What can literary education contribute to moral education? In this article the inherent practical, moral or political, relevance of literature and literary education is defended, which is opposed to a moralist approach to (children's) literature. A much debated danger in literature and the arts, viz. that it gives rise to a flight into a "promised land" instead of having relevance for real life and the real world, can be overcome by bringing to the fore the active part (...) the reader plays in realizing the "world of the work." The classical idea of mimesis (i.e. of art mirroring reality) then makes room for a historicity of reading with an ongoing interplay of the (real) worlds of readers and the (fictive) world of the text. This idea is elaborated on from the point of view of Ricoeur's hermeneutics and from that of Iser's reception aesthetics, respectively. In realizing the world of the work the world of the reader is transcended and opened up towards the possible. In this reconfiguration lies the practical relevance of literature. Books, therefore, do not have to mirror the actual world in order to be morally or politically relevant. It is in the act of reading that the lasting significance of so-called classics is renewed time and time again. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Joseph Margolis LITERATURE AND SPEECH ACTS The trivial truth that literature employs language has been fastened on regularly and repeatedly to spawn a remarkable variety of misconceptions. Most famously, in the context of aesthetics, it has led to the untenable thesis that all art is language,1 and to the more pointed claim that works of art somehow affirm propositions that may be linguistically rendered and straightforwardly judged (...) true or false. It has also embarrassed a good deal of theorizing about the nature of aesthetic experience and the aesthetic orientation, and has led to preposterous views about the aesthetic status of the literary arts and the exaggerated importance of words in literature. These developments are reasonably well known, partly because they form a venerable portion of the history of aesthetics, partly because the doctrines at stake take so many apparently persuasive guises—even in our own time. There are other views, however, also largely based on the example of literature, that are at once useful because they are corrective of other abuses and are in their turn prone to newer mistakes that bid fair to become fashionable. The ambivalent corrective I have in mind may be marked by the thesis that a work of art is an utterance of some sort. In effect, the thesis stresses the distortion that results from pretending to address art relevantly solely in terms of the palpable properties of some object or product—more or less on the model of examining a perceptually accessible physical object. Attention is required, on the theory, to the act or agency of the artist by which the work is "uttered," in a sense quite close to that in which a forger is said to "utter" a bad check: by this simple strategem, we are led to see that biographical, historical, intentional considerations are instructive about a work of art in an essential way and that the properties of an artwork cannot possibly be restricted to its merely sensory or sensuous features (if indeed, admitting conceptual art, a particular work has any such features at all). The proposal, therefore, is at least a heuristically useful one. Whether it ought also to be enshrined as definitional of 39 40Philosophy and Literature art is another question altogether, qualified partly by its being entirely possible to save the corrections without the thesis, partly by the debatable force of definitions themselves. A rather specialized but utterly misleading and unpromising version of the utterance theory maintains that literature as such, as well as such particularly important distinctions within literature as fiction, poetry, and metaphor, may be perspicuously defined or distinguished in terms of a speech-act model. We must be careful here. The general thesis that the phenomenon of language cannot be adequately analyzed apart from contextual considerations bearing on speakers' intentions, shared assumptions and background beliefs between speakers and hearers, and the actual histories of conversations and the like has now been abundantly confirmed by a variety of theorists—including, prominently, J. L. Austin, P. F. Strawson, H. P. Grice, John Searle, Keith Donnellan, George Lakoff, and Zeno Vendler. Still, the general concession that familiar syntactic and semantic studies of the phenomenon of language omit an entire dimension of language, as Austin so ably demonstrated, has rather little to say about the distinctions normally debated in the context of literary theory and the appreciation and criticism of literature. (This may well seem paradoxical. The argument has yet to be supplied.) But since the application of the speech-act model to literary analysis shows some tendency to attract advocates, it may be useful to draw explicit attention here to the inherent limitations and difficulties of the enterprise. Obviously, if language must be analyzed at least in part in terms of the context of performing speech acts, it will be impossible to ignore altogether the speech-act dimension of literary utterances. The question remains: what can and what cannot be illuminated by means of the speech-act model? Precisely how restricted a general speech-act model is—that is, one not restricted just to literature—can be seen at a stroke simply by noting that the meanings of sentences (i) cannot be equated with what speakers... (shrink)

Analyses the concepts that underpin Ranciere's thought on literature, scrutinising his interpretations of particular works This collection of original essays engages with Ranciere's accounts of literature from across his body of work, putting his conceptual apparatus to work in acts of literary criticism. From his archival investigations of the literary efforts of 19th-century workers to his engagements with specific novelists and poets, and from his concept of 'literarity' to his central positioning of the novel in his account of (...) the three 'regimes' of literary practice, this collection unearths, consolidates, evaluates and critiques Ranciere's work on and with literature. ". (shrink)

Nach einer weit verbreiteten Überzeugung beruht der Wert von fiktionaler Literatur wenigstens zum Teil darauf, dass Leser durch sie zu Wissen gelangen. Warum aber kommt fiktionale Literatur für den Erwerb von Wissen in Frage? Einige Autoren verweisen darauf, dass Literatur zwar kein propositionales Wissen im Sinne des Überzeugungswissens, aber ein nicht-propositionales Wissen im Sinne des Wissens von subjektiven Perspektiven oder von Fertigkeiten vermittelt. Der Beitrag argumentiert dafür, dass sich zusätzlich zu nicht-propositionalem Wissen auch propositionales Wissen durch Literatur erwerben lässt. Leser (...) können ihr propositionales Wissen erweitern, weil literarische Werke Behauptungen über Allgemeines enthalten. Anhand impliziter und durch Interpretation erschließbarer allgemeiner Aussagen wird die Auffassung verteidigt, dass Literatur eine wahrheitssuchende Institution darstellt. (shrink)

The familiar idea that literature is embedded in social practices that help explain both its existence and its value took a distinctive form in analytic philosophy, drawing on speech act theory and a conception of ‘rules’. A major influence was John Rawls's seminal paper ‘Two Concepts of Rules’ (1955) in which he introduced the ‘practice conception of rules’ according to which certain practices are defined by rules that in turn make possible certain kinds of action. The idea underlies the (...) notion of ‘constitutive rules’ in speech act theory and draws on a comparison with games. The origin of this idea can clearly be traced to Wittgenstein, with his highly original thoughts on practices, rules, and games. Yet the Wittgensteinian influence is not sufficiently acknowledged in this context (that is, the context of literary aesthetics). As someone who holds the idea of a practice or ‘institution’ to be of crucial importance in philosophy of literature, I therefore thought it would be useful to put the record straight and remind ourselves what Wittgenstein says about practices (and games) to see just what the relation is between the roots of that idea (in Wittgenstein) and its current manifestations in literary aesthetics. The results suggest that there is much to be learned from Wittgenstein and that his model might be more fruitful than that of Rawls. (shrink)

This article argues that sociologists have much to gain from a fuller engagement with dystopian literature. This is because (i) the speculation in dystopian literature tends to be more grounded in empirical social reality than in the case of utopian literature, and (ii) the literary conventions of the dystopia more readily illustrate the relationship between the inner life of the individual and the greater whole of social-historical reality. These conventional features mean dystopian literature is especially attuned (...) to how historically-conditioned social forces shape the inner life and personal experience of the individual, and how acts of individuals can, in turn, shape the social structures in which they are situated. In other words, dystopian literature is a potent exercise of what C. Wright Mills famously termed ‘the sociological imagination’. (shrink)

J. L. Austin's claim that language ‘used not seriously’ is ‘parasitic’ upon ‘normal use’ has proved a puzzle to literary scholars, who have often taken this to mean that they are not allowed to apply the insights of speech-act theory to their own object of research. This article explores how, when read together, Michel Serres’ definition of the parasite as a ‘thermal exciter’ and Deleuze's concept of ‘minor literature’ bring out the hidden potential inherent in Austin's claim. More specifically, (...) the article argues that Austin's reference to literature as a parasitic entity might become a promising conceptual gift, allowing us to generate a new model for approaching the world-shaping potential of literary texts. (shrink)

