In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Women Philosophers: Genre and the Boundaries of PhilosophyLorraine CodeCatherine Villanueva Gardner. Women Philosophers: Genre and the Boundaries of Philosophy. Boulder, CO: Westview, 2003. Pp. xv + 198. Paper, $22.00.In a tradition which "trains us to read purely for content" (xii), Catherine Gardner wonders how to read the philosophy of five women who write in "non-standard philosophical forms" (xiii): Mechthild of Magdeburg's poetry, Christine de Pisan's allegory, Catharine (...) Macaulay's epistolary form, and Mary Wollstonecraft's and George Eliot's fiction. Asking how these authors' gender and their works' genre bear on their exclusion from canonical philosophy with its reliance on rigorous argument unsullied by stylistic considerations, she argues that form is integral to understanding philosophy, and can impede its recognition as philosophy. Specifically, she wonders what these historical writings can offer present-day feminist ethics?Gardner's readings and her thesis about style and genre as conditions of philosophical legitimacy are provocative. She urges "reading past" forms deemed inhospitable to moral truth—such as Macaulay's epistolary style (44-45)—to encounter the author as moral philosopher, and explain her invisibility as such. Eliot's philosophy "demands the form of a novel" (123), she proposes, and Wollstonecraft's principles of style "are ultimately principles of morality as well" (92). More complex is the poetically articulated moral epistemology in Mechthild's The Flowing Light, with God, speaking through Mechthild, as its author (154-56). Because these forms—epistolary, allegorical, mystical-poetic, fictional—have been most accessible to women, Gardner urges feminists to consider how these authors' gender bears on their exclusion from moral philosophy. Owing to women's "greater capacity for emotion and... weaker capacity for reason" (155), mystics such as Mechthild were deemed well-suited to write as they did; yet works attributed to God stand immune to philosophical argument. Macaulay's thoughts on government and social reform were judged secondary to her "feminine" ones about educating women for marriage and domesticity (26-27). Gardner is persuaded and persuasive about the philosophical stature of the works she discusses. Yet if a thinker's gender denies her philosophical status, how can she bypass those exclusionary structures—even if, like Eliot, she chooses a male name? If a work's genre removes it from the sustained argumentative debate that is the hallmark of western philosophy, how can it claim a place there?There are no easy answers, but the questions spark numerous others. Perplexing is Gardner's contention that these women are ignored because they defy norms of style and method. But how would she classify Plato's dialogues, Voltaire's Candide, Pascal's and Nietzsche's aphorisms, Wittgenstein's numbered propositions,or Sartre's, Camus' (and Beauvoir's) philosophical novels, given their maverick styles? Style alone cannot effect or explain the exclusions she deplores. More puzzling are Gardner's conceptions of standard method and dominant form (e.g., 24, 120, 175), since she does not elaborate, apart from indicating that both require rigorous prose argument. But formal and methodological orthodoxy varies historically, as in the influence of scholasticism, for Christine, which receives no mention, or Gardner's ahistorical suggestion that the absence of a "normative subject as an independent, autonomous individual" (171) is a lacuna in Mechthild's work. Why would a thirteenth-century writer presuppose an Enlightenment subject? These issues demand attention in a work of historical scholarship.A different question troubles the method discussion. The author regrets certain women's exclusion from the canon despite the philosophical nature of their work, maintaining that [End Page 215] works whose styles/forms diverge from the standard count, nonetheless, as philosophy. These women demonstrate that philosophy need not be couched in formal argument: poetry, allegory, novels can also articulate philosophical theories. But—if my reading is correct—here Gardner is inconsistent. She commends the philosophy in Macaulay's Letters, claiming it "can and does contain the sort of sustained argument... uncontroversially identifiable as... philosophical" (44), and makes similar claims for Wollstonecraft and Eliot. But in legitimating these works by received standards of argument after all, Gardner weakens the force of her claims that philosophy—good philosophy—need not be presented in orthodox form, thus... (shrink)

Both literature and philosophy, as genres of writing, can enable us to address important ontological, epistemological and ethical questions. One author who makes it possible for readers to bridge these two genres is Albert Camus. Nowhere is this more evident than in Camus’ short novel, The Fall. The Fall, through the character and words of Jean‐Baptiste Clamence, prompts readers to reflect deeply on themselves, their motivations and commitments, and their relations with others. This paper discusses the origin and (...) structure of the book, identifies some of its key philosophical themes, and explores some of its educational implications. (shrink)

