George Eliot (1819-1880) escribió sus obras en un contexto protestante que se traslada a sus novelas, en las que aparecen tanto conflictos morales como pugnas entre confesiones religiosas y personajes que encarnan distintas profesiones. La visión del catolicismo que se proyecta en las novelas es muy crítica. Sin embargo, en época franquista se publicaron en el Estado español cuatro de sus novelas traducidas al castellano: Janet’s Repentance, Adam Bede, Silas Marner: the Weaver of Raveloe y The Mill (...) on the Floss. Este estudio investiga por qué ni la censura administrativa ni los catálogos morales se ensañaron con Eliot. Para elucidar la cuestión se analizan los expedientes de censura, los catálogos morales y las modificaciones y manipulaciones del texto original en las distintas traducciones. Los expedientes de censura autorizaron la publicación de las diferentes ediciones sin tachaduras ni modificaciones y los catálogos no alertaron contra la inmoralidad de las novelas que nos ocupan. A la luz de los comentarios que aparecen tanto en los expedientes como en los catálogos, podemos afirmar que las obras de Eliot no se percibieron como una amenaza al régimen franquista ni al catolicismo, ya que estaban ambientadas en un país protestante, ajeno a la realidad española, sin traslación posible. La facilidad con la que las obras superaron este proceso se debe también a la autocensura previa llevada a cabo por los responsables de la traducción y la edición. Cuando llegaron a la censura, la mayoría de los fragmentos más críticos con el catolicismo ya habían sido expurgados. (shrink)

This chapter contrasts moral motivation, as a problematic thing, with the apparently straightforward motives of self‐interest. It also contrasts moral dilemmas, in which one has to find an acceptable action in the midst of conflicting responsibilities and obligations, with practical or prudential dilemmas, in which the problem is getting as much as he/she can of what he/she want. The problem is that these contrasts are all different. They cut in different directions. For any two of the contrasts there are situations (...) which link the 'moral' side according to one contrast with the 'non‐moral' or merely self‐interested side according to the other. Thus in the case of the ageing addict self‐interest as getting what you want and self‐interest as getting a better life conflict. The chapter also gives the example that combines the plots of two famous novels (George Eliot's Silas Marner, and Balzac's novel Le Pe're Goriot), each clearly making a quasi‐moral point. (shrink)

George Eliot often uses the language of determinism in her novels, but we do not understand her view very well by treating such phrasing as addressing debates about the freedom of will directly. Instead she uses seemingly deterministic terms, like the ‘law of consequences', to depict and analyse a particular problem in moral psychology: those instances where we ourselves make it impossible to act on our own best judgements. When we fail to act on our best judgement, this has (...) downstream effects, since it can produce a gap between prudential rationality and one's all-things-considered judgement. Surveying depictions of this problem in Silas Marner, Adam Bede, and Romola, I argue that it's a revealing problem for Eliot’s larger view, bringing together her objections to consequentialism, her recognition of the fragility of virtue, and her account of the role of sympathy in practical deliberation. (shrink)

