Part of the greatness of great literature consists in the profound, philosophic ideas the works contain. These ideas may not be unknown to philosophy but, when rendered in literary form, they gain an aesthetic force often lacking in the philosophic treatise with its careful train of reasoning.In this insightful study, Burton Porter explores the philosophic content of some outstanding literary works, analyzing and evaluating the ideas that drive the narrative.Porter first examines the concept of free will and determinism (...) in Melville's Moby Dick, placing the quest for the white whale within the context of foreordination, hubris, prophecy, and defiance of divine power. Connections are also drawn to Euripides' Medea and Shakespeare's King Lear as well as the Old Testament.The good and the right are traced in Anouilh's Antigone and Tolstoy's Anna Karenina, showing the philosophic antagonisms in the literature and in the conflicted minds of the authors.Voltaire' Candide and Dostoevsky's The Brothers Karamazov are then explored insofar as they express the problem of evil--the tension between human suffering on earth and belief in a benevolent, wise, almighty God.Finally, the nature of the self is investigated in Rilke's The Notebooks of Malte Laurids Brigge and Kafka's The Metamorphosis, focusing on identity and the mind-body problem.Porter makes philosophy come alive by showing its expression in art and revealing the depth of ideas that make literature compelling.Burton Porter (Springfield, MA) is currently professor of philosophy at Western New England College and a visiting professor of philosophy at Mt. Holyoke College. He is the author or editor of numerous books including Philosophy Through Fiction and Film, The Voice of Reason, and Reasons For Living. (shrink)

This chapter contains sections titled: At Home in the Commonplace Re‐Thinking Proto‐Modernism: Dickinson Re‐Thinking High Modernism: Stevens.

In Subjects That Matter, Namita Goswami attends to philosophy’s institutional and disciplinary failures to reconcile its identitarian claims to universality and reason with the feminist and postcolonial modes of thinking it traditionally keeps at bay. This essay places Goswami’s critique within a context of “the thought from outside,” which, beginning with Foucault’s reading of Blanchot, continuing through the geopolitics of Dussel’s philosophy of liberation, and prominent in Catherine Malabou’s conceptualization of plasticity, demonstrates how political critiques of philosophical hegemony (...) contain an implicit theorization of “literature.” If “literature” gives voice to the thought from outside, does it in turn “decolonize” philosophy? If so, what itinerary of thought ought to follow the relationship between this literary decolonization of philosophy and its imbrication within the fold of philosophical thought? How to conceptualize the plastic relation between inside and outside, between center and periphery, without subordinating the latter to the hegemony of the former? This essay argues for a coherence between Goswami’s and Malabou’s materialist understandings of difference and a conceptualization of literature as an “outside” to philosophy that operates “excentrically” “inside” philosophy. (shrink)

What is the moral, spiritual, and educative function of philosophy and literature in modern lives? Such a large question is rarely posed by philosophers or literary theorists these days, but one philosopher who has put it at the top of his agenda is Richard Rorty. His general answer is that both literature and philosophy serve distinct ends: the private end of personal fulfilment through the redescription of experiences and the possibility of self-creation, and the public end (...) of expanded horizons of moral imagination and spheres of solidarity. In what follows I will take a closer look at Rorty’s proposal. I begin by situating it as a contribution to philosophical discussions of the ‘problems of modernity’. Second, I draw attention to an important but sometimes neglected thought that underscores Rorty’s proposal: the alliance of philosophy and literature in making sense of modern lives. With this background in place, in the third section I consider the distinctive version of the private/public split that Rorty invokes, which can be regarded as his version of worldmaking in modernity. I argue that Rorty’s version of the distinction has more going for it than some critics have been prepared to grant, and that it at least provides a basis for further reflection on the important question it helps to answer. (shrink)

Eric Prieto is a professor of French and Comparative Literature at the University of California, Santa Barbara. He is the author of Listening In: Music, Mind, and the Modernist Narrative, and numerous essays on music-and-literature, literary spatiality, Caribbean literature, and literary theory.

INTRODUCTION: THE NAME MADHYAMAKA The Madhyamaka school of Mahayana Buddhism goes back to Nagarjuna, the great Indian Buddhist philosopher who is placed ...

In lieu of an abstract, here is a brief excerpt of the content:THE PLACE OF RENE GIRARD IN CONTEMPORARY PHILOSOPHY Guy Vanheeswijck University ofAntwerp and ofLeuven Iwould like to start by quoting a text which is likely to be recognized by everyone, who is even on a superficial level familiar with the work of René Girard: Desire that bears on a natural object is only human to the extent that it is mediated by the desire of another bearing (...) on the same object: it is human to desire what others desire, because they desire it. Thus an object that is perfectly useless from a biological point of view (such as a medal, or the enemy's flag) can be desired because it is the object of other desires. Such a human desire, and human reality as it differs from animal reality, is only created by the action that satisfies such desires. Human history is the history of desires that are desired [Désirs désirés]. Undoubtedly, these could be words written by Girard. However, they are not. These words are quoted from the famous lectures given by Alexandre Kojève on Hegel's Phänomenologie des Geistes at the Ecole pratique des hautes études between 1933 and 1939. They were followed by what would become the crème ofpost-war French philosophy: Raymond Aron, Georges Bataille, Alexandre Koyré, Pierre Klossowski, Jacques Lacan, Maurice Merleau-Ponty, Jean-Paul Sartre.' Kojève's interpretation ofHegel has, as generally known, become the point ofreference to the post-war twentieth ' Although Sartre himselfcould not attend the lectures (at that time he taught philosophy in Le Havre en Laon), he must have heard from it by way of Aron or Merleau-Ponty. 96Guy Vanheeswijck century philosophy in France. Before 1930 the word "dialectic" was burdened with an odium of sin, after 1930 it became a word—thanks to Kojève —radiant with prestige. Before 1930 there had been no talk of an Hegelian school whatsoever in France, after 1930 the situation changed so drastically that Merleau-Ponty was able to write these often quoted lines in 1946: Hegel is at the origin of everything that has been great in philosophy for over a century; for example Marxism, Nietzsche, phenomenology and German existentialism, psychoanalysis. He inaugurates the attempt to explore the irrational and to integrate it within a wider rationality that remains the philosophical task of our century. (Sens et non-sens 109-110) Half a century later, these words have lost their self-evident character. While the generation of French thinkers between 1930 and 1960 stresses its dependence on Hegel, the generation after 1960 heavily reacts against him. In 1970 Michel Foucault gave his inaugural speech at the Collège de France. On behalf of his generation he testified to a generalized antiHegelianism at that moment: "Our entire epoch, whether through logic or epistemology, whether through Marx or Nietzsche, seeks to evade Hegel's Imperium [échapper à Hegel] (L'Ordre du discours 74). Obviously, René Girard belongs to the second generation, which, on the one hand, embroiders on the theme ofdesire, borrowed from Kojève's interpretation ofHegel, but, on the other, in its search for answers precisely wishes to get rid of Hegel. But, is it correct to call René Girard a philosopher? His schooling was that of an historian. In 1947 he graduated in Paris as an archivistepal éographe at the Ecole de Chartres: his thesis was "La vie privée à Avignon dans la seconde moitié du XVe siècle." Three years later—in the meantime he had emigrated to the United States—he received his Ph.D. at the faculty of history of the University of Indiana. The topic of his dissertation was "American opinion ofFrance, 1940-1943." However, he has never worked as a professional historian. He owes his reputation first and foremost to his literary analyses, subsequently to his research in anthropology, finally to his exegesis ofthe Bible. Time and again, Girard has expressed his preference for literature to both humanities and philosophy. Human behavior is, in his view, much less elucidated by the conceptual structures of discursive philosophy than by the evocative force of a Greek tragedy, the Biblical passion story or a modern novel. One might retort that René Girard... (shrink)

