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 Using hitherto unpublished archival material as well as information from published recollections, the essay sketches the development of the personal and philosophical bonds from which the literary heirs’ distinct ways of handling Wittgenstein’s unpublished writings grew in later years.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

This paper considers Achebe's No Longer at Ease in terms of its modest canonical fortunes and its peculiar formal construction. The paper argues that the novel's urban setting is produced through an emergent and local noir style, that this setting indexes the increasing centrality of the city in late colonial African life, and that it formally responds to the success of Achebe's rural Things Fall Apart and its problematic status as a paradigmatic African text. The paper suggests that No Longer (...) at Ease 's foreign and local horizons of interpretation, as symptoms of an ongoing imperial world-system, are internalized and symbolically resolved by the novel's instantiation of Lagos as chronotope. The paper's methodological intervention offers a hermeneutics of literary setting through which to elaborate the relationships between form, literary institutions, and material conditions in the postcolony. (shrink)

This study explores the oppression faced by 18th-century labouring-class women through poetry and intersectionality. By employing Kimberlé Crenshaw's concept of intersectionality and Beverly Skeggs' theory of respectability, it examines how gender and class intertwine to create unique challenges. Analysing the lives and works of non-canonized women poets, the research unveils enduring patterns of overlapping oppressions, highlighting the significance of intersectionality in understanding women's experiences. This study offers fresh insights into their struggles, contributing to both literary analysis and women's studies. (...) Keywords Labouring class, intersectionality, respectability, oppression, gender inequalities. (shrink)

Omnicide: Mania, Fatality and Future-in-Delirium (2019) finds Iranian-American philosopher and comparative literature theorist Jason Bahbak Mohaghegh carving the figure of the diffracted neo-Bedouin wanderer, whose mania we tail through the book’s haunted pages. The book’s namesake, “omnicide,” refers to the complete and total erasure of the Earth--the term has most recently been generally applied in ecological contexts, most markedly in regards to the Anthropocene and futurology. However, it is the explicitly poetic and literary intersection between mania and the grotesque (...) that Mohaghegh inches us towards, lifting omnicide from its proscriptive use in the Western philosophical/sociological tradition and goading it towards an unfamiliar cryptic terrain. Surveying ten contemporary Middle Eastern poets and fiction writers, including Sadeq Hedayat (Iran), Réda Bensmaia (Algeria), Samuel Adonis (Syria), Joyce Mansour (Egypt), Forugh Farrokhzad (Iran), Ibrahim al-Koni (Libya), Ahmad Shamlu (Iran), Ghada Samman (Lebanon), Mahmoud Darwish (Palestine) and Hassim Blasim (Iraq), Mohaghegh parses curious stanzas and plucks spectral paragraphs from myriad texts so as to navigate the largely occluded and excised narratives of the contemporary Middle Eastern philosophical-literary canon. Not only does Mohaghegh acuminate the multifaceted question of mania and its variegated networks, chambers, byways and sunken burrows--so as to juxtapose two different world literatures (East and West)--but Mohaghegh also illuminates this oeuvre to affront the Western psychoanalytic treatment of mania as an exclusionary vessel. Thus, despite Mohaghegh avoiding any explicit references to Western philosophers and scientists, both the codified dictum of the medical decree and the hyper-genealogical superlative tradition of Georges Canguilhem, Michel Foucault and their contemporaries rankle Omnicide’s annals. (shrink)

Kendall Walton’s account of make-believe takes the social dimension of imagination into account. In this paper I aim to extend this suggestion and argue that works of fiction allow for encounters with concrete (yet fictitious) persons with a distinct point of view and a discernible perspective. These encounters allow us to contrast the perspective(s) that emerge from the work with one’s own. I will then discuss two moments of the social dimension: imagining fictional scenarios is a social practice, a game (...) we play together and in which we encounter others. Both of these moments shed light on the central role of fiction for the social community in which it is embedded and show how engaging with works of fiction can contribute to the inner cohesion and to the persistence of the group. (shrink)

