Philosophy of Literature

__1__ If form is present content is bound to get eclipsed. The eclipse means there is an unfulfillable task of overcoming obstacles to decipher the ultimate content. By utilizing forms they depict vastly different strands of reality tailored to circumstances, neither lying nor imitating a single strand of reality, poets obscure content and dodge criticisms of the referential aspect of work. -/- __2__A text unavoidably reflects the context under which it is produced. The direct emissaries of the underlying object of (...) desire underlying the text are disseminated in content. That is what content is. Form is there only supplementarilyto make the content inherently communicative (evocative poetic function). The text is proximally recontextualized to its original context of production if the content is deciphered in the process of reading in a such a way to signify the same object of desire. If there is nothing outside the text, the original context is free from commitment to contextual proximity and paves the road to the signification of slightly or strikingly different object by re-assigning significance to the constituents of the textual whole. (shrink)

(I) According to J.L Austin all speech and all utterance is the doing of something with words and signs, challenging a metaphysics of language that would posit denotative, propositional assertion as the essence of language and meaning. -/- (II) Since doing things with words implicates authorial intention and rationalization, writing a text implies a psychogenetical origin. -/- (III) The text in the process of charitable interpretation, as a sociolinguistic outcome and practice, acquires new meaning or significance by its claims being (...) rendered true or utilizable. The original psychogenesis is incriminated into sociogenesis through the merger of horizons between the author and the interpreter by effectively bridging a historical abyss (sociogenesis of claims to truth or agreed-upon utility). In writing primarily-psychogenetical context causes and precedes its text. In reading the text causes and precedes its primarily-sociogenetical context. (shrink)

“According to the principle by which it is only in the burning house that the fundamental architectural problem becomes visible for the first time, art, at the furthest point of its destiny, makes visible its original project.” The Italian philosopher Giorgio Agamben, in the final sentence of his book The Man Without Content (L'uomo senza contenuto), just quoted, compares the current state of art to a burning house. At the same time, he points out that precisely at this moment of (...) absolute crisis, we can regain sight of the original stakes of art. Man Without Content, Agamben's most explicit contribution to the philosophy of art, is his debut. The book was first published in 1970 and reissued in 1994. Almost 35 years later, in 2014, he published the collection of essays Il fuoco e il racconto, which was recently translated into English under the title The Fire and the Tale. Although Agamben often focuses on literature in this collection of stand-alone essays, it can be read as a further elaboration of his philosophy of art. This philosophy of art can be summarized as a poetics of inoperativity, which at the same time implies a certain politics. To figure out how to understand Agamen's philosophy of art, this review will place this poetics in the broader framework of The Man Without Content. (shrink)

Review of "A.D. Hope: Questions of Poetic Strength" (1993).

Contents: - positioning Pound’s contributions to theory – aesthetic organicism - Emerson, Pound, and the aim of language - Confucian philosophy and Pound’s tradition.

Im Umgang mit dem, was geschieht, lassen sich grundsätzlich zwei Weisen unterscheiden: Einer offenen, irritationsfreudigen Umgangsweise steht eine Erlebensweise gegenüber, die eher dazu neigt, Erlebtes zu vereindeutigen, mit ihm so schnell wie möglich fertig zu werden, es möglichst schnell möglichst abschließend zu begreifen. Während eine Person, die ersterem zuneigt, etwa einen in alltäglicher Konversation geäußerten Satz daraufhin abklopft, welche Über- und Hintersinne noch mit ihm angespielt und ausgesagt sein könnten, ob das, was sie zu hören meinte, auch wirklich das ist, (...) was gemeint war, weiß jemand, der eher letzterem zugeneigt ist, meist recht schnell recht genau, was sie oder er gehört hat, was das wohl zu bedeuten und wie man damit weiter zu verfahren hat. Während erstere dabei Gefahr läuft, die Welt durch Vervieldeutigung unnötig zu verkomplizieren, die Geschmeidigkeit der alltäglichen Gesprächs- und Interaktionsmechanik durch unnötige Rückfragen, Fremd- und Selbstirritationen zum Stocken zu bringen, läuft letztere Gefahr, sich – für sich selbst unbemerkt – in einer verarmten Welt einzurichten, an der viele, von anderen registrierte Phänomene durch vorschnelle Vereindeutigung einfach unregistriert vorbeigleiten. (shrink)

Richard Rorty’s conception of literature has been criticised more than acclaimed. While Rorty certainly has impacted literary studies, a comprehensive account of his understanding of literature is still lacking. Moreover, while literature is seen as significant to his later work, the philosophical role this plays in Rortyan thought is underexamined and underappreciated. This paper aims to provide an account of the role of literature and the “literary” in Rorty’s philosophy and the functions he assigns to literature and poetry – in (...) a broad and narrow sense – in democratic cultures. Beginning with an account of Rorty’s conceptions of metaphor and “unfamiliar” language, it draws on this to explain Rorty’s parallel view of literature in the “narrower sense” as playing the same role in culture as metaphors do in language. “Stimulating” literature unsettles settled selves and beliefs and expands human imagination. Using Rorty’s readings of Lolita and 1984 as examples, it shows that to him, literature not only plays a part in increasing empathy and solidarity but has a distinct therapeutic epistemological task: it helps individuals and societies adopt a more pluralist, ironist, post-metaphysical outlook. Both are important democratic functions. For these reasons, Rorty recommends that we work to realise a “literary” culture that rejects any ontologically inflected distinctions between kinds of texts, where philosophy becomes comparative “literary” criticism, and we see literature in the “narrower sense” as equally necessary material for making selves, communities and just institutions as any philosophical or political treatise. (shrink)

