An original work of theory as well as a deft critical performance, Narrative Ethics also stakes a claim for itself as moral inquiry.

These essays deal with the scholarly study of the genesis, transmission, and editorial reconstitution of texts by exploring the connections between textual instability and textual theory, interpretation, and pedagogy. What makes this collection unique is that each essay brings a different theoretical orientation-New Historicism, Poststructuralism, or Feminism-to bear upon a different text, such as Whitman's Leaves of Grass , Faulkner's The Sound and the Fury, or hypertext fiction, to explore the dialectical relationship between texts and textuality. The essays bring (...) some of the textual theories that compete with each other today into contact with a broad range of primarily literary textual histories. That texts are intrinsically unstable, frequently consisting of a series of determinate historical versions, has consequences for all students of literature, because different versions of a literary work frequently help shape different readings independently of the interpretations brought to bear upon them. Textual instability of the works is relevant to our understanding of how the meanings of texts are generated. The contributors build on the numerous challenges to the Anglo-American editorial tradition mounted during the past decade by scholars as diverse as Jerome McGann, D.F. McKenzie, Peter Shillingsburg, D.C. Greetham, Hershel Parker, and Hans Walter Gabler. The volume contributes to the paradigm shift in textual scholarship inaugurated by these scholars. Index. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophies of Language in the Fictions of Jorge Luis BorgesPhilip SeargeantIIn his book The Language-Makers, Roy Harris writes that "a concept of language cannot stand isolated in an intellectual no-man's-land. It is inevitably part of some more intricate complex of views about how certain verbal activities stand in relation to other human activities, and hence, ultimately, about man's place in society and nature."1 It is one of the salient (...) features of human language that it is reflexive—that we use language to talk about language—and that this reflexivity is, in fact, a fundamental aspect of the way that language works.2 Human language is not solely a means of communication, it is also a subject for communication. It exists not simply as an entity used in everyday behavior but also as a concept; and given the fundamental role that language plays in life, it is a concept which becomes implicated in the beliefs and debates about wider human concerns. In other words, every conceptualization of language, be it a folk belief about correctness or a philosophical premise concerning truth conditions, is also in some way an implicit statement about human understanding of the world.Conceptualizations of language exist in many fields and are expressed by various means. They can be the explicit assertions of government policy; they can be practice-based guidelines which constitute an educational curriculum; or they can be ontological assumptions that provide the basis for scientific theorizing.3 In any area where language itself is the discursive focus of interest, a particular concept of language will be used, and will be expressed within that discourse. This is the case not only in areas related to social or scientific practice (language policy, [End Page 386] linguistic theory etc.), but also in fiction and literature of the imagination. In works of fiction in which language figures not merely as the medium of narration but also as a focus of that narration, a specific and historically contingent conceptualization of language will be used, and the nature of this conceptualization will, as Harris suggests, relate to wider beliefs about man's place in society and nature.There are many works of imaginative literature, particular in the genres of fantasy and science fiction, which include invented or alien languages. A general rationale for this is that works within such genres are creating new and speculative worlds, and by detailing the languages spoken in these worlds they are able to further the sense of verisimilitude. In cases where the rationale for the inclusion of such fictional languages is primarily for this particular instrumental reason, the nature of these languages may not play any wider role in the narrative, and one would not therefore suggest that linguistic concerns feature as a central theme of the narrative.It is likely, however, that cases of this sort will still reflect general contemporary beliefs about language and society, and that the reception of the narrative will also be guided by the sociolinguistic attitudes of its readership. For example, a review from the early 1970s of Anthony Burgess's A Clockwork Orange suggests that Nadsat, the fictional argot in which the narrative is told, is likely to have specific associations for the book's readership because of its linguistic complexion and, specifically, the prevalence of loanwords from the Russian:For the Anglo-American reader the Slavic words connote communist dictatorship.... The medium becomes the message in A Clockwork Orange with a vengeance, and the message is similar to that in other distopias that deal in visions of society in the future after it has become static, completely controlled, amoral, and heartless.4In this case, it is associations made between words from a particular language and the contemporary politics of the speech community most associated with that language, which create for this particular critic a significance that extends beyond the purely structural nature of the anti-language that Burgess has developed. For this critic, it is not merely the fact that Alex and his droogs have their own argot—a detail that adds texture to the imagined future in which the novel is set—but that the lexis... (shrink)

"Novels, movies, and lies - these are all fictions that provoke with their as ifs and what ifs. In response to the idea that fiction has somehow become an unfashionable topic in contemporary criticism, this volume argues that the question of fiction needs to be updated in the absence of a widely accepted theory of truth. This collection, dedicated to the noted scholar and literary critic Lubomir Dolezel, covers an extensive number of theoretical and historical issues relevant to (...) our understanding of the status of fictions - literary or not." "Fiction Updated offers approaches to fiction and poetics that, in an imaginary topography of contemporary humanities, dwell at a distance from both the mimetic theory of literature and deconstruction. The contributors introduce new perspectives to the problem of fictionality, or broaden the scope of its applications, by examining the works of such authors as Homer, Casanova, Aristotle, Woolf, Vaihinger, Borges, Kundera, Coetzee, and Bakhtin."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved. (shrink)