This chapter sketches a literary history of writing the colonial interregnum through the comparison of a canonical Dublin text and its filmic adaptation with a canonical Johannesburg text and its filmic adaptation. Njabulo Ndebele’s short story ‘Fools’ (1983) repurposes formal elements from Joyce’s ‘The Dead’ (1914), transposing strategies for representing late colonial Dublin to a Johannesburg township during the height of apartheid in a context of extreme racial domination; beginning with close comparative readings of both stories, my chapter argues (...) that the context in which ‘Fools’ emerges determines the significance of its reappropriation of Joycean formal devices and simultaneously forces a re-reading of Joyce’s flirtation with bourgeois naturalism in ‘The Dead.’ Further, the respective publishing contexts of ‘Fools’ and ‘The Dead’ go on to determine their reception and recirculation, as demonstrated by the diverse histories of the American John Huston’s adaptation of ‘The Dead’ (1984), and Ramadan Suleman’s South African adaptation of ‘Fools’ (1997). In following this circumatlantic history of influence and adaptation from Joyce to Ndebele to Huston to Suleman, across hemispheres and media, I mean to articulate a relationship between modernist form and forms of modernity, particularly as those forms that appear and reappear in the global south over the course of the long twentieth century. Particular attention is paid here to the history of underdevelopment in the global south and how it impinges upon the production and circulation of literary adaptations. (shrink)

Two brief Late Antique religious texts, respectively by the monk Theophanis and by Monoimus the Arab, present an interesting problem of whether they embody the authors’ experience, or whether they are merely literary constructs. Rather than approaching this issue through the lens of theory, the article shows how phenomenological analysis and studies of living subjectivity can be engaged with the text in order to clarify the contents of introspective experience and the genesis of its religious connotations. The analysis uncovers (...) a previously unnoticed form of embodied introspective religious experience which is structured as a ladder with a distinct internal structure with the high degree of synchronic and diachronic stability. This approach also helps one identify the specific introspective techniques in the canonical and non-canonical literature of early Christian tradition, as related to the concepts of “ theosis ” and “ kenosys ”, as well as to suggest some neurological correspondents of religious cognition. (shrink)

Roland Barthes' famous essay "The Death of the Author" packs an astonishing number of logical howlers into its blessedly few pages. How did it become so firmly entrenched in the canon of literary theory?

This paper reconsiders the Idealistic aesthetics of tragedy from an unconventional point of view. It investigates the relationship between theory and dramatic canon by focusing on those works and authors that are excluded from the canon by the theoretical discourse. My aim is to show that Idealist philosophers and Romantic critics concur in constructing a unitary model of the tragic conflict that is partly defined through its contraposition to the ‘Senecan’ conception of tragedy as a representation of suffering (...) and as a dialectic of passions. Seneca here stands for an entire line of European dramaturgy, which involves Shakespeare and culminates in French Classicism. This contrast does not merely concern a literary model, but also, more generally, the conception of subjectivity underlying the dramaturgy of passions. This paper thus helps to shed light on the controversial relationship between the idealistic philosophy of the tragic with modern tragedy at large. -/- Keywords: Theory of Tragedy, Idealism, Seneca, Hegel, Pathos . (shrink)

This essay connects Kafka's German and his Jewish linguistic sources, and explores the trans-national perspective on literary tradition they helped him create. I begin with a critique of Deleuze and Guattari's view of Kafka as a minority writer, showing how their cold war nationalism scants the positive contributions that Yiddish and Hebrew made to his work. I continue with an examination of the "twilight of containment," when this postcontemporary Kafka began to break through his cold war canonization after 1989. (...) Other sections include: "German-Jewish Traditions: The Echoes of Yiddish," on Kafka's cultural politics; "Hebrew: Zionism in a Transnational Key"; and "Goethe's Jewish Voices," on Yiddish as a model for Kafka's new conception of national writing. I conclude by considering the Jewish and other sources of Kafka's "linguistic turn," and the general, transnational focus on tradition that Jewish languages brought to his classic texts. (shrink)

During the last ten years of his life, Antonin Artaud shows more and more intensively a multi-faceted and caustic refusal for traditional literature and the ordinary practice of writing. But above all, he shows a stylistic impatience for the alphabetic use of the word and the language. By the intention of creating an inhuman language, which could be understood also by the illiterate people, Artaud wants to undermine the significant use of the word, so that he can achieve a non-representative (...) language, a language that could make real. In this perspective, the aim of our work consists in an inquiry of the expressive forms through which Artaud’s last literary production shows the refusal of canonical literature: especially, we attempt to work about the use of glossolalias, drawings and pictograms included in several Cahiers which Artaud draws up during his confinement in the Rodez’s madhouse, as well as in some of the letters that he writes since 1943. (shrink)

