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  1. Super Pragmatics of (Linguistic-)Pictorial Discourse.Julian J. Schlöder & Daniel Altshuler - forthcoming - Linguistics and Philosophy.
    Recent advances in the Super Linguistics of pictures have laid the Super Semantic foundation for modelling the phenomena of narrative sequencing and co-reference in pictorial and mixed linguistic-pictorial discourses. We take up the question of how one arrives at the pragmatic interpretations of such discourses. In particular, we offer an analysis of: (i) the discourse composition problem: how to represent the joint meaning of a multipicture discourse, (ii) observed differences in narrative sequencing in prima facie equivalent linguistic vs. pictorial discourses, (...)
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  2. Form and Faith in Sheridan Hough's "Kierkegaard's Dancing Tax Collector". [REVIEW]Susanna Siegel - forthcoming - Syndicate Philosophy.
    I argue that in Sheridan Hough's book Kierkegaard's Dancing Tax Collector, the distinctive and novelistic literary form is not a playful, whimsical, or otherwise contingent feature, but a structure that's needed to convey the account of Kierkegaardian faith as practical in nature.
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  3. Coping With Imaginative Resistance.Daniel Altshuler & Emar Maier - 2022 - Journal of Semantics 39 (3):523–549.
    We propose to characterize imaginative resistance as the failure or unwillingness of the reader to take a fictional description of a deviant reality at face value. The goal of the paper is to explore how readers deal with such a breakdown of the default Face Value interpretation strategy. We posit two distinct interpretative ‘coping’ strategies which help the reader engage with the resistance-inducing fiction by attributing the offending content to one of the fictional characters. We present novel empirical evidence that (...)
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  4. «Koryo» (cuento).Jesús Miguel Delgado Del Aguila - 2022 - Leteo: Revista de Investigación y Producción En Humanidades 3 (5):102-103.
    Este es un cuento de creación literaria.
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  5. «Shells» (cuento).Jesús Miguel Delgado Del Aguila - 2022 - Revista Lengua y Literatura 8 (1):80-82.
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  6. Don't Feed the Liars! On Fraudulent Memoirs, and Why They're Bad.Joshua Landy - 2022 - Philosophy and Literature 46 (1):137-161.
    Some infamous memoirs have turned out to be chock-full of fibs. Should we care? Why not say—as many have—that all autobiography is fiction, that accurate memory is impossible, that we start lying as soon as we start narrating, and that it doesn’t matter anyway, since made-up stories are just as good as true ones? Because, well, every part of that is misleading. First, we don’t misremember absolutely everything; second, we have other sources to draw on; third, story form affects only (...)
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  7. Learning From Fiction to Change Our Personal Narratives.Andrew J. Corsa - 2021 - Croatian Journal of Philosophy 21 (61):93-109.
    Can fictional literature help us lead better lives? This essay argues that some works of literature can help us both change our personal narratives and develop new narratives that will guide our actions, enabling us to better achieve our goals. Works of literature can lead us to consider the hypothesis that we might beneficially change our future-oriented, personal narratives. As a case study, this essay considers Ben Lerner’s novel, 10:04, which focuses on humans’ ability to develop new narratives, and which (...)
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  8. Impossible Fictions Part I: Lessons for Fiction.Daniel Nolan - 2021 - Philosophy Compass 16 (2):1-12.
    Impossible fictions are valuable evidence both for a theory of fiction and for theories of meaning, mind and epistemology. This article focuses on what we can learn about fiction from reflecting on impossible fictions. First, different kinds of impossible fiction are considered, and the question of how much fiction is impossible is addressed. What impossible fiction contributes to our understanding of "truth in fiction" and the logic of fiction will be examined. Finally, our understanding of unreliable narrators and unreliable narration (...)
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  9. Imagining stories: attitudes and operators.Neil Van Leeuwen - 2021 - Philosophical Studies 178 (2):639-664.
    This essay argues that there are theoretical benefits to keeping distinct—more pervasively than the literature has done so far—the psychological states of imagining that p versus believing that in-the-story p, when it comes to cognition of fiction and other forms of narrative. Positing both in the minds of a story’s audience helps explain the full range of reactions characteristic of story consumption. This distinction also has interesting conceptual and explanatory dimensions that haven’t been carefully observed, and the two mental state (...)
