The central task of this paper is to bring into focus a conception of spiritual development which is not, in essence, religious, and which, therefore, can express the meaning of personal and communal identity within the established climate of the age. Such a conception must accept cultural diversity, reflect democratic humanism and seek to promote life-chances for children and adults in a world of high stress and rapid change.

There is relative agreement among modern scholars that the bulk of Arrian's literary activity came late in his life. What has become the standard theory was evolved by Eduard Schwartz, who maintained that it was only after the end of his public career that Arrian turned to writing. According to this hypothesis the Пєρίπλους of 131/ A.D. was a tentative preliminary monograph, which was followed in 136/7 by a work of similar genre, the.

BackgroundDementia care is essential to promote the well-being of patients but remains a difficult task prone to ethical issues. These issues include questions like whether manipulating a person with dementia is ethically permissible if it promotes her best interest or how to engage with a person who is unwilling to recognize that she has dementia. To help people living with dementia and their carers manage ethical issues in dementia care, we developed the CARE intervention. This is an intervention focused on (...) promoting the ethical self-efficacy of people living with dementia and carers, i.e., their confidence that they can manage ethical issues when they occur. The purpose of this paper is to explain and discuss how we have developed the CARE intervention to promote the ethical self-efficacy of people living with dementia, their family, and professional carers through a specific and, we believe, new use of literary texts.MethodsThe CARE intervention has been developed in two phases: First, we conducted a needs assessment of the occurrence of ethical issues in dementia care and the need for an intervention to support people living with dementia and their carers in managing such issues. Second, in a design phase, we developed the CARE intervention to meet identified needs.ResultsTo address identified ethical issues in dementia care we designed the CARE intervention as a workshop format where people living with dementia and carers can meet, discuss literary texts, and deliberate on how to solve such issues. The workshop is structured by the following elements: An agenda of ethical issues, a collection of literary cases exemplifying ethical issues, a moderator with an understanding of dementia care, and an overview of the ethical principles relevant to the discussion of ethical issues. >This workshop concept is operationalized in three applications tailored to meet the specific ethical issues of each of the study´s three target groups: people living with dementia and family carers, professional and family carers, and professional carers.ConclusionWe conclude the paper by stating that it is possible to develop an intervention that promotes the ethical self-efficacy of people living with dementia and family and professional carers. (shrink)

The account in Part I of this essay posited two related but distinct sequences of development: of literary systems proper and of critical systems. Or, more simply, we must recognize that literary practices and systematic ideas about them develop in different ways. Today we can see in retrospect that lyric, narrative, and lyric-narrative or narrative-lyric begin literary cultures. Systematic ideas about literature develop, however, more by accident, what seems to be the result of conditions producing important (...) critical minds at times propitious for reflection. Any full account would have to consider such things as bipropertied conceptions. This has been mentioned before, but a specific example can be given here. Chinese wen designated not merely poetry but also prose historical writing: the fu established a kind of middle ground between them. In any event, such combinations, such bipropertied conceptions, do exist in very sophisticated times. Another matter of crucial importance involves the difference between the actual or descriptive existence of a literary variety and normative or valued critical consideration of a given kind. Various evidence shows that ancient Greece had lyrics as well as narrative, and preliterary Japan, narrative as well as lyrics. In the case of Greece, we tend today to think of narrative normatively as the early literature, although Plato and Aristotle lumped it with lyric and concerned themselves almost entirely with their crucial genre, drama. As for early Japan, the narrative was largely a possession of reciters, and so few heroic cycles are left from the nondominant peoples that narrative poetry is more a supposition that a presence. But there is in what remains from early times a mixture of lyric poetry with narrative prose. That combination did not prove crucial for a systematic poetics, although it is of utmost significance for later developments. It can hardly be said emphatically enough that the literary system comes first and the critical system after some interval. But the various complexities in different cultures are such that to get our bearings we may well consider the course of literary development in a single culture. Earl Miner is Townsend Martin, Class of 1917, Professor of English and Comparative Literature at Princeton University. "That Literature is a Kind of Knowledge," his previous contribution to Critical Inquiry, appeared in the Spring 1976 issue. His works include Literary Uses of Typology from the Middle Ages to the Present and Japanese Linked Poetry. Part I of the present essay appeared in the Winter 1978 issue of Critical Inquiry. (shrink)

By a "literary system" we must mean two distinct yet related matters: a discrete and continuous literary history of "occurrences" such as that we designate as English literature; and a continuous set of ideas about what that first system is. To be sure, the first consists in our thought of it, which is to say of literary creations in temporal series. But the literary creations themselves represent a development or, at a minimum, a sequence of (...) examples of literary knowledge or what may be generally termed poems. That temporally serial set of creations of knowledge had individual knowers in its creators, its poets. Our historical knowledge of the poems consists of ideas about their serial, differentiated character, about their relation to each other, and about their relationship to their creators and the times in which they were created. The second sense of a literary system involves what we call criticism, knowledge about that knowledge is synchronic, as we consider such things as epics, tragedies, lyrics, or novels as categories possessing some validity. But this second kind of literary system has also an historical, diachronic character by virtue of the fact that there were generations before which the novel did not exist or generations during which the novel evolved as a kind of literature whose possibilities were exploited and altered. Without the novel in its history, there can be no history of criticism about the novel. These two varieties of literary system can be designated, then, as literary systems proper and as critical systems. The second does require the existence of the first, in spite of seeming exceptions. We might imagine a new nation wishing to have a literature it does not presently possess. The literature envisioned would imply a poetics prior to the emergent literary system, but the poetics would be borrowed from another literature in which the literary system had predated its critical system. Earl Miner is Townsend Martin, Class of 1917, Professor of English and Comparative Literature at Princeton University. "That Literature is a Kind of Knowledge," his previous contribution to Critical Inquiry, appeared in the Spring 1976 issue. His works include Literary Uses of Typology from the Middle Ages to the Present and Japanese Linked Poetry. Part II of the present essay appeared in the Spring 1979 issue of Critical Inquiry. (shrink)