A minimalist or “pleonastic” ontology is supposed to provide a “cheap ontology” of languagecreated entities to serve as relatively innocuous referents for singular terms for such entities as properties, propositions, events, meanings, and fictional characters. This paper investigates the very idea of ontological minimalism, its source, and its potential applications. Certain puzzles and paradoxes arise in the idea of ontological minimalism; the article argues that these result from the fact that minimal entities divide into three different cases with importantly different (...) ontological and epistemological implications. These different analyses show that general claims of minimalism provide no guarantee that the relevant entities are merely linguistic creations that can be accepted without ontological qualms. Nonetheless, minimalism has some important applications, e.g. relative minimalism can aid in determining the relative parsimony of different theories and thereby help demonstrate why certain forms of eliminativism regarding “ordinary objects”, fictional characters, etc. are misguided. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.1 (2001) 96-112 [Access article in PDF] A Theory of Fiction A. P. Martinich What is the chief linguistic difference between fiction and nonfiction? My answer, in brief, is that in fiction the Supermaxim of Quality, "Do not participate in a speech act unless you can satisfy all the conditions for its nondefective performance," is suspended. My thesis depends on a modified version (...) of H. P. Grice's theory of conversation. In saying that the Supermaxim of Quality is suspended in fiction, I do not mean that no speech acts are performed. On the contrary, many are; some of them are the same as those that would be performed in a nonfictional context. Sometimes ordinary statements and requests are made, and questions are asked in fiction, as we shall see in section II. However, many of the speech acts performed in fiction are made possible by the fact that the Supermaxim is suspended, and thus the normal consequences of performing and evaluating the speech acts are not in force. This will also be explained in section II.On the one hand, since my theory depends on a more general theory of language, those who accept the general theory will have further evidence of its power, while some of those who do not accept it may be more inclined to if they see that it smoothly accounts for fiction. On the other hand, those who do not accept the more general theory may be reluctant to see any merit in my theory. In addition, because of the almost universal acceptance among Anglo-American philosophers of the Axiom of Existence, which holds that everything referred to must exist, my rejection of that axiom may disincline some philosophers to accept the present theory of fiction. I discuss the axiom in section III. [End Page 96] I Before presenting my theory, there are two preliminary matters to discuss. The first involves the distinction between talk-in-fiction, talk-about-fiction, and talk-about-reality.Talk-in-fiction is the talk or writing that constitutes fictional works, e.g., the sentences in Ordinary People. But the preceding sentence is an example of talk about fiction: I said something about the fictional work Ordinary People. Whenever a philosopher discusses fiction, he uses talk about fiction to explain talk in fiction. Some philosophers give the impression that the terms talk-in-fiction and talk-about-fiction are mutually exclusive. But they are not. When one novel talks about another, talk-in-fiction is also talk-about-fiction. In Judith Guest's Ordinary People, the narrator says, "He had thought about being a Soldier of Fortune, after reading The Three Musketeers."The terms talk-in-fiction and talk-about-reality are also not mutually exclusive and hence do not form a proper distinction. Many novels, including historical ones, talk about reality. The first sentence of Gore Vidal's Burr is "Shortly before midnight, July 1, 1833, Colonel Aaron Burr, aged seventy-seven, married Eliza Jumel, born Bowen...." What Vidal has written is true and intended to be true about the real world. In the "Afterword," he talks about his "meticulous" research and notes that he "tried to keep to the known facts." Thus, if he were wrong about Burr's late marriage or about many other things, he would be liable to criticism, even though he is not required to make every statement in the novel historically accurate.Historical novels are not the only ones that talk about reality. The first sentence of Leo Tolstoy's Anna Karenina, "Happy families are all happy in the same way, unhappy families unhappy in their separate, different ways," is a real statement made in fiction about real families as much as fictional ones. 1 Tolstoy is not pretending to make the statement he would be making if he were writing an essay or sociological treatise. He is simply making a statement about happy and unhappy families. We learn or, at least, are induced to think about a feature of the real world.Talk-in-fiction is sometimes referred to as "fictional talk," as if it... (shrink)

Some philosophers of fiction – most famously Jerold Levinson1 - have tried to argue that fictional narrators can never be identified with real authors. This argument relies on the claim that narration involves genuine assertion (not just the pretense of assertion that lacks truthfulness) and that real authors are not in a position to assert anything about beings on the fictional plain - given that they don’t rationally believe in their existence. This debate on the status of narrators depends (...) on the idea that fictional beings and beings in the real worlds reside, as it were, at different levels. The assumption that there is a gap separating the levels of fiction and reality serves as a rationale for the claim that real authors could not possibly be en rapport with the fictional characters that they create (e.g. entertain beliefs about them, etc.). (shrink)

Cool Characters tells the story of American political irony from World War II to the present: how irony came to seem politically subversive for American countercultural rebels; how mainstream culture allegedly co-opted countercultural irony; how irony became part of major critical theories of postmodernism; and how -- starting in the late 1980s -- innovative writers developed an idea of "postirony" with the hope of overcoming the political limitations of postmodern irony. To chart the shift from irony to postirony, (...) and show what relationship culture has to politics, the book offers intensive analyses of important American countercultural figures: the hipster, the punk, a figure the author calls "the believer," the coolhunter, and the occupier; and new interpretations of important works by Ralph Ellison, Thomas Pynchon, William S. Burroughs, Kathy Acker, Michael Muhammad Knight, David Foster Wallace, Dave Eggers, Alex Shakar, William Gibson, Jennifer Egan, Jonathan Lethem, and Rachel Kushner."--Provided by publisher. (shrink)

This book explores concepts of rationality drawn from philosophy and the social sciences, in relation to traditions of literary enquiry. The author surveys basic assumptions and questions in philosophical accounts of action, in decision theory, and in the theory of rational choice. He gives examples ranging from Icelandic sagas to Poe and Beckett, and examines some situations and actions drawn from American and European fiction in order to analyze issues raised by contemporary models of agency. Challenging poststructuralism's irrationalist (...) images of science, this innovative study crosses the boundary between literary and philosophical studies in a bold interdisciplinary spirit. (shrink)

In Alice Walker’s vignette “The Flowers,” a young black girl’s walk in the woods is interrupted when she treads “smack” into the skull of a lynched man. As her name predicates, Myop’s age and innocence obstruct her from seeing deeply into the full implications of the scene, while the more worldly reader is jarred and confronted with a whole history of racial violence and slavery. The skeleton, its teeth cracked and broken, is a temporal irruption, a Gothic “smack” that shatters (...) the transience of the pastoral scene with the intrusion of a deeper past from which dead matter/material de-composes the story’s present with the violent matter/issue of racism. Walker’s story is representative of an important trope in fiction, where the pastoral dead speak through the details of their remains, and the temporal fabric of text is disrupted by the very substance of death. Against the backdrops of Terry Gifford’s post-pastoral and Fred Botting’s Gothic understanding of the literary corpse as “negative[ly] sublime,” this essay explores the fictional dead as matter unfettered by genre, consistently signifying beyond their own inanimate silences, revealing suppressed and unpalatable themes of racial and sexual violence, child abuse and cannibalistic consumerism. Along with Walker’s story, this study considers these ideas through new readings of Stephen King’s novella The Body, Raymond Carver’s story “So Much Water So Close to Home,” and The Road by Cormac McCarthy. While these writers may form an unlikely grouping in terms of style, each uses pastoral remains as significant material, deploying the dead as Gothic entities that force the reader to confront America’s darkest social and historical matters. (shrink)