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  10. Metalinguistic Acts in Fiction.Nellie Wieland - 2021 - In Emar Maier & Andreas Stokke (eds.), The Language of Fiction. Oxford University Press. pp. 301-324.
    This chapter identifies and explains several primary functions of the fictional use of metalinguistic devices and considers some difficult cases. In particular, this chapter argues that when real persons are quoted in a storyworld they are ‘storified’ as near-real fictions. In cases of the misquotation of real persons, near-real fictions and near-real quotations must adequately exploit resemblances between the real and the fictional. This concludes with a discussion of the similarities between fictional and nonfictional uses of metalinguistic acts, and how (...)
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  11. Death on the Freeway: Imaginative Resistance as Narrator Accommodation.Daniel Altshuler & Emar Maier - 2020 - In Ilaria Frana, Paula Menendez Benito & Rajesh Bhatt (eds.), Making Worlds Accessible: Festschrift for Angelika Kratzer. Amherst: UMass ScholarWorks.
    We propose to analyze well-known cases of "imaginative resistance" from the philosophical literature (Gendler, Walton, Weatherson) as involving the inference that particular content should be attributed to either: (i) a character rather than the narrator or, (ii) an unreliable, irrational, opinionated, and/or morally deviant "first person" narrator who was originally perceived to be a typical impersonal, omniscient, "effaced" narrator. We model the latter type of attribution in terms of two independently motivated linguistic mechanisms: accommodation of a discourse referent (Lewis, Stalnaker, (...)
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  12. "Ubi fracassorium, ibi fuggitorium": Pulcinella e l’enigma della ricapitolazione del tempo.Marta Cassina - 2020 - LEA – Lingue E Letterature d'Oriente E d'Occidente 9:303-315.
    Who is Pulcinella? What does his laughter have to say about the "end of time" and the end of life of Giandomenico Tiepolo? How can the end of a life make anyone laugh like Carnival’s popular mask does? This article tries to answer such questions. By unfolding the tools that come from the realm of Giorgio Agamben’s philosophy – notably the notion of "recapitulation of time" in its relation to comedy – we will trace a path which links Michail Bachtin’s (...)
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  13. Taxonomía e incorporación de la violencia en la novela policial peruana contemporánea.Jesús Miguel Delgado Del Aguila - 2020 - Cuadernos de Literatura Del Caribe E Hispanoamérica 32 (32):122-137.
    Este artículo periodiza y desarrolla los paradigmas concomitantes de la novela policial, para extrapolarlos en un contexto peruano incipiente con textos que cumplen con los requisitos indispensables denominarse de ese modo. La violencia resulta un elemento inexorable para la eficacia receptiva y su tratamiento creativo, además del conocimiento de tópicos afines, como Derecho, Política, Sociología, Fuerzas Policiales, etc. Para ello, se corroborará con la definición de este género (como lo fundamenta principalmente Tzvetan Todorov) y la taxonomía hegemónica de sus subgéneros: (...)
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  14. Can Literary Fiction Be Suppositional Reasoning?Gilbert Plumer - 2020 - In Catarina Dutilh Novaes, Henrike Jansen, Jan Albert Van Laar & Bart Verheij (eds.), Reason to Dissent: Proceedings of the 3rd European Conference on Argumentation, Vol. III. London, UK: College Publications. pp. 279-289.
    Suppositional reasoning can seem spooky. Suppositional reasoners allegedly (e.g.) “extract knowledge from the sheer workings of their own minds” (Rosa), even where the knowledge is synthetic a posteriori. Can literary fiction pull such a rabbit out of its hat? Where P is a work’s fictional ‘premise’, some hold that some works reason declaratively (supposing P, Q), imperatively (supposing P, do Q), or interrogatively (supposing P, Q?), and that this can be a source of knowledge if the reasoning is good. True, (...)