What’s so good about John Ames? The narrator of Marilynne Robinson’s Gilead has been much admired, but it’s far from obvious why. His life is quiet and unassuming, and has for the most part been uneventful in the extreme. In this chapter I draw on Iris Murdoch’s moral philosophy to explain the moral arc of the novel, and suggest that the novel in turn can shed light on Murdoch’s key ethical ideas. What is so notable about John Ames, I suggest, (...) is his commitment to seeing the world justly and lovingly—a commitment which for Murdoch is at the heart of virtuous agency. (shrink)

Engels explained his admiration for Balzac by pointing to an apparent discrepancy between Balzac’s literature and his politics. Despite his sympathies for the French nobility, Balzac’s realism “compelled” him to portray this class in unflattering terms. In this article, I challenge Engels’s reading, arguing that Marx’s scattered remarks on Balzac take us in a different direction. Specifically, I argue that in his remark on Balzac’s The Peasants Marx pinpointed the author’s preoccupation with the spread of bourgeois ideology into the nobility. (...) Building on this remark, I analyze several of Balzac’s works showing that insofar as Balzac lambasted the nobles, his critique was primarily directed towards nobles who had adopted bourgeois ways. In this light, and against Engels’s observation, Balzac’s critique of the nobles appears to stem from his sympathy to aristocratic values rather than conflicting with them. In showing that affinities between Balzac, Marx and Engels did not depend on Balzac expressing anti-noble sentiment, I argue that the admiration the fathers of communism had for the monarchist’s prose exemplifies a partial, yet typical convergence between socialists and conservatives in their critique of modern bourgeois society. (shrink)

In this chapter I argue that writers on metaphor have misunderstood Aristotle on metaphor. Aristotle is not an elitist about metaphor and does not consider metaphors to be merely ornamental. Rather, Aristotle believes that metaphors are ubiquitous and believes that people can express themselves in a clearer and more attractive way through the use of metaphors and that people learn and understand things better through metaphor. He also distinguishes between the use of metaphor and the coinage of metaphor, and believes (...) that the ability to coin marvelous new metaphors is a form of literary genius, and he provided an entirely natural origin of metaphor coinage. (shrink)

This work tries to show that the metapoetic meditation developed by Ramos Rosa throughout his very extensive poetic work not only did not condemn his poetry to a cold cloister in the textual plane, but also contributed decisively to the opening to the real, to the effect of evidence and to the sense of communion that would become increasingly sensitive in his writing. To this end, we propose to clarify the thread that, under the aegis of the poetic lucidity consecrated (...) by the author, leads us from his metapoetic meditation to a poetic meditation of an ontophenomenological and sapiential nature, that is, from his metapoetry to a poetry whose wisdom provides a set of intuitions with a sapiential and philosophical accent. It is our intention to contribute, in this way, to the understanding of the (cognitive and ontological) demand and scope of Rosa’s poetic path, as well as, collaterally, to the debate around topics such as poetic (self-)reference, the ontological status of the poetic text or the philosophy-literature relationship. (shrink)

How to be being to be being/ next to the united and firm/ and trembling/ mouth of the poem?”, “How to say what is clearer than clarity [...]?” or “How to unite a light design and an obscure gesture?” These questions, as well as many others that emerge from the poetic and essay writing of António Ramos Rosa (1924-2013), represent different modulations of the same angular question: that of the relation between poem and reality, or, more radically, between poem and (...) being. And if such a question spreads into so many formulations it is because, in António Ramos Rosa, its scope is total, simultaneously aesthetic and ontological, metaphysical and spiritual. It is, therefore, this question that we will try to answer by looking into one of its possible faces: how can poetic creation be at the same time the most intimate gesture and the one that touches most deeply the undomesticated matter of the real, that absolute and unapprehensible Other? (shrink)

In my paper, I establish an Ingardenian phenomenological ontology of "virtualized ficta", i.e., fictional entities introduced to virtual gaming. The first Section of my paper provides an ontology of virtualized ficta, focusing primarily on their ‘‘existential moments’’. But in order to have a firm grasp of the ontological aspects grounding the virtual work, it’s important to engage its strata. This is what I attempt to do in Section 1.2. Virtualized ficta’s intentional dependencies are strongly manifest in what I call the (...) ‘‘strata of the virtual work’’. That is, I repurpose Ingarden’s strata of the literary work, the picture, and the film to showcase that virtualized ficta, from the bottom up (i.e., from their pure ontology to aesthetics) are purely intentional entities. In short, I argue for a purely intentional account of virtualized ficta as ficta-made-virtualia, whose ontological status is determined by the creative acts of game developers and gamers. (shrink)

