This chapter considers the relationship between philosophy and literature both as forms of writing and thinking, but also (which is a more original contribution) as historically specific instititutions of enquiry. The argument is that part of the historical and cultural situatedness of philosophy is as a written form of cultural production, but one located within institutions (Universities above all) that already have a different 'department' specialising in understanding written forms of cultural production. This suggests that there might be (...) an overlooked reciprocal influence. In particular, what new challenges for its own thinking can philosophy discover in the contemporary practices of literary analysis? A case study is detailed concerning recent forms of ecological criticism. (shrink)

This chapter considers the relationship between philosophy and literature both as forms of writing and thinking, but also (which is a more original contribution) as historically specific instititutions of enquiry. The argument is that part of the historical and cultural situatedness of philosophy is as a written form of cultural production, but one located within institutions (Universities above all) that already have a different 'department' specialising in understanding written forms of cultural production. This suggests that there might be (...) an overlooked reciprocal influence. In particular, what new challenges for its own thinking can philosophy discover in the contemporary practices of literary analysis? A case study is detailed concerning recent forms of ecological criticism. (shrink)

This book engages in critical discussion of the role of reason and rationality in philosophy, the human mind, ethics, science, and the social sciences. Philosophers from Poland, Germany, and the United States examine reason in the light of emotion, doubt, absolutes, implementation, and interpretation. They throw new light on old values.

This book engages in critical discussion of the role of reason and rationality in philosophy, the human mind, ethics, science, and the social sciences. Philosophers from Poland, Germany, and the United States examine reason in the light of emotion, doubt, absolutes, implementation, and interpretation. They throw new light on old values.

El artículo tiene como objetivo mostrar la ejemplaridad del modelo de la critica de arte que practica A. C. Danto, en una época marcada por la tensión entre la globalización y el multiculturalismo. En primer lugar se aborda la relación entre crítica de arte y filosofía del arte, pues en el caso de Danto se trata de dos aspectos inseparables; Duchamp introdujo la reflexión filosófica en el corazón del discurso artístico, y Danto responde a esta situación como filósofo y como (...) crítico. El arte es para Danto una forma de pensamiento, y la experiencia del arte consiste en engranar pensamiento con pensamiento. Esta posición polemizo con lo respuesta puramente estética, puramente sensible, que el formalismo ha cultivado con lo reducción de la obra de arte a objeto estético. En segundo lugar, se describen tres tareas de la crítica: 1.) La descripción del significado de la obro y del modo como lo encarna. 2.) El compromiso de la crítica con el público lector y no con el lector erudito. 3.) La independencia y la solvencia ética del crítico. El arte no es una demanda de la globalización sino una necesidad fundamental de la subjetividad humana; la crítica de arte de Danto pretende hacer de la experiencia del arte una contribución para aprender a vivir en el pluralismo. (shrink)

interest. But the question is whether we have to accept this point of view. Although our interpretations, criticisms and theory-constructions are ...

In online communication, writers incorporate into fictional representation imaginaries that arise from the interaction between various artistic manifestations. This paper explores the work of two spanish authors, Patricia Esteban Erlés and Albert Soloviev in order to study the social impact and ethical aspects of hypermedial short stories in the virtual space, since their works function as vehicles for social criticism. At the same time, the paper addresses fundamental questions associated with the understanding and interpretation of hybrid narrative microtexts.

An accessible introduction to cultural theory and an original polemic about the purpose of criticism. What is criticism for? Over the past few decades, violent disagreements over that question in the academy have burst into the news media. These conflicts have renewed the Culture Wars over the legacy of the 1960s, becoming entangled in national politics and leading to a new set of questions. Does a concern with race, gender, and sexuality, with unacknowledged power and privilege, with identity, (...) give present critics the right to criticize the great works of the past? If we have learned to see those works in terms of historical differences rather than universal truths, how is it that they speak to us at all? In the study of the world's cultures, there is more than one way to avoid being Eurocentric; which way should we choose? Re-examining key thinkers since 1970, including Walter Benjamin, Michel Foucault, Judith Butler, Edward Said, Hortense Spillers, Fredric Jameson, and Stuart Hall, Criticism and Politics offers both a non-specialist introduction to recent cultural theory and a strong new interpretation of how this theory applies to the everyday issue of what cultural critics do and how they should feel about what they do. (shrink)

