This paper proposes a newly-designed instructional material development model to develop literature-based ELT materials. There are two primary aims of this study i.e. to provide the basic principles of incorporating literature in English Language Teaching and to describe a comprehensive framework to develop literature-based ELT materials. The presented instructional material development model is constructed of four fundamental phases encompassing Input phase (Locating learners‟ needs by conducting a needs analysis), Development phase (Selecting and organizing literature-based ELT material contents based on the (...) learners‟ needs), Output phase (Producing the literature-based ELT material prototypes), and Language learning phase (Assessing the effect of implementing the literature-based ELT materials on learners‟ language learning) which are here abbreviated as the IDOL model. These phases are carefully illustrated with a wide range of possible applications that match with the recent instructional material development trend in English Language Teaching. Thus, this model appears to be an essential aid for language teachers, practitioners, researchers, and educational materials designers in practical undertakings of developing effective and well-designed literature-based ELT materials. (shrink)

If science fiction is a genre, then attempts to think about the nature of science fiction will be affected by one’s understanding of what genres are. I shall examine two approaches to genre, one dominant but inadequate, the other better, but only occasionally making itself seen. I shall then discuss several important, interrelated issues, focusing particularly on science fiction : what it is for a work to belong to a genre, the semantics of genre names, the validity of attempts to (...) define genres, and the connections between genre and normativity. One important but neglected clue to the nature of genres lies in the kinds of disagreements they generate over the assignment of works to genres. I conclude by explaining why these disagreements tell us something about the nature of genres, and discussing in some detail two famous cases of disagreement about whether some work or works are science fiction. (shrink)

Cross-cultural communication is about generating dialogical positions across cultural barriers. Communication is achieved when participants are able to construct meaning across varied sign systems. Oral communication makes use of a wide range of signs that contribute to make meaning, from eye contact to gestures and speech. In written/printed communication, together with the reproduction of visual images through painting, photography, etc., the most important resource is the textual format. Texts are grounded on a cognitive deictic basis and work alongside the cause-effect (...) relationship that links events in human working memory. This relationship frequently posits a hierarchical dependency between the understanding of visual images, textuality and narrativity. Although texts are vehicles of contextualized information and cultural positions are often presented in a historiographical way, culture is not just about textuality; it is also about multimodality, that is, the use of symbolic forms that employ simultaneously several material-semiotic resources to create a kind of common framework of socially acceptable behaviours and customs which arise both from individual personal experiences and from shared cultural and ethical values. Signs areused to represent these values and, in turn, these representations affect their further emotional interiorization. This creates particular strong moments of remembrance and recollection in human memory. In addition, the production, distribution and reception of culture has always been dependent on changing material formats and technologies, from manuscripts to printed books, from mural painting to photography, and from architecture to virtual recreations on a computer screen. In recent years, the interest in intertextual and intermedial configurations is mostly due to the growth of hypermedia paradigms, and is reflected in the increasing number of disciplinary publications and conferences devoted to the topic. This paper shall explore the reasons behind a renewed interest in intertextual and intermedial manifestations in cross-cultural communication. (shrink)

This paper means to demonstrate the theoretical-and- methodological potential of a particular pattern of thought about culture. Employing an end-means and absolute value plus concept of reality approach, the continuous model of culture aims to embrace from one holistic standpoint various concepts and debates of the modern human, social, and political sciences. The paper revisits the debates of fact versus value, nature versus culture, culture versus structure, agency versus structure, and economics versus politics and offers the concepts of the rule (...) of law, state capitalism, a dialectical model of progress, and interpretative qualitative research, as well as of cultural diffusion, autonomy, alienation, and individuality. This model distinguishes between the ideal-symbolical and the instrumental functions of culture, sees culture as being sewn from universal binaries, and provides a certain understanding of the cognitive function of a value judgment, with positivism so far vague about the topic. It, too, suggests an extra method for investigating culture : the comparative literature study of culture enables social science to view literature as its potential in-depth interviewee— a case for arguing for a certain conception of interdisciplinarity as well. In addition, it predicts that cultural particularism or individuality remains an essential factor of human existence. Analyzing the issue of Eurocentrism in social science, the model finds modernity ’s concept of reality to be involved in ” methodological ” intellectualistic reductionism, characterizing it since the empiricism/ rationalism origination. Systematically confusing the universal oppositions in a Eurocentric manner, intellectualism becomes a contributing factor in unfolding post- modernity. (shrink)