In attempting to determine why the Enlightenment project had derailed and how this failure might be remedied, Walter Benjamin and Theodor Adorno both turned to canonical literary narratives. The resultant works, Benjamin’s major essay on Goethe’s Elective Affinities and Adorno’s meditation on the Odyssey in Dialectic of Enlightenment, are centrally concerned with the very act of narration. The Saving Line reconstructs a hitherto unnoticed, wide-ranging dialogue between these foundational texts of the Frankfurt School. At the heart of Dornbach’s argument (...) is a critical model that Benjamin built around the concept of caesura, which Adorno subsequently reworked. Countering an obscurantism that would become complicit in the rise of fascism, the two theorists aligned moments of arrest in narratives mired in unreason. The Saving Line throws fresh light on the intellectual exchange and disagreements between Benjamin and Adorno, the problematic conjunction of secular reason and negative theology in their thinking, and the philosophical significance of literary narration. (See PDF file below for a more detailed précis). (shrink)

The theology of the St. John’s Letters forms a kind of synthesis of the Pauline and Petrine elements, so that the earthly and prophetic-heavenly tradition and the contemplative vision unite at the same point. Although it does not have all the elements of a classical epistle, 1 John has all the details of a pastoral letter, rather in a contemporary sense. The document as a whole presents the fluidity of a homily, an “Epistle-essay”, which, however, addresses issues specific to its (...) readers. On the other hand, 2 John and 3 John are writings that fall into the epistolary genre of the Hellenistic period, with a strong personal character, being extremely short (13 and 15 verses), even the smallest literary productions within the New Testament canon. If the first Epistle was written in order to defend the authentic interpretation of the Johannine tradition, with a substantial theological argument, the last two letters address an ecclesial issue, resorting to formal and institutional arguments. (shrink)

We generalize and extend the class of Sahlqvist formulae in arbitrary polyadic modal languages, to the class of so called inductive formulae. To introduce them we use a representation of modal polyadic languages in a combinatorial style and thus, in particular, develop what we believe to be a better syntactic approach to elementary canonical formulae altogether. By generalizing the method of minimal valuations à la Sahlqvist–van Benthem and the topological approach of Sambin and Vaccaro we prove that all inductive formulae (...) are elementary canonical and thus extend Sahlqvist’s theorem over them. In particular, we give a simple example of an inductive formula which is not frame-equivalent to any Sahlqvist formula. Then, after a deeper analysis of the inductive formulae as set-theoretic operators in descriptive and Kripke frames, we establish a somewhat stronger model-theoretic characterization of these formulae in terms of a suitable equivalence to syntactically simpler formulae in the extension of the language with reversive modalities. Lastly, we study and characterize the elementary canonical formulae in reversive languages with nominals, where the relevant notion of persistence is with respect to discrete frames. (shrink)

The present study aims to carry out an analysis of the relation between the Bibles of Samuil Micu and Andrei Șaguna from an isagogic perspective, with a particular focus on the canon and canonicity of the books of the Holy Scripture. We believe that, through such an analysis, we can observe what they have in common, but also what differentiates the two Transylvanian editions of the Holy Scripture so that we can help those interested in understanding the reasons behind (...) the current controversies as to the relation between them. Although these controversies refer to the biblical text of the two Scriptural editions, the fact that the attitude towards it was caused by denominational factors, whose doctrinal background is represented by two different traditions of understanding the biblical canon, has been overlooked. This is why we find that the evaluation of how the two Romanian editions of the Holy Scripture (the Bible of Samuil Micu, 1795, and the Bible of Andrei Șaguna, 1856-1858) relate to the canonical tradition of each Church and cultivate their isagogics is fundamental for the establishment and understanding of the relation between them. (shrink)

In terms of validity in Kripke frames, a modal formula expresses a universal monadic second-order condition. Those modal formulae which are equivalent to first-order conditions are called elementary. Modal formulae which have a certain persistence property which implies their validity in all canonical frames of modal logics axiomatized with them, and therefore their completeness, are called canonical. This is a survey of a recent and ongoing study of the class of elementary and canonical modal formulae. We summarize main ideas and (...) results, and outline further research perspectives. (shrink)

We have previously argued that historical cases must be rendered canonical before they can plausibly serve as evidence for philosophical claims, where canonicity is established through a process of negotiation among historians and philosophers of science (Bolinska and Martin, 2020). Here, we extend this proposal by exploring how that negotiation might take place in practice. The working stock of historical examples that philosophers tend to employ has long been established informally, and, as a result, somewhat haphazardly. The composition of the (...) historical canon of philosophy of science is therefore path dependent, and cases often become stock examples for reasons tangential to their appropriateness for the purposes at hand. We show how the lack of rigor around the canonization of case studies has muddied the waters in selected philosophical debates. This, in turn, lays the groundwork for proposing ways in which they can be improved. (shrink)

