This collection of essays links Paul de Man's late work as a literary theorist and critic to the development of the 'new materialism' as it first emerged in the late eighties and early nineties, especially in the field of literary theory. The notion of materialism that is explored in these essays is non-classical and non-foundational, which means that it stems from a special approach to language rather than to the viewer's relationship to the object-world. The contributions to this (...) volume come from different individuals, working in different fields, who derive insight from de Man's criticism, which was strongly influenced by Jacques Derrida's deconstruction. This collection is especially interesting in its treatment of Paul de Man 's late work as an inconclusive attempt to approach the question of ideology in a fresh manner. (shrink)

The article is devoted to the search for the nature of the ontology of an art work on the example of a literary work. Tradition viewed a work of art as the discovery of a higher truth. Analytical philosophy deprived literature of the status of truth in general, and thereby deprived it of any ontological dimension. Heidegger’s attempt to return this dimension to literature through its relationship with being did not find continuation in philosophy. The author proposes to consider (...) a literary work as a model of the world, primarily the social world. This approach makes liken a literary work to a mathematical theory. A mathematical theory is built as a correlation of simple elements; in a literary work such elements are characters (sometimes things). A mathematical theory is built on clearly defined axioms, a literary work is also built on axioms, but they do not have an explicit expression within the work and cannot always be perceived intuitively. The author shows that the mathematical theory never fully meets the specified conditions, and the mathematicians themselves note that in the future they will largely lose their strength. Thus, a literary work is of the same nature as a mathematical theory, only it presents a more complex case. The problem of truth serves as the way to find the ontological dimension. Analysis shows that in mathematics it is solved not by reducing a hypothesis to axioms, but by recognizing a theory through its effectiveness or applicability. For a work of art, such a criterion is its perception by its readers. In both cases, the ontological dimension is in the mind of the reader. (shrink)

Richard Gaskin offers an original defence of literary humanism, according to which works of imaginative literature have an objective meaning which is fixed at the time of production and not subject to individual readers' responses. He shows that the appreciation of literature is a cognitive activity fully on a par with scientific investigation.

Our study in corpus linguistics shows how phraseological units allow us to distinguish between literary genres. In order to do so, we propose to analyze in detail two textual motifs and specific to fantasy novels, the second one being moreover transversal. By studying the discursive functions of these two motifs, we show the contribution of this phraseological modeling to the generic analysis.

This paper addresses the subject of textual creativity by drawing on work done in classical literary theory and criticism, specifically new criticism, structuralism and early poststructuralism. The question of how readers and writers engage creatively with the text is closely related to educational concerns, though they are often thought of as separate disciplines. Modern literary theory in many ways collapses this distinction in its concern for how literariness is achieved and, specifically, how ‘literary quality’ is accomplished in (...) the textual and the social dimension. Taking literary and aesthetic creativity as a point of departure in the reading of five central authors in classical literary criticism, the paper identifies the processes of narrative imagination and emotional identification as central to the role that the textual dimension plays in the creative process of the author/reader—particularly in the way it provides a space for experimentation and self-reflexion through ‘storying’. (shrink)

The essay examines Stanisław Brzozowski’s ideas on mutual interactions between the sphere of culture and the realm of the political. It shows how Brzozowski made use of literary texts in order to elucidate social and political processes. In doing so, he insisted on a specific form of knowledge accessible through texts of literature and literary criticism, which are not limited by the mere “logic of notions.” Following Vico and Sorel Brzozowski detected an “irrational core” at the bases of (...) human collectivities such as above all modern nations, and it is through literature that this core can be revealed. Brzozowski’s understanding of political ideas and concepts is informed—to a decisive degree—by the literary imagination. This can be shown by a semantic and rhetorical analysis of some of his later writings. (shrink)

This Is A New Release Of The Original 1810 Edition.