What is an event? From a philosophical perspective, events are irregular occurrences--moments of change and interruption--categorized by human perception, language, and thought. While philosophers have pored over this subject extensively in recent years, The Event: Literature and Theory seeks to ground it: What is literature's approach to the event? How does literature produce and give testimony to events? Ilai Rowner's study not only revisits some of the most important thinkers of our time, including Maurice Blanchot, Gilles Deleuze, (...) Jacques Derrida, and Martin Heidegger, it also develops a critical approach to literature that questions the meaning of the literary event through examinations of literary works by Marcel Proust, Louis-Ferdinand Ce;line, and T. S. Eliot. Rowner offers a new method of thinking about the particular characteristics of the event within literary works and defines the creative value of literature as the aspiration toward the un-happening within the happening. In this study the experience of literature--as an act of both writing and reading--becomes the struggle to capture the excessive movement of the event while yet revealing the creative energy within the work of literature. (shrink)

The article proposes looking at children's literature, particularly the form of the picture book, as an educational resource for producing body awareness in school. Eight reading steps for as many bodily actions aimed at naming the body, activating it, getting to know it and moving it in space, on and off the pages; between grounding, listening, breathing, playing and moving, the rediscovery of gestures and anatomical truths invites to deepen self-knowledge as a preliminary act to the encounter and relationship (...) with the other and with the environment. The picture books by their specificities of short form and cross-over, offer, even in non-fiction production, the possibility of bringing attention back to the body dimension within the school and educational debate, where it lives today in a state of malaise and oblivion. Meaningful conversations, explorations and relationships flow from the pages of the albums: research on language as a tool that gives dignity and value to each person, and encounters with the artistic representation of the world as an infinite mirror of its multiplicity and variety, constitute valuable opportunities for an education that is aware of the wholeness of learners and teachers and the integrated, erotic and embodied dimension of their relationship. (shrink)

Aims: The aim of this narrative synthesis was to explore the necessary and sufficient conditions required to define moral distress. Background: Moral distress is said to occur when one has made a moral judgement but is unable to act upon it. However, problems with this narrow conception have led to multiple redefinitions in the empirical and conceptual literature. As a consequence, much of the research exploring moral distress has lacked conceptual clarity, complicating attempts to study the phenomenon. Design: Systematic (...) literature review and narrative synthesis (November 2015–March 2016). Data sources: Ovid MEDLINE® In-Process & Other Non-Indexed Citations 1946–Present, PsycINFO® 1967–Present, CINAHL® Plus 1937–Present, EMBASE 1974–24 February 2016, British Nursing Index 1994–Present, Social Care Online, Social Policy and Practice Database (1890–Present), ERIC (EBSCO) 1966–Present and Education Abstracts. Review methods: Literature relating to moral distress was systematically retrieved and subjected to relevance assessment. Narrative synthesis was the overarching framework that guided quality assessment, data analysis and synthesis. Results: In all, 152 papers underwent initial data extraction and 34 were chosen for inclusion in the narrative synthesis based on both quality and relevance. Analysis revealed different proposed conditions for the occurrence of moral distress: moral judgement, psychological and physical effects, moral dilemmas, moral uncertainty, external and internal constraints and threats to moral integrity. Conclusion: We suggest the combination of (1) the experience of a moral event, (2) the experience of ‘psychological distress’ and (3) a direct causal relation between (1) and (2) together are necessary and sufficient conditions for moral distress. (shrink)

-/- For I have to remind you, somewhat bluntly and simply, that my most constant interest, coming even before my philosophical interest I should say, if this is possible, has been directed towards literature, towards that writing which is called literature. -/- What is literature? –Jacques Derrida, “The Time of a Thesis, Punctuations” -/- Literature is everywhere in Jacques Derrida's writing. It is there from one end to the other of his work, even in essays or (...) books that superficially do not seem to involve “literature.” If Derek Attridge had not already invented or borrowed the phrase “Acts of Literature” as the title for his fine anthology of Derrida's writings about literature I might have called this chapter “Derrida's Acts of Literature.” The phrase “acts of literature” is a double genitive, subjective and objective at once. It names acts performed by literature, and at the same time acts that create or comment on literature. In what sense can literature, or writing about literature, or writing literature, or reading literature be an “act”? That is one of my main questions here. -/- Derrida, along with all the other things he is (as this volume testifies), is one of the great literary critics of the twentieth century. (shrink)

This paper attempts to revive interest in the speech act theory of literature by looking into Monroe C. Beardsley's account in particular. Beardsley's view in this respect has received, surprisingly, less attention than deserved. I first offer a reconstruction of Beardsley's account and then use it to correct some notable misconceptions. Next, I show that the reformulation reveals a hitherto unnoticed discrepancy in Beardsley's position and that this can be explained away by a weak version of intentionalism that Beardsley (...) himself actually tolerates. Finally, I assess the real difficulty of Beardsley's theory and its relevance today. (shrink)

Ayurveda is a traditional system of healthcare that is native to India and has a rich documented literature of its own. Most of the historians agree that the documentation of core Ayurveda literature took place approximately in between 400 BCE and 200 CE, while acknowledging that the roots of its theoretical framework can be traced back to a much earlier period. For multiple reasons many significant contributions of Ayurveda literature to various streams of biological and medical sciences (...) have remained under-recognized while recounting the historical milestones of development. This is true in the context of the physiology of digestion and metabolism too. In this communication we try to reconstruct a picture of the processes of digestion and metabolism as had been understood by ancient Ayurveda scholars. Though this understanding was primitive and insufficient in many ways, we argue that this deserves to be documented and acknowledged. To help with grasping the importance of these contributions, we juxtapose them with the corresponding insights pertaining to this subject reported by prominent western scientists. The major contributions of Ayurveda that have been recounted in this paper are those related to the description of three distinct phases of digestion (Avasthapaka), multiple sets of transformative entities acting at different levels of metabolism (Agni), and the roles ascribed to various internal and external factors in executing these physiological functions. (shrink)

Neuroliterature: this word is not a name for a new discipline, which—like neurolinguistics, neuropsychoanalysis, or neurophilosophy—would tend to explain the way in which our mental acts are rooted in biological neural processes. Even if we have to pay these new sciences the most acute attention to the extent that they are currently re-sketching the inner and outer boundaries of the Humanities, my purpose here is different and wishes to escape all forms of reductionism.Current neurobiology will be present in my discourse, (...) but not as a possible new foundation for literature. Speaking from the continental philosophical point of view, I am interested in the way neurological research helps both radicalizing and... (shrink)

