Approaching the study of literature as a unique form of the philosophy of language and mind--as a study of how we produce nonsense and imagine it as sense--this ...

This essay concentrates on philosophizing that happens outside and in addition to planned philosophical discussions, philosophizing that comes alive in practice, that is intensified in children’s encounters with the world, with others, with language, in play. It contemplates how adults, educators and parents encounter children and are affected by children’s philosophical explorations. What is the role of the adult in children’s philosophical questioning? How can we respond to children’s philosophizing? What does it mean to do so? The essay explores philosophical (...) exercises for early childhood educators in a range of examples from literature – memoirs, autobiographies, fiction and works that play in between those. By thinking through these literary examples, it investigates how educators can prepare for philosophical encounters with children through exercises of reading and thinking. In doing so the essay experiments with a form of writing that itself becomes a philosophical exercise. Through the examples and exercises the essay suggests how early childhood educators can train for a pedagogical immediacy that involves listening to the philosophical and existential questioning in children’s play, tantrums, and silences. The investigations and readings of the examples are not meant to lead to conclusions that can be directly applied in pedagogical practices; neither do they work as arguments for listening or listening in a particular way to children. What we get, and what I am looking for, is rather the experience of working and thinking through these examples. (shrink)

The interweavement of philosophy and literature allows to gain a new sense from the own, lived experiences and to express them through narrations, as the paradigmatic works of Nietzsche, Deleuze and Borges show. They all deal with the inexorability of time and the fact of being at the mercy of the unwanted aspects of Being-in-the-world, the detailed reading of which allows us to assert that the event of the emergence of a new sense lies in the experience of (...) the creative power of the instant, wherein the difference is introduced as the first principle through a Copernican turn and where the eternity expresses itself. In fact, the instant in its repetition results from a strike of chance, an assumption which leads to a new understanding not only of time as a network of destinies, but of eternity as extensive, intensive or ecstatic eternity. Being involved in this experience means to undergo an existential experience of time which produces an irrevocable change of the self. (shrink)

In 1997, the Nobel Prize-winning novelist J. M. Coetzee, invited to Princeton University to lecture on the moral status of animals, read a work of fiction about an eminent novelist, Elizabeth Costello, invited to lecture on the moral status of animals at an American college. Coetzee's lectures were published in 1999 as The Lives of Animals, and reappeared in 2003 as part of his novel Elizabeth Costello; and both lectures and novel have attracted the critical attention of a number of (...) influential philosophers--including Peter Singer, Cora Diamond, Stanley Cavell, and John McDowell. In The Wounded Animal, Stephen Mulhall closely examines Coetzee's writings about Costello, and the ways in which philosophers have responded to them, focusing in particular on their powerful presentation of both literature and philosophy as seeking, and failing, to represent reality--in part because of reality's resistance to such projects of understanding, but also because of philosophy's unwillingness to learn from literature how best to acknowledge that resistance. In so doing, Mulhall is led to consider the relations among reason, language, and the imagination, as well as more specific ethical issues concerning the moral status of animals, the meaning of mortality, the nature of evil, and the demands of religion. The ancient quarrel between philosophy and literature here displays undiminished vigor and renewed significance. (shrink)

This volume brings together a group of essays that examine the relationship between philosophy and literature - disciplines that have been opposed as often as they have been combined. While the focus is primarily on the plays of Shakespeare, there is a lengthy essay on the use of the style term maniera in art history, and a concluding survey and analysis of the relationship between philosophy and literature, from Plato to the present. The author applies the (...) theory of meaning and logical analysis to contemporary problems in the arts and aesthetics. (shrink)

Hans-Georg Gadamer, the major proponent of philosophical hermeneutics, reveals himself here as a highly sensitive reader and critic of the German literary tradition. This is not the work of a specialist as narrowly defined in the typical literary study. Although he is a master of the techniques of criticism, Gadamer always sees the study of literature as a fundamentally human activity where human beings, generation after generation, pose their questions to an encroaching darkness that threatens to rob them of (...) their confidence in the meaning of life and death. Never pedantic or antiquarian, these studies show such literary giants of the German past as Goethe and Hölderlin as our contemporaries. Gadamer demonstrates his ability to achieve the creative interplay of literature and philosophy which, in isolation, easily degenerate into sterile academic games. Typical of this dialogue are essays on Rainer Maria Rilke, including an examination of a problem of punctuation in one of his poems. What would be, in less capable hands, one more solution to a literary problem, turns out to be one of Gadamer's creative approaches to the mystery of man's relation to time and death. (shrink)

Through essays, Mount Mary College professors from various disciplines analyze several pieces of literature from a variety of genres and authors to show how ...

In his recent book, English Poetry; A Critical Introduction , Mr. F. W. Bateson makes the observation that as romantic criticism is now dead it should receive “decent and final interment.” By “romantic” criticism he seems to have in mind either what he calls the Pure Sound theory of poetry, which would have us believe that meaning has nothing to do with poetry, that poetry makes nothing but an emotional or physiological impact upon us; or the suggestion theory which (...) argues that “a good poem should mean very little while suggesting a good deal.” Both of these, according to Mr. Bateson, attempt “to justify the exclusion of meaning from poetry.”. (shrink)

