In lieu of an abstract, here is a brief excerpt of the content:Alan Collett LITERATURE, CRITICISM, AND FACTUAL REPORTING Novels frequently deal with real events. How is it that some theorists have been able to argue that, regarded as literature, such novels are always fictional? The answer is that it is usually possible to show that a work which we are prepared to call "literary" creates an imaginary world possessing its own properties. Itcan then be maintained that (...) this imaginary world constitutes the aesthetic object of the work and that only those properties internal to it are relevant to aesthetic judgment. It then follows that the meaning ofthe literary work is this imaginary world and that criticism is properly concerned with its elucidation. Or, to say the same thing in a different idiom: we should distinguish in the things said by critics between those sorts of remarks which help to establish a text's meaning solely by reference to internal features of the text and those sorts of remarks which, if they are aimed at establishing meaning, do so by reference to external evidence. In the case of novels dealing with real events, those sentences which describe particular events, situations, characters, and places (reports)1 play a role in the creation of the imaginary world of the work. The real events described will, of course, often be known to the reader, and indeed the effectiveness of a work may depend to a large extent upon the fact that it deals with known historical events. But in order to avoid treating such texts as factual works rather than as works of literature we should, the theory goes, stress plausibility and coherence above truth to the world. Aristode's rule that "a convincing impossibility is preferable to an unconvincing possibility" sums up the way in which critical assessment can guard against confusing literary 282 Alan Collett283 works with informative works. Literary criticism concerns itselfwith the plausibility and coherence of accounts of real events at the expense of their truth. A literary artist will, therefore, be judged to be better the more his descriptions seem true in contrast with the historian whose descriptions must actually be true. The literary artist, on this traditional view, endows the events he describes with meaning. When those events are real events their meaning will be intelligible to the extent to which they reflect a convincingly possible reality. The accurate reporting of real events is perfecdy permissible always provided the events chosen make an artistic point by functioning in the narrative in a way which is probable or convincing. Accuracy, as such, is never a criterion of literary worth. The fictionality of literary works dealing with real events, then, is connected with the skill the author exhibits in usingthe events he chooses to describe in such a way that a meaningful imaginary world is created. This fictional world will mirror the real world via its internal coherence which excludes the contingendy true in order to make a plausible artistic whole, and one function of literary criticism proper is the fixing of the correct interpretation of the meaning of this fictional world. A recent reformulation ofthis traditional view, offered by S. H. Olsen in TL· Structure ofLiterary Understanding? contains some suggestions as to how it is possible to interpret literary practice so that report sentences can be understood to function other than as the bearers of truth. On this view, a literary work, as a peculiar kind of utterance, cannot be interpreted without reference to some context. And although a literary work may be pardy distinguished by its textual or structural features, the mere possession of such features is not in itself sufficient to make a text a literary work. Textual or structural features, Olsen argues, will serve an aesthetic function only when the decision is already taken that the text to which they belong is a literary work. Since the function of sentences cannot be determined simply on the basis of their linguistic features, they will need to be interpreted in order to be correctly understood. Interpretation will involve making assumptions about the purpose of the utterances in question and the assumed purpose will then determine how their linguistic and structural features are to be understood. Thus, in one of... (shrink)

This article brings together two prominent topics in the literature over the past few decades—the ethical criticism of art and art interpretation. The article argues that debates about the ethical criticism of art have not acknowledged the fact that they are tacitly underpinned by a number of assumptions about art interpretation. I argue that the picture of interpretation that emerges from the analysis of these assumptions is best captured by moderate actual intentionalism. Reflection upon (...) the nature of ethical criticism, I argue, offers new reasons to prefer moderate actual intentionalism to hypothetical intentionalism. I conclude by arguing for the necessity of broadening our conception of ethical criticism. (shrink)

This book focuses on how we perceive, know and interpret culture across disciplinary boundaries. The study ranges from the Bible and classical works to those by and about men and women in Europe, the Americas and beyond of Native, African, European and different backgrounds.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.1 (2003) 62-79 [Access article in PDF] Literature Itself:The New Criticism and Aesthetic Experience Daniel Green I AFTER ALMOST TWO DECADES of tumult and transformation in university departments that still claim literature as part of their disciplinary domain, what is most remarkable about literary study at the beginning of the twenty-first century is how similar it is to what passed for such (...) study at the beginning of the twentieth century. Like philology one hundred years ago, academic literary study today—at least at the most eminent universities and in the most prestigious journals—is a highly esoteric activity, unlikely to appeal to anyone outside its own "professional" boundaries, anyone whose foremost interest in works of literature is simply to read them. It is, therefore, an endeavor that could hardly exist outside the university's institutional protection, and it is most strikingly concerned not with the appreciation of the intrinsic qualities of literature but with the historical and cultural "knowledge" that can be acquired from works of literature through a special kind of analysis. The effort, chronicled by Gerald Graff in Professing Literature, to make "literature itself" the focus of academic study and to establish "aesthetic criticism" as the primary mode of literary study must surely be judged a failure, the current academic scene clearly dominated by the sort of scholars Graff terms "investigators." 1But of course the motives for rejecting the merely literary as a focus of study are quite different among current scholarly investigators as compared to the philologists of 1901. The attitude of the latter can probably be captured in the words of one of them quoted by Graff: "Why then waste time and brains in thrashing over again something which is after all only subjective opinion? Mere aesthetic theorizing [End Page 62] should be left to the magazine writer or to the really gifted critic" (p. 124). Such "researchers" did not deny the value of reading works of literature; they simply considered this value to be essentially "subjective," not an appropriate object of academic scrutiny. While these remarks do imply some condescension toward the "really gifted critic" and this critic's "mere aesthetic theorizing," they do not repudiate the very idea of an aesthetic approach to literature. The present generation of academics engaged in the investigation of literature, on the other hand, have repudiated the aesthetic approach, either explicitly, through the well-publicized critiques of the canon, of the very notion of the great work, or of the remaining approaches still associated with New Criticism, or implicitly through the gradual establishment of cultural investigation as the new norm for the professional training of graduate students and as the dominant mode of analysis in the influential journals. Moreover, the primary motive behind the renunciation of the aesthetic has more to do with politics than with methodology: for these scholars, the aesthetic is literally useless, quite irrelevant to the paramount goal of "intervening" in a continuing ideological struggle that is thought to be the main business of the university scholar.In the context of the history of modern literary criticism (as opposed to the history of the American university), the current situation mirrors that which prompted the emergence of The New Criticism in the 1930s. Although Vincent Leitch identifies "the evocative mode of Impressionist criticism, the moralism of Neo-Humanism, the anti-modernist cultural criticism of Mencken and Van Wyck Brooks," as well as the "sociologizing" of Marxist criticism" as the collective bêtes noires of the New Critics, it was clearly the latter they considered to be the most unwelcome. Not only had it effectively eclipsed the other practices, but it could be said to have exhibited most of those characteristics against which New Criticism expressed the deepest antipathy. 2 Compared to the close reading New Critics would espouse, Marxist criticism was superficial, willing to settle for the most readily available interpretation (according to the Marxists' own critical assumptions), moralistic, committed to the idea that the best literature was that which could be shown to be good for you, historicist, concerned to place works... (shrink)