This research paper centers on the folk literary works of Siquijor Island. This study analyzes the Siquijor folk literary works as a reflection of the historical and socio-cultural development of Siquijor Island. Descriptive and exploratory research methodology with triangulation method and interpretive analysis and adapting the historical, sociological and anthropological theories. The study analyzes the nature of the Siquijodnon folklore as a reflection of its historical and socio-cultural development. The results disclose that Siquijodnon folks’ lifestyle are (...) established based on their perceptions and interpretations on things and circumstances happening around them clouded with influences from personal beliefs and colonization. Hence, Siquijodnon folk literary works manifest and explain Siquijodnons’ involvement in the community and the historical and socio-cultural development of their island, Siquijor. Keywords - Literature, Siquijor folk literary works, human experiences and social realities, historical and socio-cultural practices and beliefs, social sciences, descriptive survey, Siquijor Province, Philippines. (shrink)

We usually consider literary thinking to be peripheral and dispensable, an activity for specialists: poets, prophets, lunatics, and babysitters. Certainly we do not think it is the basis of the mind. We think of stories and parables from Aesop's Fables or The Thousand and One Nights, for example, as exotic tales set in strange lands, with spectacular images, talking animals, and fantastic plots--wonderful entertainments, often insightful, but well removed from logic and science, and entirely foreign to the world of (...) everyday thought. But Mark Turner argues that this common wisdom is wrong. The literary mind--the mind of stories and parables--is not peripheral but basic to thought. Story is the central principle of our experience and knowledge. Parable--the projection of story to give meaning to new encounters--is the indispensable tool of everyday reason. Literary thought makes everyday thought possible. This book makes the revolutionary claim that the basic issue for cognitive science is the nature of literary thinking. In The Literary Mind, Turner ranges from the tools of modern linguistics, to the recent work of neuroscientists such as Antonio Damasio and Gerald Edelman, to literary masterpieces by Homer, Dante, Shakespeare, and Proust, as he explains how story and projection--and their powerful combination in parable--are fundamental to everyday thought. In simple and traditional English, he reveals how we use parable to understand space and time, to grasp what it means to be located in space and time, and to conceive of ourselves, other selves, other lives, and other viewpoints. He explains the role of parable in reasoning, in categorizing, and in solving problems. He develops a powerful model of conceptual construction and, in a far-reaching final chapter, extends it to a new conception of the origin of language that contradicts proposals by such thinkers as Noam Chomsky and Steven Pinker. Turner argues that story, projection, and parable precede grammar, that language follows from these mental capacities as a consequence. Language, he concludes, is the child of the literary mind. Offering major revisions to our understanding of thought, conceptual activity, and the origin and nature of language, The Literary Mind presents a unified theory of central problems in cognitive science, linguistics, neuroscience, psychology, and philosophy. It gives new and unexpected answers to classic questions about knowledge, creativity, understanding, reason, and invention. (shrink)

No reasonably attentive reader of the majorjournals in literary criticism and theory will be unaware of the current interest in something called "history," whether under the specific rubric of a "new historicism" or as part of a commitment to the development of polemical and political applications, in the present, of scholarly research done about the past.

Publication date: 21 March 2019 Source: Author: Solehah Yaacob, Ismail Haron Contradictory views on ancient literary works provide a panorama of historical development. However, the validity of the texts was considered as issue of prime importance. The critics on its literary authenticity would reveal whether it was real or just a fabrication. The Epic Gilgamesh was ascertained by Said Ghanimi to be unauthentic. The contentions by S. N. Kramer and Taha Baqir were with regard to the differences (...) of language usage in the Epic Gilgamesh either Sumerian or Akkadian as well. The acknowledgment of the West on Iliad and Odyssey by Homer as the first document written in world history was unfounded although this was highlighted by B. Lansberger in 7th conference in Paris on 1958. The Code Hamurabbi is a well preserved Babylonian Code of laws, unfortunately, it was considered as a fabrication of Old Testament which came 800 years later, especially on the narration of Big Flood Story as mentioned in the Book of Genesis. It is regrettable that the paucity of materials on the ancient history of the ancient people available from the Muslim sources poses as constrain on this study. The research is compelled to refer almost entirely to Western and Jews sources. Thus, the approach used in this study is based primarily on historical and linguistic analysis of ancient literary works. (shrink)

Literary cognitivists claim that works of literature can have a significant cognitive value and can be effective in providing readers with opportunities for learning. Anti-cognitivists challenge cognitivists by questioning how literature can offer arguments or evidence for readers’ adoption of new knowledge or understanding. As a mode of side-stepping these objections, cognitivists have recently tended to make their claims more modest and claim only that literature clarifies knowledge readers already possess or provides the opportunity for the development of (...) certain general cognitive skills. In this chapter, I put forward a more bold account of literature’s cognitive value. I argue that a reader’s engagement with a literary work can lead to reconfiguration of their understanding of the subject matter with which the work deals. This bolder defence of literature’s cognitive value, and the account I offer of how readers can access such cognitive value, indicate how literature can form a significant part of character education. (shrink)

The foundation of methodical development of literary hermeneutics represents an altogether new proposition. There existed for centuries an old tradition of philological hermeneutics. It can glory in its venerable origins: the interpretation of ecclesiastical canonical writing, an art which ever since the period of Humanism has been erecting for itself a proud monument of re-edited and corrected texts and commentaries of ancient authors. It can also show just as impressive a result of historical interpretation of the texts of (...) the world's literary past which had served the ideal of an “objective” and therefore scholarly knowledge. However we know that these achievements were not a monopoly of the traditional philological hermeneutics, but were shared with the theological, juridical, philosophical and distorical hermeneutics: in short, with all branches of study concerned with editing, critical study of sources and historical interpretation of the writings of the past. The merits of the traditional hermeneutics of literary texts are so unexceptional, its history so difficult to distinguish from other regional hermeneutics that the epistemologist can speak of a common philological basis and pose the following fundamental question: where does the independence of literary hermeneutics really begin? How has it operated and how does it operate today in order to render justice to the aesthetic character of its texts? (shrink)