Volume 20 of _The Annual of Psychoanalysis_ ably traverses the analytic canvas with sections on "Theoretical Studies," "Clinical Studies," "Applied Psychoanalysis," and "Psychoanalysis and Philosophy." The first section begins with Arnold Modell's probing consideration of the paradoxical nature of the self, provocatively discussed with John Gedo. Modell focuses on the fact that the self is simultaneously public and private, dependent and autonomous. Alice Rosen Soref next explores innate motivation and self-protective regulatory processes from the standpoint of recent infancy research; her (...) notion of a lifelong two-track model of self and relatedness helps establish a normative baseline that can anchor psychoanalytic theory. George Mahl makes an interesting contribution to Freud studies in the form of a new chronology of Freud's works and the number of pages they contain in the _Standard Edition_. The section ends with Robert Galatzer-Levy and Mayer Gruber's "quasi-experiment about disgust." They test and disconfirm the hypothesis that disgust is an affective response to an abstract sense of disorder rather than a transformation of a concrete, bodily experience by systematically exploring references to concepts of disgust in the Old Testament. Section II, on "Clinical Studies," opens with Henry Smith's fascinating elaboration of Freud's notion of "screen memories" into a theory of screening that denotes the general process by which mental content is organized. He illustrates his thesis by invoking the "screen language" employed by a patient throughout her analysis. Ernest Wolf next explores the tension between being a "scientist" and a "healer" in Freud and his followers to illuminate struggles within the psychoanalytic movement and to help account for current attitudes toward abstinence, neutrality, and gratification. Kenneth Newman focuses on this same triptych of technical precepts. He argues, in the spirit of Winnicott and Kohut, that analysts can only alter the hostile internal environments of their patients by becoming "usable" objects and cultivating an optimally responsive analytic environment. A particularly rich collection of applied analytic studies forms Section III of the volume. Individual chapters focus on the childhood of Vincent van Gogh ; the psychological healing process depicted in George Eliot's _Silas Marner_ ; the self-psychological meaning of "blood brotherhood" in D. H. Lawrence's _Women in Love_ ; ecstatic mysticism in the 19th-century Indian saint Sri Ramakrishna ; the disintegration of the Tyrone family in Eugene O'Neill's _Long Day's Journey into Night_ ; and the nature and analytic significance of Freud's aesthetic response to Michelangelo's _Moses_. Finally, in Section IV, George Brook examines the commonsense psychological knowledge of everyday life, that is, the nonpsychoanalytic knowledge on which much of clinical psychoanalysis ultimately depends. Taken together, the four sections of Volume 20 of _The Annual_ offer an exciting overview of contemporary psychoanalysis. Section I highlights recent trends in psychoanalytic theorizing and the testing of psychoanalytic propositions; Section II explores the relevance of new theoretical perspectives to clinical work; Section III demonstrates the applicability of these new perspectives to psychobiographical and literary analysis; and Section IV provocatively explores the points of connection between everyday ideas and attitudes and the tenets of psychoanalytic practice. (shrink)

A definition of [George] Eliot as renunciatory culture-mother may seem an odd preface to a discussion of Silas Marner since, of all her novels, this richly constructed work is the one in which the empty pack of daughterhood appears fullest, the honey of femininity most unpunished. I want to argue, however, that this “legendary tale,” whose status as a schoolroom classic makes it almost as much a textbook as a novel, examines the relationship between woman’s fate and (...) the structure of society in order to explicate the meaning of the empty pack of daughterhood. More specifically, this story of an adoptive father, an orphan daughter, and a dead mother broods on events that are actually or symbolically situated on the margins or boundaries of society, where culture must enter into a dialectical struggle with nature, in order to show how the young female human animal is converted into the human daughter, wife, and mother. Finally, then, this fictionalized “daughteronomy” becomes a female myth of origin narrated by a severe literary mother uses the vehicle of a half-allegorical family romance to urge acquiescence in the law of the Father.If Silas Marner is not obviously a story about the empty pack of daughterhood, it is plainly, of course, a “legendary tale” about a wanderer with a heavy yet empty pack. In fact, it is through the image of the packman that the story, in Eliot’s own words, “came across my other plans by a sudden inspiration”—and, clearly, her vision of this burdened outsider is a re-vision of the Romantic wanderer who haunts the borders of society, seeking a local habitation and a name.11 I would argue further, though, that Eliot’s depiction of Silas Marner’s alienation begins to explain Ruby Redinger’s sense that the author of this “fluid and metaphoric” story “is” both Eppie, the redemptive daughter, and Silas, the redeemed father. For in examining the outcast weaver’s marginality, this novelist of the “hidden life” examines also her own female disinheritance and marginality.12 11. Eliot to Blackwood, 12 Jan. 1861, quoted in Ruby V. Redinger, George Eliot: The Emergent Self , p. 436. As Susan Garber has suggested to me, the resonant image of the “packman” may be associated with the figure of Bob Jakin in The Mill on the Floss , the itinerant pack-bearing peddler who brings Maggie Tulliver a number of books, the most crucial of which is Tomas à Kempis’ treatise on Christian renunciation .12. Rediner, George Eliot, p. 439; Eliot, “Finale,” Middlemarch, p. 896. Sandra M. Gilbert, now professor of English at the University of California, Davis, will join the Department of English at Princeton University in fall 1985. Her most recent works include a collection of poems, Emily’s Bread , and, coedited with Susan Gubar, The Norton Anthology of Literature by Women: The Tradition in English . In addition, she is at work on Mother Rites: Studies in Literature and Maternity, a project from which “Life’s Empty Pack” is drawn, and, with Susan Gubar, on No Man’s Land: The Place of the Woman Writer in the Twentieth Century, a sequel to their collaborative Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination . “Costumes of the Mind: Transvestitism as Metaphor in Modern Literature” appeared in the Winter 1980 issue of Critical Inquiry. (shrink)