In online communication, writers incorporate into fictional representation imaginaries that arise from the interaction between various artistic manifestations. This paper explores the work of two spanish authors, Patricia Esteban Erlés and Albert Soloviev in order to study the social impact and ethical aspects of hypermedial short stories in the virtual space, since their works function as vehicles for social criticism. At the same time, the paper addresses fundamental questions associated with the understanding and interpretation of hybrid narrative microtexts.

In lieu of an abstract, here is a brief excerpt of the content:Literature, Politics, and CharacterOliver Conolly and Bashshar HaydarWhat is the relationship between literature and politics? We might interpret this question in terms of causality. For example, we might ask whether literature has any effects in the world of politics and if so how. Auden famously proclaimed that poetry makes nothing happen, while it was central to Brecht's dramaturgy that theatre has certain political effects on its (...) audience. Conversely, we might see literature as an effect of political causes and claim that certain political environments give rise to certain types of literature, and that those political backgrounds thereby explain certain aspects of literary phenomena. Both kinds of causal relationship are at the heart of Marxist literary criticism, and of the many schools of academic criticism which share the Marxist assumption that individual consciousness, and its literary manifestations, are subordinate to political environment.These causal questions are important and interesting, particularly if approached with requisite critical tact. However, in this paper we would like to focus on the epistemological and normative questions of whether literature is suited to communicate political knowledge or insights, and whether we value, or rather ought to value, literature for such communication. These two questions are in our view intimately related. While there is no doubt that literary works can be made to communicate virtually all kinds of knowledge, from knowledge about the Big Bang to knowledge how to smuggle illegal immigrants into First World countries, these kinds of knowledge are not what we go to literature for. We go to literature and value it for giving us knowledge which it is peculiarly suited to communicate. It is natural to praise a novel for its insight into, say, character but odd to praise a novel for its [End Page 87] insight into, say, meteorology. This is because literature is suited at communicating insights into character, and is not suited at communicating insights into meteorology.The suitability of literature to explore the inner life derives from the expressive and imaginative possibilities inherent in the very medium of literature. For example, Henry James's Portrait of a Lady reveals the inner logic (or psychologic) that underlies the self-destructive behavior of its heroine, Isabel Archer, her disastrous choice of husband being dictated by a desire to prove a point to herself—that she is indifferent to his poverty relative to that of the other suitors—rather than an informed sense of her true interests.1 This is not to say that literature is the only medium in which insight into character can be communicated, but that this is one of the kinds of insight which literature is suited at communicating.The question of whether literature is suited to impart political insights is thus determinative of the question of whether its doing so counts towards its value as literature.2 This is the question to which we now turn.IThe question of whether literature is suited to impart political insights presupposes an understanding of the scope of the political, and the kinds of phenomena that can properly be called political. The scope of the political can be conceived more or less broadly. The narrow view is that politics is concerned with the nature and legitimacy of the state, government, legal and other coercive institutions. The broad view is that politics is concerned with power relations between social groups that are mediated not through institutions but through attitudes.The distinction can be illustrated with reference to two kinds of feminist argument. Feminist arguments for laws on sex discrimination and equal pay, and their proper implementation, are political in the narrow sense. However, feminists may also argue, irrespective of such institutional changes, that social attitudes towards women—the attitudes of a given society, including those of women—should be changed in certain ways. For example, a generally held view that emphasizes the importance of women's appearance, their role as adjuncts to their husbands—the kinds of views that were prevalent in the 1950's, say—is open to challenge by feminists outside a narrow institutional framework. The reason this [End Page 88] stance is political is that it concerns systemic attitudes which underpin power relations between one group... (shrink)