Engagements with Contemporary Literary and Critical Theory is a wide-ranging but accessible introduction that illuminates the field of theory through a variety of useful and relevant examples. Covering all key theories and theorists, this book looks at the relation of theory to form, discourses, subjectivity, media and networks, and environments. Organized thematically, Engagements with Contemporary Literary and Critical Theory illuminates the field by focusing on the concepts and methodologies of key thinkers, while also providing historical introductions that contextualize (...) the latest developments with regard to forms; discourses; subjectivities and embodiments; media, networks, and machines; and animals, affects, objects, and environments. Each chapter includes examples from a canonical novel, a contemporary text, and a new media artefact, while textboxes regularly introduce additional emerging or overlooked theorists of interest. An ideal guide for undergraduates studying literary theory, this book will give readers the background they need to continue their own fruitful explorations of this vibrant field of study. (shrink)

To explore literary silence is to explore the relationships between literary texts and the silence of the ineffable. Philosophical and critical accounts tend to operate with a dualistic understanding of silence as the negative other of text. This study, however, seeks to place silence within the literary text. Central to this theoretical endeavour are thinkers like Blanchot, Derrida, Gadamer and Vattimo, and the result is a fundamental challenge to our ideas of silence and text. The study continues (...) to draw on the ideas of Kierkegaard and Bataille to develop an effective methodology for reading such literary silences. (shrink)

Our study proposes an analysis of the traces of the comprehension process (debates, pupils’ writings) during accompanied reading in class. This sequence conducted with eight- to nine-year-old pupils focuses on a picture book that addresses socially acute questions. The teacher works with her class on different visions of the future in an uncertain world by means of a problematizing investigation. This work of comprehension-interpretation-appreciation aims to enable the pupils to appropriate the text with its specificities (absurdity, character development, a (...) message calling for critical thinking) by leading to a rhetorical reading that brings together epistemological and axiological dimensions. (shrink)

This article provides an English translation of Johan Ludvig Heiberg’s “Literary Winter Crops” from 1843. The young Kierkegaard cultivated a positive relationship with Heiberg, who was the most powerful cultural figure in Denmark at the time. Heiberg published Kierkegaard’s first articles in his literary journal Kjøbenhavns flyvende Post, and in Kierkegaard’s early works such as From the Papers of One Still Living and The Concept of Irony, there are clear signs that he continued to court Heiberg’s favor. Heiberg’s (...) dismissive book review of Either/or in “Literary Winter Crops” definitively ended the relationship. Deeply offended, Kierkegaard from this point on waged a polemical war with Heiberg. Heiberg’s short review played a large and negative role not just in their personal relationship but also in Kierkegaard’s development generally. This work appears here for the first time in a complete English translation. (shrink)

To explore literary silence is to explore the relationships between literary texts and the silence of the ineffable. It is to enquire what dynamics texts develop as they strive to 'say the unsayable', and it is to think literature as a silence that speaks itself. This study describes these literary and silent dynamics through readings of Pascal's Pensées, Rousseau's Rêveries, and Beckett's trilogy Molloy, Malone meurt, and L'Innommable. It contributes to our understanding of three major writers and (...) challenges our idea of what silence is. The subject of silence and of the ineffable has a long philosophical and critical tradition. A careful study of this tradition reveals the dominance of a limiting dualistic understanding of silence and its relationship to noise or language: silence becomes the negative other, the beyond, about which there remains nothing to say. The study of literary silence seeks rather to trace a language that becomes its own silence. It compromises the attempt to think a silence that moves within and through texts, that is inherent to the literary expression. Central to this theoretical endeavour are thinkers like Derrida, Deleuze, Gadamer, and Vattimo. The theoretical understanding of silence permits an effective methodology for reading literary silence. Notions of repetition, the aporia and the implosion, which are developed in reference to Kierkegaard and Bataille, describe textual strategies of literary silence and structure the readings. Finally, the reading of literary silence has its point of reference in writers like Mallarmé, Blanchot, and Beckett. It is their texts that have taught us to become topological readers, to move in and out of texts' movements; they have shown us how the literary expression is irreducible to linear, meaning oriented language. As readers of such texts we have been prepared to read the dynamics of the unsayable, and finally to start discerning the silences of the literary. (shrink)

Connections between Roman Catholic Modernism and the artistic culture of the fin de siècle have received little attention from scholars, as compared to the prominence accorded intellectual, social, and political issues. Felix Klein is one of a handful of those who worked for intellectual renewal who closely followed developments in literature and music, interpreting those developments in a way that favored an agenda of reconciling Catholicism with modernity. In two collections of essays, Nouvelles tendances en religion et en literature and (...) Autour du dilettantisme Klein expressed hopes for a return to Catholicism among a cultural elite which I turn would have a larger impact upon a broad public. (shrink)

This anthology of classic and cutting-edge statements in literary theory has now been updated to include recent influential texts in the areas of Ethnic Studies, Postcolonialism and International Studies. A definitive collection of classic statements in criticism and new theoretical work from the past few decades. All the major schools and methods that make up the dynamic field of literary theory are represented, from Formalism to Postcolonialism. Enables students to familiarise themselves with the most recent developments in (...) class='Hi'>literary theory and with the traditions from which these new theories derive. (shrink)

This paper discusses translation practices from a historicist viewpoint, contextualizing them in their emerging “episode.” The latter is a concept drawn from sociology of literature and accounts for the rise of certain discourses and ideologies in a society. On the basis of the argument that translation practices are informed by the general literary and socio-cultural milieu in which they are produced and consumed, the paper studies the translators’ prefaces to three translations published between 1953 and 1978—a period dominated by (...) Leftist and Marxist discourse in Iran. Drawing on a historically oriented model which holds that the translator’s ideology is revealed at the moment in which he/she chooses a text, and continues through the discourse he/she develops to translate that text, the research embarks on studying translation practices on two levels of choice mechanism and prefaces. Prefaces are discussed in the light of the dominant ideology of representation that is characterized by a revolutionary discourse. The research demonstrates that these translators opted for a strategy that incorporates the translations in the Persian cultural setting with minor changes in a way that politicizes the foreign literature. (shrink)

The purpose of the present text is to show the importance of the system of relevances in respect of the analysis of the literary texts. This concept, developed by Alfred Schutz, helps not only to understand the relation between text and empirical reality as such, but it simultaneously questions the relation between reader, writer, and text. The questions raised by the status of the system of relevances help the phenomenological analysis of the literary text to achieve a better (...) understanding of the act of signification (particularly that defined in the realm of literature) and of the status of reference. It helps also to understand how the configuration of experience as such can be modified according to the specific interaction accomplished within the act of reading. (shrink)