Art, Beauty and Imitation in Plato's Philosophy -- Art and Imitation in Aristotle -- Horace, Pseudo-Longinus and the Aesthetics of Literature in Hellenism -- Plotinus, Neo-Platonic and Christian Conception of Beauty -- The Middle Ages and Dante Alighieri -- The Heritage of Kantian Philosophy in Romanticism -- Moritz: Beyond the Concept of Imitation -- Theory of Poetry of Early German Romanticism -- Hegel: Art as a Form of the Absolute Spirit -- Schopenhauer: Art as Disinterestedness and Knowledge of (...) Reality -- Nietzsche: Knowledge and Art -- Symbolism and Aestheticism -- Benedetto Croce: Art and intuition -- Linguistics and Criticism -- Antonio Gramsci: The Role of Intellectuals in Culture -- Structuralism -- Martin Heidegger: The Work of Art and Truth -- Hans-Georg Gadamer: Poetry and Interpretation -- Critical Theory: A New Attitude towards Art and Society -- Perspectives of Post-Structuralism -- The Practice of Deconstruction -- Contemporary Schools and Traditions in Literary and Critical Theory -- Postmodern and the New Character of the Literary Work. (shrink)

The book explores ancient interpretations and usages of the famous Delphic maxim “know yourself”. The primary emphasis is on Jewish, Christian and Greco-Roman sources from the first four centuries CE. The individual contributions examine both direct quotations of the maxim as well as more distant echoes. Most of the sources included in the book have never previously been studied in any detail with a view to their use and interpretation of the Delphic maxim. Thus, the book contributes significantly to the (...) origin and different interpretations of the maxim in antiquity as well as to its reception history in ancient philosophical and theological discourses. The chapters of the book are linked to each other by numerous cross-references which makes it possible to compare the different views of the maxim with each other. It also helps readers to notice relationships and trajectories within the material. The explorations of the relevant sources are also set in the context of ongoing debates about the shape and nature of ancient conceptions of self and self-knowledge. The book thus demonstrates the wide variety of philosophical and theological approaches in that the injunction to know oneself could be viewed and how these interpretations provide windows into ancient discourses about self and self-knowledge. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy, Psychiatry, & Psychology 12.4 (2005) 307-310 [Access article in PDF] Aesthetics, Criticism, and Psychotherapy John Z. Sadler Keywords aesthetics, psychiatry, psychotherapy, Sibley In his wide-ranging survey of how Kantian aesthetic theory is implicated in psychothera-py, John Callender has raised at least a dozen potentially profound and rewarding possibilities in applying aesthetic theory to psychiatry and psychotherapy. Although the idea of marrying aesthetic theory to psychiatry and (...) psychotherapy is not new, Callender's direction of the merger is distinctively novel. The mid-twentieth century had a distinct literature in applying psychoanalytic and psychiatric theory to aesthetic experience, summarized by the sizable bibliography by Norman Kiell, Psychiatry and Psychology in the Visual Arts and Aesthetics: A Bibliography (1965). This line of interdisciplinary work influenced a later generation of art historians and literary theorists in applying (particularly) psychoanalytic theory to interpretation and appreciation of the arts, contributions that are still being developed today, along with the emergence of complementary viewpoints from cognitive neuroscience (Peretz and Zatorre 2003; Rose 2004; Zeki 1999). Callender's project, however, is quite the converse—he wishes to show how philosophical aesthetics can contribute to psychiatry and clinical psychology. Exploring the aesthetics of psychiatry is the innovation.Before focusing my own comments on a few of Callender's points, I wish to call attention to the substantive questions he has directly raised or implied by his discussions. These questions are worthy of further development in this and other journals, and I hope that Callender will succeed in engaging the minds of his readers and inspire them to work in this exciting area in the philosophy of psychiatry. In his elegant review of Kant's key theoretical points of aesthetics, his discussion provokes us to consider the kinds of evaluations that patients make of themselves (moral? aesthetic? others?), as well as the kinds of evaluations clinicians make in their judgments of psychopathology. Evolutionists may wonder about the adaptive significance of aesthetic capacities (e.g., derivatives of grooming? mating displays?). In presenting Kant's notion of "disinterestedness" or contemplative judgment, readers may wonder about overlap with notions of therapist neutrality and unconditional positive regard. Should therapist relationships with patients be dominated by a similar aesthetic sensibility? What does the aesthetic posture have to do with the therapist posture?Importantly, Callender notes the connections and ambiguities between moral values and aesthetic values. This is borne out in his later discussions of clinical case material (considered again below). He focuses primarily on the duplication of aesthetic and moral values in the same terms of praise (honesty, integrity, originality), but there is no question that aesthetic experiences are had by viewers of art exhibiting perverse or depraved [End Page 307] imagery (consider, for instance, Francis Bacon's "3 Screaming Popes" or, even more extremely, the grotesque staged photographs of Joel-Peter Witkin). The implication here is that (as an example) to understand the aesthetics of sadomasochistic art may help us to understand