Language and imagination play a prominent role in Merleau-Ponty’s early reflections on literature. The “literary use of language” is opposed to usual or ordinary language, and it is also assigned the task of rejuvenating the latter. Merleau-Ponty is here openly inspired by Saussure and more secretly by Bergson. Poetic language is said to effect a coherent deformation of a linguistic code and to liberate signifiers from their subordination under a subjective meaning that directly refers to external objects. (...) class='Hi'>Literature also illustrates, in exemplary fashion, the creative power of imagination and the effective force of fictions. This is where the discussion with Sartre comes into the picture. The article explores, in particular, what personal identity and the meaning of real facts owe not only to language but also to the imagination of possibilities. It further investigates the different notions of truth that apply to literary works of art. Literature is also shown to undermine the conception of the relation between fact and meaning, actuality and possibility, reality and fiction, truth and semblance in terms of dual oppositions. Most importantly, literary fictions and narratives can make a real change in the life of writers and readers by unfolding their unrealized personal potentialities, by refining their emotional sensibility, and by distancing them from themselves. In all this, an imaginative mode of ‘projection’ plays a central role. Le langage et l’imagination jouent un rôle de premier plan dans les réflexions de Merleau-Ponty sur la littérature. « L’usage littéraire du langage » est opposé au langage usuel ou ordinaire, et la tâche lui est également dévolue de rajeunir ce dernier. Merleau-Ponty s’inspire ouvertement de Saussure et plus secrètement de Bergson. Le langage poétique est dit effectuer une déformation cohérente du code linguistique et libérer les signifiants de leur subordination à une signification subjective qui réfère directement aux objets externes. La littérature illustre également, de manière exemplaire, la puissance créatrice de l’imagination et la force effective de la fiction. Ici la discussion avec Sartre entre en jeu. Mon article explore en particulier ce que l’identité personnelle et la signification des faits réels doit non seulement au langage, mais également à l’imagination des possibilités. Il discute également les différentes notions de vérité qui s’appliquent aux oeuvres d’art littéraires. Je montre aussi que la littérature empêche de concevoir comme des oppositions duelles les relations entre fait et signification, actualité et possibilité, réalité et fiction, vérité et vraisemblance. Par dessus tout, les fictions et narrations littéraires peuvent provoquer de réels changements dans la vie des écrivains et des lecteurs en déployant leurs potentialités personnelles non réalisées, en affinant leur sensibilité émotionnelle et en se distanciant d’eux-mêmes. Dans tout cela, le mode imaginatif de la projection joue un rôle central.Linguaggio e immaginazione rivestono un ruolo centrale nelle prime riflessioni di Merleau-Ponty sulla letteratura. L’“uso letterario del linguaggio” viene opposto al linguaggio ordinario o quotidiano e al primo viene inoltre assegnato l’incarico di rinnovare il secondo; in questo, Merleau-Ponty si ispira apertamente a Saussure e, in modo meno manifesto, a Bergson. Il linguaggio poetico è ritenuto in grado di imprimere una deformazione coerente a un determinato codice linguistico e di liberare i significanti dalla loro subordinazione a un significato soggettivo che si riferisce direttamente a oggetti esterni. La letteratura, inoltre, illustra in modo esemplare il potere creativo dell’immaginazione e la forza effettiva della finzione letteraria. È qui che entra in gioco la discussione con Sartre. Questo articolo esplora, in particolare, ciò che l’identità personale e il significato dei fatti reali debba non solamente al linguaggio, ma anche all’immaginazione delle possibilità; indaga inoltre le diverse nozioni di verità che possono essere applicate all’opera d’arte letteraria. L’articolo mostra poi come la letteratura possa mettere in discussione il carattere di opposizione binaria della relazione tra fatto e significato, attualità e possibilità, realtà e finzione, verità e verisimiglianza. In maniera significativa, le finzioni e le narrazioni letterarie possono cambiare la vita di scrittori e lettori svelando le loro potenzialità personali irrealizzate, raffinando la loro sensibilità emotiva e ponendoli a distanza da se stessi. In tutto questo, una modalità immaginativa di “proiezione” svolge un ruolo di primaria importanza. (shrink)

It is no surprise if a good quality communication unit succeeds in seizing the attention of the intended audience (or readership) and is able to let people see precisely what the author wanted them to see, while avoiding that the average addressee become aware of what the author wants to convey in an almost subliminal way. In this respect Plato is no exception. Nevertheless the study of these resources, far from having been somewhat systematic, still is largely neglected, and only (...) a minority of commentators find it important to pay head to the communicational strategies which are at work in Plato's dialogues. It will be argued that the shades of meaning and the contextualization of thought (a) systematically grant to Plato ample room for affecting the way a reader comes to perceive his points of doctrine and (b) often let him convey a biased perception of his arguments.The paper includes an outline of the already longstanding debate on these matters, a case study (Memo 80–82), and a sketchy typology of how the literary working-out is able to affect the reader's perception of the line of thought, esp. within the aporetic dialogues. (shrink)

Hans-Georg Gadamer, the major proponent of philosophical hermeneutics, reveals himself here as a highly sensitive reader and critic of the German literary tradition. This is not the work of a specialist as narrowly defined in the typical literary study. Although he is a master of the techniques of criticism, Gadamer always sees the study of literature as a fundamentally human activity where human beings, generation after generation, pose their questions to an encroaching darkness that threatens to rob them of (...) their confidence in the meaning of life and death. Never pedantic or antiquarian, these studies show such literary giants of the German past as Goethe and Hölderlin as our contemporaries. Gadamer demonstrates his ability to achieve the creative interplay of literature and philosophy which, in isolation, easily degenerate into sterile academic games. Typical of this dialogue are essays on Rainer Maria Rilke, including an examination of a problem of punctuation in one of his poems. What would be, in less capable hands, one more solution to a literary problem, turns out to be one of Gadamer’s creative approaches to the mystery of man’s relation to time and death. (shrink)

Bringing allegory into the light from the neglect into which it fell means focusing on the wondrous heights of the human spirit in its significance for culture. Contemporary philosophies and literary theories, which give pre-eminence to primary linguistics forms (symbol and metaphor), seem to favor just that which makes intelligible communication possible. But they fall short in accounting for the deepest subliminal founts that prompt the mind to exalt in beauty, virtue, transcending aspiration. The present, rich collection shows how allegory, (...) incorporating the soaring of the spirit, offers highlights for culture, with its fluctuations and transformation. This collective effort, rich in ideas and intuitions and covering a vast range of cultural manifestations, is a pioneering work, retrieving the vision of the exalted human spirit, bringing together literature, theatre, music and painting in a variety of revealing perspectives. The authors include: M. Kronegger, Ch. Raffini, J. Smith, J.B. Williamson, H. Ross, M.F. Wagner, F. Divorne, L. Oppenheim, D.K. Heckerl, N. Campi de Castro, P. Saurez Pascual, M. Alfaro Amieiro, H. Fletcher Thompson, R.J. Wilson III, and A. Stensaas. For specialists, students and workers in philosophy, comparative literature, aesthetic phenomenologists and historians of art. (shrink)

Purpose. The purpose of the study is to show the connection of romanticism with the anthropological doctrine that goes back to Hegelianism and Kantianism, and at the same time – with the concepts of the future, structuralism and postmodernism. Theoretical basis. The man is a central figure of the Romantic literary, therefore it makes sense to single out romantic human anthropological doctrine and the image of man associated with a specific historical and cultural era called the "epoch of romanticism"; to (...) show that many romantic philosophical positions remained relevant to the basic foundations of contemporary anthropological research and coincide with it in analytical and critical thinking about a man, a person, his historical and evolutionary fate. Originality. The romantic worldview determined the specifics of anthropological discourse, both logical and illogical, remaining symbols and attaching, as for example, a real historical anecdote, a popular history, a philosophical thought, a myth, a famous literary episode and the arts multiplied by creative inspiration and imagination. This tendency determined the fragmentation of thinking and the scientific image of man as a dual being, nevertheless, presented and described in all the variety of relations with the world and with himself, that allows us to call this area of thought "the romantic human science". Conclusions. Structural analysis of numerous romantic texts allows us to draw the following conclusion: with mythopoetic imagery and anthropological thought about a man, romantic writers introduced the reader to any wisdom, to philosophical understanding of their human essence, to past and modern teachings, in a way processed antique, medieval and enlightening views, in which an important place was given to reflections on the place of man in nature, society, and history. Correlating the well-known statements about a person as a descendant of the "old Adam", "person", "personality", "soul", with the modern idea of historical and social development, about the evolution of the consciousness of a person who revealed himself as an individual in modern times, with scientific and aesthetic views, the writers of the first half of the XIX century gave romantic thought anthropological meaning and, in fact, laid the foundations of historical, social, psychological, cultural and psychoanalytic anthropology. (shrink)