The year 1492 is only the last in a series of “ends” that inform the representation of medieval Spain in modern Jewish historical and literary discourses. These ends simultaneously mirror the traumas of history and shed light on the discursive process by which hermetic boundaries are set between periods, communities, and texts. This book addresses the representation of the twelfth and thirteenth centuries as the end of al-Andalus (Islamic Spain). Here, the end works to locate and separate Muslim from Christian (...) Spain, Jews from Arabs, philosophy from Kabbalah, Kabbalah from literature, and texts from contexts. The book offers a reading of texts that emerge from its Andalusi, Jewish, and Arabic cultural sphere: Maimonides’ Guide of the Perplexed; the major text of Kabbalah, the Zohar; and the Arabic rhymed prose narrative of Ibn al-Astarkuwi. The author argues that these texts are written in a language that disrupts the possibility of locating it in a pre-existing cultural situation, a recognizable literary tradition, or a particular genre. At stake are issues – texts and contexts – that have gained particular urgency in the writings of such recent thinkers as Walter Benjamin, Jacques Derrida, Giorgio Agamben, Jean-Luc Nancy, and Avital Ronell. The book reads the place and taking place of language, interrogating the notion of disappearing contexts and the view that language is derivative of its true place, the context that, having ended, is mourned as silent and lost. (shrink)

My writing is simply a set of experiments in life—an endeavour to see what our thought and emotion may be capable of—what stores of motive, actual or hinted as possible, give promise of a better after which we may strive—what gains from past revelations and discipline we must strive to keep hold of as something more than shifting theory. I became more and more timid—with less daring to adopt any formula which does not get itself clothed for me in some (...) human figure and individual experience, and perhaps that is a sign that if I help others to see at all it must be through the medium of art. George Eliot. In his inaugural lecture, given in Birkbeck College in 1987, Roger Scruton, who has done as much as anyone else in recent years to bring the importance of art in general and literature in particular to the attention of philosophers, contends that ‘philosophy severed from literary criticism is as monstrous a thing as literary criticism severed from philosophy’. The first, he argues, aims to be science: strives after theoretical truth which it can never attain; and results in banality clothed in pseudo-scientific technicalities: while the second is liable to find consolation in the kind of nonsense which pretends that in the study of literature we are confronted with nothing other than an author-less, unreadable, ‘text’. Philosophy, he maintains, ‘must return aesthetics to the place that Kant and Hegel made for it: a place at the centre of the subject, the paradigm of philosophy and the true test of all its claims’. (shrink)

Hegel's philosophy of literature, in the Aesthetics and other texts, gives no extended discussion of the novel. Hegel's predecessor Friedrich Schlegel had produced a philosophy of literature with a central position for the novel. Schlegel's discussion of the novel is based on a view of Irony which allows the novel to be the fusion of poetry and philosophy. Hegel retained a place for art, including poetry, below that of philosophy. The Ironic conception of (...) the novel has themes, which also appear in Hegel, of the unity of opposites. However, for Hegel Irony does not allow the unity of artistic form and does not allow art to be guided by law and science. Therefore Hegel's philosophy of literature owes much to Schlegel but needs to attack Irony and minimise the role of the novel. Irony is criticised as a purely negative position of a 'beautiful soul', which cannot act and in its absolutely subjective resistance to evil in the world becomes evil itself. Hegel gives great importance to Epic which foreshadows the emergence of philosophy in its unity, but it is a unity based on conflicting individuality and lawlessness. In the modern world Heroic lawlessness can only be approached as nostalgia, the novel cannot integrate individuality and law, only religion and philosophy above aesthetics, including the novel. (shrink)

The study of philosophical terms and doctrines in the Mahābhārata touches not only on important aspects of the contents, composition and the historical contexts of the epic, but also on the historiography of Indian philosophy. General ideas about the textual history of the epic and the distinction between “didactic” and “narrative” parts have influenced the study of epic philosophy no less than academic discussions about what is philosophy in India and how it developed. This results in different (...) evaluations of the place of philosophical texts in the epic and their relationship to the history of Indian philosophy. While some scholars have suggested that there is a “philosophy of the epic” its composers wished to propagate, others have argued that “philosophy” is included in the epic either in a “proto” form or in a variety of doctrines they deemed relevant. The article discusses these views and some of the heuristic assumptions on which they are based. It proposes to widen the scope of analysis by paying more attention to the interplay of narrative and didactic passages, the various ways in which philosophy is presented in the epic, and its connection to a larger spectrum of the reception of philosophy in textual genres and by audiences outside the expert circles of the philosophical schools. (shrink)

Staying for an answer : the untidy process of groping for truth -- The same, only different -- The unity of truth and the plurality of truths -- Coherence, consistency, cogency, congruity, cohesiveness, &c. : remain calm! don't go overboard! -- Not cynicism, but synechism : lessons from classical pragmatism -- Science, economics, "vision" -- The integrity of science : what it means, why it matters -- Scientific secrecy and "spin" : the sad, sleazy story of the trials of remune (...) -- Truth and justice, inquiry and advocacy, science and law -- Trial and error : the Supreme Court's philosophy of science -- An epistemologist among the epidemiologists -- Fallibilism and faith, naturalism and the supernatural, science and religion -- The ideal of intellectual integrity, in life and literature -- After my own heart : Dorothy Sayers's feminism -- Worthwhile lives -- Why I am not an oxymoron -- Formal philosophy? : a plea for pluralism. (shrink)