This chapter considers the relationship between philosophy and literature both as forms of writing and thinking, but also (which is a more original contribution) as historically specific instititutions of enquiry. The argument is that part of the historical and cultural situatedness of philosophy is as a written form of cultural production, but one located within institutions (Universities above all) that already have a different 'department' specialising in understanding written forms of cultural production. This suggests that there might be an (...) overlooked reciprocal influence. In particular, what new challenges for its own thinking can philosophy discover in the contemporary practices of literary analysis? A case study is detailed concerning recent forms of ecological criticism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy, Psychiatry, & Psychology 12.4 (2005) 307-310 [Access article in PDF] Aesthetics, Criticism, and Psychotherapy John Z. Sadler Keywords aesthetics, psychiatry, psychotherapy, Sibley In his wide-ranging survey of how Kantian aesthetic theory is implicated in psychothera-py, John Callender has raised at least a dozen potentially profound and rewarding possibilities in applying aesthetic theory to psychiatry and psychotherapy. Although the idea of marrying aesthetic theory to psychiatry and psychotherapy (...) is not new, Callender's direction of the merger is distinctively novel. The mid-twentieth century had a distinct literature in applying psychoanalytic and psychiatric theory to aesthetic experience, summarized by the sizable bibliography by Norman Kiell, Psychiatry and Psychology in the Visual Arts and Aesthetics: A Bibliography (1965). This line of interdisciplinary work influenced a later generation of art historians and literary theorists in applying (particularly) psychoanalytic theory to interpretation and appreciation of the arts, contributions that are still being developed today, along with the emergence of complementary viewpoints from cognitive neuroscience (Peretz and Zatorre 2003; Rose 2004; Zeki 1999). Callender's project, however, is quite the converse—he wishes to show how philosophical aesthetics can contribute to psychiatry and clinical psychology. Exploring the aesthetics of psychiatry is the innovation.Before focusing my own comments on a few of Callender's points, I wish to call attention to the substantive questions he has directly raised or implied by his discussions. These questions are worthy of further development in this and other journals, and I hope that Callender will succeed in engaging the minds of his readers and inspire them to work in this exciting area in the philosophy of psychiatry. In his elegant review of Kant's key theoretical points of aesthetics, his discussion provokes us to consider the kinds of evaluations that patients make of themselves (moral? aesthetic? others?), as well as the kinds of evaluations clinicians make in their judgments of psychopathology. Evolutionists may wonder about the adaptive significance of aesthetic capacities (e.g., derivatives of grooming? mating displays?). In presenting Kant's notion of "disinterestedness" or contemplative judgment, readers may wonder about overlap with notions of therapist neutrality and unconditional positive regard. Should therapist relationships with patients be dominated by a similar aesthetic sensibility? What does the aesthetic posture have to do with the therapist posture?Importantly, Callender notes the connections and ambiguities between moral values and aesthetic values. This is borne out in his later discussions of clinical case material (considered again below). He focuses primarily on the duplication of aesthetic and moral values in the same terms of praise (honesty, integrity, originality), but there is no question that aesthetic experiences are had by viewers of art exhibiting perverse or depraved [End Page 307] imagery (consider, for instance, Francis Bacon's "3 Screaming Popes" or, even more extremely, the grotesque staged photographs of Joel-Peter Witkin). The implication here is that (as an example) to understand the aesthetics of sadomasochistic art may help us to understand the psychology of sadomasochistic people.By the time he introduces his case material, Callender has raised the issue of intersubjectivity in aesthetic experience, an experience that may be devoid of discursive cognitive content but may be profound with emotional content, thus challenging tenets of cognitive psychology and psychotherapy. His discussion of cases reflecting elements of Kant's components of aesthetic judgment point toward new ways of understanding psychopathology as disturbances in aesthetic self-appraisal.I would like to return to the problem of moral and aesthetic judgments in psychotherapy and in psychopathology. Dr. Callender presents three cases—a woman who has been traumatized by multiple instances of sexual abuse, a young girl with postpartum depression with fears of losing her child because of bad mothering, and a third patient with anorexia nervosa who demonstrates the typically distorted body self-image. I suggest that the aesthetic nature of these patients' self-judgments is not so clear cut as Callender suggests. His sexual abuse case summary certainly suggests a woman consumed by shame. Because shame is a typical "moral emotion," the question is raised of moral badness being involved in her self-concept as well as, or perhaps... (shrink)

Undoubtedly, Abū Ḥanīfa (d. 150/767) is one of the most important subjects affecting the development of Islamic thought for about thirteen centuries. Not only Islamic law; however, with his fundamental contributions to the doctrine, he continues to influence a very large environment in the Islamic geography today. In fact, this effect has been attractive enough to create a depth that permeates the daily lives of societies from economics to law, from education to health, beyond these mere theoretical and practical dimensions (...) of religion. Essentially, the interpretation of Islam systematized by Abū Ḥanīfa in the context of a religious philosophy and method has been the subject of a heated discussion and evaluation under different Islamic paradigms since the very first time. Today, the issue has gained a different dimension in parallel with the increasing tensions in all aspects of the Islamic world. Apart from the interest shown to him in the context of organized religion, Abū Ḥanīfa has been a means of reaction to the Arab religion and politics attitude on the one hand, and on the other hand he has been made the object of conflict, harmony and incompatibilities in the context of modernization. The research is limited to studies conducted in Turkey between 2000 and 2020 years on Abū Ḥanīfa. The research is based on the assumption that these studies dealt with Abū Ḥanīfa almost completely detached from her sociological and historical personality and confronted with a theoretical problem. In the study, a theoretical analysis of the mentioned literature has been made and a theoretical proposal has been made for the studies in the field. With the research, it is aimed to make a theoretical contribution to the Abū Ḥanīfa literature. For this purpose, the general theoretical view of these studies is tried to be understood by scanning the books, articles and symposium papers covering these years. In this framework, some semantic packages that manifest themselves widely in the studies are determined, and thus the unchanging concrete reflections of the phenomenon problematized in the research are tried to be understood. The data in the study are evaluated in the context of phenomenological sociology of knowledge. From the earliest times to today, Abū Ḥanīfa is not only about the theological perception of people; besides, he has drawn an image surrounded by the limitations drawn by their socioeconomic, cultural, political and ideological circles. On the other hand, it can easily be seen that the approaches reflected in the literature about Abū Ḥanīfa, whether they come from the Hanafi school or have matured within another tradition of thought, are almost entirely shaped in a macro-theological, suprahistorical, universalist and nomothetic perspective. It can also be said that these studies have not attempted to open themselves up to new discussions in theoretical terms. In the years that were the subject of the research, Abū Ḥanīfa was the subject of periodicals and symposiums conducted within a program rather than copyrighted works. The literature, which is clearly observed to be confronted with a theological contraction, is progressing with a more doctrine debate today. It is understood that relatively less practical areas of discussion have emerged with the motive of responding to developments in the Islamic world and on a global scale, ignoring Abū Ḥanīfa 's sociological background. Handing over to Abū Ḥanīfa, disciplinary populism, sectarian marginalization, romanticization and ideological commodification are important meaning packages reflected in the literature. The main concern of all this semantic reality is to build an order based on the knowledge stock in the tradition against the breaks and traumas in the social structure. However, this approach to explain Abū Ḥanīfa has revealed some theoretical problems. In another respect, the perspectives that dominated the literature made such generalizing attitudes inevitable. As a result, with this theoretical point of view, Abū Ḥanīfa has been turned into a historical problem in related studies in general. Finally, in this study, a historical, idiographic perspective emphasizing the specificity to the social event is proposed for the literature of Abū Ḥanīfa. In this context, the article draws attention to the phenomenological sociology of knowledge that takes the understanding of each event in its own reality as opposed to macro approaches. (shrink)