The primary function of the Platonic dialogue is not the communication of philosophical doctrines but the transformation of the reader's character. This article takes up the question of how, or by what means, the Platonic dialogue accomplishes its transformative goal. An answer is developed as follows. First, the style of reading associated with analytical philosophy is not transformative, on account of its hermeneutical attachment and epistemic equality in the relationship between reader and author. Secondly, the style of reading associated (...) with the genre of commentary is transformative because it is governed by a principle of authority. When the commentary model is applied to the Platonic dialogue, it can be seen that the dialogue mimics the function of the authority principle in transforming the reader into a commentator, that is, someone who reads from a position of detachment and accepts responsibility for himself as moral and epistemic agent. (shrink)

This book examines the philosophical foremothers of women’s philosophy and explores what their work may have to offer modern theorizing in feminist ethics. Through such writers as Catharine Macaulay, Mary Wollstonecraft, and George Eliot, Gardner interprets a varied selection of moral philosophers in an attempt both to contribute to our understanding of their work, and perhaps even to encourage other philosophers to interpretive work of their own. She also looks into the reasons such forms as novels, letters, and poetry (...) have often been assigned non-philosophical status, while they seem to be prevalent in the work of women philosophers from the history of philosophy. (shrink)

This article will consider the unique contribution that the dramatic arts can make to philosophical practices of communication and reflection. While argumentation typically advocates a particular position over and against less plausible options, dramatic performance can convey the rich possibilities and tensions among conflicting points of view without ultimately taking a definitive stance. This genre, as a performed narrative involving multiple perspectives, can illuminate the complexity and legitimacy of a plurality of—often competing—theoretical commitments, whereas direct argumentation, by its very (...) nature, must weaken the opposition by putting it in a less compelling light. Theater, by its very methods, can .. (shrink)

It would be pretty to think that Descartes’ Meditations is itself a structured transformation of the meditational mode, starting with the dominance of an intellectual, ascensional mode, moving through the penitential form, and ending with the analytic-architectonic mode. Unfortunately the text does not sustain such an easy resolution to our problems. Instead, we see that different modes seem dominant at different stages; their subterranean connections and relations remain unclear.We could try to construct a nesting of mask, face, and skeleton in (...) Descartes’ use of these distinct traditions. He might have unselfconsciously inherited a Stoic skeletal structure, fleshed it with the weight of his analytic-architectonic meditation, and masked it with a penitential meditation for the sake of safety in orthodoxy. But the penitential mode provides essential structural support—it cannot be unmasked. And, as we have seen, the analytic-architectonic flesh does not always conform to the Stoic skeletal structure.The problem is that the various readings subtly undermine one another. It is as if the Meditations were composed like a Francis Bacon painting. There are plenty of good solid clues for how to read the composition of the work—in fact there are too many. The work we see when using some of those clues is quite different from the work we see when following others.Did Descartes do this deliberately? An extremely chartable reading would turn him into a new sort of Socrates, constructing puzzles to force us to examine the truth of his arguments dialectically. But whatever Descartes may be, he is not Socrates, any more than he is Hume. He is defensive as well as devious, proud as well as prickly; and he is not funny. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Berel Lang PLOTTING PHILOSOPHY: BETWEEN THE ACTS OF PHILOSOPHICAL GENRE When Hegel wrote that philosophy's Owl of Minerva takes wing only at the falling of dusk, he did not mean that philosophy is always tardy, only that it comes late in the day. It may, however, seem both late and tardy to call attention now to the role of genres in philosophical writing, and still more (...) beside the point to assess the importance of philosophical genres to our philosophical and not only to our literary understanding. Even if we find a way past the varieties of aesthetic nominalism for which any allocation to genres is a snare and a trap— recall here Croce's declaration of"eternal war" against the obscurantism of genres1—we confront the growing skepticism of literary theory as it now disputes not only the formalism presupposed in the taxonomic distinctions of genre, but also the mimetic or representational function of discourse more generally.2 If texts as such can no longer rely on a mimetic ground, it would be impossible for the formal features ofgenre, rooted in the then archaic distinction between form and content, to represent a literary (or indeed any kind of) idea; that is, it would be impossible for them to be philosophically significant. This difficulty only intensifies, of course, for philosophical writing: philosophy, we learn, ought no longer to delude itself with hopes for success as a "mirror of nature" (in Rorty's phrase of opprobrium),3 and it would then be delusion added to delusion to believe that the genres of philosophical discourse might, at another remove, mirror an object which philosophy had mistakenly been supposed to represent in the first place. That original "representation" turns out now to represent nothing at all—and Plato's attack on the deceptions ofart thus discovers a new and finer object in philosophy itself: his indictment of art at least 190 Berel Lang191 supposed that there was something for art to be deceptive about. On this postmodernist account, then, there could be no philosophical point in plotting the course of philosophical genres; and indeed there could hardly be any other point except perhaps for antiquarians intent on finding a place for genres among the other historical curiosities which philosophers, quite inexplicably, once took seriously, like Descartes's piece of wax or Plato's aviary or Berkeley's tar water. Such intimations of the death of genres, however, may be not only premature but misdirected in rather a special way. For even in a less suspicious age, when the prima facie claims for the existence of genres might have been accepted at face value, their role was shadowy, fixed in a rhetorical limbo. Evidently (or so I would argue), there have existed generic conventions of which philosophical writers have been aware and to which their writings conformed. But even among writers in whom this pattern is most explicit and self-conscious, it is not as though the writer, after first reviewing a list of genres, would then simply choose the one among them that most recommended itself. No doubt, a writer's style—including the genre of his writing—is deliberate, in some sense a matter of choice. But the conception of "choice" in this context is an unusual one. Plotting genre could not be like trying on suits until one finds a likely fit— because this would imply that when the philosopher is trying out various possibilities, what he measures them by exists in his own mind as a philosophical Ur-genre, something which itself transcends the requirements of genre. We might suspect the presence here of the genre of all genres that is not itself, however, the member of a genre. And although it is possible that such a philosophical bedrock exists—this would be, in a way, a true philosopher's stone—all that philosophers have turned up in their history as a matter offact is a considerable number and variety of—well, we have to say it—philosophical genres. Genres, in other words, have rarely been read or written as "natural kinds," and yet they have surely been read and written. The distinctions among them and even the broad tide... (shrink)

