This paper will, in its successive steps and movements, revolve around one single question, a question that might, at first sight, come across as somewhat irrelevant or even impertinent within the context of philosophical or academic discourse. How romantic is Jean-Luc Nancy? Or: is there a specifically Nancyan sense of romance? Notwithstanding these somewhat unscholarly formulations, I am increasingly convinced that the question of love, or indeed more specifically of romance, is the most intimate inspiration of Nancy’s work, the (...) key unlocking all other keys. The theme of love has always played an important role in his work, from the early essay “Shattered Love” (“L’amour en éclats,” 1986) to his later works on the body and pleasure. In this paper, I will touch upon a number of these texts, but I will more particularly refer to two of Nancy’s more recent works, the yet untranslated book Sexistence from 2017 and Expectation: Philosophy, Literature (2018, published in French in 2015 as Demande: Littérature et philosophie). The question of romance, that is, the question of passionate interaction, of intrigue, of writing, of dramatization. This quite heterogeneous web of associations already implies a number of age-old philosophical issues: the relation between love and thinking; the relation between love and literature; and, subsequently, between philosophy and literature; the issue of the relation itself. The knot uniting these issues under the single heading of “romance” has been most firmly tied about two centuries ago, in the late eighteenth-century movement of early German, i.e., Jena, Romanticism, that significant moment in intellectual history where the barriers between philosophy and literature were broken down and where, quite generally put, the sense of the world was conceived of as a matter of romanticization. Although Nancy himself would be reluctant to call himself a Romantic philosopher in this historical sense of the word, this is exactly what I want to argue here: I want to show that Nancy’s philosophy of love – and by extension his philosophical thinking tout court – should be placed in the tradition of German Romanticism, rather than in that of, for instance, phenomenology, ontology, or philosophy proper. This claim is massive in its depth and scope and can impossibly be explored here in an exhaustive way. Instead, I will flesh out this perspective by advancing four successive hypotheses that enable to mark the contours of what I call Nancy’s romanticism. With this exploration, I hope to do three things at once: firstly, to underscore what I take to be the core or pulse of Nancy’s thinking: the issue of romance; secondly, to investigate to what extent this romantic pulse might be traced back to the Romantic tradition; and, thirdly, to emphasize why Nancy’s romantic thinking is relevant for us today. (shrink)

He challenges methods of doing ethics that attempt to specify universally binding principles or rules and argues for the need to bring literature back into ...

A central reason that undergirds the significance of evo-devo is the claim that development was left out of the Modern synthesis. This claim turns out to be quite complicated, both in terms of whether development was genuinely excluded and how to understand the different kinds of embryological research that might have contributed. The present paper reevaluates this central claim by focusing on the practice of model organism choice. Through a survey of examples utilized in the literature of the Modern (...) synthesis, I identify a previously overlooked feature: exclusion of research on marine invertebrates. Understanding the import of this pattern requires interpreting it in terms of two epistemic values operating in biological research: theoretical generality and explanatory completeness. In tandem, these values clarify and enhance the significance of this exclusion. The absence of marine invertebrates implied both a lack of generality in the resulting theory and a lack of completeness with respect to particular evolutionary problems, such as evolvability and the origin of novelty. These problems were salient to embryological researchers aware of the variation and diversity of larval forms in marine invertebrates. In closing, I apply this analysis to model organism choice in evo-devo and discuss its relevance for an extended evolutionary synthesis. (shrink)

Employing the poststructuralist approach to language and literature as a methodology, the present article insists on the significance of the novel, Body Offering, in understanding the idea of giving in to literature through writing. The notion of giving in the novel unfolds with regard to two contexts: love and writing, which, in turn, problematizes not only the way in which giving is understood in the binary structure of giving and receiving, but also the representational function assigned to (...) literature due to its appearance without voice. So, doing it highlights the openness to receive beyond self desire as the most fundamental force that makes an offering unconditional and sincere. (shrink)

This volume contains comprehensive and scholarly editions of three Anglo-Saxon saints' lives: Birinus of Dorchester-on-Thames, Kenelm of Winchcombe, and Rumwold of Buckingham. Rosalind Love provides the Latin texts, based on all known manuscript versions, with a facing-page English translation, together with full annotation and a historical introduction which sets these works in the context of the development of hagiographical literature. Dr Love traces the growth and changes in hagiographical writing, one of the most important genres of medieval (...) literature and essential to the understanding of the religious mentality of the Middle Ages, and shows how the eleventh century saw significant new directions emerge in the cult of the saints and the writing of saints' lives. (shrink)

With the publication of Martin Heidegger’s Black Notebooks, it has become impossible to avoid Heidegger’s anti-Semitism. There has been the expected controversy with Heideggerians on the defensive and the philosopher’s detractors condemning his work outright. But there has been little serious exploration of the matter aside from several recent works. This article builds on this literature on Heidegger’s anti-Semitism and concludes that an anti-Semitic narrative lies at the heart of Heidegger’s history of the oblivion of Being as nihilism. Moreover, (...) Heidegger adopts the narrative framework set up by Friedrich Nietzsche in On the Genealogy of Morality. In the end, we assert that Heidegger advocates a kind of war against Judaism that seeks to eradicate the Jewish influence in the western tradition. Heidegger’s ‘metaphysical’ anti-Semitism aims to overcome the nihilism of the ‘Jewish Christian’ revenge [Rache] against death, a nihilism that has evolved into the technological effort to make everything secure. (shrink)

Philosophy of Molecular Medicine: Foundational Issues in Theory and Practice aims at a systematic investigation of a number of foundational issues in the field of molecular medicine. The volume is organized around four broad modules focusing, respectively, on the following key aspects: What are the nature, scope, and limits of molecular medicine? How does it provide explanations? How does it represent and model phenomena of interest? How does it infer new knowledge from data and experiments? The essays collected here, authored (...) by prominent scientists and philosophers of science, focus on a handful of mainstream topics in the philosophical literature, such as causation, explanation, modeling, and scientific inference. These previously unpublished contributions shed new light on these traditional topics by integrating them with problems, methods, and results from three prominent areas of contemporary biomedical science: basic research, translational and clinical research, and clinical practice. (shrink)

This volume brings together Nussbaum's published papers on the relationship between literature and philosophy, especially moral philosophy. The papers, many of them previously inaccessible to non-specialist readers, explore such fundamental issues as the relationship between style and content in the exploration of ethical issues; the nature of ethical attention and ethical knowledge and their relationship to written forms and styles; and the role of the emotions in deliberation and self-knowledge. Nussbaum investigates and defends a conception of ethical understanding which (...) involves emotional as well as intellectual activity, and which gives a certain type of priority to the perception of particular people and situations rather than to abstract rules. She argues that this ethical conception cannot be completely and appropriately stated without turning to forms of writing usually considered literary rather than philosophical. It is consequently necessary to broaden our conception of moral philosophy in order to include these forms. Featuring two new essays and revised versions of several previously published essays, this collection attempts to articulate the relationship, within such a broader ethical inquiry, between literary and more abstractly theoretical elements. (shrink)

This volume brings together Nussbaum's published papers on the relationship between literature and philosophy, especially moral philosophy. The papers, many of them previously inaccessible to non-specialist readers, deal with such fundamental issues as the relationship between style and content in the exploration of ethical issues; the nature of ethical attention and ethical knowledge and their relationship to written forms and styles; and the role of the emotions in deliberation and self-knowledge. Nussbaum investigates and defends a conception of ethical understanding (...) which involves emotional as well as intellectual activity, and which gives a certain type of priority to the perception of particular people and situations rather than to abstract rules. She argues that this ethical conception cannot be completely and appropriately stated without turning to forms of writing usually considered literary rather than philosophical. It is consequently necessary to broaden our conception of moral philosophy in order to include these forms. Featuring two new essays and revised versions of several previously published essays, this collection attempts to articulate the relationship, within such a broader ethical inquiry, between literary and more abstractly theoretical elements. (shrink)

The ability to make informative comparisons is central to human cognition. Comparison involves aligning two representations and placing their elements into correspondence. Detecting correspondences is a necessary component of analogical inference, recognition, categorization, schema formation, and similarity judgment. Connectionist Analogy Builder (CAB) determines correspondences through a simple iterative computation that matches elements in one representation with elements playing compatible roles in the other representation while simultaneously enforcing structural constraints. CAB shows promise as a process model of comparison as its performance (...) can be related to human performance (e.g., solution trajectory, error patterns, time‐on‐task). Furthermore, CAB's bounded working memory allows it to account for the inherent capacity limitations of human processing. CAB's strengths are its parsimony, transparency of operations, and ability to generate performance predictions. In this paper, CAB is evaluated against benchmark phenomena from the analogy literature. (shrink)

"Nietzche and Dostoevsky"are collectedessays on Nietzsche Dostoevsky andtwentieth-century intellectual history.".