the psychology of sadomasochistic people.By the time he introduces his case material, Callender has raised the issue of intersubjectivity in aesthetic experience, an experience that may be devoid of discursive cognitive content but may be profound with emotional content, thus challenging tenets of cognitive psychology and psychotherapy. His discussion of cases reflecting elements of Kant's components of aesthetic judgment point toward new ways of understanding psychopathology as disturbances in aesthetic self-appraisal.I would like to return to the problem of moral and aesthetic judgments in psychotherapy and in psychopathology. Dr. Callender presents three cases—a woman who has been traumatized by multiple instances of sexual abuse, a young girl with postpartum depression with fears of losing her child because of bad mothering, and a third patient with anorexia nervosa who demonstrates the typically distorted body self-image. I suggest that the aesthetic nature of these patients' self-judgments is not so clear cut as Callender suggests. His sexual abuse case summary certainly suggests a woman consumed by shame. Because shame is a typical "moral emotion," the question is raised of moral badness being involved in her self-concept as well as, or perhaps... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Alan Collett LITERATURE, CRITICISM, AND FACTUAL REPORTING Novels frequently deal with real events. How is it that some theorists have been able to argue that, regarded as literature, such novels are always fictional? The answer is that it is usually possible to show that a work which we are prepared to call "literary" creates an imaginary world possessing its own properties. Itcan then be maintained that this imaginary (...) world constitutes the aesthetic object of the work and that only those properties internal to it are relevant to aesthetic judgment. It then follows that the meaning ofthe literary work is this imaginary world and that criticism is properly concerned with its elucidation. Or, to say the same thing in a different idiom: we should distinguish in the things said by critics between those sorts of remarks which help to establish a text's meaning solely by reference to internal features of the text and those sorts of remarks which, if they are aimed at establishing meaning, do so by reference to external evidence. In the case of novels dealing with real events, those sentences which describe particular events, situations, characters, and places (reports)1 play a role in the creation of the imaginary world of the work. The real events described will, of course, often be known to the reader, and indeed the effectiveness of a work may depend to a large extent upon the fact that it deals with known historical events. But in order to avoid treating such texts as factual works rather than as works of literature we should, the theory goes, stress plausibility and coherence above truth to the world. Aristode's rule that "a convincing impossibility is preferable to an unconvincing possibility" sums up the way in which critical assessment can guard against confusing literary 282 Alan Collett283 works with informative works. Literary criticism concerns itselfwith the plausibility and coherence of accounts of real events at the expense of their truth. A literary artist will, therefore, be judged to be better the more his descriptions seem true in contrast with the historian whose descriptions must actually be true. The literary artist, on this traditional view, endows the events he describes with meaning. When those events are real events their meaning will be intelligible to the extent to which they reflect a convincingly possible reality. The accurate reporting of real events is perfecdy permissible always provided the events chosen make an artistic point by functioning in the narrative in a way which is probable or convincing. Accuracy, as such, is never a criterion of literary worth. The fictionality of literary works dealing with real events, then, is connected with the skill the author exhibits in usingthe events he chooses to describe in such a way that a meaningful imaginary world is created. This fictional world will mirror the real world via its internal coherence which excludes the contingendy true in order to make a plausible artistic whole, and one function of literary criticism proper is the fixing of the correct interpretation of the meaning of this fictional world. A recent reformulation ofthis traditional view, offered by S. H. Olsen in TL· Structure ofLiterary Understanding? contains some suggestions as to how it is possible to interpret literary practice so that report sentences can be understood to function other than as the bearers of truth. On this view, a literary work, as a peculiar kind of utterance, cannot be interpreted without reference to some context. And although a literary work may be pardy distinguished by its textual or structural features, the mere possession of such features is not in itself sufficient to make a text a literary work. Textual or structural features, Olsen argues, will serve an aesthetic function only when the decision is already taken that the text to which they belong is a literary work. Since the function of sentences cannot be determined simply on the basis of their linguistic features, they will need to be interpreted in order to be correctly understood. Interpretation will involve making assumptions about the purpose of the utterances in question and the assumed purpose will then determine how their linguistic and structural features are to be understood. Thus, in one of... (shrink)

" The essays, mostly commissioned by the editor, explore the presuppositions and consequences of arguing for the importance of the author's intentions in the ...