Short description: Part A : Philosophy, Literature, and Knowledge – Chapter I : Idealism and the Absolute – A. J. B. Hampton: “Herzen schlagen und doch bleibet die Rede zurück?” Philosophy, poetry, and Hölderlin’s development of language suffi cient to the Absolute – P. Sabot: L’absolu au miroir de la littérature. Versions de l’Hégélianisme’ chez Villiers de l’Isle Adam et chez Mallarmé – P. Gordon: Nietzsche’s Critique of the Kantian Absolute – Chapter II: Philosophy and Style – J.-P. Larthomas: (...) Le cas Kierkegaard (1813-1855) ou l’écriture comme dialectique de l’écoute – S. Hüsch: Style et signifi cation. Intériorité et communication indirecte chez Søren Kierkegaard – A. Milon: La question du style en philosophie: la grammaire non-style – C. Van Lerberghe: La question du style dans la phénoménologie asubjective de Jan Patocka – Chapter III: Poetry and Philosophy – J.-B. Dussert: Martin Heidegger en ses poèmes – C. de Roche: The poem and the monad: On the reception of Leibniz‘ monadology in Paul Celan’s poetics – M. de Jesus Cabral: Entre théâtre et philosophie : notes sur la poétique de Maurice Maeterlinck – Chapter IV : Literature, Philosophy, and (new) Mythology – A. Martinengo: La raison hors de soi. Herméneutique et mythe chez Paul Ricoeur – G. Boggio Marzet Tremoloso: Démythologisation comme acte mythopoïétique: le cas de Jason de Elisabeth Porquerol. – G. Coulter: Jean Baudrillard: The Literary / Poetic Philosopher – Chapter V : Literature and Ethics – J. Azoulai: L’Éthique de Spinoza dans Bouvard et Pécuchet: un vertige philosophique et littéraire – I. Vendrell: Can Literature be Moral Philosophy? A sceptical view on the Ethics of Literary Empathy – F. Picon: Envisager Todorov: Poétique, éthique et humanisme contemporain – Chapter VI : Philosophy and Textuality – E. Lecler: La littérature : la mort de la philosophie – J. A. Gosetti- Ferencei: Writing in Philosophy and the Literature and Philosophy of Writing (Plato, Mann, Blanchot) –W. Cristaudo: Bringing Back Character and Grammar: Freeing Literature from Excessive Reliance on Philosophy and Theory – C. Alfano: Parenthesising Cracks into the Ground of Philosophy: The Textuality of Stanley Cavell’s Philosophical Writing – Part B: Perspectives of a Dialogue between Philosophy and Literature: Philosophical Refl ections in Literary Creation – Chapter VII : Philosophical Dialogue and Literature – A. Baillot: Tieck et Solger, un dialogue philosophicolittéraire – V. Altachina: Le dialogue philosophique chez Diderot et chez Dostoïevski – Chapter XIII : Bergsonien Infl uences in Literature – C. Dewas: Bergson et Katzantzakis. Les limites du langage comme condition d’une métaphysique de la littérature – E. Pesenti Rossi: La philosophie à l’épreuve de la poésie : Bergson et Ungaretti – Chapter IX : Wittgenstein and Literature – G. Valdemarca: La revanche du sens commun : Wittgenstein, Musil et la chute de la certitude – A. Leaker: From the ‘numinous glow’ to ‘gut squalor’: Transcendence and the Ordinary in Wittgenstein and Don DeLillo’s Underworld – A. den Dulk: Wallace and Wittgenstein: Literature as Dialogue Concerning the Real World – Chapter X: Borges and Semprun: Writers and Philosophers – J.-F. Mattéi: Borges et la philosophie – T. Capmartin: Voyage au bout de la représentation dans Fictions: Quelques remarques ménardiennes sur Borges et le stoïcisme – V. Capdevielle- Hounieu: Jorge Semprún et l’hybridation du littéraire et du philosophique : pour une ‘fi ction essayistique’ – Chapter XI : Literary (Mis-) Readings of Philosophy – P. Lasarte: Misreadings of Arthur Schopenhauer in Sin Rumbo by Eugenio Cambaceres – S. Roldan: Qu’est-ce qui est fort comme la mort selon Maupassant? La détermination ultime d’Olivier Vertin vue sous l’angle de Schopenhauer – B. Nickel: L’infl uence de Ludwig Wittgenstein (1889–1951) sur la poésie concrète – Chapter XII: The Impact of Philosophy on 20th Century Literature and Poetry – B. Ertugrul: Walter Benjamin et Ingeborg Bachmann entre littérature et philosophie – J. Leclercq / M. Watthee-Delmotte: Michel Henry : pour un langage de la subjectivité. La pensée du roman Le Fils du roi – J. Hobus: “The happiness of the concentration camps”: Reading Imre Kertész’ Novel Fatelessness with Albert Camus’ Concept of the Absurd – S. Frogel: Man without God: Nietzsche, Kafka and Camus Der Herausgeber Sébastian Hüsch, Studium der Philosophie, Geschichte,. (shrink)

Alexis de Tocqueville asserted that America had no truly great literature, and that American writers merely mimicked the British and European traditions of the eighteenth and nineteenth centuries. This new edited collection masterfully refutes Tocqueville's monocultural myopia and reveals the distinctive role American poetry and prose have played in reflecting and passing judgment upon the core values of American democracy. The essays, profiling the work of Mark Twain, F. Scott Fitzgerald, John Updike, Edith Wharton, Walt Whitman, Henry James, Willa (...) Cather, Walker Percy, and Tom Wolfe, reveal how America's greatest writers have acted as society's most ardent cheerleaders and its most penetrating critics. Christine Dunn Henderson's exciting new work offers literature as a portal through which to view the philosophical principles that animate America's political order and the mores which either reinforce or undermine them. (shrink)

Seemingly a minor part of L’Imaginaire, Sartre’s literary examples therein are of great significance especially in the way they highlight the implicit yet crucial role of linguistic signs and words in his psychology of the image. While commenting on the act of reading a novel, he views literary words practically as images, endowing them with both an affective and representative status and illustrating the word-image through the figure of a drawing or dessin. The novel’s word-images or dessins solve an important (...) problem in his phenomenology: in order to represent, they do not need an original perception as other, more typical images do. While the dessin suggests the opportune possibility of representation without presentation, it also introduces ambiguity in meaning, running counter to Sartre’s demand that linguistic signification be clear and transparent. Sartre attempts to contain such ambiguity by ascribing the image-like, representative use of words to poetry in What’s Literature? but I argue that the dessin indeed allows for a more comprehensive understanding of the linguistic sign and representation that covers both poetry and prose. (shrink)

Alexis de Tocqueville asserted that America had no truly great literature, and that American writers merely mimicked the British and European traditions of the eighteenth and nineteenth centuries. This new edited collection masterfully refutes Tocqueville's monocultural myopia and reveals the distinctive role American poetry and prose have played in reflecting and passing judgment upon the core values of American democracy. The essays, profiling the work of Mark Twain, F. Scott Fitzgerald, John Updike, Edith Wharton, Walt Whitman, Henry James, Willa (...) Cather, Walker Percy, and Tom Wolfe, reveal how America's greatest writers have acted as society's most ardent cheerleaders and its most penetrating critics. Christine Dunn Henderson's exciting new work offers literature as a portal through which to view the philosophical principles that animate America's political order and the mores which either reinforce or undermine them. (shrink)

The stories we tell in our attempt to make sense of the world, our myths and religion, literature and philosophy, science and art, are the comforting vehicles we use to transmit ideas of order. But beneath the quest for order lies the uneasy dread of fundamental disorder. True chaos is hard to imagine and even harder to represent, especially without some recourse to the familiar coherency of order. In this book, Martin Meisel considers the long effort to conjure, depict, (...) and rationalize extreme disorder, with all the passions, excitements, and compromises the act has provoked. In seven chapters--"Shaping Chaos," "Nothing and Something," "Number," "Carnival," "War," "Energy," and "Entropy"--Meisel builds a rough history from major social, psychological, and cosmological turning points in the imagining of chaos. He uses examples from literature, philosophy, painting, graphic art, science, linguistics, music, and film, particularly exploring the remarkable shift in the eighteenth and nineteenth centuries from conceiving of chaos as disruptive to celebrating its liberating and energizing potential. Discussions of Sophocles, Plato, Lucretius, Calderon, Milton, Haydn, Blake, Faraday, Chekhov, Faulkner, Wells, and Beckett, among others, are matched with incisive readings of art by Brueghel, Rubens, Goya, Turner, Dix, Dada and the futurists. Meisel addresses the revolution in mapping energy and entropy and the manifold impact of thermodynamics. Known for his pathbreaking studies of literature, drama, and the visual arts, Meisel uses this chaotic frame to elaborate on larger concerns of purpose, mortality, meaning, and mind. (shrink)