Preface LITERARY FORM, PHILOSOPHICAL CONTENT: HISTORICAL STUDIES OF PHILO- sophical Genres aims at a wide audience and is intended to be serviceable for ...

This essay is an attempt to analyze, classify and illustrate different scholarly approaches to the Sanskrit philosophical commentaries as reflected in some influential and especially thoughtful studies of Indian philosophy; at the same time it highlights some specific features involving commentary and annotation in general, drawing from results of studies on commentaries conducted in other disciplines and fields, such as Classical and Medieval Studies, Theology, and Early English Literature. In the field of South Asian Studies, philosophical commentaries may (...) be assessed from various overlapping and not always exclusive points of view, such as preservation of otherwise lost historical information, historical authenticity and reliability, interpretational innovation, spiritual or experiential insight, philosophical creativity, intellectual liveliness, doxographic intent, degree of incidentality, expository breadth and explanatory depth. The essay provides numerous examples taken from classical to early modern philosophical literature, especially of the Brahminical and Buddhist traditions, and also discusses their diverging perception by modern scholars and interpretators. (shrink)

Au xviiie siècle, la figure insistante de la «femme philosophe» s'articule à un imaginaire ambivalent de la différence des sexes, entre hantise d'une confusion délétère et quête d'un modèle d'harmonie. La femme travestit-elle la philosophie? Les Lumières ont-elles un genre?

Abstract Daniel H. H. Ingalls referred to Gaudap?da's M?nd?kya K?rik?, a very early Advaita text, as ? ... the most puzzling perhaps, of all Sanskrit philosophical texts?. This article shows that some of the philosophical quandaries associated with this text are the result of inappropriately imposing a graphic and prose model of textuality upon a text composed in the k?rik? (memorial verse) genre and in an oral cultural context. Developing a model of textuality consistent with the literary genre (...) and cultural context, the article is not only able to resolve some of the philosophical problems associated with the text, but also raises the possibility that this inappropriate hermeneutical process has contributed to mislabelling Gaudap?da as an idealist. (shrink)

ABSTRACT The article reflects on the natural scientific variant of the philosophical essay, with discussions of the essays of James Clerk Marxwell, Steven Jay Gould, and Carlo Rovelli. It suggests that the natural scientific essay is an important source of the philosophical essay eclipsed by the prominence of the essay form in art and literary criticism. It assesses the role of chance and improvisation in the natural scientific essay and considers its potential as an avenue both of scientific (...) research and of the wider dissemination of scientific thought. (shrink)

