The purpose of this study is to offer a brief biography of Mr. M.H. Panhwar and Dr. Nabi Bux Khan Baloch, as well as their work in Sindhological studies along with a brief description of their literary differences on the origin of Sindhi language and history. A systematic literature review methodology was used to explore the contribution and contradiction of both the scholars. The study found that both the scholars were renowned researchers who worked in the fields of history, (...) archaeology, sociology, literature, and language. Both were up-to-dated academics, but their scholarly interests in history, archaeology, language, and literature were diametrically opposed. The study revealed that M.H. Panhwar was a rigorous researcher who conducted studies using scientific techniques and with the assistance of archaeological and geographical evidence. The study further explored that Dr. N. A. Baloch was a folklorist, educationist and extensive writer whose ideological hypotheses were primarily based on mythology and preserved folk literature. (shrink)

A demonstration of how rich and suggestive the notion of contradiction in discourse can be, noting its function in the works of Hesiod, Plato, Milton, Kant and Hegel, Wordsworth, Melville, Freud, and others. Concludes that rhetorical and conceptual contradictions produce--rather than disable--constructive discourse. Paper edition (unseen), $14.95. Annotation copyrighted by Book News, Inc., Portland, OR.

In this combined examination of the history, theories, and practices in the teaching of English, the author presents compelling insight and practical solutions to the crisis in English education and the conflict among critical theories, radical pedagogy, classroom practice, epistemics, the pressure to vocationalize the curriculum, and the corporatization of institutes of learning.

In this combined examination of the history, theories, and practices in the teaching of English, the author presents compelling insight and practical solutions to the crisis in English education and the conflict among critical theories, radical pedagogy, classroom practice, epistemics, the pressure to vocationalize the curriculum, and the corporatization of institutes of learning.

What is the relation of politics to theory? Theories make political claims, theorists make political critiques, and academics use theory in the pursuit of institutional ends: theory is not only about politics but is itself a political practice.

Sexual competition in the epics is looked at for examples of conflict between older or more powerful males and younger or subordinate males over fertile females, a pattern that would have characterized the human environment of evolutionary adaptation (EEA). In the Iliad and Odyssey, the Old Testament, the Arthurian Cycle (and its Celtic originals), the Volsunga Saga, and El Cid, this pattern is found to be the frame or prime mover or a central feature of the narrative. It is (...) suggested that changes through time in the literary treatment of the theme reflect a progressive dilution of the traditional power of older males over mate choice. (shrink)

While Nietzsche's works and ideas are relevant across the many branches of philosophy, the themes of contest and conflict have been mostly overlooked. Conflict and Contest in Nietzsche's Philosophy redresses this situation, arguing for the importance of these issues throughout Nietzsche's work. The volume has three key lines of inquiry: Nietzsche's ontology of conflict; Nietzsche's conception of the agon; and Nietzsche's warrior-philosophy. Under these three umbrellas is a collection of insightful and provocative essays considering, among other topics, (...) Nietzsche's understanding of resistance; his engagement with classical thinkers alongside his contemporaries, including Jacob Burckhardt; his views on language, metaphor and aphorism; and war, revolt and terror. In bringing together such topics, Conflict and Contest in Nietzsche's Philosophy seeks to correct the one-sided tendencies within the existing literature to read simply 'hard' and 'soft' analyses of conflict. Written by scholars across the Anglophone and the European traditions, within and beyond philosophy, this collection emphasises the entire problematic of conflict in Nietzsche's thought and its relation to his philosophical and literary practice. (shrink)

This article seeks to provide a theoretical exploration of Prandi's model of conceptual conflicts in metaphors (2017) and to highlight the advantages such model presents in its applications to translation and the text analysis preceding and preparing translation. Such advantages are mainly identified in the model aptness to meet the pragmatic requirements of translation, seen as a practice-based, goal-oriented and context-driven activity. These advantages also distinctly emerge from a comparison with the main tenets of the cognitive tradition. The theoretical basis (...) for an understanding of conceptual conflict and its applications to translation are illustrated through the analysis of three brief excerpts from literary texts in English and their Italian translation. (shrink)