Literary criticism is neither more nor less important today than it has been since the becoming an accepted activity in the Renaissance. The humanists of the sixteenth and seventeenth centuries created the institution of criticism as we know it: the recovery and analysis of works of art. They printed, edited, and interpreted texts that dated from antiquity and which had been lost or disheveled. Evangelical in their fervor, avid in their search for lost or buried riches, they also (...) put into circulation certain influential ideas. Perhaps the most important of these was that the authoritative version of a book is the original version, freed from interpolation and accretion. A correlative idea was that, similarly, one could rely on an original or natural light in the interpreter, an intuitive good sense that helped him to a true understanding of a text if it was a genuine text. . . . There are signs that we are now nearing the end of this Renaissance humanism. Not because of a determinist or providential march of history, but ideas eventually exhaust what influence they may have. Today, after all, there is no dearth of ancient texts, or of new ones. Editing, moreover, has become only too conscious of the difficulty of recovering an "original" version or edition: in Wordsworth scholarship, for example, the authority of the 1850 Prelude, the text approved by the poet shortly before his death, was challenged by the 1805-6 Prelude printed by de Sélincourt in the 1920s; and the authority of this is in turn being eroded by antecedent manuscripts, the so-called "Five-Books Prelude" and "Two-Part Prelude." It is equally precarious to establish the text of Emily Dickinson's poems—which of the variants are to be chosen as definitive? Or, from another angle, Melville's Billy Budd has become a mine for genetic speculation. Even when no editorial problem exists, a philosophical issue arises as to the concept of originality itself.1 · 1. For the time being, it is enough to quote Hegel's provocative attack on all "Ur-Metaphysics": "What comes later is more concrete and richer; the first is abstract, and least differentiated." Geoffrey Hartman, professor of English and comparative literature at Yale University, is the author of The Unmediated Vision, Andre Malraux, Wordsworth's Poetry, Beyond Formalism, and most recently The Fate of Reading. He is currently working on a book to be published in late 1977, Criticism in the Wilderness. (shrink)

The notion of the author’s intention is logically tied to the interpretation we give to her work as the notion of the agent’s intention is logically tied to the interpretation we give to her action. When we find a discrepancy between what the author or agent says and the meaning we find in her work or the sense we make of what she does, this does not show that the intention is irrelevant in determining this meaning or sense. (...) As Frank Cioffi has argued, we are rather favouring one criterion of intention over another. Taking a close look at the early criticism surrounding The Turn of the Screw I draw attention to this phenomenon—much discussed by Wittgenstein—of favouring one criterion of intention over another. Because Wittgenstein’s views, though mentioned frequently, are still ill-understood, I go on to tease out the philosophical assumptions that lurk in the background of disputes about the relevance of intention for interpretation. (shrink)

This chapter considers the relationship between philosophy and literature both as forms of writing and thinking, but also (which is a more original contribution) as historically specific instititutions of enquiry. The argument is that part of the historical and cultural situatedness of philosophy is as a written form of cultural production, but one located within institutions (Universities above all) that already have a different 'department' specialising in understanding written forms of cultural production. This suggests that there might be an (...) overlooked reciprocal influence. In particular, what new challenges for its own thinking can philosophy discover in the contemporary practices of literary analysis? A case study is detailed concerning recent forms of ecological criticism. (shrink)

Husserl's theory of perception is remarkable in several respects. For one thing, Husserl rigorously distinguishes the parts and properties of the act of consciousness - its content -from the parts and properties of the object perceived. Second, Husserl's repeated insistence that perceptual consciousness places its subject in touch with the perceived object itself, rather than some representation that does duty for it, vindicates the commonsensical and phenomenologically grounded belief that when a thing appears to us, it is precisely that thing, (...) rather than some other thing (its 'appearance'), that we perceive. Third, his distinction between empty and intuitive acts, and his descriptions of their complex interplay in perceptual consciousness, provides a way of making sense of the fact that an object can be perceived even when some of its parts and properties are not. Finally, his theory of perceptual acts as constituents of higher-order acts of fulfilment provides one of the few detailed accounts in the philosophical literature of how a perceptual experience can transform a mere thought into knowledge, despite the fact that the relation between perception and belief is not a logical or inferential one. Because Husserl's theory of perception is a serious candidate for truth, it is also a serious candidate for philosophical criticism. As such, in what follows I will treat it as a live force to be reckoned with rather than a historical curiosity. (shrink)

Contributed articles on semantics philosophy of vedic literature and poetics presented earlier at a seminar honoring Kapil Kapoor, Indian Indologist.

In lieu of an abstract, here is a brief excerpt of the content:Literature, Knowledge, and ValueOliver Conolly and Bashshar HaydarMany of the terms we use to assess works of literature are cognitive in nature. We say that a work is profound, insightful, shrewd, well-observed, or perceptive, and conversely that it is shallow, or sentimental, or impercipient. A common thread running throughout this terminology is that works of literature are ascribed cognitive features affecting the value of those works (...) qua literature. Use of this terminology therefore implies adherence to a substantial philosophical theory, cognitivism, the thesis that (1) works of literature have cognitive content, and (2) this content enhances their value as works of literature. Note that cognitivism is not the thesis that literature's value resides in its causing us to acquire knowledge, but rather in its displaying such knowledge. A given work's displaying knowledge does not of course entail that it causes us to acquire it.While cognitivism appears consistent with literary critical practice, it is open to a number of objections. In this paper we aim to defend cognitivism and in the process refine it. Broadly, objections to cognitivism deny either (1) the thesis that works of literature contain any cognitive content, or (2) the thesis that such content can be aesthetically relevant in the sense of being relevant to the evaluation of works of literature qua literature. The principal objection is to (2), for it is difficult to deny that no knowledge whatsoever can be obtained from works of art. For example, the Iliad sheds light on values, habits and customs of ancient Greeks, and nineteenth-century Russian novels may inform us about contemporary debates concerning the emancipation of the serfs. It is the relevance of such knowledge to the artistic value of the literature that is in issue. [End Page 111]IThe main challenge faced by the cognitivist is well put by the anti-cognitivist, Peter Lamarque, thus: the "question artistic cognitivists dread most is what (nontrivial) truths they have learnt from works of art." It is thought a difficult question because in "propositional terms the best they can come up with are usually generalities of numbingly banal kind."1 The objection, in short, is that while it is correct that truths can be gleaned from literature, they are trivial. We call this the triviality objection. Stolnitz for example states that the truth to be learned from Pride and Prejudice is, "Stubborn pride and ignorant prejudice keep attractive people apart," which he describes as "pitifully meager."2However, the notion of an insight implies nontriviality: a "trivial insight" is an oxymoron. So if the triviality objection succeeds, it follows that we should either stop calling works of literature insightful and perceptive, or that those terms have a different meaning in the context of literary criticism than they do in everyday parlance.There is nothing which in principle debars a philosophical theory from correcting mistaken practices but the practice in this case is widespread and, on the face of it, unobjectionable. The alternative available open to anti-cognitivism is that literary critical terminology has an altogether different meaning from that in ordinary parlance, so that in a literary context a term such as "insightful" has a formal meaning only. Peter Lamarque for instance asserts that we (rightly) evaluate works of literature in part in terms of their content, but not in terms of the truth of the content: "it is usually a work's treatment of a theme which is judged profound or sentimental."3 Lamarque gives the following examples: "Milton's treatment of the Fall is profound just as is Descartes's appeal to God to refute scepticism, but neither need be interpreted as true." However, it is not as easy to divorce profundity from truth as Lamarque implies. With regard to Milton's treatment of the Fall, it is possible to find it profound without believing in the literal truth of the Fall. One might point to, for example, Milton's treatment of the sexuality of Adam and Eve, and the way in which it is bound up with their awareness of their mortality. When, in Paradise Lost, Adam learns of Eve's disobedience, he declares his wish to fall with her... (shrink)