Merleau-Ponty's phenomenological method of description, Reduction and intentionality is interpreted as a schema for rhetorical criticism. The existential nature of "man speaking" becomes the object of criticism, As opposed to traditional concerns with rhetorical "effects" or auditor reactions. Merleau-Ponty's separation of authentic or existential speech (speaking) and sedimented speech (the spoken word) allows the critic to distinguish social-Cultural values from individual volitions in a given communication "gestalt". The dialectic of a body-Subject in communication with others can be examined (...) as the essential manifestation of being or "presence-At-The-World" which is a fundamental denial of the cartesian dualism. (shrink)

The founding text of modern hermeneutics. Written by the philosopher and theologian Friedrich Schleiermacher as a method for the interpretation and textual criticism of the New Testament, it develops ideas about language and the interpretation of texts that are in many respects still unsurpassed and are becoming current in the contemporary philosophy of language. Contrary to the traditional view of Schleiermacher as a theorist of empathetic interpretation, in this text he offers a view of understanding that acknowledges both (...) the structurally and historically determined aspects of language and the need to take account of the activity of the individual subject in the constitution of meaning. This volume offers the text in a new translation by Andrew Bowie, together with related writings on secular hermeneutics and on language, and an introduction that places the texts in the context of Schleiermacher's philosophy as a whole. (shrink)

The author of the article aims to find out the reasons for the modern rehabilitation of the history of philosophy, as well as to describe the factors that contributed to the negative attitude towards it in the past. The analysis of the factors and presuppositions of the criticism of the importance of the history of philosophy is based on the position of N. Malbranche, who understood historical and philosophical discourse as a useless reading of philosophical texts. The (...) study of the history of philosophy is the opposite of critical comprehension of the content. For Malbranche, there are also problems of the impossibility of mastering all the doctrines of the past, the lack of value in knowing about the reasoning of an individual philosopher, and the criterion for selecting interpretations of philosophical doctrine. The author concludes that the only thing that the history of philosophy can be as a reflection only in the "now" is its constant self-legitimation, because this is the only way to maintain its involvement in philosophy. (shrink)

The founding text of modern hermeneutics. Written by the philosopher and theologian Friedrich Schleiermacher as a method for the interpretation and textual criticism of the New Testament, it develops ideas about language and the interpretation of texts that are in many respects still unsurpassed and are becoming current in the contemporary philosophy of language. Contrary to the traditional view of Schleiermacher as a theorist of empathetic interpretation, in this text he offers a view of understanding that acknowledges both (...) the structurally and historically determined aspects of language and the need to take account of the activity of the individual subject in the constitution of meaning. This volume offers the text in a new translation by Andrew Bowie, together with related writings on secular hermeneutics and on language, and an introduction that places the texts in the context of Schleiermacher's philosophy as a whole. (shrink)

Philosophers, political theorists, and all readers seriously interested in the possibility of a moral life will find sustenance and inspiration in this book.