Book review of "The Nature of Scientific Thinking: on Interpretation, Explanation and Understanding" by J. Faye. The nature of scientific explanation is a central topic of interest to philosophers but the literature has metamorphosed from a coherent body of key papers and examples into narrow and specialized discussions in different scientific disciplines.

The book consists of three problem areas which are all connected with the question of creativity, esp. in gthe arts and poetry: It is about the ancient mythopoetic concept of the muses and their collision with the beloved of the poet, about the authority crisis of authorship and the dominance of the author over his creatures and fictional characters as well as their revolt against the father of the text and about a typ of creating and writing which acts against (...) all genetic traditions of authorship in the form of conception and birth, genealogical derivation. In this sense the, anti-generic' creativity doesn't originate and invent a work of art or a cultural phenomenon: the anti-generic product is something made, something constructed and not fgenerated, manufactured and not breed. This anti-oedupus-concept workts in a widespread tradition of the arts and literature, starting from our heroes of deconstructed narrative as Sterne's or Diderot's, over the classics of european realism Dostoevski or Flaubert until Nabokov and his, pregnant muse' Lolita. Wenn es ums Schaffen geht oder gar ums Schöpferische, liegt nichts so nahe wie das scheinbar unerschöpfliche Feld der Geburtsmetaphern, das Reden vom Zeugen und Empfangen, vom Austragen und Gebären eines Werkes, das für das Kind steht - ja dieses gar ersetzen soll. Die in diesem Band versammelten Überlegungen verknüpfen drei Problemkreise: Es geht um die Projektionsfigur der Musen und ihrer Kollision mit der Dichtergeliebten, um die permanente Autoritätskrise im Verhältnis des Autors zu seinen eigenen Geschöpfen und um die Entdeckung eines Kunstschaffens und Schreibens, das alle genetischen wie generischen Modi der Hervorbringung gegen den Strich dichtet und also konsequent antigenerisch verfährt. Vorgeführt werden diese drei Problemkreise an klassischen Texten des antigenerischen. Zuletzt bleibt die Frage nach den Musen der Musen und den Paradoxa der Dame Dichterin mit Blick auf ihre Inspirationsquellen. (shrink)

Of all humanities disciplines, none is more resistant to the program of positive psychology or more hostile to the prevailing discourse of human flourishing than literary studies. The approach taken in this volume of essays is neither to gloss over that antagonism nor to launch a series of blasts against positive psychology and the happiness industry. Rather, the essays are attempts to reflect on how the kinds of literary research the contributors themselves are doing, the kinds of work to which (...) they are personally committed, might become part of an interdisciplinary conversation about human flourishing. The authors' specific fields of work are wide ranging, covering literary aesthetics, book history, digital humanities, and reader reception, as well as the important "inter-disciplines" of gender and sexuality studies, disability studies, and black studies-fields in which issues of stigma and exclusion are paramount, and which have critiqued the discourse of human flourishing for its failure to grapple with structural inequality and human difference. Taken together, the essays contribute more points of ambiguity and hesitation to the study of human flourishing than decisive advancements. Literary scholars are drawn more readily to the problematic than to the decidable. But by dwelling on the trouble spots in a field of inquiry still largely confined to the sciences, this volume provides the groundwork for new and more productive forms of interdisciplinary collaboration and exchange. (shrink)

One of the primary and most consequential properties of consciousness is that it is absolutely isolated. One’s consciousness cannot be shared by anyone else. Self- consciousness about this condition can give rise to a debilitating sense of loneliness. One important task of culture is to manage this sense of loneliness, to defer and diminish it. Religion supplies ideas that function in this way. Literature supplies imaginative experiences to the same ends. After introducing the general topic through a literary example, (...) the paper takes up the problem of other minds and solipsism, considering aspects of the issue treated by Wittgenstein, Moore, Heidegger and Descartes. The possibility of solipsism both demonstrates and results from the unbridgeable isolation of consciousness. The second section turns to the mind/body relation. It argues that intentionality is irreducible to a purely physical explanatory account. This is not because the mind is a brain-like entity that interacts with the body. Rather, it is because any physical explanatory account presupposes an observer or speaker outside the system being observed or described. The irreducibility of that observer is, so to speak, the flip side of solipsism. The unobserved observer is, precisely, each one of us. Each of us is removed in just this way from the world he/she is perceiving and addressing hence, our isolation. The third section turns to the varieties of loneliness here called ‘longing’, ‘grief’ and ‘despair’ relating these to the inevitability of death, primarily the death of others. The fourth part takes up the feeling that makes loneliness intense, love. It goes on to consider the thematization of loneliness in the most common narrative structure cross- culturally, romantic tragi-comedy. The concluding sections examine the ways in which religion and literature serve not only to represent loneliness, but, what is more important, to inhibit or manage it. (shrink)

Readers generally know only one of the two famous James brothers. Literary types know Henry James; psychologists, philosophers, and religion scholars know William James. In reality, the brothers’ minds were inseparable, as the more than eight hundred letters they wrote to each other reveal. In this book, J. C. Hallman mines the letters for mutual affection and influence, painting a moving portrait of a relationship between two extraordinary men. Deeply intimate, sometimes antagonistic, rife with wit, and on the cutting edge (...) of art and science, the letters portray the brothers’ relationship and measure the manner in which their dialogue helped shape, through the influence of their literary and intellectual output, the philosophy, science, and literature of the century that followed. William and Henry James served as each other’s muse and critic. For instance, the event of the death of Mrs. Sands illustrates what H’ry never stated: even if the “matter” of his fiction was light, the minds behind it lived and died as though it was very heavy indeed. He seemed to best understand this himself only after Wm fully fleshed out his system. “I can’t now explain save by the very fact of the spell itself . . . that [Pragmatism] cast upon me,” H’ry wrote in 1907. “All my life I have . . . unconsciously pragmatised.” Wm was never able to be quite so gracious in return. In 1868, he lashed out at the “every day” elements of two of H’ry’s early stories, and then explained: “I have uttered this long rigmarole in a dogmatic manner, as one speaks, to himself, but of course you will use it merely as a mass to react against in your own way, so that it may serve you some good purpose.” He believed he was doing H’ry a service as he criticized a growing tendency toward “over-refinement” or “curliness” of style. “I think it ought to be of use to you,” he wrote in 1872, “to have any detailed criticism fm even a wrong judge, and you don’t get much fm. any one else.” For the most part, H’ry agreed. “I hope you will continue to give me, when you can, your free impression of my performance. It is a great thing to have some one write to one of one’s things as if one were a 3d person & you are the only individual who will do this.”. (shrink)

In "Peripheralities: 'Minor' Literatures, Women's Literature, and Adrienne Orosz de Csicser's Novels" Steven Tötösy de Zepetnek discusses events surrounding Adrienne Orosz de Csicser's work. For the contextualization of the events Tötösy de Zepetnek employs his own framework of "comparative cultural studies" here applied to "minor literatures" and women's literature and Shunqing Cao's "variation theory." While Orosz's novels are not considered exceptional, the author achieved notoriety after locked up in a mental institution. In addition to three published novels, in (...) an unpublished novel Orosz narrates her love affair with a Roman Catholic bishop. Knowledge about her novel's contents resulted in the bishop orchestrating Orosz's commitment to a mental hospital. The context in which Orosz's texts are located in is the socio-political situation in Hungarian society prior to and shortly after the First World War. (shrink)

The aim of this article is twofold. Firstly, it explicates Simone de Beauvoir’s views on literature as a means of communication. Secondly, it draws from her theoretical framework to illuminate the discussion on mortality and death in a poem by an ancient Greek woman epigrammatist, Anyte. These two goals are combined by the fact that for Beauvoir one of the most important tasks of literature was to break down the solitude of human existence by sharing the most intimate (...) and painful experiences, such as the death of our loved ones. I will argue that Beauvoir’s insights help us understand literature and its most profound, communicative dimension. On the other hand, taking the Beauvoirian framework to a field unknown to it before will elucidate its potential as a tool for literary analysis. Finally, the dialogue the article establishes between two women authors, Beauvoir and Anyte, will provide us with a more detailed understanding of the meaning of death in human existence and in literary communication. (shrink)

The annual Kronos Philosophical Journal was established in Warsaw in 2012. The papers presented in the annual might be of interest to the readers from outside Poland, allowing them to familiarize themselves with the dynamic thought of contemporary Polish authors, as well as entirely new topics, rarely discussed by English speaking authors. Volume V/2016 comprises articles problematizing Russian phlosophy and literature as well as Ancient Greek philosophy and culture.