How should we determine the distribution of psychological traits—such as Theory of Mind, episodic memory, and metacognition—throughout the Animal kingdom? Researchers have long worried about the distorting effects of anthropomorphic bias on this comparative project. A purported corrective against this bias was offered as a cornerstone of comparative psychology by C. Lloyd Morgan in his famous “Canon”. Also dangerous, however, is a distinct bias that loads the deck against animal mentality: our tendency to tie the competence criteria for cognitive (...) capacities to an exaggerated sense of typical human performance. I dub this error “anthropofabulation”, since it combines anthropocentrism with confabulation about our own prowess. Anthropofabulation has long distorted the debate about animal minds, but it is a bias that has been little discussed and against which the Canon provides no protection. Luckily, there is a venerable corrective against anthropofabulation: a principle offered long ago by David Hume, which I call “Hume’s Dictum”. In this paper, I argue that Hume’s Dictum deserves a privileged place next to Morgan’s Canon in the methodology of comparative psychology, illustrating my point through a discussion of the debate over Theory of Mind in nonhuman animals. (shrink)

Lo personal es político. Revisito la potente frase de Carol Hanish (1970) que sigue resonando en las luchas y discursos feministas desde que se hiciera pública a comienzos de 1970. Me permito reversionarla, con gran libertad, para marcar el pulso de este texto y contar, a partir de mi relación con la filosofía, cómo lo personal pasó a ser político en el interés por conocer las filósofas modernas e interpelar y rearmar el canon filosófico. Con ello, los y las (...) invito a reflexionar sobre la perspectiva de género en la historiografía filosófica, las formas de construcción del canon y sus repercusiones en la enseñanza de la filosofía. (shrink)

The concept of the highest good is an important but hardly uncontroversial piece of Kant’s moral philosophy. In the considerable literature on the topic, challenges are raised concerning its apparently heteronomous role in moral motivation, whether there is a distinct duty to promote it, and more broadly whether it is ultimately to be construed as a theological or merely secular ideal. Yet comparatively little attention has been paid to the context of a doctrine that had enjoyed a place of prominence (...) in the ethical systems of the ancients, where these systems provided a key critical foil for the development of Kant’s own conception of the highest good in terms of “happiness distributed in exact proportion to morality” (cf. 5:110). Indeed, these ethical systems prove important for Kant not only in his initial presentation of his account in the Canon of Pure Reason in the first Critique, where he sought to redress the errors of the Epicurean and Stoic conception in particular, but also and importantly in the course of his development towards the second Critique. As I argue in this paper, Christian Garve’s defense of a revised but recognizably Stoic conception of the highest good in his translation of and commentary on Cicero’s De officiis (On Duties), helps to account for Kant’s renewed attention to that doctrine, and specifically to the errors attending the Stoic version, in the Dialectic of Pure Practical Reason. (shrink)

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

The historiographical narrative describing early modern European philosophy as the confrontation between rationalism and empiricism and its overcoming through the Kantian synthesis had a huge spread in Argentina. This article investigates the genesis of this traditional account in the universities of Córdoba, Buenos Aires and La Plata between 1780 and 1920. It offers an introduction concerning the formation of this narrative in Europe and a survey of the teaching of early modern philosophy in Argentina during that period. It concludes that, (...) although some of its components are found during the nineteenth century, it was only in the second decade of the twentieth century that the traditional narrative was formulated in its entirety, in parallel with the introduction of Kantianism in Argentine. However, the construction of this narrative is not merely explained by this fact but also by the weight that the history of philosophy gained in the syllabus as part of the demands involved in the shaping of the academic philosophical field. Finally, this paper suggests ways to reconfigure and renew the canon. (shrink)

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, I will argue, although only within the context of judicious critical interpretation. Further evident constraints include that the form of the suppositional reasoning needs to be declarative or imperative, and that the fictional ‘premise’ of the work needs to be a metaphysical counterfactual possibility, not merely a temporal counterfactual and not merely an epistemic possibility or probabilistic supposition. (shrink)

