In his pioneering Caliban's Reason: Introducing Afro-Caribbean Philosophy, Paget Henry points out that because of the region's colonial history, Caribbean philosophy is far more often found ‘embedded’ in other discourses, such as literature, than in explicit theorising. Following Henry's lead, I seek to find the philosophical ‘moral of the story’ of Voices Under the Window, the 1955 first novel of the late Jamaican writer John Hearne, which some critics regard as his best work. In a novel with significant (...) autobiographical elements, Hearne, a ‘high-brown’ or ‘red’ Jamaican, recounts the story of Mark Lattimer, likewise a ‘red man’ positioned at the upper edge of the ‘brown’ stratum of the white/brown/black Jamaican social pyramid. Lattimer moves from a race-denying attempt to ‘pass’ in World War II Britain to a Marxist social activism upon his later return to post-war Jamaica, but is killed in a black protest riot. His tragic fate raises important philosophical questions about race, colour, class, and personal and social transformation that remain very relevant today, especially considering the failure of 1970s Anglo-Caribbean radicalism to fulfil its revolutionary promise. (shrink)

If any single controlling principle can be derived from what R. P. Blackmur has called the most sustained, eloquent, and original piece of literary criticism in existence, Henry James's Prefaces, it is that criticism is a creative act. This principle seems both sufficiently important and ambiguous to warrant a close examination of its meaning and consequences. In what follows, then, I propose to examine a theory of criticism as creativity, referring not only to James's remarks but also, and in (...) particular, to an earlier and some ways more accessible version which we find in Robert Browning's work. Undoubtedly, in the great realm of speculation open to the critical theorist there are grander tasks which one could set oneself. Whether there are more difficult ones is another question. As it is, despite their peculiar particularity, both Browning and James are ambitious writers who refuse to be contained within narrow limits. Both demand an awareness of the context of critical theory, a sense of the problematical nature of criticism and the perplexities of the creative act. It is these latter considerations with which I propose to begin. (shrink)

_Philosophy and Argument_ presents systematic analysis of the role of argumentation in philosophy.

This essay first contextualizes Adorno's essays in literary criticism in relation to his historico‐philosophical account of modern rationalization and late capitalism, his dialectical theory of culture, and his return to postwar Germany. It then presents the neo‐Marxist and formalist principles that inform his literary criticism, emphasizing the artwork's critical relationship to society, on the one hand, and the theory of aesthetic experience undergone by the artwork's recipient on the other. These principles are exemplified in selective readings of Adorno's essays on (...) Heinrich Heine and Friedrich Hölderlin. The essay concludes by polemically juxtaposing Adorno's practice of literary criticism with that of neo‐Aristotelian “ethical criticism.”. (shrink)

_Critical Models_ combines into a single volume two of Adorno's most important postwar works -- _Interventions: Nine Critical Models_ and _Catchwords: Critical Models II_. Written after his return to Germany in 1949, the articles, essays, and radio talks included in this volume speak to the pressing political, cultural, and philosophical concerns of the postwar era. The pieces in _Critical Models_ reflect the intellectually provocative as well as the practical Adorno as he addresses such issues as the dangers of ideological conformity, (...) the fragility of democracy, educational reform, the influence of television and radio, and the aftermath of fascism. This new edition includes an introduction by Lydia Goehr, a renowned scholar in philosophy, aesthetic theory, and musicology. Goehr illuminates Adorno's ideas as well as the intellectual, historical, and critical contexts that shaped his postwar thinking. (shrink)

An analysis of effectiveness of some of hume's arguments in a framework developed by the author. The author states his position that arguments attacking positions attempt to show that, Given the assumptions of a position, Certain consequences are incompatible with it--A valid species of "argumentum ad hominem". Although this species does not work for constructive philosophical "proofs," it will work inversely in arguments (defending such proofs) which cite possible objections. These charge "petitio": the objection assumes what the position denies or (...) "vice versa". Eight arguments are judged as "ad hominem" or as charging "petitio" and as effective or ineffective in either case. The analyses elaborate the author's position, And the mode of analysis is suggested as an adjunct to considering a philosopher's conclusions. (shrink)