambiguities. As funerary offerings at once establish a bond between family members and the dead and affirm a distinction between them that allows the survivors to rejoin the society of the living, so the (...) poem articulates a tension between assertions of the brother's absence and intimations of his presence as addressee, even as speaker. Similarly, the split between the poem's fictional context as a one-time-only farewell to the brother and its existence as a repeatable literary artifact further accentuates the double allegiance of the poet. In the second section I consider how the poem, without being an epitaph itself, fulfills the functions of an epitaph, by allowing for the re-performance of the ritual, constructing the opposition between permanence and temporality present in the epitaph/monument complex, "inscribing" the brother's death at the prominent literary "crossroads" of the beginning of the Odyssey, and finally making the commemoration of the brother performed through each reading of the poem a sacrum that builds its audience into a community. (shrink)

Gaston Bachelard occupies a unique position in the history of European thinking. As a philosopher of science, he developed a profound interest in genres of the imagination, notably poetry and novels. While emphatically acknowledging the strength, precision and reliability of scientific knowledge compared to every-day experience, he saw literary phantasies as important supplementary sources of insight. Although he significantly influenced authors such as Lacan, Althusser, Foucault and others, while some of his key concepts are still widely used, his oeuvre (...) tends to be overlooked. And yet, as I will argue, Bachelard’s extended series of books opens up an intriguing perspective on contemporary science. First, I will point to a remarkable duality that runs through Bachelard’s oeuvre. His philosophy of science consists of two sub-oeuvres: a psychoanalysis of technoscience, complemented by a poetics of elementary imagination. I will point out how these two branches deal with complementary themes: technoscientific artefacts and literary fictions, two realms of human experience separated by an epistemological rupture. Whereas Bachelard’s work initially entails a panegyric in praise of scientific practice, he becomes increasingly intrigued by the imaginary and its basic images, such as the Mother Earth archetype. (shrink)

Plato's dialogues are usually understood as simple examples of philosophy in action. In this book Professor Rowe treats them rather as literary-philosophical artefacts, shaped by Plato's desire to persuade his readers to exchange their view of life and the universe for a different view which, from their present perspective, they will barely begin to comprehend. What emerges is a radically new Plato: a Socratic throughout, who even in the late dialogues is still essentially the Plato (and the Socrates) of (...) the Apology and the so-called 'Socratic' dialogues. This book aims to understand Plato both as a philosopher and as a writer, on the assumption that neither of these aspects of the dialogues can be understood without the other. The argument of the book is closely based in Plato's text, but should be accessible to any serious reader of Plato, whether professional philosopher, classicist, or student. (shrink)

This paper attempts a partial, critical look at the construction and use of case studies in ethics education. It argues that the authors and users of case studies are often insufficiently aware of the literary nature of these artefacts: this may lead to some confusion between fiction and reality. Issues of the nature of the genre, the fictional, story-constructing aspect of case studies, the nature of authorship, and the purposes and uses of case studies as "texts" are outlined and (...) discussed. The paper concludes with some critical questions that can be applied to the construction and use of case studies in the light of the foregoing analysis. (shrink)

The Science Museum, London, has recently acquired four fragments of a portable sundial with associated calendrical gearing. All the fragments are made of low zinc brass of substantially the same composition. The sundial is of a type known in other examples, some the products of recent archaeological excavations and all dated to the Late Antique or Early Byzantine period. Dating by the place names included in the latitude table, by the style of the heads of the planetary gods used to (...) identify the days of the week, and by the style of the script, all indicate that the instrument dates from the late fifth century of the Christian era or the first half of the sixth.The gearing, of which two arbors survive, carrying four toothed wheels and one ratchet, seems to have resembled that of a calendrical device described by al-Bīrūnī in about AD 1000. Like al-Bīrūnī's device and the geared calendar associated with a Persian astrolabe of AD 1221/2 now in the Museum of the History of Science, Oxford, the Byzantine instrument displayed the shape of the Moon and its age in days. Probably the calendar further resembled its Islamic counterparts in also displaying the positions of Sun and Moon in the Zodiac.The emergence of Byzantine mathematical gearing indicates that the Hellenistic tradition attested by the Antikythera machine continued to be active in the Byzantine period, and suggests that it may have influenced the Islamic tradition. Once again an artefact has shown up the inadequacy of the evidence derived from literary sources. (shrink)