Diese komparatistische Monographie stellt zentrale Kategorien und Theorien der Literaturwissenschaft dar. Sie synthetisiert und bewertet den Stand der Forschung und unterwirft viele Dogmen der neueren Forschung einer kritischen Analyse. Resultat ist eine Reformulierung des theoretischen Kernbestandes der Literaturwissenschaft für die zentralen Kategorien Interpretation, Fiktion, Performativität, Intertextualität, Gattung, Epoche. Der Band richtet sich an alle Wissenschaften, die mit Texten als Erkenntnisobjekten umgehen; neben der Literaturwissenschaft sind also auch die Theaterwissenschaft, die Sprachwissenschaft, die Sprachphilosophie, die Kunstwissenschaft, die Geschichtswissenschaft sowie Theologie und Jurisprudenz (...) angesprochen. (shrink)

Creativity: Theory, History, Practice offers important new perspectives on creativity in the light of contemporary critical theory and cultural history. Innovative in approach as well as argument, the book crosses disciplinary boundaries and builds new bridges between the critical and the creative. It is organized in four parts: · Why creativity now? offers much-needed alternatives to both the Romantic stereotype of the creator as individual genius and the tendency of the modern creative industries to treat everything as a commodity. · (...) Defining creativity, creating definitions traces the changing meaning of "create" from religious ideas of divine creation from nothing to advertising notions of concept creation. It also examines the complex history and extraordinary versatility of terms such as imagination, invention, inspiration and originality. · Creation as myth, story, metaphor begins with modern re-telling of early African, American and Australian creation myths and -picking up Biblical and evolutionary accounts along the way - works round to scientific visions of the Big Bang, bubble universes and cosmic soup. · Creative practices, cultural processes is a critical anthology of materials, chosen to promote fresh thinking about everything from changing constructions of "literature" and "design" to artificial intelligence and genetic engineering. Rob Pope takes significant steps forward in the process of rethinking a vexed yet vital concept, all the while encouraging and equipping readers to continue the process in their own creative or "re-creative" ways. Creativity: Theory, History, Practice is invaluable for anyone with a live interest in exploring what creativity has been, is currently, and yet may be. (shrink)

By examining in particular Augustan notions of probability and the way they provided a framework for thinking about and organising experience, Dr Patey ...

Conceived in Liberty is a cultural, sociological and geopolitical review of the uniquely American notion that the country and its people are "exceptional." While all nations have their own patriotic commitments, no other people have outwardly declared their power as vigorously as have Americans, especially since World War II. John J. Tierney, Jr. advances the idea that liberty is the singular source of the power of the American worldview and all other elements of this society--equality, patience, charity, justice, (...) etc.--are derived from liberty. He argues that this worldview comes from this one source and is responsible for the many movements that may engage the public's interest, such as women's rights, civil rights, and voting rights. Such movements are all positive, but they could not exist in a society devoid of liberty. Conceived in Liberty also traces other main components of the American worldview: geographic expanse, immigration, energy of the populace, diversity, public policies, and the elements that contribute to exceptionalism. Tierney is not blind to some of the deficiencies of the United States, but he posits that the liberty it manifests is truly the political globe's last, best hope. (shrink)

This article articulates a neo-pragmatist theory of human rights by drawing and expanding upon the American classical pragmatism of G.H. Mead. It characterizes this neo-pragmatist theory of rights by its anti-foundationalist, relational, fictive, and constitutive nature, and begins by providing a reconstruction of Mead’s social pragmatist approach to rights, a contribution systematically ignored by contemporary sociologists of rights. Next, it details the cost of this disciplinary oblivion by examining how much neo-pragmatism, critical theory, and legal consciousness studies have meanwhile (...) gained by engaging with Mead’s work on rights. Finally, it discusses the contributions of this historical-theoretical exercise to the rapidly growing sociology of rights, and shows that by supplementing the neo-Meadian approach with a recent interpretation of Hobbes’s fictional theory of politics, there appear to be substantive gains in the empirical study of the origins, consequences, meaning, and denial of rights. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:FOR A NON-VIOLENT ACCORD: EDUCATING THE PERSON Marie-Louise Martinez Education has been criticized, no doubt justly, for the symbolic violence of its prohibitions and exclusionary rituals that mirror the violence of society (Bourdieu, etc.). But this criticism is short-sighted. When restraints are removed in teaching and education (in the family and in the school), violence wells up anew and produces at least the following two results: access to meaning (...) and knowledge is restricted; access to the law and its structure-inducing prohibitions is restricted. The result is that we foster vulnerable personalities who confuse fiction and reality, and who do not hesitate to turn their violence into acts of hostility directed toward themselves, other people, and society. A further consequence has been a certain violent non-differentiation that has tended in turn to produce a violent re-differentiation ofsociety. There is a nostalgia everywhere today for a return to discipline, to the rule oflaw, etc. One hears talk of the "sanctuary of the classroom" or again of the necessity of preserving a "symbolic cloister." We are not able, purely and simply, to feel remorse for having maintained the rule ofa violent symbolic order. One might ask in what the symbolic consists. How is it connected to teaching and education? Is there not a fundamental violence in the symbolic? Does there exist a less violent symbolic, or even a non-violent one? How might one define it and put it to work in teaching and education? Girardian theory can help us to reinterpret various contributions from a number of authors in the human sciences (Benveniste, Lacan, etc.) and from the personalist philosophy of language. I would like to propose the hypothesis that there are two stages ofthe symbolic: first, a violent symbolic accord and, second, a non-violent threshold within the symbolic, which alone can serve as an appropriate model for teaching and education. 56Marie-Louise Martinez I. The symbolic and its powers. We are not using symbolic in its specific sense as metaphorical or figurative language as it occurs in myth and poetry but in a more general sense, i.e., to refer to the totality ofthe sign and code systems employed by human beings, as that which allows for the production and deployment of significations within society. Stemming from the Greek symbolein (to throw or put together, to assemble), the symbolic is that type or order of signs that assembles. Much more than the pure language of linguistics, the symbolic is the totality ofverbal, non-verbal, and para-verbal conventions, of systems ofexchange, and ofrites. It also comprises the regulated use ofbodies and ofnature. Our definition ofthe symbolic is not idealist: more than simply the expression of ideas, it is also interaction and action, on oneself, on others, and the world. It includes technical and bodily activities to the degree that these have been codified. In this sense, the symbolic (in agreement with philosophers as diverse as Cassirer or Clifford Geertz) can be said to embrace the totality of what is called culture. But ifthe symbol throws orputs together, it is necessary to discuss what and why and how it does so. The modern science ofsigns (semiology) has shown that the sign or symbol serves to place in relation. Relying on the contemporary semiology that stems from the American philosopher Pierce, and also on the work of Francis Jacques in France, we can say that this relation, far from being a simple binary one (sign/referent or sign/signifier) is a complex relation which aligns signs with the objects to which they refer, but also with the people deploying those signs. This latter signifying relation, which is intersubjective and social, was invisible in Saussurean semiology. In itself, the symbolic is the product of a complex relation which links people among themselves and the things referred to by the agency of signs. In other words, the basis of the signifying relationship is not the dyad subject/object (relation to objects) but a triadic relation, subject/ subject/object (intersubjective and objectai). This triangular relationship, which traverses the intersubjective and the objectai, is a relationship of convention, underlined in antiquity by Plato in the Cratylus (for Hermogenes, a word... (shrink)

