Through an argumentation analysis can one show how it is feasible to view a narrative religious text such as the Gospel of Matthew as a literary argument. The Gospel is not just good news but an elaborate argument for the standpoint that Jesus is the Son of God, the Messiah. It is shown why an argumentation analysis needs to be supplemented with a pragmatic literary analysis in order to describe how the evangelist presents his story so as to (...) reach his argumentative objective. The analysis also shows why in the case of historical religious literary texts, certain demands are put on the analyst that are not normally present. (shrink)

In "Literary Forms of Argument in Early China," Gentz and Meyer explore a new analytical approach to the study of written thinking by focusing on the argumentative function of literary patterns in early Chinese texts.

This article investigates how students reason and argue to make sense of fictional literature. Excerpts from students’ talk are analysed using the concepts categorisation, particularisation and recontextualisation, and interpreted from a socio-cultural, dialogical perspective. The analyses show that the students’ arguments oscillate between personal experience and the novel, and between categorising and particularising perspectives. The subject relevance of talk that lies between everyday and scientific talk, and between personal and analytic readings, is revealed. The bridging of different readings, different (...) language practices, and different learning contexts is discussed. (shrink)

Literary Forms of Argument in Early China examines the functions of rhetorical markers and devices as well as the patterns and larger modes structuring various styles of early Chinese argumentation. The nine contributors to the volume each present tight analyses of specific compositional or literary aspects of persuasion, hoping to demonstrate how an unabashed focus on the formal elements of philosophical writing might come to the aid of, or even more drastically alter and transform, philosophical interpretation. The volume (...) includes essays by the following nine scholars, who are at once a mixture of philologists, textual and literary specialists, and intellectual historians: Rudolph Wagner, Andrew Plaks, David... (shrink)

This study correlates argumentation, translation, and literature to construct a new model for assessing the quality of translated literature. Literary translation is described as being compatible with the rhetorical stream of argumentation studies, while the study rests on the overriding notion of ethics of difference in argumentative cross-cultural and translational encounters. The model incorporates ethics of difference and interpretive act, pragma-dialectical contributions of scheme/structure and rhetorical/dialectical situations, and aesthetic features including figures of speech and genres of literature. Application of (...) the model to an English translation of a classical poem shows that the model can be systematically applied to quality assessment of translated literature. Considering the implications and suggestions for further research, the study can progressively develop into a literary or cross-linguistic subgenre of argumentation theory, with implications for comparative literature, philosophy of meaning, translation theory, and dialectical hermeneutics. (shrink)

Resumen: La noción de tópos, concebido como un principio compartido por una comunidad, desempeña una función central en los tratados de retórica desde la Antigüedad grecolatina. Este concepto también resulta relevante, creemos, en el discurso literario y permite trazar relaciones entre literatura y retórica. Si bien la literatura comparada le asigna autonomía al término y tiende a disociarlo de su función persuasiva, entendemos que los tópicos desempeñan en la comedia antigua una función compleja: operan como motivos literarios, pero también adoptan (...) a la vez una finalidad argumentativa. La comedia de Aristófanes, en particular, propugna ciertas ideas políticas, empleando varios tópicos, ya sea bajo la forma de enunciados o de personajes-tipo. Los tópicos se utilizan, entonces, tanto en la oratoria como en la comedia con fines persuasivos.: The notion of tópos, conceived as a principle shared by a community, has a central place in the treatises of rhetoric from Greco-Roman antiquity. This concept is also relevant, we believe, in literary discourse and it allows to establish a connections between literature and rhetoric. While comparative literature tends to disassociate this notion from its persuasive function, we understand that the tópoi have a complex function in ancient comedy: the tópoi are literary motifs, but also adopt an argumentative purpose. Aristophanes' comedy, in particular, advocates certain political ideas, using a series of tópoi, either in the form of statements or character types. The tópoi are then used in both oratory and comedy with persuasive purposes. (shrink)

I examine a link between forms of argument and aesthetics that occur in "premodem" Westem and non-Western texts so as to build toward a universal theory of knowledge while taking postmodern criticisms seriously. Such a method allows for dialogue across time and space. Specifically, I focus on John Bunyan's "Apology" for the Pilgrim s Progress, published in 1674, and the Tibetan logician Acarya Dignaga's fifth-century treatise Hetucakra. Their claims to tmth proceed through allegory and poetry. This examination does not settle (...) existing debates; it brings a prior question more sharply into focus: In this time of cosmopolitan promise, how should considerations of universalism proceed? (shrink)

Full-text of this article is not available in this e-prints service. This article was originally published [following peer-review] in Hume Studies, published by and copyright Hume Society.

Philosophy has become trapped by the belief that precision is our surest path to knowledge. It is my aim to challenge this assumption and to affirm in its place a wide variety of means by which we may “speak” philosophically. Drawing on George Santayana’s ontological realm of truth and his concept of literary psychology, I will argue that the varieties of human expression, in their relationship to truth, are not fundamental differences in kind but exist on a continuum of (...) expression, where the referent ranges from descriptions closest to the material facts to those closest to the human relationship to those facts. (shrink)

Suppositional reasoning can seem spooky. Suppositional reasoners allegedly (e.g.) “extract knowledge from the sheer workings of their own minds” (Rosa), even where the knowledge is synthetic a posteriori. Can literary fiction pull such a rabbit out of its hat? Where P is a work’s fictional ‘premise’, some hold that some works reason declaratively (supposing P, Q), imperatively (supposing P, do Q), or interrogatively (supposing P, Q?), and that this can be a source of knowledge if the reasoning is good. (...) True, I will argue, although only within the context of judicious critical interpretation. Further evident constraints include that the form of the suppositional reasoning needs to be declarative or imperative, and that the fictional ‘premise’ of the work needs to be a metaphysical counterfactual possibility, not merely a temporal counterfactual and not merely an epistemic possibility or probabilistic supposition. (shrink)