Maurice Blanchot is perhaps best known as a major French intellectual of the twentieth century: the man who countered Sartre's views on literature, who affirmed the work of Sade and Lautreamont, who gave eloquent voice to the generation of '68, and whose philosophical and literary work influenced the writing of, among others, Jacques Derrida, Gilles Deleuze, and Michel Foucault. He is also regarded as one of the most acute narrative writers in France since Marcel Proust. In __Clandestine Encounters__, Kevin (...) Hart has gathered together major literary critics in Britain, France, and the United States to engage with Blanchot's immense, fascinating, and difficult body of creative work. Hart's substantial introduction usefully places Blanchot as a significant contributor to the tradition of the French philosophical novel, beginning with Voltaire's _Candide _in 1759, and best known through the works of Sartre. __Clandestine Encounters_ _considers a selection of Blanchot's narrative writings over the course of almost sixty years, from stories written in the mid-1930s to _L'instant de ma mort_. Collectively, the contributors' close readings of Blanchot's novels, _recits_, and stories illuminate the close relationship between philosophy and narrative in his work while underscoring the variety and complexity of these narratives. "Blanchot's narratives are here read with the care, patience, and thoroughness they deserve. The collection sustains a remarkable intensity of engagement throughout, in so doing opening these narratives out to their necessary contexts--philosophical, of course; but also literary, political, theological, and biographical--with welcome dedication and integrity. The volume makes a timely and decisive contribution to its field, where it will form a major point of reference." --_Martin Crowley, Queens' College, University of Cambridge_ "This outstanding collection--lucid, engaging, generous--illuminates Blanchot and the very notion of 'the philosophical.' " --_Gerald Prince, University of Pennsylvania_ "This collection contains some very important pieces on a major figure of twentieth-century modernism. Blanchot now has a much wider audience in North American than he did even a few years ago when it was mostly experimental fiction writers like Paul Auster, Lydia Davis, R. M. Berry, and Steve Tomasula--not literary critics--who took an interest in Blanchot's literary writings. The focus on the 'narratives' sets this volume apart from, and makes it a good deal more stimulating than, other recent collections of essays on Blanchot." --_Gerald Bruns, University of Notre Dame _. (shrink)

Hegel's philosophy of literature, in the Aesthetics and other texts, gives no extended discussion of the novel. Hegel's predecessor Friedrich Schlegel had produced a philosophy of literature with a central position for the novel. Schlegel's discussion of the novel is based on a view of Irony which allows the novel to be the fusion of poetry and philosophy. Hegel retained a place for art, including poetry, below that of philosophy. The Ironic conception of (...) the novel has themes, which also appear in Hegel, of the unity of opposites. However, for Hegel Irony does not allow the unity of artistic form and does not allow art to be guided by law and science. Therefore Hegel's philosophy of literature owes much to Schlegel but needs to attack Irony and minimise the role of the novel. Irony is criticised as a purely negative position of a 'beautiful soul', which cannot act and in its absolutely subjective resistance to evil in the world becomes evil itself. Hegel gives great importance to Epic which foreshadows the emergence of philosophy in its unity, but it is a unity based on conflicting individuality and lawlessness. In the modern world Heroic lawlessness can only be approached as nostalgia, the novel cannot integrate individuality and law, only religion and philosophy above aesthetics, including the novel. (shrink)

This paper offers a reading of Hartmann’s philosophy of literature from the perspective of contemporary aesthetics. In particular, I focus on his defense of the truth-value of literary works. After outlining the main concern of the paper (sect. 1), I place Hartmann’s view within the context of current aesthetic cognitivism (sect. 2). In the following three sections, I discuss Hartmann’s account, examining his critique of the thesis that literature is cognitively valuable because it transmits factual truths (...) (sect. 3); his defense of the view that literature discloses life (sect. 4); and the link between cognitive value and the ontology of the literary work (sect. 5). Finally, I discuss Hartmann’s focus on the concept of “truth” in the light of recent debates on knowledge of “what it is like” and on “understanding” (sect. 6). (shrink)

Drawing on a range of sources in philosophy and literature, but with particular reference to the work of Heidegger, makes a compelling case for the importance of place in philosophical discourse.

Purpose. The purpose of the study is to show the connection of romanticism with the anthropological doctrine that goes back to Hegelianism and Kantianism, and at the same time – with the concepts of the future, structuralism and postmodernism. Theoretical basis. The man is a central figure of the Romantic literary, therefore it makes sense to single out romantic human anthropological doctrine and the image of man associated with a specific historical and cultural era called the "epoch of romanticism"; to (...) show that many romantic philosophical positions remained relevant to the basic foundations of contemporary anthropological research and coincide with it in analytical and critical thinking about a man, a person, his historical and evolutionary fate. Originality. The romantic worldview determined the specifics of anthropological discourse, both logical and illogical, remaining symbols and attaching, as for example, a real historical anecdote, a popular history, a philosophical thought, a myth, a famous literary episode and the arts multiplied by creative inspiration and imagination. This tendency determined the fragmentation of thinking and the scientific image of man as a dual being, nevertheless, presented and described in all the variety of relations with the world and with himself, that allows us to call this area of thought "the romantic human science". Conclusions. Structural analysis of numerous romantic texts allows us to draw the following conclusion: with mythopoetic imagery and anthropological thought about a man, romantic writers introduced the reader to any wisdom, to philosophical understanding of their human essence, to past and modern teachings, in a way processed antique, medieval and enlightening views, in which an important place was given to reflections on the place of man in nature, society, and history. Correlating the well-known statements about a person as a descendant of the "old Adam", "person", "personality", "soul", with the modern idea of historical and social development, about the evolution of the consciousness of a person who revealed himself as an individual in modern times, with scientific and aesthetic views, the writers of the first half of the XIX century gave romantic thought anthropological meaning and, in fact, laid the foundations of historical, social, psychological, cultural and psychoanalytic anthropology. (shrink)

As a recent distinguished editor of British Journal of Aesthetics and a major contributor in his own right to recent debates on aesthetics and the philosophy of art – not least in the particular field with which this particular volume is concerned – Peter Lamarque is particularly well placed to author this survey of past and contemporary work on the philosophy of literature. Moreover, as those already familiar with Professor Lamarque's work will no doubt expect, this volume (...) offers remarkably clear and extensive coverage of a wide and complex philosophical field in its relatively short space of under 300 pages. Following a short preface, the work is divided into seven chapters. The first, entitled ‘Art’, generally explores the relationship between philosophy, literary theory, art. (shrink)