Art, Beauty and Imitation in Plato's Philosophy -- Art and Imitation in Aristotle -- Horace, Pseudo-Longinus and the Aesthetics of Literature in Hellenism -- Plotinus, Neo-Platonic and Christian Conception of Beauty -- The Middle Ages and Dante Alighieri -- The Heritage of Kantian Philosophy in Romanticism -- Moritz: Beyond the Concept of Imitation -- Theory of Poetry of Early German Romanticism -- Hegel: Art as a Form of the Absolute Spirit -- Schopenhauer: Art as Disinterestedness and Knowledge of Reality (...) -- Nietzsche: Knowledge and Art -- Symbolism and Aestheticism -- Benedetto Croce: Art and intuition -- Linguistics and Criticism -- Antonio Gramsci: The Role of Intellectuals in Culture -- Structuralism -- Martin Heidegger: The Work of Art and Truth -- Hans-Georg Gadamer: Poetry and Interpretation -- Critical Theory: A New Attitude towards Art and Society -- Perspectives of Post-Structuralism -- The Practice of Deconstruction -- Contemporary Schools and Traditions in Literary and Critical Theory -- Postmodern and the New Character of the Literary Work. (shrink)

Marie Cabaud Meaney looks at Simone Weil's Christological interpretations of the Sophoclean Antigone and Electra, the Iliad and Aeschylus' Prometheus Bound. Apart from her article on the Iliad, Weil's interpretations are not widely known, probably because they are fragmentary and boldly twist the classics, sometimes even contradicting their literal meaning. Meaney argues that Weil had an apologetic purpose in mind: to the spiritual ills of ideology and fanaticism in World War II she wanted to give a spiritual answer, namely the (...) re-Christianization of Europe to which she wished to contribute in some way. To the intellectual agnostics of her day she intended to show through her interpretations that the texts they cherished so much could only be fully understood in light of Christ; to the Catholics she sought to reveal that Catholicism was much more universal than generally believed, since Greek culture already embodied the Christian spirit - perhaps to a greater extent than the Catholic Church ever had. Despite or perhaps because of this apologetic slant, Weil's readings uncover new layers of these familiar texts: Antigone is a Christological figure, combating Creon's ideology of the State by a folly of love that leads her to a Passion in which she experiences an abandonment similar to that of Christ on the Cross. The Iliad depicts a world as yet unredeemed, but which traces objectively the reign of force to which both oppressors and oppressed are subject. Prometheus Bound becomes the vehicle of her theodicy, in which she shows that suffering only makes sense in light of the Cross. But the pinnacle of the spiritual life is described in Electra which, she believes, reflects a mystical experience - something Weil herself had experienced unexpectedly when 'Christ himself came down and took her' in November 1938. In order to do justice to Weil's readings, Meaney not only traces her apologetic intentions and explains the manner in which she recasts familiar Christian concepts, but also situates them among standard approaches used by classicists today, thereby showing that her interpretations truly contribute something new. (shrink)

Japanese Hermeneutics provides a forum for the most current international debates on the role played by interpretative models in the articulation of cultural discourses on Japan. It presents the thinking of esteemed Western philosophers, aestheticians, and art and literary historians, and introduces to English-reading audiences some of Japan's most distinguished scholars, whose work has received limited or no exposure in the United States. In the first part, "Hermeneutics and Japan," contributors examine the difficulties inherent in articulating "otherness" without falling into (...) the trap of essentialization and while relying on Western epistemology for explanation and interpretation. In the second part, "Japan's Aesthetic Hermeneutics," they explore the role of aesthetics in shaping discourses on art and nature in Japan. The essays in the final section of the book, "Japan's Literary Hermeneutics," rethink the notion of "Japanese literature" in light of recent findings on the ideological implications of canon formations and transformations within Japan's prominent literary circles. Contributors: Amagasaki Akira, Haga Toru, Hamashita Masahiro, Inaga Shigemi, Kambayashi Tsunemichi, Thomas LaMarre, John C. Maraldo, Michael F. Marra, Mark Meli, Ohashi Ryosuke, Otabe Tanehisa, Graham Parkes, J. Thomas Rimer, Sasaki Ken'ichi, Haruo Shirane, Suzuki Sadami, Stefan Tanaka, Gianni Vattimo. (shrink)

"Alterity and Criticism: Retracing Time in Modern Literature" argues that the role of time in canonical literature underlies the experience of alterity and requires a new hermeneutic to clarify how the self emerges in literary texts. Romantic poetry from Goethe to Shelley and the modern prose tradition from Flaubert to Butor constitute different traditions but also indicate, on a textual basis, how alterity is crucial to reading, thus encouraging us to interpret literary texts in terms of the (...) related concerns of self, other and time. This volume engages in discussions of cultural semiotics and late phenomenology, and provides insights into how modern literature provides one way of assessing the possibility of World Literature for our own time. It will be of interest to students and scholars of both literature and philosophy. (shrink)

" The essays, mostly commissioned by the editor, explore the presuppositions and consequences of arguing for the importance of the author's intentions in the ...