David Armstrong's book is a contribution to the philosophical discussion about possible worlds. Taking Wittgenstein's Tractatus as his point of departure, Professor Armstrong argues that nonactual possibilities and possible worlds are recombinations of actually existing elements, and as such are useful fictions. There is an extended criticism of the alternative-possible-worlds approach championed by the American philosopher David Lewis. This major work will be read with interest by a wide range of philosophers.

The novels of David Foster Wallace, Dave Eggers and Jonathan Safran Foer are increasingly regarded as representing a new trend, an 'aesthetic sea change' in contemporary American fiction. 'Post-postmodernism' and 'New Sincerity' are just two of the labels that have been attached to this trend. But what do these labels mean? What characterizes and connects these novels? Dulk shows that the connection between these works lies in their shared philosophical dimension. On the one hand, they portray excessive self-reflection (...) and endless irony as the two main problems of contemporary Western life. On the other hand, the novels embody an attempt to overcome these problems: sincerity, reality-commitment and community are portrayed as the virtues needed to achieve a meaningful life. This shared philosophical dimension is analyzed by viewing the novels in light of the existentialist philosophies of Soren Kierkegaard, Jean-Paul Sartre, Ludwig Wittgenstein and Albert Camus. (shrink)

These lectures by one of the most influential and original philosophers of the twentieth century constitute a sustained argument for the philosophical basis of romanticism, particularly in its American rendering. Through his examination of such authors as Emerson, Thoreau, Poe, Wordsworth, and Coleridge, Stanley Cavell shows that romanticism and American transcendentalism represent a serious philosophical response to the challenge of skepticism that underlies the writings of Wittgenstein and Austin on ordinary language.

Recently, a number of Anglo-American philosophers of very different sorts--pragmatists, metaphysicians, philosophers of language, philosophers of law, moral philosophers--have taken a reflective rather than merely recreational interest in literature. Does this literary turn mean that philosophy is coming to an end or merely down to earth? In this collection of essays, one of the most insightful of contemporary literary theorists investigates the intersection of literature and philosophy, analyzing the emerging preferences for practice over theory, particulars over universals, events over (...) structures, inhabitants over spectators, an ethics of responsibility over a morality of rules, and a desire for intimacy with the world instead of simply a disengaged knowledge of it. (shrink)