_The Routledge Companion to Philosophy of Literature_ is an in-depth examination of literature through a philosophical lens, written by distinguished figures across the major divisions of philosophy. Its 40 newly-commissioned essays are divided into six sections: historical foundations what is literature? aesthetics & appreciation meaning & interpretation metaphysics & epistemology ethics & political theory _The Companion_ opens with a comprehensive historical overview of the philosophy of literature, including chapters on the study’s ancient origins up (...) to the 18 th -20 th centuries. The second part defines literature and its different categories. The third part covers the aesthetics of literature. The fourth and fifth sections discuss the meaning and consequences of philosophical interpretation of literature, as well as epistemological and metaphysical issues such as literary cognitivism and imaginative resistance. The sixth section contextualizes the place of philosophy of literature in the "real world" with essays on topics such as morality, politics, race and gender. Fully indexed, with helpful further reading sections at the end of each chapter, this Companion is an ideal starting point for those coming to philosophy of literature for the first time as well as a valuable reference for readers more familiar with the subject. (shrink)

As a recent distinguished editor of British Journal of Aesthetics and a major contributor in his own right to recent debates on aesthetics and the philosophy of art – not least in the particular field with which this particular volume is concerned – Peter Lamarque is particularly well placed to author this survey of past and contemporary work on the philosophy of literature. Moreover, as those already familiar with Professor Lamarque's work will no doubt expect, this volume (...) offers remarkably clear and extensive coverage of a wide and complex philosophical field in its relatively short space of under 300 pages.Following a short preface, the work is divided into seven chapters. The first, entitled ‘Art’, generally explores the relationship between philosophy, literary theory, art …. (shrink)

This book discusses the philosophy of place and the implications for understanding ourselves authentically. It sets out to investigate this by providing a review of the phenomenological and humanistic views of place as background reading for the chapters that follow. This contributed book offers unique chapters from international scholars on place in relation to individual philosophers such as Nietzsche, Sloterdijk, Foucault, as well as more broad areas of research including Ecology, Ontogenesis, Bioethics and Metaphysics. The book (...) then presents an integration of the arguments of the contributing authors to give a better and fresh insight to the relationship between place and self. This fusion of chapters amplifies each to show how they all have an important contribution to an expanded understanding of place and self. This combination of topics as well as each author's view of place makes this book an important contribution to the literature. The book is intended for philosophers but would also be of interest to a general audience. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Being in Time: Selves and Narrators in Philosophy and LiteratureRuth GroenhoutBeing in Time: Selves and Narrators in Philosophy and Literature, by Genevieve Lloyd; 192 pp. New York: Routledge, 1993, $49.95 cloth, $19.95 paper.Philosophers have long been telling stories about temporal consciousness. Augustine explained it as an imperfect reflection of the eternal God in whose image persons are made; Kant explained it as the transcendental unity (...) of apperception, assumed in any act of understanding while always just out of range; Nietzsche explained it as eternal recurrence. These issues also appear in literary treatments of the self, particularly those by Proust and Woolf. In this book, Genevieve Lloyd compares a broad range of philosophical discussions to these two writers. [End Page 404]Being in Time argues for several fascinating conclusions, among them a rejection of the claim that modern and premodern philosophy implicitly assumed the existence of a unified subject. Although Proust and Woolf are often held up as paradigmatic of the fragmented self, which also plays a prominent role in Derrida, this is not a postmodern discovery, Lloyd claims; the unified subject has been problematic throughout the Western philosophical tradition. She concludes, nonetheless, that postmodern thought does represent a new departure, at least to the extent that it treats the fragmentation of self not as a problem to be solved, but as a fundamental feature of what it is to be human.Meanwhile, Being in Time also pursues a second theme: the relationship between philosophy and fictional narrative. Drawing on Ricoeur and Aristotle, Lloyd argues that the best way to understand philosophy is to approach it as a story that illuminates and explains the human self by means of metaphor. Literature and philosophy both involve the telling of stories that allow us to make sense of our world and our place in it.Does it follow that literature and philosophy are indistinguishable? They belong to the same family; each offers insight into the human condition, and does so through the medium of myth, story, narrative, or fiction. They are not identical twins, however, since philosophy uses stories and metaphors to draw connections among universals while literature tells its stories about universals by means of particulars. (Compare Hobbes’s State of Nature to Defoe’s Robinson Crusoe.) For Lloyd, though, it is a mistake to discard the narrative and literary aspects of a philosophical work in an effort to get at what might be considered its real point (namely, deductive arguments). The illuminating power of philosophy lies not in truncated arguments, but rather in the richer narratives, metaphors, and stories that are used to develop and explain them.Her claim for the unique nature of postmodern philosophy may not stand up to scrutiny—from Heraclitus through the skeptics and into the nominalist tradition of the Middle Ages, there has been a strand of Western thought that emphasizes the fragmentary, contingent nature of the self—but Lloyd’s claims for the family resemblance between literature and philosophy should be of interest to students of both subjects, particularly those concerned with the ways in which style, choice of metaphor, and narrative voice are relevant to philosophical study. The book makes an eloquent plea for reading philosophy instead of stripping its arguments of the narrative flesh with which they were originally endowed.Ruth GroenhoutSouthwest Missouri State UniversityCopyright © 1995 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Things Merely Are: Philosophy in the Poetry of Wallace StevensTom McBrideThings Merely Are: Philosophy in the Poetry of Wallace Stevens, by Simon Critchley. 137 pp. New York: Routledge, 2005; $22.50.This book—a brief meditation on the poetry of Wallace Stevens and an even shorter one on the cinema of Terrence Malick—might have been a disaster. The author, a philosopher, is sometimes in worried denial that Stevens is (...) an "anti-realist" or a "transcendental realist," and one occasionally senses that in the ancient tension between philosophy and poetry, herding the poets into the philosopher's pen is a bullying way to resolve the conflict. But the book isn't a catastrophe at all; it's a lucid, ruminative, and personable reading of Stevens (and Malick) that even offers a good general guide to the reading of poetry in what Critchley calls "the wake of romanticism" (motto: "God is dead; therefore I am").Critchley's major idea is twofold: that poetry is a therapeutic art form because it slows us down and encourages, about countless subjects, "the whole voluptuousness of looking"; and that Stevens's poetry is informed by a contest between a poetry of "supreme fictions" (in which phenomena come under the [End Page 503] dominion of a potent imagination) and a poetry of "antipodes" (in which phenomena resist the imagination—they "merely are"—and thus reduce the imagination to impotence). Here Critchley affirms a usual view of Stevens as a poet of the weather—another way of saying that he is a modernist with strong roots in the Romantic movement—and he notes that the supreme fiction poems often tend to be set in summer, when the imagination seems especially yeasty, while the antipodean poems tend to be set in winter, when the miserly realness of things seems to rule the earth. In his sensitive and astute reading, however, Critchley remarks upon something else: that in his late poems Stevens seems more overtly metaphysical (Critchely says Stevens is the most philosophically interesting poet of the twentieth century) and that his later poems are set more and more in the seasons of transition (late autumn/early spring). Late in Stevens's career the battle between supreme fictions and antipodes is therefore played out in the same, often overtly philosophical poems. Here Critchley's commentary is at its most astute. Occasional lovers of Wallace Stevens's poetry will remember why they adore his work, and have a better idea why.However, lest readers get the wrong idea, some careful qualifications about the dialectic between Stevens's summer and winter poems are in order. For one thing, the poems of supreme fictions always leave phenomena with their particularity, their ordinariness, their concreteness. To cite one such poem, "Anecdote of the Jar," although the poet imaginatively places "a jar in Tennessee" that makes "the lovely wilderness / Surround that hill," the wilderness' birds and bushes, even the jar itself, remain birds and bushes and jars ("gray and bare"). Here Critchley reinterprets Samuel Taylor Coleridge's distinction between "fancy" and "imagination." Fancy dreams of what does not exist, while imagination transfigures what does. Stevens's poems of supreme fiction are always imaginative, never fanciful.A second qualification: Critchley argues that for Stevens (as well as for a number of philosophers) human ways of knowing are always informed, sooner or later, by the conceptual imagination. In that sense a rose is never just a rose, although we need not become overly fanciful about what a cigar might be. And this leads us to a third one: When readers get to the wintry, antipodean poems—the poems of "anti-poetry"—they will find Stevens suggesting that the only way to view objects without imagination is to imagine what that would be like. Even earlier in his career Stevens became interested in this paradox, as in "The Snow Man" where he muses:One must have a mind of winter To regard the frost and boughs Of the pine-trees crusted with snow; And have been cold a long time To behold the junipers shagged with ice, The spruces rough in the distant glitter [End Page 504] Of the January sun; and not... (shrink)