This chapter explores the potential relevance to the interpretation of later Greek and Roman literature of the competing Hellenistic-Roman patterns of thought about the development of character discussed in Chapters 3 and 4. The presentation of collapse of ethical character in Plutarch’s Lives is taken as illustrating the Platonic-Aristotelian pattern of thinking. The depiction of psychological conflict and disintegration in Seneca’s Medea and Phaedra is seen as illustrating the contrasting Stoic pattern. Tracing philosophical influence on Virgil’s Aeneid is acknowledged (...) to be more difficult and complex. In the presentation of inner conflict and passions in Dido and Aeneas, there are grounds for seeing the influence of both Platonic-Aristotelian and Stoic-Epicurean patterns. But the latter pattern is presented as ultimately more important for making sense of the distinctive features of Virgil’s portrayal. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.2 (2002) 260-272 [Access article in PDF] Tragic Conflict and Greatness of Character Ariel Meira IT IS A SURPRISING FACT that some of our best literary examples of greatness of character are of persons acting in a way that involves them in a terrible burden of guilt. As spectators we perceive Oedipus, in Sophocles's Oedipus the King, 1 as one who upon discovering the (...) identity of his father and mother affirms that he bears guilt for killing the former and committing incest with the latter, and we typically concur in some vague way with his affirmation. 2 We do not, after all, think that his affirmation is merely the consequence of some confusion about morals on his part, and that he would have been more justified in treating his discovery with a light conscience. Furthermore, it seems that our conception of his greatness is intimately bound up with our being acquainted with him as someone who acted so as to render himself profoundly guilty in this way. What is paradoxical is that moral taint would be expected to reduce our admiration for a character and our attribution of greatness to it. Why then should noteworthy paradigms of greatness of character be morally tainted characters? Can we make sense of the idea that some kinds of guiltiness might be constitutive of greatness of character?As it is well-known, Aristotle says that in order for a tragedy best to achieve its desired effect, it should portray a protagonist "who is not pre-eminent in moral virtue, who passes to bad fortune not through vice or wickedness, but because of some hamartia...." 3 The term "hamartia" is variously translated as "piece of ignorance," "miscalculation," and "error of judgment," but as O. B. Hardison notes, it must be treated as designating a moral flaw, because it renders the protagonist [End Page 260] less than "pre-eminent in moral virtue." 4 However, even if the term is interpreted as covering what I have described as the moral taint associated with greatness of character, it should be clear that Aristotle does not provide here an answer to my question. At best he can be viewed as explaining why morally tainted characters of this sort are crucial to achieving tragic effect. He is not explaining how it is that such characters can be viewed as paradigms of greatness.I propose not to treat this paradox in its most general form, but rather by confining my attention to an interesting subclass of cases. What I have in mind are cases in which a protagonist finds himself or herself in what I shall call circumstances of tragic conflict. Such circumstances determine that a choice must be made between two (or perhaps more) courses of action, even though each of the courses involves the violation of an important moral claim, or the destruction of a crucial value. As spectators or readers, we typically perceive the protagonist as emerging with a heavy burden of guilt (much in the way noted above regarding Oedipus), and we recognize that he or she was bound to emerge guilty, no matter which course of action would have been chosen. Cases such as that of Agamemnon (bearing guilt for the sacrifice of his daughter Iphigenia in Aeschylus's Agamemnon), 5 of Jephthah (again bearing guilt for the sacrifice of his daughter, in Judges 11), 6 and of Orestes (bearing guilt for the murder of his mother Clytemnestra in Euripides's Orestes) 7 belong quite uncontroversially to this subclass. 8These protagonists make difficult choices, and carry them out with courage and resolution, qualities which explain to some extent our perception of them as possessing greatness of character. But in making their choice, they necessarily render themselves guilty, whether or not they have made the correct choice (assuming there is a correct choice in the circumstances). And we sense that suffering the peculiarly poignant pain which accompanies their guilty action is at least partly constitutive of their greatness. Clearly, we are faced again with the paradox of the association of guilt with greatness of character.In... (shrink)

Philosophers should not be put off by the preconceived notion that there is nothing of interest or value to be gained from acquaintance with that hybrid genre of writing that is vaguely and for the most part disparagingly known as “theory”. For it is in just this long disputed border-zone where philosophy comes into contact (or conflict) with language at its most inventive, unpredictable and wayward that thought may find itself venturing onto ground that has not yet been trodden (...) into ruts by the keepers of received philosophical-linguistic lore. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Michael Murray THE CONFLICT BETWEEN POETRY AND LITERATURE While Heidegger, Gadamer, and Ricoeur are widely regarded as engaged in a common hermeneutic enterprise, the greater radicality of Heidegger must fracture such a view. This difference shows up in a striking manner in the conflict between the concept of poetry and the concept of literature. After elucidating its significance, I shall explore a new sense of fiction that (...) reinscribes the conflict and invites us to interpret a canto of Wallace Stevens. Let us enter Gadamer's dispute with Heidegger where he declares: "It is true... I can appeal to the 'transcendental' sense of Heidegger's Being and Time. But where else I call on Heidegger — in that I seek to think 'understanding" as a 'happening7 — [my thought] is turned in an entirely different direction." That direction, Gadamer goes on to explain, arose "out ofthe need for self-clarification that came over me as a philologist and interpreter of philosophical texts." To which he adds trenchantly: "My point of departure is not the complete forgetfulness of Being, the 'night of Being,' rather on the contrary — I say this against Heidegger as well as Buber— the unreality of such an assertion. That also holds good for our relation to the tradition." ' This last statement is directed against the encompassing project of Heidegger's later work, his epochal history ofBeing from Anaximander to Nietzsche. This ontological history or aletheia process is charted in terms of the figure of day and night that come so easily in German where the West is das Abendland. Heidegger hyphenates this name (Abend-land) in order to bring forward its status as land of the evening. The historical 59 60Philosophy and Literature evening in question points us back toward the dawn of the West in early Greek thought, poetry, and life, and to its second weaker beginning in the Classical period, and thence ahead to die darkening ofthe modern world, marked by the flight of the gods, the destruction of the earth, the massification of man, and the resentment of the creative — a darkening that has passed into its night and approaches its midnight now in the age of the Gestell or total framework. As such this time betokens the possibility of a second dawn nourished by the memory of the first, though it cannot be a return. Elsewhere Heidegger elaborates this late modern situation in Hölderlinian terms as the Age between the No Longer and the Not Yet. What is thought by the time of die Between and by the language of the lighting-concealing history-of-Being is, according to Heidegger, what really specifies the hermeneutic situation of modern man, poetry, and society. While Gadamer accepts the nineteenth- and twentieth-century discovery ofhistoricity, and tries to advance insights of Heidegger along with his own to clarify the conditions of humanistic knowledge, he rejects the consummative eschatology of Hegel but no less the catastrophic eschatology of Heidegger. As he emphatically declares: "I do not believe at all that we live Tietween' two worlds.... Only the prophet who already sees the promised land would have, in my estimation, the possibility of saying the like. I remember, instead of this, the one world I only know, and which in all decay has lost far less of its evidence and cohesion than it talks itselfinto."2 Of course Heidegger himself insists upon a relation to tradition, reiterated in the asseveration of his later years "that everything essential, everything great arises from man's rootedness in his homeland and tradition."3 Nevertheless, one must say that the revolutionary renewal of Heidegger that presupposes the revolutionary break is not the renewal for which Gadamer speaks. To Ulustrate this divergence of Gadamer from Heidegger we may ponder the concept of the classic. This example occupies an important place in the argument of Truth and Method because the experience of the classic is recognized as combining a genuine historical efficaciousness with a normative significance in the formation of the Western literary tradition (TM, pp. 253ff). In a more recent paper Gadamer explains die "peculiar contemporaneity" that accrues to classic works of literature by reason of tiieir Wirkungsgeschichte or effective-history.* First, they occupy "a... (shrink)