In this witty, accessible study, the prominent Marxist thinker Terry Eagleton launches a surprising defense of the reality of evil, drawing on literary, theological, and psychoanalytic sources to suggest that evil, no mere medieval artifact, is a real phenomenon with palpable force in our contemporary world. In a book that ranges from St. Augustine to alcoholism, Thomas Aquinas to Thomas Mann, Shakespeare to the Holocaust, Eagleton investigates the frightful plight of those doomed souls who apparently destroy for no (...) reason. In the process, he poses a set of intriguing questions. Is evil really a kind of nothingness? Why should it appear so glamorous and seductive? Why does goodness seem so boring? Is it really possible for human beings to delight in destruction for no reason at all? (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Exploring "The Vital Depths of Experience":A Reader's Response to HenningJim Garrisonbethany henning's dewey and the aesthetic unconscious is a much-needed and marvelous book. It explores the pragmatic unconscious as it reveals itself in the qualitative unity of artistic expression integrated with aesthetic appreciation and response. By illuminating the role of often unconscious impulses, feelings, desires, memories, imaginaries, habits, meanings, and more, that goes into creating or appreciating a work (...) of art, she exposes the role of the unconscious in our daily lives. In this regard, she may wish to look at Hans Joas's theory of creative action. Relying largely on Dewey, Joas argues that we should regard "creativity as an analytical dimension of all human action" (Joas 116). We transform the world in even our most mundane actions and in doing so, we may draw on the depths of our unconscious.Henning writes with sincerity, clarity, and force. Recognizing that ultimately she is striving to articulate something that is often ineffable, she is not afraid of vagueness, the indeterminate, or the incomplete, and is content to live with mysteries. Henning shows unusual vulnerability in exposing some of her own aesthetic unconscious and the ways culture has inscribed itself upon her, when she responds to art works. She does so without assuming she has plumbed the vital depths of herself much less the artists and art works she explores.I found Henning's responses to be an invitation to explore my own aesthetic unconscious, and I believe others will as well. Her book is subtitled The Vital Depths of Experience. I will strive to demonstrate that depth by summoning the courage to share some of my own aesthetic responses to her textual creation. My goal is to express some of the power in a text that dares to explore the pragmatic unconscious.In writing book reviews, I often rely on Louise Rosenblatt's reader response theory. On this occasion, Rosenblatt is especially apropos since her [End Page 90] work exemplifies the kind of transactionalism that integrates the artistic artifact with those who do the work of art in experiencing it. This emphasis becomes especially obvious in Henning's chapter 5, where she defends Dewey's qualitative "unity thesis" against such critics as Richard Shusterman, John Lysaker, and Noël Carroll. My response concentrates on this remarkable chapter.Carroll argues that works like John Cage's 4'33" and the paintings of Mark Rothko lack qualitative unity that unfolds temporally because they fail to provide closure. Henning replies that "Carroll has forgotten that the art product does not need to have any particular duration for the art work to unfold temporally" (128). As Dewey states it, "[t]he work of art is complete only as it works in the experience of others than the one who created it" (LW 10:111). Those experiencing an artistic product collaborate with the initial creator to complete the meaning. Henning goes on to say that "the encounter between perceiver and product culminate in a transaction: a dynamic exchange between the organism and environment" (128). The idea is correct, but for Dewey and Bentley, however, "exchange between" suggests interaction not transaction; a mutual or reciprocal transaction or an integration would be better descriptions.Although specifically concerned with literary works of art and the experience of reading, Rosenblatt helps illuminate any aesthetic event. In her "The Poem as Event," Rosenblatt remarks:A poem, then, must be thought of as an event in time. It is not an object or an ideal entity. It is an occurrence, a coming-together, a compenetration, of a reader and a text. The reader brings to the text his past experience; the encounter gives rise to a new experience, a poem.(126)Compenetration is a nice synonym for transaction. Rosenblatt's book on transactional reading is titled The Reader, the Text, the Poem. There, she defines "poem" as "the whole category of aesthetic transactions between readers and texts without implying the greater or less 'poeticity' of any specific genre" (12). It is an event of conjoint meaning-making where meaning is felt and acted upon as well as cognized. Dewey himself states: "A new poem is... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.2 (2003) 61-72 [Access article in PDF] From Personal to Social Transaction:A Model of Aesthetic Reading in the Classroom Mark A. Pike This article seeks to define more precisely the nature of the individual transaction that occurs between reader and text and the potential for aesthetic reading in literature classrooms by relating knowledge of the way pupils engage in literary transactions to theoretical (...) perspectives that address the issue. The validity of Louise Rosenblatt's transactional theory of the literary work, expounded in Literature as Exploration and The Reader, The Text, The Poem, and its relevance for contemporary educators, particularly in the field of English education, has recently been reasserted by Jeanne Connell in her timely and cogent article in this journal. 1 The present article, however, seeks to refocus debate by problematizing and subsequently developing some aspects of key theories such as Rosenblatt's while examining the individual and social nature of reading in schools. Rosenblatt's view that aesthetic experiences can have both social origin and effect certainly deserves further theorizing if aesthetic experience in school communities and classrooms is to flourish.The influence of John Dewey's Art as Experience upon Rosenblatt is evident as this seminal text conceives of our primary task as the restoration of "continuity between the refined and intensified forms of experience that are works of art and everyday events." 2 Such continuity with experience is vital because, for Dewey, "experience is the fulfillment of an organism in its struggles and achievements in a world of things, it is art in germ." 3 Applying such a notion to education in schools, Rosenblatt saw the aim of literature lessons as the growth of experience rather than the acquisition of knowledge. Yet, despite such progress, in the United Kingdom, teachers of English are in the unenviable position of having to deliver an extensive body of knowledge prescribed by the National Curriculum and also to focus explicitly upon the features of certain types of text as they teach the National Literacy Strategy. 4 In Rosenblatt's work the emphasis on our experience of [End Page 61] literary works provides a much needed alternative to positions such as that adopted by New Criticism where "it is never what a poem says which matters, but what it is" because we acknowledge we can only ever gain access to what a poem says as "the sentence that seems to need no interpretation is already the product of one." 5 Clearly, understanding the reader's transaction with texts is where we must begin if we wish to foster aesthetic reading in our classrooms.Transactional theory also appears to be closely related to Martin Heidegger's thought in Being and Time where Dasein (givenness, existence, being) is seen as a distinctive characteristic of the human being as our consciousness projects things of the world and is also subjected to the things of the world which belong to us, in some sense, only as long as our consciousness is projecting them. 6 The validity of Dewey's view, where experience is not separated from art, can be seen when we acknowledge that we can "never adopt an attitude of detached contemplation, looking down on the world as if from a mountain top" for we are "inevitably merged with the very object of our consciousness." 7Such a view reflects Hans-Georg Gadamer's position in Truth and Method in which Heidegger's explanation of situation is applied to literary theory because, for Gadamer, the literary work cannot appear as a packaged and completed artefact in which meaning is neatly wrapped because it is influenced by a particular reader's actions at a particular moment. 8 Rosenblatt's realistic conception that "each reading involves a particular person at a particular time and place" is developed in this article as it seems that, even now, many reader response critics and curriculum designers "write as though people read literature in a vacuum or in a generalized kind of academic setting" which often does not apply... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.2 (2001) 215-232 [Access article in PDF] Eighteenth-Century Print Culture and the "Truth" of Fictional Narrative Lisa Zunshine As a session entitled "Truth" at a recent Modern Language Association of America annual convention has demonstrated, the obsession with the epistemologies of truth is alive and well. Our "familiar ways of thinking and talking about truth," as one of the speakers, Barbara Herrnstein Smith, observed, remain "theoretically (...) elusive, discursively slippery, and hard or perhaps impossible to articulate clearly in relation to other current concepts and ideas" 1 --an irresistible invitation to further thinking and talking on the subject. My essay enters this conversation by attempting to contemplate truth not as a stable attribute but as a ongoing attribution, that is, not as an inherent property but rather as a dynamic process predicated upon functional idiosyncrasies of our evolved cognitive architecture. The broad question posed here is this: What if our never-ending quest for truth is itself cognitively constructed and the various forms that this quest takes manifest the (not necessarily harmonious) interaction between our evolved cognitive capacities and the ever-changing specifics of our cultural environment?Consider just one of the forms of such an interaction, namely, our age-long preoccupation with the "truth" of literary narrative. In many respects, this preoccupation is counterproductive: the most "fantastic" story contains a number of contingently useful "truths" about the world, whereas the most "factual" narrative manipulates facts by virtue of being a narrative or a subjective arrangementof information. Still, we persevere in wanting to put the label "fiction" or "nonfiction" onto any story that comes our way. As I will argue, the bookstore's organization of its sections satisfies this species of "cognitive" craving as well as [End Page 215] reinforces it, making it seem culturally inevitable. Viewed from this perspective, our culture appears to be a multifaceted feedback mechanism engaged in the process of satisfying, reinforcing, struggling with, and manipulating our cognitive predispositions.The cultural manipulation of our cognitive predispositions is the topic of the present essay, which discusses several examples of such manipulation that respond to our desire to assign a certain "truth-value" to a given narrative, i.e., to attach a label to it announcing its "factuality" or "fictionality." "Truth-value" is a loaded term, resisting definition, and liable to lead me into trouble. Imperfect as it is, however, I need it in order to shuffle between two scholarly discourses that do not (yet) have much vocabulary in common: literary criticism and cognitive science. The reason for turning to cognitive science in my discussion of literary narrative is that cognitive anthropologists and psychologists frequently engage the same problems that we do when we ask, What is "Fiction"? How is it different from "History"? How do we decide whether what we are reading is "true?" The key difference between the two approaches is, however, that whereas the literary critic focuses on specific texts produced and read in specific cultural circumstances, the cognitive anthropologist pays attention to the cross-cultural insistence with which people wish to and often claim to distinguish "truth" from "fiction" and inquires into the possible evolutionary history of the cognitive architecture implicated in our never-ending quest for "truth." The latter perspective can thus be useful for literary studies because, by suggesting that our evolved cognitive architecture often "encourages" us to construe the world as a negotiation of "truths" and "nontruths," this perspective begins to account--at least on some level--for the fact that people may approach a complex cultural artifact, such as a novel, with a "truth"/"non-truth" binary in mind that is ultimately not very productive. 2 Evolutionary psychologists and anthropologists frequently point to disjunctions between the tasks that our brain evolved to solve and the tasks that we have to deal with in the modern environment; our vexed insistence on determining the truth-value of the 500-page printed narrative--not an object one would come across in the Pleistocene--can be seen as yet another instance of such a disjunction.Thus, I suggest that, on the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Fear of Formalism: Kant, Twain, and Cultural Studies in American LiteratureElizabeth Maddock Dillon (bio)I begin with what we might call a bipolar disturbance in literary criticism. Caught between the materialism of cultural studies and the formalism of philosophy, literary criticism is construed, on the one hand, as useless—struck dumb by its lack of purpose in the face of real politics and real bodies—and, on the other hand, (...) as singularly efficacious, the only tool through which to reveal the essentially discursive character of all forms of culture, including bodies and politics. While this rhetorical model of criticism is regularly posited as politically bankrupt, as having no purchase on the facticity of the world, the model of materialist cultural criticism is just as regularly unmasked as, at base, rhetorically constructed and thus guilty of concealing its own formalist dimensions. 1 This “disturbance,” as I’ve described it, tends to be acted out as a debilitating dialectic: caught between formalism and materialism, literary criticism is left without any ground to stand on. Yet this peculiar bipolarity within literary criticism is intimately linked to the strange status of literature itself. Language becomes recognizably literary at the moment it assumes a rhetorical or formal dimension rather than serving as the invisible conduit of mimetic representation. 2 Whence, evidently, the allure of formalism for literary criticism: form would seem to be exactly what demarcates the literary from the nonliterary, what defines the exclusive territory of literature. Yet formalism, as has been widely and persuasively argued, tends to turn literature into precisely the kind of artifact that means little in relation to the world and tends to obscure the worldly relations that inform the text and its production. Indeed, in the field of Cultural Studies—a field whose defining gesture is political engagement—“formalist” is a term whose meaning often comes to approximate “apolitical.” “Formalist,” fashioned as opprobium, speaks chidingly of hermeticism or more acerbically of the insidious erasures enacted by universalism.In contemporary criticism, formalism has thus come to occupy an important antipodal position which encompasses far more than the New Critical practices of the 1940s and ‘50s. In emphasizing the formal, intrinsic qualities of the literary work, New [End Page 46] Critics closeted the text away from the world and from the possibility of social action: their agenda has thus been construed as politically quietist and inherently conservative. 3 Yet the term “formalism,” used as a charge of conservatism, has been applied more broadly to poststructuralist criticism as well. Paul Lauter, for instance, uses the term “formalist” to describe deconstruction as an avatar of New Criticism: both emphasize textual relations to the exclusion of extratextual considerations. Poststructuralism, Lauter and others have argued, continues an aestheticization of literature which turns literary criticism over to an elitist and ultimately irrelevant “priesthood.” ‘“Formalist,’” writes Lauter, “suggests that the whole enterprise of literary theorizing subsists behind dense academic walls, where de Man speaks only to Heidegger, and Heidegger speaks only to God” [138]. While Lauter bases his analogy between poststructuralism and New Criticism on the charge of hermeticism as well as a lack of historical engagement, the notion of “form” as it appears in poststructuralism is nonetheless significantly different than the “form” that animated New Critical endeavors. Where New Critical “form” concerns specifically literary structures—irony, metaphor, tension, unity—the poststructural referent for these rhetorical terms is often the “form” of language or subjectivity itself. Accordingly, the meaning of “form” (and, indeed, “formalism”) undergoes a marked shift from specific rhetorical articulations to larger theoretical claims about language and identity.This second, broader articulation of form has been critiqued less for hermeticism or quietism than for its implied universalism—that is, for fashioning subjects and discursive forces in uniform shapes without regard for political and historical specificity. Stuart Hall, for example, whilst defining the practice of Cultural Studies, warns against theories of the subject (in this case psychoanalysis) that tend toward universalism: “The manner in which this ‘subject’ of culture is conceptualized is of a trans-historical and ‘universal’ character: it addresses the subject-in-general, not an historically-determinate social subject, or socially determinate particular language” [Hall 70]. On this reading, formalist theories of poststructuralism... (shrink)