This article explores the role of Athenian literary prizes in the development of ancient literary criticism. It examines the views of a range of critics , and identifies several recurrent themes. The discussion reveals that ideas about what was good or bad in literature were not directly affected by the award of prizes; in fact the ancient critics display what is called an “anti-prize” mentality. The article argues that this “anti-prize” mentality is not, as is often thought, (...) a product of intellectual developments in the fourth century BC. It is suggested that the devaluation of prizes is actually a contemporary, integral feature of prize-awarding culture in general. This article draws on recent approaches from cultural sociology to offer some conclusions about the way in which prizes function in popular and critical discourse. (shrink)

With the rise of the scientific authority of neuroscience and recent neurotechnological advances, the understanding of the human being and its future is beginning to undergo a radical change. As a result, a normative and existential vacuum is opening and hopes as well as fears about the future are flourishing. Some philosophers are anticipating a broad neuroscientific disenchantment, sociocultural disruption and a new existential anxiety related to the clash of the neuroscientific and humanistic image of humans. Others are expecting the (...) technological and scientific developments to lead to human enhancement and existential emancipation. In the first part of this commentary, I outline these two contrasting responses to the rise of neurocentricism and non-anthropocentrism. In the second part, I argue that the divide between the old anthropocentric paradigm and the emerging neuroscientific is misconceived and that literature and fictional narrative are particularly illustrative of the possibility of integrating scientific materialism with humanism. I use the contemporary literary-philosophical work The Creative Act by Rick Rubin to show that humanist ideas can indeed cohere with anti-essentialist and neuroscientific notions of personal identity and self and how existential meaning and comfort can be found in a neuroscientifically and deterministically explained world. (shrink)

When working with literature in the philosophical classroom, teachers can take pupils on journeys through time, history, other cultures, and fictional universes. Since literature invites readers into the lives and minds of others, the pupils can try on another person’s thoughts, emotions, life experiences, perspectives, attitudes, and worldviews. Thus, literature offers a unique window of experiences that has great potential for the philosophical classroom. In this—primarily theoretical—article, it is argued that the combination of literature and philosophy is valuable when practicing (...) philosophy for children in the classroom. First, the combination may cultivate the pupils’ dispositions for being caring, creative, critical, and collaborative thinkers. Second, it may add to the pupils’ ethical formation with special attention to (i) the pupils’ understanding of values, (ii) their sense of individuality and sociality, (iii) the development of their cognitive flexibility and empathy, and (iv) their ethical awareness through ethical argumentation and reflection. In addition to presenting these points, this article will offer brief examples suggesting how school practitioners may use literary texts to prompt ethical reflections through philosophical questions and enquiry. (shrink)

W. B. Yeats’ poem “Politics” has as its epigraph Thomas Mann’s remark, “In our time the destiny of man presents its meaning in political terms.”1 Yeats chose the epigraph in 1938, just before World War II, for a poem proclaiming that sexuality holds his interest more than politics. This still may be true for poets, but by the looks of things, not for many contemporary critics, who, if they do not choose one over the other, subsume one under the other. (...) For them everything is political , which is to hold that everything is reduced to questions of power. So it is, in their eyes, with canons.The first canonization of note for western culture seems to have been that of the Hebrew Scriptures; and although there is much dispute about the whole matter of how that occurred, it is interesting to observe that in a 1971 book entitled The Shaping of Jewish History: A Radical New Interpretation Ellis Rivkin presents the development of that canon in political terms, arguing that production of the Hebrew Scriptures “was not primarily the work of scribes, scholars, or editors who sought out neglected traditions about wilderness experience, but of a class struggling to gain power.”2 In a very interesting article on this subject, Gerald L. Bruns observes that the lesson of this is that the concept of canon is not literary but a “category of power” . Rivkin himself decides, as Bruns remarks, to treat “the promulgation of canonical texts of the Scriptures, not according to literary criteria but according to power criteria” . Presumably it is this program that warrants Rivkin’s subtitle Radical New Interpretation. But what would the literary criteria that are opposed to power criteria here be? Are there any longer believers in the more than trivial existence of such criteria? Does the destiny of literature now present its meaning political terms? If there are no longer thought to be such things as literary criteria, is there, can there be, literature? We have heard answers in the negative to the last question; and the notion of canon has recently been addressed almost always in terms of politics and power, most notably, of course, but certainly not exclusively, by feminist and minority critics. The destiny of women’s writing has certainly presented its meaning in political terms. Hazard Adams is professor of English and comparative literature at the University of Washington. He has recently completed The Book of Yeats’ Poems and a collection of critical essays. (shrink)