In psychoanalytic theory, the notion of the person inevitably evokes the notion of subjectivity. Not that the former can be reduced to the latter; but if psychoanalytic theory is anything more a certain type of therapeutic practice, it is indeed a theory of the subject or a theory of the subjective relation. We should perhaps begin by specifying that the subjective relation must be understood as a complex whole: an intrapsychic relation, that is, a relation between the various instances that (...) make up the subject, and at the same time an inter subjective relation, that is, a relation between (at least) two subjects. These two aspects are both inseparable and conflictual. They are inseparable because the self cannot exist, cannot construct itself without the other (whether this be a parental other or a peer). They are conflictual for at least two reasons. On the one hand, because the intrapsychic relation is by definition an arena of conflict: the conflict that opposes the Ego to the contradictory but equally tyrannical demands of the Id - which translates its attachment to the body and testifies to its inherent drives - and of the Superego, which represents its rootedness in the social and cultural sphere. And on the other hand, because this subject, which is thus divided within itself, must undergo the trial of bringing its desire face to face with the desire of the others with whom it is destined to live. The psychoanalytic theory of the subject is therefore the theory of a doubly heterogeneous relation: there is the heterogeneity of the components of the self, which go, once again, from their anchorage in somatic drives to the most ethereal expressions of the ideal; and there is the heterogeneity of the relation between this self and the self of the other. Moreover, this double heterogeneity is not limited to the matter of components: after all, these, one might think, would ideally be open to reabsorption into the homogeneity of the individual. On the contrary, this heterogeneity gives rise to a double rationality or double logic. Psychic causality - to borrow André Green's expression - is also driven by the conflict that opposes what in psychoanalysis are known as the primary processes, which Freud has described in chapter 7 of the Traumdeutung and which govern the formation and organization of the dream images, to the secondary processes, which are those processes that govern our daytime thoughts. Psychic causality is formed by the struggle for hegemony between these two logics, each of which is itself acted upon by an antagonism between what Freud, at the end of his life, called Eros and Thanatos, the urge for Life and the drive toward death or destruction. (shrink)

While it is no secret that Valerius Flaccus’Argonauticaexplores civil-war themes at great length, the conflicts arising on the island of Peuce between the Colchians and the Argonauts and within the Argonautic party itself in the epic's final book (8.217–467) have been overlooked in critical studies of Valerian civil war. This article argues that Valerius presents the conflicts on Peuce as examples of civil war—emphasizing the bonds of kinship between the conflicting parties and illustrating effects of this discord using imagery of (...) stasis and cosmic dissolution associated with civil war in the wider Latin literary tradition—and thus invites reflection on the development and manifestation of internecine strife within theArgonautica. (shrink)

0. Between Literary Theory and a General Poetics 0.1. A Methodological Assessment of Modern Literary Theory. The Starting Point: A Conflictive Present At...

Although Kierkegaard's writings have not exerted an essential influence on canonical trends in literary criticism and theory, his work has supplied subtle and important inspiration for numerous eminent literary critics and theorists. Kierkegaard's influence transcends many polemics in literary theory—a claim justified by the fact that literary critics who draw significant examples and authority from Kierkegaard support varied and sometimes greatly conflicting philosophical and moral positions. This chapter argues that literary‐critical topics invested in Kierkegaard's texts (...) and ideas can be grouped loosely under three thematic banners: irony, repetition, and silence. These themes are often pursued with reference to Kierkegaard's On the Concept of Irony, Repetition, and Fear and Trembling, respectively. The chapter discusses key examples from each of the three common themes, and indicates some of the important exceptions to this typology. (shrink)

I introduce a middle route between giving a sharp definition and examples to explain what a thought experiment is. It comprises an account of the concept thought experiment that we can rightly apply to different extents. Three explanatory virtues of this account include (i) that we can use it to explain why one thing may seem to be less of a thought experiment than another, (ii) that it provides for a fine-grained explanation of the relation between literary fiction and (...) thought experiment and (iii) that we can use it to explain conflicting intuitions about whether certain literary fictions are thought experiments. (shrink)

Frantz Fanon: Conflicts and Feminisms represents a bold examination of previous feminist criticisms of Fanon and argues that Fanon's writings on women and resistance provide the formative kernels of a liberating praxis for women existing under colonial and neocolonial oppression. Sharpley-Whiting skillfully brings together approaches from a broad range of academic fields, including critical race theory, literary and cultural criticism, and psychoanalysis as she assesses the relevance of Fanon's theories of oppression to a feminist politics of resistance.

Using specific examples drawn from Sartre’s oeuvre, I propose to treat the contemporary problem of critical method—or, more precisely, of critical interpretation—in literary texts. I begin by examining the meaning of Sartre’s The Flies, one of his earliest dramatic works.The themes of the play are easily grouped into pairs of opposing concepts: authenticity versus inauthenticity, lucidity versus bad faith, revolt versus conformism, atheism versus religion, revolution versus reaction, and so on. All these themes appear, and are organized, as a (...) function of the conflict between Orestes and Aegisthus. The drama is the embodiment of thematic oppositions. If these oppositions were overcome, the.. (shrink)

Publication date: 14 June 2017 Source: Author: Muhammad Hussein Oroskhan, Sayyed Mohammad Anoosheh By the 1930s, the Iranian society was driven toward modernization. Consisted with the concept of modernization, feminism ushered a whole new era in Iranian history. Besides, the outbreak of World War II and the consequent abdication of Reza Khan afforded women a golden opportunity to fight for their rights and emancipations. This movement was also supported by the famous male writers of the time among whom Jalal Al-e-Ahmad (...) marked a prominent place. He was keen enough to properly explore women's situation in his works and notice the drastic effect of modernization upon women's situation. Hence, in this study, we try to investigate Al-e-Ahmad's short story entitled “Pink Nail Polish” 1948 with respect to Bakhtin's Carnivalesque's theory. Furthermore, it is shown how Bakhtin's new literary mode can create the excellent chance of studying Iranian women's situation properly. Finally, we explain that due to the drastic change of Iranian women's situation towards modernity, they may lead a double life if their rights are not respected. This can lead to a disproportionate relationship between the husband and the wife as the marital infidelity becomes rampant. (shrink)