Ludwig Feuerbach, the German philosopher and a founding member of the Young Hegelians, a group of radical thinkers influenced by G. W. F. Hegel, was an outspoken critic of religion, and the 1841 publication of this work established his reputation. In the first part of the book he examines what he calls the 'anthropological essence' of religion, and in the second he looks at its 'false or theological essence', arguing that the idea of God is a manifestation of human consciousness. (...) These ideas provoked strong reactions in Germany, and soon other European intellectuals wanted to read Feuerbach's book. The 1843 second edition was translated by Marian Evans - who would become better known by her pen name of George Eliot - and published in Britain in 1854. Evans was influenced by Feuerbach's work, and many of his humanist ideas about religion are reflected in her novels. (shrink)

An influential interpretation of George Eliot's Middlemarch expresses the conclusion that knowledge in the novel is so contingent on the metaphors Eliot uses-microscope, mirror, spoon's surface, web-that knowledge turns out to be more about the language and metaphors than about the individuals, social circles, and concepts they represent. Recent studies of metaphor and cognition allow us to query the skeptical interpretation. After summarizing recent work on metaphor, this essay reviews well-known passages to show that Eliot recognizes the need (...) for multiple conceptual inputs. Although each input is partial and even potentially distorting, combining them makes cognition more robust and "objective," not less so. The knowledge Eliot spins, though achieved through a delicate fictional web, is not exhausted in single metaphors and is therefore not as vulnerable to linguistic deconstruction as recent critics imply. Her linguistic representation is ever asking to be supplemented and complicated by cognitive strategies in other domains. The article concludes with an argument that novels should be seen as part of the "cognitive system"-the collection of extended, distributed measures and instruments by which people think through problems. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reading the Mind:From George Eliot's Fiction to James Sully's PsychologyVanessa L. RyanWhat is the function and value of fiction? Debates over these questions involve considerations that range from aesthetics to ethics, from the intrinsic values of the genre to its moral effects. Recently, largely under the influence of the cognitive sciences, the question has taken on a new cast: might science give us a new answer to (...) these long-standing issues? Studies such as Lisa Zunshine's Why We Read Fiction (2006), John Carey's What Good Are the Arts? (2005), and Alan Palmer's Fictional Minds (2004) are part of a growing area of interdisciplinary work on the relationship between art and consciousness.1 This body of work asks not just how our theories of consciousness inform our understanding of the process and function of [End Page 615] reading fiction, but also whether fiction itself might provide a key to new theories about the nature of consciousness.The nineteenth-century novel is often considered the high point in the literary representation of mind. Indeed, the terms "psychology" and "novel" are explicitly yoked in the nineteenth-century with the simultaneous emergence of both as discrete forms of intellectual and artistic activity. Not surprisingly, George Eliot has come to be identified with the term "psychological novel": in fact, Nicholas Dames argues that she was the first to couple the words psychology and novel in this way in an 1855 review where she contrasted Charles Kingsley's historical romance Westward Ho! with "those 'psychological' novels."2 While George Eliot initially used the phrase in what Dames calls "mock disdain," by the end of the nineteenth century the term "psychological novel" had gained currency as a straightforward description of a type of Victorian novel: Wilbur Cross, in his summary The Development of the English Novel, for example, describes the form as "stressing an inner sequence of thought and feeling, which is brought into harmony with an ethical formula and accounted for in an analysis of motive." Along with Elizabeth Gaskell and George Meredith, Cross also cites George Eliot as one of his central examples of the "psychological novel."3It seems natural, then, when a critic asks, "what is the special distinguishing function of the modern art of fiction?" to turn for an answer to George Eliot's novels and their close connections with psychological science. It is perhaps surprising that this still-current question was posed by the nineteenth-century psychologist James Sully (1842–1923) in an 1881 article in the journal Mind on "George Eliot's Art."4 His essay offers us a Victorian contribution to questions about the relationship of literature and psychology that are being addressed today by critics such as Sally Shuttle-worth, Athena Vrettos, Kay Young, Nicholas Dames, or Rick Rylance, especially [End Page 616] with respect to George Eliot. James Sully's essay not only provides valuable insight into how the Victorians themselves understood the role of psychology in the novel, but also helps to place contemporary debates about fiction and consciousness into sharper relief.In the wake of important studies, such as Rylance's Victorian Psychology and British Culture (2000), that have brought renewed attention to nineteenth-century British psychology, recent scholarship has shown the central role of Victorian debates about the mind in shaping the fiction of the period.5 Nineteenth-century mental science provided material and inspiration for works of literature, with imaginative writers eager to exploit and develop the narrative and thematic potential of contemporary psychological discourse and probe the problems it raised. Novelists such as Wilkie Collins, George Eliot, and Henry James turned to some of the most current work in the science of the mind, which they saw as the most sophisticated and credible approach to psychological realism available. These and other novelists rapidly absorbed the central terms of the new science as it considered problems of consciousness, identity, and memory, and brought them to life by dramatizing and questioning them in their fiction. James Sully's interest in George Eliot reflects this fruitful mid- to late-nineteenth-century cross-pollination between philosophers, scientists, and novelists who were interested in the nature of consciousness, psychology... (shrink)