This book builds on existing work in genre analysis and move analysis in English for Specific Purposes and applies this new framework to academic philosophical discourse, offering new insights into how ESP traditions can elucidate shifts in language conventions across disciplinary contexts. The volume begins by surveying the state-of-the-art in English for Specific Purposes and genre theory, as well as other genre theory paradigms before turning the focus on move analysis. Lucas and Lucas seek to maximize the potential of (...) move analysis to precisely operationalize functional units of discourse by implementing a cognitive theory of genre grounded in frame semantics. Using the case of academic research articles in philosophy, the authors demonstrate how this framework can reveal distinctive dimensions unique to philosophical discourse and in turn, how such an approach might be applied more broadly to examine nuances in language across disciplines and inform ESP research in the future. This book will appeal to students and researchers in English for Specific Purposes, discourse analysis, academic writing, applied linguistics, and rhetoric and composition. (shrink)

In his book, The Philosophical Discourse of Modernity, and especially in the “Excursus on Leveling the Genre Distinction between Philosophy and Literature” (pp. 185-210), Jürgen Habermas criticizes the work of Jacques Derrida. My aim in this paper is to show that this critique turns upon itself. Habermas accuses Derrida of effacing the distinctions between literature and philosophy. Derrida indeed works to subvert the distinction between fictional and argumentative writing, but in doing so he works with the genres he (...) is mixing. It is Habermas’ own insistence on subordinating all genres to argumentative rationality that truly effaces these genre distinctions. (shrink)

The present studies investigate morality’s influence on aesthetics and one potential moderator of that influence: genre. Study 1 finds that people’s moral evaluation positively influence their aesthetic evaluation of an artwork. Study 2 and 3 finds that this influence can be moderated by the contextual factor of genre. These results broaden our understanding of the relationship between morality and aesthetics, and suggest that models of art appreciation should take into account morality and its interaction with context. [Unpublishable 2010-2017.].

The aim of this paper is to interpret systematically M. M. Bakhtin’s views on genre. Although Aristotle was the first philosopher—and one of the first thinkers in general who focused on the issues of artistic and rhetorical genres, philosophy as such did not treat these issues for a considerably long time. One of the first philosophers who approached the genre issue within the larger context of the philosophy of language was Mikhail M. Bakhtin, a Russian philosopher and a literary (...) scholar. As early as the 1920s he founded philosophical thinking on the so-called small speech genres, which later served as the basis for a remarkable theory of primary and secondary genres. Bakhtin is a world renowned theoretician on the novel, but his genre theory is nevertheless very topical, too, since it relates to issues focused on by philosophers much later. (shrink)

Genre discourse is widespread in appreciative practice, whether that is about hip-hop music, romance novels, or film noir. It should be no surprise then, that philosophers of art have also been interested in genres. Whether they are giving accounts of genres as such or of particular genres, genre talk abounds in philosophy as much as it does the popular discourse. As a result, theories of genre proliferate as well. However, in their accounts, philosophers have so far focused (...) on capturing all of the categories of art that we think of as genres and have focused less on ensuring that only the categories we think are genres are captured by those theories. Each of these theories populates the world with far too many genres because they call a wide class of mere categories of art genres. I call this the problem of genre explosion. In this paper, I survey the existing accounts of genre and describe the kinds of considerations they employ in determining whether a work is a work of a given genre. After this, I demonstrate the ways in which the problem of genre explosion arises for all of these theories and discuss some solutions those theories could adopt that will ultimately not work. Finally, I argue that the problem of genre explosion is best solved by adopting a social view of genres, which can capture the difference between genres and mere categories of art. (shrink)

An adequate account of the nature of genre and of the criteria for genre membership is essential to understanding the nature of the various categories into which comics can be classified. Because they fail adequately to distinguish genre categories from other ways of categorizing works, including categorizations according to medium or according to style, previous accounts of genre fail to illuminate the nature of comics categories. I argue that genres are sets of conventions that have developed as means of (...) addressing particular interpretative and/or evaluative concerns, and have a history of co‐instantiation within a community, such that a work’s belonging to some genre generates interpretative and evaluative expectations among the members of that community. Genres are distinct from styles in consisting of conventions, and are distinct from media both in consisting of conventions and in generating interpretative and evaluative expectations. (shrink)

Developing a reading of some of Beauvoir and Sartre's most influential writings in philosophy, Max Deutscher explores contemporary philosophy in the light of the phenomenological tradition within which Being and Nothingness and The Second Sex occurred as striking events operating on the border of the modern and the 'post-modern'. Deutscher traces the shifts of genre that produce their gendered philosophies, and responds in terms of contemporary experience to the mood and the arguments of their works. Drawing upon the writings of (...) two contemporary critics in particular - Michele Le Dœuff and Luce Irigaray - Deutscher reworks this part of philosophy's history in order to advance thinking in contemporary philosophy, generate renewed philosophical reflection on consciousness, freedom and one's relation to others, and to return a look still cast in our direction from an earlier time. (shrink)