This paper inquires into literariness, a much neglected problem in translation, from a cognitive poetic perspective; it tries to show the nature of proxy as concerns translation through various illustrations, hence what is termed by Bausse-Beier the proxy principle, and in passing answer the philosophical problem of translatability or untranslatability. Literariness, not limited to literature, may exist in all texts. It can be defined as the form of a text that is suggestive of something, different from that of a text (...) that is not. Any text that is literary is a literary text. Literariness may be realized through the use of metaphors, personifications, imagery, hyperbole and so on, and through the employment of pattern such as alliteration, paranomasia, meter, rhyme and so on. In translating a literary text, a translator should capture the literariness, otherwise the translation fails. However, in the process of translation, some of these features that contribute to the form, such as phonological or prosodic ones, will be definitely lost. If literariness is to be maintained, there should be a way for compensation. Analogy comes to the fore, though translation is by nature analogical; it is employed to reveal the iconicity between signifier and signified through some means of representation. In such an endeavor, optimum relevance should be aimed at so that a good proxy can be ensured: what is in the mind of an original reader should be that in the mind of a translation reader. (shrink)

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

Dispositional Essentialism is a unified anti-Humean account of the metaphysics of low-level physical properties and laws of nature. In this paper, I articulate the view that I label Canonical Dispositional Essentialism, which comprises a structuralist metaphysics of properties and an account of laws as relations in the property structure. I then present an alternative anti-Humean account of properties and laws. This account rejects CDE’s structuralist metaphysics of properties in favour of a view of properties as qualitative grounds of dispositions and (...) it rejects CDE’s view of laws as relations in favour of a view of laws as features of an efficient description of possible property distributions. I then defend this view over CDE on the grounds that it can overcome an explanatory shortcoming of CDE and that it achieves a level of continuity with science that CDE fails to achieve. The upshot of this paper is a significant narrowing of the range of possibilities in which the absolutely best unified account of laws and properties resides. (shrink)

In the philosophical debate about literary interpretation, the actual intentionalist claims, and the anti-intentionalist denies, that an acceptable interpretation of fictional literature must be constrained by the author’s intentions. I argue that a close examination of the two most influential recent strands in this debate reveals a surprising convergence. Insofar as both sides (a) focus on literary works as they are, where work identity is determined in part by certain (successfully realized) categorial intentions concerning, e.g., title, genre, and (...) large-scale instances of allusion, allegory, and irony and (b) allow that works can acceptably be interpreted for unintended meanings—since an intentional act can, under a different description, exhibit unintended features—then they turn out to share the same interpretive policy concerning authorial intention. This suggests that philosophers should shift the interpretation debate away from issues of authorial intention and toward issues about the aims of interpretation. (shrink)

A literary approach to scientific practice: Essay Review of R.I.G. Hughes' _The Theoretical Practices of Physics_.

Categorical foundations and set-theoretical foundations are sometimes presented as alternative foundational schemes. So far, the literature has mostly focused on the weaknesses of the categorical foundations. We want here to concentrate on what we take to be one of its strengths: the explicit identification of so-called canonical maps and their role in mathematics. Canonical maps play a central role in contemporary mathematics and although some are easily defined by set-theoretical tools, they all appear systematically in a categorical framework. The key (...) element here is the systematic nature of these maps in a categorical framework and I suggest that, from that point of view, one can see an architectonic of mathematics emerging clearly. Moreover, they force us to reconsider the nature of mathematical knowledge itself. Thus, to understand certain fundamental aspects of mathematics, category theory is necessary (at least, in the present state of mathematics). (shrink)

I present some objections to traditional literary interpretation and consider subversive interpretation as a solution to these problems. Subversive interpretation may seem more scientific and more democratic than traditional interpretation, but it is open to doubt that it is more democratic.

En la consideración de numerosos asuntos y respecto de muy variadas exposiciones, el uso de expresiones como "filosófica" sugiere que debemos remitirnos a procederes, preguntas o exigencias especiales. Rabossi propone un modo de caracterizar el sentido con que usamos esas expresiones y, sobre esa base, concluye que la filosofía tal como se la practica desde hace doscientos años pretende ser una disciplina profesional pero no puede serlo debido a la índole de la preceptiva que la constituye. En este artículo se (...) examinan sus argumentos y se sostiene que, aunque no parecen suficientes para la conclusión a la que apuntan, hay razones para modificarlos de cierto modo que conducen a ese resultado. Whenever expressions like "X is philosophical" appear in different questions and assorted statements, the reference to special kinds of actions, questions or demands are suggested by these uses. Rabossi propounds a way for characterizing the sense of our using such expressions and, based on it, he states that philosophy, as it is accomplished from the last two centuries up to now, pretends to be a professional discipline but she cannot to be as such because the nature of its precepts. Rabossi's arguments are examined and it is maintained that although they do not seem to be sufficient for the pursued conclusion, there are reasons to modify them such a way to come to that conclusion. (shrink)