What can make storytelling “evil” in the sense that the storytelling leads to accepting a view for no good reason, thus allowing ill-reasoned action? I mean the storytelling can be argumentatively evil, not trivially that (e.g.) the overt speeches of characters can include bad arguments. The storytelling can be argumentatively evil in that it purveys false premises, or purveys reasoning that is formally or informally fallacious. My main thesis is that as a rule, the shorter the fictional narrative, the (...) greater the potential for argumentative evil. Here, the notion of length is to be understood such that it is generally a proxy for more abstract features such as how complex and nuanced the piece is. In other argumentative contexts, length generally appears to make no comparable difference. This feature would put fictional narrative arguments in a special class beyond what is determined by obvious features, such as the definitional fact that they in some way(s) collapse two of the four traditional types of discourse: exposition, description, narration, and argument. The nonobvious features that distinguish this class have been a source of puzzlement and inquiry. (shrink)

This article analyses the two main rhetorical techniques of “argumentation” and “persuasion” employed in politico-philosophical debates recorded in early Chinese argumentative texts of the Warring States period. Through the analysis of pertinent case studies drawn from the received literature, the contribution explores the formal, structural, and grammatical features of these techniques, with attention paid to the wide selection of rhetorical and literary devices they make use of. It also further provides an overview of the historical and socio-cultural background against (...) which such techniques developed among so called “wandering persuaders”, who were travelling from court to court to offer their services as political advisors and diplomats to the local rulers of the time. (shrink)

The common view is that no novel IS an argument, though it might be reconstructed as one. This is curious, for we almost always feel the need to reconstruct arguments even when they are uncontroversially given as arguments, as in a philosophical text. We make the points as explicit, orderly, and (often) brief as possible, which is what we do in reconstructing a novel’s argument. The reverse is also true. Given a text that is uncontroversially an explicit, orderly, (...) and brief argument, in order to enhance plausibility, our first instinct is to flesh it out with illustrations and relationships to everyday life. If this process is fictive (e.g., with “thought experiments”) and orderly, it is story-telling. This paper investigates whether there is a principled way of determining a novel’s argument, which should contribute as much to understanding arguments as to understanding novels. (shrink)

This volume brings together Seth Benardete's studies of Hesiod's Theogony, Homer's Iliad, and Greek tragedy, of eleven Platonic dialogues, and Aristotle's Metaphysics. These essays, some never before published, others difficult to find, span four decades of his work and document its impressive range. Benardete's philosophic reading of the poets and his poetic reading of the philosophers share a common ground that makes this collection a whole. The key, suggested by his reflections on Leo Strauss in the last piece, lies in (...) the question of how to read Plato. Benardete's way is characterized not just by careful attention to the literary form that separates doctrine from dialogue, and speeches from deed rather, by following the dynamic of these differences, he uncovers the argument that belongs to the dialogue as a whole. The "turnaround" such an argument undergoes bears consequences for understanding the dialogue as radical as the conversion of the philosopher in Plato's image of the cave. Benardete's original interpretations are the fruits of this discovery of the "argument of the action.". (shrink)

The paper proposes a radical change of focus for understanding the fundamental purpose and value of literary interpretation. It criticises an orthodox view in analytical philosophy of literature, according to which theories of meaning in the philosophy of language, in particular Gricean or speech act or other pragmatic theories, offer the most illuminating way to grasp the relevant principles of interpretation. The argument here is that the application of such theories in this context is not just wrong in detail (...) (this or that theory needs revising) but wrong in principle. The focus is wrong. The importation of philosophy of language distorts the essential character of interpretation, which should be seen as involving not so much meaning as value, not individual sentences but whole works, not obsessed with authorial intention but focused on the protocols of reading. (shrink)

“Ethical criticism” is an approach to literary studies that holds that reading certain carefully selected novels can make us ethically better people, e.g., by stimulating our sympathetic imagination (Nussbaum). I try to show that this nonargumentative approach cheapens the persuasive force of novels and that its inherent bias and censorship undercuts what is perhaps the principal value and defense of the novel—that reading novels can be critical to one’s learning how to think.

If we inspect closely the works that ascend to world literature from the peripheral, David Damrosch’s well-recognized argument that “world literature is writing that gains in translation” may need some revision, because apparently translation is not the sole factor that decides the formation of world literature. Translated works do not necessarily represent the best part in one national literature. Damrosch’s overemphasis on translation differences and untranslatability in world literature tends to overlook the syncretism of heterogeneous literatures: The influence of Roman (...) Empire on Indian Buddhism, the influx of elements from Indian, Arabic, and Persian stories into European writers’ creation, the genres of China’s ancient literature influenced by Buddhism, etc. Furthermore, a great deal of Chinese idioms and allusions appearing in Japanese, Korean and Vietnamese literatures provide us a general view of how world literature forms through exchange and syncretism. On this account, Damrosh’s argument may be reformulated as “world literature is writing that gains in variation.” Variation reflects the ability to absorb otherness and then to create something new. Meanwhile, the perspective of literary syncretism will help us reasonably distinguish world literature and national canons. (shrink)