Throughout his lectures and published writings on anthropology, Kant describes a form of unintentional, unstructured, obscure, and pleasurable imaginative mental activity, which he calls fantasy (Phantasie), where we ‘take pleasure in letting our mind wander about in obscurity.’ In the context of his pragmatic anthropology, Kant was concerned not only to describe this form of mental activity as a fact of human psychology, but more importantly, to criticize and discourage it. But must we share Kant’s negative evaluation? Could fantasy play (...) a positive role in some kinds of experience? In this paper I first reconstruct Kant’s conception of fantasy, and then consider what role fantasy might play in aesthetic experience. Precisely because of his anxieties about fantasy, Kant is careful to distinguish between the lawless freedom of the imagination in fantasy and the ‘free lawfulness’ of the imagination in aesthetic judgment. Departing from Kant, and with help from Susan Sontag, I argue that certain aesthetic objects, especially certain works of modernist art, positively invite fantasy, making fantasy part of proper aesthetic appreciation. I conclude by suggesting that while fantasy can indeed play a positive role in aesthetic appreciation, there is still reason to regard fantasy as ‘normatively ambiguous.’. (shrink)

-/- In Plato's work the "Sophist", Socrates, who typically occupies a central position in Plato's dialogues, is assigned a supporting role. This has led some scholars to argue for a shift in Plato's oeuvre, where he distances himself from Socrates and introduces a new main protagonist. However, this new protagonist remains unnamed and is only identified by his social position as Xenos, indicating that he is an outsider and a stranger whose identity is ambiguous. In this article, I argue that (...) Plato's decision to leave the character unnamed serves to raise a first problem: the question of whether this stranger is a friend or an adversary of philosophy. At the beginning of the dialogue, Socrates employs a series of references to Homer to bring into play a second problem: the problem of disguise. The third problem, “What is a sophist?”, is attributed to the Xenos. This is the only problem that is explicitly developed and is, therefore, the most prominent in the dialogue. If we relate these three problems to each other, it becomes clear that they represent contradictory intuitions without providing us with a strict criterion for deciding which of these intuitions is correct. By presenting these problems in their entanglement without providing a way out, Plato invites his readers to think without making explicit what the outcome of this thinking should be. -/- [In Dutch: In de "Sofist" speelt Sokrates, vaak het meest prominente personage in Plato’s dialogen, alleen maar een bijrol. Dit heeft veel interpreten ertoe verleid om een breuk in het oeuvre van Plato te postuleren, waarbij Plato afstand zou nemen van Sokrates ten behoeve van een nieuw personage. Ik zal echter laten zien dat Plato er bewust voor kiest om dit nieuwe personage naamloos te laten en hem alleen aan te duiden via zijn sociale positie als xenos (vreemdeling). Hiermee roept Plato, zo zal ik betogen, impliciet een eerste probleem op: is deze naamlo- ze Xenos een vriend of een vijand van de filosofie? Aan het begin van de dialoog wordt er door Sokrates een tweede probleem in spel gebracht: het probleem van de vermomming. Het derde probleem — ‘wat is een sofist?’ — wordt toegeschreven aan de Xenos. Dit is het enige probleem dat expliciet wordt uitgewerkt en is dan ook het meest prominent aanwezig in de dialoog. Als we deze drie problemen op elkaar betrekken dan wordt duidelijk dat ze tegenstrijdige intuïties vertolken, zonder dat we een strikt criterium krijgen aangereikt om te beslissen welke van deze intuïties de juiste is. Door deze problemen in een nog niet ontwarde kluwen te presenteren, nodigt Plato zijn lezers uit tot denken, zonder expliciet te maken wat de uitkomst van dit denken zou moeten zijn.]. (shrink)

Sarah Kane's theatre is one of the most at the same time disturbing and profound representation of the collapses of the human soul. Nevertheless her theatre doesn't only stage the horrors of the pain, but it could be an epistemologically useful tool to decrypt the actual human condition: in this paper my goal is to extend her playworks in a pregnantly ontological and existential instance.

The question of how people change artworks is important for the metaphysics of art. It’s relatively easy for anyone to change a painting or sculpture, but who may change a literary or musical work is restricted and varies with context. Authors of novels and composers of symphonies often have a special power to change their artworks. Mary Shelley revised Frankenstein, and Tchaikovsky revised his Second Symphony. I cannot change these artworks. In other cases, such as those involving jazz standards and (...) folk songs, performers and ordinary folks have more power to change artworks. My preferred explanation of these facts is the created-abstract-simples view, according to which literary and musical works, unlike paintings and sculptures, are created abstract objects that have no parts. On this view, the way to change a literary or musical work is for an individual, empowered by social practices, to change rules about how a literary work should be published or a musical work should be performed. A. R. J. Fisher and Caterina Moruzzi object that the created-abstract-simples view doesn’t allow for literary and musical works to genuinely change, and Nemesio Garcia-Carríl Puy objects that the view doesn’t allow for these artworks to be repeatable. This paper clarifies the created-abstract-simples view and defends the view against these objections. -/- . (shrink)

Waiting for Godot’s many commentators have emphasized the absurdity of hope in the play, but there has not been an account of how the play reprises hope’s historical transformation and weakening in modernity. This essay provides that account, arguing that Beckett’s Waiting for Godot sponsors a form of hope appropriate to the predicaments of modern societies. Godot stages the blockage of hope by reflecting the obsolescence and fragmentation of the religious and progressive legitimations for the concept that used to be (...) broadly convincing. Despite this blockage, however, Godot does not give in to nihilism. It, rather, models a form of responsible, self-aware hope appropriate to an historical situation where hope does not admit of rational justification. To develop this interpretation of the play and to defend its minimalist conception of hope, the essay draws on Theodor W. Adorno’s Negative Dialectics and aesthetics. (shrink)