George Eliot's Daniel Deronda advances a conception of freedom with clear Spinozist affinities. The development of Eliot's characters, and of their relationships to one another, can be understood fruitfully in terms of growth toward freedom or contraction to bondage, where the notions of freedom and bondage are very much in accord with Spinoza's views in the Ethics. A close reading of specific scenes and an analysis of the title character's arc in the novel discloses a view of (...) human freedom which is at once an attractive interpretation of Spinoza and a significant component of Eliot's ethics. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:M. C. Henberg GEORGE ELIOT'S MORAL REALISM No moment in the history of ethics could be more propitious than the present for a comprehensive restudy of George Eliot's moral realism. Analysis of the "logic" of moral language has proved barren, prescriptivism is in full flight, and schematic divisions of moral theories into descriptive versus normative, deontological versus teleological, or substantive versus meta-ethical have promised much (...) but delivered little. Such distinctions dominate maps to the modern moral terrain, but awanderer in the land ofchoice itselfstill finds himselfwithout signposts. A particularly unhealthy bias in contemporary ethics has been the belief that moral principles ought to withstand all counterexamples, however plausible or implausible, whether concocted from a sense of men's actual capacities or from a fondness for outrageous possibilities, many of them lifted from the pages of science fiction. If moral rules do not govern in hard cases, it is thought, they do not govern at all. Few philosophers have bothered to distinguish between the hard cases common to men's actual choices and the hard cases confronted by one man in a million or by the imagined inhabitants of some future world. (Witness, for example, the present preoccupation with "lifeboat ethics" and ask yourself how many actual moral choices are so starkly dramatic.) Any logically possible circumstance is too often assumed to qualify as a fruitful area for moral investigation; and any conceivable counterexample, achieved by whatever stretch of the imagination, is assumed to be fair ammunition in the debate over principles. Closely related to this first bad tendency in modern philosophical ethics is another, equally bad. Too often the examples used are of little moral significance, obviously conceived to make a point rather than to direct attention to commonplace but nonetheless important circumstances where informed choice is essential. Philosophy journals have treated us to discussions about whether failing to wear tennis whites is or is not "rude" and about whether a first sinner's crossing of a patch of lawn does or does not have a "threshold-related effect" 20 M. C. Henberg21 which must be considered in assessing later consequences (a bare path ultimately worn in the grass). Such examples rightly earn a contemptuous snort from anyone who expects philosophy to increase our understanding in matters of serious consequence. Whatever her other accomplishments as a moralist and philosophical thinker, George Eliot never commits either of the preceding crimes. Her moral realism constitutes first and foremost an ethics aimed at the bulk of her fellow men. She yields to the theoretic impulse solely in criticizing other theories. When it comes to providing answers, she depicts fictional characters whose struggles, failings, and passions are ultimately akin to what we ourselves are likely to experience. Her ethical precepts are not aimed at proving themselves in every conceivable situation. They are instead precepts which are sometimes susceptible to ruin, just as are the changeable creatures who profess them. To know the natural boundaries of a moral rule, Eliot tells us, is as difficult and important as knowing the rule itself. Moral realism requires a combination of clear-eyed perception and imaginative sympathy—faculties ill-served by lectures on abstract principles. Eliot reminds us that our best moral judgments must be "checked and enlightened by a perpetual reference to the special circumstances that mark the individual lot" (The Mill on the Floss, Book VII, chap. 3). This emphasis in particular—found both in her early essays and early fiction—makes Eliot's moral realism a welcome anodyne to the worst tendencies of modern ethics. The discussion which follows will be confined to early works, including Scenes of Clerical Life, Adam Bede, and The Mill on the Floss. The ruminations of her authorial voice in these novels may conveniently be juxtaposed with her essays, for the works are near to one another both temporally and thematically. Later novels such as Middlemarch and Daniel Deronda—however interesting from an ethical perspective— do not lend themselves to this mode of analysis. To what extent Eliot's views are modified in these later novels constitutes a separate topic whose omission here does not reflect upon its intrinsic interest or importance. Since George Eliot offers no... (shrink)