In this witty, accessible study, the prominent Marxist thinker Terry Eagleton launches a surprising defense of the reality of evil, drawing on literary, theological, and psychoanalytic sources to suggest that evil, no mere medieval artifact, is a real phenomenon with palpable force in our contemporary world. In a book that ranges from St. Augustine to alcoholism, Thomas Aquinas to Thomas Mann, Shakespeare to the Holocaust, Eagleton investigates the frightful plight of those doomed souls who apparently destroy for no (...) reason. In the process, he poses a set of intriguing questions. Is evil really a kind of nothingness? Why should it appear so glamorous and seductive? Why does goodness seem so boring? Is it really possible for human beings to delight in destruction for no reason at all? (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Notes and Fragments TO THE UGHTHOUSE AND THE FEMINIST PATH TO POSTMODERNITY by Bill Martin Postmodernity is in part the existence of an unprecedented space for feminism. Already in this formulation, however, we encounter two major terms that require explication. I will argue in this essay that Virginia Woolf's To the Lighthouse provides the basis for productively understanding postmodernism and feminism in relation to each other.1 The question of (...) placing feminism temporally has of course been raised before; I will simply mention two occasions. In Sexual/Textual Politics, Toril Moi argues for a kind of natural affinity of feminism with literary modernism's implicit critique of notions of the unified self.2 Here the comparison of Woolf with Joyce is appropriate. Moi moves from this perceived affinity toward the notion of écriturefeminine. Practitioners of the latter have been much more interested in Joyce than Woolf. Joyce, especially in Finnegans Wake, thoroughly shatters the self, reaching the highest expression of modernism. Woolf does something different. In To tL· Lighthouse, she not only decenters the subject, she also reconstitutes the subject. If Woolf had only reinstated the subject, as a matter of simply returning to the previous paradigm, then obviously her writing would have to be considered anachronistic. Though the affinity posited by Moi is real and useful (if made problematic by what seem to be real affinities that also exist between modernism and misogyny ), the force of another affinity can also be felt: in her deconstruction /reconstitution, Woolf achieves a writing that is both postmodern and feminist. The both/and relation here is itself a cultural creation, 307 308PHrLOSOPHY and Literature however, which points to the elective affinity involved in joining a particular politics with a particular artistic practice. The question is whether a political argument that does not avoid questions of artistic integrity can be marshaled to the task of showing that the affinity of feminism and postmodernism is more viable in the contemporary context than the affinity posited by Moi.3 Elaine Showalter, in her formulation of "women's time," raises the possibility ofanother kind of temporalized feminism. In "Feminist Criticism in the Wilderness," Showalter pursues the idea that there might be a time and space which women occupy without their location being known or knowable to men, and perhaps without women fully knowing it themselves.4 In short, this "time" is conditional and predicated upon a possible future in which people will remember and be more fully aware of their spatial/temporal context. I would propose that this same conditional and uncertain sense of time applies to postmodernism. For the very terms "postmodernism" and "postmodernity" connote a transitional period in which it is not certain how elements which are for the time being in flux will ultimately setde down and congeal. The "aftereffect of the "post" in postmodernity will be truly understood only in the longer run, if even then. Showalter takes it that there is a sense in which "women's time," the "Age of Feminism," is occurring right now, but in a concealed way. Again, something like this may be said of postmodernism. In either case there is the sense of creating artifacts for a future which may or may not exist. There is also the sense of permanent postponement or deferral which is integral to the very notion of "possibility." Add to these references the by now familiar postmodern and feminist criticisms of grand narratives that crush difference, and I think we are in possession of a set of basic issues common to both feminism and postmodernism: the nature of the self and its possible recreation, the question of periodization and our "time," problems of difference and questions of doing something different (in the latter case feminism is much more explicit about doing something different that is also emancipatory, though some forms ofpostmodernism stress this as well). Given these common concerns I simply want to set the new affinity as follows: postmodernism is a social and cultural atmosphere in which feminism and other emancipatory trends might flourish. In this context, To tL· Lighthouse is a trailblazing feminist-postmodern artifact. The project here is not to generate or force a postmodern reading (any more... (shrink)