Michael Ryan's Literary Theory: A Practical Introduction, Second Edition introduces students to the full range of contemporary approaches to the study of literature and culture, from Formalism, Structuralism, and Historicism to Ethnic Studies, Gender Studies, and Global English. Introduces readings from a variety of theoretical perspectives, on classic literary texts. Demonstrates how the varying perspectives on texts can lead to different interpretations of the same work. Contains an accessible account of different theoretical approaches An ideal resource for use (...) in introductory courses on literary theory and criticism. Designed to function both as a stand-alone text and a companion to Rivkin and Ryan’s Literary Theory: An Anthology, Second Edition. (shrink)

This article discusses the relationship (or lack thereof) between authors’ intentions and the meaning of literary works. It considers the advantages and disadvantages of Extreme and Modest Actual Intentionalism, Conventionalism, and two versions of Hypothetical Intentionalism, and discusses the role that one’s theoretical commitments about the robustness of linguistic conventions and the publicity of literary works should play in determining which view one accepts.

In this paper, I attempt to formulate an Ingardenian conception of the literary work’s aesthetic value. Following Mitscherling’s lead, I attempt to place Ingarden’s aesthetics within his overall phenomenological-ontological project. That is, I argue that Ingarden’s aesthetics can only be properly fathomed in the context of his ontological deliberations, since, as he himself often enunciated, all his philosophical investigations constitute a realist rejoinder to Husserl’s turn toward transcendental idealism. To this end, I bring together insights from his aesthetics and (...) ontology to establish a coherent account of values, where artistic and aesthetic values are analyzed as they manifest themselves in the literary work of art. By attending to the ontology of its aesthetic (and artistic) values, I argue, the literary work’s stratified formation becomes more explicit. Keywords: Roman Ingarden, aesthetic value, artistic value, the literary work of art, ontology, aesthetics. (shrink)

This paper investigates the emotional import of literary devices deployed in fiction. Reflecting on the often-favored approach in the analytic tradition that locates fictional characters, events, and narratives as sources of readers’ emotions, I attempt to broaden the scope of analysis by accounting for how literary devices trigger non-cognitive emotions. I argue that giving more expansive consideration to literary devices by which authors present content facilitates a better understanding of how fiction engages emotion. In doing so, I (...) also explore the somatic dimension of reading fiction. (shrink)

Propositional dynamic logic is complete but not compact. As a consequence, strong completeness requires an infinitary proof system. In this paper, we present a short proof for strong completeness of $$\mathsf{PDL}$$ relative to an infinitary proof system containing the rule from [α; β n ]φ for all $$n \in {\mathbb{N}}$$, conclude $$[\alpha;\beta^*] \varphi$$. The proof uses a universal canonical model, and it is generalized to other modal logics with infinitary proof rules, such as epistemic knowledge with common knowledge. Also, we (...) show that the universal canonical model of $$\mathsf{PDL}$$ lacks the property of modal harmony, the analogue of the Truth lemma for modal operators. (shrink)

This paper addresses a fundamental line of research in neuroscience: the identification of a putative neural processing core of the cerebral cortex, often claimed to be “canonical”. This “canonical” core would be shared by the entire cortex, and would explain why it is so powerful and diversified in tasks and functions, yet so uniform in architecture. The purpose of this paper is to analyze the search for canonical explanations over the past 40 years, discussing the theoretical frameworks informing this research. (...) It will highlight a bias that, in my opinion, has limited the success of this research project, that of overlooking the dimension of cortical development. The earliest explanation of the cerebral cortex as canonical was attempted by David Marr, deriving putative cortical circuits from general mathematical laws, loosely following a deductive-nomological account. Although Marr’s theory turned out to be incorrect, one of its merits was to have put the issue of cortical circuit development at the top of his agenda. This aspect has been largely neglected in much of the research on canonical models that has followed. Models proposed in the 1980s were conceived as mechanistic. They identified a small number of components that interacted as a basic circuit, with each component defined as a function. More recent models have been presented as idealized canonical computations, distinct from mechanistic explanations, due to the lack of identifiable cortical components. Currently, the entire enterprise of coming up with a single canonical explanation has been criticized as being misguided, and the premise of the uniformity of the cortex has been strongly challenged. This debate is analyzed here. The legacy of the canonical circuit concept is reflected in both positive and negative ways in recent large-scale brain projects, such as the Human Brain Project. One positive aspect is that these projects might achieve the aim of producing detailed simulations of cortical electrical activity, a negative one regards whether they will be able to find ways of simulating how circuits actually develop. (shrink)