Literature provides us with otherwise unavailable insights into the ways emotions are produced, experienced and enacted in human social life. It is particularly valuable because it deepens our comprehension of the mutual relations between emotional response and ethical judgment. These are the central claims of Hogan's study, which carefully examines a range of highly esteemed literary works in the context of current neurobiological, psychological, sociological and other empirical research. In this work, he explains the value of literary study for (...) a cognitive science of emotion and outlines the emotional organization of the human mind. He explores the emotions of romantic love, grief, mirth, guilt, shame, jealousy, attachment, compassion and pity - in each case drawing on one work by Shakespeare and one or more works by writers from different historical periods or different cultural backgrounds, such as the eleventh-century Chinese poet Li Ch'ing-Chao and the contemporary Nigerian playwright Wole Soyinka. (shrink)

I aim to show that the practice of reading excellent literature is an excellent form of moral education. I offer a two-stage defense. First, I call attention to central features of the human self (especially the emotions) involved in moral growth. I argue that the central components of emotions are construals (or ways of seeing) and loves. Second, I show that literature has distinctive resources both to train our construals by affording us practice in seeing the world in (...) new ways and to cultivate our loves by affording us practice in imitating the loves of others. (shrink)

This paper tries to discuss some of the theories concerning the relation between literature and knowledge. On the one hand, most of the time, philosophers donot believe in the force of literature to generate knowledge. On the other, litterateurs are more optimistic, considering that there is a specific kind of knowledge that literature (sometimes they emphasize: only literature) is able to deliver. These are the two antagonistic theories I have to arbitrate in this paper. In my (...) opinion, literature is an ally of science and philosophy and it can provide a large amount of knowledge about some aspects of reality that cannot be put into concepts. Some examples like dreams and love regarded both by philosophers and writers try to demonstrate that sometimes only literature can conquer some territories of the human mind and sensibility. At the end, the paper asserts, along with Peter Swirski, that interdisciplinarity is a compulsory condition if we want to take advantage from the whole knowledge that sciences, as well as arts, among which literature is to be mentioned, can offer us. The conclusion is borrowed from Milan Kundera’s Art of the Novel: Knowledge is the literature’s only morality. (shrink)

An illustrated exploration of fandom that combines academic essays with artist pages and experimental texts. Fandom as Methodology examines fandom as a set of practices for approaching and writing about art. The collection includes experimental texts, autobiography, fiction, and new academic perspectives on fandom in and as art. Key to the idea of “fandom as methodology” is a focus on the potential for fandom in art to create oppositional spaces, communities, and practices, particularly from queer perspectives, but also through transnational, (...) feminist and artist-of-color fandoms. The book provides a range of examples of artists and writers working in this vein, as well as academic essays that explore the ways in which fandom can be theorized as a methodology for art practice and art history. Fandom as Methodology proposes that many artists and art writers already draw on affective strategies found in fandom. With the current focus in many areas of art history, art writing, and performance studies around affective engagement with artworks and imaginative potentials, fandom is a key methodology that has yet to be explored. Interwoven into the academic essays are lavishly designed artist pages in which artists offer an introduction to their use of fandom as methodology. Contributors Taylor J. Acosta, Catherine Grant, Dominic Johnson, Kate Random Love, Maud Lavin, Owen G. Parry, Alice Butler, SooJin Lee, Jenny Lin, Judy Batalion, Ika Willis. Artists featured in the artist pages Jeremy Deller, Ego Ahaiwe Sowinski, Anna Bunting-Branch, Maria Fusco, Cathy Lomax, Kamau Amu Patton, Holly Pester, Dawn Mellor, Michelle Williams Gamaker, The Women of Colour Index Reading Group, Liv Wynter, Zhiyuan Yang. (shrink)

"Literature and the Right to Marriage," which bears the same title as the special issue that it introduces, takes up the challenge of the claim that marriage is a universal right. Framing the questions that traverse the five essays in the collection with a close reading of the sections on marriage from Hegel's Elements of the Philosophy of Right, the authors argue that if marriage can be considered a right, this right both guarantees access to and is founded upon (...) each partner's vow to abide by his or her vows to the other. Hegel's text is important because it underscores the linguistic dimension of the marriage ceremony; and it thus helps to show that, if the right to marriage were universal, it must be understood as the right to an irreplaceable kind of ritual speech. Moreover, this text is remarkably modern in its emphasis upon love as the condition of rightful marriage. Hegel considered the exchange of marriage vows to be a political event at which love becomes ethical , and ethics becomes political ; and thus also the point at which the model for "ethical love" becomes the verbally solemnized love between a man and a woman rather than the priestly love of the neighbor. Marriage, for Hegel, is always a turning point, both in the lives of the couple and in the history of the state. But this means that the importance of any marriage cannot be measured in terms of a norm; it can only be measured in terms of the amorous situation that precedes the event of marriage. Hegel's analyses are indispensable for grasping the stakes of the essays collected in this special issue and for addressing contemporary questions about which couples have the right to marry and what marriage becomes when those who would marry already have shared long and complex lives together. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Literature: Why It Matters by Robert EaglestoneAihua ChenEaglestone, Robert. Literature: Why It Matters. Polity Press, 2019. 123pp.Is literature a worthy topic of study in an era fixated on science, technology, and information? This has become a subject of debate in recent years, especially as enrollment in college literature courses has declined. J. Hillis Miller has noted that “all who love literature are (...) collectively anxious today about whether literature matters” (13), insisting that it does since it has “three essential human functions: social critique, the pleasure of the text, and allowing a materialization of the imaginary or an endless approach to the unapproachable imaginary” (31). Other literary scholars concur with Miller, though from differing perspectives, including Dennis J. Sumara in Why Reading Literature in School Still Matters (2002) and Mark William Roche in Why Literature Matters in the 21st Century (2004). In his recent monograph, Literature: Why It Matters, Robert Eaglestone joins this discussion, offering a timely and judiciously formulated manifesto in defense of literary studies that is groundbreaking in the way it treats literature as a living object whose study can inspire ongoing conversation. Eaglestone presents his argument in four segments: “What is Literature?” “Studying Literature,” “Why Does Literature Matter?” and “What Does Literature Teach?”In his first chapter, Eaglestone reveals the limitations of traditional approaches to defining literature as fiction and narrative, that is, as something “made up.” He argues instead that literature is undefinable and exists as a kind of “living conversation” (6). For Eaglestone, literature, like a conversation, is a form of communication among many parties. In this case, the conversation engages the text, the reader, and the author in discussions of nearly everything. Learning about literature involves understanding the form of that discussion in the same way one comes to understand how speakers create meaning in dialogue with one another. And like conversation, readers’ creative response to a literary text fully engages their minds, their hearts, their feelings about the past, and their hopes for the future. In Eaglestone’s view, literature is “not timeless but time-full.” It involves “a past, visible in various ways, including the historical context of a work and the ‘family trees’ of influence and genre; a person (it’s always read now); and a future (that would be you, joining [End Page 118] the conversation)” (20). As in actual conversation, questions of equality and freedom matter a great deal since “literature is a crucial part of our constant dialogue about humanity’s ever-changing self-understanding — not about what we are but about who we are” (22).In the second chapter, Eaglestone asks questions concerning how we go about “Studying Literature.” Here, he extends the metaphor introduced in the preceding chapter of literature constituting a living conversation. He puts forward four ways of pursuing literary studies: as dialogue and dissensus, as a different model of education, as a kind of “knowledge-in-action,” and as craft and activity. For Eaglestone, literary study is an ongoing dialogue whose “aim is to help develop a continuing dissensus about the texts we study in order to root, explore and develop our own selves and distinctiveness” (29–30). He cites critics as diverse in outlook as F. R. Leavis, Q. D. Leavis, John Crowe Ransom, Mikhail Bakhtin, and Arthur Applebee in support of his claims. He further invokes Brazilian educationalist and activist Paulo Freire’s notions of critical pedagogy in forming the view that literary studies offer a different model of education. Rather than following the “banking” model of accruing knowledge and then dispensing it to students, Freire “insists that teaching must be a dialogue” (32). Eaglestone argues that literary study conforms to the image at the center of Freire’s vision of a different form of education because “in a discussion of literature, each person, teacher or student, brings themselves, their own ideas, creativity and understanding, to the discussion and, through dialogue, they invent new knowledge” (33). As for literary studies as a kind of “knowledge-in-action,” Eaglestone invokes American educational theorist Arthur Applebee’s study, Curriculum as Conversation (1996), further underscoring the importance of metaphor spotting and close reading in carrying out this sort of critical... (shrink)

