Introduces the skill of comparing and challenges the reader to practice and master it as a part of thinking critically and creatively.

Angus Fletcher is one of our finest theorists of the arts, the heir to I. A. Richards, Erich Auerbach, Northrop Frye. This, his grandest book since the groundbreaking Allegory of 1964, aims to open another field of study: how thought--the act, the experience of thinking--is represented in literature. Recognizing that the field of formal philosophy is only one demonstration of the uses of thought, Fletcher looks for the ways other languages (and their framing forms) serve the purpose (...) of certain thinking activities. What kinds of thinking accompany the writing of history? How does the gnomic sentence manage to represent some point of belief? The fresh insights Fletcher achieves at every turn suggest an anatomy of poetic and fictional strategies for representing thought--the hazards, the complications, the sufferings, the romance of thought. Fletcher's resources are large, and his step is sure. The reader samples his piercing vision of Milton's Satan, the original Thinker, leaving the pain of thinking as his legacy for mankind; Marvell's mysteriously haunting "green thought in a green shade"; Old Testament and Herodotus, Vico and Coleridge; Crane, Calvino, Stevens. Fletcher ranges over the heights of literature, poetry, music, and film, never losing sight of his central line of inquiry. He includes comments on the essential role of unclear, vague, and even irrational thinking to suggest that ideas often come alive as thoughts only in a process of considerable distress. In the end he gives us literature--not the content of thought, but its form, its shape, the fugitive colors taken on by the mind as represented in art. (shrink)

Critical thinking has an important role in the advancement of personal development. Undoubtedly, thanks to critical thinking, individuals can use their abilities better and become active in society. This system of thinking can have positive results on students, especially in the development of cognitive and creative thinking in education. Critical thinking, education as well as philosophy, literature, cinema, history, geography, biology, health, etc. has a relationship with disciplines. Critical thinking plays an important role in (...) understanding disciplines and learning basic concepts. The most basic purpose of critical thinking is to stick to moral attitudes. When criticizing in a discussion environment, it is important to stick to moral principles rather than the subject of the problem being discussed. In this context, the conceptual framework of critical thinking will be discussed. Critical thinking; its relationship with philosophy, education, literature, art, and other sciences will be examined. Finally, the moral dimension of critical thinking and the principles to be followed will be mentioned while criticizing will be mentioned. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Thinking Mortal ThoughtsDebra SanThere is something quite odd about the ancient Greek advice to “think mortal thoughts” (or “think of mortal things”), for what human being past the flush of youth has not trembled at the thought of mortality? Consciousness of our mortal condition is considered a hall-mark of the human species, and is no doubt the reason we alone among the species on the planet entertain (...) notions of divinity. Why then are we counseled to think about what we cannot help thinking about anyway? And what purpose does the advice serve: are those who tender it eager to promote their own fearful frame of mind? Or, on the contrary, are they urging us to be courageous in the face of death? Perhaps the advice intended is to eat, drink, and be merry, for tomorrow we die. Or perhaps “mortal thoughts” are suicidal thoughts, and the object is to shuffle off this mortal coil in a manner, time, and place of our own choosing.Clearly, taken out of context, the injunction “think mortal thoughts” can mean any number of things. But in the context of ancient Greek culture, “think mortal thoughts” means roughly this:“Since you are not one of the immortal gods, be mindful of your limits as a human being. Consciousness of the inevitability of your death should inform the way you live your life, for just as your lifespan is limited by your mortality, so too are your capacities for understanding, for action, and for achievement. This is the truth of your condition; if you don’t accept it, you’ll be frustrated at best, and at worst you’ll incur divine wrath and retribution for attempting to push past your proper human boundaries into sacred turf where you don’t belong and aren’t wanted. Don’t trespass. Don’t even think about it. Don’t assume, in a futile exercise of hubris, that you’re a special case whose transgression [End Page 16] (huperbasia) will be exempt from dire consequences. Gnothi sauton, know yourself as a mortal being, and meden agan, do nothing to excess, or you will suffer the fate of Icarus, who aimed too high and died for it, or the fate of Phaethon, who was destroyed by forces which he thought he could control.”The advice presented here echoes throughout classical Greek drama, whose tragic protagonists are the theatrical descendants of Icarus and Phaethon. When Antigone compares herself to Niobe, the Chorus must remind her that “she was a god, born of gods, and we are only mortals born to die” (925–26). 1 In her failure to think mortal thoughts, Antigone resembles her father, whose refusal to acknowledge his limits is so profound that even after mutilating himself in horror at the discovery of his own transgressions, he must still be reminded that he is no longer “the master of all things” (1675). 2 Pentheus in the Bacchae lacks the stature of either Oedipus or Antigone, but like them he has pretensions beyond the limits befitting a mortal; he fails to exercise the “simple wisdom [that] shuns the thoughts of proud, uncommon men and all their god-encroaching dreams” (427–29). 3 In his arrogant and unrealistic attempt to pit his own puny powers against the incomparable force of the immortal Dionysus, Pentheus suffers the fate of those whose hubris overcomes the temperate virtue of sōphrosunē, “the wisdom that accepts” (390). Even the bloodthirsty, pre-Eumenides Furies of the Eumenides accept the limits which moderation entails: they understand that Zeus “appointeth the mean as the master in all things” (531). 4One might expect that this cautionary, temperate strain in Greek thinking would appeal to Aristotle, whose doctrine of the mean in Book II of the Nicomachean Ethics might have come straight out of the Oresteia. And yet, when the caution is expressed in the maxim “think mortal thoughts,” Aristotle rejects it, claiming that human beings should try to aim their thoughts at a level so high it cannot really be reached by mortals, which is to say a level as high as that of the immortal gods, whose contemplative, intellectual activity (theōria) soars far above... (shrink)

The debate over the objects of episodic memory has for some time been stalled, with few alternatives to familiar forms of direct and indirect realism being advanced. This paper moves the debate forward by building on insights from the recent psychological literature on memory as a form of episodic hypothetical thought (or mental time travel) and the recent philosophical literature on relationalist and representationalist approaches to perception. The former suggests that an adequate account of the objects of episodic memory (...) will have to be a special case of an account of the objects of episodic hypothetical thought more generally. The latter suggests that an adequate account of the objects of episodic hypothetical thought will have to combine features of direct realism and representationalism. We develop a novel pragmatist-inspired account of the objects of episodic hypothetical thought that has the requisite features. (shrink)