This book aims to help readers interpret, and reflect on, their reading more effectively. It presents doctrines of ancient and renaissance rhetoric (an education in how to write well) as questions or categories for interpreting one's reading. The first chapter presents the questions. Later chapters use rhetorical theory to bring out the implications of, and suggest possible answers to, the questions: about occasion and audience (chapter 2), structure and disposition (3), narrative (4), argument (5), further elements of content, such as (...) descriptions, comparisons, proverbs and moral axioms, dialogue, and examples (6), and style (7). Chapter eight describes ways of gathering material, formulating arguments and writing about the texts one reads. The conclusion considers the wider implications of taking a rhetorical approach to reading. The investigation of rhetoric's questions is interspersed with analyses of texts by Chaucer, Sidney, Shakespeare, Fielding and Rushdie, using the questions. The text is intended for university students of literature, especially English literature, and rhetoric, and their teachers. (shrink)

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)

During the late eighteenth century the Bible underwent a shift in interpretation so radical as to make it virtually a different book from what it had been a hundred years earlier. Even as its text was being revealed as neither stable nor original, the new notion of the Bible as a cultural artefact became a paradigm for all literature. In Origins of Narrative one of the world's leading scholars in biblical interpretation, criticism and theory describes how, (...) while formal religion declined, the prestige of the Bible as a literary and aesthetic model rose to new heights: not merely was English, German and French Romanticism steeped in biblical references of a new kind, but hermeneutics and, increasingly, theories of literature and criticism were biblically derived. Professor Prickett reveals how the Romantic Bible became simultaneously a novel-like narrative work, an on-going site of re-interpretation, and an all-embracing literary form giving meaning to all other writing. (shrink)

What happens when we vote? What are we counting when we count ballots? Who decides what an election should look like and what it should mean? And why do so many people believe that some or all elections are rigged? Moving between intellectual history, literary criticism, and political theory, The Electoral Imagination offers a critical account of the decisions before the decision, of the aesthetic and imaginative choices that inform and, in some cases, determine the nature and course of (...) democratic elections. Drawing on original interpretations of George Eliot and Ralph Ellison, Lewis Carroll and Kenneth Arrow, Anthony Trollope and Arthur Koestler, Richard Nixon and Jean-Jacques Rousseau, the Palm Beach Butterfly Ballot and the Single Transferable Vote, The Electoral Imagination works both to understand the systems we use to move between the one and the many and to offer an alternative to the 'myth of rigging.'. (shrink)

Dialogue is a recurring and significant component of Indian religious and philosophical literature. Whether it be as a narrative account of a conversation between characters within a text, as an implied response or provocation towards an interlocutor outside the text, or as a hermeneutical lens through which commentators and modern audiences can engage with an ancient text, dialogue features prominently in many of the most foundational sources from classical India. Despite its ubiquity, there are very few studies that explore (...) this important facet of Indian texts. This book redresses this imbalance by undertaking a close textual analysis of a range of religious and philosophical literature to highlight the many uses and functions of dialogue in the sources themselves and in subsequent interpretations. Using the themes of encounter, transformation and interpretation - all of which emerged from face-to-face discussions between the contributors of this volume - each chapter explores dialogue in its own context, thereby demonstrating the variety and pervasiveness of dialogue in different genres of the textual tradition. This is a rich and detailed study that offers a fresh and timely perspective on many of the most well-known and influential sources from classical India. As such, it will be of great use to scholars of religious studies, Asian studies, comparative literature and literary theory. (shrink)

I argue that when we interpret a literary work, we engage with at least two different kinds of meaning, each requiring a distinct mode of interpretation. These kinds of meaning are literary varieties of what Paul Grice called nonnatural and natural meaning. The long-standing debate that began with Beardsley and Wimsatt's attack on the intentional fallacy is, I argue, really a debate about nonnatural meaning in literature. I contend that natural meaning has been largely neglected in our theorizing (...) about literary interpretation and that this comes at a serious cost, resulting in an inadequate account of what interpretation involves. I argue, first, that by recognizing that literary meaning includes both nonnatural and natural meaning, we are better placed to understand the interpreter's relationship with the author, and, second, that recognition of the distinction between nonnatural and natural meaning advances the established debate about literary meaning, offering support for actual intentionalism. The more inclusive view of literary meaning helps resolve an apparent difficulty raised by Noël Carroll. (shrink)

The purpose of this paper is to reflect on the uniqueness of the aesthetic reading of children’s literature and child hermeneutics as foundations for reading education. The first section examines Louise Rosenblatt’s transactional model of aesthetic reading and Wolfgang Iser’s phenomenological approach, as well as their theoretical implications for reader-response criticism. The paper’s second section focuses on some more recent reader-response criticism research directions, which investigate postmodern picturebooks whose proposals within the educational scene have generated conflicting opinions. (...) However, empirical studies that have investigated the point of view from which real children authentically live the experience of reading have demonstrated the surprising ability of younger readers to fathom and interpret these ambitious narratives, which invite readers into an experience that enhances interpretive resourcefulness. The characteristics of this variety of books reveal an implicit trust in the hermeneutic potential of younger readers, which contradicts the deep-rooted idea that continues to paint them as incapable of artistic-aesthetic experiences and unable to express their own hermeneutics. (shrink)

The Critical Circle investigates the celebrated hermeneutic circle, especially as it manifests itself in historical inquiry and literary criticism. Formulated variously in different theories of hermeneutics, the circle generally describes how, in the process of understanding an interpretation, part and whole are related in a circular way: in order to understand the while, it is necessary to understand the parts, while to understand the parts it is necessary to have some comprehension of the whole. --from the Foreword.

Robert Abrams argues that new concepts of space and landscape emerged in mid-nineteenth-century American writing, marking a linguistic and interpretative limit to American expansion. Abrams supports the radical elements of antebellum writing, where writers from Hawthorne to Rebecca Harding Davis disputed the naturalizing discourses of mid-nineteenth century society. Whereas previous critics find in antebellum writing a desire to convert chaos into an affirmative, liberal agenda, Abrams contends that authors of the 1840s and 50s deconstructed more than they constructed.