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  15. Pienten kertomusten etiikkaa: ideologia ja narratiivinen hermeneutiikka.Jussi Backman - 2018 - Ajatus 75 (1):361-381.
    Kirjasymposioartikkeli esittelee Hanna Meretojan teoksen The Ethics of Storytelling: Narrative Hermeneutics, History, and the Possible (Oxford University Press, 2018) keskeisimmät ajatukset ja kytkee ne laajempaan hermeneuttiseen ja jälkistrukturalistiseen ajatteluperinteeseen, etenkin Jean-François Lyotardin luonnehdintaan jälkimodernista aikakaudesta suurten modernien historiallisten metakertomusten horjumisen ja pienten paikallisten kertomusten moneuden aikakautena. Tässä valossa Meretojan hermeneuttista kertomusetiikkaa voidaan lukea ennen muuta pienten, ei-totalisoivien kertomusten etiikkana. Artikkeli esittää, että tällaiselle etiikalle löytyy hedelmällinen vertailukohta Hannah Arendtin totalitarismiteoriasta, joka sijoittaa ideologiset metakertomukset totalitaarisen hallinnan ja sen tuottaman ”banaalin pahuuden” (...)
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  16. Silence of the Idols: Appropriating the Myth of Sisyphus for Posthumanist Discourses.Steven Umbrello & Jessica Lombard - 2018 - Postmodern Openings 9 (4):98-121.
    Both current and past analyses and critiques of transhumanist and posthumanist theories have had a propensity to cite the Greek myth of Prometheus as a paradigmatic figure. Although stark differences exist amongst the token forms of posthumanist theories and transhumanism, both theoretical domains claim promethean theory as their own. There are numerous definitions of those two concepts: therefore, this article focuses on posthumanism thought. By first analyzing the appropriation of the myth in posthumanism, we show how the myth fails to (...)
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  17. Exemplars, Ethics, and Illness Narratives.Ian Kidd - 2017 - Theoretical Medicine and Bioethics 38 (4):323-334.
    Many people report that reading first-person narratives of the experience of illness can be morally instructive or educative. But although they are ubiquitous and typically sincere, the precise nature of such educative experiences is puzzling—for those narratives typically lack the features that modern philosophers regard as constitutive of moral reason. I argue that such puzzlement should disappear, and the morally educative power of illness narratives explained, if one distinguishes two different styles of moral reason: an inferentialist style that generates the (...)
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  18. Time Frames: Graphic Narrative and Historiography in Richard McGuire’s Here.Laura Moncion - 2017 - Imaginations 7 (2):199-213.
    Visual literacy has long been important as a way of reading images beyond mimetic illustration. It also allows the reader to tap into a logic of representation in order to create different representations and narratives. In this essay I argue that images provide crucial temporal complexity to the study of narrative, with particular resonances for narrative historiography. The complex temporality of the image, especially the graphic narrative or comic, points toward a historical time which may be neither linear nor causal. (...)
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  19. Fictional Persuasion and the Nature of Belief.Asbjørn Steglich-Petersen - 2017 - In Ema Sullivan-Bissett, Helen Bradley & Paul Noordhof (eds.), Art and Belief. Oxford University Press. pp. 174-193.
    Psychological studies on fictional persuasion demonstrate that being engaged with fiction systematically affects our beliefs about the real world, in ways that seem insensitive to the truth. This threatens to undermine the widely accepted view that beliefs are essentially regulated in ways that tend to ensure their truth, and may tempt various non-doxastic interpretations of the belief-seeming attitudes we form as a result of engaging with fiction. I evaluate this threat, and argue that it is benign. Even if the relevant (...)
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  20. Argumentatively Evil Storytelling.Gilbert Plumer - 2016 - In D. Mohammend & M. Lewinski (eds.), Argumentation and Reasoned Action: Proceedings of the 1st European Conference on Argumentation, Lisbon 2015, Vol. I. London, UK: College Publications. pp. 615-630.
    What can make storytelling “evil” in the sense that the storytelling leads to accepting a view for no good reason, thus allowing ill-reasoned action? I mean the storytelling can be argumentatively evil, not trivially that (e.g.) the overt speeches of characters can include bad arguments. The storytelling can be argumentatively evil in that it purveys false premises, or purveys reasoning that is formally or informally fallacious. My main thesis is that as a rule, the shorter the fictional narrative, the greater (...)