What is the relationship between intellectual and cultural history? An answer to this question may be found in the area between the two poles of inquiry commonly known as internalist and externalist methods. The first of these deals with old-fashioned `ideas' (in Lovejoy's sense) and the second with social and political context and the sociology and anthropology of knowledge. This article reviews this question in the light of the earlier historiography of philosophy, literature and science, and debates over the role (...) of context in determining historical meaning. Within the horizon-structure of experience and interpretation the short answer is that cultural history is the outside of intellectual history and intellectual history the inside of cultural history. Ideally, historians ought to work both sides of the historical street. (shrink)

Name der Zeitschrift: Cultura. International Journal of Philosophy of Culture and Axiology Jahrgang: 8 Heft: 2 Seiten: 7-22.

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 (...) claim that this proposal captures the intuitions motivating alternative theories of fiction. (shrink)

The Jains and their texts play a key role in the literary histories of the Tamil-speaking region. However, in their modern form, dating from 1856 to the present, these histories have been written almost exclusively by non-Jains. Driving their efforts have been agendas such as cultural evolutionism, Dravidian nationalism or Śaiva devotionalism. This essay builds on ideas articulated by the contemporary Tamil theorist K. Civatampi, examining how various models of periodization have frozen the Jains in the ancient past. Further, it (...) will explore how this unfolding historical drama, which gloriously climaxes in Tamil literature, has attributed the Jains, as dramatis personae , merely a role in early Jain texts; their role as communities transmitting these texts has been ignored. In contrast to this typical pattern, this article will also introduce a literary history written in 1941 by the Jain A. Cakravarti Nāyaṉār (1880–1960). It will explore whether or not his voice, which emerged from within the same academic community contributing to the strange absence of Jains in the contemporary awareness of Tamil literary, was successful in finding another way for Jains of being heard, and for non-Jains, of listening. (shrink)

Statements about fictional characters, such as “Gregor Samsa has been changed into a beetle,” pose the problem of how we can say something true (or false) using empty names. I propose an original solution to this problem that construes such utterances as reports of the “prescriptions to imagine” generated by works of fiction. In particular, I argue that we should construe these utterances as specifying, not what we are supposed to imagine—the propositional object of the imagining—but how we are supposed (...) to imagine. Most other theories of thought and discourse about fictional characters either fail to capture the intentionality of our imaginings, or else obscure the differences between imaginings directed toward fictional characters and those directed toward real individuals. I argue that once we have an account of prescriptions to imagine about real individuals, we can adapt the same framework to specify the contents of prescriptions to imagine about fictional characters, and thereby to account for the truth (or falsity) of statements about fictional characters. (shrink)

Presupposing that all knowledge is the study of a unitary order of nature, the author maintains that the study of literature should be included within the larger field of evolutionary theory. He outlines four elementary concepts in evolutionary theory, and he argues that these concepts should regulate our understanding of literature. On the basis of these concepts, he repudiates the antirealist and irrationalist views that, under the aegis of “poststructuralism,” have dominated academic literary studies for the past two decades. He (...) examines the linkage between poststructuralism and standard social science, and he speculates about the ideological and disciplinary motives that have hitherto impeded evolutionary study in both the social sciences and the humanities. Finally, he distinguishes literature from science and argues that literary criticism integrates elements of both. (shrink)