Meta-axiological distinctions introduced here introduced here include cognitivism and non-cognitivism on the status of evaluative discourse, as well as revisionary and non-revisionary positions. I argue that anti-realist and error-theoretical views of evaluative claims tend to be revisionary in ways that conflict with the realist orientation of much evaluative discourse, yet I contend that this does not provide a decisive reason in favor of cognitivism. While categorical aesthetic imperatives are hard to justify, some of these hypothetical imperatives have important implications (...) in arguments over literary value. Dispositional accounts of value and 'ideal judge' conditions are also canvassed. In what follows I shall take up some central issues in meta-axiology, the branch of philosophy that engages in second-order reflection over values and evaluative discourse. My highly selective survey will be conducted with an eye to the implications of key philosophical strategies for questions pertaining to the topic of literary value. I propose no systematic theory of the latter, but do schematically indicate what I take to be some cogent basic assumptions and lines of future enquiry. (shrink)

Professionalization and political engagement are usually placed as incompatible in the case of journalism and the mainstream press, resulting in an identification of cultural resistance exclusively with alternative/amateur vehicles. I will use the concept of journalistic field as introduced by Pierre Bourdieu to review these assumptions and to discuss a form of political resistance that acts in one’s own area of knowledge, is not overtly political and whose effects are not immediately accountable for.Drawing examples from my research on two (...) class='Hi'>literary newspapers published in the 1950s in Brazil and Uruguay, this paper will focus on the implications of didacticism for literary criticism as a genre of newswriting. The analysis of these newspapers will lead to a reflection on two main issues: a) the conflict between the professionalization and democratization of literature; and b) the definition of resistance as necessarily an action that is against something. The article will reconsider education in journalism as a form of resistance, taking into account its risks of becoming political indoctrination and commercial manipulation, but emphasizing its potential as a way of expanding access to literature. (shrink)

Enhancing the quality of learning opportunities for students with disabilities and the learning level attained is a pending challenge. This challenge is especially relevant in the context of special schools, where the learning possibilities derived from interactions with others is limited. However, providing these students with a sufficient level of instrumental learning, such as literacy, and communicative and reasoning abilities is crucial for their subsequent educational and social opportunities. In this case study we analyse a special school that has implemented (...) Dialogic Literary Gatherings with their students as a means to increase learning interactions within the group around the reading and debate of classical books. Semi-structured interviews were conducted with the school principal and with a teacher of the transition to adult life course, and two focus groups were conducted with teachers–one with primary education teachers and one with secondary education teachers–and two focus groups with students–one with primary education students and one secondary education and transition to adult life students–. On the one hand, results show the characteristics of the Dialogic Literary Gatherings that allowed these students to participate and learn. On the other hand, several improvements have been observed. First, regarding instrumental learning, students increased their motivation for reading, and improved their communicative and reasoning abilities and in their reading proficiency. Second, regarding students' behavior, conflict has reduced, solidarity attitudes have increased, and they have acquired dialogic and argumentative habits. Finally, at the emotional level, they gained self-esteem and confidence and feel more empowered to make their voice heard. (shrink)

The ArgumentStylistic analysis of an admittedly speculative scientific article can suggest what is involved in the social act of speculation. Walter Gilbert's influential paper “Why Genes in Pieces?” serves as an example of the conflicting demands of the need to display politeness and the need to display the urgency and excitement of the issues. Socially significant stylistic features emerge in comparison with another paper Gilbert co-authored, where the speculations occur in the discussion section of an experimental report, and in comparison (...) with another, more typical “News and Views” article by another author. The stylistic features include the use of impersonal subjects, the hedging of verbs, the unusual uses of the present tense, and the reliance on repetition, rather than conjunctions or pronouns, for textual cohesion. Later references to the article assimilate it to various lines of research without suggesting its speculative style. (shrink)

The narratives studied by schema-based models or story grammars are generally simpler than those found in literary texts, such as short stones or novels. Literary narratives are indeterminate, exhibiting conflicts between schemata and frequent ambiguities in the status of narrative elements. An account of the process of comprehending such complex narratives is beyond the reach of purely cognitive models. It is argued that during comprehension response is controlled by affect, which directs the creation of schemata more adequate to (...) the text. Several properties of affect that make it appropriate for this model of narrative are discussed. A short story by Virginia Woolf is analysed in the light of the proposed model. A study with readers of the story is described, which illustrates the process of schema formation: Shifts in the relative importance of story phrases across the reading and the comments made by readers point to a process of schema creation under the control of affect. It is argued that affect may play a more productive role in cognitive processes than is generally acknowledged. (shrink)

Conflict revolves around communication and culture intersections. This interplay has historical antecedents and contemporary applications. Conflicts involving Indigenous Peoples and colonizers appear in literary representations, and contests between communities and cultures in historical, political and social settings. Amnesty International reports Indigenous Peoples’ realities and efforts to lobby for social justice. One effort is in becoming visible and seeking meaningful recognition examined in media coverage of the First Peoples’ holiday in Trinidad and Tobago, and resonates in conflicts reported elsewhere (...) between Indigenous Peoples and others. Using media reports, interviews and other texts, this article employs a critical discourse studies approach to trace narrative elements and themes of communication, culture and conflict interplay, and interpret the contested expression and meaning of these texts to describe, understand, explain and construct a theoretical and applied account of resistance against unequal treatment. (shrink)