In view of Hartman's article, the canny critic might with some justice claim that the dispute is actually one between Anglo-American and Continental traditions and arm himself with all the historical and philosophical resources that the former can provide. Occam's razor and the armed vision might in the end prove equal to Nietzsche's hammer and the broken hammer that haunts the pages of Heidegger. However, the canny critic will realize that no matter how armed, he would still lose the argument (...) because of his refusal to relinquish one resource that in the end constitutes his irreducible commitment to his tradition: his assumption that the debate should be conducted in accordance with rules he knows and understands. Through a Hegelian Aufhebung in critical controversy, it is now precisely those rules that are in question. What is at stake is not something that can be decided by rational arguments, but our shopworn conception of rationality itself; not logic, but the question of whether or not our logic is an a posteriori construction of a more primal rhetoric; not truth, but the devious ways in which this concept is used to mask the will to power. And finally, given that these are serious questions, they will be misunderstood if there is no room for play in discussing them. Wallace Martin, professor of English at the University of Toledo in Ohio, is the author of The New Age under Orage and is preparing a book on the theory of criticism. He responds in this essay to Geoffrey Hartman's "Literary Criticism and Its Discontents". (shrink)

This paper discusses translation practices from a historicist viewpoint, contextualizing them in their emerging “episode.” The latter is a concept drawn from sociology of literature and accounts for the rise of certain discourses and ideologies in a society. On the basis of the argument that translation practices are informed by the general literary and socio-cultural milieu in which they are produced and consumed, the paper studies the translators’ prefaces to three translations published between 1953 and 1978—a period dominated by (...) Leftist and Marxist discourse in Iran. Drawing on a historically oriented model which holds that the translator’s ideology is revealed at the moment in which he/she chooses a text, and continues through the discourse he/she develops to translate that text, the research embarks on studying translation practices on two levels of choice mechanism and prefaces. Prefaces are discussed in the light of the dominant ideology of representation that is characterized by a revolutionary discourse. The research demonstrates that these translators opted for a strategy that incorporates the translations in the Persian cultural setting with minor changes in a way that politicizes the foreign literature. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.2 (2002) 312-333 [Access article in PDF] Consilient Literary Interpretation Marcus Nordlund I THIS IS AN EXCITING TIME in the history of human self-knowledge. Like the two souls in Plato's Symposium, the life sciences and the human sciences are slowly coming to terms with their painful divorce and are increasingly on speaking terms. Thanks to important developments across a broad range of academic disciplines from (...) biology and neuroscience to anthropology and psychology, we are starting to glean the possibility of a new conceptual integration that may have important consequences for our understanding of human nature. After hundreds of years of virtuoso variations on the theme of philosophical and scientific dualism, we have come some way towards bridging the gap between mind and matter, biology and culture, science and the arts.From the perspective of literary studies, two recent developments have been especially valuable. The previous decade saw a growing recognition among social scientists of the explanatory force of evolutionary theory, and of the ultimate bankruptcy of the nature-nurture opposition that forces biology and culture into different compartments. Since the social sciences have always supplied literary studies with food for thought, it would be strange if such developments did not reflect on literature, too. Equally important has been the increasing impatience among scholars in the humanities with the radical skepticism, antiscientism, and dogmatic agnosticism that turns both science and literature into mere self-validating narratives and sees no significant difference between descriptive and normative statements. Together, these theoretical shifts have slowly begun to pave the way for a new dialogue between those who study biology, psychology, and cultural artifacts like literature. Since the mid-1990s, a number of literary [End Page 312] scholars have taken the first steps towards merging evolutionary and cultural explanation in the study of literature. 1One striking defense of such a conceptual integration between science and literature was delivered a few years ago in Edward O. Wilson's Consilience. 2 According to Wilson, there is "only one way to unite the great branches of learning and end the culture wars. It is to view the boundary between the scientific and literary cultures not as a territorial line but as a broad and mostly unexplored terrain awaiting cooperative entry from both sides" (p. 138). While he concedes that the two cultures can and should be characterized by "radically different goals and methods," he also stresses that interpretation provides a "logical channel of consilient explanation between science and the arts" (p. 234).While we have good reason to be optimistic about the potential of this joint endeavor, it is nevertheless fraught with massive problems. The current track record in interdisciplinary literary studies is uneven, to say the least. Strange confusions about the nature and status of theory abound, and these often take the shape of spontaneous raids into foreign conceptual frameworks that are bound to baffle the practitioners of the host discipline. As Richard Levin importantly points out, 3 there are numerous reasons why current interdisciplinary literary theories tend to become self-validating. There are no negative tests; critics tend to choose theories on the basis of ideological preferences rather than the criterion of truth; and there is a widespread assumption that theories can simply be transformed willfully whenever they do not meet the requirements of the interpreter.Many of the problems Levin points to can, I think, be remedied by something as trivial as a change in attitude within the discipline of literature itself. For example, something has obviously gone seriously wrong when the automatic spouting of political ad hominem arguments and genetic fallacies has become second nature to so many critics. But there are other and more fundamental problems that seem intrinsic to the whole question of interdisciplinarity. One of these, according to Wilson, is that as we move forward in the hierarchy of sciences, from physics to biology to literature, we encounter a rapidly accelerating complexity: "It is far easier to go backward through the branching corridors than to go forward.... Biology is almost unimaginably more complex than physics, and the arts equivalently more complex than... (shrink)