This essay discusses short-circuited trans care by focusing on failures of t4t as an ethos both interpersonally and within particular trans scenes. The author begins by recounting an experience working at a bar/restaurant that appealed to its identity as a caring trans community space as part of its exploitation of trans workers. This dynamic inspires the main argument, that t4t can become an ethos of scenes and institutions beyond the interpersonal while short-circuiting practices of trans care. Short-circuited trans care is (...) then traced to t4t by drawing from Hil Malatino's work on trans care and t4t, Kai Cheng Thom's work on community dynamics, and trans literature to argue that practices of t4t often include abuse, expulsion, and assumptive care. This short-circuited trans care is linked to trans scenes by discussing the ethos of t4t in the history of Topside Press and trans cultural production. The author does not condemn t4t and to this effect offers a critique of tethering trans cultural production to prestige instead of care. Rather, the goal of this essay is to openly discuss aspects of t4t and trans care that are often obscured through the projection of a highly questionable “we” or universalized “trans community.”. (shrink)

Marlene van Niekerk's 1994 Triomf is a plaasroman, or farm novel, without the farm; it formally resembles a nostalgic pastoral genre initiated by the collapse of Southern African agricultural economy around the time of the Great Depression, but removes even the symbol of the farm as aesthetic compensation for material loss. In the process, van Niekerk composes a post-apartheid tragicomedy of a lumpenproletariat white supremacist family coming into long-belated class consciousness, an epiphany which, surprisingly, survives the novel's translations from Afrikaans (...) to South African English to 'international' English. Crucially, this understanding is mediated by a critical tendency to appraise Triomf in the context of Faulkner and the Southern Gothic, a generic comparison which gets a lot wrong but is ultimately very revealing, less about Triomf than about the imperial world-system through which it circulates and is consecrated. Consequently, the novel stages globally what seems at first to be a parochial question: how is one supposed to imagine democratic reconciliation and integration after apartheid, when one of the classes to be reconciled lacks historical self-consciousness and has no obvious place in either the apartheid regime or the post-apartheid dispensation? By analyzing van Niekerk's novel and the institutions which consecrate it, the paper fleshes out critiques of world-literary hermeneutics, specifically for its naive handling of genre and context, and of post-apartheid 'reconciliation' under capital. (shrink)

Abstract:I examine the often-denigrated concept of the novel of ideas from its inception and critical decline to its relatively recent revival. Using a variant of the exploitation-exploration dilemma in psychology, I suggest that early usage referred to works that exploit philosophical principles—or better, enact them—by setting philosophical positions in conflict. By contrast, use of the concept for more recent works sees characters and plots exploring philosophical stances. The shift corresponds with the greater attention paid to complexity and ambiguity that are (...) hallmarks of continental philosophy and neopragmatism, and with it greater need to explore philosophical stances through fiction. (shrink)

This chapter addresses the relationship between Rorty's pragmatist philosophy and his view of literature and literary writing. It begins by examining the relationship between philosophy and literature, construed by Rorty in terms of the opposition between “normal,” professionalized, argument‐centered philosophical discourse and the kind of cultural criticism which emphasizes human finitude and contingency, seeking through the use of irony and literary inventiveness to transform our prevalent visions of what it means to be human. This humanist side of Rorty's argument is (...) further developed through the discussion of the role that literature plays in intellectual self‐formation and moral edification, by educating moral sensibility and providing transformational shifts of conceptual perspective. These dynamics of literary innovation are then shown to dovetail nicely with Rorty's naturalistic, evolutionary conception of cultural development as well as his views regarding the indispensable role of the personal, the private, and the unshared in producing genuine cultural innovation. (shrink)

[Falling of Modern Hero] -/- In this book, which deals with the modern stage of the "hero's journey" that Campbell identified in the traditional narrative and added to the literature, Gökdemir İhsan deals with the transformation of the journey in modern literature. The author, who describes the journey of the modern hero as a "fall" or in more direct terms as a "fall into oneself", discusses concepts such as enlightenment, religion, individuality, modernity, and Eurocentrism through stories, novels, and poems written (...) at different times and in different countries. (shrink)