The Violence of Reading: Literature and Philosophy at the Threshold of Pain expounds the scene of reading as one that produces an overwhelmed body exposed to uncontainable forms of violence. The book argues that the act of reading induces a representational instability that causes the referential function of language to collapse. This breakdown releases a type of “linguistic pain” (Scarry; Butler; Hamacher) that indicates a constitutive wounding of the reading body. The wound of language marks a rupture between linguistic (...) reality and the phenomenal world. Exploring this rupture in various ways, the book brings together texts and genres from diverse traditions and offers close examinations of the rhetoric of masochism (Sacher-Masoch; Deleuze), the relation between reading and abuse (Nietzsche; Proust; Jelinek), the sublime experience of reading (Kant; Kafka; de Man), the “novel of the institution” (Musil; Campe), and literary suicide (Bachmann; Berryman; Okkervil River). (shrink)

Open Innovation and Sustainability-Oriented Innovation are undoubtedly two of the most debated topics of the last decades, gaining the interest of policymakers, practitioners, and scholars all over the world. Even if they have been usually described as two independent research fields, there are some emblematic examples presenting interplay and synergy between these topics, represented either by the hybrid perspectives of Open Sustainable Innovation, that is, the Open Innovation approach acting as an enabler of Sustainability-Oriented Innovation, and Sustainable Open Innovation, which (...) instead analyzes how firms developing Sustainability-Oriented Innovation also adopt the Open Innovation approach. On the basis of these two perspectives and through a systematic literature review, this paper investigates the relationships between the Open Innovation and Sustainability-Oriented Innovation approaches and frames these relationships by developing an innovative framework, which highlights the main aspects characterizing the hybrid perspectives of Open Sustainable Innovation and Sustainable Open Innovation. The proposed framework highlights the Open Innovation practices and strategies enabling Sustainability-Oriented Innovation, as well as the contextual factors enabling both practices and strategies for Sustainability-Oriented Innovation. In addition, it shows how firms developing Sustainability-Oriented Innovation have a similar orientation toward the adoption of the Open Innovation approach both in terms of how they engage stakeholders, and the innovation capabilities they develop. Finally, a research agenda identifying the central issues and the key research gaps is offered for further development in future studies. (shrink)

In this article the outlines are sketched of an empirical science of literature as close as possible to the model of the natural sciences. This raises the question of what the standards of an empirical science in the strictest sense should generally be. Practical relevance of its results soon turns up as the fundamental condition for an explanatory empirical science, if the ideology of nearing an empirical truth is no longer accepted and a mere pragmatic justification rejected as its (...) insufficient substitute. As a consequence the logical priority of scientific explanation over scientific description is considered irrefutable. The so-called “sciences of understanding” – among them a “science of literature” – are confronted with a special difficulty, if they want to become explanatory empirical sciences. Their practical problems to be solved are related to linguistically or semiotically coded facts. To empirically describe these problematic facts causes this difficulty, which the author tries to overcome with recourse to ideas from Wittgenstein. And the practical relevance, which may be achieved with the help of nomological explanations, here doesn’t consist in predictions for better practical production of means, direct or indirect, for survival, but in the provision of rational understanding for better practical teaching or criticism. This practical relevance is shown in the explanation of valuing acts of readers of The Golden Bowl by Henry James. The meaning of a literary text is no longer taken as a possible object of scientific empirical explanation, nor its rational justification as a scientific goal that might be practically relevant. (shrink)

To carry on reasoning in the face of the implications of skepticism is what Fred Parker calls “sceptical thinking.” Not to be confused with the engineered vacillation leading to a tranquillizing suspense of judgement, it involves the double perspective of someone conducting a life, believing and reasoning as we do, while acutely aware that the whole endeavor is, in a sense, untenable. If, as Sir Philip Sidney famously said, an imaginative writer “nothing affirms, and therefore never lieth,” then the dilemma (...) posed by skepticism might be less embarrassing for that kind of writer than for philosophers. The latter purport to offer tenets valued according to their truth, however variously defined; the former, on the other hand, create “speaking pictures,” or verbal imitations. Skeptically thinking imaginative writers can create speaking pictures of a life in which knowledge is unavailable though people must reason, believe, and act. In a famous letter Keats went so far as to deem a kind of ataraxy to be a condition of the highest art, adducing Shakespeare’s “Negative Capability... of being in uncertainties, Mysteries, doubts, without any irritable reaching after fact & reason”. Parker does not discuss the possibility that negative capability might conduce to the highest flights of literature. He is concerned with the unresolved tensions of skeptical thinking that he sees as complicating key works of literature in the Hanoverian reigns. For their authors and readers, the negativity of skepticism was “disillusioning and destabilizing” if not ameliorated by a humor like Sterne’s or an irony like Hume’s. Humor or irony arises from the oddity that skepticism is put in its place only when we give up and allow nature to reassert itself. Not heroic measures, but backgammon and making merry with friends prevail over doubt. Sometimes, when the confrontation with skepticism gives rise to the precept of following nature, skepticism can result in “a surprising confidence of assertion”. (shrink)

This paper starts from a premise relating to the act of fictional writing about eugenics and the way it may be understood as the embodiment and enactment of social imaginaries. It proposes that literature frequently, if not habitually, expresses the underside of what is expressed in public discourse. That is, far from being the implement of state policy or intervention, it acts in counterpoint to the state, constituting a type of social fantasy in that it explores through the realm (...) of the imagination what might happen. It becomes the arena for contestation, exploration, and nuancing as it essays how ideas from public, ‘real’ life, might transform when acted out. The paper considers two sorts of literary case. First it looks at that of ‘naïve’ literature, harnessed unashamedly to a specific sociological discourse of eugenics. Then, using primarily Ibsen, it considers a subset, the case of literature that does not set out to be explicitly in the service of the cause of eugenics, but is appropriated and disseminated from a platform of eugenics. Lastly, taking the example of Unamuno’s Amor y pedagogía the paper considers literature that exists in a quite different sphere of public awareness. It shows awareness of the arguments and precepts of eugenics and related beliefs and practices, but acts as a transitional space to enable such ideas to be entertained and thought about, without a requirement of acceptance or belief. (shrink)

Tzachi Zamir is Professor of English and General & Comparative Literature at the Hebrew University of Jerusalem, where he directs the Amirim Interdisciplinary Honors Programme in the Humanities. Just Literature: Philosophical Criticism and Justice is his fifth book, continuing the exploration of the relationship between philosophy and literature begun in Double Vision: Moral Philosophy and Shakespearean Drama (2007) and developed in Ascent: Philosophy and Paradise Lost (2017). Aside from his complex and innovative work in this field, he (...) is best-known for establishing the first systematic philosophical aesthetics of the art form of acting in Acts: Theater, Philosophy, and the Performing Self (2014). Just Literature is part of Routledge’s New Literary Theory series, published in the Routledge Focus format. Routledge Focus, like Palgrave Pivot and Emerald Points, is a fairly recent development in academic publishing, featuring short monographs whose publication is expedited in order to be able to provide commentary on or analysis of current events or topical issues. I am not sure about the value of the expedition for academic work, but I am in favour of the format, which is about half the length of a standard monograph and encourages clear, concise, and focused writing. Zamir introduces his unique approach to the overlap of literary studies and philosophy as being a response to the codependence of the aesthetic and epistemic values of literature, expressed in the following three claims: (1) exemplary literature enables insights by means of experiential pathways; (2) aesthetic value and epistemic or cognitive value are often interlinked; and (3) criticism becomes philosophical when it bridges the gap between emotion and insight. The purpose of Just Literature is twofold, to introduce philosophical criticism and to employ philosophical criticism to achieve a better understanding of the concept of justice. The monograph consists of an introduction, five chapters divided into two parts, a coda, and an appendix. The parts are divided by theory and practice, with the first sketching philosophical criticism in more detail than the introduction (Chapter 1) and introducing justice as a concept (Chapter 2). Part II applies this theory to practice, extrapolating the relationships between justice on the one hand and attachment (Chapter 3), pity (Chapter 4), and mercy (Chapter 5) on the other. The coda presents a pithy and memorable conclusion by means of a personal anecdote, recalling the author’s use of the same device in his second monograph, Ethics and the Beast: A Speciesist Argument for Animal Liberation (2007). (shrink)