Covers the philosophy of 200-800 CE and its place in literature, science, and religion. Includes a digest of all philosophical works known to have been written during the period.

In lieu of an abstract, here is a brief excerpt of the content:Pleasure and Pain in LiteratureOliver ConollyWhy do we enjoy the depiction, in imaginative literature, of situations that typically arouse negative emotions such as pity, sadness, and horror? One view, which aims to dissolve rather than solve the problem, is that we do not enjoy them at all. According to this theory—the pure pain theory—the problem does not arise in the first place. But the theory must explain (...) why we chose to undergo such painful experiences. Are we simply aesthetic masochists? The pure pleasure theory, by contrast, denies that there are any painful aspects to our experience of such literature. This theory must explain how we can take pure delight in the literary depiction of suffering. Are we simply aesthetic sadists? Lying between both extremes is the hybrid theory, which asserts that there are both painful and pleasant aspects of such experiences. The hybrid theory must specify which aspects of the experience are painful and which pleasant. In this paper a version of the hybrid theory is advanced and defended.IThe pure pleasure theory denies that we feel painful emotional identification with fictional characters. Why take this view? One reason is that it is a way of resolving the paradox of fiction, as formulated by Colin Radford.1 The paradox asserts that there is an inconsistency between the propositions that: (1) we have emotions for fictional characters, (2) we know that they do not exist, (3) it is irrational to have emotions for non-existent objects. Each proposition seems plausible, yet one must be false. Whilst most of the participants in the debate have attacked the notion that feelings for fictions are irrational, some have [End Page 305] denied that we have such feelings in the first place. One intuition guiding this denial is that the depiction of a fictional horrible event is likely to be less painful than the depiction of an identical but real event. In other words, the mere fictionality of an event is liable, by itself, to diminish the pain we are liable to feel at its depiction in comparison with a real event: I label this the fictionality gap. If the fictionality gap exists, it applies across the board, to the sufferings of Pip in Great Expectations as well as those of King Lear. The characters in those works are fictional, and so the lessening of the pain we feel at their fates must, if the fictionality gap holds, hold merely in virtue of the fact that they are fictional.It has often been noted—rather than argued, but this is question of impression rather than logic—that one would feel more affected were the stories real rather than fictional. The kinds of events depicted in King Lear—ugly struggles for power, the manipulation of the naïve, the impotence of the good, inconsolable grief—are not in themselves other-worldly, and can be imagined taking place in reality. However it is much more difficult to imagine King Lear in its full particularity taking place in the real world, given the theatricality of its form and language. In order to imagine King Lear as real, one would have to rob it of Shakespeare's poetry, which is other-worldly in its eloquence. French proponents of the Three Unities thought that theatre should aim at, among other things, verisimilitude, but never overcame the problem that the fact that characters in French theatre speak in rhyming couplets might detract from that verisimilitude, which it clearly does. This worry about the transplantability of King Lear into the real world appears to be less of a problem in relation to realist novels, which, as their appellation suggests, are easier to imagine taking place in the real world. Not only is the language used in realist novels less exalted than that used in tragedies, the situations such novels depict tend to be more likely to occur. Clearly, the realist novel is capable of depicting horrible or unpleasant events. About such novels, say, Madame Bovary, it seems to make sense to ask ourselves how we would feel about them if we read them as true stories.I would like however to question the very intelligibility of the... (shrink)

The history of the opposition of the Dionysian and Apollonian principles is longer than is usually assumed. Similarly to the many of the other contrarian figures ascribed to Nietzsche, the Apollonian–Dionysian was not of his making; its history is much older and buried under a number of different layers of interpretation. In the following work I will discuss the formal aspects and content of their development, which took place under the direct authorial influence of Pseudo-Longinus, Jacob Bernays, Friedrich Schiller, (...) Fr. W. J. Schelling and Johan Jacob Bachofen. Still, although the discovery of a principle labelled das Dionysische doesn’t represent anything exceptional, the “Birth of Tragedy” treatise was a breakthrough: it began the development of a specific form of cultural critique, of which Nietzsche was the prime representative. (shrink)

The exciting new book argues for a renewed emphasis on humanism--contrary to the trend of post-humanism, or what Neema Parvini calls "the anti-humanism" of the last several decades of literary and theoretical scholarship. In this trail-blazing study, Michael Bryson argues for this renewal of perspective by covering literature written in different languages, times, and places, calling for a return to a humanism, which focuses on literary characters and their psychological and existential struggles--not struggles of competition, but of connection, the (...) struggles of fragmented, incomplete individuals for integration, wholeness, and unity. (shrink)

This introduction concerns the place that Indian philosophical literature should occupy in the history of philosophy, and the challenge of championing pre-modern modes of inquiry in an era when philosophy, at least in the anglophone world and its satellites, has in large measure become a highly specialized and technical discipline conceived on the model of the sciences. This challenge is particularly acute when philosophical figures and texts that are historically and culturally distant from us are engaged (...) not only exegetically but also with a view to recruiting their topics and arguments for contemporary philosophical debates. (shrink)

In this beautifully written and brilliantly reasoned book, Ayn Rand throws a new light on the nature of art and its purpose in human life. Once again Miss Rand eloquently demonstrates her refusal to let popular catchwords and conventional ideas stand between her and the truth as she has discovered it. The Romantic Manifesto takes its place beside The Fountainhead as one of the most important achievements of our time.