Ricoeur speaks to the unfolding ‘post-crisis’ period of the academic humanities through his dialectic between the hermeneutics of faith and suspicion, a construct that carries forward the critical impulse which academic bureaucracies want to repress in answer to their corporate masters, while at the same recognizing the value of reformist impulses that will generate strategic alignments and substantive benefits. This article identifies the tensions of the double hermeneutic, where it is successful and unsuccessful, and maps Ricoeur’s view of ethical responsibility (...) in the academic politics of the 1960s onto the academic politics of today. The article concludes that Ricoeur’s particular value on this subject lies in the courage with which he dared to place unfashionable reformist possibilities in an honest and productive dialogue with the radical suspicion of hegemonic structures. (shrink)

Can literature make it possible to represent histories that are otherwise ineffable? Making use of the Deleuzian concept of “the powers of the false,” Doro Wiese offers readings of three novels that deal with the Shoah, with colonialism, and with racialized identities. She argues that Jonathan Safran Foer’s Everything Is Illuminated, Richard Flanagan’s Gould’s Book of Fish, and Richard Powers’s The Time of Our Singing are novels in which a space for unvoiced, silent, or silenced difference is created. Seen through (...) the lens of Deleuze and his collaborators’ philosophy, literature is a means for mediating knowledge and affects about historical events. Going beyond any simple dichotomy between true and untrue accounts of what “really” happened in the past, literature’s powers of the false incite readers to long for a narrative space in which painful or shameful stories can be included. (shrink)

This thesis explores the ethical impact of literary narrative fictions on the reader. It does so by focusing mainly on the reading experience since one of the main claims of the thesis is that literary narrative fictions are co-products of the author and the reader. In that sense the aforementioned impact cannot be understood without taking into account the creative acts of the reader. The exploration is carried out by focusing on three scholars whose investigations on the problem of literary (...) experience can be read as complementary works. In the first chapter I descriptively lay out Roman Ingarden’s investigation on the ontological and structural character of the literary work of art along with his phenomenological inquiry into the cognition of this work. By examining his basic claims about the nature of the literary work of art and its cognition, I discuss the ontological incompleteness of these works which necessitates the active role of the reader in giving the work its final shape. In the second chapter I focus upon Wolfgang Iser’s reader-response theory. Iser’s theory goes parallel to Ingarden’s in the sense that they both accept the openness of the work to the creative acts of the reader. Iser, however by his notions of depragmatization, negation and negativity suggest us a two-way traffic between the fictional work and the reader. Through the reading proses, by virtue of the negations and de-pragmatizations, the work invites the reader to reflect on the familiar norms it represents and suggest to her a new model to understand the real world. In this way, while giving a shape to the work, the reader is also shaped by it. The third chapter addresses the phenomenological hermeneutics of Paul Ricoeur. By exploring his notion of “narrative identity” as a mediator between the ipse and idem identities, my aim is to show the influence of the literary fictional narratives in understanding the identity of the individual subject as a temporal, historical, and intersubjective being. It is only through this understanding that we can construe the subject in her ethical identity. I will also focus on Ricoeur’s notions of “emplotment,” and “threefold mimesis,” which implies the active role of the reader in realizing the literary narrative fiction, so that I can reveal how fictional narratives enhance the notion of narrative identity. (shrink)

The article examines the status of free speech in Vietnam in light of some of the explosive debates that have flared up in both the US and Europe. It argues that unlike in the West the Vietnamese case requires a critical defense to augment the space for free speech as such. To lead up to this conclusion, the essay looks at two case studies of literary censorship in Vietnam to demonstrate that, since the middle of the twentieth-century, literary speech has (...) been synonymous with political speech. Given the limited space for political speech itself, the essay concludes by advancing a version of the autonomy defense of free speech as one viable critical resource in the Vietnamese context. (shrink)

Philosophy & Social Criticism, Volume 48, Issue 4, Page 603-618, May 2022. The article examines the status of free speech in Vietnam in light of some of the explosive debates that have flared up in both the US and Europe. It argues that unlike in the West the Vietnamese case requires a critical defense to augment the space for free speech as such. To lead up to this conclusion, the essay looks at two case studies of literary censorship in Vietnam (...) to demonstrate that, since the middle of the twentieth-century, literary speech has been synonymous with political speech. Given the limited space for political speech itself, the essay concludes by advancing a version of the autonomy defense of free speech as one viable critical resource in the Vietnamese context. (shrink)