What I refer to is how our thought in inventing, designing, modifying, and using machines carries over into acts we do not consciously associate with them—like writing or reading poetry. An airplane in flight may be “pure poetry,” or a Ferrari “a poem in steel”; it intrigues me to consider that beneath such object comparisons an object-of-thought connection may be made. Or in other words, there may be really something to a hackneyed compliment like “poem in steel.” My preference for (...) thought form over object form makes me less interested in machines that we can see than in those that we can’t, and it makes me direct my inquiry along two lines, concerning two questions about invisibility. The first involves the history of technology: How is it that machines “disappear”—become less visible, impinge less and less upon popular consciousness? The effect cannot be imputed entirely to familiarity. The second involves the history of literature: If machines have disappeared, are there “disappeared”—or “invisible”—machines in literature? It is reasonably clear that we go to considerable lengths to hide the machines that surround us and that we choose, or our artists choose, insofar as such choice can be located, to restrict the appearance of machines in art.3 Commonly their restricted appearance in art is understood as a kind of resistance to some form of machine takeover, while their concealment has only uncommonly received analysis and is not generally discussed in context with the matter of artistic representation. But we do accept, at least in theory, the idea that style of living and style in literature are connected. If the machine penetrates our style of living, then—and this is the end of my inquiry—these invisibilities are of interest to literary criticism, for they have something to do with the way literature is written, with whether or not, that is, writers choose to describe machines, use them as characters, or give them any role at all to play in surface structure. Since the artist often works to reveal what his society works to conceal and since the postmodern period has so far been one of crisis in the relations between society and technology, we may expect to find in postmodern fiction, or in writing to come, some greater revelation or simple exposure of the workings, than we could have seen before. 3. I use “restrict” in a statistical sense, for since the beginning of the Industrial Revolution there have been artists to celebrate the machine; today’s hyperrealist movement offers contemporary examples. These artists—Tom Blackwell, Ron Kleemann, Ralph Goings, and others—work a transformation like that of Andy Warhol with the pop object. They present not so much a celebration as an effort to turn looking into seeing, here directed at automobiles in particular, so much a part of everyday life as to have become indistinguishable from one another and as a species from the other parts of the semiurban landscape—the mailbox, the front lawn, the visiting relatives staring into the camera. Strother B. Purdy is the author of The Hole in the Fabric: Science, Contemporary Literature, and Henry James. His previous contributions to Critical Inquiry are “Stalingrad and My Lai: A Literary-Political Speculation” and “Reply to Lawrence W. Hyman. (shrink)

Background: Medical Assistance in Dying, also known as euthanasia or assisted suicide, is expanding internationally. Canada is the first country to permit Nurse Practitioners to provide euthanasia. These developments highlight the need for nurses to reflect upon the moral and ethical issues that euthanasia presents for nursing practice. Purpose: The purpose of this article is to provide a narrative review of the ethical arguments surrounding euthanasia in relationship to nursing practice. Methods: Systematic search and narrative review. Nine electronic databases were (...) searched using vocabulary developed from a stage 1 search of Medline and CINAHL. Articles that analysed a focused ethical question related to euthanasia in the context of nursing practice were included. Articles were synthesized to provide an overview of the literature of nursing ethics and euthanasia. Ethical Considerations: This review was conducted as per established scientific guidelines. We have tried to be fair and respectful to the authors discussed. Findings: Forty-three articles were identified and arranged inductively into four themes: arguments from the nature of nursing; arguments from ethical principles, concepts and theories; arguments for moral consistency; and arguments from the nature of the social good. Key considerations included nursing’s moral ontology, the nurse–patient relationship, potential impact on the profession, ethical principles and theories, moral culpability for acts versus omissions, the role of intention and the nature of the society in which euthanasia would be enacted. In many cases, the same assumptions, values, principles and theories were used to argue both for and against euthanasia. Discussion: The review identified a relative paucity of literature in light of the expansion of euthanasia internationally. However, the literature provided a fulsome range of positions for nurses to consider as they reflect on their own participation in euthanasia. Many of the arguments reviewed were not nursing-specific, but rather are relevant across healthcare disciplines. Arguments explicitly grounded within the nature of nursing and nurse–patient relationships warrant further exploration. (shrink)

This article seeks to revisit the relationship between Rawls’s contractarianism and the moral status of animals, paying particular attention to the recent literature. Despite Rawls’s own reluctance to include animals as recipients of justice, and my own initial scepticism, a number of scholars have argued that his theory does provide resources that are useful for the animal advocate. The first type takes Rawls’s exclusion of animals from his theory of justice at face value but argues that animals can still (...) be protected within a moral realm independently of justice, or indirectly through the motivations of human contractors. The second type adapts his theory in a way that enables animals to be included within a contractarian theory of justice. It is argued, though, that none of the responses offered is successful in providing a sphere of protection for animals from within Rawls’s contractarian theory. It is doubtful if Rawls’s intention was for animals to receive a significant degree of protection within a moral realm independently of justice, and equally doubtful if the contractors in the original position would be motivated to act on behalf of animals. In the case of the second, whilst Rawlsian resources can be utilised to justify the attempt to amend the veil of ignorance so as to include animals, these are not dependent on a contractural agreement. Similarly, placing emphasis on social-co-operation as a means of incorporating animals into a theory of justice is flawed, not least because, paradoxically, it works for domesticated animals whilst they are being exploited. (shrink)

Speech, like sound, "exists only when it is passing out of existence."1 Although confounded with the very breath of life, speech dies on the lips that give it form. This undulation of air, whose speechprint is so personal that we have not been able to build machines to recognize it, is born in the body but effaces, forgets the body. This quality of speech, that it takes support form the body but does not reside there, has evoked a debate about (...) the role of voice which was doubtless begun earlier but has never been so sharply discussed, I think, as in the present generation: Must voice and the concept of the speaking subject be defined as a unity? Can we validate a definition of the self and what it means to be human through a physiology of voice or a metaphysics of voice? The logical and chronological priority of empirical speech, of utterances seemingly unplanned and unwritten, is what is at issue in this debate.2· 1. Walter J. Ong, "The Word in Chains," In the Human Grain, p. 53.· 2. Spontaneous utterances are the subject matter of speech-act philosophy and sociolinguistics, disciplines that stress the social and communicative context which helps condition personal speaking. Such a privileging of voice also occurs in modern poetic theory, for example in Charles Olson's "Projective Verse" and in statements by Gary Snyder, Jerome Rothenberg, and David Antin, but usually these writers show to what degree the oral must always remain a fiction in our era.Donald Wesling is professor of English at the University of California, San Diego. The author of The Chances of Rhyme: Device and Modernity, he is currently writing a critique of modern metrical theory, The Scissors of Meter: Grammetrics and Interpretation. (shrink)