The paper offers a qualified endorsement of Terry Eagleton’s striking claim that “a work’s moral outlook … may be secreted as much in its form as its content”. A number of points are raised in defence of the claim: an argument for the inseparability, under certain conditions, of form and content in a literary work; an idea of moral content, not as derived moral principle, but as inward-facing interpretation grounded in an ethical vocabulary; the possibility of internal and external (...) perspectives on fictional characters; and an emphasis on emotions expressed in, rather than caused by, narrative. Three literary examples are explored, to show how vocabulary, syntax, implicature, and tone, contribute to the emergence of moral salience. A consequence drawn is that the ethical stance readers take to a scene or incident is partially shaped by the narrative modes of its presentation. The overall perspective of the paper is that of aesthetic autonomism: the view that the aesthetic value of a work of literature is distinct from, and not reducible to, any instrumental moral values (positive or negative) attributed to the work. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Walter Glannon WHAT LITERARY THEORY MISSES IN WITTGENSTEIN Wittgenstein's stock is rising in literary criticism. The market value of expressions such as "language games" and "form oflife" is increasing in that they seem to lend themselves to the notion of interpretive communities endorsed by diose of reader-response persuasion.1 Wittgenstein's style is also apparently at a premium, in light of a recent attempt by a proponent of deconstruction (...) to relate the philosopher's writing to that movement's use of rhetorical strategies in dealing with texts.2 There are affinities between Wittgenstein's repudiation (in the Investigations and the Remarks on the Foundations of Mathematics) of the metaphysical realism in the Tractatus and die arguments from reader-response critics against the notion of unmediated facts, as well as the rejection of the metaphysics of presence by deconstructionists. All diree oppose the idea that truth and falsity are conferred on our statements about the world by properties independent of diese statements. Insofar as these two critical schools are concerned primarily with language, they share Wittgenstein's aspiration to "bring words back from their metaphysical to their everyday use" (PI, I, § 116), for we can arrest the tendency to postulate objective, unmediated facts by "looking into the workings of our language" (PI, I, § 109). Moreover, Wittgenstein avoids psychology which involves the mental faculties. Presumably, this puts him at one with die concerted effort of many critics to rid texts of die author and with it the problem of intentionality. At first blush, then, the relation between Wittgenstein and literary criticism appears to be an attractive one. Yet Wittgenstein's antirealism does not militate against his passion for truth, that is, his intense desire to achieve complete understanding in the areas ofphilosophy that vexed him most.3 Nor does it debar him from thinking about the inexpressible realm 263 264Philosophy and Literature of the mystical, since, despite his concern for language, Wittgenstein never ceased being attracted to "things that cannot be put into words" (TLP, 6.522). This is not at all congenial to die purpose ofliterary theory, which admits ofno such shadowy domain beyond words and our linguistic practices. Indeed, I shall illustrate that Wittgenstein's resdess search for truth, spiritual concerns, and the dialectical structure of his works for the most part put him radically at odds with a critical enterprise whose aversion to truth and penchant for rhetorical analysis and conventions blinds it to both his view of literature and his aim in doing philosophy. I Since die advent of the New Criticism, literary theory has in great measure addressed itself to die discourse ramer than the story in texts. With the focus on literature as a rhetorical construct, more traditional humanistic interpretations have been excised. A more recent development of this shift to the discursive side of diings has been the effort to blur the distinction between literature and philosophy.4 With neidier discipline having a privileged status, both have been reduced to a textual discourse with no lines ofdemarcation, a reduction diat is at variance with Wittgenstein on two counts. First, he compartmentalized literature and philosophy as having distinct purposes: the literary works that interested him were stories ofmoral import; philosophy was to be practiced for the sake of clarity in thought. To the extent diat such clarity, if attainable, pointed toward an ethical dimension that lay beyond the bounds of language, literature and philosophy for him did have a common goal; but the paths leading to it were distinct. Second, and more importantly, Wittgenstein had no concern for the discourse of the literature diat he read. Rather, it was the moral import of the stories that attracted him. Most noteworthy on this score were the writings of Tolstoy, who had a profound influence on Wittgenstein's view oflife, and Dostoevsky.5 Wittgenstein often recommended Tolstoy's Twenty-three Tales to his friends, and while a schoolmaster in Lower Austria from 1920 to 1926, he constantly read The Brothers Karamazov, doing so aloud on one occasion in die presence of the village priest. He was especially impressed with Dostoevsky's character the Elder Zossima, "who could see into people's hearts and direct diem" (Rhees... (shrink)

If novels can be arguments, that fact should shape logic or argumentation studies as well as literary studies. Two senses the term ‘narrative argument’ might have are (a) a story that offers an argument, or (b) a distinctive argument form. I consider whether there is a principled way of extracting a novel’s argument in sense (a). Regarding the possibility of (b), Hunt’s view is evaluated that many fables and much fabulist literature inherently, and as wholes, have an analogical (...) argument structure. I argue that a better account is that some novels inherently exhibit a transcendental argument structure. (shrink)

Peter Lamarque, in chapter 4 of his 2010 book Work and Object, argues that certain artworks, like musical scores and literary texts, are such that there can be no forgeries of them that purport to be of an actually existing work—what Lamarque calls “referential forgeries”. Lamarque motivates this claim via appeal to another distinction, first made by Goodman, between “allographic” and “autographic” artworks. This article will evaluate Lamarque’s argument that allographic literary works are unable to be referentially forged (...) and will find them wanting. In so doing, the distinction between allographic and autographic artworks (and therefore artforms) will be called into question. In section I, I characterize referential forgery and Lamarque’s definition of allographic and autographic artforms. Section II critically examines Lamarque’s argument against the possibility of referential forgery in allographic artforms. Section III offers a case where it appears that a putatively allographic text’s type membership is sensitive to facts about its causal-intentional provenance. This case serves as pretext for Section IV’s identification of this causal-intentional relation with the sanctioning relation as formulated by Sherri Irvin. On the basis of considerations treated in sections I through IV, section V questions the tenability of the allographic/autographic distinction. -/- . (shrink)

Literary scholarship has paid little serious attention to Habermas' philosophy, and, on the other hand, the reception of Habermas has given little attention to the role that literary practice can play in a broader theory of communicative action. David Colclasure's argument sets out to demonstrate that a specific, literary form of rationality inheres in literary practice and the public reception of literary works which provides a unique contribution to the political public sphere.