Sally Gadow's work is a sophisticated version of a familiar line of thought in nursing. She creates a chain of distinctions which is intended to differentiate cultural narratives, and particularly the ‘science narrative’, from imaginative narratives, especially poetry. Cultural narratives regulate and restrict; imaginative narratives are creative, liberating and potentially transcendent. These ideological effects are (supposedly) achieved through different structures of language. Scientific language, for example, is abstract and literal, while poetry is sensuous and metaphorical. In this paper, I argue (...) that Gadow's way of discriminating between science and poetry fails. In the first place, the ideological valence she assigns to each of them is unwarranted. Science and poetry can both be harnessed to the project of emancipation, just as both can be incorporated in a strategy of oppression. In the second place, the claim that poetry and science are distinguished by their respective linguistic features – specifically, that one is metaphorical and the other literal – cannot be sustained. I illustrate this argument, as Gadow illustrates hers, by reference to the concept of embodiment, and consider whether Gadow is correct in thinking that poetry, not science, makes it possible for individuals (especially women) to ‘reclaim the body’. I also suggest that Gadow's brand of postmodernism echoes Romanticism, whose defining characteristic was an insistent contrast between poetry and science. This is ‘flip side’ postmodernism, which merely opposes modernist values, preferring subjectivity to objectivity, feeling to rationality, and multiple realities to truth. It is less radical, and far less interesting, than ‘remix’ postmodernism, whose objective is not to reverse the polarities, but to reconfigure the entire circuit. (shrink)

The proximity of philosophy and literature has been endured since the dawn of time, both holding their stand among the critical thinkers from the ancient age to the modern time. A wide range of schools and thoughts have come to the stage of philosophy, one of the last ones being the Frankfurt School, whose notions target the social life of human beings and their interpersonal connections, which have been affected by the tragic events of the twentieth century. Jurgen Habermas, as (...) the prominent figure of the Frankfurt School, turns down the challenging thoughts of his peers and expands the theory of “Communicative Action” through which he propounds the essentiality of reason and the importance of a constructive interaction among people with different social classes using a common and practical language. The post-war literature and specifically drama of absurd being known with significant figures like Samuel Beckett found a widespread prominence not only in the field of literature but also extended toward other fields like philosophy. In this analysis, through the works of Samuel Beckett, known as the predecessor of the absurdist drama, the dichotomy of ideas between the death of communication posited by Beckett and the efficiency of language supported by Habermas have been investigated. (shrink)

Sally Gadow's work is a sophisticated version of a familiar line of thought in nursing. She creates a chain of distinctions which is intended to differentiate cultural narratives, and particularly the ‘science narrative’, from imaginative narratives, especially poetry. Cultural narratives regulate and restrict; imaginative narratives are creative, liberating and potentially transcendent. These ideological effects are (supposedly) achieved through different structures of language. Scientific language, for example, is abstract and literal, while poetry is sensuous and metaphorical. In this paper, I argue (...) that Gadow's way of discriminating between science and poetry fails. In the first place, the ideological valence she assigns to each of them is unwarranted. Science and poetry can both be harnessed to the project of emancipation, just as both can be incorporated in a strategy of oppression. In the second place, the claim that poetry and science are distinguished by their respective linguistic features – specifically, that one is metaphorical and the other literal – cannot be sustained. I illustrate this argument, as Gadow illustrates hers, by reference to the concept of embodiment, and consider whether Gadow is correct in thinking that poetry, not science, makes it possible for individuals (especially women) to ‘reclaim the body’. I also suggest that Gadow's brand of postmodernism echoes Romanticism, whose defining characteristic was an insistent contrast between poetry and science. This is ‘flip side’ postmodernism, which merely opposes modernist values, preferring subjectivity to objectivity, feeling to rationality, and multiple realities to truth. It is less radical, and far less interesting, than ‘remix’ postmodernism, whose objective is not to reverse the polarities, but to reconfigure the entire circuit. (shrink)