Freud’s discussion of uncanny [unheimlich] experiences focuses on their peculiar ambivalence. On his view, the uncanny is a paradoxical feeling of both familiarity and alienation. While Freud’s analysis of this paradoxical feeling does succeed in explaining it away, it does little to explain it. One might expect a psychoanalytical demystification of the real experience that is hidden behind the superstitious overtones of uncanny experiences. Instead, the uncanny is attributed rather anti- climactically to the combination of a previous superstition (maintained unconsciously) (...) and an entirely coincidental verification of that superstition. The implication is that there is no uncanny per se. There is no distinctive category of experience, the unique character of which tends to cause or encourage superstitious beliefs; rather, such beliefs are prerequisite to having the experience. In other words, the experience suits the belief, and not vice-versa. The uncanny is the fantasized verification of a repressed fantasy. It involves a breakdown of the reality principle and the projection of beliefs into the external world, rather than a peculiarity of feeling that can be linked intrinsically to a specific category of experience. I do not intend to reject this analysis in its entirety. The basic structure, repression and return, is sound. However, Freud’s analysis of the uncanny, which resolves uncanny ambivalence into the separate categories of consciousness and unconsciousness, merely reinstates the problematical opposition of das heimliche and das unheimliche, familiar and unfamiliar, within the mind rather than in the external world. The coincidence of the two feelings in uncanny experience cannot be explained without an intervening stage between repression and return. I will suggest that Freud’s characterization of uncanniness as the return, in superstition, of the repressed is a misplacement of the experience of uncanniness. The aesthetical feeling is the cause of, but not identical to, the projected superstitions and ideas which surround it. An explanation of the feeling of uncanniness must fall not on the side of the repressed, but on the side of consciousness. The import of my position is that the feeling of uncanniness refers, in a manner of speaking, to something “real,” rather than merely to infantile ideas projected upon the external world. Freud’s explanation makes the unconscious a kind of scapegoat to be blamed for imposing fundamentally irrational beliefs into our interpretation of present experience, in that way preserving a model of the conscious ego as autonomous, fundamentally attuned to reality and ultimately independent of the unconscious. I will argue, on the contrary, that the experience of the uncanny is not merely a falling back into irrational or infantile beliefs, but an experience of a deep disunity in personhood that rightly causes us to question our everyday confidence in the unity, independence, and rationality of our conscious sense of self. The ambivalence of the feeling has its source in an irresolvable ambivalence that can exist in consciousness, and not simply in an analytically resolvable psychical ambivalence between consciousness and the unconscious. (shrink)

Literary beauty was once understood as intertwining sensations and ideas, and thus as providing subjective and objective reasons for literary appreciation. However, as theory and philosophy developed, the inevitable claims and counterclaims led to the view that subjective experience was not a reliable guide to literary merit. Literary theory then replaced aesthetics as did philosophy’s focus on literary truth. Along with the demise of the relevance of sensations, literary form also took a back seat. This suggested to some that either (...) literature communicated truth like any other literal form of communication or it was a mere diversion: a springboard to harmless reverie or daydreaming. Neither response satisfactorily captured what was distinctive about literature: the love readers can have for literary texts and the edification or insight claimed of works within each culture’s respective catalogue of classics. However, a concept of literary beauty has again become viable due to developments in theories of pleasure and imagination. If the defining aspect of literature is the imaginative engagement it occasions, and if this imagining is constrained by plausibility and endorsed as effective relative to our goals, ideals, and interests, then literature is not reduced to either mere fact or wish fulfillment. An account of literary beauty is available which defines literature accordingly and explains how subjective and objective reasons for appreciation intertwine to evoke pleasure and insight. (shrink)

Hasil penelitian ini menunjukkan bahwa novel Keluarga Pascual Duarte karya Camilo Jose Cela mendemonstrasikan cara hidup eksistensialisme-nihilistik khas Friedrich Nietzsche. Hal ini dapat ditemukan dalam tiga tema utama, yakni “nasib buruk sebagai afirmasi hidup”, “kekerasan dan kematian”, dan “penderitaan dalam kelahiran, harapan dan cinta”. Ketiga tema utama itu tergambar lewat tokoh-tokoh dan kisahnya yang radikal, tremendis—sarat akan kekejaman hidup, absurd dan nihilis. Dalam konteks itulah, Keluarga Pascual Duarte tidak dapat dipisahkan dari wacana eksistensialisme-nihilistik dalam tradisi filsafat, yakni sebuah gaya pikir (...) yang fokus perhatiannya tertuju pada penolakan manusia terhadap finalitas, pegangan hidup yang mutlak, serta pada kepercayaan bahwa hidup manusia tidak memiliki tujuan dan nilai. (shrink)

Michael Ondaatje’s Warlight (2018), his latest novel to-date, contains nostalgic elements of strangeness and cartography. In this paper, I short-circuit such themes with health under medical humanities, which heeds a Nietzschean counsel of close reading in literature. To do so, I explore the case of Rachel's illness, namely her epileptic seizures, as an instance that drives her impetus for active forgetting and eventual convalescence. A close hermeneutical reading of the novel can reveal that both of Nietzsche’s ideas on active forgetting (...) and convalescence provide traction in terms of what this paper constructs as Rachel’s pathography or narration of illness. Shifting the focus from the main narrator, Nathaniel, I argue that it is not the novel's reliance on memory but the subplot events of Nathaniel's sister and her epilepsy that form a substantial case of medical or health humanities. (shrink)