Aims of education: historicism and In the castle of my skin -- The meaning of life and Black lightning -- The inner radiance of the shelf in Palace of the peacock -- Knowledge and human understanding in A house for Mr Biswas -- Existentialism and The children of Sisyphus -- Tragic vision in Wide Sargasso Sea -- African conceptions of a person and Myal -- The law of karma in Sastra -- The moralty of reparations in Salt -- Plato (...) versus Kincaid?: A reading of The autobiography of my mother. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response and Rejoinder DOES PHILOSOPHY NEED LITERATURE? a critical response by Hugh Mercer Curtler In the second issue of this journal,1 Jesse Kalin argues most provocatively that "philosophy needs literature" because the latter is capable of "rehearsing and exhibiting," as philosophy is not, "the moral construction of one's own life, namely that part of it in which concern and value" are involved (p. 182). (...) Two of John Barth's novels— The Floating Opera and The End of The Road—are used as examples and, according to Kalin, provide evidence for his thesis that philosophical novels present a certain kind of philosophical material in the only way it can be presented. More specifically, Kalin claims that these two novels (1) are both about nihilism, (2) advance the philosophical argument that nihilism is false, and (3) present this argument in a way it could not otherwise be presented. In Kalin's words, "the philosophical argument of these two novels cannot be presented in the normal non-literary mode exemplified by the essay and journal article" (p. 178). I shall examine each of these claims in turn. To say that Barth's novels are "about" moral nihilism is either trivially true or wrong-headed. If Kalin means that the novels "have to do with" moral nihilism, this is^ certainly true but not very significant. We might also say The End of The Road is about illegal abortion, the delights of teaching in a community college, or the trials and tribulations of a bachelor in a small town in Maryland. It appears, then, that Kalin has something more in mind; namely, that the point of the novel is an examination of moral nihilism. That this is indeed Kalin's intention would seem apparent from the second claim listed above: that Barth's novels argue that moral nihilism is "false." I shall examine the question ofwhether these novels "argue" the falsity of moral nihilism in a moment, but first I must raise an objection to the prior claim that such is the point of the novel. A novel does not make a point; it makes a great many points, it 110 Hugh Mercer Curtler111 provokes thought and raises questions, it suggests possibilities, it states truths (plural), and above all else it presents dramatically. That is to say, insofar as the novel is a work of art it does these things, and it is primarily a work of art. In terms of the contents of the novel, what we find is a host of images, thought fragments, figures, suggestions, hints, bits and pieces, and —if the novelist is a good one, like Barth—some valuable insights. If the novelist is a great one, then the insights are profound and worthy of repeated examination and reflection, although we may not always be able to make out precisely what the novelist has said; the novelist is a master of disguises and sleight of hand. The way of saying things is for him quite often more important than what is said. It is clear I share with Kalin very few assumptions about the nature of literature, or poetry, and its relationship to philosophy. With regard to his central claim that the "argument" of Barth's novels is (1) philosophical and (2) incapable of being presented in another form, I shall argue that because (2) is true (1) must be false. To prepare the way, I shall begin with a brief examination of the nature of "argument" as it applies in our present context. Kalin states that the argument presented by Barth in the novels is a "literarily advanced exhibitionary argument" (p. 180). What does it mean, though, to say the novel "argues" at all? Kalin surely does not contend that Barth is arguing philosophically in the manner of, say, Gilbert RyIe or even Kalin himself, hence his characterization of the argument as "exhibitionary." Barth's "argument," we must assume, seeks to persuade rather than to prove in any narrow logical sense of that term. Persuasion, in turn, is intuitive rather than reasoned, as suggested by Kalin's insistance that the argument cannot be separated from its literary form. As Kalin would have it, the novelist creates a... (shrink)

The historical and typological failure to represent in writing the phenomenon of the moment--light, wonder, love, unity, god, etc.--has repeatedly turned into the success of performance: writing. An examination of the various textualizations of the moment reveals it as a signifier that empties itself of the meaning it is supposed to signify, while instead it generates ever new meaning. Therefore the historical and typological textualizations of the moment of epiphany, dialectical change, recollection, deferral, etc., must be read as (...) a genealogy and an economy . This reading of the moment consists in a three-part discussion of philosophical and literary texts on epiphany in Plato and Dante, on the romantic moment in Kant, Schelling, Schopenhauer, Kierkegaard, and Wordsworth, and on the post/modern moment in Heidegger, Adorno, Nietzsche, Derrida, Goethe, Musil, and Beckett. The romantic moment deserves special attention because of its instability in foregrounding presence and absence. An intimate relationship can be seen between the romantic moment of instability and the post-modern moment of a regulated instability which ultimately shows that the romantic/post-modern moment constitutes the momentum of all previous periods and textualizations of the moment. This examination of the genealogical and economic shapings of the moment reveals it as a rhetorical device. In terms of a politics of semiotics the moment always performatively subverts its political representation. (shrink)

The course of German philosophy in the twentieth century is one of the most exciting, diverse and controversial periods in the history of human thought. It is widely studied and its legacy hotly contested. In this outstanding introduction, Julian Young explains and assesses the two dominant traditions in modern German philosophy - critical theory and phenomenology - by examining the following key thinkers and topics: Max Weber's setting the agenda for modern German philosophy: the `rationalization' and `disenchantment' (...) of modernity resulting in 'loss of freedom' and 'loss of meaning'; Horkheimer and Adorno: rationalization and the 'culture industry'; Habermas' defence of Enlightenment rationalization, the 'unfinished project of modernity'; Marcuse: a Freud-based vision of a repression-free utopia; Husserl: overcoming the 'crisis of humanity' through phenomenology; Early Heidegger's existential phenomenology: `authenticity' as loyalty to 'heritage'; Gadamer and `fusion of horizons' ; Arendt: the human condition; Later Heidegger: the re-enchantment of reality. German Philosophy in the Twentieth Century: Weber to Heidegger is essential reading for students of German philosophy, phenomenology, and critical theory, and will also be of interest to students in related fields such as literature, religious studies, and political theory. (shrink)

The semiotic model that disregards the normative context represented by the protagonist examines how we can distinguish the three conceptions of heroism, namely hero, semi-hero, and anti-hero. What are the methodological criteria whereby we can follow the protagonist in the text from beginning to end? To answer them, this article tries to present a model made up of five stages/criteria which constitute a semiotic model by means of which the connection to heroism can be determined. These are: (1) motivation, (2) (...) will, (3) ability, (4) execution, and (5) outcome. These stages can be logically classified into three categories: 1) Pre-action (the first three stages), 2) Action (the fourth stage), 3) Post-action (the fifth stage). The model proposed here suits all types of narrative and drama and all performance and film production arts. (shrink)