This article maintains that African philosophy should consider those discourses that function as channels of important ideas in African cultures, without prejudice against their language and, especially, their genre. What are such philosophical discourses? This article starts from a case study, Swahili culture, and interrogates the communicative resources available to it to serve as vehicles of philosophical thought. The survey includes language itself, proverbs, musical performance (sung lyrics), metric and free-verse poetry, novelistic prose, theoretical writings, and translations. Based (...) on this spectrum of genres, the article ventures some general observations about the relationship of African philosophy to language and genre. (shrink)

Philosophy is textual - it is written and it is read - yet today much of philosophy regards itself as a kind of science, sometimes reducing itself to a species of intellectual bureaucracy. It is important to see these qualities as having their own aesthetic. Even realism is a genre. The aesthetic of the empirical and the bureaucratic, the aesthetic of the rhapsodic and of the clinical... in each of these the genres of philosophy are as creative as they (...) ever were. They are productive of worlds, not only worlds of thought, but 'real worlds' enabled by the technological and other changes that thought has envisaged. This book explores genres through the history of philosophy, providing new ways of thinking about philosophical writing. Exploring a wide range of both European and analytic philosophers and their works - including Plato, Aristotle, Hume, Kant, Nietzsche, Deleuze, Wittgenstein, Derrida and Rorty - Genres of Philosophy explores the reading and writing of philosophers who themselves read and write, revealing the textual relation to the history of philosophy. While the focus of the book is in aesthetics, Ferrell reveals that the interest in philosophy's writing turns out to be a metaphysical question. The question becomes one of evaluating the ontological basis for writing - its subject and its means of expression - within a world of thought which is presently captivated by a particular aesthetic, that of the empiricist. Presenting fresh readings of classic texts in aesthetics, and offering an original approach to the question of philosophical writing, this unique analysis will prove of particular interest to readers in European philosophy, the history of philosophy, aesthetics, and literary studies. (shrink)

Le scepticisme de Montaigne -- Perturbations dans le genre -- Bouleversement des catégories du masculin et du féminin dans "Par divers moyens on arrive à pareille fin" -- L'identité en question -- L'homme insoluble -- Les Indiennes, les Indiens et nous -- Le sexe indécis -- Renversement -- Critique sceptique de la rhétorique adressée aux femmes -- Féminité et savoir du corps -- Parodie de la discipline conjugale -- Au sujet de la femme insatiable -- Déplacement et/ou réhabilitation inattendue -- (...) Malheur et bonheur du mariage ou la vie selon son mouvement -- Solitude ou mariage -- Grandeur de la relation conjugale -- Examen sceptique de la gynécocratie -- Satire du patriarcat -- Abandon et transmission du pouvoir -- Restauration de la légitimité du gouvernement féminin -- Réduction à l'absurde -- Réquisitoire contre la chasse aux sorcières -- Vanité de la recherche des causes -- Justice sceptique et clémence -- Vénus, les boiteux et les boiteuses -- Apologie paradoxale -- L'amour de préférence à la guerre -- Trivialité et danger de l'amour -- Éloge de l'amour -- Dernières accolades -- Construction d'une communauté autre -- Un lectorat féminin estimé -- Les femmes dédicataires dans les Essais -- Marie de Gournay, une philosophe féministe autonome, mais fidèle. (shrink)

Book Reviews Andrea Wilson Nightingale, Genres in Dialogue: Plato and the Construct of Philosophy. New York: Cambridge University Press, 1995. Pp. xiv + ~a~. Cloth, $49.95. This is an important and timely book. Nightingale argues that notwithstanding Socra- tes' remarks about dialectic as the philosophical mode of discourse, Plato uses tradi- tional genres in constructing philosophy. Key to her argument are two notions. The first is that prior to Plato, 'philosophy' referred to intellectual cultivation in the broad (...) sense and consequendy, poets, sophists, playwrights, and orators had claim to the title "philosopher." The second is that "genres of discourse" be understood as referring not only to artistic forms or styles, but also to "forms of thought" that represent and conceptualize some aspects of experience better than others; therefore, "an encounter between two genres within a single text is itself a kind of dialogue" . Nightingale.. (shrink)

