Works of fiction are often criticized for their historical inaccuracies. But this practice poses a problem: why would we criticize a work of fiction for its historical inaccuracy given that it is a work of fiction? There is an intuition that historical inaccuracies in works of fiction diminish their value as works of fiction; and yet, given that they are works of fiction, there is also an intuition that such works should be free from the constraints of (...) historical truth. The puzzle of historical criticism is that these intuitions are obviously in conflict, and yet we wish to give up neither. In this essay, I address the shortcomings of two seemingly intuitive strategies for solving the puzzle: the puzzle cannot be solved by appealing to historical constraints of a work’s genre, nor can it be explained as an instance of imaginative resistance. Given the failure of these two strategies, I suggest that there is no easy way to account for our conflicting intuitions and that the puzzle is deserving of greater attention. (shrink)

Three issues essential to our insight into the concept and function of historical consciousness, and the description thereof, form the core of this book: historical truth, historical comment and criticism, and ideology (including the historian's trustworthiness). Taking as a point of departure the workings of these concepts in Chinese historical thinking, the volume carefully draws comparisons with similar topics in the Western tradition. It thus advocates and shows a truly comparative approach that sets the stage (...) for an intercultural dialogue on this important subject. The first comprehensive work on the political and cognitive dimensions of Chinese historical consciousness set against its Western counterpart. (shrink)

This article is a systematic consideration of aristotle's position vis-a-vis modern tendencies to judge all philosophical positions as historically conditioned. the argument shows that aristotle's position is not only not reducible to historical temporality but is transcendent of it. the article, which contains original translations of key passages in the metaphysics and physics and refers to the de anima, topica, poetics, nicomachean ethics, rhetorica, and history of animals, points to the author's own systematic philosophy entitled mentaphysics (chiron, 1978). particular (...) stress is laid on the relation between "logos" and "physis" with respect to aristotle's definition of "nous" as finally a divine "zoon". (shrink)

As a great synthesist for the School of Principles of the Northern and Southern Song dynasties, Zhu Xi’s influence over the School of Principles was demonstrated not only through his positive theoretical creation, but also through his choice and critical awareness. Zhu’s relationship with Confucianism and Buddhism is a typical case; and his activities, ranging from his research of Buddhism (the Chan School) in his early days to his farewell to the Chan School as a student of Li Dong from (...) Yanping and then to his critical awareness of the Chan School, developed in his association with Wang Yingchen, set the entire course of his relationship with Confucianism and Buddhism. It fostered his antagonistic attitude towards the Chan School, which lasted his entire life. Zhu approached the Chan School mainly as an objective social and cultural phenomenon; his discrimination between Confucianism and Buddhism was from an epistemological point of view; and his refutation of the Chan School was mainly from the point of view of language and methodology, an antagonistic attitude of how to face learning. Therefore, his opposition to the Chan School not only directly fostered an awareness of the Confucians of the Ming dynasty against Buddhism, who simply viewed the latter as an external and objective existence, but to a certain extent resulted in the disappearance of the transcendence of the School of Principles, and caused a total change in academic direction during the Ming and Qing dynasties and the formation of the Qianjia Hanxue . What is more, such an opposition to Buddhism continues to influence people’s understanding of the School of Principles. (shrink)

Modern historical criticism of the gospels and Christian origins began in the seventeenth century largely as an attempt to debunk the Christian religion as a pious fraud. The gospels were seen as bits of priestcraft and humbug of a piece with the apocryphal Donation of Constantine. In the few centuries since Reimarus and his critical kin, historical criticism has been embraced and assimilated by many Christian scholars who have seen in it the logical extension of the (...) grammatico-historical method of the Reformers. The new views of New Testament exegesis and of early Christian history are important and well known. Many New Testament scholars would now hold with Schweitzer and Bultmann that Jesus was a preacher of the imminent end of the world. He may have secretly considered himself to be the Messiah, or he may have simply sought to pave the way for another, the apocalyptic Son of Man. After his execution, his disciples' experiences of his resurrection forced on them a conclusion already implicit in his teachings and personal piety: that Jesus was indeed, or had become, the Messiah, and was in fact God's Son. They expected he would soon return as the Son of Man he had predicted. (shrink)

Many theologians accept that it is not plausible to dismiss what is called the ‘higher criticism’ altogether, but try to limit its efficacy. This article discusses a number of their ways of doing so.