Crisis means “decisive moment,” a dangerous time when action must be taken to avoid a complete disaster. In the digital age, the influx of information is extremely rapid. Many people lack the wisdom and prudence to process data correctly and to take timely moral decisions. Too much information is driving people crazy as increase in knowledge goes with an upsurge in crime rate, particularly cybercrime. This historic period is an era of multiple crises, especially crisis of human values, particularly moral (...) ones. What is so special about the crisis of this age? Why does increase in knowledge not correspond to a rise in civility and economic power for all? Is knowledge no longer empowering? Can humans co-exist in tranquility without moral values? This paper will critically reflect on the concerns raised, the challenges and prospects of the digital age, ask seminal questions and proffer invaluable solutions. And also assert the functional role of philosophy, which is needed in order to stem the moral and social crises of the information age. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Being in Time: Selves and Narrators in Philosophy and LiteratureRuth GroenhoutBeing in Time: Selves and Narrators in Philosophy and Literature, by Genevieve Lloyd; 192 pp. New York: Routledge, 1993, $49.95 cloth, $19.95 paper.Philosophers have long been telling stories about temporal consciousness. Augustine explained it as an imperfect reflection of the eternal God in whose image persons are made; Kant explained it as the transcendental unity (...) of apperception, assumed in any act of understanding while always just out of range; Nietzsche explained it as eternal recurrence. These issues also appear in literary treatments of the self, particularly those by Proust and Woolf. In this book, Genevieve Lloyd compares a broad range of philosophical discussions to these two writers. [End Page 404]Being in Time argues for several fascinating conclusions, among them a rejection of the claim that modern and premodern philosophy implicitly assumed the existence of a unified subject. Although Proust and Woolf are often held up as paradigmatic of the fragmented self, which also plays a prominent role in Derrida, this is not a postmodern discovery, Lloyd claims; the unified subject has been problematic throughout the Western philosophical tradition. She concludes, nonetheless, that postmodern thought does represent a new departure, at least to the extent that it treats the fragmentation of self not as a problem to be solved, but as a fundamental feature of what it is to be human.Meanwhile, Being in Time also pursues a second theme: the relationship between philosophy and fictional narrative. Drawing on Ricoeur and Aristotle, Lloyd argues that the best way to understand philosophy is to approach it as a story that illuminates and explains the human self by means of metaphor. Literature and philosophy both involve the telling of stories that allow us to make sense of our world and our place in it.Does it follow that literature and philosophy are indistinguishable? They belong to the same family; each offers insight into the human condition, and does so through the medium of myth, story, narrative, or fiction. They are not identical twins, however, since philosophy uses stories and metaphors to draw connections among universals while literature tells its stories about universals by means of particulars. (Compare Hobbes’s State of Nature to Defoe’s Robinson Crusoe.) For Lloyd, though, it is a mistake to discard the narrative and literary aspects of a philosophical work in an effort to get at what might be considered its real point (namely, deductive arguments). The illuminating power of philosophy lies not in truncated arguments, but rather in the richer narratives, metaphors, and stories that are used to develop and explain them.Her claim for the unique nature of postmodern philosophy may not stand up to scrutiny—from Heraclitus through the skeptics and into the nominalist tradition of the Middle Ages, there has been a strand of Western thought that emphasizes the fragmentary, contingent nature of the self—but Lloyd’s claims for the family resemblance between literature and philosophy should be of interest to students of both subjects, particularly those concerned with the ways in which style, choice of metaphor, and narrative voice are relevant to philosophical study. The book makes an eloquent plea for reading philosophy instead of stripping its arguments of the narrative flesh with which they were originally endowed.Ruth GroenhoutSouthwest Missouri State UniversityCopyright © 1995 The Johns Hopkins University Press... (shrink)

Examining both why and how Emerson evades the ancient quarrel between literature and philosophy, this book entirely rethinks the nature of Emerson's radical individualism and its relation to the possibility of an ethics and a politics. The author argues that the quarrel between literature and philosophy never took place in America, and that instead traditional philosophical work staged itself here as a form of literary praxis and cultural therapeutics, epitomized in the work of Emerson. A revisionary (...) study of some of Emerson's central essays, Less Legible Meanings also invites the reader to reconsider the nature of Emerson's influence on contemporary American culture and to discover new ways in which we might continue to understand his work. Interdisciplinary in scope, the book makes equal use of the history of philosophy, psychoanalytic theory, and cultural history. (shrink)

The book is about three things. First, how Ancient thinkers perceived humans as like or unlike other animals; second about the justification for taking a humane attitude towards natural things; and third about how moral claims count as true, and how they can be discovered or acquired. Was Aristotle was right to see continuity in the psychological functions of animal and human souls? The question cannot be settled without taking a moral stance. As we can either focus on continuity or (...) on discontinuities, how should natural science draw the boundaries? Moral agents act and react in a world that they see under a certain description, and there is no value free science that can settle what is the correct description. This book asks us to think about where moral justification could come from, and suggests that the supposed ‘moral status’ of the object cannot provide the answer. For the moral status of the object is a product of our own imagination, and once we see that, we also see that there remains the question where we ought to have the will to see it. Furthermore, since the perception of moral truth involves the development of imagination and will, the means to attain it will be better served by engagement with poetry and literature than with enquiries that seek to exclude the engagement of the imagination, or any appeal to the beauty of nature or the love of one's fellow creatures. (shrink)

The relationship between philosophy and aesthetic criticism has occupied Robert Pippin throughout his illustrious career. Whether discussing film, literature, or modern and contemporary art, Pippin's claim is that we cannot understand aesthetic objects unless we reckon with the fact that some distinct philosophical issue is integral to their meaning. In his latest offering, Philosophy by Other Means, we are treated to a collection of essays that builds on this larger project, offering profound ruminations on philosophical issues (...) in aesthetics along with revelatory readings of Henry James, Marcel Proust, and J. M. Coetzee. (shrink)

Philosophy and literature are natural allies--philosophy supplying perennial themes raised anew from one generation to the next, literature providing vivid illustrations of the meaning and poignancy of abstract thought. Illuminates basic philosophical concepts through literary worksThis unique text introduces students to philosophy through the medium of great literature. The book is divided into seven parts, each devoted to the illumination of a basic philosophical concept-such as Knowledge, Truth, Personal Identity, Ethics, and justice through (...) the use of literary selections from Sophocles (Oedipus the King), James Joyce (Araby), Kafka (The Metamorphosis), and John Dos Passos (The House of Morgan), among many others. The editors have given special attention to choosing the right combination of literary piece and philosophical issue to ensure that the story or play lend itself to philosophical scrutiny. Selections of the best philosophical writingsThe questions raised by these selections are then explored further through some of the best philosophical writings available, including the writings of Aristotle, William James, Plato, Locke, John Stuart. Mill, and many other classic philosophers, as well as contemporary pieces from Richard Rorty, Peter Unger, John Rawls, John Hick, and others. In each chapter, the editors have attempted to include the clearest presentation of a particular point of view, sometimes going back to an earlier article not generally found in other current texts. Throughout, they have made an effort to balance the analytic tradition with hermeneutics and feminist philosophy. Excellent introduction for studentsEvery chapter is introduced with an essay by the editors that provides a unifying thread through the various philosophical and literary pieces that follow. Each chapter ends with discussion questions and suggestions for further study. The result is a volume that will provide students with a valuable tool for illuminating timeless, as well as contemporary issues, and an introduction to philosophy that they will remember and to which they can return over and over again. (shrink)