What is this thing called literature? Why study it? And how? Relating literature to topics such as dreams, politics, life, death, the ordinary and the uncanny, This Thing Called Literature establishes a sense of why and how literature is an exciting and rewarding subject to study. Andrew Bennett and Nicholas Royle expertly weave an essential love of literature into an account of what literary texts do, how they work and the sort of questions and ideas they provoke. The book's three (...) parts reflect the fundamental components of studying literature: reading, thinking and writing. The authors use helpful and wide-ranging examples and summaries, offering rich reflections on the question 'What is literature?' and on what they term 'creative reading'. The new edition has been revised throughout with extensive updates to the further reading, and a new chapter on creative non-fiction. Bennett and Royle's accessible and thought-provoking style encourages a deep engagement with literary texts. This essential guide to the study of literature is as an eloquent celebration of the value and pleasure of reading. (shrink)

Since Freud's earliest psychoanalytic theorisation around the beginning of the twentieth-century, the concept of the unconscious has exerted an enormous influence upon psychoanalysis and psychology, literary, critical and social theory. Yet prior to Freud, the concept of the unconscious already possessed a complex genealogy in nineteenth-century German philosophy and literature, beginning with the aftermath of Kant's Critical Philosophy and the origins of German Idealism, and extending into the discourses of Romanticism and beyond. Despite the many key thinkers who contributed to (...) the Germanic discourses on the unconscious, the English speaking world remains comparatively unaware of this heritage and its influence upon the origins of psychoanalysis. Bringing together a collection of experts in the fields of German Studies, Continental Philosophy, the History and Philosophy of Science, and the History of Psychoanalysis, this volume examines the various theorisations, representations and transformations undergone by the concept of the unconscious in nineteenth-century German thought"--Provided by publisher. (shrink)

"In recent years, we have grown accustomed to philosophical language that is intensely self-conscious and rhetorically thick, often tragic in tone. It is enlivening to read Bergson, who exerts so little rhetorical pressure while exacting such a substantial effort of thought.... Bergson's texts teach the reader to let go of entrenched intellectual habits and to begin to think differently—to think in time.... Too much and too little have been said about Bergson. Too much, because of the various appropriations of (...) his thought. Too little, because the work itself has not been carefully studied in recent decades."—from Thinking in Time Henri Bergson, whose philosophical works emphasized motion, time, and change, won the Nobel Prize for Literature in 1927. His work remains influential, particularly in the realms of philosophy, cultural studies, and new media studies. In Thinking in Time, Suzanne Guerlac provides readers with the conceptual and contextual tools necessary for informed appreciation of Bergson's work. Guerlac's straightforward philosophical expositions of two Bergson texts, Time and Free Will and Matter and Memory, focus on the notions of duration and memory—concepts that are central to the philosopher's work. Thinking in Time makes plain that it is well worth learning how to read Bergson effectively: his era and our own share important concerns. Bergson's insistence on the opposition between the automatic and the voluntary and his engagement with the notions of "the living," affect, and embodiment are especially germane to discussions of electronic culture. (shrink)

Thinking with Literature offers a succinct introduction to a cognitive literary criticsm, broad in scope but focusing on a particular cluster of approaches, some of which have so far been little used. Explanatory chapters and sections alternate with close readings of literary texts from a wide range of different periods and genres. The literary readings are not mere 'examples' of cognitive topics, still less of hypotheses in cognitive science: the central argument is that cognitive criticism must draw its primary (...) energies from the complexities of literature itself. The main objective of the book is to induce a change of perspective in the reader: to see the point, and the extreme interest, of adopting a cognitive approach to literary criticism. (shrink)

Still today it remains unclear whether Galileo ever climbed the leaning tower of Pisa in order to drop bodies from its top. Some believe that he established the principle of equal speeds for falling bodies by means of an ingenious thought experiment. However, the reconstruction of that thought experiment circulating in the philosophical literature is no more than a cartoon. In this paper I will tell the story of the thought processes behind the cartoon.Keywords: Galileo Galilei; (...) class='Hi'>Thought experiment; Falling bodies. (shrink)

According to much modern social psychology, behavioural economics and common sense, people's actions and beliefs are frequently the result of rapid intuitive thought rather than careful deliberation. Richard Thaler and Cass Sunstein, in their influential book, Nudge, synthesised the literature and used it as the basis for numerous policy ideas.1 Not least, they gave the word ‘nudge’ as a handy term to apply to all sorts of ways of taking advantage of people's psychological quirks without coercing or bribing them. (...) But while Nudge was long on ideas and enthusiasm, it was short on conceptual clarity. The idea of a nudge was inconsistent with some of the policies Thaler and Sunstein endorsed and their account of nudging's relation to freedom and paternalism was flawed.In Salvaging the concept of nudge, Yashar Saghai acts as a friendly critic who thinks nudging has plenty to offer the policy world but sees that it needs both conceptual clarity and ethical defence.2 He wants to show how some of ways of taking advantage of people's psychology could leave them as free as before and he is especially concerned with what I would describe as a question of manipulation: …. (shrink)

Demenageries, Thinking (of) Animals after Derrida is a collection of essays on animality following Jacques Derrida's work. The Western philosophical tradition separated animals from men by excluding the former from everything that was considered “proper to man”: laughing, suffering, mourning, and above all, thinking. The “animal” has traditionally been considered the absolute Other of humans. This radical otherness has served as the rationale for the domination, exploitation and slaughter of animals. What Derrida called “la pensée de l'animal” (which (...) means both thinking concerning the animal and “animal thinking”) may help us understand differently such apparently human features as language, thought and writing. It may also help us think anew about such highly philosophical concerns as differences, otherness, the end(s) of history and the world at large. Thanks to the ethical and epistemological crisis of Western humanism, “animality” has become an almost fashionable topic. However,Demenageries is the first collection to take Derrida's thinking on animal thinking as a starting point, a way of reflecting not only on animals but starting from them, in order to address a variety of issues from a vast range of theoretical perspectives: philosophy, literature, cultural theory, anthropology, ethics, politics, religion, feminism, postcolonialism and, of course, posthumanism. (shrink)