Donald Davidson is probably the most eminent living analytic philosopher, and his writings in philosophy of language and philosophy of action have shaped much of the recent work in both these fields. However, despite the obvious shared concerns of literary theory and these aspects of philosophy, up to this point literary theorists have not paid much attention to Davidson's ideas or have only known about them through the interpretations of other philosophers like Richard Rorty. Literary theorists have (...) seen more relevance to their concerns in Continental philosophy and, among analytic philosophers, in the essentially anti-analytic work of J. L. Austin and Ludwig Wittgenstein than in the harder tradition of analytic philosophy—more concerned with logic and philosophy of science—represented by the work of Donald Davidson. _Literary Theory after Davidson _challenges both views, stressing the variety of ways in which Davidson's thought can contribute to the development of literary theory. Davidson himself has contributed a new essay to the collection that explores the interrelations between his theories of language and literature. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Literary Modernist Assault on PhilosophyMichael LackeyIn a recent essay, Richard Rorty makes an insightful distinction between two views of the concept in order to distinguish analytic from conversational philosophy. Rorty defines traditional and analytic philosophy's orientation toward knowledge in terms of "an overarching ahistorical framework of human existence that philosophers should try to describe with greater and greater accuracy."1 Implicit in this view is the belief that (...) there exists a mind-independent Concept that is what it is whether humans perceive it or not. Moreover, this Concept is best suited to represent the world's essence or nature. Therefore, the task of the philosopher is "to pin down" this invariable and universally valid Concept so that he or she can represent reality. Starting with Hegel, however, concepts were treated "like persons—never quite the same twice, always developing, always maturing" ("ACP," p. 21). This is, according to Rorty, the conversational philosopher's view of the "concept." Instead of being an immutable, mind-independent reality, it is a human-constructed semiotic force that evolves in relation to specific communities of language users. The idea of getting a concept right, therefore, is simply incoherent.This distinction between an immutable and evolving concept is certainly a valuable way of understanding some crucial developments in philosophy, but Rorty's use of it to characterize non-analytic philosophy as conversational instead of Continental philosophy is certainly an executive decision on his part. And yet, Rorty is not alone in making such an executive declaration about philosophy, for many early twentieth-century writers also examined this shift to a view of the concept as an ever-evolving and ever-shifting force of meaning, but instead of reconfiguring [End Page 50] and redefining philosophy in light of this shift, they proclaimed the discipline dead. What I want to do in this short essay is to identify a tension in the writings of early twentieth-century writers on the topic of philosophy and to initiate a dialogue that would take more seriously the crisis in philosophy that led to the split between the analytic and Continental traditions.2I"The appartement of the Boulevard des Philosophes presented the dreary signs of impending abandonment. It looked desolate and as if already empty to my eyes."3In the Western intellectual tradition, philosophy has been defined as a discipline that makes use of rigorous forms of logic in order to apprehend an overarching ahistorical truth, which is embodied in either an Ideal Form or a universal concept. Given the superior nature of philosophy's intellectual tools and primary object of desire, it has been dubbed a "nonempirical super science,"4 a disciplinary touchstone used to determine the quality and value of all other systems of knowledge.5 According to this view, a discipline has legitimacy and worth insofar as it contributes to, approximates, or yields philosophical knowledge. Philosophy certainly dominated the Western intellectual tradition from Plato to the end of the nineteenth century, but by 1899, Bertrand Russell was suggesting that philosophy was on the verge of losing its title as the Monarch of knowledge and truth: "Philosophy, by the slow victories of its own offspring, has been forced to forgo, one by one, its high pretensions."6 Friedrich Nietzsche's genealogical method certainly did much to undermine philosophy's credibility, for in exposing the way concepts evolve in relation to an individual community's ideological needs and desires, Nietzsche implicitly identified the philosopher's non-normative, mind-independent truth as the seething product of an overheated imagination.7Deeply concerned about the radical subversion of philosophy was T. E. Hulme, the modernist aesthetician who understood the threat that the anthropomorphic turn in knowledge posed to Truth. For Hulme, should the intellectual world accept the view that truth is a human construction instead of a pre-given Idea, all conceptual systems would be nothing more than a Weltanschauung. To save universal Truth and objective Reality, therefore, modernist intellectuals have only one option: to purge philosophy of "anthropomorphism" so that they could [End Page 51] re-establish an "objective basis" for knowledge, a basis that does "not in the least depend on the human mind." Once... (shrink)

While the very existence of global literary studies as an institutionalised field is not yet fully established, the global turn in various disciplines in the humanities and the social sciences has been gaining traction in recent years. This book aims to contribute to the field of global literary studies with a more inclusive and decentralising approach. Specifically, it responds to a double demand: the need for expanding openness to other ways of seeing the global literary space by (...) including multiple literary and cultural traditions and other interdisciplinary perspectives in the discussion, and the need for conceptual models and different case studies that will help develop a global approach in four key avenues of research: global translation flows and translation policies, the post-1989 novel as a global form, global literary environments, and a global perspective on film and cinema history. Gathering contributions from international scholars with expertise in various areas of research, the volume is structured around five target concepts: space, scale, time, connectivity, and agency. We also take gender and LGBTQ+ perspectives, as well as a digital approach. (shrink)

Rush Rhees, Georg Henrik von Wright and Elizabeth Anscombe are well known as the literary executors who made Ludwig Wittgenstein’s later philosophy available to all interested readers. Their editions of Wittgenstein’s writings have become an integral part of the modern philosophical canon. However, surprisingly little is known about the circumstances and reasons that made Wittgenstein choose them to edit and publish his papers. This essay sheds light on these questions by presenting the story of their personal relationships—relationships that, on (...) the one hand, gave Rhees, von Wright and Anscombe distinct insights into Wittgenstein’s philosophizing; and, on the other hand, let Wittgenstein assume that these three former students, and later colleagues and friends, were the most capable of preparing his work for publication. Using hitherto unpublished archival material as well as information from published recollections, the essay sketches the development of the personal and philosophical bonds from which the literary heirs’ distinct ways of handling Wittgenstein’s unpublished writings grew in later years. (shrink)