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  21. Narrative Between Action and Transformation: A. J. Greimas' Narratological Models.Rafael Duarte Oliveira Venancio - 2016 - SSRN Electronic Journal 2016.
    The French theorist A. J. Greimas, inspired by such studies, is considered one of the founders of Narratology through the construction of models of analysis where these invariables would be centered in the subject of the narrative and based on the action and the transformation of them. The objective of the present essay is to analyze the ideas of Greimas, as well as to look for the logical mechanism that resides in each model.
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  22. II—Genre, Interpretation and Evaluation.Catharine Abell - 2015 - Proceedings of the Aristotelian Society 115 (1pt1):25-40.
    The genre to which an artwork belongs affects how it is to be interpreted and evaluated. An account of genre and of the criteria for genre membership should explain these interpretative and evaluative effects. Contrary to conceptions of genres as categories distinguished by the features of the works that belong to them, I argue that these effects are to be explained by conceiving of genres as categories distinguished by certain of the purposes that the works belonging to them are intended (...)
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  23. The Puzzle of Multiple Endings.Florian Cova & Amanda Garcia - 2015 - Journal of Aesthetics and Art Criticism 73 (2):105-114.
    Why is it that most fictions present one and only one ending, rather than multiple ones? Fictions presenting multiple endings are possible, because a few exist; but they are very rare, and this calls for an explanation. We argue that such an explanation is likely to shed light on our engagement with fictions, for fictions having one and only one ending seem to be ubiquitous. After dismissing the most obvious explanations for this phenomenon, we compare the scarcity of multiple endings (...)
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  24. Routledge Philosophy Guidebook to Aristotle and the Poetics.Angela Curran - 2015 - Routledge.
    Aristotle’s Poetics is the first philosophical account of an art form and is the foundational text in the history of aesthetics. The Routledge Philosophy Guidebook to Aristotle and the Poetics is an accessible guide to this often dense and cryptic work. Angela Curran introduces and assesses: Aristotle’s life and the background to the Poetics the ideas and text of the Poetics , including mimēsis ; poetic technē; the definition of tragedy; the elements of poetic composition; the Poetics’ recommendations for tragic (...)
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  25. On Novels as Arguments.Gilbert Plumer - 2015 - Informal Logic 35 (4):488-507.
    If novels can be arguments, that fact should shape logic or argumentation studies as well as literary studies. Two senses the term ‘narrative argument’ might have are (a) a story that offers an argument, or (b) a distinctive argument form. I consider whether there is a principled way of extracting a novel’s argument in sense (a). Regarding the possibility of (b), Hunt’s view is evaluated that many fables and much fabulist literature inherently, and as wholes, have an analogical argument structure. (...)
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  26. A Defense of Taking Some Novels As Arguments.Gilbert Plumer - 2015 - In B. J. Garssen, D. Godden, G. Mitchell & A. F. Snoeck Henkemans (eds.), Proceedings of the 8th International Conference of the International Society for the Study of Argumentation [CD-ROM]. Amsterdam: Sic Sat. pp. 1169-1177.
    This paper’s main thesis is that in virtue of being believable, a believable novel makes an indirect transcendental argument telling us something about the real world of human psychology, action, and society. Three related objections are addressed. First, the Stroud-type objection would be that from believability, the only conclusion that could be licensed concerns how we must think or conceive of the real world. Second, Currie holds that such notions are probably false: the empirical evidence “is all against this idea…that (...)
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  27. Paul Gauguin y Mario Vargas Llosa, entre el arte y la literatura. Manao Tupapau-El espíritu del muerto la recuerda, 1892.Carlos Vanegas - 2015 - Poliantea:227-251.
    Entre el arte y la literatura se han generado múltiples reflexiones que han sido estudiadas por la historia del arte, la teoría literaria y la estética, entre otros. Igualmente, podemos considerar una larga tradición de artistas y escritores que se han empeñado, por medio de ensayos, críticas y manifiestos, en considerar los ámbitos y lugares de competencia de cada forma artística, así como sus lugares de similitud y diferencia en una larga tradición de préstamos interartísticos entre la palabra y la (...)