“Towards a Theory of Taxation” is a proper theme for an Englishman to take when giving a paper in America. After all it was from the absence of such a theory that the United States derived its existence. The Colonists felt strongly that there should be no taxation without representation, and George III was unable to explain to them convincingly why they should contribute to the cost of their defense. Since that time, understanding has not advanced much. In Britain we (...) still maintain the fiction that taxes are a voluntary gift to the Crown, and taxing statutes are given the Royal Assent with the special formula, “La Reine remercie ses bons sujets, accepte leur benevolence, et ainsi le veult” instead of the simple “La Reine le veult,” and in the United States taxes have regularly been levied on residents of the District of Columbia who until recently had no representation in Congress, and by the State of New York on those who worked but did not reside in the State, and so did not have a vote. Taxes are regularly levied, in America as elsewhere, on those who have no say on whether they should be levied or how they should be spent. I am taxed by the Federal Government on my American earnings and by state governments on my American spending, but I should be hard put to it to make out that it was unjust. Florida is wondering whether to follow California in taxing multinational corporations on their world-wide earnings. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:What Did the Romans Know? An Inquiry into Science and Worldmaking by Daryn LehouxJohn M. OksanishDaryn Lehoux. What Did the Romans Know? An Inquiry into Science and Worldmaking. Chicago, Ill.: University of Chicago Press, 2012. xii + 275 pp. 10 black-and-white figs., 2 tables. Cloth, $45.“Have we ever been modern?” Thus author Daryn Lehoux expresses one of the fundamental questions underlying the book under review, which seeks to (...) present a historicizing account of the various lenses through which elite Romans in the late Republic and early Empire understood and, importantly, expressed their understanding of our world. I say “our” world because, as Lehoux makes clear from the beginning of this fascinating, if sometimes challenging, monograph, continuity with our scientific forebears is as fundamental a key to accessing their ambitions, limits, and scope, as are our divergences from them. In this sense, What Did the Romans Know? provides a kind of study in the reception of Roman sciences, whose plurality, interdependence, and context-specific viability are emphasized throughout. For although (1) physical realities have per se not [End Page 343] changed since antiquity, and (2) how we regard and describe them has, Lehoux insinuates that our own laws of nature remain limited by specific ontological and rhetorical constraints—“blind spots”—that render our modern science in some ways comparable with the sciences that operated in antiquity. By first emphasizing various contexts (epistemological, ontological, etc.) and showing readers how the ancient sciences operated within them, Lehoux effectively shows us that ancient sciences did indeed work, even astrology. However, Lehoux ultimately reveals himself as a scientific realist: the contextual viability of the ancient sciences notwithstanding, he does not believe in a Lucretian “swerve” but in atoms, electrons, and other phenomena that he has never seen directly. That he waits until the ninth chapter (200) for this admission to materialize fully is surely purposeful, but it can sometimes make for disorienting reading. Equally disorienting is the book’s tendency to present ancient scientific terms with little or no explanation (e.g., equant, 68; synodic anomaly, 69), while terms whose specific valences will be well-known to many readers of this journal (e.g., religio, 26; pietas, 27) are glossed, sometimes simplistically. Despite this and a few other caveats, however, Lehoux has broadly succeeded at a very difficult task, i.e., presenting ancient science in a manner that is accessible and interesting to Classicists of various stripes, while simultaneously delivering classical texts to historians of science through an essentially new historicist lens.The first three chapters provide examples from and discussions of selected texts that show the Romans making links between nature and law in science, religion (especially divination), and in legal theories. We quickly learn that Lehoux’s is not a book about Romans who merely applied Greek theories in the interest of technology or about the ways in which slave-power made an ancient industrial revolution unnecessary at Rome (the so-called blocage question, discussed by Serafina Cuomo in Technology and Culture in Greek and Roman Antiquity [Cambridge, 2007]). Rather, this is a book about science as a reflection of, and participant in, the creation of Roman ideology and society. Any good discussion of Roman-ness at the end of the Republic inevitably involves a good deal of Cicero, who conveniently, and thus perhaps problematically, provides ample discussion of the kinds of topics in which Lehoux is interested, especially divination. Cicero’s apparently contradictory positions on the practice (Leg. 2.32 and Div. 2.74) are noted, as is the movement in the past thirty years away from the “naive” reading of De Divinatione as a “vigorous rationalistic protest” against a national superstition. Divination, for Lehoux’s Cicero, is neither an intellectual offense nor a politically expedient fiction; rather, it is a thoroughly Roman way of both seeing the world and doing business. Some of what is found here will not be new to classicists, and the chapter overall seems less interested in breaking new ground than in establishing, in deliberate fashion, the book’s foundational interest in seeing nature, law, and religion as legitimately connected. Divination and other phenomena reflect a Roman interest in a kind... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Powers of Expression, Expressions of Power: Speech Presentation and Latin LiteratureEllen OliensisAndrew Laird. Powers of Expression, Expressions of Power: Speech Presentation and Latin Literature. Oxford Classical Monographs. Oxford: Oxford University Press, 1999. xx + 358 pp. Cloth, $85.Prospective readers should not be put off by the title of this ambitious book. Though "speech presentation" (the use of direct discourse [DD], free indirect discourse [FID], etc.) may seem a (...) rather narrow and technical topic, Laird makes a persuasive case for its manifold significance. And while he foregrounds "Latin literature," Laird ranges freely across centuries and genres, drawing on texts as diverse as the Hittite SongofUllikummi, Sannazaro's DepartuVirginis, and a 1994 story in the DailyTelegraph. The result is a thoughtful and engaging study from which readers of very different interests and stripes will be able to profit. Three chapters on the theory of narrative representation and speech presentation are followed by another three exploring representational strategies in (mostly Latin) historiography, epic, and the novel; a final chapter treats the speeches of divine messengers in epic as "allegories of representation." The book is framed by a brief introduction and conclusion, the latter capped by a suggestive coda pointing to the multiple lines of research, across various disciplines, which might be opened up by a more scrupulous consideration of speech presentation.In the introduction, Laird outlines the benefits, practical and theoretical, of focusing on speech presentation: "First, [speech presentation] can throw light on the themes and stylistic features of particular texts. Second, functions of speech [End Page 596] presentation bear on broader concerns including form and content, representation, genre, ideology, and intertextuality" (xv). These claims are amply justified in the ensuing chapters. Laird's theoretical orientation generates an abundance of local insights. He suggests that Tacitus' contrasting introductions to the speeches of Calgacus and Agricola--the distancing locutusfertur versus the confident itadisseruit (Agr. 29.4, 33.1)--help differentiate barbarian from Roman by implying "that Agricola's oration possesses a greater ontological stature than Calgacus'" (126); that Encolpius' exploitation of what Laird dubs "angled narration of dialogue" (reserving DD for his interlocutors' speech and ID for his own) produces the effect of narratorial transparency in the Cena (217-20); that the use of direct discourse for Mercury's message and indirect for Fama's in Aeneid 4 "enhances the essential contrast between the nature of the two messengers" (272). In one of his boldest discussions (192-205), Laird reviews the unanswered speeches in the Aeneid and concludes that Virgil's epic is far more rigid than previous epics in associating speech with authority and dutiful silence with subordination (Laird interestingly contrasts Homeric epic, which proclaims this hierarchy but doesn't practice it with anything like Virgil's consistency); Laird goes on to speculate that this strong linkage of speech with authority also applies to Virgil's own epic discourse, which (like Aeneas' narration in books 2 and 3) is delivered to readers who are silent or even silenced.Occasionally, the marriage of theory and interpretation founders. For example, Laird's account of the multiple literary echoes in Encolpius's seaside soliloquy (Satyricon 81.1-82.1, discussed at 221-24) shows little trace of the theoretical self-consciousness displayed in his earlier remarks on the ideological character of intertextuality and its proximity to speech presentation. And the argument that the opening sequence of the Aeneid is designed to entice the reader into Virgil's "realist" fiction (157-64) rests on some unconvincing claims (e.g., that Aeneas' first speech "begins with a prayer" addressed to "the gods, or even the poem's audience" [162], and that Juno's first soliloquy has "the poem's audience or readers" as "her first addressees" [164]). Elsewhere, Laird suggests that Aeneas' parenthetical eloquaransileam? (Aen. 3.39) "could be FID conveying his own doubt and hesitation at the time of the incident he is describing" (182-83); but surely the question makes sense only if it is attached, not to the narrated past (where the relevant question would be "shall I keep pulling on this uncanny tree?") but to the present of narration.Although Laird, an astute reader, has much to teach us about... (shrink)

This article aims to draw a portrait of the influence of cybernetics on soft science. To this end, structuralism, post-structuralism and postmodern philosophy will be successively analyzed in a perspective based on importing concepts stemming from the cybernetic paradigm (information, feedback, entropy, complexity, etc.). By focusing more specifically on the American postwar context, we intend to remind the audience that many soft science specialists were involved in the elaboration of this ‘new science’. We will then retrace the influence of (...) the cybernetic paradigm on structuralism. Starting with the historic meeting between Roman Jakobson and Claude Lévi-Strauss, we will illustrate that structural phonology is directly inspired by discoveries stemming from the informational model. In the same perspective, the conceptual borrowings of psychoanalyst Jacques Lacan from cybernetics will be identified and analyzed. Then, we will address the matter of the relationship between postmodern theories and the cybernetic paradigm. The philosophical movement towards deconstruction, as well as Deleuze and Guattari’s philosophy, will be analyzed based on how they relate to this paradigm. We will also insist on the fact that the philosophy of Jean- François Lyotard’s La Condition postmoderne is fully in line with the epistemological revolution launched by cybernetics. (shrink)

The notion of the everyday is at the heart of modern French cultural and Anglo-American cultural studies. Since the 1960s numerous writers, artists, philosophers, and social theorists have tried to home in on the patterns and rhythms of our daily activities. This book provides a detailed map of this territory, linking the pioneering work of such key figures as Georges Perec and Michel de Certeau, to currents in Surrealism, ethnography, fiction, film, and photography.