In this article, I ask whether Korsgaard’s ethics can be reconciled with a hermeneutic understanding of the human subject. Hermeneutics, inspired by Nietzsche, has traditionally been skeptical about the notion that moral principles have authority over us. But Korsgaard’s account of normativity as grounded in self-consciousness and its reflective distance from beliefs and desires is strikingly similar to Gadamer’s description of human beings as distant and ‘free’ from their environment. The question hermeneutics poses to deontology is how a finite subject (...) can be bound unconditionally by principles, when our understanding of them is always historically mediated and partial. I argue that Gadamer’s notion of the subject matter of understanding (the Sache) allows us to see that we understand our principles as interpretations of fully determined principles. What binds us is the principle that we are always revising our way toward, but whose content we never completely determine. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.1 (2003) 62-79 [Access article in PDF] Literature Itself:The New Criticism and Aesthetic Experience Daniel Green I AFTER ALMOST TWO DECADES of tumult and transformation in university departments that still claim literature as part of their disciplinary domain, what is most remarkable about literary study at the beginning of the twenty-first century is how similar it is to what passed for such study at (...) the beginning of the twentieth century. Like philology one hundred years ago, academic literary study today—at least at the most eminent universities and in the most prestigious journals—is a highly esoteric activity, unlikely to appeal to anyone outside its own "professional" boundaries, anyone whose foremost interest in works of literature is simply to read them. It is, therefore, an endeavor that could hardly exist outside the university's institutional protection, and it is most strikingly concerned not with the appreciation of the intrinsic qualities of literature but with the historical and cultural "knowledge" that can be acquired from works of literature through a special kind of analysis. The effort, chronicled by Gerald Graff in Professing Literature, to make "literature itself" the focus of academic study and to establish "aesthetic criticism" as the primary mode of literary study must surely be judged a failure, the current academic scene clearly dominated by the sort of scholars Graff terms "investigators." 1But of course the motives for rejecting the merely literary as a focus of study are quite different among current scholarly investigators as compared to the philologists of 1901. The attitude of the latter can probably be captured in the words of one of them quoted by Graff: "Why then waste time and brains in thrashing over again something which is after all only subjective opinion? Mere aesthetic theorizing [End Page 62] should be left to the magazine writer or to the really gifted critic" (p. 124). Such "researchers" did not deny the value of reading works of literature; they simply considered this value to be essentially "subjective," not an appropriate object of academic scrutiny. While these remarks do imply some condescension toward the "really gifted critic" and this critic's "mere aesthetic theorizing," they do not repudiate the very idea of an aesthetic approach to literature. The present generation of academics engaged in the investigation of literature, on the other hand, have repudiated the aesthetic approach, either explicitly, through the well-publicized critiques of the canon, of the very notion of the great work, or of the remaining approaches still associated with New Criticism, or implicitly through the gradual establishment of cultural investigation as the new norm for the professional training of graduate students and as the dominant mode of analysis in the influential journals. Moreover, the primary motive behind the renunciation of the aesthetic has more to do with politics than with methodology: for these scholars, the aesthetic is literally useless, quite irrelevant to the paramount goal of "intervening" in a continuing ideological struggle that is thought to be the main business of the university scholar.In the context of the history of modern literary criticism (as opposed to the history of the American university), the current situation mirrors that which prompted the emergence of The New Criticism in the 1930s. Although Vincent Leitch identifies "the evocative mode of Impressionist criticism, the moralism of Neo-Humanism, the anti-modernist cultural criticism of Mencken and Van Wyck Brooks," as well as the "sociologizing" of Marxist criticism" as the collective bêtes noires of the New Critics, it was clearly the latter they considered to be the most unwelcome. Not only had it effectively eclipsed the other practices, but it could be said to have exhibited most of those characteristics against which New Criticism expressed the deepest antipathy. 2 Compared to the close reading New Critics would espouse, Marxist criticism was superficial, willing to settle for the most readily available interpretation (according to the Marxists' own critical assumptions), moralistic, committed to the idea that the best literature was that which could be shown to be good for you, historicist, concerned to place works... (shrink)

If we are to find the criteria for critical analyses of social arrangements and processes not in some abstract, universalist framework, but from the guiding ‘self-interpretations’ of the societies in question, as contemporary contextualist and ‘communitarian’ approaches to social philosophy suggest, the vexing question arises as to where these self-interpretations can be found and how they are identified. The paper presents a model according to which there are four interdependent as well as partially autonomous spheres or ‘levels’ of socially (...) relevant self-interpretation that have to be taken into account equally in order to provide a sound basis for social and political criticism. Thus, it is from the tensions and incoherences between (A) social ideas and doctrines, (B) social institutions and practices, (C) individual beliefs and convictions, and (D) body-practices and habits that social pathologies can be identified and possible solutions can be envisaged. (shrink)

Because citizens of diverse and pluralistic democracies possess different values and interests, deliberative democratic theory founds legitimate decision-making in non-coercive deliberations among free and equal citizens who appeal to public reasons or, in other words, to reasons that can be accepted by ‘all who are possibly affected’. Yet it is not clear that what stymies democratic justification is the failure to offer or accept public reasons. Can we not agree on them while understanding them in different but equally compelling ways? (...) Indeed, might it not be that what stymies justification is our failure to acknowledge this possibility? The first part of this paper explores these questions as they relate both to the original formulations of deliberative theory and to certain revisions. The second part of the paper investigates a hermeneutic alternative that not only acknowledges but also value differences in the ways we can plausibly understand the public reasons to which we agree. (shrink)

This paper proposes a critical analysis of that interpretation of the Nāgārjunian doctrine of the two truths as summarized—by both Mark Siderits and Jay L. Garfield—in the formula: “the ultimate truth is that there is no ultimate truth”. This ‘semantic reading’ of Nāgārjuna’s theory, despite its importance as a criticism of the ‘metaphysical interpretations’, would in itself be defective and improbable. Indeed, firstly, semantic interpretation presents a formal defect: it fails to clearly and explicitly express that which it contains (...) logically; the previously mentioned formula must necessarily be completed by: “the conventional truth is that nothing is conventional truth”. Secondly, after having recognized what Siderits’ and Garfield’s analyses contain implicitly, other logical and philological defects in their position emerge: the existence of the ‘conventional’ would appear—despite the efforts of semantic interpreters to demonstrate quite the contrary—definitively inconceivable without the presupposition of something ‘real’; moreover, the number of verses in Nāgārjuna that are in opposition to the semantic interpretation (even if we grant semantic interpreters that these verses do not justify a metaphysical reconstruction of Nagarjuna’s doctrine) would seem too great and significant to be ignored. (shrink)