Like most topics in aesthetics, that of genre is far from simple and for the literary critic has an uninviting air. The questions which arise from its consideration fall under two heads: first, what is a genre? and second, what does it contribute to our understanding of a work of art that we can describe it as belonging to this or that genre? A clear answer to either of these questions is not readily forthcoming: the literary critic who is content (...) to be a critic here very properly hesitates where the philosopher is perhaps inclined to go further. If he does so he will find that the two primary questions about genre have many ramifications, some of which may be suggested by a quotation from René Wellek and Austin Warren's book, Theory of Literature . They ask one question about genre and then re-phrase it: but as they re-phrase their original question it is quite transformed. (shrink)

Why are bookstore shelves filled with mysteries, horror stories, romances, Westerns and other genre fiction? Why should one spend time reading narratives that are so similar? Why, for that matter, should one write works that are so similar to those of other authors? One philosopher, Noel Carroll, in fact, refers to the phenomenon as the ?paradox of junk fiction?. Are there works in political theory as well that share characteristics with these genres? And is there also a paradox involved (...) among both these readers and authors? This essay reviews both the criticisms and defenses of popular generic texts focusing on arguments that defend the complexity of genre texts and those that deny the distinction between generic works and others. Utopias are identified as counterparts in political theory and are applied to this genre debate. I conclude by revising the genre paradox. (shrink)

In this article, I begin developing what I call the genre view of public lands. It holds that public land designations fall into different genres of land management. I focus on one designation in particular—US national monuments created under the Antiquities Act—to develop the view and illustrate its significance. I characterize the national monument genre in terms of two norms stated in the Act and show how they shape public space in distinctive ways. I then illustrate how the genre (...) view opens avenues for evaluating land designations. By way of example, I evaluate national monuments according to aesthetic considerations. I argue that the genre is, perhaps surprisingly, aesthetically vexed and that there is an aesthetic reason for presidents to depart from the original intent and meaning of the Act. This also lends support for some of the most controversial national monuments. Drawing from case law, I then show how aesthetic evaluations may hold legal weight. Such considerations can also influence decisions about whether to protect an area as a monument. In these ways, the genre view offers a framework for philosophers, and particularly aestheticians, to contribute to environmental law and policy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 216-223 [Access article in PDF] Notes and Fragments Genre Fiction and "The Origin of the Work of Art" Nancy J. Holland I FIRST, A CONFESSION. Like, I suspect, many of my readers, I am an unpublished fiction writer. Unlike most of the closet fiction writers in academia, however, I write genre fiction. The question that immediately follows is how that writing is related to (...) the intellectual work I do in philosophy.This question, of course, is open to a broad range of answers, from the possibility that the two aren't related at all, to potential Freudian answers it might take years of therapy to unearth. Teaching informs one's life, however, as much as the reverse, and in teaching Martin Heidegger's "The Origin of the Work of Art" to my Metaphysics class last year, I began to understand at least one dimension of the appeal that writing genre fiction has for me as a philosopher.But first, let me explain what I mean by genre fiction. In what follows, I will be referring primarily to four forms of genre fiction that have clear roots in the nineteenth century in Western Europe and North America: two gender-segregated genres, the western and the romance, and two gender-marked genres, science fiction and detective novels. I will be comparing these to two other forms of "popular culture" that also developed in the nineteenth century and have, I would argue, similar relationships to the older, more "legitimate," more elite art forms which they closely resemble: photography 1 and popular music, [End Page 216] especially those forms of popular music such as ragtime, blues, jazz, and rock that are informed by the African-American experience in the United States. 2These "low brow" art forms all appear to have arisen out of the growth of the middle class in developing parts of the world during the nineteenth century and the correlative confluence of greater leisure, greater aggregate prosperity, and higher levels of education across a broader spectrum of society. Further, these art forms all combine the surface appearance of their respective "high brow" correlate arts with the reassurance of repetition that is the cornerstone of the folk arts with which they are also correlated. Each of these forms of popular culture balances itself, then, between a demand for more and more "works of art" (and/or class aspirations based on the appearance of such) and a demand for the familiar in a rapidly changing, materially challenging world.Thus, photography gives us a frozen and thereby purified visual reality, an icon of memory to which we can return at will. The truth it reveals is most often starker than that of folk painting and portraiture, but also gives the appearance of being free from the subjectivity of the artist. Great iconic photographs such as the kiss on V-E day, I have heard it said, become more real than the reality they encapsulated.Popular music similarly combines often amazing musical complexity (which is not unknown, although rarer, in western folk music) with the reassurance of a form that not only repeats itself within a song, but also between songs of the same genre. Thus, blues can be recognized by both the minor chords in its melodies and the characteristic rhyme pattern of its lyrics. Moreover, most western popular music, even to some extent free-form jazz, has a familiar and reassuring beginning-middle-end structure, both melodically and dynamically, that locates a listener immediately within the song's "story-arc." 3This same beginning-middle-end structure is one clear hallmark of genre fiction. Another is repetition. We all immediately know the plot of a detective novel or science fiction adventure: where it will begin, what the key stages of the story will be, and how it will end—not just happily, but with a specific form of reassuring outcome, be it the victory of well-intentioned intelligence over cunning evil or humanity's ability to survive even the most alien (and so most familiar) of threats. At... (shrink)