In my dissertation, I develop a novel approach to thought experiments and literary learning. It’s novel primarily because, unlike many prominent approaches, it has us refrain from advancing theories, from giving logical analyses, and from explicating. We are, instead, to proceed in a way inspired by Wittgenstein’s writings. We are, that is, to clarify words that give rise to problems and to clear those problems away. To clarify words, we may compare language games in which figure terms like “thought (...) experiment.” Thereby, we might see that the concept these terms express has a family resemblance character. To clear away problems, we may describe how such a concept, if not illuminated, yields philosophical problems about thought experiments and literary learning. -/- After I develop this approach, I bring it to bear on two problems, and I achieve two main results. One problem concerns the nature of thought experiments. It is: Why do we have trouble explaining what we know them to be? I find that, despite appearances, we have no such trouble. Central to this result are two claims about thought experiments. One is that imaginings aren’t common to them. The other is that our unreflective concept of them has a family resemblance character. -/- The other problem concerns stories in works of literary fiction. It is: How could we possibly learn about the world from them? To solve it, you might claim that we learn by performing thought experiments, and then appeal to a theory of them. I find that you’d risk explaining the wrong thing. That is, you may well explain only how we learn—not how we do so from literature itself. Central to this result are three claims, which concern how these stories differ from thought experiments. They differ, I claim, (i) in how we count imaginings as experiences of them, (ii) in how free we are to interpret them, and (iii) in how complex they may be. This done, I’ve twice taken my novel approach and achieved results. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.2 (2002) 312-333 [Access article in PDF] Consilient Literary Interpretation Marcus Nordlund I THIS IS AN EXCITING TIME in the history of human self-knowledge. Like the two souls in Plato's Symposium, the life sciences and the human sciences are slowly coming to terms with their painful divorce and are increasingly on speaking terms. Thanks to important developments across a broad range of academic disciplines from (...) biology and neuroscience to anthropology and psychology, we are starting to glean the possibility of a new conceptual integration that may have important consequences for our understanding of human nature. After hundreds of years of virtuoso variations on the theme of philosophical and scientific dualism, we have come some way towards bridging the gap between mind and matter, biology and culture, science and the arts.From the perspective of literary studies, two recent developments have been especially valuable. The previous decade saw a growing recognition among social scientists of the explanatory force of evolutionary theory, and of the ultimate bankruptcy of the nature-nurture opposition that forces biology and culture into different compartments. Since the social sciences have always supplied literary studies with food for thought, it would be strange if such developments did not reflect on literature, too. Equally important has been the increasing impatience among scholars in the humanities with the radical skepticism, antiscientism, and dogmatic agnosticism that turns both science and literature into mere self-validating narratives and sees no significant difference between descriptive and normative statements. Together, these theoretical shifts have slowly begun to pave the way for a new dialogue between those who study biology, psychology, and cultural artifacts like literature. Since the mid-1990s, a number of literary [End Page 312] scholars have taken the first steps towards merging evolutionary and cultural explanation in the study of literature. 1One striking defense of such a conceptual integration between science and literature was delivered a few years ago in Edward O. Wilson's Consilience. 2 According to Wilson, there is "only one way to unite the great branches of learning and end the culture wars. It is to view the boundary between the scientific and literary cultures not as a territorial line but as a broad and mostly unexplored terrain awaiting cooperative entry from both sides" (p. 138). While he concedes that the two cultures can and should be characterized by "radically different goals and methods," he also stresses that interpretation provides a "logical channel of consilient explanation between science and the arts" (p. 234).While we have good reason to be optimistic about the potential of this joint endeavor, it is nevertheless fraught with massive problems. The current track record in interdisciplinary literary studies is uneven, to say the least. Strange confusions about the nature and status of theory abound, and these often take the shape of spontaneous raids into foreign conceptual frameworks that are bound to baffle the practitioners of the host discipline. As Richard Levin importantly points out, 3 there are numerous reasons why current interdisciplinary literary theories tend to become self-validating. There are no negative tests; critics tend to choose theories on the basis of ideological preferences rather than the criterion of truth; and there is a widespread assumption that theories can simply be transformed willfully whenever they do not meet the requirements of the interpreter.Many of the problems Levin points to can, I think, be remedied by something as trivial as a change in attitude within the discipline of literature itself. For example, something has obviously gone seriously wrong when the automatic spouting of political ad hominem arguments and genetic fallacies has become second nature to so many critics. But there are other and more fundamental problems that seem intrinsic to the whole question of interdisciplinarity. One of these, according to Wilson, is that as we move forward in the hierarchy of sciences, from physics to biology to literature, we encounter a rapidly accelerating complexity: "It is far easier to go backward through the branching corridors than to go forward.... Biology is almost unimaginably more complex than physics, and the arts equivalently more complex than... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:LITERARY THEORY, PHILOSOPHY OF HISTORY AND EXEGESIS XYONE FAMILIAR with the present state of biblical studies is aware that there is a significant shift on the part of many,scholars away from the historical critical method as it was practiced earlier toward methods that are based upon various theories of literature.1 Criteria for judging the aptitude of either the historical or literary method are often established on the (...) ·basis of their practical effectiveness in " yielding a meaning," particularly one that seems to serve the believing community. The difficulty with such an approach is that the philosophical principles latent in and undedying the various methods are not examined directly and are thus left to function unquestioned while the debate centers on results. The purpose of this study is modest. It is to reflect critically on a concrete work of exegesis in order to see how exegesis actually proceeds or might proceed. I a1so wish to question some of the unexpressed epistemological principles that often operate in whrut biblical scholars do. Taking rus a model those historians who have reflected philosophically on what it means to do history, I wish in a similar manner to reflect on what it means to do exegesis·. Such an undertaking, it is hoped, will advance the dialogue between systematic theology and exegesis and indicate further avenues to be explored. We have arrived at a moment when it is in the interest of both disciplines to have a clearer notion of how to assess the results of biblical study. It is becoming increasingly obvious that the central issue in biblical studies is not method as such, though discussion of 1 For a description of more profound aspects of this shift, see: J. P. Martin, "Toward a Post-Critical Paradigm," New Testament Studies 33 (1987) 370-385. 575 576 FRANCIS MARTIN what is called the historical critical method, the literary method, etc. will always have its place. The core problem is that of developing a theology of human communication. This will be a theology that learns from the philosophy of language and literature and yet derives its primary lessons from the unique communication that each theologian experiences in his or her personal contact with the biblical text. The work done by Paul Ricoeur in the field of the philosophy of l1 anguage and literature can provide a, point of departure in the elaboration of such a theology of communication. In addition to reflecting philosophically on many aspects of human communication, Ricoeur has expressed himself from time to time on the relation of his philosophy to biblica,l issues. Thus, in his essay, " Toward a Hermeneutic of the Idea of Revelation," 2 Ricoeur speaks of biblical hermeneutic as being " one regional hermeneutic within a general hermeneutic and a unique hermeneutic that is joined to philosophy as its organon." 3 In discussing the expression of dependence without heteronomy, at the conclusion his essay, Ricoeur goes on to say:... the experience of testimony can only provide the horizon for a specifically religious and biblical experience of revelation, without our ever being able to derive that experience from the philosophical categories of truth as manifestation and reflection as testimony.4 These statements, as we can easily recognize, touch upon a key dimension of the problem facing us as we attempt to locate the human communication of the scriptures in the context of revelation. The question is that of the presence of the unique existing within the common. It is the fact that the particular and irreducible nature of the biblical witness is necessarily made in language common to 1 alL Scripture directs itself, not 2Now found in L. Mudge (ed.), Essays iAi Bibliaal Interpretation (Philadelphia : Fortress, 1980), pp. 73-118. See in addition, "Naming God," Union Seminary Quarterly Review 34 (1979) 215-227. 3" Toward a Hermeneutic," p. 104. 4Jbid., p. 117. LITERARY THEORY, HISTORY AND EXEGESIS 577 to a remote and privileged sphere of " religion," but rather to the marketplace where human thoughts about existence jostle one another in a desire to be heard: Wisdom cries aloud in the street, in the open squares she raises her voice. Down the crowded ways she calls out, at the city gates she... (shrink)