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections (...) in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ The Ethics Of George Eliot's Works 3 John Crombie Brown W. Blackwood, 1880 Literary Criticism; European; English, Irish, Scottish, Welsh; Literary Criticism / European / English, Irish, Scottish, Welsh; Literary Criticism / Women Authors. (shrink)

Written in a highly personal style, Spinoza's "Ethics" presents to readers anordered vision of the universe as a unified whole--not as a lifeless world ofinnumerable separate entities. Copyright © Libri GmbH. All rights reserved.

That George Eliot was deeply interested in Spinoza is well known. She translated part of Benedict de Spinoza's Tractatus Theologico-Politicus as early as 1842, and completed a full translation of the Ethics by 1856. This might lead one to think that in her novels, Eliot applied the insights of Spinoza by showing them at work in the lives of her characters. Indeed, a number of commentators have made this assumption in depicting the relationship between Eliot and Spinoza.1 Other commentators (...) have taken Eliot to be extending Spinoza's thought, adapting and transforming it in sympathetic ways.2 Unfortunately, however, these views are deeply mistaken.I say "deeply mistaken" because the differences between Spinoza and... (shrink)

Spinoza took it to be an important psychological fact that belief cannot be compelled. At the same time, he was well aware of the compelling power that religious and political fictions can have on the formation of our beliefs. I argue that Spinoza allows that there are ‘good’ and ‘bad’ fictions. His complex account of the imagination and fiction, and their disabling or enabling roles in gaining knowledge of Nature, is a site of disagreement among commentators. The novels of (...) class='Hi'>George Eliot (who translated Spinoza's works) represent a significant development for those who aim to resolve such disagreement in favour of the epistemic value of the imagination and fiction. Although Eliot agreed with Spinoza that belief cannot be compelled, she nevertheless affirmed the potential of certain kinds of fiction to be not only compelling but also edifying. The parallel reading of Eliot and Spinoza offered here raises the question of whether his philosophy can accommodate a theory of art in which the artist is seen to be capable of attaining and imparting dependable knowledge. (shrink)

The monthly magazine Hochland was probably the most influential Catholic cultural periodical in Germany in the Weimar Period. According to Georg Cardinal von Kopp’s assessment in 1911, it was “unfortunately the most read periodical in all of the educated circles of Germany, Austria and German Switzerland”. Moving beyond the simple rejection of modern culture in Germany, the journal tried to follow a new program of mediatory engagement, although it did continue to hold to traditional positions in many regards. In this (...) article the reception of modern, Enlightenment-affirmative philosophy of religion in the journal is introduced with reference to reviews and essays from the later 1910s to the early 1930s. The journal’s treatment of a few critical subject areas is given close interpretive analysis, including the journal’s treatment of Gertrud Simmel’s Über das Religiöse, individually conceptualized forms of personalist moral theory, and the general shift to phenomenological discourses and the individual in the philosophy of religion. The fundamental rejections of these ideas and these schools of thought in reviews and essays, which are also found in the journal at this time (as in most all German language Catholic cultural journals of the period), are not addressed in this article. The article thus sheds light on an often-forgotten and relatively small minority phenomenon in German Catholic intellectual circles of the Weimar Period, namely the positive embrace of Enlightenment-oriented modern thought. By promoting these ideas at this time, this group made themselves highly vulnerable to disciplinary measures by the Catholic Church. (The journal was put on the Index in 1911.). (shrink)

This volume of specially-commissioned essays provides accessible introductions to all aspects of George Eliot's writing by some of the most distinguished new and established scholars and critics of Victorian literature. The essays are comprehensive, scholarly and lucidly written, and at the same time offer original insights into the work of one of the most important Victorian novelists, and into her complex and often scandalous career. Discussions of her life, the social, political, and intellectual grounding of her work, and (...) her relation to Victorian feminism provide valuable criticism of everything from her early journalism to her poetry. Each essay contributes to a new understanding of the great fiction, from Adam Bede and The mill on the floss to Daniel Deronda. With its supplementary material, including a chronology and a guide to further reading, this Companion is an invaluable tool for scholars and students alike. (shrink)