Perhaps no one is more qualified to write about Japanese culture than Donald Keene, considered the leading interpreter of that nation's literature to the Western world. The author, editor, or translator of nearly three dozen books of criticism and works of literature, Keene now offers an enjoyable and beautifully written introduction to traditional Japanese culture for the general reader. The book acquaints the reader with Japanese aesthetics, poetry, fiction, and theater, and offers Keene's appreciations of these topics. Based (...) on lectures given at the New York Public Library, The Metropolitan Museum of Art, and the University of California, Los Angeles, the essays -though written by a renowned scholar- presuppose no knowledge of Japanese culture. Keene's deep learning, in fact, enables him to construct an overview as delightful to read as it is informative. His insights often illuminate aspects of traditional Japanese culture that endure today. One of these is the appreciation of "perishability." this appreciation os seen in countless little bits of Japanese life: in temples made of wood instead of durable materials; in the preference for objects -such as pottery- that are worn, broken, or used rather than new; and in the national love of the delicate cherry blossom, which normally falls after a brief three days of flowering. Keene quotes the fourteenth-century Buddhist monk Kenko, who wrote that "the most precious thing about life is its uncertainty." Throughout the volume, Keene demonstrates that the rich artistic and social traditions of Japan can indeed be understood by readers from our culture. This book will enlighten anyone interested in Japanese literature and culture. (shrink)

What is this thing called literature? What is the point of studying literature? How do I study literature? Relating literature to timeless topics such as dreams, politics, life, death, the ordinary and the crazy, this beautifully written book establishes a sense of why and how literature is an exciting and rewarding subject to study. Bennett and Royle delicately weave an essential love of literature into an account of what literary texts do, how they (...) work and what sort of questions and ideas they provoke.The book's three parts reflect the key components of studying literature: reading, thinking and writing. Part One comprises short chapters on reading a poem, reading a novel, reading a story, and reading a play. Part Two considers what thinking is, especially in relation to critical thinking and thinking about literature. Part three includes practical chapters on writing an essay, creative writing, and writing fiction. The authors use helpful, familiar examples throughout and offer brief reflections on questions such as 'What is literature?', on 'English' as a war zone, on crisis management and literary criticism, on dictionaries and on what the authors call creative reading. Bennett and Royle's lucid and friendly style engages and encourages personal experience of this thing called literature. (shrink)

A woman's right to say no to a proposal of marriage, in defiance of her family and friends, was an essential feature of Victorian middle- and upper-class ideology, as it is represented in novels of the time. This right was based on the assumptions that falling in love is to some degree fortuitous, but that it is a permanent ontological change of selfhood. A good woman is justified in saying no even to an advantageous marriage proposal if she does (...) not love her suitor. Anthony Trollope's novels offer varied dramatizations of these assumptions, while Henry James's novels recount their incipient breakdown. (shrink)

This collection of original essays, written by scholars from disciplines across the humanities, addresses a wide range of questions about love through a focus on individual films, novels, plays, and works of philosophy. The essays touch on many varieties of love, including friendship, romantic love, parental love, and even the love of an author for her characters. How do social forces shape the types of love that can flourish and sustain themselves? What is the (...) relationship between love and passion? Is love between human and nonhuman animals possible? What is the role of projection in love? These questions and more are explored through an investigation of works by authors ranging from Henrik Ibsen to Ian McEwan, from Rousseau to the Coen Brothers. (shrink)

Introduction -- The use and abuse of "use and abuse" -- The pleasures of the canon -- What isn't literature -- What's love got to do with it? -- So you want to read a poem -- Why literature is always contemporary -- On truth and lie in a literary sense -- Go figure -- The impossibility of closure -- Coda: after the humanities.

** Named a Best Book of 2007 by Ready Steady Book, an independent book review website, working in association with The Book Depository, which is devoted to reviewing the best books in literary fiction, poetry, history and philosophy. "An invaluable guide to new literary territory, Taylor is equally good in discussing writers whom the reader already knows." -- Raphael Rubenstein, Rain Taxi "The paths that John Taylor invites us to walk in this book are inviting ones: fifty-five luminous essays devoted (...) to the broad avenues and the seductive byways of contemporary writing in France. John Taylor is opinionated but his opinions are rigorously argued ones. He strikes a canny and productive balance among a variety of competing concerns: the will to instruct his readers, the desire to share with them some very real pleasures, the imperative to interpret critically, and so forth. What emerges here is the image of a rare reader, one who is always willing to engage literature on its own terms, and that of a literature that is mobile, ambitious, provocative and deeply invested in the process of becoming. -- Warren Motte, Review of Contemporary Fiction "In this great introduction to some 50 French writers and poets little known outside of France, Taylor (The Presence of Things Past; The World As It Is), winner of the Three Oaks Prize for Fiction, invites his readers on an interesting journey."--Library Journal "Here it is under one cover: a deeply informed, delightful, and provocative stroll' through the literature of postwar France. From the chroniques of Cingria to the mythologies of Barthes, John Taylor introduces us to the prose and poetry of dozens of French authors, many of them regrettably never translated into English. Taylor is a skillful and witty guide, able to locate a writer between the traditions of Catullus and Pavese or to identify a style borrowing equally from Hlderlin and Hemingway. Working across every genre from autobiography to poetry to fiction to travelogue to the essay, these French authors, well known and obscure, have plumbed the quintessential French problem' of subjectivity. Tired of the culture wars? The language-lyric debate? The post-game analysis of post-structuralism? I suggest you dive into any one of John Taylor's Paths' for a reminder of the astonishing breadth and depth and complexity of which literature is capable."--Erica Funkhouser, author, Pursuit "Here we have vast erudition revealed in graceful, arresting sentences, writing that provides confidence and pleasure. John Taylor's writing strongly evokes Henry James' writing about French literature in his own day. Like James, Taylor is both generous and astute, never relinquishing admiration for the intricate process of analysis, analysis that he does so penetratingly and eloquently. However brilliant Taylor's observations, behind them rests a deep esteem for the writer, for his or her work, and for the tradition from which it comes. This is critical writing that is satisfying at every single level."--Richard Goodman, author, French Dirt: The Story of a Garden in the South of France "As they stroll through forgotten quartiers of Paris, wander in memory through the fields of a Norman childhood, reflect on a poem's resemblance to the salt marshes of the Breton coast, mourn the death of a beloved young wife, or look for answers in questions to which the only answers are more questions--France's most celebrated and, in some cases, still uncelebrated contemporary writers are exquisitely captured by John Taylor in a prose both limpid and lapidary and through a host of finely wrought essays, each a small jewel of critical insight, poetic sensitivity, and meticulous interpretation. Like a message in a bottle cast up on the shore, this work offers the English-speaking reader an original and poetic way to understand, appreciate, and love French. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.2 (2001) 307-308 [Access article in PDF] Mayer, Paola. Jena Romanticism and Its Appropriation of Jakob Böhme: Theosophy, Hagiography, Literature. McGill-Queen's Studies in the History of Ideas, no. 25. Montreal and Kingston: McGill-Queen's University Press, 1999. Pp. x + 242. Cloth, $65.00. Paolo Mayer sets out to revise the accepted image of the influence of Jakob Böhme, the sixteenth-century mystic and theosophist, (...) on the romantic poets and philosophers who congregated at Jena in the years 1798-1803. She convincingly argues that, except for the philosophers and critics Friedrich Schlegel and F. W. J. Schelling, Böhme's direct influence was negligible, more a matter of the self-proclaimed new religion of romanticism making ideological use of a controversial, in some sense subversive, forerunner in German literary history. In the hands of Ludwig Tieck, for instance, or Novalis, Böhme becomes a symbol of the new religion of Poesie and the hostile reception afforded by the orthodox evangelical pastors of his time becomes an allegory for the hostility that the new, "let it all hang out" aesthetic of romanticism encountered in the more classical and form-loving members of the literary culture. In Mayer's terms, Böhme's reception among the poets was hagiographic; he was the romantics' poster child.Böhme lived from 1575 to 1624. The son of peasants, but by no means unlettered, the "mystic shoemaker of Görlitz" claimed the source of his teachings was direct divine revelation. He claimed to have visions in 1600 and 1610, whose content he translated into his unusually graphic writings, interspersed with Pietist attacks on reason and on outward religious observances. This unusual 'theology' blended themes that F. Schlegel and Schelling, at least, found attractive: (a) the idea of a self-generating or developmental God, (b) an approach to the problem of evil that logically seems to place responsibility on God, and (c) a large systematic role for desire and will, rather than reason, in the origin of the world and in human salvation. Notable also is the physicalism of Böhme's theology, and the assignment of a wrathful nature to God the Father. Böhme's reception in the seventeenth and eighteenth centuries, determined largely by a first biography written in 1652 by a disciple named von Furstenburg, was generally warm in pietist circles, cool in rationalist quarters, e.g., in that of Lessing and Leibniz.The established story is that all the major romantic writers, poets as well as philosophers, were influenced through a direct study of Böhme's texts. Mayer takes issue with that, especially in the case of the poets Tieck and Novalis and the scientists J. W. Ritter. Though each of them writes glowingly of Böhme as a poet—in fact a persecuted poet, a near-martyr for the religion of Poesie—Mayer finds no sound evidence for a direct transmission, either of ideas or of terminology, from Böhme to these figures. What other literary critics have advanced as evidence is, she argues, a body of ideas and vocabulary common to the Neoplatonic, mystic tradition and to Christian thinking in general. If a stricter standard of proving "reception" than mere similarity of language is adopted, it seems that Tieck, Novalis, and Ritter had a slim acquaintance with Böhme's writings, but nonetheless advanced a hagiographic view of the "folk poet." Others among the Jena circle—Schleiermacher, A. W. Schlegel, Dorothea and Caroline Schlegel—took a skeptical view of this propagandistic ploy. Only the more philosophical minds, F. Schlegel and Schelling, read Böhme in any depth or ventured elaborate appropriations. Mayer argues that both these figures went [End Page 307] through an initial phase of enthusiasm for Böhme, to be later followed by personal reservations about him and, eventually, by public criticism from a philosophical or orthodox theological stance. Mayer obviously relishes the irony, in this case, of an initial idolization of Böhme as a representative of the 'new religion... (shrink)