In this book is the first meeting of Andreĭ Astvat︠s︡aturov the prose writer with Andreĭ Astvat︠s︡aturov the philologist. In this book of essays "Chaos and Symmetry", Astvat︠s︡aturov, as befits a philologist, is a sophisticated researcher and connoisseur of literature: classical Anglo-American and modern Russian. He will explain why in Oscar Wilde's The Canterville ghost" the ghost is an artist, how William Golding's "Lord of the Flies" echoes ancient tragedy, and why Henry Miller peered into the void. He writes about (...) the features of the modern literary process as well as prose by Mikhail Elizarov, Roman Senchin, German Sadulaev, and other famous authors. Personal experience is mixed with literary observations. Biographical details are a continuation (or, conversely, the source) of the writers' work, and all together it forms an elegant mosaic, not devoid of some practical usefulness: it is helpful to look at the tips and tricks of others. (shrink)

Although not exactly continuous, the Native American challenge to the canon, as I have tried to show, has been of comparatively long standing. Nonetheless, inasmuch as Native American literary production and Euramerican writing influenced by it have only barely begun to enter the courses in and the anthologies of general American literature, that challenge cannot be said to have been effective as yet. No doubt it will take more time for poets and teachers to recognize what Native American literatures (...) aboriginally were and, to some extent, still are; to recognize when and if the influence of these literatures is present in work by Native and non-Native writers. It is only since the 1950s and 1960s that philological and structural work has begun to make this recognition possible in any case.It is only more recently still that an adequately sophisticated criticism for these literatures has begun to develop, with the publication of Abraham Chapman’s basic and eclectic collection of essays, Literature of the American Indians: Views and Interpretations ; Karl Kroeber’s uneven but valuable introduction to the subject, Traditional Literatures of the American Indian: Texts and Interpretations ; and Hymes’ “In Vain I Tried to Tell You”: Essays in Native American Ethnopoetics , a collection of Hymes’ seminal and indispensable work. The broadest and most sophisticated collection of essays—gathering work by Hymes, Tedlock, Toelken, Kroeber, and others—has only just appeared: Smooting the Ground: Essays on Native American Oral Literature is edited by Brian Swann, a poet and translator of Mative American song.61 These developments are encouraging for Native American literatures. As American society continues to move away from anthropocentrism and textual authority, the Native tradition may for the first time effectively assert its claim upon the canon of American literature. 61. For his translations, see, for example, Swann’s Song of the Sky: Versions of Native American Songs and Poems . Swann works from texts, not performances, from English language versions, not transcriptions of Native languages; as a result, he has made a point of insisting, “These poems of mine are not translations” but instead “versions” of Native American poetry. Although he has given up specific claims to authenticity, Swann has nonetheless shown how much can be done by the non-Native poet and scholar responding to the Native tradition as a powerful source. Arnold Krupat is a member of the literature faculty at Sarah Lawrence College. He is the coeditor of the University of Nebraska Press’ Native American Autobiography Series and is currently completing an anthology of Native American autobiographies, Indian Lives. His previous contribution to Critical Inquiry, “An Approach to Native American Texts,” appeared in the December 1982 issue. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Criticism, Imagination, and the Subjectivization of AestheticsRoger W. H. SavageThe growing discontent with reductivist practices signals a new current in contemporary criticism's understanding of music, literature and art. George Levine's unease with critics who are unable or unwilling to account for their continuing preoccupation with literary texts they expose as "imperialist, sexist, homophobic and racist" illumines the contradiction fueling the reduction of aesthetics to ideology.1 Cultural (...) studies that deploy literature as evidence of the aesthetics' socio-historical substance mask literature's capacity to break open new perspectives on reality by assuming that literary works are politically complicit with the aesthetics' strategic "mystification of the status quo" (A&I, p. 3). Criticism's indifference to its philosophical presuppositions exacerbates the paradox of denouncing a body of works that constitute criticism's aesthetic and intellectual heritage. According to Mario Valdés, literary studies' coming of age mandates that criticism take account of a tradition nurtured by a succession of philosophers including Hans-Georg Gadamer and Paul Ricoeur.2 For Valdés, the post-structuralist realization that literary texts are indeterminate and inexhaustible prohibits replacing the work of art with critical commentaries on it; criticism's collective and determining role belongs to a shared community of commentary whose history and thought is a record of the changing interpretations and understandings of literary texts' meanings. [End Page 164]Valdés's claim extends to the field of contemporary music criticism, where the fashion of denouncing aesthetics as socially pernicious turns against traditional musicology's institutional authority. By demystifying absolute music (instrumental music devoid of programmatic associations), a self-proclaimed critical musicology revolts against traditional musicology's perceived political and ideological agenda. Critical musicology militates against the aesthetic conceit that absolute music transcends its social construction. Yet, by overlooking the philosophical presuppositions that set music's autonomy against practical affairs, new musicology accedes to the schema it recoils against.The tradition nurtured by Gadamer's philosophical hermeneutics and Ricoeur's hermeneutic phenomenology represents a critical current whose significance has been overshadowed by postmodernist investments in decoding music's social and political content. Gadamer's critique of the subjectivization of aesthetics and Ricoeur's meditations on the imagination's capacity for invention offer an alternativeto contemporary music criticism's reaction against the principle of music's aesthetic autonomy. Gadamer and Ricoeur question art's formal separation from reality, which belongs to the history of Kant's radical subjectivization of aesthetics. Gadamer's critique of art's aesthetic differentiation prepares the ground for revealing how socially informed analyses conform to the schema Kant initiates by divorcing judgments of taste from their surrounding cultural ethos. Gadamer argues that, by discrediting theoretical knowledge that does not rely on the methodology of the natural sciences, the transcendental function Kant ascribes to aesthetic judgment lays the foundation for differentiating between art's aesthetic constitution and a concept of truth that accommodates the standard of the natural sciences. Through reducing the "sensus communis to a subjective principle," Kant legitimates his critique of aesthetic judgments by denying taste any importanceas a mode of knowledge.3Ricoeur's hermeneutical reflections on imagination complement Gadamer's critique of a differentiating consciousness that abstracts art works from their cultural worlds. For Ricoeur, imagination is productive when the fictions that works create affect our understanding of ourselves and our world by re-describing reality. Aesthetics' alignment with ideology encounters a limit in the power works evince by unfolding different ways of seeing or hearing reality. Ricoeur's reflections on imagination stand in stark contrast to the idea that individual works represent a form of cultural capital in the struggle for social position [End Page 165] and power. Contemporary critical practices' failure to account for the philosophical separation of judgments of taste from knowledge of reality precipitates the impasse criticism encounters when it identifies aesthetics with ideology at the expense of a work's capacity to affect reality in productive ways. The dispersal and potential disappearance of music's aesthetic character into the recesses of cultural and political analysis keeps step with the conceptual narrowing imposed by a restrictive sociological critique. Demystifying music's ideological representations of gender, race and identity purges romantic... (shrink)

If a catalogue were made of terms commonly used to affirm the adequacy of critical interpretations of works of art, one word certain to be included would be “plausible.” Yet this term is one which has received precious little attention in the literature of aesthetics. This is odd, inasmuch as I find the notion of plausibility central to an understanding of the nature of criticism. “Plausible” is a perplexing term because it can have radically different meanings depending on (...) the circumstances of its employment. In the following discussion, I will make some observations about the logic of this concept in connection with its uses in two rather different contexts: the context of scientific inquiry on the one hand, and that of aesthetic interpretation on the other. In distinguishing separate senses of “plausible,” I shall provide reasons to resist the temptation to imagine that because logical aspects of two different types of inquiry, science and criticism, happen to be designated by the same term, they may to that extent be considered to have similar logical structures. (shrink)