This paper reconsiders the Idealistic aesthetics of tragedy from an unconventional point of view. It investigates the relationship between theory and dramatic canon by focusing on those works and authors that are excluded from the canon by the theoretical discourse. My aim is to show that Idealist philosophers and Romantic critics concur in constructing a unitary model of the tragic conflict that is partly defined through its contraposition to the ‘Senecan’ conception of tragedy as a representation of suffering and (...) as a dialectic of passions. Seneca here stands for an entire line of European dramaturgy, which involves Shakespeare and culminates in French Classicism. This contrast does not merely concern a literary model, but also, more generally, the conception of subjectivity underlying the dramaturgy of passions. This paper thus helps to shed light on the controversial relationship between the idealistic philosophy of the tragic with modern tragedy at large. -/- Keywords: Theory of Tragedy, Idealism, Seneca, Hegel, Pathos . (shrink)

The idea of an inevitable conflict between science and religion leading to relentless hostility between the two emerged in the nineteenth century and has become a powerful narrative of modernity. Most historians of science trace the origins of the so-called ‘conflict thesis’ to the English-speaking world, more precisely to scientist-historian John William Draper and literary scholar Andrew Dickson White. Their books on the history of scientific-religious conflict turned into bestsellers. Yet, if we look beyond the Anglo-American (...) world, the conflict thesis appears in new historical settings. This paper argues that the science vs. religion narrative flourished already in Germany before Draper and White announced the warfare between science and religion in England and the USA. Focusing on Germany, we aim to show that the conflict thesis emerged in a polycentric process shaped by various political, cultural, and social struggles. It became a rhetorical weapon for liberal scientists in Germany to oppose Ultramontanism and, at the same time, to discredit their rivals as unscientific, fanatic, or even as ‘henchmen’ of the Pope. Our paper makes a case for a decentred approach to the history of the conflict thesis, which brings to the fore specific political and cultural tensions shaping this narrative in the nineteenth century. (shrink)

Theodicy: God or evil?: Irenaeus -- Augustine -- Thomas Aquinas -- John Hick -- Alvin Plantinga -- God and evil: Friedrich Nietzsche -- Richard Dawkins -- Divine hiddenness -- Rudolf Otto -- The Kabbalah -- Karl Barth -- Karl Rahner -- Empirical science -- A cultural, historical and literary survey: Does the devil exist? A persistent belief -- Stepping stones to Europe -- Demonology in medieval literary culture -- The Reformation: Two magisterial reformers: Martin Luther -- John Calvin (...) -- De-sacralisation -- The Catholic reform: Three outstanding reformers and conflict with the devil: Saint Ignatius Loyola -- Saint Teresa of Avila -- Saint John of the Cross -- The devil in the era of modernity: Poetry and literature in a new age -- Twentieth-century chronicles of evil -- Exorcism: A historical and theological analysis: Exorcism: The historical context -- Towards a theological assessment of exorcism -- Appendix: Towards a psychological analysis of possession and exorcism. (shrink)

If the possible ends of art criticism are taken to include not only the provision of a detailed evaluation of the artwork, but, cognately, an elaboration upon how one has been, or believes oneself to have been, changed by a particular artistic encounter, then the very praxis of art criticism stands to benefit from a theoretical elucidation of the possible nature of the subjective transformations that may flow from the critical appreciation of art. We are entitled to enquire, in particular, (...) into the conditions under which, and indeed the extent to which, such putative change at the personal level can be explicated in moral epistemological terms. It is pertinent in this context also to investigate the phenomenal character of the experiences that have been operative and their essential structures; to enquire, in short, into the phenomenology of the transformative artistic encounter. In this thesis, the bearing, in particular, of intersubjectivity upon the content and modalities of disclosure in a literary context will be investigated. It will be shown how an understanding of the relevance of intersubjectivity to the phenomenology of literary experience can inform an assessment of the claims of literary aesthetic moral cognitivism. Yet the intention to clarify the connection between literary experience and intersubjectivity also requires reflection upon what it is in the first place to encounter someone else, and to apperceive a foreign subjectivity and its motivations. For this reason, the contributions of Edmund Husserl and Edith Stein to the investigation of the phenomenology of empathy will be discussed and evaluated. This discussion will in turn be shown to be of assistance in clarifying the role of the imagination in the apperception and comprehension of another person’s mental life. The thought of Jean Starobinski will prove to elucidate the question of why the insights of the phenomenological tradition are highly pertinent to the investigation of literary experience, and to the development, in particular, of a conception of an imagined ‘Other’ who is (in a sense that will be clarified) embedded within the literary text, a person, that is, to whom one might coherently refer as the “implied author”. For reasons which will emerge in the course of this study, it will be argued that authentic empathy, in its fulfilling explication (in the Steinian sense), is given to the empathising consciousness in the manner of a semblance, and, consonantly, that the phenomenological structure of authentic empathy is characterised in its mature phases by an homological relation to pictureconsciousness. The epistemological significance of literature’s capacities for moral suggestion will be explicated principally in terms of the unfolding of values within the human personality, and in terms of the disclosure of the phenomenal character and structures of virtuous experience. It will be explained why the structure of empathy has implications for the aesthetic value of literature. The question of the relation between aesthetic and ethical value will be clarified. In this context, it will be argued on phenomenological grounds that the appresentation of moral virtue in an implied author could contribute to the aesthetic value of a literary work, although it will also be shown that implied authorial moral virtue could conflict irremediably with other qualities like moral doubt and uncertainty, which may themselves be important sources of aesthetic value. For this reason, the thesis will conclude by challenging the ethicist view that an aesthetically relevant ethical flaw in a literary work must count as an aesthetic flaw. (shrink)