The spread of Islam to a wide geography in a short time had an effect on the activities of notification and invitation rather than military success. While Muslims invite communities that have not yet converted to Islam, on the other hand, they have taken care to keep the Muslim community alive with sermons and guidance by not neglecting their own internal reforms. They encouraged people who are well-equipped in terms of religious knowledge and inclined to oratory to bring religious (...) class='Hi'>love and enthusiasm to the new generations, especially to the new generations. This sermon expectation of society has encouraged the growth of powerful preachers throughout history in the Islamic community. One of the factors that make the sermon effective is the reinforcement of the speech content with the literary language. Human nature, which is inclined towards beauty by nature, values the word being spoken by considering aesthetic concerns. The way to make speeches that are concise in words, deep in meaning, declaratively clear and intelligible depends on the proper use of literary arts. Literary writers try to make the most of the possibilities of literature and make their works permanent. In this study, the work al-Mudhish of Ibn al-Jawzī, who is one of the preachers who made his sermons effective by taking advantage of the rich possibilities of Arabic literature, was examined within the framework of the relationship between literature and preaching. The prominent literary elements in the work were examined in titles, striking examples were selected and critiqued. As a result, it has been revealed what Ibn al-Jawzī’s bringing together his sermon language and his literary work has brought to the sermon text. (shrink)

This essay argues that Oscar Wilde noticeably contributed to the emerging discourse about world literature, even though his views in this regard have to be unearthed from the margins of his works, from his early and unpublished American lectures and ‘between the lines’ of his major critical essays. Wilde’s implicit ideas around world literature can be understood as being closely related to his broader endeavour of redirecting and revaluing the pejorative discourse around ‘decadence’ in art and literature. (...) More specifically, the arch-aesthete preferred to use the word ‘romance’ rather than ‘decadence’ (a term he hardly used at all in his writings), signalling a sensitivity attuned to what he called the ‘love of things impossible’. This reconceptualization of the decadent outlook was to inspire a critical ideal of literature which relied on creatively activating the other as Other, culminating in a vision of intersubjective, transcultural and unlimited literary communication. Wilde’s thought can be more specifically understood as anticipating central tenets of Gayatri Chakravorty Spivak’s evocations of the planetary, thus preparing the way for an alterity-oriented understanding of literary cosmopolitanism. (shrink)

"You must learn first how to choose a woman" says the character Don Love to the protagonist of the Book of Good Love (fourteenth-century Castile) who has suffered a few setbacks in love. Don Love then goes on to describe in detail the ideal woman, beginning with her physical characteristics: a small head; blond hair; eyebrows set apart, long and arched; a narrow chin; large, prominent, colorful, and shining eyes, with long lashes; small, delicate ears; a (...) long throat; a finely chiseled nose; small, even, sharp and white teeth, close together; red gums; red lips finely-drawn; a small mouth; and her face white, hairless, bright and smooth.1 Formally, this description of the "beautiful woman" is typical of many works .. (shrink)

The debate on love's reasons ignores unrequited love, which—I argue—can be as genuine and as valuable as reciprocated love. I start by showing that the relationship view of love cannot account for either the reasons or the value of unrequited love. I then present the simple property view, an alternative to the relationship view that is beset with its own problems. In order to solve these problems, I present a more sophisticated version of the property (...) view that integrates ideas from different property theorists in the love literature. However, even this more sophisticated property view falls short in accounting for unrequited love's reasons. In response, I develop a new version of the property view that I call the experiential view. On this view, we love a person not only in virtue of properties shaped by and experienced in a reciprocal loving relationship, but also in virtue of perspectival properties, whose value can be properly assessed also outside of a reciprocal loving relationship. The experiential view is the only view that can account not only for reciprocated love's reasons, but also for unrequited love's reasons. (shrink)