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  28. Musil’s Imaginary Bridge.Achille C. Varzi - 2014 - The Monist 97 (1):30-46.
    In a calculation involving imaginary numbers, we begin with real numbers that represent concrete measures and we end up with numbers that are equally real, but in the course of the operation we find ourselves walking “as if on a bridge that stands on no piles”. How is that possible? How does that work? And what is involved in the as-if stance that this metaphor introduces so beautifully? These are questions that bother Törless deeply. And that Törless is bothered by (...)
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  29. Moral Persuasion and the Diversity of Fictions.Shen-yi Liao - 2013 - Pacific Philosophical Quarterly 94 (3):269-289.
    Narrative representations can change our moral actions and thoughts, for better or for worse. In this article, I develop a theory of fictions' capacity for moral education and moral corruption that is fully sensitive to the diversity of fictions. Specifically, I argue that the way a fiction influences our moral actions and thoughts importantly depends on its genre. This theory promises new insights into practical ethical debates over pornography and media violence.
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  30. Logocentrism and the Gathering Λόγος: Heidegger, Derrida, and the Contextual Centers of Meaning.Jussi Backman - 2012 - Research in Phenomenology 42 (1):67-91.
    Abstract Derrida's deconstructive strategy of reading texts can be understood as a way of highlighting the irreducible plurality of discursive meaning that undermines the traditional Western “logocentric“ desire for an absolute point of reference. While his notion of logocentrism was modeled on Heidegger's articulation of the traditional ontotheological framework of Aristotelian metaphysics, Derrida detects a logocentric remnant in Heidegger's own interpretation of gathering ( Versammlung ) as the basic movement of λόγος, discursiveness. However, I suggest that Derrida here touches upon (...)
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  31. Fiction as a Genre.Stacie Friend - 2012 - Proceedings of the Aristotelian Society 112 (2pt2):179--209.
    Standard theories define fiction in terms of an invited response of imagining or make-believe. I argue that these theories are not only subject to numerous counterexamples, they also fail to explain why classification matters to our understanding and evaluation of works of fiction as well as non-fiction. I propose instead that we construe fiction and non-fiction as genres: categories whose membership is determined by a cluster of nonessential criteria, and which play a role in the appreciation of particular works. I (...)
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  32. Adam Bede’s Dutch Realism and the Novelist’s Point of View.Rebecca Gould - 2012 - Philosophy and Literature 36 (2):404-423.
    Hegel was ambivalent about Dutch genre painting’s uncanny ability to find beauty in daily life. The philosopher regarded the Dutch painterly aesthetic as Romanticism avant la lettre, and classifies it as such in his Lectures on Aesthetics, under the section entitled “Die romantischen Künste [The Romantic arts].”1 Dutch art, in Hegel’s reading, is marred by many shortcomings. The most prominent among these are the “subjective stubbornness [subjective Beschlossenheit]” that prevents this art from attaining to the “free and ideal forms of (...)
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  33. Review of Gregory Currie , Narratives and Narrators: A Philosophy of Stories. [REVIEW]Catharine Abell - 2011 - Philosophy in Review 31 (5):324-326.
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  34. Thick Narratives.John Gibson - 2011 - In John Gibson & Noel Carroll (eds.), Narrative, Emotion, and Insight. PSUP. pp. 69.
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  35. Novels as Arguments.Gilbert Plumer - 2011 - In Frans H. van Eemeren, Bart Garssen, David Godden & Gordon Mitchell (eds.), Proceedings of the Seventh International Conference of the International Society for the Study of Argumentation [CD-ROM]. Amsterdam: Rozenberg / Sic Sat. pp. 1547-1558.
    The common view is that no novel IS an argument, though it might be reconstructed as one. This is curious, for we almost always feel the need to reconstruct arguments even when they are uncontroversially given as arguments, as in a philosophical text. We make the points as explicit, orderly, and (often) brief as possible, which is what we do in reconstructing a novel’s argument. The reverse is also true. Given a text that is uncontroversially an explicit, orderly, and brief (...)