One measure of the validity of [Joseph] Frank's insight is the extent to which other versions of his ideas appear in other contexts: for if "spatial form" refers to something real, it cannot have escaped notice by other readers. One thinks, for example, of Northrop Frye's description of the critic viewing all the elements of the poem as a simultaneous array before him; or of Gaston Bachelard's evocative descriptions of The Poetics of Space. Or Pound's interest in ideographic script; or (...) the frequent critical association of modern literature with impressionist painting. Or Eliot's poet synthesizing Spinoza, the sound of the typewriter, and the smell of cookery into a unified whole. Or—at the root of it all, perhaps—Poe's insistence on the unified effect of the story or poem.1 All of these instances reflect a more or less casual assumption of the basic premise of Frank's essay. More recently another critic, Frank Kermode, has offered an alternative description of this general problem. In The Romantic Image2 he assesses symbolist poetic theory; here the verbal image , autonomous and autotelic, presumably unites meaning and feeling without intervening reflection or discourse: the "image" so hypostatized seems very close to a "spatial" form, and certainly the suppression of discourse, of reflection generally, follows from the disruption of syntax and narrative that results from the impulse toward "spatial" effects. Provisionally, we might say that Joseph Frank's essay is grounded in an essentially formalist conception of the literary work as artifact, and that the striking features of his argument result from an attempt to assimilate extended works to a theory basically lyric in its orientation: as corollary, we must assume that the modern writers he cites had themselves operationally defined the concept in the course of their writing. · 1. Northrop Frye, "Literary Criticism," in The Aims and Methods of Scholarship in Modern Languages and Literature, ed. James Thorpe , p.65. See also Fables of Identity: Studies in Poetic Mythology , p. 21. Gaston Bachelard, The Poetics of Space, trans. Maria Jolas . Ernest Fenollosa, The Chinese Written Character as a Medium for Poetry, ed. Ezra Pound . T.S. Eliot, "The Metaphysical Poets," Selected Essays , p. 247. Edgar Allan Poe, review of Twice-Told Tales, in Works, 17 vols., ed. James A. Harrison 11: 104-13.· 2. Frank Kermode, The Romantic Image . William Holtz, professor of English at the University of Missouri-Columbia, is currently preparing an edition of an unpublished juvenile manuscript by Charlotte Brontë. (shrink)

With his powerful thought image of the constellation, Walter Benjamin provides a method for the core practices of the Humanities: reading, writing, and thinking. This collection of provocative essays demonstrates how thinking in constellations with Walter Benjamin leads us towards a new understanding of the critical task of the Humanities today: it goes beyond disciplinary boundaries and challenges assumptions of linearity, coherence, and progression inherent in our scholarly praxis. The volume brings some of the most articulate young (...) voices in international Benjamin scholarship together, and takes an interdisciplinary approach, covering wide-ranging fields of knowledge quantum physics, postcolonial studies, natural philosophy, psychoanalysis, film theory, literature, and the arts. Benjamin's texts are re-considered in light of thinkers and poets, such as Theodor W. Adorno, Sigmund Freud, Gottfried E. Leibniz, W. G. Sebald, Franz Kafka, or Carlos Martìnez Rivas. The critical potential of constellations in Benjamin's work and beyond will be of the highest interest for researchers and students in all areas of the Humanities. (shrink)

Stephen Schiffer has argued that natural languages do not have compositional semantics. But it has been widely held that compositional semantics is required in order to explain how it is possible that we have the linguistic capacities that we do. In particular, our use of natural languages is productive in the sense that there are indefinitely many sentences that we have never heard or considered before, but which we are nonetheless capable of understanding. How is this possible? Compositionality evidently supplies (...) a clear answer to that question, because it guarantees that there is some way of determining the meaning of each sentence of the language from a fixed and finite base of semantic value assignments. This poses a serious challenge to Schiffer's negative thesis. -/- Schiffer proposes to answer this challenge in a way that will also provide a solution to the language-relation problem. This is the problem of specifying what relation must obtain between a population P and a language L in order for L to be a language of P. Schiffer's strategy is to reduce the problem for public languages to that of specifying the language-relation for languages of thought-specifying what it is to think in a language. -/- I will show in a precise way that Schiffer has neither met the productivity challenge nor solved the language-relation problem. Using Schiffer's characterization of what it is to think in a language, I show that if an agent thinks in some language L, then there is an infinity of languages that the agent also thinks in with the very same sentence tokens, but with arbitrarily different meanings. Thus, Schiffer has clearly not given a sufficient condition for an agent to think in a language, and Schiffer cannot do with less than a sufficient condition. Moreover, I will argue that Schiffer cannot avail himself of various attempts in the literature to address similar problems. (shrink)

To these rather restrained opinions, one must add the unremitting efforts of the media but also of academia—these powers and institutions are decidedly united—who aim to ridicule and discredit for ever more literary theory’s encroachment, or attemptedencroachment, of its authority on literature. It may seem paradoxical that such a sparing, abstract, or even, as they say, insignificant activity should elicit such an... eroticization. Why so much passion for such an elusive object? We must look back to the beginningsof theoretical (...) class='Hi'>thought in the area of arts and literature, in order to attempt to uncover the reasons for this apparent anomaly. (shrink)

During the past decade and a half, the field of family literacy has gone from its infancy on the educational periphery toward a position closer to the mainstream. Characteristic ofthe field’s growth is the nation’s largest endeavor in family literacy, the federal Even Start program, which began from scratch in the late 1980s and now claims more than 800 local programs in 50 states and Puerto Rico.Despite several national evaluations of Even Start, no comprehensive study in the family literacy literature (...) specifically focuses on this quarter-billion dollar program’s attempts to measure the progress of its adult students. Accordingly, this study sought to discover the ways in which adult assessment is performed by Even Start programs.This essay emphasizes critical thinking with regards to assessment in Even Start programs Critical thought and reflection drive the exploration of several themes in the study’s data that carry itnplications for the families served by Even Start. These implications, gleaned from what Brookfield (1987) calls “reflective skepticism” and careful study of the data, bring the survey’s numbers to life and ultimately yield useful, potentially program-enhancing information.The article offers background on family literacy and Even Start programs and briefly illustrates the study’s methodology. Then follows a discourse that views the study’s findings through the lens of critical thought, drawing meaning from selected findings that contain repercussions for Even Start families. The piece concludes with recommendations for the improvement of Even Start programs through enhanced assessment and continued study. (shrink)

This article provides a critical review of literature on ‘social suffering’. Analytical attention is focused upon the ways in which writers struggle to bring ‘meaning’ to this topic. All sense that there is always something in events of extreme suffering that resists conceptualisation and defies analysis. This problem of establishing a language for ‘thinking with suffering’ is explored with reference to the works of Hannah Arendt, Paul Ricoeur and Max Weber. An agenda for sociological research is proposed which focuses (...) on the struggle to make sense out of the phenomenon of suffering as a force of cultural innovation. In this context, it is suggested that what is most interesting here is the evidence to suggest that, when faced with the ‘brute fact’ of a world where there appears to be too much suffering, people are always moved to make this phenomenon productive for thought and action. (shrink)