Reedition of papers in English spanning from 1986 to 2009 /// Historical background -- An imposed legacy -- Twentieth century contemporaneity -- Appendix: The philosophy of teaching legal philosophy in Hungary /// HISTORICAL BACKGROUND -- PHILOSOPHY OF LAW IN CENTRAL & EASTERN EUROPE: A SKETCH OF HISTORY [1999] 11–21 // PHILOSOPHISING ON LAW IN THE TURMOIL OF COMMUNIST TAKEOVER IN HUNGARY (TWO PORTRAITS, INTERWAR AND POSTWAR: JULIUS MOÓR & ISTVÁN LOSONCZY) [2001–2002] 23–39: Julius Moór 23 / István (...) Losonczy 29 // ON THE SURVIVAL OF ILMAR TAMMELO’S LETTER AND MANUSCRIPT ADDRESSED TO PROFESSOR MOÓR [2009] 41–44 // PROFESSIONAL DISTRESS AND SCARCITY: ALEXANDER HORVÁTH AND THE LEGACY OF NATURAL LAW IN HUNGARY [2005] 45–50 // HUNGARIAN LEGAL PHILOSOPHY IN THE 20TH CENTURY [2011] 51–72: I. The Pre-war Period [1. Bódog (Felix) Somló (1871–1920) 52] / II. The Inter-war Period [2. Gyula (Julius) Moór (1888–1950) 54 / 3. Barna Horváth (1896–1973) 55 / 4. József Szabó (1909–1992) 57 / 5. István Bibó (1911–1979) 58 / 6. Tibor Vas (1911–1983) 59 / 7. István Losonczy (1918–1980) 60] III. The Post-war Period (Communism) 61 [8. Imre Szabó (1912–1991) 62 / 9. Vilmos Peschka (1929–2006) 63 / 10. Kálmán Kulcsár (1928–2010) 65] IV. Contemporary Trends and Perspectives 66 [11. Csaba Varga (b. 1941) 66 / 12. András Sajó (b. 1949) 69 / 13. Béla Pokol (b. 1950) 70] V. Our Understanding of the Law Today 71 --- AN IMPOSED LEGACY -- LOOKING BACK [1999] 75–94: 1. On Ideologies and Marxism in general 75 / 2. Life of an Intellectual in Communism 79 / 3. On Marxism and its Socialist Cultivation in Particular 82 / 4. Legal Philosophising [4.1. Approaches to Law 87 / 4.2. Arriving at a Legal Ontology 91] 5. Conclusion 94 // LEGAL PHILOSOPHY OF THE MARXISM OF SOCIALISM: HUNGARIAN OVERVIEW IN AN INTERNATIONAL PERSPECTIVE [2003] 95–151: I. Development and Balance of Marxist Philosophising on Law in Hungary [1. Preliminaries (until 1948) 96 / 2. Stalinism (from the Soviet Occupation on) {a) Liquidation of the »Residues« 98 / b) Soviet-type Uniformisation [Gleichschaltung] 99 / c) Denial of the Past, with a Dual Effect 99 / d) »Socialist Legality«, Drawn from the Progressive Past of Western Europe 103 / e) Search for the Germs of Scholarly Evolution 103} 3. Institutionalisation Accompanied by Relaxation (from the 1960s) [a) Epigonism Becoming the Scholarly Ideal 104 / b) Stalinism in a Critical Self-perspective 105 / c) Disciples Diversified Launching their own Trends 107 / d) Comparatism 110 / e) (Re)discovery of the Western Legal Philosophy as a Competitor 112 / f) A Leading Mediatory Role within the »Socialist World Order« 114} 4. Disintegration (in the 1980s) {a) Attempt at Laying New Foundations for Marxism with Epigonism Exhausted 115 / b) Competitive Trends Becoming Exclusive 115 / c) Western Legal Philosophy Acknowledged as a Fellow-traveller within the Socialist Orbit Proper 116 / d) Hungarian Legal Theory Transforming into a National Corpus 118 / e) The Practical Promotion of Some Balance 119} 5. End-game for a Substitute State Religion (in the 1990s) 120] II. Marxist Legal Philosophising in an International Perspective [Ad 1: To the Preliminaries 122 / Ad 2: To Stalinism 124 / Ad 3: To Institutionalisation Accompanied by Relaxation {a) Late Separation from Vishinskiy’s Theory 125 / b) From Ideological Self-closure to an Apparently Scholarly Openness 127 / c) From Political Ideology to Genuine Scholarship 130 / d) International Recognition of Socialist Jurisprudence as an Independent Trend 135 / e) Together with Western Trends 137} Ad 4: To Disintegration {a) Loss of Attraction as Mere Epigonism 139 / b) Exclusivity of Competing Trends 139 / c) Fellowship with »Bourgeois« Trends 140 / d) An own Trend, Internationally Recognised 141 / e) A yet Progressive Role 142} Ad 5: To the Present state 143] III. A Temporary Balance 145 // AUTONOMY AND INSTRUMENTALITY OF LAW IN A SUPERSTRUCTURAL PERSPECTIVE [1986] 151–175: 1. The Strange Fate of Concepts 151 / I. A Relational Category 2. Basis and Superstructure: The Genuine Meaning 154 / 3. Exerting Social Influence as a Conceptual Minimum 156 / 4. Relationships within the Prevailing Totality 158 / 5. Attempts at Interpretation in Hungary 159 / 6. The Lukácsian Stand 162 / 7. Lukács’s Recognitions 168 / 8. Some Criticism 169 / II. The Law’s Understanding 171 / 9. Law Interpreted as Superstructure 171 / 10. Conclusions Drawn for the Law’s Understanding 173 // LEGAL THEORY IN TRANSITION (A PREFACE FROM HUNGARY) [2000] 177–186 // DEVELOPMENT OF THEORETICAL LEGAL THOUGHT IN HUNGARY AT THE TURN OF THE MILLENNIUM [2006] 187–215: 1. International Environment 188 / 2. The Situation in Hungary 190 / 3. Outlook I: The Historical-comparative Study of Legal Cultures and of the Lawyerly Way of Thinking 203 / 4. Outlook II: The Paradigmatic Enigma of the Transition to Rule of Law 207 / 5. Incongruity in Practice 213 / 6. Perspectives 214 --- TWENTIETH CENTURY CONTEMPORANEITY -- CHANGE OF PARADIGMS IN LEGAL RECONSTRUCTION: CARL SCHMITT AND THE TEMPTATION TO FINALLY REACH A SYNTHESIS [2002] 219–234: 1. Dangers of Intellectualism 219 / 2. Schmitt in Facts 221 / 3. Schmitt and Kelsen 222 / 4. On Bordering Conditions 226 / 5. With Kelsen in Transubstantiation 230 / 6. Polarisation as the Path of Theoretical Development 232 // KELSENIAN DOCUMENTS IN HUNGARY: CHAPTERS ON CONTACTS, INCLUDING THE GENESIS OF AUTOBIOGRAPHY [2006] 235–243: 1. Preludes 235 / 2. The Search for Moór’s Bequeath 235 / 3. Moór’s Collegiality 238 / 4. Bibó as a Disciple Translating 241 // THE »HART-PHENOMENON« [2002] 245–267: I. The Hart-miracle 246 [1. The Scene of Britain at the Time 247 / 2. The Personal Career 250 / 3. The Opus’ Career 252 / 4. Verbal Sociologism 255 / 5. Growing into the British Pattern 259] II. The Hart-phenomenon 260 [6. Origination of a Strange Orthodoxy 261 / 7. Mastering Periods of the 20th Century 263 / 8. Raising the Issue of Reception in Hungary 365] // LITERATURE? A SUBSTITUTE FOR LEGAL PHILOSOPHY? [2007] 269–287: 1. The Enigma of Law and its Study 269 / 2. “Law and Literature” 271 / 3. Varieties of “Law and Literature” 274 / 4. The German Study of Artistic Representations 280 / 5. Some Literary Reconsiderations 285 / 6. Conclusion 287 --- APPENDIX -- THE PHILOSOPHY OF TEACHING LEGAL PHILOSOPHY IN HUNGARY [2007] 291–320: I. Why and How to Philosophise in Law? 291 / II. The State of Teaching Legal Philosophy 294 / III. The Philosophy of Teaching Legal Philosophy 296 / IV. Programme at the Catholic University of Hungary 300 [1. Graduate Studies 300 {a) Basic Subjects 301 / b) Facultative Seminars 305 / c) Closing Subjects 309 / d) Written Memoranda and the Thesis 312} 2. Postgraduate Studies 313 / 3. Conclusion 317] V. Perspectives 318 /// Index of Subjects 321 / Index of Normative Materials 328 / Index of Names 329 . (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Buddhist Literature as Philosophy and Buddhist Philosophy as Literature ed. by Rafael K. StepienVesna A. Wallace (bio)Buddhist Literature as Philosophy and Buddhist Philosophy as Literature. Edited by Rafael K. Stepien. Albany, NY: State University of New York Press, 2020. Pp. xi + 381. Paperback $26.95, isbn 978-1-4383-8070-1.The editor of the Buddhist Literature as Philosophy and Buddhist Philosophy (...) as Literature should be commended for bringing together an excellent collection of essays and producing the first comprehensive volume that offers a coherent study of the relationship between Buddhist literature and philosophy. This book is an ambitious and praiseworthy project, which covers a wide range of Buddhist literary genres produced in India, Tibet, and East Asia over two millennia. As a whole, the volume invites the reader to reexamine a centuries-long binary division between the categories of literature and philosophy, which have been often approached in academic studies as mutually exclusive. It does so by demonstrating that in the context of Buddhism, philosophy and literature continuously converge, diminishing the overarching binary and broadening their scopes. Most contributions to this volume demonstrate that Buddhist philosophy as presented and enacted in Buddhist literature is not limited to what some would consider a "pure philosophy." The volume is divided into the two, mutually mirroring sections, with each section containing six chapters. Chapters forming the section one, "Buddhist Literature as Philosophy," aim at broadening our perspective about literary forms, such as tales, novels, hymns, and court poetry, which have not been usually explored as the means of articulating Buddhist philosophical views. Chapters grouped in the section "Buddhist Philosophy as Literature" focus on Buddhist literary theories as philosophy of language and introduce the Buddhist biographical and autobiographical genres characterized by practical philosophy to further challenge our preconceptions of what it is that constitutes literature and philosophy. While some contributors endeavor to demonstrate the presence of rational, analytical reasoning in unexpected literary forms, other contributors problematize a strict distinction between literature and philosophy as inapplicable to Buddhism, which is undeniably cross-disciplinary.The first two chapters in section one, authored by Amber Carpenter and Sarah Shaw respectively, draw examples from jātaka stories to show us how Buddhist ethical lessons work in the narrative tales of the Buddha's former births. These two chapters also draw our attention to an accessible and engaging, [End Page 1] narrative manner that presents the Bodhisattva's philosophical exercises to the audience, a manner that stands in contrast to the a priori reasoning characteristic of philosophical treatises. In the first chapter, titled "Transformative Vision: Coming to See the Buddha's Reality," Carpenter analyzes two jātaka stories--"Bodhi the Wandering Ascetic" and "The Man Without an Heir"--taken from Āryaśūra's Jātakamālā. In the first story, a renunciant Bodhi, while repudiating the king's ministers who are intent on disqualifying him as a king's advisor on morality, makes metaphysical claims regarding the nature of reality, causation, and the universe, and provides the reasons and arguments. According to Shaw, by offering an insight into the Buddhist worldview and morality, jātaka tales have a transformative power not only with regard to ethics but also in transforming the reader's vision of reality. In the chapter "Jātakas and the Abhidhamma: Practical Compassion and Kusala Citta," Shaw suggests that a reason why jātaka stories are rarely discussed seriously in the way that they were intended is their literary format based in narrative and mundane situations. Analyzing the concepts of momentariness and kusala citta ("virtuous consciousness") in these stories, Shaw shows that by communicating the technical and insight-based Buddhist doctrinal elements, jātaka tales significantly contribute to Buddhist practical ethics. The Pāli Javanahaṃsa-jātaka, a tale about the friendship between a goose and a king, introduces the reader to some of the most complex Buddhist ideas such as impermanence, momentariness, and mental states, expounded in the Abhidhamma in extraction. Through her analysis of the Kurudhamma-jātaka and Mahosaddha-jātaka, Shaw further shows the integration of narrative literature and Buddhist philosophical tenets, of Buddhist tales and the Abhidhamma, of the relationship between the intention and consciousness... (shrink)