The purpose of this symposium is to explore the ways in which literature, broadly construed to include poetry and narrative in a variety of modes of representation, can change the world by providing interventions in justice. Our approach foregrounds the relationship between the activity demanded by some individual literary works and some categories of literary work on the one hand and the way in which those works can make a tangible difference to social reality on the other. We (...) consider three types of active literary engagement: doing philosophy, ideological critique, and necessary rather than contingent performance. Kate Kirkpatrick opens with Kamel Daoud’s The Meursault Investigation (2013), reading the narrator as not only a critic of colonial and postcolonial discourse but also a literary exemplar of the search for justice when it is difficult to know to what level of explanation to attribute its absence. Rafe McGregor demonstrates how the final season of Prime Video’s The Man in the High Castle (2015–19) makes a radical break from the previous three, exposing the misanthropy at the core of right-wing populism and calling for a fundamentally democratic response from the left. Finally, Karen Simecek argues that poetry in performance has a potentially reparative function for the ethically lonely – the vulnerable, the oppressed, and the persecuted – in society. (shrink)

Is there a role for aesthetic judgements in science? One aspect of scientific practice, the use of thought experiments, has a clear aesthetic dimension. Thought experiments are creatively produced artefacts that are designed to engage the imagination. Comparisons have been made between scientific (and philosophical) thought experiments and other aesthetically appreciated objects. In particular, thought experiments are said to share qualities with literary fiction as they invite us to imagine a fictional scenario and often have a narrative form (Elgin (...) 2014). But philosophical discussions of aesthetics in science have focused mainly on the epistemic role of beauty and elegance when it comes to theories and mathematical proofs, and thought experiments have been widely overlooked. My aim in this chapter is to address how the aesthetic choices scientists make in the design of a thought experiment contribute to its function: to communicate, convince, or explain a theory or phenomenon. A key issue is whether any aesthetic features in science provide anything beyond catching our attention, or are at best, a mere heuristic aid. I respond to accounts that argue this way and show how formulation is important in scientific thought experiments and, similarly to literary fictions, there is more than one way of interpreting a thought experiment scenario. I end by considering which literary examples are most appropriate when making comparisons with thought experiments. As a result, the difference between representations in art and science raised in current discussions is not as stark as it has been made out to be, and science is a more heterogeneous practice than has been allowed. Part of the value of thought experiments in scientific practice includes the qualities they share with literary works. (shrink)

Decision makers of the art world usually ignore the existence and evolution of this oversupply of artists that work without imaging the actual mechanism that governs the system of selection and exclusion as well as the nature of the matrix, and are occasionally encouraged to forget their national identity, history, and culture. Although repeating warning on the birth of an artificial canon seems to be useless, renewed efforts for recovering, at least, a rational system of work flow would be (...) acknowledged by contemporary artists. Framing a theory that recognizes those works that cause pleasure to humans may be the foundation for building a canon for discerning what acknowledge as art. (shrink)

A complex, polyvalent phenomenon, the kiss, once embedded in a literary text, is first and foremost a cipher to be decoded. Texts effectively expose its many-sidedness: not merely its potentially seductive power or ostensible expression of affection, but, no less compellingly, its risky demeanors, its capacity to establish dominance, to terrorize, to subdue, to belittle, to ingratiate, even to infuriate. Variously bestowed, retracted, avowed, disavowed, meaningful, meaningless, the kiss can become, as it does in the work so named by (...) Kate Chopin, a multi-layered form of contrivance, the incarnation of tempting, albeit ultimately invidious, non-realities. Though, perhaps, not manifest at first blush, a careful reading reveals that each occasion marked by the “joining of lips” yields an odd sequence of awkward and oft deleterious, consequences: motion is superseded by motive, candor by disingenuousness—all in an unending slew of backward and forward slippages. Thus is engendered the metaphorization of an altered reality—structured all but exclusively upon the relentless deceits it proffers. Jubilation and despair come and go, as though wholly inter-changeable; acceptance and rejection, promulgation and rescission are converted into mere variants of the same gestures of ambivalence, if not of travesty. One might thus conclude that the kiss adopts significance worthy of note only as a metonym for and of factitiousness, vacuity and thinly-veiled distortion. Chopin’s script adeptly explores the multifarious comportments and consequences of the kiss: an act fashioned as a “weapon” of dubious value, as a tactical strategy, as a play-act borne of ulterior objectives and, which, as such, deftly prostitutes itself, willingly, nefariously. In the given context, the kiss-act lays bare the heroine’s ostensible “liberation” to be more imagined than real. Her would-be triumph over gendered subjugation exists, if at all, as but an ill-conceived romantic daydream—destined to slake gradually into a woeful destiny of loneliness and imprisonment. Chopin’s brief narration center-stages betrayal, challenges authenticity and valorizes consummate illegitimacy. -/- . (shrink)