This paper argues that in addition to the familiar approach using formal contexts, there is now a need in artificial intelligence to study contexts as social constructs. As a successful example of the latter approach, I draw attention to 'interpretation' (in the sense of literary theory), viz. the reconstruction of the intended meaning of a literary text that takes into account the context in which the author assumed the reader would place the text. An important contribution here comes from Wendell (...) Harris, enumerating the seven crucial dimensions of context: knowledge of reality, knowledge of language, and the authorial, generic, collective, specific, and textual dimensions. Finally, two recent approaches to interpretation, due to Jon Barwise and Jerry Hobbs, are analyzed as useful attempts which also come to grips with the notion of context. It must be noted that there has been a considerable body of contributions connecting linguistic structure with social context. For example, anthropological linguistics, from Bronislaw Malinowski onwards, has underlined the cultural context of discourse as essential to meaning. This viewpoint became prominent with the emergence of the ethnography of speaking in anthropology. Thus, conversation analysis represents a consistent formal effort to contribute to an analysis of the nature of context. While this paper emphasizes and reviews the literary theory approach, it makes various contacts with works of the latter kind (e.g., the landmark contributions of Erving Goffman, John Gumperz, William Hanks, John Heritage, Dell Hymes, et al.) in order to deliver a more balanced and complete study of the dimensions of context. (shrink)

In Russia, on the eve of the Revolution, the religious phenomenon was analyzed by scholars in specific works and in public discussions in its various aspects: historical, political, social, institutional. Of particular interest is the attempt to bring it back to an original expression of emotional consciousness, which marks a continuity with the Sentimentalism of the late eighteenth and early nineteenth centuries. This cultural current attempted to grasp a more certain truth in the immediacy of sentiment than in demonstrative reason, (...) and, levering on the ‘redi in te ipsum’, claimed a full moral responsibility for the individual, and at the same time attributed to the truth an immediate evidence, enlightening the the interiority of the individual. Individual consciousness, namely the seat of the truth that reveals itself in the immediacy of moral and religious sentiment, was moreover opposed to any external authority, and considered as giving rise to the ecclesial community itself. Accordingly, such an idea of an inner Church, fueling sectarianism, determined the hostility of the confessional Churches. However, Sentimentalism, while primarily concerning the psychology of interiority, did not go so far as to deal with the relationship of rational mediation with the immediacy of sentiment: namely to consider the emergence of distinctions (art and religion, moral truth and divine truth) that no longer belonged to the sentimental area but to conceptualization. This was in fact an issue discussed in the early twentieth century by a part of Russian intelligentsia, seeing in the individual emotional interiority not the light of a transcendent truth, but the creative freedom of establishing values. Since values are nothing but culture, namely products of reason, Russian intelligentsia got entangled in an ambiguity similar to the one characterizing Sentimentalism, in the attempt to identify in emotional consciousness the processes of formulation of logical-representative structures. (shrink)

This work investigates one of the most widespread yet elusive ideas about our experience of art: the idea that there is something cognitively valuable in engaging with great artworks, or, in other words, that we learn from them. This claim and the age-old controversy that surrounds it are reconsidered in light of the psychological and neuroscientific literature on learning, in one of the first systematic efforts to bridge the gap between philosophical and scientific inquiries on the topic. The work has (...) five chapters. Chapter 1 lays down its conceptual bases: it explains what learning is taken to be in the current philosophical debate and it points out how Bayesian cognitive science (particularly in its predictive processing formulations) might be well-suited to capture the kind of learning involved in our engagement with the arts. The following chapters test this latter hypothesis with respect to particular art forms, namely literature and literary language (Chapter 2), narrative (Chapter 3), and visual art, music and motor activities (Chapter 4). The fine-grained discussions conducted in each of these areas will enable us to see that the relationship between art and learning is indeed fundamental and pervasive. The final chapter (Chapter 5) examines the consequences of this fact for our understanding of the role of art in our epistemic practices, its ultimate usefulness and value, and its place in the interdisciplinary study of the human mind. The upshot is a novel and wide-ranging picture, both philosophically informed and empirically sound, that bypasses many of the problems and dead ends of the current philosophical debate on the topic and captures the deep sense in which art and learning are interrelated. (shrink)

Resenha do livro: WERNECK, Mariza. O livro das noites: memória – escritura – melancolia. São Paulo: EDUC, 2020, 178p.

_La Peste_, originally published in 1947 by the Nobel Prize-winning writer Albert Camus, chronicles the progression of deadly bubonic plague as it spreads through the quarantined Algerian city of Oran. While most discussions of fictional examples within aesthetics are either historical or hypothetical, Camus offers an example of "pestilence fiction." Camus chose fiction to convey facts--about plagues in the past, his own bout with tuberculosis at age seventeen, living under quarantine away from home for several years, and forced separation from (...) his wife who remained in Algiers while he was abroad in Nazi-occupied France. His own lived experiences undergird an imaginative account of shared human realities with which we can identify: vulnerability to the disease, isolation, fear, and finally humanitarianism. _The Plague_ teaches us to neither covet nor expect what we so casually took for granted. This collection of original essays on philosophical themes in _The Plague_ is of special relevance during and in the aftermath of Covid-19 but also provides reflections that will be of lasting value to those interested in this classic work of literature. The novel explores questions of enduring importance. Do we collectively meet the threshold of ethical behavior posed by Camus who wrote, "What's true of all the evils in the world is true of plague as well. It helps men to rise above themselves"? Or does the absurd undermine the compassionate? Do "heroes" dutifully fight a plague with "common decency," or does human nature resign itself to the normalization of uncontrollable suffering and death? There are myriad ways to approach the novel and this volume encourages readers to ponder human dilemmas in fictional Oran informed by our current pandemic. Series editor forward by Richard Eldridge. List of Contributors includes Steven G. Kellman, Jane E. Schultz, Andrew Edgar, Kathleen Higgins, Edward B. Weiser, Cynthia A. Freeland, and Margaret E. Gray; see "Introduction" by Peg Brand Weiser below. (shrink)