Most disagreements about the proper place of philosophy in the theologyscience dialogue stem from disagreements about the nature of philosophy itself This essay traces some of the history of ideas about the nature of philosophy, and then proposes that in this post-analytic era philosophy can play both a constructive and critical role in the theology-science dialogue. The constructive role is well reflected in current literature, so this article explores the role of philosophy as (...) therapy. As a test case the doctrine of critical realism is diagnosed as a theory designed to solve a problem that needs instead to be dissolved by recognizing that it is based on a misleading picture of the knower's relation to the world. /// A autora do presente artigo parte do pressuposto de que a grande maioria dos desacordos acerca do lugar específico da Filosofia no contexto do diálogo entre Teologia e Ciência derivam de desacordos no que respeita à própria natureza da Filosofia. Nesse sentido, o artigo traça algumas das linhas de desenvolvimento na história das ideias relativamente à questão acerca da natureza da Filosofia, sugerindo que na presente era pós-analítica a Filosofia pode desempenhar um papel tão construtivo como crítico no âmbito do diálogo entre Teologia e Ciência. O papel construtivo está bem representado na literatura mais actual, o que leva a autora a explorar de um modo especial a pertinência e o alcance da noção de Filosofia como Terapia. O texto assume também como caso especial de verificação a doutrina do realismo crítico como exemplo de teoria desenhada para a solução de um problema e que, pelo contrário, necessita de ser dissolvida mediante o reconhecimento de que está baseada numa representação confusa acerca da relação do sujeito do conhecimento com o mundo. (shrink)

Examining both why and how Emerson evades the ancient quarrel between literature and philosophy, this book entirely rethinks the nature of Emerson's radical individualism and its relation to the possibility of an ethics and a politics. The author argues that the quarrel between literature and philosophy never took place in America, and that instead traditional philosophical work staged itself here as a form of literary praxis and cultural therapeutics, epitomized in the work of Emerson. A (...) revisionary study of some of Emerson's central essays, Less Legible Meanings also invites the reader to reconsider the nature of Emerson's influence on contemporary American culture and to discover new ways in which we might continue to understand his work. Interdisciplinary in scope, the book makes equal use of the history of philosophy, psychoanalytic theory, and cultural history. (shrink)

Modernity, Community, and Place in Brian Friel’s Drama shows how the leading Irish playwright explores a series of dynamic physical and intellectual environments, charting the impact of modernity on rural culture and on the imagined communities he strove to create between readers, and script, actors and audience.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.2 (2002) 459-461 [Access article in PDF] The Heart of What Matters. The Role for Literature in Moral Philosophy,by Anthony Cunningham; x & 296 pp. Berkeley: University of California Press, 2001, $60.00 cloth, $24.95 paper. Despite Socrates's rejection of the written word as a source of insight in the Phaedrus, a number of theorists have in recent years sought to find a (...) role for literature in critical thought. Anthony Cunningham's The Heart of What Matters joins a list of works that includes Richard Rorty's Contingency, irony and solidarity, Richard Posner's Law and Literature, and Martha Nussbaum's Poetic Justice. Whereas a number of these previous books have sought to articulate a public role for literature, Cunningham is more concerned with private philosophical reflection, specifically with the ways in which literature might help us reflect upon Socrates's dual questions "How should I live?" and "What sort of person should I be?" (p. 9). It is, nevertheless, appropriate to mention Cunningham's work in conjunction with these other texts because The Heart of What Matters faces a number of similar problems arising from what it means to read literature with an eye towards generating critical thought.The first part of the book consists of three chapters in which Cunningham sets out his conception of ethics, the role of a convincing ethical theory, and his account of what it means to "read for life." This last chapter is, by his own admission "fairly sketchy and theoretical" (p. 69), but he attempts to compensate for this in the second part where he offers—as a means, perhaps, of "showing by doing"—detailed, philosophically motivated readings of literary works by three authors: Kazuo Ishiguro, Toni Morrison, and Zora Neale Hurston. Like many of those who write about literature and ethics—including Wayne Booth and Martha Nussbaum—Cunningham's conception of ethics is "Aristotelian in spirit" (p. 5), as such it is no surprise to find that his "primary targets" in ethical theory are "Kant and Kantian ethics" (p. 4). Kant's theory of morality and indeed its various modern formulations—formulations Cunningham critques in some detail—are, he says, simply insufficient for capturing the nuances of our lived experience. Theories that focus on some underlying principle of morality are, he suggests, too abstract to help us answer Socrates's questions about the best way to live. By contrast, literature can, Cunningham argues, provide us with insight into the complexities of modern living. In a passage that is strongly reminiscent of Poetic Justice, Cunningham asserts that literature can "filter moral experience by heightening our attention to what should be morally salient and by directing us away from less crucial elements that can distract us from more important things" (p. 84). Similarly, in a passage that further echoes Nussbaum, Cunningham suggests that "literature can help us diagnose by taking us places that are difficult and even impossible to visit, much less understand in actual experience" (p. 85). Central to his overall argument is the suggestion, also common to Nussbaum and Rorty, that the [End Page 459] "right kind of novel" can "help us refine our moral vision by giving us a studied opportunity to practice seeing and appreciating diverse ethical lores" (pp. 84-85). It is, however, this suggestion that reading is some sort of moral exercise that proves problematic for almost all work on literature and philosophy.If literature is indeed a way for us to practice exercising our moral powers, then it is not clear why philosophers such as Cunningham, Nussbaum, and Rorty lavish so much attention on their own reading of texts. Reading about reading is not, I wish to suggest, the best way to exercise this moral capacity: it is rather like expecting to benefit from watching somebody else exercise. Instead of offering us a theory of reading which might allow us to engage in this exercise ourselves, Cunningham simply gives an account of his own experience. In this way, the subtitle of Cunningham's book, "The Role for Literature in... (shrink)

