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  1. Extracting Fictional Truth From Unreliable Sources.Emar Maier & Merel Semeijn - forthcoming - In Emar Maier & Andreas Stokke (eds.), The Language of Fiction. Oxford University Press.
    A fictional text is commonly viewed as constituting an invitation to play a certain game of make-believe, with the individual sentences written by the author providing the propositions we are to imagine and/or accept as true within the fiction. However, we can’t always take the text at face value. What narratologists call ‘unreliable narrators’ may present a confused or misleading picture of the fictional world. Meanwhile there has been a debate in philosophy about so-called ‘imaginative resistance’ in which we are (...)
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  2. Moral Density: Why Teaching Art is Teaching Ethics.John Rethorst - 2019 - Philosophy and Literature 43 (1):155-172.
    Beauty is truth, truth beauty.If this epigraph only rarely escapes English class, something like it has fascinated philosophers for a long time. Iris Murdoch remembers that "Kant said that beauty was an analogon of good, Plato said it was the nearest clue."2 I want to go further and posit that our means of perception of the aesthetic and the ethical share an organic connection, an understanding of which will help elucidate moral perception, a critical component of moral education.Or moral education (...)
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  3. Vivre la philosophie : les Mémoires comme œuvre philosophique.Manon Garcia - 2018 - Littérature 191:53-67.
    English Title “Living Philosophy: Beauvoir’s Memoirs as a philosophical ‘œuvre’”. This paper seeks to remedy the lack of philosophical analyses of the philosophical dimension of Beauvoir’s autobiographical work in using the existentialist link Beauvoir establishes between life and philosophy to make three points: first, her Memoirs constitute a crucial documentary resource to understand Beauvoir’s essays and the original philosophical stance she defends in them. Second, Memoirs show a two-way relationship between philosophy and life, on an epistemic and on a practical (...)
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  4. The Value of Fidelity in Adaptation.James Harold - 2018 - British Journal of Aesthetics 58 (1):89-100.
    © British Society of Aesthetics 2018. Published by Oxford University Press on behalf of the British Society of Aesthetics. All rights reserved. For Permissions, please email: journals.permissions@oup.comThe adaptation of literary works into films has been almost completely neglected as a philosophical topic. I discuss two questions about this phenomenon:What do we mean when we say that a film is faithful to its source?Is being faithful to its source a merit in a film adaptation?In response to, I set out two distinct (...)
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  5. Diurno e Noturno no pensamento de Gaston Bachelard.Fernando Machado - 2016 - Cadernos Do Pet Filosofia 7 (13):11-23.
    O presente artigo tem por objetivo caracterizar as duas fases do pensamento bachelardiano intituladas diurna e noturna e o modo como determinadas noções que permeiam as duas etapas da filosofia do autor configuram uma comunicação recíproca entre elas, fazendo com que haja uma troca assídua de valores entre ambas as vertentes. Deste modo, tentar-se-á demonstrar o quanto o fluxo de uma fase a outra de seu pensamento denota um sentido de completude ao invés de desconexão, negação ou mesmo oposição. Conceitos (...)
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  6. Narrative and Essayistic Temporalities.E. Di Bona - 2015 - In Ch Wampole S. Ercolino (ed.), Narration and Reflection, Special Issue of Compar(a)ison: An International Journal of Comparative Literature. Peter Lang. pp. 49-62.
    The issues of this essay concern whether there are ways of experiencing time that are specific to narration and whether such ways can also be applied to the experience of time in reflection. In order to tackle these issues, we shall compare and contrast the experience of time in life with both the temporal experiences of narration and the temporal experiences of reflection. We shall begin, then, with a discussion on what the “experience of time” is, in the attempt of (...)
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  7. The Strains of Involvement.Neal A. Tognazzini - 2015 - In Randolph Clarke, Michael McKenna & Angela M. Smith (eds.), The Nature of Moral Responsibility. Oxford University Press. pp. 19-44.