Literary scholarship has paid little serious attention to Habermas' philosophy, and, on the other hand, the reception of Habermas has given little attention to the role that literary practice can play in a broader theory of communicative action. David Colclasure's argument sets out to demonstrate that a specific, literary form of rationality inheres in literary practice and the public reception of literary works which provides a unique contribution to the political public sphere.

In this paper, I set out to argue in favour of a philosophical posthumanist and Nietzschean reading of Ira Levin’s This Perfect Day while demonstrating how transhumanism isunbefitting of being called a Nietzschean theory. I will do this by establishing Chip, the protagonist, as a posthuman and being on the path of the ‘Overhuman’ whereas Wei, the antagonist, will be illustrated as Chip’s intended counterpart the Last Human. Through explaining ‘Transhumansim’ and connecting the field to Wei, I will showcase a (...) new way of reading transhumanist ideology, namely ‘Weiism’. The polar opposite in characters of ‘Overhuman’ and ‘Last Human’ will argue in favour of the Nietzschean paradoxical, as part of philosophical posthumanism. Amor fati and the eternal recurrence become posthumanist narrative tools through their weaving into the posthuman narrative of Chip. My argument is that by making philosophical posthumanism more existentialist in nature, it becomes simpler to argue against nihilistic and totalitarian tendencies of worshipping technology. Finally, it is the spiralling motion forward as a mix between the Nietzschean, eternally cyclical re-inventing of oneself and the posthumanist consideration for the future which makes for a literary combination of the two fields of study. (shrink)

In the innovative and engaging _Philosophy, Literature and Understanding_, Jukka Mikkonen investigates a range of developments in multiple disciplines that have complicated traditional debates between cognitivists and non-cognitivists about literature. To avoid the extremes this debate has fallen into, Mikkonen develops a middle course that grounds the cognitive value of literature in its contributions to cultural and self-understanding. As part of this argument, Mikkonen offers an account of how literature can contribute to self-understanding via its narrative form despite what he (...) sees as deep differences between real-life and literary narratives. He concludes that literature can (obliquely) aid our understanding of emotions like grief due to their shared processual nature, and self-understanding generally through its artificiality, the awareness of which allows us to recognize and correct fictionalizing narrative tendencies in our life-narratives. While I agree with Mikkonen’s conclusions, I believe they are too modest and that he provides the resources to claim even greater cognitive benefits from literature. Focusing on what it means to ‘have a self-narrative’ and describing narrative work as it occurs both unreflectively and through self-conscious reflection, this paper argues that that the selectivity, interpretation, and revision said to fictionalize life-narratives are in fact critical to self-understanding, which requires imaginative engagement of the sort Mikkonen sees as characteristic of the practice of literature. This suggests additional and more direct potential cognitive benefits of literature for self-understanding than Mikkonen describes, strengthening and supporting his broader position. (shrink)

"Mr. Bloch has attempted to establish what he calls a 'literary anthropology.' The project is important and ambitious. It seems to me that Mr. Bloch has completely achieved this ambition." –Michel Foucault "Bloch's Study is a genuinely interdisciplinary one, bringing together elements of history, ethnology, philology, philosophy, economics and literature, with the undoubted ambition of generating a new synthesis which will enable us to read the Middle Ages in a different light. Stated simply, and in terms which do justice (...) neither to the density nor the subtlety of his argument, Bloch's thesis is this: that medieval society perceived itself in terms of a vertical mode of descent from origins. This model is articulated etymologically in medieval theories of grammar and language, and is consequently reflected in historical and theological writings; it is also latent in the genealogical structure of the aristocratic family as it began to be organized in France in the twelfth century, and is made manifest in such systems of signs as heraldry and the adoption of patronymns.... It is an ingenious and compelling synthesis which no medievalist, even on this side of the Atlantic, can afford to ignore." –Nicholas Mann, Times Literary Supplement. (shrink)

The literary scene of Kant’s day goes unmentioned by philosophical commentators. Yet some of its salient features have a clear relation to his problems and positions, not demonstrably causal in every detail, but too close overall to be coincidence in the random sense. Kant’s critical view of society and his establishing of an independent aesthetic realm parallel the themes, and the arguments in self-defence, of contemporaneous radical writing; his discussion of how to exemplify ethical arguments bears on (...) the general Enlightenment problem of how to embody abstractions persuasively, while his theoretical and practical difficulties over written style have consequences for the reception of his own work, and were responsible for divisions among writers of the day who might otherwise have made common cause. All this adds a valuable dimension to our understanding of both Kant’s aesthetics and his time. (shrink)

This article provides support for the argument that horror media “works” by activating evolved cognitive and affective systems that are flexibly tailored to local socio-ecological contexts. Guided by previous work using evolutionary theory to study horror literature (e.g., Clasen 2012, 2018, 2019), I investigate horror manga’s popularity and international market, which indicate a cross-cultural preoccupation with horror transmedia that is expli­cable in terms of the form’s ability to target evolved psychological systems. Specifically, these multimodal texts elicit the evolved emotions of (...) anxiety, fear, and disgust in response to culturally specific and evolutionarily relevant narratives, characters, antagonists, and environments. Thus, horror manga reflects the myths, folklore, and religious traditions of Japanese society in addition to salient ubiquitous evolutionary threats such as predators, antisocial conspecifics, and infectious diseases. (shrink)

In this paper I review four texts in which Aristotle comments on Empedocles ' writing style. I show that Aristotle thought that Empedocles was a fine poet. That is fine, if a poet is what you want.