ABSTRACTIn this paper, I approach the political and philosophical similarities and differences between late eighteenth-century thinkers John Thelwall and William Godwin from the point of view of their respective choices for the genre of political communication. I approach their thought and its expression by weaving an interpretation of what they were saying with a reflection on how and to whom they were speaking. This, I contend, helps us clarify further the thought of each thinker and track the changes in (...) their conception of equality in the framework of political communication. As the 1790s unfolded, both thinkers, I argue, tried to diversify their audience, be generally more inclusive, and re-think the hierarchies of relationship between authors/speakers and their audience in their political communication. Nevertheless, they did so asymmetrically and in different ways: Thelwall quickly started tapping into popular culture, especially oral culture, while Godwin chose the modes of fiction and the conversational essay. By making these choices, both authors enacted a different understanding and practice of political education, and political equality. (shrink)

ABSTRACT I begin by considering the nature of philosophy understood as a genre of writing. I claim that genres are impure, porous, changing sites of inclusion and exclusion that are anything but natural kinds. Furthermore, I suggest that works of poetry, drama, painting, dance, and other arts may profitably be understood as works of philosophy and that philosophy itself may profitably be understood as an art, as performance work. I support this claim by an analysis of philosophy's canon as (...) historicist, expressivist, and self-consciously hybrid. I explicate the notion of hybridity in terms of crossings understood as encounters, resistance and opposition, and passing borders. I conclude by drawing parallels between philosophical notions of hybridity and political issues of identity, community, and outsiders. Throughout this article, I am concerned to do philosophy in a way or style consistent with the expressivist view of philosophy I present. (shrink)

Regardless of whether one agrees or disagrees with Stacie Friend’s claim that fiction is a genre, her notion of genre can be fruitfully applied to a paradigmatic genre such as science fiction. This article deploys Friend’s notion of genre in order to improve the influential characterization of science fiction proposed by Darko Suvin and to defend it from a criticism recently raised by Simon Evnine. According to Suvin, a work of science fiction must concern “a fictional ‘novum’ validated by cognitive (...) logic.” While Suvin conceives of his characterization as a necessary and sufficient condition for membership in the genre, I propose to cast the notions of “fictional novum” and “cognitive validation” as standard features of the genre, which works of science fiction should have but might lack. I argue that this amended version of Suvin’s characterization can better account for two basic properties of science fiction as a genre, namely its historicity and its relevance to appreciation. Lastly, I show that the amended version can shed some light on the affinity between works of science fiction and philosophical thought experiments. (shrink)

The article aims at clarifying the historical status and cognitive potentials of such a genre of contemporary historiography of philosophy as biographical encyclopedia (dictionary). Based on extensive bibliographic material, the author demonstrates that in the late XX – early XXI centuries in the English-speaking countries there was a real outbreak of interest in encyclopedias and dictionaries, compiled from personalized articles about the life and works of philosophers of certain epochs, countries, trends, etc. According to the author, the increasing popularity of (...) this genre can be considered as a logical continuation of the historical and biographical turns that took place in the Anglo-American (analytic) philosophy in the 1980s and 1990s, respectively. The author specifically emphasizes that it caused the appearance of a significant number of encyclopedias and dictionaries, which contain the well-known facts as well as the significant elements of scholar novelty. The article also shows that similar tendencies have taken place in the contemporary Ukrainian historiography of philosophy. It is shown that Ukrainian experts also made their own significant contribution to the development of this genre. They have successfully developed a special approach, which presupposes the focus on life and works of the representatives of a particular academic institution. The intellectual value of this approach is demonstrated by the example of the recently published two-volume encyclopedia “Kyiv Theological Academy in Names: 1819-1924”. It contains a systematic and very informative presentation of the biographies of many representatives of the national philosophy, whose activities were associated with this institution. The author also shows that from the perspective of the historiography of philosophy, the general methodological foundations of this encyclopedic research is a matter of special interest. (shrink)