Communications research and theory has its origins in the development of the media of communication, particularly mass media. In the beginning, starting around the turn of the century, studies of mass communication were occasional exercises carried out from the traditional bases of history, law, etc. But as the social importance of mass communication increased with mass-circulated commercial press and particularly after the introduction of radio broadcasting in the twenties, this field of social communications research began to grow and take shape. (...) First it was usually associated with particular media, like German Zeitungswissenschaft (‘Newspaper science’) or American ‘radio research.’ The latter was strongly stimulated by the market needs of rapidly expanding commercial broadcasting which in this form of audience research at the same time served as the main force to develop general public opinion surveys. Gradually, however, media-bound approaches were replaced by a more general view of the mass media; in the German area this development led between the wars to the emergence of Publizistik (‘Science of public communication’) while the concept of ‘communication research’ broke through in the American arena towards the end of the forties (significantly enough, Paul Lazarsfeld and his colleagues even changed the title of their series ‘Radio Research’ into ‘Communication Research’). (shrink)

Through Aristotle's theory of catharsis and his concept of complex tragedy, Ben La Farge provides an original examination of genre. Moving effortlessly from Greek to Shakespearean tragedies, to nineteenth and twentieth-century British, American and Russian drama, and fiction and contemporary television, this study sheds new light on the art of comedy.

Over the years, Katie Cannon's students referred to her work in progress as "Katie's canon." Not only does this book represent the canon of Cannon's best work; the book itself directly addresses the issues of canon formation and canon reformation. Cannon canonizes a literary tradition and directly addresses both oppression and liberation of African American women. Now in an expanded 25th-anniversary edition, Katie's Canon still packs firepower.

In his [Africans are not Black: The Case for Conceptual Liberation], Kwesi Tsri relies extensively on myths and non-fictional narratives to dictate the origin of the racial disparagement of Afro-Americans and Africans from south of the Sahara. Owing to the synonymy between ‘black’ and ‘Africa’ as well as the derogatory symbolism in the former that fuels the latter, Tsri submits the need to disassociate Africans from the concept, ‘black.’ Upon a critical conversation with Tsri’s text however, Chimakonam discerns three flaws. (...) Granted, the objections are salient, I augment herein, one of Chimakonam’s critiques – the exclusion by Tsri, of nonfictional or scientific texts on the race discourse. Whereas I agree with Chimakonam that both the fictional and non-fictional accounts on race are pertinent for intellectual balance in Tsri’s disquisition, I further suggest that in most cases, non-fictional or scientific theories on race are undergirded by the prejudice initiated by mythical and/or fictional narratives. I substantiate my thesis, relying on Karl Popper’s evolutionary epistemology, with 21 st century science admission that human genetic diversity cannot be captured by scientific theories of race. Keywords: Africa, Blackness, Jonathan Chimakonam, Karl Popper, Kwesi Tsri. (shrink)

Aristotle's doctrines about accidental predication, Accidental identity, Etc., Can be understood as an attempt to state the same view as russell put forward in his theory of descriptions. "a" is predicated accidentally of b when "a to b" has the sense "something that is a is b." this permits scope distinctions which can solve puzzles like that of the masked man, And sophisms involving tense. Aristotle's claim that accidental being is akin to nonexistence resembles russell's account of the present king (...) of france as a logical fiction. (shrink)

Recently, bioethics has become interested in engaging with narrative, but in this engagement, narrative is usually viewed as a mere helpmate to philosophy. In this precis to his book The Fiction of Bioethics, Tod Chambers argues that narrative theory should not be simply a helpful addition to medical ethics but instead should be thought of as being as vital and important to the discipline as moral theory itself. The reason we need to rethink the relationship of medical ethics to (...) narrative is that ethicists test their ideas by applying them to cases, and cases are a narrative genre. Recognizing the importance that cases have for the way medical ethicists do ethics is essential in order to appreciate the field as a form of applied philosophy. Like other forms of representation, narrative has distinct and defining features, which ethicists, in order to understand the data of their field, must learn to recognize and differentiate. Ethicists need to attend to the way decisions about the discourse of a narrative influences the kind of moral theories judged relevant to it. The author briefly examines six features of narrative discourse that rhetorically condition the way we understand medical ethics cases: filter, reportability, closure, characters, chronotope, and gender. (shrink)

Weber's treatment of the Protestant Ethic in American colonial economic history is indefensible in terms of historical evidence; his ideal-typology of the causal importance of Calvinism in the development of Western capitalism generally is at best a useful fiction. Weber neither understood the economic demands of Puritan doctrine nor appreciated the disparity between ideology and economic reality. Weber's prerequisites for rational capitalism were not satisfied in the colonies, and his contrast between economic development in the North and non-Calvinist (...) South is erroneous. Economic success in the colonies was determined far more by political and social connections than by special religious motivations. (shrink)

When we engage with a work of fiction we gain knowledge about what is fictionally true in that work. Our grasp of what is true in a fiction is central to our engagement with representational works of art, and to our assessments of their merits. Of course, it is sometimes difficult to determine what is fictional – it is a good question whether the main character of American Psycho is genuinely psychotic or merely delusional, for instance. (And (...) even in this case, our ignorance itself is crucial to how we engage with the story and assess its qualities.) But in the vast majority of cases, we have no difficulty distinguishing what is fictionally true from what is not. Every attentive reader of Bleak House knows that it is fictional that Esther is Lady Dedlock’s daughter, but not fictional that Ada is the daughter of John Jarndyce. Moreover, we do not think that our judgements about what is fictional are based on guesswork. We have a folk theory of fictional truth, in the sense that we have a relatively stable framework upon which we rely when we engage with fiction, and we face the challenge of characterizing that theory systematically. (shrink)

In this paper, a theory of the contents of fictional names — names of fictional people, places, etc. — will be developed.1 The fundamental datum that must be addressed by such a theory is that fictional names are, in an important sense, empty: the entities to which they putatively refer do not exist.2 Nevertheless, they make substantial contributions to the truth conditions of sentences in which they occur. Not only do such sentences have truth conditions, sentences differing only in the (...) fictional names they contain differ in their truth conditions. It is, after all, commonplace to note such things as, for example, thatBilbo Baggins is a hobbitis true, andSherlock Holmes is a hobbitis false, while acknowledging at .. (shrink)