Husserl's theory of perception is remarkable in several respects. For one thing, Husserl rigorously distinguishes the parts and properties of the act of consciousness - its content -from the parts and properties of the object perceived. Second, Husserl's repeated insistence that perceptual consciousness places its subject in touch with the perceived object itself, rather than some representation that does duty for it, vindicates the commonsensical and phenomenologically grounded belief that when a thing appears to us, it is precisely that thing, (...) rather than some other thing (its 'appearance'), that we perceive. Third, his distinction between empty and intuitive acts, and his descriptions of their complex interplay in perceptual consciousness, provides a way of making sense of the fact that an object can be perceived even when some of its parts and properties are not. Finally, his theory of perceptual acts as constituents of higher-order acts of fulfilment provides one of the few detailed accounts in the philosophical literature of how a perceptual experience can transform a mere thought into knowledge, despite the fact that the relation between perception and belief is not a logical or inferential one. Because Husserl's theory of perception is a serious candidate for truth, it is also a serious candidate for philosophical criticism. As such, in what follows I will treat it as a live force to be reckoned with rather than a historical curiosity. (shrink)

Structuralism as well as other methods of literary criticism, take positions analogous to ones espoused in some philosophies of science. Examples are: regarding a discipline as self-contained, having no necessary connection with the external world; taking interpretation (or the postulating of theories) as an arbitrary process, valid if it makes sense of the data, thus avoiding questions of truth; diminishing individuality by overemphasizing the learned aspects of a discipline (reading as governed by assimilated rules, research as controlled by shared (...) goals and methods and implicit agreement on fundamental questions). Interdisciplinary exchange should lead to greater awareness both of difficulties of these positions and of proposed solutions to the difficulties they raise. (shrink)

Examines the nature of rhetorical theory and criticism, the rhetoric of science, and the impact of poststructuralism and postmodernism on contemporary accounts of rhetoric.

Contributed articles on semantics philosophy of vedic literature and poetics presented earlier at a seminar honoring Kapil Kapoor, Indian Indologist.

This book aims to help readers interpret, and reflect on, their reading more effectively. It presents doctrines of ancient and renaissance rhetoric (an education in how to write well) as questions or categories for interpreting one's reading. The first chapter presents the questions. Later chapters use rhetorical theory to bring out the implications of, and suggest possible answers to, the questions: about occasion and audience (chapter 2), structure and disposition (3), narrative (4), argument (5), further elements of content, such as (...) descriptions, comparisons, proverbs and moral axioms, dialogue, and examples (6), and style (7). Chapter eight describes ways of gathering material, formulating arguments and writing about the texts one reads. The conclusion considers the wider implications of taking a rhetorical approach to reading. The investigation of rhetoric's questions is interspersed with analyses of texts by Chaucer, Sidney, Shakespeare, Fielding and Rushdie, using the questions. The text is intended for university students of literature, especially English literature, and rhetoric, and their teachers. (shrink)

This paper contends thatMichael Oakeshott's analogy of conversation conveys a conception of philosophy that can be connected with 'philosophical criticism', as interpreted by British Idealists such as Andrew Seth and Edward Caird. Firstly, my claim is that Oakeshott's notion of philosophical definition is animated by a dialectical 'refutation' of current ideas, articulated in the logical study of their presuppositions. Moreover, I show that this critical idea of philosophy is expressed through a re-interpretation of the Socratic Method that (...) can be compared to that of other Idealists. By means of an examination of textual evidence, I stress the consistency of this perspective throughout all Oakeshott's career. Secondly, I consider the image of conversation as an answer to the Idealist question about the possibility of the unity of knowledge. At the outset, I highlight that Oakeshott's position can be juxtaposed to the critiques of Modern philosophy and science paradigmatically put forward by Edward Caird and R.G. Collingwood. I argue that 'conversation' is consistent with Oakeshott's conception of modality, which is a critique both of the possibility of a final synthesis between different forms of understanding and of all reductionisms. Therefore, I analyze the theoretical foundations of this conception, which I have identified with the nature of postulates, the unity ofmind, and the non-propositional character of judgments. In the conclusion, I suggest that this reading has implications for a broader understanding of Oakeshott's Idealism, of his political theory and of the debate with Analytic philosophy. (shrink)