The goal of this paper is to understand how common aversions to critical thinking, and, in particular, critical thinking related to deliberation about ethics, is arguably akin to math anxiety (MA). However, unlike ethical-critical thinking anxiety (ECTA), MA has a body of literature and neuroscientific findings supporting it and correlating thoughts about math with neurobiology of pain and fear activation. The crux of the paper lies in the answer to the following question: how is ECTA like and (...) unlike MA? Is there a history—educational and otherwise—similar to MA—that leads to ECTA? In this paper, I argue that there are myriad factors contributing to ECTA but that, ultimately, the result is likely the same: a neurobiology of fear/pain response that inhibits ethical thought and judgment, largely given its dependence on critical thinking. My thesis statement, therefore, is that critical thinking engenders the angst engendered by MA and for similar reasons, and I surmise that current models of teaching applied clinical ethics to health care practitioners would benefit from approaches framing the lack of ethical thinking in our field of health and human services as an ego-defense mechanism or neurobiological constraint. This leads to the question of how workshops aimed at teaching ethics take into account the realities of avoidance, promote critical thinking, and avoid the pitfalls of ECTA. (shrink)

Thinking About Stories is a fun and thought-provoking introduction to philosophical questions about narrative fiction in its many forms, from highbrow literature to pulp fiction to the latest shows on Netflix. Written by philosophers Samuel Lebens and Tatjana von Solodkoff, it engages with fundamental questions about fiction, like: What is it? What does it give us? Does a story need a narrator? And why do sad stories make us cry if we know they aren’t real? The format of (...) the book emulates a lively, verbal exchange: each chapter has only one author while the other appears spontaneously in pop-up boxes in the text along the way, raising questions and voicing criticisms, and inviting responses from their co-author. This unique format allows readers to feel like they are a part of the conversation about the philosophical foundations of some of the fictions in their own lives. (shrink)

Can AI systems such as ChatGPT think? We present an argument from rationality for the negative answer to this question. The argument is founded on two central ideas. The first is that if ChatGPT thinks, it is not rational, in the sense that it does not respond correctly to its evidence. The second idea, which appears in several different forms in philosophical literature, is that thinkers are by their nature rational. Putting the two ideas together yields the result that ChatGPT (...) is not a thinker. The paper sets out the argument in detail and shows how it can withstand numerous objections. We end the paper by contrasting the argument from rationality with a more well-known argument often taken to show that ChatGPT doesn’t think, due to Bender and Koller. (shrink)

In 1962, Emmanuel Levinas (1906–1995) was asked about the political implications of his ethics and the possible similarity between his philosophy and the writing of Mohandas K. Gandhi (1869–1948). They both were aware of the considerable tensions between politics and ethics. Both tried to construct ethical politics, and both thought about the ethical aspects of politics. The differences were obvious. Gandhi was an Indian thinker who embraced Hinduism, Christian ethics, Western philosophy, and Leo Tolstoy’s spiritual writings. Levinas was a (...) Western philosopher with a traditional Jewish background, familiar with Russian literature. Gandhi was a social figure and political leader who based his attitude and activism on spirituality. Levinas was a phenomenological philosopher who based his perspective on ethics, underpinning his political philosophy. Nevertheless, this article suggests a philosophical study of Gandhi’s writings compared to Levinas’s teachings. This new perspective explains Gandhi’s philosophy by focusing on the establishment of the subject, the validity of ethics, the search for truth, and the epistemological stance. This study would structure Gandhi’s political position based on spiritual and ethical thinking. This could clarify three main principles of Gandhi’s doctrine: striving for the truth, self-control, and nonviolence. (shrink)

Evidence suggests divergent thinking is the cognitive basis of creative thoughts. Neuroimaging literature using resting-state functional connectivity has revealed network reorganizations during divergent thinking. Recent studies have revealed the changes of network organizations when performing creativity tasks, but such brain reconfigurations may be prolonged after task and be modulated by the trait of creativity. To investigate the dynamic reconfiguration, 40 young participants were recruited to perform consecutive Alternative Uses Tasks for divergent thinking and two resting-state scans were (...) used for mapping the brain reorganizations after AUT. We split participants into high- and low-creative groups based on creative achievement questionnaire and targeted on reconfigurations of the two brain networks: default-mode network and the network seeded at the left inferior frontal gyrus because the between-group difference of AUT-induced brain activation located at the left IFG. The changes of post-AUT RSFCs indicated the prolonged effect of divergent thinking. More specifically, the alterations of RSFCIFG−AG and RSFCIFG−IPL in the high-creative group had positive relationship with their AUT performances, but not found in the low-creative group. Furthermore, the RSFC changes of DMN did not present significant relationships with AUT performances. The findings not only confirmed the possibility of brain dynamic reconfiguration following divergent thinking, but also suggested the distinct IFGN reconfiguration between individuals with different creativity levels. (shrink)

The philosopher René Descartes is usually associated with cold reason rather than with feeling, to the extent that Rousseau charged his philosophy had "slashed poetry's throat." Andrea Gadberry argues, on the contrary, that Descartes' thought was crucially enabled by early modern poetry and rhetoric. Where others have seen Cartesian philosophy as a triumph of disembodied reason, Gadberry points to Descartes's own impassioned and poetic negotiations with the difficulties of thought and its limits. Gadberry's approach to seventeenth-century writings poses (...) questions urgent for the twenty-first: What is thinking? What does it feel like? What is it good for? Her book reveals an implicit poetics in Descartes' texts, from the puzzling forms of riddle, emblem, and anagram to the antecedents of more familiar, Romantic and post-Romantic poetry in love lyric and elegy. Gadberry's argument is grounded in the rich poetic culture of Descartes' time, even as it traces a biography of thinking. Helping us read classic moments of philosophical argumentation in a new light, this elegant study also expands outward to redefine thinking in light of its poetic shape. This book will be the first volume published in the new Thinking Literature series edited by Nan Z. Da and Anahid Nersessian. (shrink)

Among our conscious states are conscious thoughts. The question at the center of the recent growing literature on cognitive phenomenology is this: In consciously thinking P, is there thereby any phenomenology—is there something it’s like? One way of clarifying the question is to say that it concerns whether there is any proprietary phenomenology associated with conscious thought. Is there any phenomenology due to thinking, as opposed to phenomenology that is due to some co-occurring sensation or mental image? (...) In this paper we will present two arguments that a “yes” answer to this question of cognitive phenomenology can be obtained via appeal to the HOT theory of consciousness, especially the version articulated and defended by David Rosenthal. (shrink)

The diverse group of philosophers and literary critics who contribute to this volume address the question of how bodies think, how thought is embodied, from a variety of approaches including deconstruction, Lacanian psychoanalysis, feminist theory, postmodernism, cultural and media studies, literary criticism, and the revisionist study of oppressed peoples.