Did George Eliot’s work as translator of the critical writings on religion of Ludwig Feuerbach and Benedict Spinoza influence her work as a novelist? Did she hold a comprehensive philosophy of religion? Through an examination of her non-fictional and fictional writings this chapter argues that we should take seriously Eliot’s claim that her novels are ‘experiments in life’. Building on the critiques of religion offered by Spinoza and Feuerbach, Eliot’s novels address the philosophical question: is morality possible in a (...) godless world? The capacities necessary to a moral life are imagination, sympathy, and reflection. Her fiction contributes to the reformation of moral consciousness by experimenting with the interplay between these capacities. (shrink)

Interpretations of Poetry and Religion is the third volume in a new critical editionof the complete works of George Santayana that restores Santayana's original text and providesimportant new scholarly information.Published in the spring of 1900, Interpretations of Poetry andReligion was George Santayana's first book of critical prose. It developed his view that "poetry iscalled religion when it intervenes in life, and religion, when it merely supervenes upon life, isseen to be nothing but poetry." This statement and the point (...) of view it espoused contributedsignificantly to the debate between science and religion at the turn of the century, and itseloquence and clearsightedness continue to have an impact on current discussions about the nature ofreligion.Interpretations of Poetry and Religion affronted Santayana's peers with its assault onliterary and religious pieties of the cultivated classes. William James called its philosophy ofharmonious and integral ideal systems nothing less than "a perfection of rottenness."In hisinsightful introductory essay, Joel Porte observes that while Santayana's theory of correlativeobjects, his espousal of the "ideal" - the normal human affinity for abstraction - and exaltation ofthe imagination may have offended some at Harvard, these ideas had a significant influence on otherHarvard scholars T.S. Eliot and Santayana's "truest disciple," Wallace Stevens.Herman J. Saatkamp,Jr., heads the Department of Philosophy and Humanities at Texas A & M University. William G.Holzberger is a Professor of English at Bucknell University. Joel Porte is Whiton Professor ofAmerican Literature at Cornell University. (shrink)

For people to live together in pluralistic communities, they must find someway to cope with the practices of others that they abhor. For that reason, tolerance has always seemed an appealing medium of accommodation. But tolerance also has its critics. One wing charges that the tolerant are too easygoing. They are insensitive to evil in their midst. At the same time, another wing attacks the tolerant for being too weak in their sentimentsof respect. “The Christian does not wish to be (...) tolerated,” as T. S. Eliot said; and by this he meant to claim, presumably, that the Christian desires respect and acceptance, and not merely the forbearance suggested by “tolerance.” To make the case for tolerance, we must engage in a three-front campaign: first, against intolerance; second, against the moral failing of indifference; and third, against the desirability of respecting and accepting everyone. The central claim in making this case will be that unlike these three competing sentiments, tolerance is a complex attitude toward the behavior and beliefs of others. Its complexity consists in both moral disapproval and the avoidance of interference. If there is a case to be made for tolerance, it must derive from this peculiar complexity. After surveying its alternatives, I will argue that the complex sentimentof tolerance is more readily praised than its alternatives. (shrink)

By reading a novel by George Eliot alongside a novel by her Indian contemporary Fakir Mohan Senapati, this essay offers a cross-cultural comparison of fictional realisms. In The Mill on the Floss , Eliot used a learned narrator and extended forms of free indirect discourse to examine humble life with unprecedented sympathy and complexity, but the formal dissonance between the authoritative narrative voice and class-marked forms of represented speech construct a view of the lower classes from “above”—that is, from (...) the vantage point of the educated middle-class readers whom Eliot implicitly constructs as the agents of history. By contrast, Senapati’s Six Acres and a Third , written in the demotic Indian language of Oriya, achieves a view from “below” through an ironic narrator who parodies the very type of learned discourse that Eliot deploys as the instrument of liberal humanism. By thus evacuating a discursive cultural authority, Senapati produces a dialogic interplay of voices that brings the reader into the lives of his impoverished villagers without sentimentality or condescension—an achievement that in some ways resembles later European modernism as much as the realism of Eliot. (shrink)