Blumenthal-Barby and her colleagues (2022) situate their discussion of philosophy and bioethics in the context of (reportedly) widely held assumption that, when compared to the early days of bioethics, the role of philosophy is now diminished across the field – the assumption we call the Disconnection Thesis. This assumption can be summarized, to use the authors’ own words, by the phrase “philosophy’s glory days in bioethics are over“. While in no place of the article they explicitly (...) endorse the Disconnection Thesis, at least some of the authors had previously endorsed it in print (Savulescu 2015). Such expressions of collective expert wisdom might be a valuable source of information on the discipline's history, but they should not be accepted uncritically. Given the explosion in the size and scope of bioethical research in recent decades, any scholar’s familiarity with the area is necessarily based on selective reading and might be biased. Hence, in this commentary, we examine what kind of more rigorous evidence could corroborate the Disconnection Thesis. In other words, if the role of philosophy in bioethics has been indeed diminishing, what kind of observable patterns should we expect to see? Drawing on our previous research (Bystranowski, Dranseika, Żuradzki 2022), here we focus on two useful perspectives: citation analysis and topic modeling. While the first approach allows us to indirectly measure the level of engagement of bioethicists with philosophical literature (by measuring the proportion of references from articles published in journals in bioethics that cite philosophy journals), the latter provides a window into the content and argumentative style of bioethical texts. (shrink)

The paper examines three themes from the recent philosophical literature on place: the status of places as “concrete universals”; the narratively mediated agency of places; and the various ways in which human identity proves to be relative to place. I argue that these themes throw into new relief a set of correlative issues in philosophical theology concerning, respectively, God’s supra-individuality, God’s status as a final cause, and the divine grounding of human identity. On this basis, the paper (...) proposes that knowledge of place is analogous to, and partly constitutive of, knowledge of God. (shrink)

The Heart of What Matters shows that literature has a powerful and unique role to play in understanding life's deepest ethical problems. Anthony Cunningham provides a rigorous critique of Kantian ethics, which has enjoyed a preeminent place in moral philosophy in the United States, arguing that it does not do justice to the reality of our lives. He demonstrates how fine literature can play an important role in honing our capacity to see clearly and choose wisely (...) as he develops a moral philosophy that engages with our intimate emotional concerns. Written in an accessible style and drawing from a provocative body of contemporary literature, this book shows how moral philosophy can reach a far wider audience than it has. -/- In part one of this book, Cunningham sketches out the theoretical basis for a redefined conception of moral philosophy. In part two, he engages in extended analyses of novels that address significant life and character issues, specifically Kazuo Ishiguro's The Remains of the Day, Toni Morrison's Beloved, and Zora Neale Hurston's Their Eyes Were Watching God and Seraph on the Suwanee. Cunningham shows exactly how works like these can inform moral philosophy. Drawing from film, history, psychology, and other social sciences in addition to literature, this book adds to the growing number of works that use literature for ethical analysis and to the growing controversy over Kantian ethics. (shrink)

Robert Abrams argues that new concepts of space and landscape emerged in mid-nineteenth-century American writing, marking a linguistic and interpretative limit to American expansion. Abrams supports the radical elements of antebellum writing, where writers from Hawthorne to Rebecca Harding Davis disputed the naturalizing discourses of mid-nineteenth century society. Whereas previous critics find in antebellum writing a desire to convert chaos into an affirmative, liberal agenda, Abrams contends that authors of the 1840s and 50s deconstructed more than they constructed.

Spatial Turns brings together essays that apply a spatial analysis to German literature and other media and engages with specifically German theorizations of ...

Limits of a (historico-)philosophical discourse vis-a-vis the rutpure in the fabric of civilization marked by the shoah. Examines the textual place of those aspects of history which elude rational analysis.

The Heart of What Matters shows that literature has a powerful and unique role to play in understanding life's deepest ethical problems. Anthony Cunningham provides a rigorous critique of Kantian ethics, which has enjoyed a preeminent place in moral philosophy in the United States, arguing that it does not do justice to the reality of our lives. He demonstrates how fine literature can play an important role in honing our capacity to see clearly and choose wisely (...) as he develops a moral philosophy that engages with our intimate emotional concerns. Written in an accessible style and drawing from a provocative body of contemporary literature, this book shows how moral philosophy can reach a far wider audience than it has. In part one of this book, Cunningham sketches out the theoretical basis for a redefined conception of moral philosophy. In part two, he engages in extended analyses of novels that address significant life and character issues, specifically Kazuo Ishiguro's The Remains of the Day, Toni Morrison's Beloved, and Zora Neale Hurston's Their Eyes Were Watching God and Seraph on the Suwanee. Cunningham shows exactly how works like these can inform moral philosophy. Drawing from film, history, psychology, and other social sciences in addition to literature, this book adds to the growing number of works that use literature for ethical analysis and to the growing controversy over Kantian ethic. (shrink)

In Geography and the Production of Space in Nineteenth-Century American Literature, Hsuan L. Hsu examines how literature represents different kinds of spaces ranging from the single-family home to the globe. He focuses on authors such as Charles Brockden Brown, Edgar Allan Poe, Herman Melville and Sarah Orne Jewett, who drew on literary tools such as rhetoric, setting, and point of view to mediate between individuals and different kinds of spaces. These authors used forms such as the regional sketch, (...) the domestic novel, and the detective story to re-examine how local spaces and communities would change when incorporated into global economic and political networks. Geography and the Production of Space in Nineteenth-Century American Literature is valuable reading for American literature scholars, and for all concerned with intersections between literature and geography"--Provided by publisher. (shrink)

Philosophy as Fiction seeks to account for the peculiar power of philosophical literature by taking as its case study the paradigmatic generic hybrid of the twentieth century, Marcel Proust's In Search of Lost Time. At once philosophical--in that it presents claims, and even deploys arguments concerning such traditionally philosophical issues as knowledge, self-deception, selfhood, love, friendship, and art--and literary, in that its situations are imaginary and its stylization inescapably prominent, Proust's novel presents us with a conundrum. How should (...) it be read? Can the two discursive structures co-exist, or must philosophy inevitably undermine literature (by sapping the narrative of its vitality) and literature undermine philosophy (by placing its claims in the mouth of an often unreliable narrator)? In the case of Proust at least, the result is greater than the sum of its parts. Not only can a coherent, distinctive philosophical system be extracted from the Recherche, once the narrator's periodic waywardness is taken into account; not only does a powerfully original style pervade its every nook, overtly reinforcing some theories and covertly exemplifying others; but aspects of the philosophy also serve literary ends, contributing more to character than to conceptual framework. What is more, aspects of the aesthetics serve philosophical ends, enabling a reader to engage in an active manner with an alternative art of living. Unlike the "essay" Proust might have written, his novel grants us the opportunity to use it as a practice ground for cooperation among our faculties, for the careful sifting of memories, for the complex procedures involved in self-fashioning, and for the related art of self-deception. It is only because the narrator's insights do not always add up--a weakness, so long as one treats the novel as a straightforward treatise--that it can produce its training effect, a feature that turns out to be its ultimate strength. (shrink)