The aim of this paper is to investigate the function of the aesthetic paradigm of German idealism within Adorno’s thought. In order to do so, I have chosen to focus on the issue of the social significance of the work of art and the role played by the concept of literary material. Adorno’s aesthetics, in fact, can be read as a reinterpretation of the idealist aesthetic model based precisely on a non-idealist notion such as that of aesthetic material.If one (...) is to allow a seemingly brutal simplification, there are two ways to think about the social meaning of literature. One identifies somehow the subject of the text, assesses whether or not this challenges the society from which the literary work stems, and on this ground establishes its social character. According to this perspective, Brecht’s Threepenny Opera and Sciascia’s The Day of the Owl can be seen as socially engaged literature, while Proust’s Recherche cannot, or can only to a lesser extent. The other approach argues instead that any literary work, and in any of its instances, says something about the society in which it takes shape. In this contribution I would like to focus on this latter approach. In particular, I am interested in understanding how literature is connected to society, that is, through which identifiable elements literary works express certain aspects of society. The Hegelian idealistic idea according to which Greek tragedy expresses the constitutive features of Athenian society, and which is found again and again in the authors who in various ways have taken up Hegel’s legacy, is generally accepted as such and valued for the explanatory opportunities it offers. It is my opinion, however, that one notion in particular can be retrieved within the whole inherited baggage of that aesthetic tradition, which may be able to further clarify the relationship between literature and society. This concept is that of material and the author who has most thoroughly investigated it is Adorno. In this paper I will try to outline the main features of a counterintuitive notion such as that of “literary material” and thereby explain why it plays such an important role in Adorno’s rework of the aesthetic paradigm of German idealism. The concept of material, in fact, is key to the definition of another aesthetic category around which, according to Adorno, most of the problems connected to works of art gravitate, that is to say, the notion of form. From Adorno’s aesthetics, in fact, one of his most insightful readers, Peter Szondi, draws the main principle for his study of the historical form of modern drama, namely the idea that form is essentially a precipitation, a sedimentation of contents. The work of art, then, at least according to this definition, is essentially identified by its form. Or, better said, the artwork must be interpreted as the way in which a certain (historical) content sediments in a certain external form. That the form of the work of art is precipitated content means, in simple terms, that no effective disjunction can be assumed between form and content. This is how Adorno reinterprets the concept of “identity of form and content” stressed by classical aesthetics. The content is such only insofar as it is precipitated into a certain form. This amounts to saying that no objective distinction can be established between one and the other. Now, if one were to ask how the form is made, Adorno’s answer is quite straightforward: the form is made by means of organization and, precisely, by means of the organization of the material. As one reads in Aesthetic Theory, in fact, “the substantial element of genres and forms has its locus in the historical needs of their materials,” and the particular form of an artwork is defined as the “organization” of its “materials” (Adorno 1970, transl. 1997: 201). The concept of material, therefore, is key to the definition of the very notion of work of art in its constituent components, namely the relationship between form and content. In this paper I will first of all clarify the notion of artistic material in general and subsequently I will turn to strictly literary material. Finally, and this is the main goal of this essay, I will show to what extent this definition of the material possibly contributes to a better understanding of a widely and variedly debated literary phenomenon of our time, namely the form of the so-called postmodern novel. (shrink)

The current research focuses on the nature of the relationship comprising personality traits, creative thinking, and academic integrity. Scholars have confirmed that personality traits and creative thinking correlate positively with academic integrity. However, a discussion of academic integrity, personality traits, and creative thinking is missing in the scholarly literature. This study used a questionnaire survey based on the Big Five Factor to identify personality characteristics, the Academic Integrity Inventory, and the Torrance Tests of Creative Thinking. The (...) sample included 976 students studying in four academic colleges in Israel, of which two are teacher training colleges and two colleges awarding a degree in education. The findings show that most of the students (71%) reported they had cheated at some point during their academic studies, and only one-fifth (21%) thought that they would condemn their peers’ lack of integrity. Creative thinking students and emotionally stable persons tend to be more ethical. Hence, we conclude that it is recommended to deliver creative thinking courses in the teacher’s educational training programs to improve creative thinking levels, reduce academic dishonesty, and create more effective curricula. (shrink)

Emmanuel Levinas is one of the most important figures of twentieth-century philosophy. Exerting a profound influence upon such thinkers as Derrida, Lyotard, Blanchot, and Irigaray, Levinas's work bridges several major gaps in the evolution of continental philosophy -- between modern and postmodern, phenomenology and poststructuralism, ethics and ontology. He is credited with having spurred a revitalized interest in ethics-based philosophy throughout Europe and America. _Entre Nous_ is the culmination of Levinas's philosophy. Published in France a few years before his death, (...) it gathers his most important work and reveals the development of his thought over nearly forty years of committed inquiry. Along with several trenchant interviews published here, these essays engage with issues of suffering, love, religion, culture, justice, human rights, and legal theory. Taken together, they constitute a key to Levinas's ideas on the ethical dimensions of otherness. Working from the phenomenological method of Edmund Husserl and Martin Heidegger, Levinas pushed beyond the limits of their framework to argue that it is ethics, not ontology, that orients philosophy, and that responsibility precedes reasoning. Ethics for Levinas means responsibility in relation to difference. Throughout his work, Levinas returns to the metaphor of the face of the other to discuss how and where responsibility enters our lives and makes philosophy necessary. For Levinas, ethics begins with our face to face interaction with another person -- seeing that person not as a reflection of one's self, nor as a threat, but as different and greater than self. Levinas moves the reader to recognize the implications of this interaction: our abiding responsibility for the other, and our concern with the other's suffering and death. Situated at the crossroads of several philosophical schools and approaches, Levinas's work illuminates a host of critical issues and has found resonances among students and scholars of literature, law, religion, and politics. _Entre Nous_ is at once the apotheosis of his work and an accessible introduction to it. In the end, Levinas's urgent meditations upon the face of the other suggest a new foundation upon which to grasp the nature of good and evil in the tangled skein of our lives. (shrink)

Modernity theory approaches modern experience as it incorporates a sense of itself as 'modern' (modernity), along with the possibilities and limitations of representing this in the arts and culture generally (modernism). The book interrogates modernity in the name of a fluid, unsettled, unsettling modernism. As the offspring of the Enlightenment and the Age of Sensibility, modernity is framed here through a cultural aesthetics that highlights not just an instrumental, exploitative approach to the world but the distinctive configuration of embodiment, feeling, (...) and imagination, that we refer to as 'civilization', in turn both explored and subverted through modernist experimentalism and reflexive thinking in culture and the arts. This discloses the rationalizing pretensions that underlie the modern project and have resulted in the sensationalist, melodramatic conflicts of good and evil that traverse our contemporary world of politics and popular culture alike. This innovative approach permits modernity theory to link otherwise fragmented insights of separate humanities disciplines, aspects of sociology, and cultural studies, by identifying and contributing to a central strand of modern thought running from Kant through Benjamin to the present. One aspect of modernity theory that results is that it cannot escape the paradoxes inherent in reflexive involvement in its own history. (shrink)