The British have often denied the very existence of a tradition of English literary theory. George Watson redeems that denial in his latest book, the first study of 20th Century English theory. The book begins with Yeats, Pound and Eliot, who made England their home. In subsequent chapters, based on personal recollection as well as published sources, it assesses the contribution of I.A. Richards, William Empson, F.R. Leavis, C.S. Lewis, Isaiah Berlin and Wittgenstein, as well as Marxists like E.P. (...) Thompson and Raymond Williams. English literary theory is a tradition that has suffered in reputation, paradoxically, by the sheer fertility of its invention. In this seminal work the author celebrates that fertility from the First World War downto the death of Iris Murdoch in 1999, showing that England pioneered the academic study of theories of literature years in advance of France or the USA. (shrink)

A work of art is an intentional transformation of qi 氣 into a dynamic structure. The philosophy of qi is presented here as a means to develop the aesthetic theories of Richard Wollheim and Eliot Deutsch. Both Wollheim and Deutsch present their arguments, in part, as rejections of George Dickie’s “New Institutional Theory of Art.” I develop a robust qi aesthetic drawn from traditional sources and their contemporary commentaries as a way of joining the debate between Dickie and Wollheim/Deutsch, (...) taking the side of the latter, but attempting to provide a thicker vocabulary and a stronger rationale for challenging Dickie. (shrink)

Recently there has been a renewed interest in the ethical value of literature. However, how exactly does literature contribute to our ethical understanding? In Literature, Ethics, and the Emotions, Kenneth Asher argues that literary scholars should locate this question in the long and various history of moral philosophy. On the basis of his own reading of this history, Asher contends for the centrality of emotions in our ethical lives and shows how literature - novels, poetry, and drama - can each (...) contribute to crucial emotional understanding. Individual chapters on T. S. Eliot, D. H. Lawrence, Virginia Woolf, and George Bernard Shaw give detailed analyses of how this contribution takes shape even in modernist authors who try to reconfigure the very nature of the self. (shrink)

Exploring Textual Action questions how we analyse works of art after the performative turn and shows how the interplay of performativity (textual action), space and topography, and the converging of genres and art forms is essential in modern drama, theatre, prose fiction, poetry and film. The volume also fosters a keen concern for the development of congenial theory. Its 14 detailed essays analyse works of art ranging from Balzac, Melville and George Eliot, to Breton, Kafka, Benjamin, Blixen and Woolf; (...) and from W.C. Williams, Bresson and Scorsese, to Sarraute, Duras, Reygadas, Dumont and Waltz. The approach of these studies discloses the art works as creative and dynamic utterances with active and shaping forces so powerful, and consequential, that they have the potential to transform human perception and blur clear distinctions between art and real life. Using an alternative and dynamic method and suggesting a direction towards the detailed analysis of literature, art, media and culture, Exploring Textual Action addresses current debates within the humanities. (shrink)

The aim of the article is to investigate some of the possible sources of inspiration for Orwell’s concept of the artificial language called Newspeak, which, in his novel Nineteen Eighty-Four, is shown as an effective tool of enslavement and thought control in the hands of a totalitarian state. The author discusses, in this context, the putative links between Newspeak and really existing artificial languages, first of all Esperanto, and also between Orwell’s notion of “doublethink”, which is an important feature of (...) the totalitarian mentality, and Czesław Miłosz’s notion of “ketman”, developed in his book The Captive Mind. But the main emphasis is on the connection between Orwell’s book and the slightly earlier novel by C.S. Lewis, That Hideous Strength. It is well known that Orwell knew Lewis’s book and expressed his mixed feelings about it. There are many specific, though far from obvious, similarities between the two books, but what seems to have been particularly inspiring for Orwell was Lewis’s vision of a thoroughly degenerate language that is used for political manipulation rather than for communication. (shrink)

The individualism and restless mobility of modernity have become disorienting and frightening. Our nostalgia for premodern times when natural bonds to kith and kin were unshakable continues to surface, most recently in the popular phenomenon of support groups. On Community examines this crucial philosophical issue of community for the postmodern mind by presenting 13 readable, original essays by some of the top experts currently working on this problem. The first four essays, by Eliot Deutsch, R. W. Hepburn, Hilary Putnam, and (...) Leroy S. Rouner, examine philosophies of community, emphasizing metaphysical analysis and definition of the nature of community. The second section considers the theme in a cross-cultural context. Merry I. White, Katherine Platt, Benjamin Schwartz, and Huston Smith illustrate in this section the various ways in which community is understood and experienced in Japan, North Africa, China, and India. The final section, which contains contributions by Patrick Hill, Jurgen Moltmann, Catherine Keller, and George Rupp, explores the future of community, focusing on community building in Western societies. While the authors represent diverse interests, they also share common ground. Virtually all agree that a creative community needs some form of individualism in order to make a community effective. And there is a consensus among the essays that community is a good thing and that the quest for community in our time is a significant fact. Finally, the contributors suggest that the critique of the liberal view of the autonomous individual, in vogue in recent years, now seems to have waned. (shrink)