If any emergent historical criticism will tend by its own choice toward inclusiveness and eclecticism, it is also likely to be constrained by more subtle forms of complicity with the theoretical subculture within which it seeks its audience. It is not in principle impossible that we might choose to set going an initiative that is very different indeed from the methods and approaches already in place. But is nonetheless clear that we must be aware, in some propaedeutic way, of the (...) predispositions for or against such change that are latent in the horizons of the field as they are presently conceived and transmitted. An account of these predispositions will take up most of the following essay. Whether or not the particular texts I shall discuss constitute anything as firm as an establishment in the absolute sense does not matter much: they neither sum up the ongoing careers of their particular authors, in the diachronic sense, nor do they represent any simple totality in the critical culture of the late 1960s. All we need here is the weaker assumption: that these writings by Derrida, Paul de Man, Michel Foucault, and Pierre Macherey do offer, by virtue of their very notoriety, evidence of the priorities within the discipline that have afforded them their reputations in the first place. Thus, while they do not in themselves prohibit the emergence of alternatives, they do give us clues about the residual pressures that might constrain those alternatives, and they signal the questions that the historical party must respond to if it is to be recognized as making an important contribution to a debate. My argument will be that the influential critics of the late 1960s have made it very hard indeed to find a place for history, so much so that the avowedly Marxist alternative set forth by Jameson finds itself making disabling concessions to those very influences. I do not claim to describe the entire range of options and alternatives, and indeed offer no discussion of the most excitingly contested field of all, that represented by contemporary feminisms. I mean instead to demonstrate, through a reading of those methodologies that have become authoritative, that the status of historical inquiry has been so eroded that its reactive renaissance, in whatever form, threatens to remain merely gestural and generic. “History” promises thus to function as legitimating any reference to a context beyond literature exclusively conceived, whether it be one of discourse, biography, political or material circumstance. In particular, given the current popularity of discourse analysis, it seems likely that for many practitioners the historical method will remain founded in covertly idealist reconstructions. David Simpson is professor of English and comparative literature at the University of Colorado, Boulder. He is the author of various books and essays, most recently The Politics of American English, 1776-1850 and Wordsworth’s Historical Imagination: The Poetry of Displacement. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.2 (2003) 363-381 [Access article in PDF] Imre Lakatos and Literary Tradition Suzanne Black ALTHOUGH THE CANON DEBATES have largely subsided, the categories of tradition and canon remain problematic and unhelpfully contentious. Some authors view tradition as weighty and oppressive, while cultural studies scholars criticize the concept itself as elitist and exclusionary. Yet literature, like other creative pursuits, cannot avoid its past; nor should it (...) seek to do so. Progressive ideas have a history and a logical development; to argue otherwise leaves them vulnerable to accusations of faddish trendiness. Artists learn from the work of other artists, and critics rely on older examples to describe and understand what they study. Thus activist critics, writers, and moderate scholars all need some way to react to and to conceive of literary history.E. Dean Kolbas has argued that shared assumptions such as a preoccupation with educational institutions limit the arguments of conservative humanists and canon openers alike. 1 If the perspective of literary critics is indeed narrow, they may benefit from broader and more interdisciplinary studies of tradition. For example, historicist philosophy of science devoted considerable energy to understanding how major accomplishments influence the work of scientists. This scholarship offers several complex accounts of the ways science is shaped by its past, and so can offer literary critics another, more structured, more rational, and even more flexible, view of tradition. In addition, some of its preoccupations, like the emergence of consensus or criteria for the selection of representative examples, are relevant to the canon debates. Finally, because writers and scientists understand the past differently and because their ideas develop in distinct social contexts, literary theory and philosophy of science have potentially complementary strengths and weaknesses. [End Page 363]In this article I first summarize Imre Lakatos's conception of the research program and explain some of its potential benefits for an understanding of literary tradition. Then, to show that the concept of a "literary research program" makes sense, I use the category to examine the ideas of Ricardo Reis, a neo-classical persona created by the Portuguese modernist Fernando Pessoa. Finally, I turn to a discussion of W. H. Auden's "Letter to Lord Byron" to identify some difficulties in applying Lakatos's model to literature. To view Auden as working within a Byronic program directs attention to his interpretation of the older poet, but the poem's formal innovation and its irony suggest some important differences between artistic and scientific approaches to the past, as well as some limitations of Lakatos's analytical framework.During the 1960s and 1970s, partly in response to Thomas Kuhn, but also in reaction against other approaches to their field, several important philosophers of science sought to incorporate the history of science into their work. David J. Hess terms this tendency a historicist "period and style" 2 within philosophy of science. As the Hungarian philosopher Imre Lakatos (echoing Kant) contended, "Philosophy of science without history of science is empty; history of science without philosophy of science is blind." 3 Generalizing about how scientists think (or ought to think) while still bearing in mind actual science led some philosophers of science to devise subtle and provocative ways of viewing the past. Kuhn's notion of paradigms as "models from which spring particular coherent traditions of scientific research" 4 is the best known and influenced Stanley Fish and Frank Kermode. Generally, however, literary critics are unaware of philosophers' responses to Kuhn and of their attempts to refine his category of paradigm. Larry Laudan, for example, sought to delineate the role of "research traditions" in the natural sciences. As his terminology suggests, these formulations overlap to some extent with literary understandings of past practice.But how much overlap is there, and is it significant? While Kuhn and Laudan both mention the arts, they disagree about the relevance of their work to the humanities. In 1969, noting that "topics" such as "competing schools," "changing standards of value" and "altered modes of perception" "have long been basic for the art historian," Kuhn argued that The Structure of Scientific Revolutions "makes them central to... (shrink)