Chang-Rae Lee’s 2014 novel On Such a Full Sea uses the genre of speculative fiction to reflect on longstanding healthcare debates in the United States that have recently crystalized around the Affordable Care Act. The novel imagines the political economy of healthcare in a future America devastated by environmental illness. What kind of care is available and to whom? Who provides it? Who pays for it? What about distribution and access? The different healthcare systems governing each of three geo-social (...) zones in Lee's future society represent exaggerated versions of the scenarios participants in the ACA debate claim their opponents’ health policies would produce. The essay argues that Lee’s novel ultimately favors a version of universal government-funded care over a system based on supposed free-market principles, even as the novel also tries to make room for conservative Americans’ fears about the specter of so-called “socialized medicine.” More broadly, the essay contends that the health humanities should devote more attention to literary and artistic engagements with healthcare as a system: a complex set of financial models, public and private institutions, government policies, and actors whose roles range well beyond patient and care provider. (shrink)

In line with a recent rise in anti-LGBTQ discourse within conservative Russian politics, Aleksandr Dugin has increasingly critiqued “postmodern” theories that allegedly underpin social diversity (sexual, gender, racial, etc.) within the West: queer theory, post-structuralism, and other theoretical accounts of identity and alterity. In Dugin’s argument for a political philosophy of Eurasianism, the Western endorsement of multiculturalism and pluralism is indicative of individualism and “Atlanticist” liberalism, therefore at odds with the traditional, nationalist collectivism of Eurasia. In this light, queer theory (...) is a Western imposition whose philosophical premises directly contradict native, Russian traditions. Dugin’s attack on queer theory, however, mark a departure from the philosopher’s earlier career within the National Bolshevik movement. Throughout the nineties, Dugin was relatively sympathetic with the nascent LGBT movement in Russia: specifically within the political and philosophical circles of National Bolshevism, in which such figures as Eduard Limonov and Slava Mogutin coalesced with fascists and communists around a broad critique of Western capitalism and openly embraced homoeroticism and countercultural, queer dissidence. Dugin’s links to the LGBT movement are even relatively mainstream: his first wife, Evgeniia Debrianskaia, was a prominent gay activist, and both Debrianskaia and Dugin for a time viewed the Eurasianism’s goals as aligned with that of LGBT activism in Russia. This article examines the development of Dugin’s political philosophy in the context of his reading of queer theory. It first discusses the link in historical terms, in the connections between Dugin’s early post-Soviet career and post-Soviet Russian gay activism. The article then focuses on Dugin’s philosophy of “multipolarity,” as a form of resistance to universalist, American hegemony, in order to illustrate how Dugin’s Eurasianist account of political “anti-normativity” both aligns and contradicts with his reading of queer theory. The article concludes with comments on the globalization of queer theory, cultural imperialism, and its relationship to Dugin’s geopolitics. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:WORKS OF FICTION AND ILLOCUTIONARY ACTS by Gregory Currie ii O peech act theory is remarkably unhelpful in explaining what ficOtion is." So says Kendall Walton.1 My purpose here is to showjust how wrong diis judgment is. Not that I want to endorse all die attempts there have been to connect fiction with the notion of a speech act. Elsewhere I have argued diat the most prominent (...) attempt at such a theory, the one due to John Searle, fails.2 But my complaint is not mat Searle employs the idea of a speech act; rather it is that he employs it in too half-hearted a fashion. The idea of Searle and odiers is diat to write fiction is not to perform a speech act, but rather to pretend to do so. I, on the odier hand, take the view that the writer of fiction engages in an act of speech diat is distinctively fictional, and distinctively different from speech acts such as asserting, requesting, questioning, and so forth. What follows is a much simplified account of this idea.3 Following die program of Strawson and Grice, I believe diat the different kinds of speech acts are to be individuated in terms of the utterer's intentions.4 The intention of the one who asserts is to get a certain kind of response; perhaps to get the audience to believe the proposition asserted.5 The one who commands wants the audience to obey, die requester wants the audience to answer, etc. And in all these cases the utterer intends to get the response partly as a result of the audience's recognition of diat very intention. (This is the familiar Gricean mechanism.) The utterer of fiction, on the odier hand, wants to get the audience to make-believe die proposition uttered.6 Thus we have an act structurally similar to 304 Gregory Currie305 paradigmatic speech acts like asserting, commanding, and requesting (die structural similarity being given by the use in all cases of the Gricean intention ), but differing from diese odiers with respect to die content of the utterer's intention. Let us call such an act a.fictive illocutionary act. Pursuing this line in more detail leads to an intuitively satisfactory taxonomy of speech acts which places the uttering (usually writing) of fiction fully widiin die purview of the theory, rather dian shutting it off to one side as a pseudo-performance, as widi Searle. Is such a theory susceptible to the objections diat Walton brings? Walton is quite right to say (and here I suppose he has Searle in mind) that fiction is not simply the absence ofillocutionary force: "it is something positive, something special" (p. 79). As already indicated, my theory gives a positive account of fiction as a special kind of speech act. But Walton presses the issue further by suggesting that the essence of fiction has nodiing to do with die absence of assertive force. It is possible, he says, "to make an assertion by writing fiction." His point is not merely that fictional stories are sometimes told in order to get across some serious but not explicit point — everyone can agree to that. It is rather diat fictional works contain explicit assertions — e.g., some of Tolstoy's sentences about Napoleon in War and Peace — and that a fiction might contain nothing but assertions. He imagines a genre of historical fiction in which "authors are allowed no liberties with the facts, and in which they are understood to be asserting as fact whatever they write" (p. 80). Let us grant that this is a possibility. What, dien, would distinguish a piece of fiction belonging to this genre from, say, a work of historical scholarship? The answer comes when we see that the same utterance can be used to perform more than one illocutionary act. Thus if I say to someone "I have no money" it may be that I want him both to believe that I have no money and to give me the goods on credit. And in both cases I intend to get die desired responses via his recognition of my intentions. The same utterance can count both as an assertion... (shrink)

Sir Arthur Conan doyle wrote fifty-six short stories and four novels about Sherlock Holmes, collectively known as the Canon. The following are all true facts about the Canon: It is true according to the Canon that Sherlock Holmes is a detective. It is true according to the Canon that Queen Victoria hired a private consulting detective, gave him an emerald tiepin, and offered him a knighthood which he refused. The Canon is about Sherlock Holmes. The Canon is about a brilliant (...) private detective who solves many crimes that baffle Scotland yard. The Canon is also about Queen Victoria .This paper argues that the truth of these and similar facts creates some tension for the theory that fictional characters are abstract objects. A proponent of this theory will have to treat sentences and as disanalogous, and to as similarly disanalogous, in a way that undercuts part of the motivation for accepting an ontology of fictional characters. (shrink)