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  36. Cognition and Literary Ethical Criticism.Gilbert Plumer - 2011 - In Frank Zenker (ed.), Argumentation: Cognition & Community. Proceedings of the 9th International Conference of the Ontario Society for the Study of Argumentation [CD-ROM]. Ontario Society for the Study of Argumentation. pp. 1-9.
    “Ethical criticism” is an approach to literary studies that holds that reading certain carefully selected novels can make us ethically better people, e.g., by stimulating our sympathetic imagination (Nussbaum). I try to show that this nonargumentative approach cheapens the persuasive force of novels and that its inherent bias and censorship undercuts what is perhaps the principal value and defense of the novel—that reading novels can be critical to one’s learning how to think.
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  37. Aesthetics as a Guide to Ethics.Sherri Irvin - 2010 - In Robert Stecker & Theodore Gracyk (eds.), Aesthetics Today: A Reader. Rowman and Littlefield. pp. 370-377.
    This paper argues for several claims about the moral relevance of the aesthetic: that attention to aesthetic values may promote moral motivation; that aesthetic values should be regarded as constraining moral demands; and that the pursuit of aesthetic satisfactions may itself have positive moral value. These arguments suggest that moral thinking should be aesthetically informed to a much greater degree than has been typical. The aesthetic is a central dimension of a good life, and a life’s being good for the (...)
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  38. Imagining Fact and Fiction.Stacie Friend - 2008 - In Kathleen Stock & Katherine Thomsen-Jones (eds.), New Waves in Aesthetics. Palgrave-Macmillan. pp. 150-169.
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  39. Fiction and Fictions: On Ricoeur on the Route to the Self.Simon Beck - 2006 - South African Journal of Philosophy 25 (4):329-335.
    In reaching his narrative view of the self in Oneself as Another, Paul Ricoeur argues that, while literature offers revealing insights into the nature of the self, the sort of fictions involving brain transplants, fission, and so on, that philosophers often take seriously do not (and cannot). My paper is a response to Ricoeur's charge, contending that the arguments Ricoeur rejects are not flawed in the way he suggests, and that his own arguments are sometimes guilty of the very charges (...)
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  40. The Threshold of The Invisible: Said, Conrad, and Imperialism.Russell Ford - 2006 - Philosophy Today 50 (4):463-476.
    Joseph Conrad’s Heart of Darkness is a frequent point of reference for Edward Said’s investigations into the various forces that structure and define the encounter of imperial societies with others. In Culture and Imperialism, Said explains the importance of Conrad’s novella by linking it to his concept of culture as the aesthetic acme of a society that simultaneously marks it and divides it from others. In Heart of Darkness, Said claims, we have a narrative that challenges its own imperial society (...)
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  41. Narrative Engagement with Atonement and The Blind Assasin.James Harold - 2005 - Philosophy and Literature 29 (1):130-145.
    Two recent novels, Ian McEwan’s Atonement and Margaret Atwood’s The Blind Assassin, are philosophically instructive. These books are interesting, I argue, because they reveal something about understanding and appreciating narrative. They show us that audience’s participation in narrative is much more subtle and complex than philosophers generally acknowledge. An analysis of these books reveals that narrative imagining is not static or unified, but dynamic and multipolar. I argue that once the complexity of narrative engagement is better understood, some prominent philosophical (...)
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  42. "Опит за летене": гравитация и възторженост.Vasil Penchev - 2004 - Philosophical Alternatives 13 (3):80-96.
    Thc articlе is devoted to onе of thе grеatest Bulgarian writers: Yordan Radichkov (1929-2004). Thc choice of Radichckov's work "Attеmpt of flying" is eligiЬie to an philosophical interpretation Ьccause of the following reasons. Radichkov has won public recognition in Bulgaria. Не is а classic of the Bulgarian literature and, to а great cxtent, its fасе abroad. Не has а considcraЬle effect on the Bulgarian culture: from theatre to linguistics and philosophy. His works themselves ring true and eminently philosophically; simultaneously, they (...)