This article aims to present a Žižekian reading of the British author David Herbert Lawrence. The contemporary continental philosopher has tackled each of the British author’s reoccurring themes individually and thus may be used as a keystone for a valid literary interpretatio n. The paper begins by shedding light on the representation of Western ideology, moves further into the comprehension of the impacts of modern cultural capital and the limitations of industrialization. While at the same time the dissertation targets (...) another component of the romantic poet’s many writings which are characterized by the regeneration of the subject’s carnal presence as a defense mechanism against the prevalent culture of de-humanization. The argument at hand is that the reconstruction of the bodily image rendered through Lawrence’s erotic literature is not one that portrays promiscuity, but rather demonstrates a transgression of the Lacanian symbolic and the attainment of a partial rendition of a Hegelian totality. Lawrence’s six novels and set of poems are thoroughly analyzed from a strictly Žižekian p erspective to demonstrate that th e two authors share thematic representations, a common worldview and propose a manifestation of how literary analyses may be conveyed using Žižek as a philosophical lens for literary interpretation. (shrink)

Can fictional narration yield knowledge in a way that depends crucially on its being fictional? This is the hard question of literary cognitivism. It is unexceptional that knowledge can be gained from fictional literature in ways that are not dependent on its fictionality (e.g., the science in science fiction). Sometimes fictional narratives are taken to exhibit the structure of suppositional argument, sometimes analogical argument. Of course, neither structure is unique to narratives. The thesis of literary cognitivism would be (...) supported if some novels exhibit a cogent and special argument structure restricted to fictional narratives. I contend that this is the case for a kind of transcendental argument. The reason is the inclusion and pattern of occurrence of the predicate ‘believable’ in the schema. Believability with respect to fictional stories is quite a different thing than it is with respect to nonfictional stories or anything else. (shrink)

Acknowledging the powerful impact that Plato's dialogues have had on readers, Jill Gordon shows how the literary techniques Plato used function philosophically to engage readers in doing philosophy and attracting them toward the philosophical life. The picture of philosophical activity emerging from the dialogues, as thus interpreted, is a complex process involving vision, insight, and emotion basic to the human condition rather than a resort to pure reason as an escape from it. Since the literary features of Plato's (...) writing are what draw the reader into philosophy, the book becomes an argument for the union of philosophy and literature—and against their disciplinary bifurcation—in the dialogues. Gordon construes the relationship of Plato's text to its audience as an analogue of Socrates' relationship with his interlocutors in the dialogues, seeing both as fundamentally dialectic. On this insight she builds her detailed analysis of specific literary devices in chapters on dramatic form, character development, irony, and image-making. In this way Gordon views Plato as not at all the enemy of the poets and image-makers that previous interpreters have depicted. Rather, Gordon concludes that Plato understands the power of words and images quite well. Since they, and not logico-deductive argumentation, are the appropriate means for engaging human beings, he uses them to great effect and with a sensitive understanding of human psychology, wary of their possible corrupting influences but ultimately willing to harness their power for philosophical ends. (shrink)

In this essay, the authors describe human consciousness as an embodied experience that emerges from a complex relationship of the biological and the phenomenological. Following arguments made by ) and ), they argue that one primary way that human beings develop self‐awareness of their own minds is by becoming aware of other minds. These mind‐reading abilities become fundamental to the continual adaptations that human beings must make in their daily lives. The authors offer descriptions of two literary texts (...) to illustrate how these texts participate with other forms of culture and with human biology to produce experiences of self‐conscious awareness. They argue that if consciousness is understood as an emergent property of biology and culture, and if human beings develop self‐awareness of their own minds by becoming cognisant of other minds, then it follows that literary experiences create productive mind‐reading practices that contribute to the ongoing development and emergence of consciousness and, as such, are important for education. They conclude that extended opportunities to critically inquire into readers’ imagined identifications with characters and their situations can support the development of empathic understanding of others. (shrink)

Expectations are growing that literature may contribute to clinical skills. Narrative medicine is a quickly expanding area of research. However, many people remain sceptical to the idea of literature having a capacity to save the life of medicine . It is therefore urgent to scrutinize both the arguments in favour of and those against the potential of literature for increasing medical understanding. This article attempts to do this. It does in fact support the assertion that literature is important, but (...) it stresses precisely its character of potential. There is no simple connection between acquaintance with literary texts and understanding of the different aspects of medical work. Much more need to be known about the conditions which allow the experiences residing in texts to be transformed into lived personal knowledge. (shrink)