    Analytic philosophers have a tendency to forget that they are human beings, and one of the reasons that P. F. Strawson’s 1962 essay, “Freedom and Resentment”, has been so influential is that it promises to bring discussions of moral responsibility back down to earth. Strawson encouraged us to “keep before our minds...what it is actually like to be involved in ordinary interpersonal relationships”, which is, after all, the context in which questions about responsibility arise in the first place. In this (...)
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  8. Del Ser Nacional y Otras Ficciones. A Propósito de Efrén Giraldo, Negroides, Simuladores, Melancólicos. El Ser Nacional En El Ensayo Literario Colombiano Del Siglo XX. [REVIEW]Carlos Vanegas - 2013 - Co-herencia:257-261.
    Autores como Lukács o Adorno, por solo mencionar algunos nombres del siglo XX, han visto en el ensayo uno de los géneros literarios fundamentales para la expresión y exposición de ideas, con el bemol de que el ensayo siempre está en conflicto con otras plataformas de conocimiento, como las del orden establecido por la institución y la academia. Desde una postura compartida, el ensayista y crítico Efrén Giraldo se ha preocupado por la reinvindicación del ensayo literario, como una fuente de (...)
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  9. Not Life, but Bad Literature.Dimitris Vardoulakis - 2013 - New Philosopher Magazine.
    In Shame and Necessity, Bernard Williams recounts that colleagues often ask why he analyses literary texts – why can’t he use examples from “real life”? He responds that “it is a perfectly good question, and it has a short answer: what philosophers will lay before themselves and their readers as an alternative to literature will not be life, but bad literature.” This anecdote contains an argument that would be readily embraced by any proponent of “post-structuralism.” Namely, it suggests that no (...)
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  10. 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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  11. Selves on Selves: The Philosophical Significance of Autobiography. Gibson - 2012 - Journal of Aesthetic Education 46 (4):109-119.
    Philosophers of literature do not take much of an interest in autobiography.1 In one sense this is not surprising. As a certain prejudice has it, autobiography is, along with biography, the preferred reading of people who do not really like to read. The very words can conjure up images of what one finds on bookshelves in Florida retirement communities and in underfunded public libraries, books with titles like Under the Rainbow: The Real Liza Minnelli or Me: Stories of My Life (...)
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  12. Speech & Oral Phenomena: Memory, Mouth, Writing, Life-Death.Virgil W. Brower - 2011 - French Literature Series 38:209-230.
    Following one of Jacques Derrida’s early questions — namely, How is writing involved in speech? — this essay reconsiders the role of the tongue and the sense of taste in the oral phenomena of speaking and saying. The contact the tongue makes with the mouth or teeth is just as much a materialization of language as what is commonly called “writing.” The tongue acts as a pen and the mouth, as a blank page (or palimpsest). Mouthed writing is accompanied by (...)
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  13. Fictive Utterance And Imagining II.Stacie Friend - 2011 - Aristotelian Society Supplementary Volume 85 (1):163-180.
    The currently standard approach to fiction is to define it in terms of imagination. I have argued elsewhere that no conception of imagining is sufficient to distinguish a response appropriate to fiction as opposed to non-fiction. In her contribution Kathleen Stock seeks to refute this objection by providing a more sophisticated account of the kind of propositional imagining prescribed by so-called ‘fictive utterances’. I argue that although Stock's proposal improves on other theories, it too fails to provide an adequate criterion (...)
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  14. Il lettore sedotto o della circolarità ermeneutica di retorica ed estetica.Marco Castagna - 2003 - In S. Bonfiglioli & C. Marmo (eds.), Retorica e scienze del linguaggio. Teorie e pratiche dell'argomentazione e della persuasione. Roma RM, Italia: pp. 351-360.
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  15. Bibiographie résumée des travaux de Mitsou Ronat.Pierre Pica - 1986 - Recherches Linguistiques de Vincennes 14:207-222.
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