This article analyses the online communication of the Estonian extreme right that appears to be characterized by an echo-chamber effect as well as enclosed and hermetic meaning-making. The discussion mainly relies on the theoretical frameworks offered by semiotics of culture.One of the aims of the article is to widen the scope of understanding of autocommunicative processes that are usually related to learning, insight and innovation. The article shows the conditions in which autocommunicative processes result in closed interactions, based on (...) reproducing stereotypes and redundant content. We detect antithetical meaning-making, an orientation towards normative (“correct”) texts and the prevalence of phatic communication as the main dominants that guide closed autocommunication. Such communication leads to polarization of dissimilar views and hinders dialogue. Our case study focuses on the discussion that arose in the context of the European Refugee Crisis that started in spring 2015. (shrink)

Merleau-Ponty has long been known as one of the most important philosophers of aesthetics, yet most discussions of his aesthetics focus on visual art. This book corrects that balance by turning to Merleau-Ponty's extensive engagement with literature. From Proust, Merleau-Ponty developed his conception of "sensible ideas," from Claudel, his conjoining of birth and knowledge as "co-naissance," from Valéry came "implex" or the "animal of words" and the "chiasma of two destinies." Literature also provokes the questions of expression, metaphor, (...) and truth and the meaning of a Merleau-Pontian poetics. The poetic of Merleau-Ponty is, the book argues, a poetic of the flesh, a poetic of mystery, and a poetic of the visible in its relation to the invisible. Ultimately, theoretical figures or "figuratives" that appear at the threshold between philosophy and literature enable the possibility of a new ontology. What is at stake is the very meaning of philosophy itself and its mode of expression. (shrink)

Pioneering researchers claim that telepsychiatry presents the possibility of improving both the quality and quantity of patient care for populations in general as well as for those in rural and remote locations. The prevalence of, and literature on telepsychiatry has increased dramatically in the last decade, covering all aspects of research endeavors. However, little can be found on the topic of ethics in telepsychiatry. Using various clinical scenarios we may provide insight into the moral challenge in telepsychiatry—the lack of (...) in-person contact. The difficulty is to articulate what the significance of in-person contact is and further, its meaning in the therapeutic relationship between the patient and the physician. Using the personalist perspective and related philosophical approaches we may sketch an idea of the patient as person, existentially considered as a relational and bodily human being. By applying Brennan’s model for health technology assessment we may evaluate the morally troubling aspect of telepsychiatry—a lack of in-person contact—on this philosophical sketch of the person. This consideration is crucial when developing policies to guide the use of telepsychiatry in order to maintain the quality of care. (shrink)