Interest in teaching business ethics classes on college campuses has increased dramatically during the past decade. In the United States, virtually all graduate and undergraduate business programs teach business ethics in some form. While current pedagogy relies primarily on factual recounting of actual workplace incidents and actual and hypothetical case studies, calls for multidisciplinary approaches to teaching business ethics have not yet produced significant pedagogical change. We propose the use of fiction (novels, dramas, and short stories) to enrich current (...) teaching materials. This paper illustrates the tremendous power of stories which deal with ethical dilemmas in business to illuminate moral issues in ways that lead to a clearer understanding of ethical theory. The fiction cited in this paper is all drawn from American literature. It seems likely that similar sources could be found in the literature of other countries. (shrink)

The paper enters into a polemical dialogue with the american theorist Jodi Dean and her attempts to critically examine the blogosphere through the prism of psychoanalysis. To this end, the text analyses whether user-generated content on the internet can produce meaningful and epistemologically sustainable “social enclaves”, informal communities and institutions, or whether it operates more as a series of recursive and increasingly meaningless quasi-messages. While attempting to consider blogging as both a constructive practice and a pathology, the text develops (...) the hypothesis that in special cases one can conceptually speak of “epistemic inflation”, a phenomenon that can manifest itself at the personal as well as the social, economic and/or political level. Furthermore, the paper briefly introduces the ideas, history and one of the key concepts of the influential british theory-fiction collective, CCRU (Cybernetic Culture Research Unit). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A NOTE ON THE RELATION OF PACIFISM AND JUST-WAR THEORY: IS THERE A THOMISTIC CONVERGENCE? 1 GABRIEL PALMER-FERNANDEZ Youngstown State University Youngstown, Ohio FOR CENTURIES, the moral analysis of war began with a consideration of a set of principles which together form the doctrine of the just-war and with a rejection of pacifism. However, several recent studies by Catholic moralists argue that pacifism and just-war theory have much in (...) common and converge in at least one morally important way-namely, they share a presumption against violence. In this note I want to consider whether or not classical just-war theory gives us reason to accept this claim. I will give evidence against it, and suggest that the "original just-war question," as James Turner Johnson calls it, does not begin with aprohibitive presumption or some equivalent constraint on action. If we are to speak of a presumption in classical just-war theory, it is that justice be done for the sake of the common good. Up to very recent times, those Christian denominations which Ernst Troeltsch called the "church-type" (Lutheran, Anglican, Calvinist, and Roman Catholic) upheld a " two-tiered " or "double" morality. A "vocational" pacifism was required of clerical ranks, and the individual Christian was obligated to take up arms for the sake of the common good. For example, prior to the Second Vatican Council, Roman Catholic teaching on war rejected conscientious objection to all war (i.e., pacifism) as an option for Catholics. Manuals of moral theology prior to Vatican 1 I wish to acknowledge the very helpful and detailed comments provided by Richard B. Miller to an earlier version of this paper. 247 248 GABRIEL PALMER-FERNANDEZ II did prohibit the soldier from fighting in an unjust war and made room for subjective doubt about the justice of a particular war. But the consensus among Catholic theologians was both wide and deep. Pacifism for individual Christians did not have any moral-theological justification. It was, in fact, a grave moral error. In spite of this, Vatican II called for a " completely fresh reappraisal of war." 2 The policy of obliterating whole cities enacted during World War II, coupled with the development of nuclear and other indiscriminate weapons of destruction (e.g., incapacitating gases, biological weapons, etc.) and the instability of superpower relations, created an unprecedented condition for which traditional teachings on war seemed woefully inadequate, if not morally dangerous. A new, more far-reaching perspective was needed. And this was to allow for individuals the pacifist option as a second and complementary moral doctrine alongside traditional teaching on war.3 As the American Catholic bishops said in their pastoral letter on war and peace : 2 Pastoral Constitution on the Church in the Modern World, in A. Flannery, 0.P., ed., Vatican Council II: The Conciliar and Post Conciliar Documents (Collegeville, Minn. : Liturgical Press, 1975), par. 80. 3 This development in contemporary Roman Catholic teaching on war and peace has been challenged with considerable force by George Weigel in what has become one of the most controversial studies on the subject. In Tranquillitas Ordinis: The Present Failure and Future Promise of American Catholic Thought on War and Peace (New York: Oxford University Press, 1987), Weigel advances several arguments which are meant to correct what he insists is a failure among Catholic ethicists in the U.S. to develop their tradition, and, indeed, an abandonment of their heritage. " At the level of moral theory," Weigel maintains, "the two classic positions [just-war theory and pacifism] are not reconcilable. The attempt to merge them... tends to corrupt both traditions. Pacifists end up making judgments on military strategy and tactics, and just-war theorists are held accountable to arguments they previously declined to accept.... The net result is to bifurcate morality and politics, and to abandon attempts to apply the tradition of reason to the limit case of the use of armed force in the defense of values-which is precisely the result Murray most feared in his strictures against moralism" (251). For David Hollenbach's rebuttal, see his review essay, "War and Peace in American Catholic Thought: A Heritage Abandoned? " Theological Studies 48 (1987) : 711-727... (shrink)

In this innovative examination of works by Poe, Melville, Twain, Nabokov, Barth, and Pynchon, Herbert F. Smith establishes an aesthetic theory that allows for fresh readings of six problematic texts. He explores how the texts came to be written and what semiotic processes are involved in their creation, and in so doing he opens the way for new theoretical speculation.

In this introduction, I consider different problems posed by the use of singular terms in fiction (section 1), paying especial attention to proper names and, in particular, to names of real people, places, etc. As we will see (section 2), descriptivist and Millian theories of reference face different kinds of problems in explaining the use of fictional names in fiction-related contexts. Moreover, the task of advancing a uniform account of names in these contexts—an account which deals not only (...) with fictional names but also with “real” names—will prove to be very hard no matter whether we favour realist or antirealist intuitions about fictional discourse (section 3). Section 4 offers an overview of the content of this volume, with emphasis on the discussion between Manuel García-Carpintero and Stacie Friend about the meaning of “real” names in fiction-related contexts, the main topic of the Third Blasco Disputatio. (shrink)