This paper explores the archaeological finds at the site of Artemis Orthia in Sparta through a gender-based framework. It chronicles the history of the site from the 6th century BCE to modern excavations and critically evaluates the subtle biases of recent scholarship on the artefacts found there, including bronze dedications, the Orthia masks, and an architectural votive. This research aims to question established perceptions of Sparta as unique within Greece and scholarly biases against Laconian art as “backwards” by focusing on (...) the context of the site and looking beyond the infamous literary flogging ritual to ask how women in particular fit into the mythology and archaeology. Utilizing a gender-based lens opens new possibilities and exposes modern preconceptions about gender in the ancient world, uniting seemingly contradictory elements. (shrink)

This article reflects on the conceptual and aesthetic practices engaged in the development of a performance work by Thenjiwe Niki Nkosi and Pamela Phatsimo Sunstrum titled DISRUPTERS, THIS IS DISRUPTER X. Nkosi/Sunstrum liberally describe this multimedia performance work as an ‘anti-opera’. In 2014, the Iwalewahaus African Art Archive at the University of Bayreuth invited Nkosi and Sunstrum to make further developments to an anti-opera they had been conceiving since 2013. The invitation formed part of ‘Mashup The Archive’, an artist residency (...) encouraging contemporary artists from Africa to engage with the Iwalewahaus Archive. The resulting performance was presented at the Schokofabrik, Bayreuth and was a tour through a ‘maquette’ of the anti-opera. It was a ‘living maquette’ in which audiences (termed ‘Safarists’) travelled through stations illustrating sketches of scenes, histories of characters, and other fragments of narrative exposition. The artists illustrated these stations using both ‘relics’ from the Iwalewahaus Archive, and newly generated digital and analogue content. Using a common tactic found in electronic music known as ‘sampling’, Nkosi/Sunstrum recontextualized and reinvented these artefacts to form part of the anti-opera narrative. The world of the anti-opera was created by video projections, sound streamed live to Bayreuth from Johannesburg, handmade replicas of archival objects, original music created from archival instruments, live performers and a professional opera singer. South African literary theorists Delphi Carstens and Mer Roberts suggest that the sci-fi genre ‘offers a potential vehicle for expressing the African oral mythical mode and a (re)writing of the continent’s marginalized oral histories in the mythopoeic mode’.1 Nkosi/Sunstrum are interested in the radical implications of this view and are using sci-fi as a tactic for imagining and ‘occupying’ new African futures. (shrink)

This paper reconsiders the possibility of applying the procedure of falsification, which consists in testing a theory by confronting hypotheses derived from the theory with empirical data, in the studies of culture, in particular when evaluating interpretive hypotheses. Falsification, to which, according to Popper and his followers, the natural sciences owe their success, is viewed with strong suspicion when the object of investigation is meanings and values rather than material phenomena. If by interpretation one understands reconstruction of the artefact’s meaning, (...) obvious challenges when falsifying interpretive hypotheses include: the multiplicity, instability and ambiguity (indefiniteness or self-contradictory character) of meanings inherent in artefacts. All of this does not seem to exclude the possibility of identifying as misreadings interpretive hypotheses which clearly contradict relevant (non-contradictory) artefactual evidence. Falsification thus understood seems indispensable in educational contexts. At the same time, it must be admitted that in practice (as contrasted with the logical formula which underlies the procedure) falsification is inconclusive, and the application of the procedure is further complicated when meanings and values are the object of research. This is one of the reasons why falsification in the humanities (as elsewhere) needs to be complemented by other epistemic procedures while the status of literary studies or history of philosophy might best be perceived as partly cognitive (and in so far as the research conducted in these disciplines is empirically testable, also scientific) and partly creative (artistic). (shrink)

Ekphrasis is familiar as a rhetorical tool for inducing enargeia, the vivid sense that a reader or listener is actually in the presence of the objects described. This book focuses on the ekphrastic techniques used in ancient Greek and Roman literature to describe technological artifacts. Since the literary discourse on technology extended beyond technical texts, this book explores 'technical ekphrasis' in a wide range of genres, including history, poetry, and philosophy as well as mechanical, scientific, and mathematical works. Technical (...) authors like Philo of Byzantium, Vitruvius, Hero of Alexandria, and Claudius Ptolemy are put into dialogue with close contemporaries in other genres, like Diodorus Siculus, Cicero, Ovid, and Aelius Theon. The treatment of 'technical ekphrasis' here covers the techniques of description, the interaction of verbal and visual elements, the role of instructions, and the balance between describing the artifact's material qualities and the other bodies of knowledge it evokes. (shrink)