In the sacred texts, human beings are described as being created in the most beautiful way. In order to understand and define its integrity of existence in the most accurate way, it is necessary to know both its biological and spiritual aspects. In addition to the well-known and generally accepted characteristics of humans such as will and responsibility, there are also basic realities that constitute humans such as nafs, soul and mind. One of the most powerful factors that make a (...) person virtuous or worthless both in the presence of the Creator and in the eyes of people is the nafs. The nafs has many different meanings such as ”the essence of man, soul, person, self-being, mind, life, lust, desire, the source of bad habits".Philosophers, Sufis and theological scholars with different philosophical ideas in different periods in the history of thought have discussed and evaluated the subject of the nafs. Pythagoras considered the nafs as a substance separate from the body, Democritus as fire or heat, Plato as a substance that gives movement to the body. Aristotle, on the other hand, pointed out the difficulty of defining the soul and talked about three types of the nafs: vegetative, animal and human. The concept of nafs, on whose definition philosophers cannot agree, has a strategic importance as it is accepted as the point of separation of good and evil in religious literature. Because the human nafs, by its nature, has a structure that is prone to worldly pleasures, human desires, wishs and passions. Likewise, human beings are creatures of will, and thanks to this feature, they have the ability and freedom to establish positive and negative relationships and evaluate the beings and events around them. What should be the attitude of a person who has these characteristics towards pleasures, desires and passions? The main theme of our study is Mawardi's answer to this question and the solutions he identified. It was stated that having will makes humans different and superior to other living creatures. In this context, what is expected from a person is to use his will to control his nafs by displaying a sensitive, conscious and astute attitude towards the desires of his soul. It is observed in real life that failure to control one's nafs creates undesirable consequences both individually and socially. If the nafs cannot be controlled consciously, a person may become a victim of excessive passion for the world and the things in it. It is possible for humans to become arrogant and proud and to corrupt the environment, society and the world and make it uninhabitable as a result of pursuing their desires. Therefore, there is a need for a constantly dynamic and active consciousness regarding this feature of the nafs. There is no positive situation that an uncontrollable, undisciplined nafs that is a slave to its desires and passions will bring to its owner. The undisciplined and uncontrolled nafs causes individual, religious, moral and social traumas such as taqiyya, insincere words and actions, formal religious attitudes and behaviors, and alienating others for simple, primitive reasons. This is the point that the thinker focuses on and draws attention to. If a person can manage to control and discipline the passions and desires of his nafs by using his will, space will be opened for virtues that will bring happiness to individual and social life, such as brotherhood, solidarity, altruism. Mawardi evaluated this issue in the fifth chapter of his work Edebü'd-Dünyâ ved-Dîn. Mawardi, who thinks that education is an important factor in the reformation of the nafs, says that the mind and revealed knowledge given to man by God are indispensable elements of this struggle. Because he thinks that the alliance of reason, revelation and knowledge is necessary in distinguishing between right and wrong and in being patient with the harmful and evil tendencies of the nafs. A person who takes revelation, reason, knowledge and wisdom as a guide and whose emotions, thoughts and behaviors are shaped by this guide will not be defeated by his nafs. For this reason, Maverdi emphasizes especially when evaluating the subject of “Literary of the soul” that a person needs decency in adulthood as well as in childhood. In this context, he identified issues such as arrogance, pride, false envy and wrath, which he thought could hinder the evolution of virtue and virtue in individual and social life, and also showed the reasons for these and how to combat them. (shrink)

"As a stylist, as well as a philosopher, Bertrand Russell has a permanent place in English literature. In this selection of his essays, first published in 1941 and long out of print, sparkling wit and crystal clarity combine with a profundity and deep humanity that single him out as one of the world's most formative thinkers. Among diverse subjects, Let the People Think includes Russell's thoughts on the value of scepticism, free thought and propaganda, mental health, fascism, insects and (...) comets." --Book Jacket. (shrink)

This study describes Raden Panji Natarata's thoughts as a humanist, poet and religious scholar who thinks that the concepts of Javanese Sufism and Islamic Sufism are two contradictory ideas. Raden Panji Natarata describes his ideas through the medium of têmbang macapat (Javanese song) in a classic Javanese literature entitled Sêrat Bayanullah. Sêrat Bayanullah, which is used as a source of data for this research, is a collection of the Pura Mangkunegaran library, Surakarta, with catalogue number A-393. The scope of this (...) study focuses on Raden Panji Natarata's thoughts on the nature of life, which include the concepts of human creation, human death, and the after-death union of the servant with God. To obtain objective and comprehensive research results, the researchers used a qualitative descriptive research paradigm by applying hermeneutic theory. The results showed that Raden Panji Natarata's thoughts about the nature of life did not go beyond the limits of monotheism, while other poets tended to acculturate Javanese Sufism thoughts, which sometimes were not in line with the teachings of monotheism. CONTRIBUTION: As an academic contribution, this research is expected to enrich and preserve the repertoire of local research literature with Sufism nuances and their relationship with the thoughts of Sufi experts. Differences in perspective is natural, and the most important thing is mutual respect for differing opinions for the sake of creating harmony in life. (shrink)

Lively, comprehensive, and contemporary, The Voice of Reason: Fundamentals of Critical Thinking covers three principal areas: thought and language, systematic reasoning, and modes of proof. It employs highly accessible explanations and a multitude of examples drawn from social issues and various academic fields, showing students and other readers how to construct and criticize arguments using the techniques of sound reasoning. The Voice of Reason examines the traditional elements of the field and also explores new ground. The first section (...) of the book elucidates the relationship between thought and language, explaining how words function. It discusses meaning, connotation, vagueness, ambiguity, and definition, identifying the linguistic elements that can produce mistakes in thinking. The next section describes the rules of systematic reasoning, examining such topics as truth, relevance, and adequacy; deductive logic (categorical, hypothetical, and disjunctive); and induction (cause and effect, analogy, generalization, and hypothesis). Sixteen fallacies in thinking are also described through extensive illustrations and applications. The final section of the book offers a unique study of what constitutes proof in several different areas--including politics, advertising, law, and social issues--as well as in the academic disciplines of literature, science, history, and ethics. The author describes the various rules of evidence, using essays by major figures in each field as examples. An ideal text for courses in critical thinking, informal logic, and reasoning and writing, The Voice of Reason offers numerous pedagogical features including a host of examples; assignments, exercises, and puzzles at both the halfway point and at the end of each chapter; cartoons and quotations throughout; and practical applications of theoretical concepts. An extensive Instructor's Manual contains answers to the exercises that appear throughout the text. (shrink)