Two hundred years after it was first published, Mary Shelley’s Frankenstein; or, the modern Prometheus remains relevant. This novel has endured because of its literary merits and because its themes lend themselves to analysis from multiple viewpoints. Scholars from many disciplines have examined this work in relation to controversial scientific research. In this paper, we review the academic literature where Frankenstein is used to discuss ethics, bioethics, science, technology and medicine. We searched the academic literature and carried out (...) a content analysis of articles discussing the novel and films derived from it, analyzing the findings qualitatively and quantitatively. We recorded the following variables: year and language of publication, whether it referred to the novel or to a film, the academic discipline in which it was published, and the topics addressed in the analysis. Our findings indicate that the scientific literature on Frankenstein focuses mainly on science and the personality of the scientist rather than on the creature the scientist created or ethical aspects of his research. The scientist’s responsibility is central to the ethical interest of Frankenstein; this issue entails both the motivation underlying the scientist’s acts and the consequences of these acts. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Literature as Sheltering the HumanJohn Durham PetersLiterature as Sheltering the Human, by Frederic Will; 203 pp. Lewiston, Maine: Edwin Mellen Press, 1993, $69.95.This volume contains thirteen essays by Frederic Will, poet, critic, ex-professor of literature, autobiographer, translator, man of letters. All concern the peculiar powers of literature to offer spiritual comfort and protection against the storms of life.A cluster of four theoretical essays begins the (...) collection. The first surveys Husserl’s intellectual offspring, Merleau-Ponty, Sartre, and Heidegger, and seeks in their philosophies of language a grounding for literature’s uniqueness. The second essay argues that everyday language is always on the verge of entropy, but at its best, can be sublimated into literature. The third essay is a fiction of a crazed lit professor trying to master “the whole of literature” (p. 41). The eternally elusive object of “literature” turns out to evoke erotic-aggressive energies. The fourth essay on “Influencing the Past” rehearses some Benjaminian and Borgesian themes about literary influence being not causality, but intertextual resonance.The next set of five essays—which Will calls a “testimony” (p. 133) or “hit and run theology” (p. 138)—forms the core of the book. They treat “sheltering the human” in Homer, the Bible, Sappho, the Bhagavad Gita, and the epistles of St. Paul. Each ponders an enclosure—a retreat from battle, a womb, an act of translation, an inward wrestle of conscience, the blood of Christ—made of words. To my mind, this is the best part of the book: a steady meditation, graced with poetic lines and steeped in wide learning, on the proposition that “poetically man dwells.” Here Will performs the humane survey of world-literature he elsewhere extolls.The concluding section explores the relation of literature to the other arts. There is an essay on the gradual discovery of the oral core of Greek literature, largely through German scholarship, and one on literature’s relation to the other arts, which argues for its unique centrality among human expressive forms, thanks to its alleged continuity with the essential human possession, language. The penultimate essay meditates on Adorno’s aesthetics of music (concluding on an affirmative note not quite in tune with Adorno’s gloomy musings on capitalism), and the grand finale muses on the relation of art to life, via the dubious conceit of “art” as a great resort hotel.The book is remarkable for an intense and bald aestheticism that is exceedingly rare today. Will calls literature “the ripest offspring of language” (p. 1) and is happy to speak of masterpieces, genius, revelation, the autonomy of art, classics, humanism, values lodged in the structure of the universe (p. 125), universal validity (p. 131), “texts high in redemptive claim” (p. 147), the continuing necessity of the classical tradition (p. 190), and the artist as all but a different species (p. 200). The faith in a totality called “literature” is, to put it lightly, out of season in the academy today. As Will, a confirmed foe of [End Page 387] academic politics and pedantry, might well suggest, this may speak in its favor. Though Will’s aestheticism may refresh, I cannot help but wonder with Adorno whether some forms of expression and faith are objectively impossible in certain eras. Can “literature” sustain credulity today as anything more than one among many remarkable human practices?There is something, if I may say it, sheltered about these essays. If, as J. S. Mill said, eloquence is heard but poetry is overheard, this work is more poetry than eloquence. It features repeated and unannounced autobiographical intrusions. The self-reflexive quality supplies ready phrases to the reviewer: Will calls himself a “fallen contemporary classicist,” praises “high-minded eclecticism” and favors those thinkers who “sensualize knowing.” These traits make for a rare voice singing in the cornfields of Iowa.John Durham PetersUniversity of IowaCopyright © 1995 The Johns Hopkins University Press... (shrink)

In Adapted Brains and Imaginary Worlds, Donald Beecher explores the characteristics and idiosyncrasies of the brain as they affect the study of fiction. He builds upon insights from the cognitive sciences to explain how we actualize imaginary persons, read the clues to their intentional states, assess their representations of selfhood, and empathize with their felt experiences in imaginary environments. He considers how our own faculty of memory, in all its selective particularity and planned oblivion, becomes an increasingly significant dimension of (...) the critical act, and how our own emotions become aggressive readers of literary experience, culminating in states which define the genres of literature. Beecher illustrates his points with examples from major works of the Renaissance period, including Dr Faustus, The Faerie Queene, Measure for Measure, The Yorkshire Tragedy, Menaphon, The Dialogue of Solomon and Marcolphus, and The Moral Philosophy of Doni. In this volume, studies in the science of mind come into their own in explaining the architectures of the brain that shape such emergent properties as empathy, suspense, curiosity, the formation of communities, gossip, rationalization, confabulation, and so much more that pertains to the behaviour of characters, the orientation of readers, and the construction of meaning. Discussing a breadth of topics – from the mysteries of the criminal mind to the psychology of tears – Adapted Brains and Imaginary Worlds is the most comprehensive work available on the study of fictional worlds and their relation to the constitution of the human brain. (shrink)

In this paper, I argue that the pervasive whiteness of children’s literature contributes to the cultivation of racial biases and stereotypes while impeding the cultivation of compassion toward others. Furthermore, it makes many of the valuable goods associated with literature less accessible to children of color than to white children. Therefore, when possible, consumers have a moral obligation to purchase books that include multidimensional characters of color, and act wrongly when they purchase only books that do not. I (...) respond to the objection that because pervasive whiteness of children’s literature is a collective problem that produces collective harm, consumers are not blameworthy for their individual purchases. (shrink)

The squatting movement is a social movement that seeks to use unoccupied land or temporarily or permanently abandoned buildings as farmland, housing, meeting places, or centers for social and cultural purposes. Its main motivation is to denounce and at the same time respond to the economic difficulties that activists believe exist to realize the right to housing. Much of what we know about this movement comes from the informational and journalistic literature generated by actors that are close or even (...) belong to the movement. However, there is also a significant diversity of knowledge and scientific evidence on the squatters’ movement that is being produced by academia and that is worth knowing and grouping together. With the aim of defining and understanding how the squatters’ movement is constituted and organized, and how it acts, this research analyzes what the scientific literature affirms about it. Through qualitative research based on the systematic literature review method, information was sought in the Web of Science and Scopus databases. The initial universe of 262 articles was finally reduced to a sample of 32 articles. These have been analyzed by means of a categorized classification content analysis. The results obtained allow us to establish the state of the art on the squatting movement, placing special emphasis on its dynamics of resistance, its process of political subjectivation and its mechanisms of action and self-management. The study suggests that the movement is understood based on collective actions with a political role of resistance to neoliberalism and the inequalities it generates, and of response to the basic and social needs of the communities through self-management.Systematic review registration[doi: 10.5281/zenodo.7179670], identifier [7179670]. (shrink)

To carry on reasoning in the face of the implications of skepticism is what Fred Parker calls “sceptical thinking.” Not to be confused with the engineered vacillation leading to a tranquillizing suspense of judgement, it involves the double perspective of someone conducting a life, believing and reasoning as we do, while acutely aware that the whole endeavor is, in a sense, untenable. If, as Sir Philip Sidney famously said, an imaginative writer “nothing affirms, and therefore never lieth,” then the dilemma (...) posed by skepticism might be less embarrassing for that kind of writer than for philosophers. The latter purport to offer tenets valued according to their truth, however variously defined; the former, on the other hand, create “speaking pictures,” or verbal imitations. Skeptically thinking imaginative writers can create speaking pictures of a life in which knowledge is unavailable though people must reason, believe, and act. In a famous letter Keats went so far as to deem a kind of ataraxy to be a condition of the highest art, adducing Shakespeare’s “Negative Capability... of being in uncertainties, Mysteries, doubts, without any irritable reaching after fact & reason”. Parker does not discuss the possibility that negative capability might conduce to the highest flights of literature. He is concerned with the unresolved tensions of skeptical thinking that he sees as complicating key works of literature in the Hanoverian reigns. For their authors and readers, the negativity of skepticism was “disillusioning and destabilizing” if not ameliorated by a humor like Sterne’s or an irony like Hume’s. Humor or irony arises from the oddity that skepticism is put in its place only when we give up and allow nature to reassert itself. Not heroic measures, but backgammon and making merry with friends prevail over doubt. Sometimes, when the confrontation with skepticism gives rise to the precept of following nature, skepticism can result in “a surprising confidence of assertion”. (shrink)