This article interlaces the story ‘Comfort’ by Alice Munro with Hannah Arendt’s understanding of education as intergenerational passing on. Its principal aim is not to criticise Arendt or the fictional character of Lewis but to work with them towards a richer and more complex understanding of what can go wrong in education in general and teaching in particular. For this purpose, the article does not start from a theoretical framework but from the concrete aesthetic artifact – the story – (...) itself. The departing question is: What can we learn from the literary description for our theoretical understanding of the intergenerational in educational relations? (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.2 (2003) 61-72 [Access article in PDF] From Personal to Social Transaction:A Model of Aesthetic Reading in the Classroom Mark A. Pike This article seeks to define more precisely the nature of the individual transaction that occurs between reader and text and the potential for aesthetic reading in literature classrooms by relating knowledge of the way pupils engage in literary transactions to theoretical (...) perspectives that address the issue. The validity of Louise Rosenblatt's transactional theory of the literary work, expounded in Literature as Exploration and The Reader, The Text, The Poem, and its relevance for contemporary educators, particularly in the field of English education, has recently been reasserted by Jeanne Connell in her timely and cogent article in this journal. 1 The present article, however, seeks to refocus debate by problematizing and subsequently developing some aspects of key theories such as Rosenblatt's while examining the individual and social nature of reading in schools. Rosenblatt's view that aesthetic experiences can have both social origin and effect certainly deserves further theorizing if aesthetic experience in school communities and classrooms is to flourish.The influence of John Dewey's Art as Experience upon Rosenblatt is evident as this seminal text conceives of our primary task as the restoration of "continuity between the refined and intensified forms of experience that are works of art and everyday events." 2 Such continuity with experience is vital because, for Dewey, "experience is the fulfillment of an organism in its struggles and achievements in a world of things, it is art in germ." 3 Applying such a notion to education in schools, Rosenblatt saw the aim of literature lessons as the growth of experience rather than the acquisition of knowledge. Yet, despite such progress, in the United Kingdom, teachers of English are in the unenviable position of having to deliver an extensive body of knowledge prescribed by the National Curriculum and also to focus explicitly upon the features of certain types of text as they teach the National Literacy Strategy. 4 In Rosenblatt's work the emphasis on our experience of [End Page 61] literary works provides a much needed alternative to positions such as that adopted by New Criticism where "it is never what a poem says which matters, but what it is" because we acknowledge we can only ever gain access to what a poem says as "the sentence that seems to need no interpretation is already the product of one." 5 Clearly, understanding the reader's transaction with texts is where we must begin if we wish to foster aesthetic reading in our classrooms.Transactional theory also appears to be closely related to Martin Heidegger's thought in Being and Time where Dasein (givenness, existence, being) is seen as a distinctive characteristic of the human being as our consciousness projects things of the world and is also subjected to the things of the world which belong to us, in some sense, only as long as our consciousness is projecting them. 6 The validity of Dewey's view, where experience is not separated from art, can be seen when we acknowledge that we can "never adopt an attitude of detached contemplation, looking down on the world as if from a mountain top" for we are "inevitably merged with the very object of our consciousness." 7Such a view reflects Hans-Georg Gadamer's position in Truth and Method in which Heidegger's explanation of situation is applied to literary theory because, for Gadamer, the literary work cannot appear as a packaged and completed artefact in which meaning is neatly wrapped because it is influenced by a particular reader's actions at a particular moment. 8 Rosenblatt's realistic conception that "each reading involves a particular person at a particular time and place" is developed in this article as it seems that, even now, many reader response critics and curriculum designers "write as though people read literature in a vacuum or in a generalized kind of academic setting" which often does not apply... (shrink)

If one accepts the social hierarchy that this taste structure masks, it is easy to accept the validity of the particular criteria which serve as the working test of excellence. In fact, the high value placed on rationality, complexity, irony, reflexivity, linguistic innovation, and the “disinterested” contemplation of the well-wrought artifact makes sense within cultural institutions devoted to the improvement of the individuality, autonomy, and productive competence of the already privileged individuals who come to them for instruction and advice.8 (...) Appreciation for the technical fine points of aesthetic achievement is also understandable among people whose daily work centers on the business of discrimination. But it is worth keeping in mind that the critical dismissal of literary works and institutions that do not embody these values as failures is an exercise of power which rules out the possibility of recognizing that such works and institutions might be valuable to others because they perform functions more in keeping with their own somewhat different social position, its material constraints, and ideological concerns. The essay critical dismissal of the Club and other “popularizers” is an act of exclusion that banishes those who might mount even the most minimal of challenges to the culture and role of the contemporary intellectual by proclaiming their own right to create, use, and value books for different purposes.My preoccupation with the Book-of-the-Month Club arises, then, out of a prior interest in the way books are variously written, produced, marketed, read, and evaluated in contemporary American culture. My subjects might best be described as ways of writing rather than Literature, ways of reading rather than texts.9 I have begun to examine the Club’s editorial operation with the intention of eventually comparing the manner, purpose, and substance of the editors’ choice of books with the choices of actual Book-of-the-Month Club members. Such a comparison seems potentially interesting for a variety of reasons. 8. For a discussion of the connections between the social position and role of literary academics and the values they promote through the process of canonization, see Jane Tompkins, Sensational Designs: The Cultural Work of American Fiction, 1790-1860 , esp. pp. 186-201.9. See, for instance, my earlier effort to specify how a group of women actually read and evaluate individual books in the much-maligned romance genre, Reading the Romance: Women, Patriarchy, and Popular Culture . I am indebted to Mary Pratt’s discussion of the concept of “literariness” and the way it disciplines ideologically this particular way of describing my own interests. Janice Radway is an associate professor of American civilization at the University of Pennsylvania. She is the author of Reading the Romance: Women, Patriarchy, and Popular Literature and is a former editor of American Quarterly. This article is part of a larger study, the working title of which is “The Book-of-the-Month Club and the General Reader: The Transformation of Literary Production in the Twentieth Century.”. (shrink)

The cellphone is at once a transformative, even revolutionary, technology but also an artefact of social fragmentation and managerial/administrative command-control. This chapter explores the contradictory discursive record of utopic and dystopic accounts of the cellphone. The former anchors the cellphone’s historical time to high capitalist consumerism, a purported source of happiness, development, and revolution. Dystopic accounts are more likely to emphasize the record of techno-criticism aimed at the quasi-religious nature of the utopian discourse, highlighting popular and literary protests against (...) the harms to workers and ecosystems. The dystopic perspective points archaeological research to a crucial layer of evidence that moves from a focus on utopian/dystopian forms of consciousness to one centred on the gadget’s chemico-mechanical materiality and the toxic environmental legacy it bequeaths to future generations. (shrink)