What is a comment? What does it mean to interpret a text? What are the skills and methods used by great masters such as Auerbach, Spitzer, Sontag, Segre, Adelia Noferi, Contini, Barthes and Raimondi in their dialogue with the ancient and new hermeneutic theories? What kind of relationship is established between message/text and commentator? What is the common ground where the act of interpreting and that of translating end up meeting? Enza Biagini wonders about these fundamental questions while, between comment (...) and commentary, she carries out an articulated and complex study on one of the major arts born for and around reading: translation. A demanding game is indeed played between interpreter and translator, which Enza Biagini analyses and discusses with great theoretical knowledge, crossing Italian and French experiments, original texts and anthologies, with the aim of verifying theories on the field of literature which, as such, is based on an endless quest for the interpretation of meaning. (shrink)

We have met in this conference to discuss “critical pluralism.” It will be a conference or discussion if the participants present different conceptions of critical pluralism based on different conceptions of criticism. Pluralism will enter the discussion in two ways: in the plurality of statements, which will be easy to recognize, and in the plurality or identity of what the statements are about, which will be problematic. There are three possible conclusions to which the discussion may lead. Some of (...) the participants may argue that only one of the opposed statements is about criticism and that the others may be about the work, but do not treat it as a literary work; these participants may so deny the possibility of critical pluralism. Some may present different modes of critical interpretation of a literary work and argue that they are different interpretations of the same work; these participants may recognize no need to differentiate different aspects in the work to which they interpretations are relevant. Finally, some may argue that the different modes of criticism apply to different aspects of the work which should be named differently and be treated by different methods, and which should be considered distinct objects of interpretation.The variety of critical methods and the variety of objects to which those methods can be applied are apparent when the reflexive relations between the pluralism of the interpretation of books and the pluralism of the circumstances and the matters that condition and constitute books are examined in a paradigm of possible forms and matters related to each other paradoxically. Many of the recurrent pairs of terms joined and differentiated in the literature of criticism are related paradoxically. Richard McKeon was the editor of The Basic Works of Aristotle, coeditor of Peter Abailard, Sic et Non: A Critical Edition, and author of Thought, Action, and Passion. His previous contributions to Critical Inquiry are “Arts of Invention and Arts of Memory: Creation and Criticism” , “Canonic Books and Prohibited Books: Orthodoxy and Heresy in Religion and Culture” , and “Pride and Prejudice: Thought, Character, Argument, and Plot”. (shrink)

Pack includes 2 titles from the popular Blackwell Philosophy Anthologies Series: Philosophy of Literature: Contemporary and Classic Readings - An Anthology Edited by Eileen John and Dominic McIver Lopes ISBN: 9781405112086 Essential readings in the philosophy of literature are brought together for the first time in this anthology. Contains forty-five substantial and carefully chosen essays and extracts Provides a balanced and coherent overview of developments in the field during the past thirty years, including influential work on fiction, (...) class='Hi'>interpretation, metaphor, literary value, and the definition and ontology of literature Includes an additional historical section featuring generous selections of the writings of early pioneers such as Plato, Aristotle, Nietzsche, and Hume Serves as an ideal introduction to the philosophy of literature or the philosophy of art, as well as a handy compilation of contributions to the field by its leading figures Philosophy of Film and Motion Pictures: An Anthology Edited by Noël Carroll and Jinhee Choi ISBN: 9781405120272 Designed for classroom use, this authoritative anthology presents key selections from the best contemporary work in philosophy of film. The featured essays have been specially chosen for their clarity, philosophical depth, and consonance with the current move towards cognitive film theory Eight sections with introductions cover topics such as the nature of film, film as art, documentary cinema, narration and emotion in film, film criticism, and film's relation to knowledge and morality Issues addressed include the objectivity of documentary films, fear of movie monsters, and moral questions surrounding the viewing of pornography Replete with examples and discussion of moving pictures throughout. (shrink)

These challenging essays defend Romanticism against its critics. They argue that Romantic thought, interpreted as the pursuit of freedom in concrete contexts, remains a central and exemplary form of both artistic work and philosophical understanding. Marshalling a wide range of texts from literature, philosophy and criticism, Richard Eldridge traces the central themes and stylistic features of Romantic thinking in the work of Kant, Hölderlin, Wordsworth, Hardy, Wittgenstein, Cavell and Updike. Through his analysis he shows that Romanticism is neither (...) emptily literary and escapist nor dogmatically optimistic and sentimental. This is the first serious philosophical defense of the ethical ideals of Romanticism and will appeal particularly to all professionals and students in philosophy, literature and aesthetics who are interested in what, philosophically, literature can show that philosophy cannot say. (shrink)

The arts of poetry and the arts of criticism are uncovered and studied in their products, in poems and in judgments. Poetry and criticism, however, the making and judging of poems, are processes. The study of literature as a product - existing poems and existing interpretations and appreciations of poetry - develops a body of knowledge which is sometimes called "poetic sciences." The recognition and use of poetic and critical processes - producing and judging poems which did (...) not previously exist, and uncovering and analyzing aspects of existing poems which were not previously discerned or appreciated - develop things and values by use of arts which are sometimes called "heuristic arts." Knowledge or science is used in the processes of deliberate or artful making; art or criticism is used in the production of things or knowledge of things, natural or artificial. Knowledge is a product of inquiry; criticism is a process of judgment; the two are joined - knowledge of things and use of knowledge - in critical inquiries or critiques of judgment. Richard McKeon is Charles F. Grey Distinguished Service Professor Emeritus of Philosophy and Greek at the University of Chicago; he was a member of the U.S. delegations to the first three General Conferences of UNESCO and served as U.S. counselor to UNESCO. His numerous publications include The Philosophy of Spinoza, Freedom and History, and Thought, Action, and Passion; he also has edited The Basic Works of Aristotle and coedited the forthcoming critical edition of Abailard's Sic et Non. His contributions to Critical Inquiry include "Canonic Books and Prohibited Books: Orthodoxy and Heresy in Religion and Culture" and Pride and Prejudice: Thought, Character, Argument, and Plot". (shrink)

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