This paper examines the Megg, Mogg and Owl stories of Simon Hanselmann, an Australian artist whose serialized comics both depict acts of contemporary roguery committed by a group of friends in an inner city sharehouse and test the generic limits of its own storytelling conventions, thereby becoming contemporary instances of “rogue texts.” The paper positions the adventures of Megg, a witch, Mogg, her familiar, Owl, their housemate, and associated characters including Booger and Werewolf Jones as contemporary variations of both the (...) Australian genre of grunge fiction and the broad international tradition of rogue literature. It shows how Megg, Mogg, Owl and their friends use the structure of the sharehouse to make their own rules, undertake illegal behaviour, and respond to the strictures of mainstream society, which alongside legal restrictions include normative restrictions on gender and behaviour. It shows the sharehouse as a response to their economic, as well as cultural and social conditions. The paper then shows how Megg and particularly Owl come up against the limitations of the permissiveness and apparent security of their “rogue” society, and respond by beginning to “go rogue” from the group. Meanwhile, the text itself, rather than advancing through time, goes over the same chronology and reinscribes it from new angles, becoming revisionist and re-creative, perhaps behaving roguishly against the affordances of episodic, vignette form. The paper argues that Simon Hanselmann’s Megg, Mogg and Owl comics can be understood as contemporary rogue texts, showing characters responding to social and generic limits and expressing them through a restless and innovative comics text. (shrink)

As the size of the published scientific literature has increased exponentially over the past 30 years, review articles play an increasingly important role in helping researchers to make sense of original research results. Literature reviews can be broadly classified as either “systematic” or “narrative”. Narrative reviews may be broader in scope than systematic reviews, but have been criticised for lacking synthesis and rigour. The submission of more scientific manuscripts requires more researchers acting as peer reviewers, which requires adding (...) greater numbers of new reviewers to the reviewing population over time. However, whereas there are many easily accessible guides for reviewers of primary research manuscripts, there are few similar resources to assist reviewers of narrative reviews. Here, I summarise why literature reviews are valued by their diverse readership and how peer reviewers with different levels of content expertise can improve the reliability and accessibility of narrative review articles. I then provide a number of recommendations for peer reviewers of narrative literature reviews, to improve the integrity of the scientific literature, while also ensuring that narrative review articles meet the needs of both expert and non-expert readers. (shrink)

Since the #MeToo movement, many discussions arose on the role of consent in defining rape, among academics, legal practitioners, non-governmental organisations, and at the European Union level. This debate is particularly relevant in France, where rape is a sexual act committed by violence, coercion, threat, or surprise, with no mention of consent in the Criminal Code. By conducting a meta-analysis of the discourse of the French legal literature on this topic in four criminal law reviews and ten textbooks, this (...) study offers a new perspective to this debate. Based on this analysis, the definition of rape and the role of consent is barely discussed by the literature, partly due to an equivalence drawn between the constitutive elements of the offence and the absence of consent of the victim. Yet, the relevance of consent is highly criticised, mainly by a few male academics, using primarily arguments of authority instead of a critical approach to the topic. In general, the French legal literature on the role of consent in defining rape supports rape myths and gender stereotypes. (shrink)

If indeed aestheticization and enchantment are perennial traits of state discourses and practices in China, it is perhaps unsurprising that a countertradition in modern literature should emphasize disenchantment. Cultural productions that originate from outside the sphere of the state have often questioned its authority. Where the state seeks to enchant, literature has sometimes sought to kindle doubt, to arouse debate. Although such debates have often been curtailed or suppressed, it is worth reexamining the connections between literary production and (...) political debates in different historical contexts throughout twentieth-century China. Drawing on theories that stress the intentionality of literature and the speech act value of the literary text, the present essay attempts to characterize the communicational dynamics both within the text and in the context of its reception. In this perspective, it revisits some of the literary debates that took place in China in the May Fourth and Republican periods (represented by Lu Xun), the early postwar years and the ROC—PRC transition (Lao She), in certain works written during the Cultural Revolution (Jin Fan/Liu Qingfeng), as well as post-1979 literature on the mainland (Yan Lianke). It does so by selecting texts that seem to have been produced with the intention of challenging the aesthetics of enchantment, using literary devices to interrupt readers’ enjoyment and thus open a space for public discussion of both aesthetics and politics. (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)

First published in 1992, this book evokes Pandora and Occam as metaphoric corner posts in an argument about language as discourse and in doing so, brings analytic philosophy to bear on issues of Continental philosophy, with attention to linguistic, semiological, and semiotic concerns. Instead of regarding meanings as guaranteed by definitions, the author argues that linguistic expressions are schemata directing us more or less loosely toward the activation of nonlinguistic sign systems. Ruthrof draws up a heuristic hierarchy of discourses, with (...) literary expression at the top, descending through communication-reduced reference and speech acts to formal logic and digital communication at the bottom. The book offers multiple perspectives from which to review traditional theories of meaning, working from a wide variety of theorists, including Peirce, Frege, Husserl, Derrida, Lyotard, Davidson, and Searle. In Ruthrof's analysis, Pandora and Occam illustrate the opposition between the suppressed rich materiality of culturally saturated discourse and the stark ideality of formal sign systems. This book will be of interest to those studying linguistics, literature and philosophy. (shrink)

An introduction to Derrida's contribution to literary studies, comprising much of Derrida's work on writers such as Shakespeare, Mallarme, Joyce and Kafka, with an introductory essay on deconstruction.

In reflection concerning the study of literature, both categories, memory and forgiveness, are quite frequently contrasted. Literature, which activates memory, is perceived as a tool of settling the past. In this perspective, it takes the position opposite to that of forgiveness, which requires that 'one does not seek redress'. Using the example of the film bearing the title of The Tale, the author attempts to consider the conflict between a writer's duty to remember and the Christian appeal for (...) forgiving. If literature is the reservoir of memory, the very act of writing is purifying, and involves leaving the limits of own existence towards another human being, namely a reader. Reaching beyond the limits of own ego is not unlike the attitude of forgiveness, which requires reaching beyond the borders of personal pain. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Don Quijote and the Law of LiteratureCarl Good (bio)The part is one of these beings, the whole minus this part the other. But the whole minus a part is not the whole and as long as this relationship persists, there is no whole, only two unequal parts.—Rousseau, Social Contract, cited by Paul de Man in Allegories of ReadingBut it is not just that, because it is also a performative.... (...) There is first a performative, the act of positing..., which then moves to a system of tropes; a kind of anamorphosis of tropes takes place, in which all the tropological systems are engendered, as a result of this original act of positing.... It is circulation which is out of hand,... the sheer circulation or play of the signifier, and which is, as you know, the root of error, madness, stupidity and all other evil.—Paul de Man, “The Concept of Irony”Amid a confusion of narrative inversions, misleading appearances, and unresolvable disputes, at least two things are consistent in Don Quijote de la Mancha: first, the knight’s singular fidelity to what I will refer to as a law of literature, which persists like a phantasm of continuity throughout the larger narrative; and, second, the many interruptions of this narrative by the stories, or episodes, recounted by the characters who cross don Quijote’s path (including the knight himself), in the form of speeches, testimonies, plays, jokes, poems, and so on. In at least one strict sense, these other stories have nothing to do with that path other than their interruptions of it and by it. Such a claim has its own strategic value and does not entirely contradict the reasonings of a long history of critics of the Quijote who have tended to argue from a variety of different standpoints for some kind of ideological cohesion that would bind the smaller episodes to the larger story that they interpolate. But at a certain ground zero of interpretation—albeit a paradoxical ground that prohibits a scholarly shelter to be built on it—no argument would be sufficient to establish such a coherence among the work’s separate narrative parts, since such an argument would live in the brief, oneiric intensity of the critic’s testimony and that testimony’s potential effects rather than in the composition of the work itself somewhere beyond its apprehension by reading. Nonetheless, out of the dismembered ensemble of the Quijote what does perhaps effect its own strange kind of life is the very play of ironic interruptions and frictions between the dismembered parts, the profusion of which seems to impose itself as the work’s own aggressive insistence on itself as something which makes sense possible by constantly provoking and unsettling sense. That is where we could begin to speak of don Quijote himself, not only as the phantasmatic agent of this unsettling but also as the mad promise of justice that could be said to motivate it.The play of interruptions in don Quijote’s own story begins to outline the shifting contours and living contradictions of this novel as a “text” in the sense in which Derrida [End Page 44] and others have used the term: that which “names or relates in its way... [a] conflict without encounter between law and singularity” [“Before the Law” 187]. Although the story of this “encounter” has been often recounted, it bears another citation here, at least because it seems to be forgotten more often than it is told. Even when it is told, the story is often muted in homage to the name of Derrida by writers who tacitly assume that Derrida’s is the only possible version of this “conflict without encounter.” That version would be better described as merely one particular ethical shaping or forcing—a powerful one—of a story that has been told, and remains untold, in uncountable ways. Nonetheless, such a democratic assessment of Derrida does not quite justify a dismissal of his version as merely one among others, since, for one thing, it would be unable to account for the astonishing hold that different versions of Derridean “deconstruction” continue to have on the imagination of North American... (shrink)