Temperance literature, though widely popular in America and Britain between 1830–80, lost its allure in the decades that followed. In spite of its didactic and moralistic nature, the public eagerly consumed temperance novels, thus reciprocating contemporaneous writers’ efforts to promote social ideals and mend social ills. The main aim of this paper is to redress the critical neglect that the temperance prose written by women about women has endured by looking at three literary works—two novellas and one confessional novelette—written (...) by mid-nineteenth-century American female writers. These works serve as a prism through which the authors present generally “tabooed” afflictions such as inebriation among high-class women and society’s role in perpetuating such behaviors. The essay examines the conflicting forces underlying such representations and offers an inquiry into the restrictive and hostile social climate in mid-nineteenth-century America and the lack of medical attention given to alcohol addicts as the possible causes that might have prompted women’s dangerous behaviors, including inebriation. This paper also demonstrates the cautious approach that nineteenth-century female writers had to take when dealing with prevalent social ills, such as bigotry, hypocrisy and disdain directed at female drunkards. It shows how these writers, often sneered at or belittled by critics and editors, had to maneuver very carefully between the contending forces of openly critiquing social mores, on the one hand, and not being censored, on the other. (shrink)

Seventeenth-century philosopher Margaret Cavendish wrote not only several philosophical treatises, but also many fictional works. I argue for taking the latter as serious objects of study for historians of philosophy, and sketch a method for doing so. Cavendish's fiction is full of conflicting viewpoints, and many authors have argued that this demonstrates that she did not intend her literary works to serve serious philosophical purpose. But if we consider philosophers more central to the canon, such as Plato or Kierkegaard, (...) who sometimes used literary forms to do serious philosophy, we see that these arguments are unfounded. Like those philosophers, Cavendish had several philosophical motivations for pursuing value-theoretic issues through the flexible formats of literary genres. This suggests that Cavendish's literary corpus may be fruitful and largely unexplored ground for the history of philosophy. (shrink)

This paper wishes to offer a historical derivation of the mature Diderot’s fully materialistic, physiological theory of the soul, and to show the conflict between the theological concept of the soul as a principle of freedom, and the materialistic-deterministic concept of the soul, in his philosophical and literary oeuvre. In historical respect, Diderot formulated his mature position on the basis of Locke’s theory of ‘thinking matter’, of Toland’s idea that ‘action is essential to matter’, of Maupertuis’s theory of (...) ‘spontaneous creative degeneration’. We present and analyze these theories one by one, together with Voltaire’s propaganda of the Lockean conception. Next, d’Alembert’s orthodox philosophy of the soul is examined, as this was Diderot’s immediate target in Le Rêve d’Alembert. The last chapters of the paper describe the afore-mentioned conflict within Diderot’s philosophy of the soul. We reach the conclusion that in Diderot’s theory, soul as a not fully determined substance still seems the ‘differentia’ of man from the rest of the living beings, though he would certainly argue that our freedom is very limited. A philosophical comparison with Kant’s account of human freedom closes the article. (shrink)

Pierre Bourdieu's work on literature has frequently been criticized for its perceived failure to attend to the specificities of literary form. This article argues that, in fact, literary form plays an important role in Bourdieu's theorizations of literature, or rather, that form is called upon to play a range of different, potentially conflicting roles. Through close readings of both The Rules of Art and the 1975 essay ‘L'Invention de la vie d'artiste’, the article seeks to clarify the different (...) roles Bourdieu attributes to literary form, as that which both conceals and reveals ‘repressed’, ‘incorporated’ or ‘unconscious’ social realities. It will examine Bourdieu's contention that the literary work functions analogously to the Freudian dreamwork in this respect, and will question how appropriate or convincing that analogy proves to be. (shrink)

Digital technology can facilitate collaboration and data sharing among humanities scholars, and therefore is sometimes seen as a catalyst for attempts to revise problematic canonical traditions in literary history. In this paper, I interrogate how specific ways of organising scholarly labour make possible certain forms of knowledge, and I study the obstacles scholars face when trying to adapt established organisational models. For this purpose I draw on fieldwork in a large European database project, launched to create empirical knowledge about (...) “forgotten” women writers. Literary studies is characterised by monograph-oriented scholarship, situated in regional disciplinary contexts. The collaborative use of a database, however, requires an integration of individual research practices, and it blurs the division of labour between scholars and information professionals. In the present case, the inertia of established infrastructural arrangements manifested itself as a conflict between what was required to gen.. (shrink)

The well-known epistolary conflict between Fyodor Dostoevsky and Nikolai Strakhov over the latter's slander of the great Russian writer's terrible sins is considered in the article from the point of view a philosophical anthropology and relations not two but between three participants of this story: Dostoyevsky, Strakhov and Tolstoy. This conflict is presented through anthropological, existential, and class prisms of description, based on a reconstruction of Strakhov's concept of man as a controversial, dual, and undefined being reflected in (...) Dostoevsky's work. A direct relation between the definition of the dual nature of man in the works of Strakhov and Dostoevsky and interpersonal conflicts within "boundary forms of literature" is substantiated. Special attention is paid to the class of seminarians, the object of Dostoevsky's targeted criticism. He saw their worst characteristics in Strakhov personality. Tolstoy plays the role of an arbiter in this controversy, assessing the situation both in terms of literary, existential and religious thought. In the course of his examination of this conflict, his unexpected closeness to Dostoevsky was discovered in regard to assessment of Strakhov. The point of their coincidence was the "pink Christianity" of the writers, who justify man in a quite similar manner, in terms of their religious consciousness. (shrink)