The volume gathers eleven studies on the intellectual exchanges during the Middle Ages among the three cultures which existed side by side in the same geographical area, i.e. the vast space from the British Isles to the Sahara Desert, and from the Douro Valley to the Hindu Kush. These three cultures – who may not be reduced to their confession or ethnicity – are historically related to each other in many respects, both material (trade, wars, marriages) and immaterial (the interdependence (...) among their religious narratives and their philosophical speculations). The studies herein presented focus on some peculiar examples of the transcultural interactions among exponents of the Arabic, Hebrew and Latin philosophical and theological traditions. While we do not want to downplay the fundamental role of the religious contexts, our focus on the linguistic denominations of these cultures aims at drawing attention to the conceptual medium, or rather media, which underlined and shaped the interactions and interplays among these traditions – interplays that were characterized by the contact of these three languages being used by people of different religious beliefs in their quest for knowledge: Spanish Jews writing in Arabic, Jews collaborating in the translation of Arabic texts into Latin through the vernacular, Western Muslims whose writings were read mainly by Jews and Christians in Hebrew and Latin. (shrink)

The philosophy of “presence” seeks to challenge current understandings of meaning and understanding. One can trace its origins back to Vico, Dilthey, and Heidegger, though its more immediate exponents include Jean-Luc Nancy, Hans Ulrich Gumbrecht, and such contemporary philosophers of history as Frank Ankersmit and Eelco Runia. The theoretical paradigm of presence conveys how the past is literally with us in the present in significant and material ways: Things we cannot touch nonetheless touch us. This makes presence a post-linguistic (...) or post-discursive theory that challenges current understandings of “meaning” and “interpretation.” Presence provides an overview of the concept and surveys both its weaknesses and its possible uses. In this book, Ethan Kleinberg and Ranjan Ghosh bring together an interdisciplinary group of contributors to explore the possibilities and limitations of presence from a variety of perspectives—history, sociology, literature, cultural theory, media studies, photography, memory, and political theory. The book features critical engagements with the presence paradigm within intellectual history, literary criticism, and the philosophy of history. In three original case studies, presence illuminates the relationships among photography, the past, memory, and the Other. What these diverse but overlapping essays have in common is a shared commitment to investigate the attempt to reconnect meaning with something “real” and to push the paradigm of presence beyond its current uses. The volume is thus an important intervention in the most fundamental debates within the humanities today. Contributors: Bill Ashcroft, University of New South Wales; Mark Bevir, University of California, Berkeley; Susan A. Crane, University of Arizona; Ranjan Ghosh, University of North Bengal; Suman Gupta, Open University Ethan Kleinberg, Wesleyan University; John Michael, University of Rochester; Vincent P. Pecora, University of Utah; Roger I. Simon. (shrink)