Essays by an international team of scholars in Latin literature and ancient philosophy explore the understanding of emotions (or 'passions') in Roman thought and literature. Building on work on Hellenistic theories of emotion and on philosophy as therapy, they look closely at the interface between ancient philosophy (especially Stoic and Epicurean), rhetorical theory, conventional Roman thinking and literary portrayal. There are searching studies of the emotional thought-world of a range of writers including Catullus, Cicero, Virgil, (...) Seneca, Statius, Tacitus and Juvenal. Issues of debate such as the ethical colour of Aeneas's angry killing of Turnus at the end of the Aeneid are placed in a broad and illuminating perspective. Written in clear and non-technical language, with Greek and Latin translated, the volume opens up a fascinating area on the borders of philosophy and literature. (shrink)

This paper is concerned with tracing how the notion of place circulates and is understood in literature from the 1980s and 1990s on computer-mediated information and communications technologies. It provides a brief account of at least two ways that the notion of place circulates in the discourse of the virtual. The first is that these technologies enable 'new' spaces that are claimed to be separate from conventional spaces and places. The second, contradictorily, is that the metaphor of (...) place is crucial as a setting for online social interaction. The paper also explores how we might understand the 'place' of place in the discourse of the virtual. It does this by drawing parallels from Jacques Derrida's critique of spatial metaphor in the text of philosophy with the use of place-based metaphors in the discourse of the virtual. This examination reveals that the reduction of place to metaphor in writing on virtual technologies belies the persistent and subtle force that is exerted by metaphor in general. Furthermore, the prevalence of place-based metaphors in the discourse of the virtual points to the ongoing importance of place as a wider concept. In particular, the notion of place is in fact fundamental to how virtual technologies are framed and understood. The paper concludes by sketching some of the possibilities and potential implications that emerge from this argument. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.2 (2003) 475-477 [Access article in PDF] A Small Treatise on the Great Virtues: The Uses of Philosophy in Everyday Life, by André Comte-Sponville, trans. Catherine Temerson; x & 352 pp. New York: Metropolitan Books, 2001. Of two minds, I mirror the two sorts of audience this book's twenty-four translations have sought: "students" and "readers" (p. 5), those for whom the scholarly content (...) and apparatus may be of interest and those hopefully many more who wish to become better, to become virtuous. Although "students" will not find sustained engagement with this book rewarding, its bright virtues will raise "readerly" smiles among them.Reasons for Small's great popularity since its 1995 PUF release derive not from essaying eighteen virtues in its eighteen chapters. Its allure is its dance with love's piquant absences, a dance with virtues as "feeble approximations of love" (p. 98). Indeed, chapter 1 teaches that politeness "is not a virtue but a simulacrum that imitates virtue (in adults) and paves the way for it (in children)" (p. 13). And since love, "the alpha and omega of all virtue" (p. 226), is not itself clearly a virtue, then perhaps at most fifteen virtues are treated. For as all readers will pleasurably discover, purity (chapter 14) is really refractions of love's qualities.The virtues are multiply interconnected, not unified as Socrates thought. This idea finds graceful expression, among other places, at the conclusion of "Generosity" (chapter 7). "Combined with courage, it turns out to be heroism. Joined by justice, it becomes equity. Coupled with compassion, it becomes benevolence. In league with mercy, it becomes leniency" (p. 102). And chap-ter 9's mercy? "Because hatred is a sadness, mercy (like the process of mourning, which it resembles and might even require, since to forgive is to bid farewell to our hatred) is on the side of joy. When it is not yet joyous, it is forgiveness; when it already is, it is love" (p. 131). Simone Weil's meditations on God's absence, or "withdrawal," occasion insights into authentic parental love. [End Page 475] God does not fill the world since "were he to do so, there would be only God and no world"; similarly, "more often than one might think, parents withdraw, step back, cede their space to their children, and refrain from exercising all the power at their disposal. Why? Because they love them" (p. 274).Unfortunately, love's flowers, potted in this garden of Adonis (Phaedrus 276b), must contend with "student" scrutiny from without and a suffocating lack of concision from within. This "student's" efforts failed to disentangle ambivalences about the loving ego in the long, concluding love chapter. Organized into three sections—eros, philia, agape—the first has no patience for subtleties of the Symposium's eros. "Have I begged the question?... So be it," since Plato confuses "love—in all its forms—with [ego's] want" (p. 243). Philia "is a different way of [ego's] possessing, of enjoying" (p. 277). Finally, agape, universal and disinterested love, is simply one's genuine conatus, one's true power of existing (pp. 270f). So ego loves three ways—desire, possession, power—but each is about ego. Eros "usually" (p. 262) intermixes with philia: "we are forever hesitating, oscillating, fluctuating between the two affects [desire and joy] and the two truths (Plato's and Spinoza's), between want and capacity, hope and gratitude, passion and action, religion and wisdom, between the love that desires only what it does not have and wants to possess (ero \ s), and the love [philia] that, since it desires only what is, has everything it desires and finds pleasure and joy in it" (p. 253). Nevertheless, philia without excess Platonic eros is about and for ego, not alter. For the friend per se gives ego joy: ego's joy is the definiens of philia (pp. 249ff). Disconcertingly, there are a few contrary formulations of philia as loving "the other for the other's benefit" (p. 262). If "metaphysics is the... (shrink)

This book considers how places come to acquire special religious significance, as sites for prayer or other kinds of devotional activity. It examines the ways in which sacred sites function, and the ways in which sites which have no explicitly religious import may come to bear a religious meaning. One of the concerns of the book is to show how 'religious experience' is often not directly an experience of God, but rather an experience of some material context, or place, (...) and the religious significance which attaches to that context. The book draws on the phenomenological literature on sacred space and the emerging literature in philosophy of place, to provide an account of how religious belief is connected integrally to our embodied relationship to the material world. (shrink)

The present essay focuses on the Frankfurt School’s views on relations between philosophy and science. The author specifically concentrates on Horkheimer, the School’s leader, and Habermas, its most prominent contemporary representative. In her reconstruction of the Frankfurt School’s approach to the dependencies between philosophy and science the author—similarly to the Frankfurt theoreticians—abstains from treating it abstractly, instead placing it in its social and historiosophical context. The essay’s leading thesis is that the Frankfurt School sees philosophical self-reflection as a (...) remedy for the crisis in European culture, visible since the beginnings of the modern era in the rise of instrumental thinking. The author reminds that the assumption of philosophy’ primacy over science—or the primacy of wisdom over knowledge—has found avid support among philosophers of other eras and other schools of thought. (shrink)