The balance between creative thinking and creative scholarship is a hard one to achieve, partly because the lure to be original is in conflict with the desire to be fair to the insights of past thinkers and partly because one can never be quite sure whether his scholarship is mere pedantry or actually constitutes significant discovery. In his essay, “On Books and Reading,” Schopenhauer distinguishes those who have “read themselves stupid” from those who take time to ruminate and set (...) their own thoughts to work. “A spring never free from the pressure of some foreign body at last loses its elasticity,” he writes, “and so does the mind if other people’s thoughts are constantly forced upon it.” Thomas Hobbes once observed that if he had read as much as other persons of his acquaintance he would have known no more than they. But the trouble is that if one does not read enough of what others have thought, he may repeat mistakes they made or turn down some cul-de-sac which is not worth exploring or is profoundly trivial. More common in philosophy is the arrogant upstart who has fastened onto some formula which he treats as a talisman enabling him to decide what to ignore and what to study. For a time, there were some philosophers who thought that anyone before Hume was not worth reading, and there are still a few who think anyone following in the footsteps of Descartes must surely be wrongheaded. (shrink)

Iknow that some people find that Leavis’s mode of thought and what he had to say about thinking are obscure or difficult. We are dealing with some profound matters, but some profundities can be elucidated as well in twenty minutes as twenty years. I think the subject can be treated briefly and lucidly, and the challenge to me is to do so.What counts as thinking? What does it cover? Narrow the question immediately to thinking about, so (...) as to avoid tricky questions concerning, for instance, prophecy, dreams, or the Delphic Oracle, and it may still include “Let’s sleep on it” or even my way of preparing these remarks, which was to try to define... (shrink)

In browsing the contents of this book, my first thought was, “Well, sure, to a hammer everything looks like a nail.” Or, more cryptically to those in earshot, I uttered, “Well, sure, once you've made it through Ulysses everything can sound like Joyce.” But the joy and mental workout of All Future Plunges come not from nitpicking particular Joycean tropes or images but rather from considering Joyce as a cultural phenomenon for all who followed to engage with, immerse themselves (...) in, and speak to. His works anchor Vergara's five case studies in twentieth-and twenty-first-century Russian literature (Olesha, Nabokov, Bitov, Sokolov, and Shishkin). Joyce is deployed as a source of intertexts and influences and as the lens through which the Russian works are read. Vergara includes “points of contact” for each author to show knowledge of Joyce as well as the context in which Joyce was being read and discussed in Soviet, émigré, and post-Soviet literary spheres. The framing work on intertextuality is significant in its own right and leads to compelling notions of how literary influences can be detected and discussed. Behind it all looms the bespectacled presence of Joyce (gazing out from the book's cover in pop-art primary colors) with his Oedipal tensions, modern epic style, bawdy language, and sonorous prose. But essentially what Vergara's book gives us is a glimpse of creative and smart people reading the work of another creative smart person.Vladimir Nabokov, an outspoken devotee of Joyce, had a peculiar rationale for not believing in heaven. He wrote that even if, in the afterlife, he found himself in paradise surrounded by all of his dead loved ones, he would not be able to shake the gnawing doubt that at any point these beloved phantoms might pull off their masks and reveal themselves to be demons. After reading All Future Plunges, a similar fear may grip the reader of modernist literature—that the many varied and nuanced references we find in these works may one day all prove to be simply myriad instantiations of Joyce in disguise. But even when that happens, I suppose we may still think to call it heaven. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Teaching Ethics in the Health Care Setting Part I:Survey of the LiteratureMary Carrington Coutts (bio)The last twenty years have brought important changes to health care and health care education. Educators and students alike face an enormous number of new fields of study and new medical technologies. Health care professionals and institutions are also facing new challenges in the form of shrinking economic resources, and the AIDS epidemic. They must (...) also respond to increased patient participation in health care decisions, and public concern about abortion and euthanasia. These challenges to the health care professional have compelled educators to accommodate ethics within their already overcrowded curriculum. Those same dilemmas have influenced health care institutions to become active in health care ethics education.Medical ethics education gained a foothold in the United States during the late 1960s, when the medical schools of Pennsylvania State University, the University of Florida, and the State University of New York at Stonybrook established programs in the humanities (Pellegrino 1982). In 1978 Robert Veatch noted that formal teaching in medical ethics was rare; most institutions that taught medical ethics used "informal instruction in the apprenticeship mode" (Veatch 1978). However, by 1982 a survey by the American Medical Association (AMA) revealed that all but one of the 127 medical schools had courses that included medical ethics. Thirty eight of these had medical ethics as a required course (Pellegrino 1985). And by 1989, 43 of the 127 medical schools had separate courses in medical ethics, while 100 covered medical ethics within required courses. Medical ethics is now an accepted part of medical curriculum, though it is not fully mature, and its future remains somewhat unclear (Miles 1989).The evolution of ethics in the nursing curriculum has essentially mirrored that of the medical curriculum. A 1977 survey of baccalaureate nursing programs revealed that only 7 percent of nursing programs required courses in ethics [End Page 171] (Aroskar 1977). A decade later a second survey of undergraduate programs identified 85 percent of responding nursing schools as teaching nursing ethics either in separate ethics courses or within other required courses (Cassells and Redman 1989).Though the precise future of health care ethics may be unpredictable, there is little thought that the role of ethics will diminish in importance as the 21st century approaches. Ethics is seen as part of a larger plan to develop and enhance the health professional's human values, social conscience, and interpersonal skills. "This broader effort derives from concerns about the personal attributes and humanistic sensitivity of physicians, the recent overly 'scientized' trend in premedical education, the selection of medical students, and the socialization and cynicism engendered by medical education" (Miles 1989, p. 705).While nearly every medical and nursing school in the United States now teaches ethics in one form or another, the degree to which ethics is integrated into the curriculum varies from school to school. Some ethics courses are required elements of the students' education; some institutions require attendance at seminars and ethics grand rounds. Other schools offer an array of elective courses in topics that relate to ethics in medicine and nursing (including medical humanities, medicine and the law, literature and medicine, history of medicine, patient advocacy, and human values in nursing.) "Brown bag" seminars and journal clubs are also common.There is much debate over how health care ethics should be taught. Some argue that medical professionals should be conversant with theories of ethics and principles of biomedical ethics. Others think that a theoretical approach will alienate already over-worked medical or nursing students, and that instruction in ethical theory should be kept to a minimum. Case studies are frequently cited as a way to involve students in medical decision making, forcing them to analyze problems that they can relate to their own experiences.Additional concerns center around who should teach health care ethics. Frequently, physicians and nurses interested in ethics teach courses. Some commentators see this as the most desirable arrangement, asserting that practicing health care professionals best understand the conflicts faced by physicians and nurses-in-training. However, there is a growing pool of professionals who are undergoing training as medical ethicists. These individuals study ethical theory and bioethical... (shrink)