At defining junctures in their writings, philosophers as diverse as Hegel, Kierkegaard, Whitehead, Cassirer, and Heidegger demonstrate that they were keenly alive to the visionary authority of the work of artistic genius as an originally stimulus to the philosophical imagination. This book undertakes to make explicit that shared insight. The inquiry aims not only to demonstrate but also to engender in the reader a firsthand sense of the energizing and speculative value of intermediating conceptual engagements with the visionary "work" of (...) poetic genius, what Heidegger called its "Werksein.". (shrink)

Literary racial impersonation occurs when a narrative work fails to express the perspective of a minority ethnic or racial group. Interestingly, even when these works express moral themes congenial to promoting empathetic responses towards these groups, they can be met with public outrage if the group’s perspective is portrayed inaccurately. My goal in this paper is to vindicate the intuition that failure to express the perspective of a minority group well renders the work defective, both aesthetically and morally. I (...) argue that available frameworks exploring the connections between aesthetic and moral realms of value are inadequate to analyzing this phenomenon and propose a novel connection between aesthetic and moral values. Specifically, I demonstrate that the primary defect of literary racial impersonation is aesthetic and contingently constitutes a moral defect in our current social context. (shrink)

Literary Studies Deconstructed critiques the state of Literary Studies in the modern university and argues for its comprehensive reconstruction. It argues that Literary Studies as currently practised avoids engaging with much of literary experience and prioritises instead the needs of critics as a professional community: to teach and assess students, to demonstrate the creation of knowledge, and to meet the demands of governments, funders and other bodies. The result is that many areas centrally important to lay (...) readers are largely omitted from critical discussion. Moreover, critical writing and its conventions are framed so as to mask and repress the subject's contradictions. This lively and provocative book will be of interest to undergraduate and postgraduate students with an interest in the critical profession or literary theory, as well as to Literary Studies academics. (shrink)

Literary Analysis: The Basics is an insightful introduction to analysing a wide range of literary forms. Providing a clear outline of the methodologies employed in twenty-first century literary analysis, it introduces readers to the genres, canons, terms, issues, critical approaches, and contexts that affect the analysis of any text. It addresses such questions as: What counts as literature? Is analysis a dissection? How do gender, race, class and culture affect the meaning of a text? Why is the (...) social and historical context of a text important? Can digital media be analysed in the same way as a poem? With examples from ancient myths to young adult fiction, a glossary of key terms, and suggestions for further reading, "Literary Analysis: The Basics "is essential reading for anyone wishing to improve their analytical reading skills. (shrink)

We usually consider literary thinking to be peripheral and dispensable, an activity for specialists: poets, prophets, lunatics, and babysitters. Certainly we do not think it is the basis of the mind. We think of stories and parables from Aesop's Fables or The Thousand and One Nights, for example, as exotic tales set in strange lands, with spectacular images, talking animals, and fantastic plots--wonderful entertainments, often insightful, but well removed from logic and science, and entirely foreign to the world of (...) everyday thought. But Mark Turner argues that this common wisdom is wrong. The literary mind--the mind of stories and parables--is not peripheral but basic to thought. Story is the central principle of our experience and knowledge. Parable--the projection of story to give meaning to new encounters--is the indispensable tool of everyday reason. Literary thought makes everyday thought possible. This book makes the revolutionary claim that the basic issue for cognitive science is the nature of literary thinking. In The Literary Mind, Turner ranges from the tools of modern linguistics, to the recent work of neuroscientists such as Antonio Damasio and Gerald Edelman, to literary masterpieces by Homer, Dante, Shakespeare, and Proust, as he explains how story and projection--and their powerful combination in parable--are fundamental to everyday thought. In simple and traditional English, he reveals how we use parable to understand space and time, to grasp what it means to be located in space and time, and to conceive of ourselves, other selves, other lives, and other viewpoints. He explains the role of parable in reasoning, in categorizing, and in solving problems. He develops a powerful model of conceptual construction and, in a far-reaching final chapter, extends it to a new conception of the origin of language that contradicts proposals by such thinkers as Noam Chomsky and Steven Pinker. Turner argues that story, projection, and parable precede grammar, that language follows from these mental capacities as a consequence. Language, he concludes, is the child of the literary mind. Offering major revisions to our understanding of thought, conceptual activity, and the origin and nature of language, The Literary Mind presents a unified theory of central problems in cognitive science, linguistics, neuroscience, psychology, and philosophy. It gives new and unexpected answers to classic questions about knowledge, creativity, understanding, reason, and invention. (shrink)

In this article I look at changes in the role of literary criticism in Russian literature since perestroika. The article draws on the research of Sergej Čuprinin and Birgit Menzel. Based on my readings of the debate among literary critics about what literary criticism is and should be, and focusing on the interrelationship in the triangle writer-critic-reader, I establish a typology of contemporary literary criticism: 1. the critic as a master of the “literary process”, 2. (...) the critic as co-writer, 3. the critic as a guide for the reader. (shrink)

Though it is inter-disciplinary in scope, situated as it is on the borderlines of ontology and logic, philosophy of literature and theory of language, Ingarden's work has a deliberately narrow focus: the literary work, its structure and ...