Among the central meanings in Büchner's Woyzeck, there is one that comes clear only when we read the play in the context of the history of ideas—specifically in the light of certain currents of thought about human history and eschatology. Aspects of the play's expression are thereby elucidated, that are forcefully brought forward through the organization and compositional procedures of Berg's Wozzeck. Near the end of the long third scene of the opera, Wozzeck appears suddenly at Marie's window and alludes (...) cryptically to the mysterious signs that had come to him in the field the scene before, confiding to her that he is "on the track of something big." As those signs had first been presented through Wozzeck's eyes, they seemed like the imaginings and fears of a simple man about Freemasons and who knows what other objects of superstition, But now in the third scene he gives them a scriptural context, as though through a sudden insight: "Isn't it written, 'And behold, the smoke went up from the land, as the smoke from a furnace'?" What Wozzeck has recalled here is a passage in the Book of Genesis, chapter 19: "Then the Lord rained upon Sodom brimstone and fire from the Lord out of heaven. . . . and, behold, the smoke went up from the Land as the smoke from a furnace." The image is repeated in the New Testament Book of Revelation , chapter 9: "And the fifth angel sounded, and I saw a star fall from heaven unto the earth; and to him was given the key of the bottomless pit; and there arose a smoke out of the pit as the smoke of the great furnace; and the sun and the air were darkened by reason of the smoke of the pit." Both passages are about a holocaust visited by a wrathful God upon a corrupt and debauched people, and that is the idea that begins to form in Wozzeck's mind as he stands for the first time on the stage before his mistress. And he asks, "What will it all come to?" The answer to this thematic question lies in the strange unfolding of the drama, pressed forward by forces that lie, as Büchner had once put it, "Outside of ourselves"1 and by Wozzeck, who guarantees the outcome as he imagines himself becoming aware of what it must be. · 1. Letter to his family, February 1834: "I scorn no one, least of all because of his understanding or his education, for it lies in no one's power not to become a dumbbell or a criminal—because we have all become alike through like circumstances, and because the circumstances lie outside of ourselves . . ." Werner Lehmann, George Büchner: Sämtliche Werke und Briefe , 2:422. Leo Treitler, professor and chairman of the department of music at the State University of New York at Stony Brook, is the author of, among other works, "Dufay the Progressive" and "Homer and Gregory: The Transmission of Epic Poetry and Plainchant.". (shrink)

One of the issues of humanity has emphasized throughout history is transmission of words to future generations. Humanity has tried to find solutions and to prepare conditions to protect traditions, lyrics, and texts most accurately. Islamic civilization has been more advanced in terms of the transmission of words such as hadiths and other Islamic narratives compared to the civilizations of its time. The West developed several methods of criticism on the texts of the Bible after the ancient texts, reform, (...) and enlightenment. These advanced methods, which are seen as the next step of content criticism, are called “historical criticism methods”. In this study, the author deals with historical criticism methods, critiques made to these methods, and the problem of applying them to Islamic narratives in various aspects. (shrink)

This chapter contains sections titled: Is There a Problem about Ethical Criticism? The Sensible Representation of the Moral The Theory of Disinterestedness Coda: The Beautiful as that which is Complete in itself.

W. Dilthey’s program of “criticism of historical reason” was formed in a polemic with the legacy of I. Kant on the basis of transcendental reflection of the data of descriptive psychology. It was focused on understanding the radical difference between the sciences of the spirit and the sciences of nature. Starting from a critical rethinking of Kant's legacy within the boundaries of his own version of the academic philosophy of life, Dilthey began to talk about the fact that (...) the reason, directing the cognitive activity of the subject, is characterized, first of all, not by the theoretical “purity”, but by its involvement in the “open” flow of history, which it gives meaning and sense through language. It interacts with historical experience, which arises through the synthesis of actual events perception in the time flow and memory images with real categories and concepts constructed by the intellect of the human subject. The ability to judge what is happening in history, its assessment in a humanistic perspective, is also considered by Dilthey as inseparable from the work of historical reason. The reason involved in the flow of time and life cannot be a carrier of theoretical “purity” and acts as inherently hermeneutic in its nature. Dilthey presented an interesting analysis of the main levels of hermeneutical procedure - emotional perception, expression and understanding, aimed at comprehension of the diversity of spiritual and cultural worlds in synchrony and diachrony of their existence. Denying the possibility of comprehending the meaning and sense of history by constructing substantialist schemes, he asserted the importance of narrative representation of the past in the light of the present. Dilthey's project of “criticism of historical reason” was based on the idea of the “openness” of the meaning of the past, due to its rootedness in the very way of human existence in time. This idea was inherited and further developed in the horizon of the fundamental ontology of M. Heidegger and other contemporary thinkers of hermeneutical orientation. (shrink)

What is the relationship between literary criticism and ethics? Does criticism have an ethical task? How can criticism be ethical after literary theory? Ethical Criticism seeks to answer these questions by examining the historical development of the ethics of criticism and the vigorous contemporary backlash against what is known as 'theory'. The book appraises current arguments about the ethics of criticism and, finding them wanting, turns to the philosophy of Emmanuel Levinas. Described as (...) 'the greatest moral philosopher of the twentieth century', Levinas' thought has had a profound influence on a number of significant contemporary thinkers. By paying close attention to his major writings, Robert Eaglestone argues cogently and persuasively for a new understanding of the ethical task of criticism and theory. (shrink)

In this article, the author explains some of the main ideas of his 2020 book on Anselm’s Proslogion and responds to several criticisms raised by Richard Campbell and others in reviews of the book. Finally, the author qualifies his case for the view that “that than which a greater cannot be thought” is Anselm’s single argument by drawing attention to a problematic aspect in a key passage in Anselm’s Responsio.

The rise in interdisciplinary scholarship between philosophy and theology has produced a number of critiques of historical biblical criticism (HBC) by philosophers of religion. Some dialogue has resulted, but these critiques have gone largely unnoticed by historical critical scholars. This article argues that two such critiques of HBC, offered by Plantinga and Stump, are undermined by faulty presuppositions on the philosophers' part regarding the nature and value of HBC and misunderstandings of the nature of the ancient texts (...) on which the discipline of HBC focuses. (shrink)

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

Thomas Docherty advances the invention and development of a new critical theory. This book offers a broad historical sweep, ranging from an exploration of wartime collaboration through to contemporary surveillance society.

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)