We aimed to identify the critical insights from empirical peer-reviewed studies on online romance fraud published between 2000 and 2021 through a systematic literature review using the Preferred Reporting Items for Systematic Reviews and Meta-Analyses (PRISMA) protocol. The corpus of studies that met our inclusion criteria comprised twenty-six studies employing qualitative (n = 13), quantitative (n = 11), and mixed (n = 2) methods. Most studies focused on victims, with eight focusing on offenders and fewer investigating public perspectives. All (...) the victim-focused studies relied on data from the Global North, except for Malaysia. Five offender-focused studies used online data available in the public domain, and three derived their data from West Africa. Our review highlights offenders' techniques to deceive and manipulate victims, as revealed in these studies, and highlights some limitations of offender- and victim-focused studies. The dominant framework used across the studies was found to be the “Scammers Persuasive Techniques Model.” While this framework provides a helpful way of considering the stages of victim involvement, it also faces some limitations, which we highlight. Our study reviews the current state of empirical knowledge on romance fraud and identifies certain gaps and biases in the literature. We argue there is a need for further research into online romance fraud to enhance our understanding of it both from the perspective of the offender as well as the experience of the victim. We also highlight the need for a more inclusive and greater range of regional and global diverse range of data sources and perspectives. Given the scale and impact of online romance fraud, we conclude that its study would benefit from a richer empirical engagement that recognizes it as both a regional and global phenomenon. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Literature Against Philosophy, Plato to Derrida: A Defense of PoetryPaul M. HedeenLiterature Against Philosophy, Plato to Derrida: A Defense of Poetry, by Mark Edmundson; 239 pp. New York: Cambridge University Press, 1995, $59.95 cloth, $17.95 paper.In this age of suspicion, it is refreshing to meet a believer like Mark Edmundson, someone merging “versions of freedom and fate” (p. 235). To many, such an accommodation is automatically suspect; (...) to many, a voice as sweet and civil as his is enough to make the molars ache. Not that Edmundson always makes believing look easy, but he dances rather gracefully with the “descendental” (p. 236) as he sings a late-millennial tribute to “the poems we love” (p. 237). His analysis of sophisticated doubters is impressive for its respectful tone. Edmundson models how a traditional literary intellectual uses, rather than bests, not only what important philosophers promise, but also what literature delivers.Edmundson’s discussion begins with Plato’s dismissal of literature as “a harmful diversion” (p. 7). This establishes the classical sources of philosophy’s antipathy to literature’s “pleasure and vitality” (p. 237) and sets the tone for an analysis of “descendentalism,” the various modern and postmodern searches for “ultimate truths” in “the bedrock” of experience (p. 22).To Edmundson’s mind, Freud’s general hypothesis that there are analyzable forces in the unconscious legitimizes various contemporary attempts to subordinate literature to philosophy. For example, de Man’s metaphor of blindness and insight follows Freud as “a figure for [the] dramatic irony... that arises when speakers say more than they know, and... where the surplus of meaning is taken in by some third party” (p. 42).Power issues are in the foreground as the critic becomes an analyst/interpreter of meanings that would otherwise be latent or repressed (p. 43). As Edmundson shows, de Man can transform symbol and allegory into instances of repression, tropes “that record... how they will be misunderstood...” (p. 49). Such pre-Derridean insights still allow de Man to offer an approximate defense of highly allegorical texts that “proffer images for their own correct deconstruction” (p. 49). Only these, finally, are “worthy of being called literature” (p. 49).In short, “de Man succeeded in transferring the Freudian model of repression from the sphere of analytic therapy to that of rhetorical analysis” (p. 53) thus initiating “a self-perpetuating order” (p. 55). Does Edmundson decry such orders? Generally, yes, but gently. One of the strengths of this book is Edmundson’s desire not to compete with his subjects; predominantly, he avoids for himself the authoritarian positions he suspects, choosing instead to stir up the “trouble between poets and philosophers... that keeps them in productive dialogue and competition” (p. 63).Derrida’s chief role in this competition, his polemic against presence, and “his proffered alternative” (p. 79), différance, remind Edmundson of de Man’s [End Page 538] analysis of repression. “Derrida seems to think,” Edmundson writes, that “the texts of Western metaphysics surrender their secret holdings when one simply listens...” (p. 80). Like Freud and de Man, then, Derrida is out to unlock what is repressed: “we might think of différance as... a name for those powers that Derrida’s deconstruction strives to release” (p. 81).For Edmundson, however, Derrida’s chief insight—that “philosophy is a tissue of words, manifold [not unified] in their associations”—contradicts philosophy’s self-described superiority to and dominance over literature (p. 84). For if both literature and philosophy are merely made of words, “how,” Edmundson asks, “can philosophy conceivably function as a stable template to discipline and delimit literary range, to disenfranchise poetry” (p. 84)? Walking this tightrope, Derrida dramatizes “the struggle between poetry and philosophy... [on] a level of extraordinary and unprecedented refinement” (p. 84). Edmundson’s purpose—as it was with de Man—is not to debunk Derrida, but to redescribe him: no longer metaphysics’ “fearsome terminator,” he is a philosopher “within” this tradition (p. 96). Because Derrida continues Freud’s idea of authority, his analyses are “disturbingly mistake-proof,” risking little themselves but asking of literature great sacrifices of “vital force” (p. 112).Edmundson then takes on historicism. After a... (shrink)

Florence Nightingale on Society and Politics, Philosophy, Science, Education and Literature, Volume 5 in the Collected Works of Florence Nightingale, is the main source of Nightingale’s work on the methodology of social science and her views on social reform. Here we see how she took her “call to service” into practice: by first learning how the laws of God’s world operate, one can then determine how to intervene for good. There is material on medical statistics, the census, pauperism and (...) Poor Law reform, the need for income security measures and better housing, on crime, gender and the family. Her comments on a new edition of The Dialogues of Plato are given, with their impact on the revision of the next edition. We see Nightingale’s condemnation of Plato’s “community of wives,” with her stirring approval of love (even outside marriage!), marriage and the family. In this volume also her views on natural science, education and literature are reported. Nightingale was an astute behind-the-scenes political activist. Society and Politics publishes (much of it for the first time) her correspondence with such leading political figures as Queen Victoria, W.E. Gladstone and J.S. Mill. There are notes and essays on public administration and personal observations on various members of royalty, prime ministers and ministers, and Indian viceroys. Nightingale’s support of the vote for women (contrary to much in the secondary literature) is here shown. Correspondence and notes on British general elections from 1834 to 1900 is reported, with letters to and for (Liberal) political candidates and fierce condemnations of Conservatives. Currently, Volumes 1 to 11 are available in e-book version by subscription or from university and college libraries through the following vendors: Canadian Electronic Library, Ebrary, MyiLibrary, and Netlibrary. (shrink)

The sixty years between 43 BC, when Cicero was assassinated, and AD 17, when Ovid died in exile and disgrace, saw an unexampled explosion of literary creativity in Rome. Fresh ground was broken in almost every existing genre, and a new kind of specifically Roman poetry, the personal love-elegy, was born, flourished, and succumbed to its own success. Latin literature now became, in the familiar modern sense of the word, classical: a balanced fusion of what was best and (...) most stimulating in earlier Greek and Roman writing, charged with new and original life by the individual genius of, most particularly, Virgil, Horace and Ovid. Augustan literature, conventionally viewed as the expression in writing of the age itself - political and social stability reflected in artistic equilibrium - turns out on a close and critical reading to have been subject to the same stresses and strains as the society in and for which it was produced. In appraising the monumental literary achievements of the age the underlying tensions and contradictions are not ignored. The critical discussions in this volume do full justice to the complexity and subtlety of the literature itself. (shrink)