In the philosophical debate about literary interpretation, the actual intentionalist claims, and the anti-intentionalist denies, that an acceptable interpretation of fictional literature must be constrained by the author’s intentions. I argue that a close examination of the two most influential recent strands in this debate reveals a surprising convergence. Insofar as both sides (a) focus on literary works as they are, where work identity is determined in part by certain (successfully realized) categorial intentions concerning, e.g., title, genre, and (...) large-scale instances of allusion, allegory, and irony and (b) allow that works can acceptably be interpreted for unintended meanings—since an intentional act can, under a different description, exhibit unintended features—then they turn out to share the same interpretive policy concerning authorial intention. This suggests that philosophers should shift the interpretation debate away from issues of authorial intention and toward issues about the aims of interpretation. (shrink)

Empirical research into political sentiments gives force to the proposition that, in the context of the 2013–14 Euromaidan and subsequent war, Ukrainian national identity, for most of its history predominantly ethno-cultural, has undergone changes justifying its qualification as ‘civic’. In this article I discuss the ethno-cultural orientation, conventional during the 19th and 20th centuries, of Ukrainian literary history, a scholarly genre that has a tradition of promoting the cause of Ukrainian nation-building; I identify contemporary examples of discourses in the (...) literary sphere – literary works themselves, literary anthologies and the public statements and debates of writers – that embody or applaud civic identities akin to those in evidence on the Euromaidan; and I reflect upon the values, inclusive and multicultural, that a Ukrainian national literary history rhetorically in harmony with post-Euromaidan sentiment would evince. (shrink)

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

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

Many of our hermeneutic, literary critic, and poststructuralist ideas on mediation imply that the medium determines how a textual or narrative account must be taken. In contrast to these, Émmanuel Lévinas suggests that responsibility for the other person is not determined by the medium. Responsibility is already established in proximity to the other person; a relationship that we as moral subjects need to ethically understand. In relation to Primo Levi’s memoir of survival in Auschwitz, If this is a Man, (...) this article show in what ways Slavoj Žižek’s and Hayden White’s aesthetic ideas on mediation make us unprepared to take on the responsibility for the other person that Lévinas shows us. (shrink)

Several recent books have claimed to integrate literary study with evolutionary biology. All of the books here considered, except Robert Storey’s, adopt conceptions of evolutionary theory that are in some way marginal to the Darwinian adaptationist program. All the works attempt to connect evolutionary study with various other disciplines or methodologies: for example, with cultural anthropology, cognitive psychology, the psychology of emotion, neurobiology, chaos theory, or structuralist linguistics. No empirical paradigm has yet been established for this field, but important (...) steps have been taken, especially by Storey, in formulating basic principles, identifying appropriate disciplinary connections, and marking out lines of inquiry. Reciprocal efforts are needed from biologists and social scientists. (shrink)

The Theory of Literature in German Romanticism Philippe Lacoue-Labarthe, Jean-Luc Nancy. Preface: The. Literary. Absolute. I. "There are classifications that are bad enough as classifications, but that have nonetheless dominated entire ...

Paisley Livingston here addresses contemporary controversies over the role of "theory" within the humanistic disciplines. In the process, he suggests ways in which significant modern texts in the philosophy of science relate to the study of literature. Livingston first surveys prevalent views of theory, and then proposes an alternative: theory, an indispensable element in the study of literature, should be understood as a Cogently argued and informed in its judgments, this book points the way to a fuller understanding of the (...) special contribution that literary knowledge may make within the human sciences. (shrink)

Exoteric dossier : the literary Agamben -- Projection : there is language -- Logos, thinking thought -- Poiesis, thinking through making -- Modernity, productive anti-poiesis -- Logopoiesis, thinking tautology -- Enjambment, the turn of verse -- Caesura, the space of thought.