Let me start with my general thesis: that psychoanalysis has gone through three phases. It has been a psychology first of the unconscious, second as psychology of the ego, and today, I believe, a psychology of the self. . . . To a surprising extent, the modern American literary critic has sought the same impersonal, generalized kind of quasi-scientific knowledge. We anglophones reacted against the over-indulgence in subjectivity by Victorian and Georgian critics. We also reacted against the uncritical use (...) of extraliterary knowledge, connections that were often aimless and unconvincing between literary works and their authors' autobiographies or literary periods. We sought instead an analytical rigor, at first by searching out the organic unity of particular literary works, then by extending the methods of close reading we developed that way to the total works of an author, to myths and popular arts, to the language of everyday life, and even to such artifices as Volkswagens, supermarkets, and political candidates. Norman N. Holland is professor of English and director of the Center for the Psychological Study of the Arts at the State University of New York at Buffalo. He is the author of six books, of which Psychoanalysis and Shakespeare , The Dynamics of Literary Response , Poems in Persons , and Five Readers Reading deal directly with problems of psychological criticism. His contributions to Critical Inquiry are "Human Identity" and "Why Ellen Laughed". (shrink)

The communal composition and recitation of poems, as the marker of cultural distinction, constituted the central activities in the social networking of educated elites throughout premodern Korea. Poetry societies, therefore, had prospered in elite circles until the dawn of the modern period. This literary culture trickled down to nonelites during the late Chosŏn period. Some poetry societies of secondary status groups developed into centers of literary production in turn-of-the-nineteenth-century Seoul; prominent yangban elites willingly joined them, and their events (...) attracted attention from poets across the country irrespective of their social status. (shrink)

Authors and printers together created the New Book of Nature—the printed literature of science—in early modern Europe. Careful attention has been given in recent years to the development of literary and rhetorical techniques in science. This article proposes that these developments were linked to printing technology and the typographic culture that produced the early printed book of science. We focus on several cases in which the roles of author and printer-publisher were joined and thereby highlight connections between knowledge (...) production and reproduction during the Scientific Revolution. Examples include Regiomontanus, Tycho Brake, Galileo, William Leybourn, Joseph Moxon, and the collective practices and privileges of the Royal Society of London and the Paris Academy of Sciences. (shrink)

This article argues that attention and distraction form a central concern of Benjamin's writings on literature. Individually and in conjunction, they underpin processes of textual production and reception, yet their relationship is fluid and subject to historical change. In this respect, Benjamin's exploration of the interplay of attention and distraction in writers such as Leskov, Baudelaire and Brecht also leads to more general reflections about the social, cultural and psychological shifts brought about by industrialization and modern mass culture. Benjamin's writings (...) on literature trace developments which he also explores in relation to film. And echoes of his ‘literary history of attention’ can also be found in both his own critical approach and his self-reflexive comments on the process of writing. (shrink)

Behind all of Sheldon Sacks' writing and teaching lay an intense belief in the objectivity of literary experience and our capacity to achieve a shared conceptual understanding of the forms which underlie it. Literary criticism for him was not the critic's unique and unrepeatable performance but a serious inquiry—a critical inquiry—seeking explicit and precise explanatory concepts which others could grasp, test, and build upon. His effort was to show that we could in significant measure understand and explain literature (...) and its value as standing independent of our understanding and explanation, and it was this double emphasis on the real being of literature and the possibility of valid conceptualization of it which gave his thought its appeal for those whom it influences. His creative constitution—and the length and circumstances of his life—were such as to allow only the one sustained effort of Fiction and the Shape of Belief and a series of articles in which he modified and expanded the application of the ideas developed therein. Yet in this relatively small body of work he revised and extended the ideas of the Chicago School within which he worked so as to achieve what seem to me genuine advances in the explicit conception of novelistic forms—what might be called portable ideas, sharp and definite enough to be adopted and used and in their turn revised and redefined by others; this sets them apart from much critical work and marks their value and his intention. Ralph W. Rader, chairman of the department of English at the University of California at Berkeley, is the author of Tennyson's "Maud": The Biographical Genesis. His previous contributions to Critical Inquiry are "Fact, Theory, and Literary Explanation" , "Explaining Our Literary Understanding: A Response to Jay Schleusener and Stanley Fish" , and "The Dramatic Monologue and Related Lyric Forms". (shrink)

Traditional studies of literature have developed approaches ranging from historical, hermeneutic, critical, close reading and author studies perspectives. The present volume shows that there is much, much more to analysing literary texts, their readers, the literary system, movies, their structure and their effects. These diverse new ways of looking at literature are exemplified in this volume. The volume shows how these various approaches can be carried out in concrete projects in the area of literary studies. Twenty-three chapters (...) encompass research on literary studies from perspectives of psychology, linguistics, anthroplogy, history, sociology, computer science. The contributors demonstrate in non-technical language the amplitude of detail and insight that can be gained from such a wider perspective on the study of literary texts. The interdisciplinary diversity of the study of literature may launch itself as a New Beginnings in Literary Studies indeed. (shrink)

La lectura de obras literarias constituye una herramienta para contribuir al desarrollo cognoscitivo, valorativo y empático del estudiante, así como a la aprehensión y transformación de la realidad. Por lo que el objetivo consistió en valorar la importancia de los talleres de apreciación literaria como contribución a la praxis humana en la Educación Médica mediante el criterio de especialistas. Reading literary works is a tool to contribute to students' cognitive, assessable and empathetic development as well as to capture (...) and transform reality. Therefore, the objective is to assess the importance of literary appreciation as a contribution to human praxis in the educational context of a medical university. (shrink)