This book investigates how philosophical texts display a variety of literary forms and explores philosophical writing and the relation of philosophy to literature and reading. Discusses the many different philosophical genres that have developed, among them letters, the treatise, the confession, the meditation, the allegory, the essay, the soliloquy, the symposium, the consolation, the commentary, the disputation, and the dialogue Shows how these forms of philosophy have conditioned and become the basis of academic writing within both (...) the university and higher education more generally Explores questions of philosophical writing and the relation of philosophy to literature and reading. (shrink)

L’œuvre de Judith Butler est l’un des principaux foyers du renouveau de la pensée critique dans le monde. Dans cette introduction claire et engagée, Hourya Bentouhami en propose une relecture vivifiante. Jusqu’ici, en France, les dialogues que la philosophe a engagés avec les principales figures des théories postcoloniales et critiques de la race ont été tendanciellement ignorés. Or, selon Hourya Bentouhami, les élaborations théoriques de Butler attestent du nouage complexe entre sexe, genre, race et nation. Les discours de la différence (...) sexuelle et de la différence raciale sont articulés, et leurs généalogies sont étroitement entrelacées: impossible dès lors de déconstruire l’un sans déconstruire l’autre. Revenant sur les formulations clés de la philosophe – sur le féminisme, la performativité, la mort sociale, la mélancolie, la vulnérabilité... – à l’aune des théories critiques de la race, Hourya Bentouhami fait ainsi émerger le portrait d’une Judith Butler théoricienne critique de la violence et des identités, mais aussi, indissociablement, des mobilisations et des alliances minoritaires contre les assignations identitaires et les politiques de dépossession et de vulnérabilisation. (shrink)

The article attempts to think friendship in its relation to law and justice and provides some arguments for the importance of this concept in Derrida’s ethical, legal and political philosophy. It draws on early texts such as Of grammatology and reads them in conjunction with later texts such as The animal that therefore I am. The relation of friendship to law and justice is explored by means of Derrida’s notion of “degenerescence” understood as the necessity or law of indeterminateness that (...) cuts across, both limiting and de-limiting, all laws, types and generic partitions, for instance, juridical (natural and positive right), humanistic (human and animal), anthropological (sexual difference), philosophical (physis and nomos). Drawing on Derrida’s readings of “sexual difference” in Heidegger and the latter’s evocation of “the voice of the friend” in Being and time, the article addresses the theme of Geschlecht and articulates the exigency to think sexual difference beyond duality together with the exigency to rethink law and right otherwise than on the ground of nativity and “natural fact” and in terms of what Derrida calls “a friendship prior to friendships” at the origin of all law and socius. (shrink)

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

This chapter explores the rather striking manner in which at key moments in the history of philosophy, in the discipline’s attempts at self-definition, the genre or literary form of poetry plays a key role. Philosophy, at these moments, has been defined, inter alia, as the enemy of poetry, the guiding light for the philosopher who can only try and inevitably fail to emulate its brilliance, or as the anomalous guest at the philosophical table with whom the host discipline has (...) relations which result in either generative or degenerative effects. Insofar as it lays claim to or liaises with philosophy – as we have come to know it today – poetry has thus played a part in the self-definition of genre theory. The aim of this chapter is to capture a very specific set of transfers, transpositions, metonymies and other modes of reversible relations of substitution and surrogacy between philosophy and poetry, and along the way between genre-theory-as-philosophy and poetry. (shrink)

Genres inform our appreciative practices. What it takes for a work to be a good work of comedy is different than what it takes for a work to be a good work of horror, and a failure to recognize this will lead to a failure to appreciate comedies or works of horror particularly well. Likewise, it is not uncommon to hear people say that a film or novel is a good work, but not a good work of x (where (...) x is the genre of that work). A work can be good all things considered, but genre membership provides us with an additional set of evaluative criteria over and above those of the medium, which colors how we interpret and appreciate the work. Given this importance, it is not surprising that philosophers of art have been interested in providing an account of what, exactly, a genre is. Despite this interest, there is not widespread agreement about what it takes for something to be a genre, nor what kinds of considerations are relevant in determining whether a work is a member of that genre. Beyond this, we might also want to know to what degree we ought to consider genre in evaluating a work of art and why it should matter at all. Here, I explore the variety of recent theories that philosophers have taken up on the topic of genre and why we should ultimately think of genres as artistic practices rather than the alternatives. (shrink)