continent. 1.2 (2011): 136-140. In early 2011, Cow Heavy Books published The Official Catalog of the Library of Potential Literature , a compendium of catalog 'blurbs' for non-existent desired or ideal texts. Along with Erinrose Mager, I edited the project, in a process that was more like curation as it mainly entailed asking a range of contemporary writers, theorists, and text-makers to send us an entry. What resulted was a creative/critical hybrid anthology, a small book in which each page (...) opens to a new iteration of textual desire. These texts explore the material possibilities of the book. Somewhat parallel to the call of N. Katherine Hayles who, in her book Writing Machines , urges literary theorists to take up the practice of Medium Specific Analysis (to account for the way the medium in which it is presented conditions or at least bears on a literary text). I see in the imagined works of The Official Catalog a call for the innovative writers of today to become Medium-Responsive. This would mean thinking through the specific (materially constrained) possibilities offered by the media in which texts are presented, and in thinking of the literary text as a kind of art in the greater context of other arts and the book as a medium situated within the context of many other media. In doing so, the contemporary writer refutes the chorus of critics who lament the death of the book by consistently reinvigorating literary innovation. The following are selections from The Official Catalog of the Library of Potential Literature that show possible paths for (thinking about) new writing that engages with its medium. —Ben Segal, Editor THE CUBE Even the most radical non-linear texts have tended to exploit or subvert only the sequential possibilities of print—from the continuous loop of Joyce's Finnegans Wake to the shuffled cards of Marc Saporta's Composition No. 1 —but The Cube takes such multiplicities to an entirely new level. Set in a grid, the book's words can be read conventionally, across the page, as well as down each column—with either route making complete grammatical sense. But they can also be read as stacked strata and mined like lexical core samples through the layered pages of the book. Each path tells the same story from a different perspective (the narrative, naturally, hinges on the potential outcomes of a throw of cubed dice). By opening up the z-axis to reading in this way, The Cube recognizes the book as a three-dimensional sculptural space. Taking its lead from Armand Schwerner's (If Personal) and Raymond Queneau's Cent mille milliards de poèmes , The Cube reads like a experiment by Christian Bök precision printed by Emily McVarish. Craig Dworkin is the editor, most recently, of The Consequence of Innovation: 21st Century Poetics (Roof Books, 2008), The Sound of Poetry/The Poetry of Sound , with Marjorie Perloff (U. Chicago Press, 2009), and Against Expression: An Anthology of Conceptual Writing , with Kenneth Goldsmith (Northwestern UP, 2010). He teaches at the University of Utah. HE GOES In He Goes , we read notes, letters and e-mails from a scholar father to his novelist daughter. We read of the father's musings on Beckett, on Pinter, on Anne Frank; his description of a woman hanging laundry from a line. We read about his journey toward dying, followed by a brief, third person account of his death, and his obituary. Then a long series of blank pages that demand to be read in real time, non-sentence by non-sentence, blank page by blank page. Finally—and it is here that this peculiar little book begins to soar—the dead father writes to his as-of-yet-still-living daughter. He does not write from death. He does not write from life. The words unprint, unstamp, unkindle. Still, they require no translation. The father "writes" (for lack of a better word) about the serendipitous, the commonplace; he recommends another book. He jokes. He asks his daughter how her stomach is. He says forget about presence in absence, darling; screw words as memorial and the guys in garbage cans and loss as redemption and I can't go on I must go on. He goes, "Love, Fodder." He goes, "incidentally." He goes, "I thought you might like to know." Elizabeth Graver is the author of a story collection, Have You Seen Me? , and three novels: Unravelling ; The Honey Thief ; and Awake . Her work has been anthologized in Best American Short Stories , Best American Essays , and Prize Stories: the O. Henry Awards . She teaches at Boston College. THE PAPER ARCHIVIST A stunning package and a triumph of imagination, The Paper Archivist at times looks to be less a book than an abstract expressionist painting. Softly bound, its contents unfold to a single sheet of uneven thickness and texture—a canvas splattered with colored lines, stickers, broken sentences, and nonsense pictographs. But by following the directions to fold, dip, smell, rub, scratch, and tear the sheet according to the contingencies of the weather and using only the objects at hand, the reader slowly brings the forces hidden in the noise into a glorious sculptural convergence, processing a different story and shape each time. This is the rare book that continues to stir, whirl, and pop on every new reading. Sean Higgins blogs at BOMBlog where he is responsible for the column Volumes and Territories, as well as Ghost Island , a fledgling collaborative intellectual collective. THE SLOW BOOK The Slow Book , written by an anonymous author at the dawn of literacy, on a minor planet (otherwise notable only as the source of that exceptionally hardy, not very tasty grain called “shef” sowed on hostile planets as an early step to colonization), and encoded into a series of punctures on a strip of copper coiled inside a clever device, something between a player piano and an old-fashioned film projector, is being released into print, as was the author’s intention, at a rate of one word per century (local time). Each word is, across the Forty Galaxies, agreed to be uncannily apt for the century in which it appears—even “of,” in a century during which the highest value was attached to fidelity, whether to ideals, worlds, or romantic love; even “the,” which governed two centuries, one extraordinarily materialistic, during which advances in propulsion and navigation accelerated the exchange of exceptional objects between the remotest planets of the Forty, and one in which the central concern, both of philosophers and the common man, was whether, in an age of rapidly proliferating hypothetical worlds, anyone or anything concretely existed at all. Even those words published long before interstellar contact can be seen in retrospect to have transgalactic pertinence. As a result, attempts to abstract the machine from its publishers, Hobson & Hui, in order to “predict the future” for insight or gain by “fast- forwarding” the copper strip have been many and ingenious. While, in centuries of skepticism (“maybe”), or of unrest (“go”) the book has been nearly forgotten, in others it seems to haunt every thought, every deed, despite the fact that the subject of The Slow Book is still unclear. So far only a few sentences exist in print; everyone knows them, can quote them, offer the standard exegeses and assorted heresies; yet certainties are the stuff of adolescence; mature readers are forced to acknowledge that these sentences are probably only a preamble to the main argument. They contain no proper nouns, nor can we identify any definite theme. There is even disagreement about their tone, whether coolly ironic, as some insist, or ardent. The appearance of an unusual grammatical case, sometimes called the future pluperfect continuous, used to describe events that at some future point will have always been true (but are not yet)—hitherto known to appear only in the synthetic dogmas of the Thanatographical Society, and in certain highly circumscribed religious contexts—has suggested to some scholars that the Slow Book was originally intended for ritual use, but the proximity of the usage to a term designating a small hand plow that, as Pott and Mielcke have convincingly shown, would have borne a distinctly obscene double meaning in its culture of origin in the author’s time, argues otherwise. It is likewise unclear whether the situation that seems to be—with teasing incompleteness—sketched out in these few lines is intended as an illustration of general principles, a case study, a dramatic scene, or an extended metaphor. In short, we have no idea what The Slow Book is about. In our own time, we believe that it is almost certainly a work of fiction, but that may be because we live in the century of “if”. In each age, perhaps, we see the book we most need to read. Some have dared to suggest that the metal strip is blank until, with millennial fanfare, it advances into its new position, that no ur-text exists, that the book itself is brought into being—written—by our need. But that is exactly the sort of thing we would believe, in 7645. Shelley Jackson is the author of the story collection The Melancholy of Anatomy , the novel Half Life , and hypertexts including Patchwork Girl . The recipient of a Howard Foundation grant, a Pushcart Prize, and the 2006 James Tiptree Jr Award, she has also written and illustrated several children's books, including The Old Woman and the Wave ; Sophia, the Alchemist's Dog ; and Mimi's Dada Catifesto . Her stories and essays have appeared in Conjunctions , McSweeney's , The Paris Review , and Cabinet Magazine . In 2004 she launched her project SKIN , a story published in tattoos on 2095 volunteers. THE BOOK OF SOUNDS The Book of Sounds is just that: a book of sounds made when letters are construed in new ways to bring forth out of the alphabet new forms of speech. A book meant to be read out loud, The Book of Sounds is not unlike Laurie Anderson's O Superman or Brian Eno's Music for Airports in its attempt to make music out of the most primary and simplest of methods. It breaks language down to its barest bones and makes out of the page a drum that has never before been beaten upon. Peter Markus is the author of a novel, Bob, or Man on Boat (Dzanc Books) as well as two books of short fiction, Good, Brother and The Singing Fish , both of which were published by Calamari Press. A new collection of stories, We Make Mud , is now available from Dzanc Books. PARADISE OF THE BLIND by Celan Solen Although the reclusive Celan Solen published his first and only book in 1963—paying out-of-pocket for a limited edition of the slim collection No One May Have the Same Knowledge Again —he remained in American obscurity for almost three decades. In 1992 a micro-press in Istanbul brought out No One in Turkish. A German translation followed in 1995. Soon it became clear in literary circles Solen was a world-class (if highly unclassifiable) artist—lyrical, dense, enigmatic—who could undo the conventional short story in 397 words by inventing impossible worlds housed in impossible whirls (in “Small Sadnesses,” a single chartreuse tree frog in Borneo unknowingly holds time together by its very presence in the universe, while each letter of its tale refers, not to itself, but to the one preceding it in the alphabet). By his disappearance last year, Solen was considered master by a generation of writers and critics (except, alas, for those gentlemen in the Swedish Academy). Imagine, then, that generation’s delight at the discovery, locked away in the author’s safe-deposit box, of his second and final composition. Had Lynch’s Lost Highway been book instead of film, and had it been penned by Beckett at his least certain, revised by Barthelme at his most formally deranged, and typeset by Derrida at his most semiotically catastrophic, the result might have been something like Paradise of the Blind : interlacing narratives of a man composed of borrowed organs (whose most cheerless and difficult to locate, god, could only have been invented by an empty heart), a nonexistent medieval painting blamed for the ruin of future hope, and the spread of a philosophy that holds earth a mistake constantly recurring in the dream of a fish lying on the floor of the Atlantic (if the fish wakes, our world winks off)—all contained in a text packed with typed-over passages, torn postcards, poems that can be deciphered only when held up to a mirror, pages ornamented with trompe-l'œil paperclips and coffee stains and buzzing houseflies, some busy with illegible runes that dissolve when exposed to light, three that smell like roses or lemons (depending on whether a man or woman is reading), two that stain with the bloody fingerprints of the those who handle them, one that ignites when brushed with breath, thirteen sewn from baby skin, one that moans when touched, and one that screams—yet all without mass, unimaginable, and invisible. Lance Olsen is author of more than 20 books of and about innovative fiction, including, most recently, the novels Calendar of Regrets (2010) and Head in Flames (2009). He teaches experimental narrative theory and practice at the University of Utah. SUPERSTRUCTURE! by Barbara D'Albi As soon as I opened the third drawer of Barbara D'Albi's wooden novel, everything became hopeless. Now in Ithaca, there was no going back. And it wasn't just the intricate series of shelves, hinged doors and locked drawers which D'Albi layered into the book, no, lo, I was constructed anew by the story. Who else but D'Albi to imagine a God who becomes a carpenter and gets killed?! And makes it good! You want stories? D'Albi is a skyscraper, built with planes and levers. Momentarily I wondered where I could shelve this book, and then I thought: no matter; I couldn't put it down. Adam Robinson lives in Baltimore, where he runs Publishing Genius. He is the author of Adam Robison and Other Poems and Say, Poem. 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The purpose of this short paper is to examine whether a screen based virtual pet, specifically Nintendogs, gives any form of companionship comparable to a real pet. Nintendogs runs on a Nintendo DS, a mobile games console. The unit has a full colour screen showing an animated puppy which users must feed, water, walk, play with and train. An abundance of literature exists examining the benefits of owning a real pet yet very little has been written about human attachment (...) to virtual pets. Six hundred five Nintendog users were contacted by email with a request to complete a questionnaire about their interaction, 80 responded. Nine hundred requests were made to a similar group who were asked to respond about their real pet, if they had one. One hundred sixteen responses were received. Results indicate that a Nintendog does give companionship, but companionship which is significantly less than that given by a real dog or cat. (shrink)

Socrates’ eros model, St. Paul’s agape model, and Aristophanes’ shared-identity model have different takes on the constancy of love and on the loss of love. I illustrate how these models and themes find expression within literature, music, and film through the ages.