In the innovative and engaging _Philosophy, Literature and Understanding_, Jukka Mikkonen investigates a range of developments in multiple disciplines that have complicated traditional debates between cognitivists and non-cognitivists about literature. To avoid the extremes this debate has fallen into, Mikkonen develops a middle course that grounds the cognitive value of literature in its contributions to cultural and self-understanding. As part of this argument, Mikkonen offers an account of how literature can contribute to self-understanding via its narrative form despite what he (...) sees as deep differences between real-life and literary narratives. He concludes that literature can (obliquely) aid our understanding of emotions like grief due to their shared processual nature, and self-understanding generally through its artificiality, the awareness of which allows us to recognize and correct fictionalizing narrative tendencies in our life-narratives. While I agree with Mikkonen’s conclusions, I believe they are too modest and that he provides the resources to claim even greater cognitive benefits from literature. Focusing on what it means to ‘have a self-narrative’ and describing narrative work as it occurs both unreflectively and through self-conscious reflection, this paper argues that that the selectivity, interpretation, and revision said to fictionalize life-narratives are in fact critical to self-understanding, which requires imaginative engagement of the sort Mikkonen sees as characteristic of the practice of literature. This suggests additional and more direct potential cognitive benefits of literature for self-understanding than Mikkonen describes, strengthening and supporting his broader position. (shrink)

Ecofeminism, a new vein in feminist theory, critiques the ontology of domination, whereby living beings are reduced to the status of objects, which diminishes their moral significance, enabling their exploitation, abuse, and destruction. This article explores the possibility of an ecofeminist literary and cultural practice, whereby the text is not reduced to an "it" but rather recognized as a "thou," and where new modes of relationship-dialogue, conversation, and meditative attentiveness-are developed.

In lieu of an abstract, here is a brief excerpt of the content:Walter Glannon WHAT LITERARY THEORY MISSES IN WITTGENSTEIN Wittgenstein's stock is rising in literary criticism. The market value of expressions such as "language games" and "form oflife" is increasing in that they seem to lend themselves to the notion of interpretive communities endorsed by diose of reader-response persuasion.1 Wittgenstein's style is also apparently at a premium, in light of a recent attempt by a proponent of deconstruction (...) to relate the philosopher's writing to that movement's use of rhetorical strategies in dealing with texts.2 There are affinities between Wittgenstein's repudiation (in the Investigations and the Remarks on the Foundations of Mathematics) of the metaphysical realism in the Tractatus and die arguments from reader-response critics against the notion of unmediated facts, as well as the rejection of the metaphysics of presence by deconstructionists. All diree oppose the idea that truth and falsity are conferred on our statements about the world by properties independent of diese statements. Insofar as these two critical schools are concerned primarily with language, they share Wittgenstein's aspiration to "bring words back from their metaphysical to their everyday use" (PI, I, § 116), for we can arrest the tendency to postulate objective, unmediated facts by "looking into the workings of our language" (PI, I, § 109). Moreover, Wittgenstein avoids psychology which involves the mental faculties. Presumably, this puts him at one with die concerted effort of many critics to rid texts of die author and with it the problem of intentionality. At first blush, then, the relation between Wittgenstein and literary criticism appears to be an attractive one. Yet Wittgenstein's antirealism does not militate against his passion for truth, that is, his intense desire to achieve complete understanding in the areas ofphilosophy that vexed him most.3 Nor does it debar him from thinking about the inexpressible realm 263 264Philosophy and Literature of the mystical, since, despite his concern for language, Wittgenstein never ceased being attracted to "things that cannot be put into words" (TLP, 6.522). This is not at all congenial to die purpose ofliterary theory, which admits ofno such shadowy domain beyond words and our linguistic practices. Indeed, I shall illustrate that Wittgenstein's resdess search for truth, spiritual concerns, and the dialectical structure of his works for the most part put him radically at odds with a critical enterprise whose aversion to truth and penchant for rhetorical analysis and conventions blinds it to both his view of literature and his aim in doing philosophy. I Since die advent of the New Criticism, literary theory has in great measure addressed itself to die discourse ramer than the story in texts. With the focus on literature as a rhetorical construct, more traditional humanistic interpretations have been excised. A more recent development of this shift to the discursive side of diings has been the effort to blur the distinction between literature and philosophy.4 With neidier discipline having a privileged status, both have been reduced to a textual discourse with no lines ofdemarcation, a reduction diat is at variance with Wittgenstein on two counts. First, he compartmentalized literature and philosophy as having distinct purposes: the literary works that interested him were stories ofmoral import; philosophy was to be practiced for the sake of clarity in thought. To the extent diat such clarity, if attainable, pointed toward an ethical dimension that lay beyond the bounds of language, literature and philosophy for him did have a common goal; but the paths leading to it were distinct. Second, and more importantly, Wittgenstein had no concern for the discourse of the literature diat he read. Rather, it was the moral import of the stories that attracted him. Most noteworthy on this score were the writings of Tolstoy, who had a profound influence on Wittgenstein's view oflife, and Dostoevsky.5 Wittgenstein often recommended Tolstoy's Twenty-three Tales to his friends, and while a schoolmaster in Lower Austria from 1920 to 1926, he constantly read The Brothers Karamazov, doing so aloud on one occasion in die presence of the village priest. He was especially impressed with Dostoevsky's character the Elder Zossima, "who could see into people's hearts and direct diem" (Rhees... (shrink)

This paper develops a Lockean account of literary property. Seana Shiffrin has recently argued, on the basis of an egalitarian interpretation of Locke's theory of property, that the Lockean view does not justify property rights in intellectual works. I argue that Shiffrin fails to take an important strand of Locke's view into account, namely, the view that makers have rights to what they have made. If this aspect of Locke's view is given its proper place, a plausible Lockean account (...) of property in literary works can be developed. This account of literary property places us in a better position to appreciate both the strengths and weaknesses of the Lockean theory of intellectual property. (shrink)

In this essay, the authors describe human consciousness as an embodied experience that emerges from a complex relationship of the biological and the phenomenological. Following arguments made by ) and ), they argue that one primary way that human beings develop self‐awareness of their own minds is by becoming aware of other minds. These mind‐reading abilities become fundamental to the continual adaptations that human beings must make in their daily lives. The authors offer descriptions of two literary texts to (...) illustrate how these texts participate with other forms of culture and with human biology to produce experiences of self‐conscious awareness. They argue that if consciousness is understood as an emergent property of biology and culture, and if human beings develop self‐awareness of their own minds by becoming cognisant of other minds, then it follows that literary experiences create productive mind‐reading practices that contribute to the ongoing development and emergence of consciousness and, as such, are important for education. They conclude that extended opportunities to critically inquire into readers’ imagined identifications with characters and their situations can support the development of empathic understanding of others. (shrink)