The theme arises from the legal-academic movement "Law and Literature". This newly developed field should aim at two major goals, first, to investigate the meaning of law in a social context by questioning how the characters appearing in literary works understand and behave themselves to the law, and second, to find out a theoretical solution of the methodological question whether and to what extent the legal text can be interpreted objectively in comparison with the question how literary works (...) should be interpreted. The subject of justice and injustice has been covered not only in treatises of law and philosophy, but also in many works of literature: On the one hand, poets and writers have been outraged at the social conditions of their time. On the other hand, some of them have also contributed fundamental reflections on the idea of justice itself. (shrink)

Music, as sung and listened to, has been described in many a tale as powerful and transformative. Yet, the important question is not so much if that claim is true or whether it may be verified, but what kind of power and transformation are alluded to in those mythical and literary sources? Taking these symbolic claims and elaborating on their possible meaning, alongside thinkers such as Carolyne Abbate or Roland Barthes, proceeds to find ways in which these claims may (...) suggest different roles that music and singing play in human lives. As much as current musicological and anthropological academic narratives point to the power and its negotiation in society, there is more to singing voices’ charms than this. The author points to an important transformation that happens when the human existential qualities found in the voice’s imperfections (its materiality) are matched with the music’s aesthetic qualities (its beauty, sublimity, its symmetry, its impression) to transform the listener and make her listen. (shrink)

Age of Anxiety: Meaning, Identity, and Politics in 21st Century Film and Literature applies historical and contemporary political and rhetorical theory to current popular culture to discuss the problem of the displaced autonomous self and the quest for a meaningful life.

Pioneering researchers claim that telepsychiatry presents the possibility of improving both the quality and quantity of patient care for populations in general as well as for those in rural and remote locations. The prevalence of, and literature on telepsychiatry has increased dramatically in the last decade, covering all aspects of research endeavors. However, little can be found on the topic of ethics in telepsychiatry. Using various clinical scenarios we may provide insight into the moral challenge in telepsychiatry—the lack of (...) in-person contact. The difficulty is to articulate what the significance of in-person contact is and further, its meaning in the therapeutic relationship between the patient and the physician. Using the personalist perspective and related philosophical approaches we may sketch an idea of the patient as person, existentially considered as a relational and bodily human being. By applying Brennan’s model for health technology assessment we may evaluate the morally troubling aspect of telepsychiatry—a lack of in-person contact—on this philosophical sketch of the person. This consideration is crucial when developing policies to guide the use of telepsychiatry in order to maintain the quality of care. (shrink)

Assesses a distinct style of thinking in twentieth-century Spanish writing, one in which literature plays a central role in reaching behind philosophy to essential sources of life and meaning.

Staying for an answer : the untidy process of groping for truth -- The same, only different -- The unity of truth and the plurality of truths -- Coherence, consistency, cogency, congruity, cohesiveness, &c. : remain calm! don't go overboard! -- Not cynicism, but synechism : lessons from classical pragmatism -- Science, economics, "vision" -- The integrity of science : what it means, why it matters -- Scientific secrecy and "spin" : the sad, sleazy story of the trials of remune (...) -- Truth and justice, inquiry and advocacy, science and law -- Trial and error : the Supreme Court's philosophy of science -- An epistemologist among the epidemiologists -- Fallibilism and faith, naturalism and the supernatural, science and religion -- The ideal of intellectual integrity, in life and literature -- After my own heart : Dorothy Sayers's feminism -- Worthwhile lives -- Why I am not an oxymoron -- Formal philosophy? : a plea for pluralism. (shrink)

In the paper I try to define some basic ideas and sketch a style of Marek Siemek’s epistemological reflection and its influence on the notion of do called “meaning of history”. I referee some elements of his interpretation of Kant and Hegel as a background to paradox of “meaning of the history”—the paradox of its necessary transcendence and immanence, the contradiction between a history as an eschatology, and history as a “project”, a dialectic of sense and non-sense. The (...) conclusion is following: the “history” for Siemek is the becoming of self-sufficiency of the “modern spirit” and therefore a tragicomedy in the Hegelian sense. It excludes any transcendent point of view or any utopia. (shrink)

Russian neo-Kantianismʼs status in the history of the development of Russian philosophy is an important, but poorly presented in scientific publications, issue is revealed in the article. With some exceptions, which are represented by a number of few, but informative and informative articles and a monograph, the problem remains without proper reception in the scientific discourse of our time. Russian neo-Kantianism, however, leaving aside the question of what is the phenomenon of Russian neo-Kantianism, it is impossible to productively and (...) consistently actualize the content of Russian neo-Kantians and, moreover, to show their significance in the history of Russian philosophical and socio-humanitarian thought in general. Three key difficulties stand out: 1) the question of originality and the related theme of the independence of the philosophical direction (originality, independence and originality – differ from each other, but are united in their immanent orientation); 2) Russian neo-Kantianism, which in many ways seems to be the most difficult task for researchers engaged in historical and philosophical reconstruction; 3) the question remains ambiguous as to whether Russian neo-Kantianism is a continuation of the German tradition or whether it is a direction of Russian philosophy of thought. Russian neo-Kantianism, the three difficulties identified in the reception of the phenomenon of Russian neo-Kantianism taken as a whole, are consistently revealed in the content of the proposed article, supplemented by a brief overview of the most systemic positions of Russian philosophers, ranked among Russian neo-Kantianism. Overcoming the indicated difficulties, which undoubtedly affect the objective disclosure of the creativity of each representative of Russian neo-Kantianism or thinkers related to them, seems appropriate not only from the standpoint of the history of philosophy, but also for actualizing the heritage of philosophers in the conditions of modern socio-humanitarian pragmatics. Russian neo-Kantianism The author of the article suggests that one of the ways to overcome the ambiguity of the definition of Russian neo-Kantianism in the history of Russian thought may be, firstly, a more detailed consecration of the activities of Russian neo-Kantians in the historical and philosophical literature, and secondly, a comprehensive representation of this direction, including studies of individual personalities and their works. Despite the controversial and polemical nature of the task, its formulation is necessary for the objectivity of the meaning of Russian thought in the global context. (shrink)

One of the most disputed issues in twentieth-century literary theories and critical studies is what literary textual meaning rests upon. A further question is whether textual meaning is ascertainable or not. The two questions are interrelated. The first one looks into the origin of textual meaning in literary texts: is it derived from authorial intent, or from sentences and rhetorical devices, or actualized in the process of readerly activities and critical interpretation? As John Searle sees it, three (...) theories focused on this matter during the twentieth century:Now, these three different claims—that meaning is a linguistic property of the text, that meaning is a matter of authorial intention, and that meaning is... (shrink)

Does Augustine put his finger on time? -- Time for history -- Determination -- Self-determination -- Time, knowledge and truth.