Emmanuel Levinas is one of the most important figures of twentieth-century philosophy. Exerting a profound influence upon such thinkers as Derrida, Lyotard, Blanchot, and Irigaray, Levinas's work bridges several major gaps in the evolution of continental philosophy--between modern and postmodern, phenomenology and poststructuralism, ethics and ontology. He is credited with having spurred a revitalized interest in ethics-based philosophy throughout Europe and America. _Entre Nous_ (Between Us) is the culmination of Levinas's philosophy. Published in France a few years before his death, (...) it gathers his most important work and reveals the development of his thought over nearly forty years of committed inquiry. Along with several trenchant interviews published here, these essays engage with issues of suffering, love, religion, culture, justice, human rights, and legal theory. Taken together, they constitute a key to Levinas's ideas on the ethical dimensions of otherness. Working from the phenomenological method of Edmund Husserl and Martin Heidegger, Levinas pushed beyond the limits of their framework to argue that it is ethics, not ontology, that orients philosophy, and that responsibility precedes reasoning. Ethics for Levinas means responsibility in relation to difference. Throughout his work, Levinas returns to the metaphor of the face of the other to discuss how and where responsibility enters our lives and makes philosophy necessary. For Levinas, ethics begins with our face to face interaction with another person--seeing that person not as a reflection of one's self, nor as a threat, but as different and greater than self. Levinas moves the reader to recognize the implications of this interaction: our abiding responsibility for the other, and our concern with the other's suffering and death. Situated at the crossroads of several philosophical schools and approaches, Levinas's work illuminates a host of critical issues and has found resonances among students and scholars of literature, law, religion, and politics. _Entre Nous_ is at once the apotheosis of his work and an accessible introduction to it. In the end, Levinas's urgent meditations upon the face of the other suggest a new foundation upon which to grasp the nature of good and evil in the tangled skein of our lives. (shrink)

Engaging the World explores Luce Irigaray’s writings on sexual difference, deploying the resources of her work to rethink philosophical concepts and commitments and expose new possibilities of vitality in relationship to nature, others, and to one’s self. The contributors present a range of perspectives from multiple disciplines such as philosophy, literature, education, evolutionary theory, sound technology, science and technology, anthropology, and psychoanalysis. They place Irigaray in conversation with thinkers as diverse as Charles Darwin, Claude Lévi-Strauss, Gilles Deleuze, René Decartes, and (...) Avital Ronell. While every essay challenges Irigaray’s thought in some way, each one also reveals the transformative effects of her thought across multiple domains of contemporary life. (shrink)

Dominant theoretical models of autism and resultant research enquiries have long centered upon an assumed autism-specific empathy deficit. Associated empirical research has largely relied upon cognitive tests that lack ecological validity and associate empathic skill with heuristic-based judgments from limited snapshots of social information. This artificial separation of thought and feeling fails to replicate the complexity of real-world empathy, and places socially tentative individuals at a relative disadvantage. The present study aimed to qualitatively explore how serious literary fiction, through (...) its ability to simulate real-world empathic response, could therefore enable more ecologically valid insights into the comparative empathic experiences of autistic and non-autistic individuals. Eight autistic and seven non-autistic participants read Of Mice and Men for six days while completing a semi-structured reflective diary. On finishing the book, participants were asked to engage in three creative writing tasks that encouraged reflective thinking across the novel. Thematic and literary analysis of the diary reflections and writing tasks revealed three main themes Distance from the Novel; Mobility of Response; Re-Creating Literature. Findings demonstrated the usefulness of serious literature as a research tool for comparing the empathic experiences of autistic and non-autistic individuals. Specifically, autistic individuals often showed enhanced socio-empathic understandings of the literature with no empathy deficits when compared to non-autistic participants. (shrink)

O'Brien & Opie's position is consistent with the existence of implicit learning and subliminal perception below a subjective threshold but it is inconsistent with various other findings in the literature. The main problem with the theory is that it attributes consciousness to too many things. Incorporating the higher order thought theory renders their position more plausible.

In a recent volume titled Demande (Expectation), containing texts written over a period of more than thirty years, but each devoted to different aspects of the relationship between philosophy and literature, Jean-Luc Nancy offers a suggestive account of their mutual genesis and ongoing dialogue in order to underline the way in which, beyond their apparent dialectical reciprocity, philosophy and literature are each inseparable from the unanswered and unanswerable questions they ask themselves and each other. Both, in other words, are said (...) to belong to the “in-between,” that fragile zone of undecidability that, according to Nancy’s reading of Kant, is a salient characteristic of all supposed self-identity. This article explores some of the implications of Nancy’s formulation as it affects the seemingly intractable question of myth’s interruption. It considers in particular some of the problematic features, deriving, it argues, from the inescapable fragility of thought itself, that may to be found in Nancy’s sometimes tense and contradictory engagement with the work of Maurice Blanchot, the subject of two important essays in Demande, which raises probing questions of Nancy’s own philosophical enterprise. (shrink)

Lively, comprehensive, and contemporary, The Voice of Reason: Fundamentals of Critical Thinking covers three principal areas: thought and language, systematic reasoning, and modes of proof. It employs highly accessible explanations and a multitude of examples drawn from social issues and various academic fields, showing students and other readers how to construct and criticize arguments using the techniques of sound reasoning. The Voice of Reason examines the traditional elements of the field and also explores new ground. The first section (...) of the book elucidates the relationship between thought and language, explaining how words function. It discusses meaning, connotation, vagueness, ambiguity, and definition, identifying the linguistic elements that can produce mistakes in thinking. The next section describes the rules of systematic reasoning, examining such topics as truth, relevance, and adequacy; deductive logic ; and induction. Sixteen fallacies in thinking are also described through extensive illustrations and applications. The final section of the book offers a unique study of what constitutes proof in several different areas--including politics, advertising, law, and social issues--as well as in the academic disciplines of literature, science, history, and ethics. The author describes the various rules of evidence, using essays by major figures in each field as examples. An ideal text for courses in critical thinking, informal logic, and reasoning and writing, The Voice of Reason offers numerous pedagogical features including a host of examples; assignments, exercises, and puzzles at both the halfway point and at the end of each chapter; cartoons and quotations throughout; and practical applications of theoretical concepts. An extensive Instructor's Manual contains answers to the exercises that appear throughout the text. (shrink)