The Introduction provides a historical and literary context for the examination of Albert Camus’s 1947 fictional novel, The Plague, to suggest its relevance to our own lived experiences of the 2021 Covid-19 pandemic that brought the routines and expectations of our normal, daily lives to an unprecedented halt. Details of Camus’s life and work inform our reading of the narrative that give rise to multiple interpretations as well as intriguing questions of scholarly inquiry: How realistic are the characters? Does solidarity (...) eventually triumph over isolation? Does the popular novel inspire social change or fail in its aspirations? Facing the absurdity of a similarly unwelcome and unpredictable disease, have we managed our fear of death more successfully than the citizens of Oran? An overview of authors’ contributions sets the stage for new and unique perspectives: an invitation for readers to reflect upon our communal experience of immense grief. (shrink)

Man avoids solitude through _divertissement_ because he is afraid of what staying alone entails: thinking about himself (Pascal). Furthermore, man seeks isolation in order to gain ambition and reputation (Montaigne). However, solitude is really different from isolation and it is a fundamental emotional condition. Heidegger’s analysis of the forms of boredom adapts to and relates to the specific dynamic of solitude, showing that it is a part of human being’s structure despite his experience appearing controversial. Even if man lives in (...) modern apartments and one-room apartments, he is in a condition of co-isolation (Sloterdijk) that differs from solitude. There is a space solitude (Foucault) that involves – or can involve – human isolation, but we only experience essential solitude in sleep (Merleau-Ponty, Blanchot, Perec) where man detached himself from himself and he is really alone, from himself and the others. The forms of solitude lead the analysis towards impersonal activity. (shrink)

Apuleius’s The Golden Ass presents curiosity as the protagonist’s downfall, yet ultimately recodes curiosity as the single virtue through which the human soul achieves not only immortality but joy. I identify Apuleius’s treatment of curiosity as falling into the categories of erotic and nonerotic. The union of Eros and the curious human soul suggests that one who is erotically curious can take pleasure in her devotion to one, precisely because she has eyes for the beauty of many.

What might Adam Smith have learned from Jane Austen and other novelists of his moment? This paper finds and examines a serious problem at the center of Adam Smith’s moral psychology, stemming from an unacknowledged tension between the effort of the spectator to sympathize with the feelings of the agent and that of the agent to moderate her feelings. The agent’s efforts will result in her opacity to spectators, blocking their attempts to read her emotions. I argue that we can (...) resolve this tension by looking to developments in eighteenth-century literature, as perfected in the hands of Jane Austen. I focus on two techniques, focalization and free indirect style, and I show that the problems for spectatorship diminish when we see that good Smithian spectators are savvy readers. (shrink)

Strange weather is one of the growing ways human beings experience climate change phenomenologically or beyond abstract scientific data. Even those who do not “believe” in climate change experience it. Odd weather is also one of first things human beings talk about with one another or share, today and at least since the great flood in the Epic of Gilgamesh. This article considers how increasingly violent weather is ushering in a new type of narrative and art and announcing a new (...) political and climatic regime. It considers a series of contemporary works of art about strange weather as a more precise example or microcosm of a certain reinvention of epic in our time. It then considers how this shared narrative of violent weather is intruding on, disrupting, and reconfiguring our political systems at the same time as it is collectivizing, historicizing, and politicizing the public before the growing threat of climate change. (shrink)

Many of the poems of Louis MacNeice display a knowledge of the philosophical theories he studied during his undergraduate years in Oxford. In his ‘Variation on Heraclitus’ and in several other poems, MacNeice alludes to the ‘doctrine of flux’ Plato attributed to the Greek thinker Heraclitus of Ephesus. In ‘Plurality’, his most extended exploration of the conflict between the life-affirming doctrine of flux and a life-suppressing monism, MacNeice embraces the reality of change and rejects the monism he credits to the (...) philosopher Parmenides of Elea: ‘World is not like that, world is full of blind/ Gulfs across the flat, jags against the mind/ Swollen or diminished according to the dice/ Foaming, never finished, never the same twice.’ Although his understanding of the teachings of Heraclitus and Parmenides was controversial, it provided MacNeice with a framework within which to reflect on the conditions essential to living a free and productive life. (shrink)

La entrevista realizada al doctor Wilfredo Penco indaga acerca de las constantes confrontaciones que existen en las disciplinas de la Literatura y la política; sobre todo, en el tema del compromiso del autor con su respectiva sociedad. En ese sentido, las respuestas que se obtendrán partirán de dos referentes esenciales: los sucesos históricos y los casos particulares que se han apreciado en el ámbito académico, en la que los intelectuales y los escritores cumplen un rol determinante. Uno de los interrogantes (...) que se busca resolver con esta constatación es comprender si es necesario que se articule un compromiso político en un texto literario. (shrink)