Educationalists introduce students to literature search strategies that, with rare exceptions, focus chiefly on the location of primary research reports and systematic reviews of those reports. These sources are, however, unlikely to adequately address the normative and/or metaphysical questions that nurses frequently and legitimately interest themselves in. To meet these interests, non‐research texts exploring normative and/or metaphysical topics might and perhaps should, in some situations, be deemed suitable search targets. This seems plausible and, moreover, students are encouraged to ‘read widely’. (...) Yet accepting this proposition creates significant difficulties. Specifically, if non‐research scholarly sources and artistic or literary (humanities) products dealing with normative/metaphysical issues were included in what are, at present, scientifically orientated searches, it is difficult to draw boundaries around what – if anything – is to be excluded. Engaging with this issue highlights problems with qualitative scholarship's designation as ‘evidence’. Thus, absurdly, if qualitative scholarship's findings are labelled evidence because they generate practice‐relevant understanding/insight, then any literary or artistic artefact (e.g. a throwaway lifestyle magazine) that generates kindred understandings/insights is presumably also evidence? This conclusion is rejected and it is instead proposed that while artistic, literary, and qualitative inquiries can provide practitioners with powerful and stimulating non‐evidential understanding, these sources are not evidence as commonly conceived. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Benjamin ReduxGerhard RichterProfane Illumination: Walter Benjamin and the Paris of Surrealist Revolution, by Margaret Cohen; 271 pp. Berkeley: University of California Press, 1993, $35.00 cloth, $14.00 paper.Walter Benjamin and the Antinomies of Tradition, by John McCole; xiii & 329 pp. Ithaca: Cornell University Press, 1993, $45.00 cloth, $18.95 paper.Walter Benjamin’s Passages, by Pierre Missac, trans. Shierry Weber Nicholson; xvii & 221 pp. Cambridge: MIT Press, 1995, $25.00.Walter Benjamin’s Philosophy: (...) Destruction and Experience, edited by Andrew Benjamin and Peter Osborne; xiv & 298 pp. London: Routledge, 1994, $65.00 cloth, $18.95 paper.The word of ambition at the present day is Culture. Whilst all the world is in pursuit of power, and of wealth as a means of power, culture corrects the theory of success,” writes Emerson in his 1860 essay “Culture.” 1 Perhaps at no point since the publication of Emerson’s essay has the diagnosis it advances been more relevant than today, some 136 years later, when “Culture,” at least in the methodological and political struggles within the academy, has again become the word of ambition. As in Emerson’s nineteenth-century America, those who today pursue that word most ardently also tend—in their struggle to explicate history and culture—to shy away from the persistent instability of meaning with which the texts that they take as their objects of study are vexed. In other words, they are afraid of earthquakes. For Emerson continues: [End Page 200] “There are people who can never understand a trope, or any second or expanded sense given to your word, or any humor; but remain literalists, after hearing the music, and poetry, and rhetoric, and wit, of seventy or eighty years. They are past the help of surgeon or clergy. But even these can understand pitchforks and the cry of fire! and I have noticed in some of this class a marked dislike of earthquakes.” 2It has become one of the methodological orthodoxies of the new contextualism, the increasingly prominent engine driving a continuing metamorphosis of what is perhaps no longer usefully called “Humanities,” to posit a relatively transparent, unproblematic relationship between a textual artifact and its larger cultural or historical context. It is precisely this complex relationship between text and culture—and the theoretical possibility of doing justice to it—that this review of four new publications on Walter Benjamin will revisit.The urgent promise to think through the complicated relationship between text and culture, between the idiomatic artifact and its historical formation, has yet to be fulfilled. How does one account for the singularity of a specific instance of signification, be it a literary text, a film, or a neon sign, articulating the relationship between it and the cultural paradigm that gave rise to it and to which it gave rise? How might one talk about a text’s historicity without forcing a hasty assimilation of it into a crudely mimetic model? One way out of the difficulty, of course, is to suppress the vicissitudes of language altogether, with an eye to hastening the assimilation of a text, seen primarily as illustrative or evidential material, into pre-established assumptions. An example of such a dissatisfactory answer can be found in the introduction to a recent programmatic publication, in which the editors triumphantly proclaim: “Thus, for example, although there is no prohibition against close textual readings in cultural studies, they are also not required.” 3 A marked dislike of earthquakes is at work here. What is more, the logic of such a statement goes as follows: because close reading is no longer necessary, it is dispensable, and therefore eventually no longer performed at all. One is tempted to invoke the famous language of Kafka’s chaplain in The Trial who reprimands Joseph K. for his failure to read closely: “You have not enough respect for writing and you are altering the story.” 4Such methodological difficulties only get worse when one considers the particular problem posed to scholarship by the case of Walter Benjamin, the German-Jewish critic, writer, and philosopher now widely regarded as one of the most significant theorists of our century. On the [End Page 201] one... (shrink)

ABSTRACT Zora Neale Hurston's Barracoon teaches us distinct lessons about African American literary studies and its relation to the memory of Africa. In this text, Kossula helps us better understand a transatlantic black identity, the tension that exist between those who remember Africa and those who have adopted a black American identity, and the failures of supposed victories and African emigration. This traversing also reminds us that there can be no agreed upon or stable method for charting literary (...) history. Instead, it encourages us to follow a model of historiography that looks for continuity and is more cross-directional than vertical. The archive, of course, requires such a model. Thus, Barracoon's publication, as an archival artifact especially, is also instructive as evidence of the primacy of the archive in relation to canon formation and literary traditions. (shrink)

How to Forge a Musical Work’, I argue that the best way to view an attempted forgery of a lost autograph that accidentally duplicates the lost original is as a ‘version’, not a ‘forgery’, although I acknowledge the plausibility of Jerrold Levinson's alternate view, that it remains a forgery nevertheless. John Dilworth, in his article, ‘A Representational Theory of Artefacts and Artworks’, defends Levinson's ‘intuition’ against mine. In the present article I argue that our ‘intuitions’ here are divided, as they (...) are in the case of fictional literary works that accidentally turn out to be ‘true’, where some would say that what we have is still ‘fiction’, others that it is ‘accidental history’. (shrink)

Recently, scholars in a variety of disciplines—including philosophy, film and media studies, and literary studies—have become interested in the aesthetics, definition, and ontology of the screenplay. To this end, this volume addresses the fundamental philosophical questions about the nature of the screenplay: What is a screenplay? Is the screenplay art—more specifically, literature? What kind of a thing is a screenplay? Nannicelli argues that the screenplay is a kind of artefact; as such, its boundaries are determined collectively by screenwriters, and (...) its ontological nature is determined collectively by both writers and readers of screenplays. Any plausible philosophical account of the screenplay must be strictly constrained by our collective creative and appreciative practices, and must recognize that those practices indicate that at least some screenplays are artworks. (shrink)

The exchange of ideas between nations during the Enlightenment was greatly facilitated by cultural ventures, commercial enterprise and scientific collaboration. But how were they exchanged? What were the effects of these exchanges on the idea or artefact being transferred? Focussing on contact between England, France and Ireland, a team of specialists explores the translation, appropriation and circulation of cultural products and scientific ideas during the Enlightenment. Through analysis of literary and artistic works, periodicals and official writings contributors uncover: the (...) key role played by literary translators and how they adapted, naturalized and sometimes distorted plays and novels to conform to new cultural norms; the effects of eighteenth-century anglomania, and how this was manifested in French art; how the vagaries of international politics and conflict affected both the cultural products themselves and the modes of dissemination; how religious censorship engendered new Irish Catholic and French Huguenot diasporas, with their particular intellectual pursuits and networks of exchan≥ the significance of newspapers and periodicals in disseminating new knowledge and often radical philosophical ideas. By exploring both broad areas of cultural activity and precise examples of cultural transfer, contributors to Intellectual journeys reveal the range and complexity of intellectual exchange and its role in the formation of a truly transnational Enlightenment. (shrink)

What is art? What is it to understand a work of art? What is the value of art? Robert Stecker seeks to answer these central questions of aesthetics by placing them within the context of an ongoing debate criticizing, but also explaining what can be learned from, alternative views. His unified philosophy of art, defined in terms of its evolving functions, is used to explain and to justify current interpretive practices and to motivate an investigation of artistic value. Stecker defines (...) art as an item that is an artwork at time t if and only if it is in one of the central art forms at t and is intended to fulfill a function art has at t, or it is an artifact that achieves excellence in fulfilling such a function. Further, he sees the standard of acceptability for interpretations of artworks to be relative to their aim. Finally, he tries to understand the value of artworks through an analysis of literature and the identification of the most important functions of literary works. In addition to offering original answers to major questions of aesthetics, _Artworks_ covers most of the major issues in contemporary analytic aesthetics and discusses many major, as well as many minor, figures who have written about these issues, including Stanley Fish, Joseph Margolis, Richard Rorty, and Richard Shusterman. (shrink)