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  43. Narrative Explanation.J. David Velleman - 2003 - Philosophical Review 112 (1):1-25.
    A story does more than recount events; it recounts events in a way that renders them intelligible, thus conveying not just information but also understanding. We might therefore be tempted to describe narrative as a genre of explanation. When the police invite a suspect to “tell his story,” they are asking him to explain the blood on his shirt or his absence from home on the night of the murder; and whether he is judged to have a “good story” will (...)
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  44. Сказанието при Радичков.Vasil Penchev - 2001 - Философски Алтернативи 10 (2):143-150.
    От гледна точка на литературно философски анализ се обсъжда особения наратив на предание, в който са написани редица от произведенията на класика на българската литература, Йордан Радичков. Разказаните истории са сякаш от "памтивека". подобно на народни приказки и легенди с неизвестен автор и видоизменяни при всеки устен преразказ. чрез какъвто са единствено предавани.
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  45. За любовта и езика - Радичковата новела "Козел".Vasil Penchev - 2000 - Philosophical Alternatives 9 (5-6):131-138.
    Новелата "Козел" от класика на българската литература Йордан Рдичков (1929-2004) се обсъжда от гледна точка на философските идеи, заложени в нея. Любовта и езикът, два най-общи философски екзистенциала, се оказват свързани. Сякаш не само човекът овчар се грижи за стадото, но и козелът, водач на стадото, - за човека.
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  46. "Ние, духовата музика": Ние, философите.Vasil Penchev - 1999 - Philosophical Alternatives 8 (3-4):117-131.
    Едноименната творба от класика на българскта литература Йордан Радичков е ситуирана в шеговита аналогия със "занаята на философа", премеждията на философската традиция с прогреса, кризата в институцията на философията, особено в контекста на прехода през 90-те години на миналя век в Бтлгария..
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  47. Радичковият "Верблюд" - поетика на значенията.Vasil Penchev - 1997 - Български Език И Литература 38 (5-6):69-76.
    Ктратката форма "Верблюд" (която условно меже да се нарече "разказ") от класика на българската литература Йордан Радичков е предмет на анализ. по-скоро философски. екзистенциален и металитературен. Какво е "верблюд" по Радичков? Нещо толкова неопределено, че може да бъде открито навсякъде ... подобно на една философска категория или философски дискурс, релевантен към всичко ...
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  48. Time in Physical and Narrative Structure.Bas C. Van Fraassen - 1991 - In John B. Bender & David E. Wellbery (eds.), Chronotypes: The Construction of Time. Stanford University Press. pp. 19-37.
    When the reader turns to a text, he conceives of the narrated events as ordered in time. When the natural philosopher turns to the world, he also conceives of its events as ordered in time—or lately, in space-time. But each has the task of constituting this order on the basis of clues present in what is to be ordered. Interrogating the parallels to be found in their problems and methods, I shall argue that in both cases the definiteness of the (...)
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  49. How Do Narratives and Brains Mutually Influence Each Other? Taking Both the ‘Neuroscientific Turn’ and the ‘Narrative Turn’ in Explaining Bio-Political Orders.Machiel Keestra - manuscript
    Introduction: the neuroscientific turn in political science The observation that brains and political orders are interdependent is almost trivial. Obviously, political orders require brain processes in order to emerge and to remain in place, as these processes enable action and cognition. Conversely, every since Aristotle coined man as “by nature a political animal” (Aristotle, Pol.: 1252a 3; cf. Eth. Nic.: 1097b 11), this also suggests that the political engagements of this animal has likely consequences for its natural development, including the (...)
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  50. How Stories Mean.Carlshamre Staffan - manuscript
    Ordinary readers and literary scholars take it for granted that stories mean something – not just that the words used to tell them mean something but that stories themselves have meaning. Using Virginia Woolf’s To the Lighthouse as my main source of examples, I present an account of story-meaning involving the basic operations of generalisation, abstraction, universalisation and application. I also discuss questions about whose meaning story-meaning is – does it belong to the author, the reader or to the story (...)
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