César Ernesto Arenas Ulloa nació el 15 de septiembre de 1988 en Chiclayo (Lambayeque, Perú). Realizó estudios literarios en la Universidad Nacional Mayor de San Marcos, hasta obtener el grado de licenciado. En el 2012, obtuvo un reconocimiento académico por ocupar el primer puesto a nivel de toda la escuela de Literatura. En el 2018, presentó su tesis titulada Autonomía y especificidad de la obra dramática: una lectura semiológica de El sistema Solar de Mariana de Althaus. Asimismo, tiene intereses en (...) el teatro peruano, el psicoanálisis y la escritura. Ha sido docente de Lenguaje en diversas universidades privadas de Lima. Ha publicado en revistas indexadas, así como ha participado en congresos y proyectos financiados. Actualmente, vive y estudia en Italia. (shrink)

In this paper, I highlight the philosophical differences between Camus’s and Sartre’s notions of the absurd. “The absurd” is a technical term for both philosophers, and they mean different things by it. The Camusian absurd is a mismatch between theoretical reasoning and practical reasoning. The Sartrean absurd, in contrast, is our theoretical inability to explain contingency or existence. For Sartre, there is only relative, local absurdity; for Camus, the absurd is universal and absolute. I show how their different understandings of (...) the absurd led to Sartre’s misreading of The Stranger; he misses its main mechanism for generating the feeling of the absurd because he reads the novel through his own conception. In order to draw out their philosophical differences, I will provide a reading of the novel that contrasts with Sartre’s. (shrink)

From the beginning, Augustine's "Confessions" presents itself as a dialogue with God. Taking a cue from Ludwig Feuerbach’s "The Essence of Christianity [Das Wesen des Christentums]," this dialogue can easily be dismissed as a projection of the self. This would imply that the divine otherness is nothing more than a mirror of one’s own fears and preferences. “Does this critique,” I asked myself in this piece, “really do justice to a position like that of Augustine?” For a long time, I (...) did not know how to approach what I had — provisionally — called Augustine’s dialogue with God. It appeared to me that Augustine, in an accidental and indirect way, had re-invented the Platonic dialogue and had turned it into a new Christian genre. “It is true,” I told myself, “that the genre of the Confessions shows family resemblances with the hagiography and the autobiography. But most certainly it cannot be reduced to these genres.” The Greek words ‘hagios’ (holy) and ‘autos’ (self) are in flagrant contradiction with the intention of the Confessions. Augustine tries to stay clear of any claim of holiness and only highlights his own ‘self’ to immediately question it. “Is the Platonic dialogue,” I asked myself, “not a far more appropriate predecessor for Augustine’s dialogue with God?” Both types of dialogues can be seen as true dia logoi in which at least two different voices emerge. However, contrary to what one would expect, it is not the dialogue form itself that frames these two voices. Instead the two voices emerge within the discourse of a single speaker, incorporating true otherness within the discourse of the self. Building on these reflections, I explore how Augustine's dialogue with God succeeds in eluding Feuerbach's charge of self-projection. (shrink)

In this paper, I try to support Gerard Genette's conception of focalization, that was first proposed by him in his book Narrative Discourse (1980). Focalization is known as the perspective of the narrator in fiction. It includes a comparative study of layers of focalization in multicultural perspectives by analysing the narratological techniques in two of the most controversial novels. Those novels represent two worlds apart; one is AlaaAlaswany’sYacobian Building and the other is Malcolm Lowry’s Under the Volcano. In both novels, (...) the narrators are absent from the two stories told. These narrators are depersonalized and they are lacking definable personalities and opinions. (shrink)

This article argues that we can construct a complex interpretation of the nature of time by linking Aciman’s gnostic thread to aspects of twentieth century theory, from philosophy and psychoanalysis. In brief, it attempts to demonstrate the roles of dislocation, deferral, and Otherness in constituting human temporality. The essay begins by surmising the conceptual history of time, touching on key ideas put forward by Augustine and Bergson. The second section takes a psychoanalytic turn after exploring Homo Irrealis to describe the (...) significance of desire and fantasy. Thirdly, we develop a unique and temporal application of difference and deferral, building off of Deleuze and Derrida. The fourth section will consider how the psychoanalytic concept of the Other is inhered within time. We conclude that an Acimanic analysis of time is the means by which we can understand existence not as a series of moments, but a rich progression of dissimilitude and Otherness defined moreso by its lack of cohesion and directness of being than by a unified and self-identifying subject. (shrink)

Literature, in particular philosophical literature, proves to be particularly challenging when read in isolation from the philosophy it comes from. Reading Sarte’s Nausea through Kierkegaard illuminates important themes of language, music, the ethical and aesthetic, and immediacy in both Nausea and Kierkegaard’s various pseudonymous works. The comparison here is extremely fruitful given the poetic and literary form of Kierkegaard’s work, especially against this particular work from Sartre. The themes in Nausea that are examined are interestingly not present in his other (...) works and are necessary in some regard to be brought forth in a novel rather than a philosophical treatise. (shrink)

The book is written on purpose of Indian Academy for higher classes on English and British Literature. As personally found being a teacher that majority of students are incapable on setting and developing an answer on context of the chapter. It is hurt to say the sweetness of Classic Literature is exactly not teaching properly at Indian Academy on English and British Stories. Students , concerning at my place on context of the aforesaid book, only are gulping in India the (...) matter rather to understand the history on Literature. (shrink)