The current issue of Argument: Biannual Philosophical Journal (2015, vol. 5, no. 1) provides a platform for cross‑cultural studies of the human body, the embodied mind, agency, intentionality, and various axiological aspects of the human psychophysical identity. Out of the twenty articles that compose this issue, thirteen original papers address the leading theme, namely Psychophysical integrity of the human self. Comparative approach: philosophy, literature and art. The multidisciplinary and comparative perspectives include references to Western and eastern cultural traditions, as well (...) as juxtaposing a variety of views on human corporeality and the mind‑body relationship, discussed from the perspectives of philosophical theories (Venieri, Jakubczak, Kamińska, Kołdrzak, King, Wachowski), literary works (Kamińska, Milewska) and visual artefacts (King, Staniszewska, Wałek, Popczyk, Romanowicz, Lipowicz). (shrink)

The miracle play ‘Erscheinung am Lichtmesstage’ of the late medieval ‘Passional’ offers a literary interpretation of the ‘Candlemas’ and its procession with lighted candles. After a woman has been enraptured into transcendent space, she partakes in a light procession together with the Virgin Mary and various other figures. Each of the participants carries a candle, whose light, as the text says, is sacrificed at the end of the procession. One candle, however, becomes subject of a dispute between the woman (...) and a messenger from the Virgin Mary, causing the candle to split in two. The text repeatedly addresses the actual touching of the candle, suggesting that this wax artefact plays an essential role in bridging the immanent and transcendent. This article explores the candle as a ‘Semiophore’, revealing the broad semantic spectrum of the candle and its light. Through the acts of giving, holding, depositing, seizing, pulling, braking, and touching as well as possessing and keeping the candle become the locus of multiple meanings. Ultimately, it functions as a bridge between the ordinary and the divine. (shrink)

It could be argued that the influence of Lacan on modern literary studies has been greater than anyone’s. Lacan has historicised the universal or mythic perceptions of Freud, and thus lent a new status to literature as a cultural artefact. This book, originally published in 1986, aims to delineate the trends in the uses made of Lacan today; to examine the theoretical substructure by which his work is accommodated to literature; and to analyse the way in which his work (...) ‘models’ the formal relation of the literary text to other texts, to history and to politics. (shrink)

Poetry is fundamentally an engaged level of life in the world of readers and poets alike. It surrounds those concerned, often with an understanding that extends beyond its possibility as the comprehension of meaningful content embodied in a written or spoken artifact. For readers of poetry, memorized lines and rhythms emerge seemingly out of nowhere to be recited, and poets often tell us that lines, rhythms and linguistic content often appear without prompting as they are carried away in writing (...) poetry. Yet literary studies and phenomenology have tended to focus either on the poetic artifact and its cognition, or poetry as a special sphere and mode of revelation. This paper seeks to question the experience of the poetic as a special level of life and an embodied activity, and sketches some points of entry in which we can enter into a discussion on the poetic as such. (shrink)

Bodies of Information initiates the Routledge Advances in the History of Bioethics series by encompassing interdisciplinary Bioethical discussions on a wide range of descriptions of bodies in relation to their contexts from varying perspectives: including literary analysis, sociology, criminology, anthropology, osteology and cultural studies, to read a variety of types of artefacts, from the Romano-British period to Hip Hop. Van Renslaer Potter coined the phrase Global Bioethics to define human relationships with their contexts. This and subsequent volumes return to (...) Potter's founding vision from historical perspectives, and asks, how did we get here from then? (shrink)

This article establishes a connection between the novel, as a cultural artefact which encourages the exploration of inner perceptions, literary reading, and recent research into interoception in cognitive psychology. Interoception is broadly conceived here, ranging from physical states (like pulse, breathing rate, etc.) to emotions and the conscious perception of these physical states. The article identifies relevant interoceptive mechanisms in literary reading and develops a research programme for their empirical study. It unfolds an account of the relationship between (...) interoception and exteroception, as well as critical concepts to capture how readers' interoception aligns with the embodied signature of the text ('interoceptive attunement') and how the text offers points of re-entry after readers' remindings ('interoceptive anchors'). The article closes with a discussion of the role of interoception in the investigation of mindfulness meditation, and how this might enable an empirical comparison between the two cultural practices of mindfulness meditation and literary reading. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Dynamic Encounters between Buddhism and the West ReportLaura Langone and Alexandra S. IlievaThe following is a summary of the 2021 Postgraduate Conference titled "Dynamic Encounters between Buddhism and the West," which took place online on June 28 and 29. The conference was conceptualized, organized, and run by three AHRC funded PhD students at the University of Cambridge: Laura Langone (Faculty of Modern and Medieval Languages); Alexandra S. Ilieva (Faculty (...) of Divinity); and Harry Harland (Faculty of Law). The conference took place over two days and featured eighteen presenters across six panels, and two keynote speakers. There were speakers from four continents (Europe, North America, Asia, and Oceania). A wide range of topics in multiple fields was discussed: religious studies, neuroscience, art history, politics, philosophy, literature, philology, mathematics, art, and music. Each day consisted of three panels, each with three presentations, one keynote presentation, and a networking session.The keynote speakers were Prof. Albrecht Classen (The University of Arizona) and Prof. Graham Parkes (University of Vienna).Prof. Classen opened the conference with his presentation. He taught us that we have been globalized and transcultural since at least the Middle Ages. To support this claim, he provided us with ample evidence of Buddhist-Western exchanges in Art and Literature dotted throughout the literature and architecture of Europe. Prof. Parkes observed that following Zen Master Dōgen's thought as well as Nietzsche's philosophy we can develop a saner approach to the environment, which provides us with resources to help us to tackle the challenges of the climate crisis.Our first panel was titled "Hellenistic-Buddhist Encounters," which followed on nicely from Prof. Classen's thesis that encounters between Buddhism and the West have been ubiquitous and have dated as far back as the Hellenistic period. Our second panel, "Encounters with the Contemporary World," were impressive examples of intercultural philosophy. Each participant demonstrated a unique ability to bring Buddhist ideas into dialogue with contemporary Western philosophy, specifically ethics, philosophy of mathematics, and epistemology. The third panel, titled "Therapeutic Encounters," taught us of the therapeutic value of Buddhist meditation and philosophical inquiry. As our presenters emphasized, this therapeutic value is not just an ancient artifact to be studied anthropologically, but a relevant and applicable approach to the modern idea of well-being that therefore deserves continued scholarship.On the second day, we started with our fourth panel called "Encounters through Western Conceptual Lenses," which among others gave us insight into the reception [End Page 393] of Japanese Buddhism by the German liberal protestants of the nineteenth century. Our fifth panel—"Encounters with German Philosophy"—was an excellent example of contemporary comparative work between Buddhist philosophy, ethics, and logic, and the German thinkers Hegel and Nietzsche.We learned that Nietzsche labeled Buddhism as nihilism––a position that can be challenged through Ambedkar's reading of Buddhism. On the other hand, despite Nietzsche's criticism of Buddhism, striking similarities between his approach to life and that of Mahāyāna Buddhism can be found, both elaborating a life-affirming philosophy. We also became familiar with similarities and differences between the logic of Nishida and Hegel. Finally, our last panel, "Literary and Artistic Encounters" made for a fitting conclusion, reminding us that Buddhist-Western encounters are ongoing, not just politically and intellectually but also in art, music, and literature. These encounters are dynamic in nature and fundamentally lacking in an essential core. Instead, they are entities that echo through the ages allowing for reinterpretation and reintegration across geographic and temporal scopes.Both during and after the conference we received extremely positive feedback from the participants. The level of participation and enthusiasm was highly promising, showing that the future of intercultural studies of this sort is bright. Graduate conferences like these are key for early career scholars to set up networks and find likeminded peers to engage in ongoing dynamic encounters.In conclusion, this conference served to highlight the sophisticated emerging scholarship taking place that seeks to investigate Buddhist-Western interactions and dialogue. But, perhaps more importantly, the conference itself makes a metapoint: not only has the world been transcultural for many centuries, but the conference itself and in particular the global spatial locations of... (shrink)