This paper responds to an essay by Elena Ferrante on male literary figures acknowledging the influence of female ones. She poses a question about her reception by males which I address.

This paper is a response to Kathleen Stock’s book Material Girls, by way of imitation. I have attempted to write a faux chapter in the book’s style, identifying four moments in overcoming the low-high culture divide in responses to the arts.

Jacques Derrida’s “Signature Event Context” is one of the most famous papers in literary theory, but there are aspects of it which, in my experience, are not commented on. Why are there no commas in the title? I present a puzzle, but there is a solution which I presume many will quickly go for.

How we define the anarchist canon—let alone how we decide which thinkers, theories, and texts should count as canonical—depends very much on what we take the purpose of the anarchist canon to be. In this essay, I distinguish between thinkers, theories, or texts that are “anarchist,” by virtue of belonging to actually-existing historical anarchist movements, and those which are “anarchist” in virtue of expressing “anarchistic” (or “anarchic”) ideas. I argue that the anarchist canon is best conceived as (...) a repository of historically-expressed anarchistic ideas and, for this reason, should include both kinds of theories, thinkers, and texts. (shrink)

“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.

In the interpretation of canonical quantum gravity (CQG), gravity appears as a geometric pseudoforce, is reduced to spacetime geometry and becomes a simple effect of spacetime curvature. The scale at which quantum gravitational effects occur is determined by the different physical constants of fundamental physics: h, c and G, which characterize quantum, relativistic and gravitational phenomena. By combining these constants, we obtain the Planck constants at which the effects of quantum gravity must manifest. Loop quantum gravity attempts to unify gravity (...) with the other three fundamental forces starting with relativity and adding quantum traits. DOI: 10.13140/RG.2.2.10368.58889 . (shrink)

Literary studies are living a nomadic existence on the margins of the neoliberal university, forced to adapt to the needs of more profitable disciplines and the insidious marketization of higher education to find an intellectual home. By drawing on Rosi Braidotti’s nomadic theory, this article situates the current state of literary studies in the wider networks of power relations that differentially distribute nomadic experiences in the contemporary world. The article begins with an examination of the contradictions of nomadic (...) mobility in the era of globalized capitalism and how these contradictions interrelate with the study of world literature. The second half of the article focuses on the transformation of labor under neoliberalism, charting the rise of cognitive capitalism and its relationship to the university. While the future of literary studies might look precarious in the era of cognitive capitalism, the increasing casualization of intellectual labor creates the conditions for unstructured, unrestrained, and deterritorialized flows of thought that escape the constraints placed on those in the institution. By harnessing literature’s subversive potential, literary studies can use these nomadic flows of thought to resist the operating principles of the neoliberal university and help combat the conditions that create precarious nomadic experiences across the globe. (shrink)

Peter Lamarque, in chapter 4 of his 2010 book Work and Object, argues that certain artworks, like musical scores and literary texts, are such that there can be no forgeries of them that purport to be of an actually existing work—what Lamarque calls “referential forgeries”. Lamarque motivates this claim via appeal to another distinction, first made by Goodman, between “allographic” and “autographic” artworks. This article will evaluate Lamarque’s argument that allographic literary works are unable to be referentially forged (...) and will find them wanting. In so doing, the distinction between allographic and autographic artworks (and therefore artforms) will be called into question. In section I, I characterize referential forgery and Lamarque’s definition of allographic and autographic artforms. Section II critically examines Lamarque’s argument against the possibility of referential forgery in allographic artforms. Section III offers a case where it appears that a putatively allographic text’s type membership is sensitive to facts about its causal-intentional provenance. This case serves as pretext for Section IV’s identification of this causal-intentional relation with the sanctioning relation as formulated by Sherri Irvin. On the basis of considerations treated in sections I through IV, section V questions the tenability of the allographic/autographic distinction. -/- . (shrink)