_On the Lyricism of the Mind: Psychoanalysis and Literature_ explores the lyrical dimension of the psychic space. It is not presented as an artistic disposition, but rather as a universal psychic quality which enables the recovery and recuperation of the self. The specific nature of human lyricism is defined as the interaction as well as the integration of two psychic modes of experience originally defined by the psychoanalyst Wilfred Bion: The emergent and the continuous principles of the self. Dana Amir (...) elaborates Bion's general notion of an interaction between the emergent and the continuous principles of the self, offering a discussion of the specific function of each principle and of the significance of the various types of interaction between them as the basis for mental health or pathology. The author applies these theoretical notions in her analytic work by means of literary illustrations showing how the lyrical dimension may be used to teach psychoanalytic readings of literature and explore the connection between psychoanalytic and literary languages._ _ On the Lyricism of the Mind presents a new psychoanalytic understanding of the capacity to heal, to grieve, to love and to know, using literary illustrations but also literary language in order to extract a new formulation out of the classic psychoanalytic language of Winnicott and Bion. This book will appear to a wide audience to include psychoanalysts, psychotherapists and art therapists. It is also extremely relevant to literary scholars, including students of literary criticism, philosophers of language and philosophers of mind, novelists, poets, and to the wide educated readership in general._ _. (shrink)

Locke had a lifelong love of travel literature. He was also a proponent of the construction of natural histories. Many commentators have noted that there is a close link between these two interests. They suggest that data gleaned from travel literature was used in the construction of natural histories. This paper uses Locke’s reading of François Pyrard’s Voyage to argue that the relationship between the two genres was closer than has been realized. Specifically, it is argued that (...) Pyrard’s discussion of the coconut displays characteristic features of a natural history. It pays careful attention to first-hand experience. It emphasizes empirical observation and eschews theory and speculation. It focuses on the practical utility of the coconut. And it records a number of specific measurements. These features allowed Locke to read this portion of a piece of travel literature as a piece of natural history. This allows us to recognize that the genres of natural history and travel literature were not distinct for early modern thinkers. They overlapped in significant ways. (shrink)

The idea that we need our beloveds has a rich and longstanding history in classic literature, pop culture, social sciences, and of course, philosophical treatments of love. Yet on little reflection, the idea that one needs one’s beloved is as puzzling as it is familiar. In what, if any sense, do we really need our beloveds? And insofar as we do need them, is this feature of love something to be celebrated or lamented? In the relevant philosophical (...) literature, there are various ways of understanding the type(s) of psychological need internal to love and whether and how the necessity in question contributes to love’s value. In this chapter, I survey and critically analyze several accounts of felt necessity in love and advocate for a philosophically neglected perspective on the nature and value of needing our beloveds. (shrink)

I make a contribution to the sociology of epistemologies by examining the neuroscience literature on love from 2000 to 2016. I find that researchers make consequential assumptions concerning the production or generation of love, its temporality, its individual character, and appropriate control conditions. Next, I consider how to account for these assumptions’ being common in the literature. More generally, I’m interested in the ways in which epistemic communities construe, conceive of, and publicly represent and work with (...) their objects of inquiry—and what’s thereby assumed about them and about the world. I argue that these implicit or explicit assumptions are a distinct type of explanandum, whose distinctiveness sociology hasn’t adequately appreciated and taken advantage of. I think it should and I hope it will. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Prelude to the Special Issue of the Journal of Aesthetic Education on Children’s LiteratureEllen Handler Spitz, Guest Editor (bio)When Professor Pradeep A. Dhillon, editor of the Journal of Aesthetic Education, suggested to me one day that I might guest edit a special issue of the journal devoted to the topic of children’s literature, my initial reticence was toppled and my sense of resolve buoyed as I began to (...) fantasize with billowing excitement about just how this might be done. First, I dreamt up the image of guest editor as bountiful hostess—setting out delectable dishes in an elegantly appointed banquet before the readers of this journal. That metaphor faded, however, despite Maria Tatar’s eloquent reminder to us in these pages that gastronomy has frequently and salubriously been juxtaposed with reading. I could not help worrying (even though children vociferously protest the logic of this problem) that one cannot have one’s cake and eat it too. Therefore, switching to music, I began to imagine the editor as conductor of a highly select ensemble of musicians, all gifted with glorious well-seasoned voices. They might perform a concert (recorded for posterity, of course) of pieces aimed at an audience of those who care passionately about aesthetics, education, literature, and above all about children, and at those who, perhaps with tenderness, still recall their own childhood reading.But how to accomplish this in practical terms? Well, I reasoned, I would simply invite a group of distinguished senior scholars who, having achieved their reputations in related fields and having written on other subjects as well, have published highly significant works pertaining to children’s literature. Each person would contribute a composition in his or her own voice, and there would be complete freedom, carte blanche, no holds barred—the only constraint being page numbers. Would the results turn out to be harmony or cacophony? Well, I speculated, if each voice were finely tuned, resonant, and clear, whether treble or bass, forte or pianissimo, the outcome—although [End Page 1] unpredictable in terms of specifics—would, unquestionably, be musical. But that, dear reader, is ultimately for you to judge, for you have now heard precisely how this issue came into being and will, we hope, read on. Each author I asked responded to my call with alacrity and, in his or her original style and tone, made my task as conductor a perfect pleasure.We offer you a work in three parts. First, you will encounter two melodious and euphonious pieces, contributed respectively by Marina Warner (“Out of an Old Toy Chest”) and Maria Tatar (“From Bookworms to Enchanted Hunters: Why Children Read”). Here, the overarching themes of children’s play and make believe are set up, analyzed, and explored. Playing and reading are placed side by side, as well as reasons why children love to read and how they are variously exhorted, extolled, and even occasionally excoriated by adults for doing so.Our second movement consists of three apparently unrelated motifs, contributed in turn by Gareth Matthews (“Philosophical Adventures in the Lands of Oz and Ev”), Seth Lerer (“Style and the Mole: Domestic Aesthetics in The Wind in the Willows”), and myself (“Ethos in Steig’s and Sendak’s Picture Books: The Connected and the Lonely Child”). Actually, however, these essays are not unrelated, for each motif arises from a particular mode of interpretation grounded in turn in philosophy, in literary history and theory, and in psychology. The works considered are all by notable writers for children: L. Frank Baum, Kenneth Grahame, William Steig, and Maurice Sendak.For our grand finale, we offer two sonorous, seriously challenging contributions, one by Jack Zipes (“Why Fantasy Matters Too Much”) and the other by Eliza T. Dresang and Bowie Kotrla (“Radical Change Theory and Synergistic Reading for Digital Age Youth”). These works grapple with contemporary matters, with fantasy, with technology, and with “radical change” as these can be discerned in the literature, imagery, and general cultural lives of today’s and even, quite possibly, of tomorrow’s children. Gesturing toward the future even more strikingly, we conclude this work with a flourishing coda in the actual voice of a living child... (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)

Mixing passion and humor, a personal work of literary criticism that demonstrates the power of our greatest books to illuminate our lives. Why do we read literature? For Arnold Weinstein, the answer is clear: literature allows us to become someone else. Literature changes us by giving us intimate access to an astonishing variety of other lives, experiences, and places across the ages. Reflecting on a lifetime of reading, teaching, and writing, The Lives of Literature explores, with (...) passion, humor, and whirring intellect, a professor's life, the thrills and traps of teaching, and, most of all, the power of literature to lead us to a deeper understanding of ourselves and the worlds we inhabit. As an identical twin, Weinstein experienced early the dislocation of being mistaken for another person--and of feeling that he might be someone other than he had thought. In vivid readings elucidating the classics of authors ranging from Sophocles to James Joyce and Toni Morrison, he explores what we learn by identifying with their protagonists, including those who, undone by wreckage and loss, discover that all their beliefs are illusions. Weinstein masterfully argues that literature's knowing differs entirely from what one ends up knowing when studying mathematics or physics or even history: by entering these characters' lives, readers acquire a unique form of knowledge--and come to understand its cost. In The Lives of Literature, a master writer and teacher shares his love of the books that he has taught and been taught by, showing us that literature matters most because we never stop discovering who we are. (shrink)