_The Routledge Companion to Philosophy of Literature_ is an in-depth examination of literature through a philosophical lens, written by distinguished figures across the major divisions of philosophy. Its 40 newly-commissioned essays are divided into six sections: historical foundations what is literature? aesthetics & appreciation meaning & interpretation metaphysics & epistemology ethics & political theory _The Companion_ opens with a comprehensive historical overview of the philosophy of literature, including chapters on the study’s ancient origins (...) up to the 18 th -20 th centuries. The second part defines literature and its different categories. The third part covers the aesthetics of literature. The fourth and fifth sections discuss the meaning and consequences of philosophical interpretation of literature, as well as epistemological and metaphysical issues such as literary cognitivism and imaginative resistance. The sixth section contextualizes the place of philosophy of literature in the "real world" with essays on topics such as morality, politics, race and gender. Fully indexed, with helpful further reading sections at the end of each chapter, this Companion is an ideal starting point for those coming to philosophy of literature for the first time as well as a valuable reference for readers more familiar with the subject. (shrink)

This Volume illuminates the notion of meaning in the arts-in literature, painting, music, and dance. Specific topics include theory in the arts; interpretations of meaning; objectivity in meaning; and the consumer as a participant in art. Brings together articles from prominent philosophers and practitioners of the arts, which illuminate the notion of meaning in the arts. Addresses meaning in literature, painting, music, and dance. Explores the relationship between authorial intentions and the viewer's interpretation (...) of meaning; the possibility of objective meaning; and the role of the consumer as a participant in the work of art. (shrink)

This response to Richard Shusterman's Philosophy and the Art of Writing focuses on his concern that philosophy is, first and foremost, a way of life, illustrated in the West by the Socratic ideal of the philosopher and in the East by the example of the scholar-artist-gentleman. This paper examines the process of Buddhist meditation and the process of creating novels, supplementing the authors Shusterman carefully examines with examples from Black American literature, the author's own teacher John Gardner, (...) and artistic colleagues the author has known. The basic thrust of the response is that the skillful means used in writing can indeed be a form of self-creation, but it can also be a means of liberation from the self. (shrink)

The paper focuses on the character of the literary and contends that if, instead of accepting the legitimacy of the question “what is literature?” and trying to answer it, one were to subject the question itself to a critical scrutiny—i.e. in order to lay bare what the question presupposes about the literary—it becomes obvious that any attempt to answer the question by uncritically accepting the legitimacy of the puzzle it puts forward can only give rise to contradictions. For the (...) question requires and presupposes for an answer an ontologically independent foundation, and the latter, given its immutability, requires the positing of a reality/representation disjunction—where the latter of the pair permits of and accommodates the experience of change—thereby ensuring that representation, too, requires a foundation, which, due to the impossibility of a foundation being the foundation of its other, that is, mutability, ends up undermining the very possibility of a disjunction, and, hence, the coherence of the foundationalist enterprise. Given that the problem of incoherence is bound to recur in all attempts to explain the literary in a foundationalist framework and given that the logic of foundationalism is one with the logic of nihilism—for the incoherence necessitates the denial of the possibility of literature—a release from the contradictions and a reinstatement of the reality of literature can come about only if one is awakened to the incoherence of the foundationalist undertaking. The resulting turn away from foundationalist thinking to differential thinking—where the incoherence of the demand for coherence is grasped and the reality of time reinstated—sheds light on the twining of the destinies of the literary and the philosophical: if philosophy as differential thinking awakens us to the displacement of being in the flow of time, literature sets into work the displacement of meaning in the functioning of language. This confirms that not only are the attempts to unearth a ground for the literary a mistake, but denying the reality of the literary event—i.e. upon failing to find a ground—is equally a mistake. (shrink)

Few of the statements penned by philosophers have become as infamous as the “God is Dead!” of Friedrich Nietzsche. This study is not concerned with the reasons why this phrase is so popular. Instead, I would like to delve into the prehistory and partial genesis of the concept, something Nietzsche adopted from a previous tradition. Apart from known examples of theses on the death of God by Hegel, Schelling or Jean Paul, I will shed light on some of the confusion (...) surrounding the phrase deus est mortuus in Mediaeval Christian liturgical literature and mysticism, with roots reaching back to Neoplatonism. The goal of this study is to point out that this phrase about the death of God had no significant constitutive meaning for Nietzsche but was, instead, a relatively common literary and rhetorical topos among other culturally diagnostic expressive elements. Nietzsche used it as an illustrative shortcut when describing the intercultural processes of his time, with no ambition to originality, instead, with the clear intention of shaking up the (non)thought of the comfortable bureaucrats and legalistic petit bourgeois of Germany in the late 19th century. (shrink)

The aim of this study was to reflect on the origins and meanings of names describing investment practices that integrate a consideration of environmental, social and corporate governance issues in the academic literature. A review of 190 academic papers spanning the period from 1975 to mid-2009 was conducted. This exploratory study evaluated the associations and disassociations of the primary name assigned to this genre of investment with variables grouped into five domains, namely Primary Ethical Position, Investment Strategy, Publication Date, (...) Regions Covered and Periodical Type. The study indicated that papers coded as expressing a deontological ethical position were more frequently associated with the name Ethical Investment , whereas those with an ambiguous ethical position were less frequently associated with Ethical Investment . Three investment strategies (positive screening, best-in-class and cause-based investing) were unusually associated with the primary name Responsible Investment . A strong preference for the name Ethical Investment was noted in the United Kingdom, and contrasted starkly with an apparent aversion for this name in the United States. The name Ethical Investment is significantly more frequently used in journals dealing with ethics, business ethics and philosophy than in finance, economic and investment journals. Finally, the study yielded some weak hints that the name Responsible Investment might perhaps be linked to an egoist ethical position. On the basis of this, and because these have already been substantively linked through the Principles for Responsible Investment in the popular discourse, we follow the heuristic tradition set by Sparkes (Business Ethics Eur Rev 10:194–201, 2001 ), and propose that Responsible Investment be defined as ‘Investment practices that integrate a consideration of ESG issues with the primary purpose of delivering higher-risk-adjusted financial returns’. (shrink)

Introduction In Rene Wellek wrote that the "political attack on literature is a foolish generalization." He was dismissing those who would deprecate ...

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

Approximately one in six top economic research papers draws an explicitly causal conclusion. But what do economists mean when they conclude that A 'causes' B? Does 'cause' say that we can influence B by intervening on A, or is it only a label for the correlation of variables? Do quantitative analyses of observational data followed by such causal inferences constitute sufficient grounds for guiding economic policymaking? The Philosophy of Causality in Economics addresses these questions by analyzing the meaning (...) of causal claims made by economists and the philosophical presuppositions underlying the research methods used. The book considers five key causal approaches: the regularity approach, probabilistic theories, counterfactual theories, mechanisms, and interventions and manipulability. Each chapter opens with a summary of literature on the relevant approach and discusses its reception amongst economists. The text details case studies, and goes on to examine papers which have adopted the approach in order to highlight the methods of causal inference used in contemporary economics. It analyses the meaning of the causal claim put forward, and finally reconstructs the philosophical presuppositions accepted implicitly by economists. The strengths and limitations of each method of causal inference are also considered in the context of using the results as evidence for policymaking. This book is essential reading to those interested in literature on the philosophy of economics, as well as the philosophy of causality and economic methodology in general. (shrink)