Following the much-vaunted ‘death of the author,’ this article investigates the re-emergence of the author's subjectivity (and the relation of this to readers' strategies) in electronic texts. Specifically, it looks at the design of ‘hypertextual transpositions’ — a particular kind of information-intensive hypermedial application presenting a ‘classic’ literary text by providing an electronic version and a series of multimedial added materials that can be used in reading, enjoying, and/or studying the literary text. By closely analyzing a sample of (...) ‘hypertextual transpositions,’ the article seeks to demonstrate the ways in which design considerations in the creation of these electronic artefacts are tantamount to a re-emergence of the author's subjectivity. The technology of ‘hypertextual transpositions’ facilitates devices and reading strategies that are simply not available to traditional print texts. Nevertheless, it will be shown that hypermedial versions of ‘classic’ texts reinstate customary principles of authorship while also introducing some new facets of authorial subjectivity. (shrink)

Ten years after the popular uprising that became a brutal war, Syrian and Syrian-Palestinian authors are engaged in the struggle to craft a historical consciousness that can acknowledge and mourn for their recent revolutionary past without reifying it. As they write in and of material, political, and social ruin, their works echo collective traumas in regional memory: the Palestinian nakba, the rise of Syria’s Assad regime, Lebanon’s civil war, the 2003 occupation of Iraq, and more. The ruin appears cruelly recursive, (...) yet it is arrested in the corpus of works discussed in this article: poetry by Firas Sulaiman and Osama Esber; prose by Yassin al-Haj Saleh, Samer Yazbek, and Ra’id Wahsh; and documentary film by the Abounaddara Collective. Drawing on Arabic poetic modernism and regional politics, I argue that ruin imagery—ranging from war’s rubble to ancient artefacts—carries distinctive structures of temporal anticipation in Syrian literary and cultural memory. The writers and filmmakers discussed deploy formal and thematic means of stasis and repetition, displacement and accumulation, to summon these temporal structures—only to refuse, interrupt, and reroute them. I argue that such poetic engineerings of the images of ruin assert the singularity of the Syrian present within broader collective memories of ruin. As such, they raise a historicizing challenge to the current academic dominance of reading ruin imagery, notably from the Middle East, through an imperial lens. (shrink)

All the early advocates of women’s education, male and female, had proposed history as a central subject in women’s education—perhaps as the central subject. They envisaged it as a substitute for novel reading, which they viewed as strengthening women’s mental weakness and encouraging them in unrepublican habits of idleness, extravagance, and daydreaming.6 Many prominent women educators wrote history, among them Pierce, Rowson, and Willard. But besides such history writing and history advocacy by materialist educational reformers, American women wrote history in (...) other modes and contexts, and it is on these that I want to focus now.Speculating on history as a woman’s writing practice from the earliest years of the republic, my approach is purely literary in taking for granted, but considering it unimportant, that by present-day standards none of these women could have been “good” historians. More generally, I supposed that insofar as our present-day definition of literature or, more generally, of writing, invokes such forms as poem, play, story, and novel—and insofar as the feminist enterprise of recovering women’s writing further emphasizes such private, putatively unpublished forms as journal, diary, and letters—we have been instructed to perceive women writers as largely sealed off from public discourse, writing from somewhere outside the public sphere. This currently dominant view of women’s writing may be an inadvertent artifact of an unself-conscious, individualistic, curiously romantic definition of writing even among postmodernist critics; or, it may be a strategic view designed to focus attention on and valorize previously silenced or presently new forms of utterance. In contrast, to encompass diverse, already published, programmatically public instances of women’s writing in our definition is to begin to see how often and how openly American women have written in such forms. We then begin to recover a different sort of writing woman from the madwoman in the attic and acquire materials with which to begin constructing a different narrative of American women’s literary history. Nina Baym is Jubilee Professor of Liberal Arts and Sciences at the University of Illinois, Urbana. She is the author of many books and articles on American and feminist literary topics. (shrink)

English summary: What does Dada mean? The answer lies in the distinction between the perceptible and the designation and the failure to mediate discursively between the two. With the inception of Dada-Zurich - at the intersection between literary and art studies, comparative studies, image-text theory and philosophy - the relationship between modernity and avant-garde as well as between avant-garde and Dadaism was redefined. This redefinition was a consequence of the scandalous aesthetic theoretical insights of Dada Zurich, which concretized in (...) practical and poetic form an aesthetic theory that in itself is aesthetic, and developed an aesthetic-theoretical understanding in which aisthesis takes up a central position. Dada uses the avant-garde as material. The aesthetic theoretical potential of Dada Zurich in turn had an impact not only on the artefacts that were actually used and aesthetically reflected by Dada, but on all modern - including avant-garde - artefacts. German description: Was bedeutet Dada? Die Antwort liegt in der Differenz von Wahrnehmbarem und Bezeichnung und deren scheiternder diskursiven Vermittlung. Mit der Konstitution des Gegenstandes Dada-Zurich - im Schnittfeld von Literatur- und Kunstwissenschaft, Komparatistik, Bild-Text-Theorie und Philosophie - wird das Verhaltnis von Moderne und Avantgarde sowie von Avantgarde und Dada neu bestimmt. Diese Neubestimmung resultiert aus der Erkenntnis der asthetisch-theoretischen Form Dada-Zurichs, deren Konstitution das theoretische Skandalon Asthetischer Theorie (als einer Theorie, die selber asthetisch wird) in praktischer und poietischer Form konkretisiert. Sie entwickelt eine asthetisch-theoretische Erkenntnisform, in der Aisthesis eine zentrale Stellung einnimmt. Dada nutzt die Avantgarde als Material. Das asthetisch-theoretische Potential Dada-Zurichs wirkt dabei nicht nur zuruck auf die von Dada tatsachlich verwendeten (asthetisch reflektierten), sondern auf alle modernen - auch avantgardistischen - Artefakte. (shrink)