"Poetry does not impose, it exposes itself," wrote Paul Celan. Werner Hamacher's investigations into crucial texts of philosophical and literary modernity show that Celan's apothegm is also valid for the structure of understanding and for language in general. In _Premises_ Hamacher demonstrates that the promise of a subject position is not only unavoidable—and thus operates as a structural imperative—but is also unattainable and therefore by necessity open to possibilities other than that defined as "position," to redefinitions and unexpected transformations of (...) the merely thetical act. Proceeding along the lines of both philosophical argument and critical reading, Hamacher presents the fullest account of the vast disruption in the theories and ethics of positional and propositional acts—a disruption first exposed by Kant's analysis of the minimal requirements for linguistic and practical action. Focusing on the double trait of every premise—that it is promised but never attained—Hamacher analyzes nine decisive themes, topics, and texts of modernity: the hermeneutic circle in Schleiermacher and Heidegger, the structure of ethical commands in Kant, Nietzsche's genealogy of moral terms and his exploration of the aporias of singularity, the irony of reading in de Man, the parabasis of positing acts in Fichte and Schlegel, Kleist's disruption of narrative representation, the gesture of naming in Benjamin and Kafka, and the incisive caesura that Paul Celan inserts into temporal and linguistic reversals. There is no book that so fully brings the issues of both critical philosophy and critical literature into reach. _Reviews_ "Werner Hamacher's _Premises_ is the heir and successor to the most important theoretical and critical work done in American departments of comparative literature from the 1960s through the 1980s. Yet, _Premises_ is no more a work of literary scholarship than one of philosophical submission to philosophy. With the gesture that is genuinely called post-structural, which is the suspicion and suspension of every code, the book's act of freedom is freedom to read and write language _tout court_." —Timothy Bahti, University of Michigan "Hamacher's project can be described as the retracing of the epistemological ground upon which the modern conception of the literary was erected. It is quite clear to me that there is nothing presently available to rival this book." —Wlad Godzich, University of Geneva. (shrink)

A distinguished group of authors reflects on problems currently enlivening the space shared by philosophy and literary theory in a series of chapters that range in scope from Plato to postmodernism.

In Culture, Genre, and Literary Vocation, Michael Davitt Bell charts the important and often overlooked connection between literary culture and authors' careers. Bell's influential essays on nineteenth-century American writers—originally written for such landmark projects as The Columbia Literary History of the United States and The Cambridge History of American Literature—are gathered here with a major new essay on Richard Wright. Throughout, Bell revisits issues of genre with an eye toward the unexpected details of authors' lives, and invites us to (...) reconsider the hidden functions that terms such as "romanticism" and "realism" served for authors and their critics. Whether tracing the demands of the market or the expectations of readers, Bell examines the intimate relationship between literary production and culture; each essay closely links the milieu in which American writers worked with the trajectory of their storied careers. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Kennedy Institute of Ethics Journal 10.2 (2000) 175-188 [Access article in PDF] Scope Note 38 Bioethics Resources on the Web * Once described as an "enormous used book store with volumes stacked on shelves and tables and overflowing onto the floor" (Pool, Robert. 1994. Turning an Info-Glut into a Library. Science 266 (7 October): 20-22, p. 20), Internet resources now receive numerous levels of organization, from basic directory listings (...) to elaborate "links" (cross-references to other Internet documents) that flash and glow in the dark. In many ways, the Internet functions as a direct extension of the traditional library. Following linked references across various sites is an electronic version of browsing library stacks, and the serendipitous discoveries made while "surfing the Net" recall the wonders of physically going "book-to-book." Although many of the Internet's best aspects augment library strengths by eliminating physical distance from sources, Net resources pose unique problems for researchers. It is not always clear who is responsible for the content of Web documents, when the document was produced, or how often (if ever) it is updated. Internet resource tools, then, must enable researchers to identify appropriate resources and to evaluate what they find when they get there. Web Research as Taking "Snapshots" Given the Internet's visual nature and fluid content, the process of conducting research on the Web has been likened to taking an informal picture of information on a specific date at a particular time. This metaphor also conveys the "zoom-in" aspect of searching through Web pages by going from general to specific categories. In the first section of this Scope Note, National Reference Center for Bioethics Literature (NRCBL) staff present a snapshot of bioethics resources taken during the spring months of 2000. Entries are divided into the categories of directories, electronic journals, full-text documents, news/current awareness, and teaching resources. In the two subsequent sections, this series of categories is repeated for entries on a specific topic within bioethics-genetics-and again for general search and evaluation tools. Where a Web site may contain pages applicable [End Page 175] to more than one category, multiple entries are made for that site with appropriate information for each category.Much as telecommunication advances have strengthened the relationship of patients and providers as partners, the dynamic nature of the Internet acknowledges that the researcher functions as a librarian whenever accessing the Web. It is our hope that BIOETHICSLINE and the other NRCBL databases not only will enable researchers to search the Web more efficiently, but also will help them to evaluate what they find when they get there. Bioethicsline on the Web: An International Plan in Progress Once only available through libraries, the U.S. National Library of Medicine (NLM), the funding agency for the ongoing development of the BIOETHICS LINE® database from the Kennedy Institute, has provided free Web access to that database of 63,000 citations since September 1998 through Internet Grateful Med. Plans are now underway to eliminate such specialty databases and incorporate all citations into PubMed (for journal articles) or LOCATORplus (for book-like materials and chapters in books). Both of these databases are likewise available at no cost on the Web. In the transition to PubMed and LOCATORplus some features of BIOETHICSLINE that presently are available may be lost. Researchers are encouraged to contact the National Reference Center for Bioethics Literature with search requests or for search strategy assistance with either the current or the future system (medethx@georgetown.edu).The inclusion of bioethics citations in PubMed and LOCATORplus will have several advantages. First, unique keywords from the Bioethics Thesaurus will be considered for inclusion in Medical Subject Headings (MeSH), the indexing vocabulary for PubMed and LOCATORplus, thereby enhancing retrieval of relevant clinical literature by offering more precise terminology covering ethical issues. Second, it will be easier to identify foreign-language materials, which are not currently included in the scope of BIOETHICSLINE. Third, the updating schedule will become more frequent. On the other hand, there may be some loss of searching precision because certain specialized features... (shrink)