Dr Schaffer outlines the development of the mythological school of European Biblical criticism, especially its German origins and its reception in England, and studies the influence of this movement in the work of specific writers: Coleridge Hölderlin, Browning, and George Eliot. The 'higher criticism' treated sacred scripture as literature and as history, as the product of its time, and the highest expression of a developing group consciousness; it challenged current views on the authorship and dating of the Pentateuch and (...) the Gospels, on inspiration, prophecy, and canonicity, and formulated a new apologetics closely linked with the growth of Romantic aesthetics. The importance of this study is that it shows that readings of specific literary texts can intersect with general movements of thought and action through the scrutiny of a clearly defined intellectual discipline, here the higher criticism, which developed as a particular expression of the larger trends in the history of the period. Dr Shaffer throws light on individual works of literature, the formation between England and Germany, and the bases of European Romanticism. (shrink)

Wicker's concern is to build a philosophical and justificational foundation for a "Christian radicalism" which can serve to synthesize the two modern secular themes of self-determination and communalism. He explores particular secular theories of perception, language, and society and rejects them as irrelevant to modern realities. He then constructs in their place three sacred theories, where "sacred" is to be understood not as a sheltered corner of our experience but rather as the basis of the more general intersubjectivity which defines (...) man-in-society. He draws on Merleau-Ponty for a theory of perception, Wittgenstein for a theory of language, and Marx for a theory of society. All three theories find man in a closer participating relation with his world environment than do their rejected alternatives. These three theories suggest three modes of being-in-the-world: the bodily, the linguistic, and the economic, all of which are expressive—the latter in the sense that it involves the transformation of environment into expressiveness. The conjunction of the three modes, then, defines our community life. Wicker uses George Eliot, Dickens, Orwell, and William Golding to show how various human attitudes toward environment are manifest in literature. These attitudes are classifiable into the secular—environment as passive context for human life—and the sacred—environment as fraught with primordial significance which man shares and of which he is part. Wicker further justifies his vision of Christianity with the aid of Levy-Bruhl, van der Leeuw, and Eliade whose studies in primitive religions fructify Wicker's notion of the sacred. The book ends with a theological formulation of its main themes involving new translations of old doctrines. The book is a brave effort to revitalize with secular insights a moribund Christianity and to point it to its own roots in the foundations of man.—S. O. H. (shrink)

A new approach examined two aspects of chess skill, long a popular topic in cognitive science. A powerful computer‐chess program calculated the number and magnitude of blunders made by the same 23 grandmasters in hundreds of serious games of slow (“classical”) chess, regular “rapid” chess, and rapid “blindfold” chess, in which opponents transmit moves without ever seeing the actual position. Rapid chess led to substantially more and larger blunders than classical chess. Perhaps more surprisingly, the frequency and magnitude of blunders (...) did not differ in rapid versus blindfold play, despite the additional memory and visualization load imposed by the latter. We discuss the involvement of various cognitive processes in human problem‐solving and expertise, especially with respect to chess. Prior opposing views about the basis of general chess skill have emphasized the dominance of either (a) swift pattern recognition or (b) analyzing ahead, but both seem important and the controversy appears currently unresolvable and perhaps fruitless. (shrink)

This book offers a radical new reading of William James’s work on the idea of ‘religion.’ Moving beyond previous psychological and philosophical interpretations, it uncovers a dynamic, imaginative, and critical use of the category of religion. This work argues that we can only fully understand James’s work on religion by returning to the ground of his metaphysics of relations and by incorporating literary and historical themes. Author Jeremy Carette develops original perspectives on the influence of James’s father and Calvinism, on (...) the place of the body and sex in James, on the significance of George Eliot’s novels, and Herbert Spencer’s ‘unknown,’ revealing a social and political discourse of civil religion and republicanism and a poetic imagination at the heart of James understanding of religion. These diverse themes are brought together through a post-structural sensitivity and a recovery of the importance of the French philosopher Charles Renouvier to James’s work. This study pushes new boundaries in Jamesian scholarship by reading James with pluralism and from the French tradition. It will be a benchmark text in the reshaping of James and the nineteenth-century foundations of the modern study of ‘religion.’. (shrink)