To date, critical engagement with Arnold Hauser’s sociology of art has been confined to the field of art history. This perspective has ignored Hauser’s interest in literary history, which I argue is essential to his project. Hauser’s dialectical model, composed of conflicting realist and formalist tendencies, extends to the literary sphere. In The Social History of Art, these two traditions are epitomised by the Russian social novel and German idealism. Anti-enlightenment tendencies in German intellectual culture provide Hauser with (...) evidence of idealism’s propensity for escapism and reaction. Conversely, he extols the Russian social novel as the naturalistic art form par excellence. Because the intelligentsia is central to Hauser’s understanding of the formation of literary culture, this paper provides an outline of his sociology of intellectuals. Through a comparison of the German and Russian literary intelligentsia, this paper shows that Hauser’s analysis of literature is often more complex than his sociological interpretations of the visual arts. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:HUMAN NATURE AND POLITICS: A MIMETIC READING OF CRISIS AND CONFLICT IN THE WORK OF NICCOLÒ MACHIAVELLI 1 Harald Wydra Universität Regensberg Perhaps more than any other political philosopher2, Machiavelli's writings have given rise to extremely controversial and emotionally charged interpretations.3 Ifone were to pinpoint the guiding lines ofdispute in Machiavelli scholarship, one could argue that his "foes" are convinced of his amorality and the tyrannical bias, while (...) his "friends" stress the liberal and republican basis ofhis teaching. This debate between good and the evil in Machiavelli's teaching has accompanied the conflict on the tyrannical and the republican character of his work ever since.4 While the essence of his prescriptions continues to be contested, most interpreters concur on Machiavelli 's realism or political pragmatism defined in The Prince 25 as effectual 1 I am grateful to Anthony J. Parel, Arpad Szakolczai, and AdolfTrägler for comments on an earlier draft of this essay. 2Perhaps with the exception of Marx who shares with Machiavelli the heritage of an inflationary and contentious scholarship. Despite this resemblance, there are fundamental differences when it comes to declare oneself a follower of Machiavelli or follower of Marx. See Aron (256-259). 3In his extensive overview, Berlin estimates the totality of the bibliography at more than 3,000 titles. Needless to say that is has considerably increased since then. The recent wave of new translations into English (Mansfield and Tarcov, or Codevilla) and several new approaches provide for the richness of debate. This debate sometimes acquires a heated intensity, such as in the exchange on Strauss's Machiavelli between Mansfield and Pocock in Political Theory, 3:4 (1975), 372-405. 4See for a recent update the introduction to a new translation ofthe Discourses in Mansfield and Tarcov. Harald Wydra37 truth (verità ejfetuale). In this stress on factual reality as opposed to imagination many have seen the sources of Machiavelli's advocacy of technicity, rationality and reason of state. Such a viewpoint is supported by Machiavelli's pure and emotionless style ofwriting. Machiavelli's effectual truth is essentially about the mastery over conflict and contingency in politics. Yet, there are hardly systematic studies on the status and role ofpolitical conflict and its consequences for political order in Machiavelli's work.5 Most classical studies include analysis of conflict (Pocock; Lefort; Sasso), but they do so by sticking to the natural textual division ofhis major works. This article sets out to elaborate some guidelines ofa Machiavellian theory ofconflict by linking it to René Girard's theory of mimetic conflict. It aims to achieve two things: first, to analyze the nature of political conflict in Machiavelli's work. Second, to reexamine some widespread assumption on the autonomy of politics. The Affinity of Machiavelli and Girard: Crisis and Conflict Methodologically, a reading ofMachiavelli through Girard has a status different from that of orthodox comparisons oftwo thinkers.6 This can be illustrated by considering Raymond Aron's comparison between Machiavelli and Marx. On the one hand, Machiavelli's political philosophy is marked by a stress on cyclical repetition and permanent instability. His realism maintains that the more things change the more they remain the same. On the other hand, Marx's economic philosophy of history envisages long-term progress and as such reflects upon change by its confidence in Providence. Yet, essentially both works are concerned with the contingent modalities of collective conflict over time. While for Machiavelli the struggle for power unfolds between political groups such as nobles and the people, Marx suggests the social and economic roots ofconflicts in social formations. Against this background, a reading of Machiavelli through Girard diverges from conventional comparisons. Machiavelli's work emanates from his experience as a practitioner ofpolitics who aims to be the counsellor of Princes. A trained historian and literary critic, Girard analyzes fundamental 5To my knowledge, by far the most balanced and detailed treatment is given by Sasso. For a thematic treatment of civil discord, see also Bock. 60ne can mention Raymond Aron's two fine essays "La comparaison de Machiavel et Pareto" (Aron 86-109) and "Machiavel et Marx" published in Italian in the first edition of Machiavelli's Principe (1975) and again in... (shrink)

The article presents a literary and theological analysis of Job 42:2 as a fitting resolution of the conflicting engagement between Yahweh and Job, which enables both parties to preserve their integrity. The article examines Israel’s testimony about Yahweh’s sovereignty as a background, it analyses Job’s testimony in 42:2 and then demonstrates that this passage probes more deeply into the theology of creation – the inescapable purpose of what God does. The article shows that Job’s testimony about the sovereignty of (...) Yahweh indicates an unusual personality and potent force that is manifested in the events of Job’s life as an agent whose sovereignty is remarkably unlimited. The substance of Job’s testimony this article proposes, produces a dynamic figure that has an overwhelming task at the centre stage of its subject’s well-being. This role, moreover, is the engine that drives Israel’s testimony; the splendour of Israel’s faith and the source of Israel’s life. This role is a theological datum of substance. (shrink)

I argue that the Nineteenth Century phenomenon of Russian nihilism, rather than belonging to the spiritual crisis that threatened Europe, was an independent and historically specific attitude of the Russian intelligentsia in their wholesale and utopian rejection of the prevailing values of their parents’ generation. Turgenev’s novel, Fathers and Sons, exemplifies this revolt in the literary character Bazarov, who embodies an archetypical account of the conflict between generations, social values, and traditions in Russian—but not just Russian—culture.