Dialogue is a recurring and significant component of Indian religious and philosophical literature. Whether it be as a narrative account of a conversation between characters within a text, as an implied response or provocation towards an interlocutor outside the text, or as a hermeneutical lens through which commentators and modern audiences can engage with an ancient text, dialogue features prominently in many of the most foundational sources from classical India. Despite its ubiquity, there are very few studies that explore this (...) important facet of Indian texts. This book redresses this imbalance by undertaking a close textual analysis of a range of religious and philosophical literature to highlight the many uses and functions of dialogue in the sources themselves and in subsequent interpretations. Using the themes of encounter, transformation and interpretation - all of which emerged from face-to-face discussions between the contributors of this volume - each chapter explores dialogue in its own context, thereby demonstrating the variety and pervasiveness of dialogue in different genres of the textual tradition. This is a rich and detailed study that offers a fresh and timely perspective on many of the most well-known and influential sources from classical India. As such, it will be of great use to scholars of religious studies, Asian studies, comparative literature and literary theory. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Philosophy and the Interpretation of Pop CultureStefán SnaevarrPhilosophy and the Interpretation of Pop Culture, edited by William Irwin and Jorge J. E. Gracia. Lanham, MD: Rowman and Littlefield, 2007, 297 pp., $29.85 paper.There has been quite a boom lately in the market for philosophical books on popular culture. The young American philosopher William Irwin has led the way by starting the fad of "... and philosophy" (...) books; the first one that Irwin edited was Seinfeld and Philosophy. So it is only fitting that he is one of the editors of this volume on philosophical interpretation of popular culture. In contrast to most of the earlier books of this kind, a sizable number of the contributors to this volume belong to the top brass of America's aestheticians: Noël Carrol, Ted Cohen, Carolyn Korsmeyer, and Richard Shusterman, to name but a few. The book is divided into two parts, "Philosophy and Popular Culture" and "Interpretation and Popular Art Forms." These titles are self-explanatory; it might be added that the aforementioned top brass dominates the first part.Irwin provides the book with a witty and well-written introduction, but he operates with a very wide definition of popular culture, classifying movies as such as items of pop culture. However, the medium surely is not the message. The fact that novels can be part of popular culture does not make Joyce's Ulysses a pop cultural object. Irwin's chapter, "Philosophy as/and/of popular culture," is rather two papers in one. One half addresses the concept of popular culture, containing an insightful critical evaluation of, among others, Noël Carroll's concept of mass art. The other half proposes that we can use popular culture to disseminate philosophical ideas to the general public. More so than in the introduction, Irwin is actually rather critical of popular culture in this chapter. He worries about its negative effect on culture in general—no cult of pop culture here. In addition, he rejects the notion of popular culture having the potential of becoming philosophy or its surrogate. He reminds us that Socrates used examples from everyday life and the popular culture of his day to make his philosophical points. In a similar fashion, the popular culture of today can be a stepping stone for philosophers to reach wider audiences. If you cannot beat them, join them! Popular culture could, for instance, be used to warn the public against its own evil aspects. This is an excellent idea, and I could not agree more; I myself often use examples from popular culture in my own lectures with good results. Irwin should expand on this idea and present it in a separate article.Richard Shusterman's chapter does not add much to his earlier writings. It is also somewhat like two articles in one; the first is a criticism of the denigration of pleasure and entertainment as aesthetic values, and the second half is an attempt to bridge the divide between intrinsic value and instrumental value. Both halves [End Page 111] contain some excellent arguments, but popular culture tends to be on the fringe in Shusterman's argument. The focus is on other more traditional, philosophical issues. Perhaps another venue would have been more suitable for this article.In contrast to Shusterman, Caroline Korsmeyer addresses the issues of popular culture in a fairly straightforward manner. Popular culture can be educational, even philosophically so. This claim does not mean that works of popular culture are works of philosophy in the ordinary sense of the word. However, we can "treat philosophy as a success term to refer to works demanding imaginative engagement that results in the recognition... of a philosophical position, such that what is done in philosophy proper that induces a possible conclusion is done in another genre by means appropriate to its appreciation" (31). Given this understanding of philosophy, we can understand works of popular culture as vehicles of philosophy. Korsmeyer maintains that the TV series Angel conveys some of Simone de Beauvoir's ideas from one of her books. Korsmeyer's chapter also contains a delightful discussion of "the probable impossible" and "the possible improbable" in fiction. But... (shrink)

These essays deal with the scholarly study of the genesis, transmission, and editorial reconstitution of texts by exploring the connections between textual instability and textual theory, interpretation, and pedagogy. What makes this collection unique is that each essay brings a different theoretical orientation-New Historicism, Poststructuralism, or Feminism-to bear upon a different text, such as Whitman's Leaves of Grass , Faulkner's The Sound and the Fury, or hypertext fiction, to explore the dialectical relationship between texts and textuality. The essays bring some (...) of the textual theories that compete with each other today into contact with a broad range of primarily literary textual histories. That texts are intrinsically unstable, frequently consisting of a series of determinate historical versions, has consequences for all students of literature, because different versions of a literary work frequently help shape different readings independently of the interpretations brought to bear upon them. Textual instability of the works is relevant to our understanding of how the meanings of texts are generated. The contributors build on the numerous challenges to the Anglo-American editorial tradition mounted during the past decade by scholars as diverse as Jerome McGann, D.F. McKenzie, Peter Shillingsburg, D.C. Greetham, Hershel Parker, and Hans Walter Gabler. The volume contributes to the paradigm shift in textual scholarship inaugurated by these scholars. Index. (shrink)

Introduction: Fielding Derrida -- Jacques Derrida's early writings : alongside skepticism, phenomenology -- Analytic philosophy, and literary criticism -- Deconstruction as skepticism -- Derrida, Husserl, and the commentators : a developmental approach -- A transcendental sense of death : Derrida and the philosophy of language -- Literary theory's languages : the deconstruction of sense vs. the deconstruction of reference -- Jacques Derrida and the problem of philosophical and political modernity -- Jacob Klein and Jacques Derrida : the (...) problem of modernity -- Jacob Klein and Jacques Derrida : historicism and history in two interpretations of Husserl's late writings -- Derrida's contribution to phenomenology : a problem of no species -- Foretellese : futures of Derrida and Marx. (shrink)