This article is a reaction to the following argument that has been offered in favor of abstract realism about fictional characters: fictional characters do not impose any extra ontological cost on our ontology, because they belong to the same ontological kind as literary works, which we already accept. I address arguments that have been adduced by Jeffrey Goodman in defense of this argument, and I show that there is no relevant parallelism between fictional entities and literary works (...) that the abstract fictional realist can use to bolster her theory. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 30.2 (2006) 450-470 MuseSearchJournalsThis JournalContents[Access article in PDF]Romantic Love: A Literary Universal?Jonathan Gottschall Washington and Jefferson College (JG)Marcus Nordlund * Göteborg University (MN)ITo love someone romantically is—at least according to innumerable literary works, much received wisdom, and even a gradually coalescing academic consensus—to experience a strong desire for union with someone who is deemed entirely unique. It is to idealize this person, to think (...) constantly about him or her, and to discover that one's own life priorities have changed dramatically. It is to care deeply for that person's well-being and to feel pain or emptiness when he or she is absent.But is this intense emotional experience a universal experience, something that is characteristically and quintessentially human, or is it merely a sociocultural construct that belongs to a particular time and place? On this point there is less agreement, both within and between different academic disciplines. The audacious question we want to raise in the pages that follow is whether literature—or more specifically, a large-scale, multiple-coder content analysis of thousands of folk tales drawn from different parts of the planet—can contribute something to this difficult question about love, culture, and human nature.Let us first look briefly at the theoretical problem that we aim to address. A widespread view among literary scholars and social scientists over the last decades has been that romantic love is a social construction specific to Western culture. This is part of a relentless skepticism [End Page 450] toward assumptions that important categories of human psychology and emotion—romantic and parental love, gender, sexual orientation, and so on—are "natural" rather than constructed. This position is often, if not always, linked to an ideological concern to demystify (or at least problematize) what is perceived as an essentially destructive or oppressive emotion or belief. Taking her cue from Simone de Beauvoir, Marilyn Friedman gives no less than ten reasons why it may be problematic for women to fall in love with men. 1Of course, no argument of any kind can be strictly ideological in nature since it always involves empirical assumptions—either explicit or implicit—about the nature of things. For example, the psychoanalyst E. S. Persons opines that the "best evidence that romantic love is not hard-wired into the emotional repertoire of humanity but is a cultural construct is the fact that there are so many cultures in which it is virtually absent." 2 Another frequent argument for love's constructedness has been that "there is no definition that describes love throughout the ages or across cultures." 3In some literary-critical accounts, it is even argued that romantic love is a cultural invention that can be traced back with precision to the courtly troubadour culture of twelfth-century France. 4 According to yet another school, represented by the influential literary theorist Jonathan Culler, "the notion of romantic love (and its centrality to the lives of individuals) is arguably a massive literary creation." 5While the social constructivist position on romantic love typically involves a strong commitment to cultural specificity, a weaker version is held even by some cognitive theorists who grant more to biology and panhuman traits. From the perspective of their communicative theory of emotion, Philip Johnson-Laird and Keith Oatley argue that the "components [of romantic love] exist separately in different societies, but their integration into a recognizable complex is a cultural accomplishment [by the West]." 6At the other end of the romantic love continuum we find those who argue that this emotion belongs to a universal human nature: or, more specifically, that it can be attributed to specialised neural circuits whose ultimate purpose is to enhance reproductive success. Not surprisingly, this has been a favorite position among evolutionary psychologists, and it has recently received some support from neuroscientific studies.For example, the neuroscientists Andreas Bartels and Samir Zeki claim to have uncovered a "functionally specialised system" that lights up in fMRI (magnetic resonance) scans of brains whose owners claim to... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Language, Truth, and Literary Interpretation: A Cross-cultural ExaminationYanfang TangReflections on the philosophy of language in China and the West suggest that philosophers’ critiques of language center on two issues: its inadequacy and its metaphoricity. The former indicates the inability of the signifier to capture the multiplicity of the signified, whereas the latter reflects the semantic surplus of the signifier over its referent. While modern Western philosophers focus on (...) the metaphoricity, frequently referred to as the “play,” of the sign, philosophers in traditional China targeted what they believed to be the inherent inadequacies of words in their discussions. 1 Both aspects of language are considered the cause of equivocal or ineffective speech, and thus of impediment to correct understanding, and yet philosophers of the two cultural traditions have come to different conclusions about reading or literary study.To Western philosophers and literary critics, the metaphoricity of language incurs a serious problem for reading. Because the sign, in its incessant play, always points to more than is needed to the point that its real reference is blurred or covered up, correct reading of a literary text becomes impossible. Such phrases, frequently appearing in contemporary critical writings as “the tyranny of words,” “the indeterminacy of meaning,” and “the unreadable text,” testify to the widespread concern about the problems of language in the West. On the other hand, despite their acute awareness of the intrinsic deficiency of words, Chinese philosophers and poets never gave up their hope in the efficacy [End Page 1] of writing and literary understanding. Indeed, the enterprise of creative writing and literary criticism boomed in China at the time when the philosophical aphorism that “words do not exhaust meaning” (yan bu jin yi) was brought home to almost every poet and critic flourishing between the third and fourth centuries. For the following one and a half millennia the question of the objectivity of meaning, the crux of Western post-structuralist discourse and quarrels, has never been raised in Chinese philosophical or literary discussions. This wide contrast of outlooks on reading informed by the same disillusionment with language is rather intriguing. To account for this phenomenon this article attempts to look at the differences in the way language is perceived and practiced in China and the West. It shall also probe into the concepts of truth underlying the two cultural traditions because such an inquiry sheds some important light on the different perceptions people in the two parts of the world hold concerning language and literary practice.Metaphoricity: The Way In or Out of the Dilemma?It is interesting to say that while twentieth-century discoveries about the metaphoricity of language have made some Western critics conclude that “all reading is misreading” and that “there is no such a thing as an objective meaning,” this same awareness—that language is essentially metaphorical in nature, that it always says more than what it appears to—posed a solution for Chinese philosophers and poets to get out of the linguistic dilemma in which they found themselves. But before we enter the topic, let us first look at the dominant views of language in each cultural tradition. First, as Yip Wai-lim and others have demonstrated, the Chinese philosophical tradition began with a rejection of language as a reliable means for cognition and expression. 2 Philosophers in ancient China viewed language, or in their own terminology, words, as an instrument for expressing ideas in the mind or describing objects in the world, but they considered them inherently limited and thus unable to carry out their tasks effectively. The earliest statement of this conception is recorded in the ancient classic the Book of Changes, where it says: “Writing does not exhaust words, and words do not exhaust meaning.” 3 Attributed to Confucius and thus also representing Confucian ideas, 4 this statement was elaborated, amplified, and developed into a systematic argument by Daoist (Taoist) philosophers Lao [End Page 2] Zi and Zhuang Zi (369?-286? bc). Approaching the issue from the perspective of Dao (Tao), these founders of Daoist school viewed language as intrinsically limited in its function of representing Dao. This is because Dao, the cosmic principle or pattern, is dynamic in... (shrink)