The content of a work of literature, Walter Benjamin reminds us in “The Author as Producer,” is inextricably bound up with its form. Hence, it is hardly astounding that much critical attention has been focused on the proper generic classification of Harriet E. Wilson’s Our Nig . This task, though, has not been easy. Henry Louis Gates, rediscoverer and earliest critic of Our Nig, for example, goes to great length discussing parallels between Wilson’s work and Nina Baym’s ‘overplot’ of the (...) ‘women’s novel,’ before settling on reading it as a new form of distinctly African-American lit- erature that combines “conventions of the sentimental novel with certain key conventions of the slave narratives” . Elizabeth Ammons, by contrast, places Our Nig squarely in the feminist tradition of the sentimental novel and argues that “the ideal of mother love explicit in Uncle Tom’s Cabin operates implicitly in Our Nig.” 4 2 3 Contesting Ammons’ claim, Eric Gardner asserts that Our Nig is not a ‘novel of abolition’ but “a novel about Northern racial issues, a young black woman’s bildungsroman, and, as such, is far from Uncle Tom’s Cabin.” 5 Echoing some of Gardner’s points, Elizabeth Breau contends that Our Nig “is actually satiric” and therefore gives an overly “bleak picture of northern antebellum society.” Foregrounding neither Bildung nor “ironic inversions” but the “politics of rage at work in Wilson’s tale,” Julia Stern argues that Our Nig “used the sentimental form to mask a gothic message.” 7 Rejecting Gates’ attempt to posit Our Nig as “a significant beginning of an African-American literary mode, a distinctive first in a century of firsts,” John Ernest wants to read Wilson’s work as a traditional “blend of autobiography and fiction,” hoping to ‘re-place’ it “within the racial, gender, and economic matrix of secular history.” R.J. Ellis, while accepting Gates’ assessment that Our Nig “draw[s] on the genres of sentimental fiction and abolitionist slave narrative,” stresses the ways in which the ‘hybrid’ work “fractures generic boundaries” in order to provide a “full retrieval of Frado’s pain, her experience of body politics.” Lastly, offering a reading that links Our Nig to the Puritan tradition, Elizabeth West argues that Our Nig “manipulates well-known trappings of the conversion narrative” by telling “the story of the heroine’s failed initiation into the community of earthly saints.”. (shrink)

The plot of I. Dvoretskii's The Man from Outside is simple. A young engineer, Cheshkov, is recruited from a new and exemplary enterprise to go to an old one with long-established traditions to bail out its most troublesome department. His former place of employment doesn't want to let him go, and at the new one he is given a hostile reception. The most acute kind of conflict arises. Things reach a point at which the executives over whom he has (...) been given authority offer resignations en masse, and the department's Party organization expresses lack of confidence in him. The question is settled in the statewide committee of the Party. Nonetheless, this concentration upon what might be called personal drama around the hero cannot overshadow the simple fact that the conflict between Cheshkov and the factory management is a conflict of a work situation in form only; in reality, it is a conflict between two sets of ethics, two styles of life. (shrink)

This paper aims to explain the very sharp contrast between the portraits of Critias found in Plato and Xenophon. While depicted as a monster in Xenophon'sHellenica, Critias is described with at most mild criticism in Plato's writings. Each of these portraits is eccentric in its own way, and these eccentricities can be explained by considering the apologetic and polemic aims each author pursued. In doing so, I hope to shed light not only on the relations between these portraits and the (...) works that contain them, but also on the personal relations between Plato and Xenophon and their manner of expressing them in literary productions. (shrink)

The paper attempts to answer a very obstinate fundamental problem—is literary meaning determinable at all? Would it be determinable if it were constructed by the language of the text? Or is this meaning open-ended, constantly deferred or shifted as a result of the very nature of signification? In this paper, I argue that the levels of _dhvani-ṣ Avivakṣitavācya dhvani _ and_ Vivakṣitavācya dhvani_ and their sub-levels are far more comprehensive than the concept of ‘_differance_’, both based on the play (...) of meanings. Ānandvardhana seems to anticipate Derrida in postulating the infinite suggested meaning over and above the expressed literal meaning in the levels of _dhvani_, though the admission of any definite literal meaning itself goes against the deconstructive approach of ‘_differance_’. The paper also deals with the analysing a few literary works with the levels of _dhvani_ and also how meaning of a text is revealed to the _sahrdaya_ (reader). (shrink)

This paper considers literary responses to the role of competition in the polis of the late Geometric and Archaic periods through the semantics of the word eris , with particular reference to Hesiod's account of the two Erides at Works and Days 11–26. As Homeric and Epic Cycle usage makes clear, the innovation in this passage is not the assertion that there is a positive as well as a destructive form of eris but the qualitative polarization between them. This (...) polar opposition is a reflex of, and an attempt to gain cognitive mastery over, a fundamental cultural problem: the need of the polis to project direct forms of violence externally as intercommunal warfare, to eliminate internal discord or at least limit its effect, and to use the competitive energies associated with eris positively, in the interest of social and political cohesion. Uses of eris in Herodotus, Xenophon, and Thucydides confirm the lexical argument and show the continuity of these issues in Greek culture. (shrink)

The creation account of Gen 1:1–2:3 is only one of several accounts featured in the Old Testament/hebrew Bible. The one account that most closely matches its cosmic orientation is the poetic description of creation given in Job 38–41. Nevertheless, both accounts are worlds apart regarding how they describe creation and what they find most important about creation. Their theological and literary differences make for a lively intertextual conversation, as entertained in the interpreter’s imagination. Let the dialogue begin.

En este articulo analizamos el fenómeno del Ereignis en la obra de Heidegger posterior a la Kehre para confrontar su origen conflictivo. Para esto, presentamos la influencia de su lectura del πόλεµοç de Heráclito y una interpretación de la estructura y sus dimensiones gracias a la tensión de las partes que se mantienen en continua oscilación por la naturaleza abismal de la donación. Asimismo, revisamos el camino que presentan los ensambles del fenómeno a la luz de su obra Beiträge zur (...) Philosophie. De esto modo, comprenderemos un poco más el sentido complejo de este fenómeno y su aporte al problema de la diferencia. In this paper we analyze the phenomenon of Ereignis in Heidegger's work after the Kehre, in order to question his conflicting origin. To do this, we show the influence of his reading of Heraclitus' πόλεµοç as well as an interpretation of the structure and its dimensions, thanks to the tension between the parts kept in continuous oscillation due to the abysmal nature of donation. We also revised the path shown by the gatherings of the phenomenon, in the light of his work Beiträge zur Philosophie. This way, we may get greater insights into the complex sense of this phenomenon and its contribution to the issue of difference. (shrink)