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)

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)

“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.

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)

Wittgenstein's farcical clash with literary critic F. R. Leavis over the analysis of Empson's poem "Legal Fiction" is well known to devotees of Wittgenstein's life (Ludwig Wittgenstein: Personal Recollections (1981), edited by Rush Rhees, Oxford: Basil Blackwell, 80). Less well known is the value of studying Empson's artistic and intellectual achievement as part of the wider cultural background for the appreciation of Wittgenstein's views and influence, early and late. This talk sketches some diverting byways awaiting further exploration. A (...) recurrent theme is contradiction. (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)

How can we theoretically and philosophically study the problem of values and authority in the context of education? The chapter uses the framework of action theoretical semiotics developed mainly on the conceptual structures of Greimassian semiotic theory. This detailed and elaborated theory of human discourse (utilized usually in terms of literary and “cultural” texts) will be expanded by biosemiotic and Peircean points of view to fit in the special problem area of education as transformation or extension from the biosemiotic (...) and zoosemiotic sphere to anthroposemiotic sphere: from nature to culture. The main theoretical starting point for action theoretical semiotics is the concept of meaning which is defined as relationship of an object to the action of the subject. The chapter will connect the action theoretical semiotics to the conception of Bildung and modern idea of the normativity of the rational inference by, e.g., contemporary philosopher of semantics Robert Brandom, to consider the educational implications of this semiotic view. (shrink)

One important aspect of Nussbaum´s thesis on the moral value of literature concerns the power of literature to enhance our ability to empathise with other minds. This aspect will be the focus of the current article. My aim is to reflect upon this question regarding the moral value of our empathy for fictional characters. The article is structured in two main parts. I will first examine the concept of “empathy” and distinguish between empathy for human beings and empathy (...) for fictional characters. I will call the latter “literary empathy”. In the second part of the paper I will examine the arguments for and against the double thesis that reading literature enhances our ability to feel empathy, and that feeling empathy prompts altruistic behaviour. (shrink)

© British Society of Aesthetics 2018. Published by Oxford University Press on behalf of the British Society of Aesthetics. All rights reserved. For Permissions, please email: [email protected] adaptation of literary works into films has been almost completely neglected as a philosophical topic. I discuss two questions about this phenomenon:What do we mean when we say that a film is faithful to its source?Is being faithful to its source a merit in a film adaptation?In response to, I set out two (...) distinct senses of fidelity: story fidelity and thematic fidelity. I then argue, in response to, that thematic fidelity, but not story fidelity, is an aesthetic merit in a film adaptation. The key steps in this argument involve showing that merely preserving the story from one medium to another does not typically involve an aesthetically... (shrink)

The value of this essay is not to reiterate the extant views on horror literature, but to make available for the first time to the world at large the textual foundations of considering horror literature as a genre by itself. The Gothic is a different genre altogether though most of us want to conflate and confuse between these two genres. Someday I shall write at length about the nature of the horrific. Suffice to say for now that the focus (...) is that long ago, H. P. Lovecraft in his essay mentioned within this essay distinguished between the gothic as a literary genre and horror literature as another literary genre. And Lovecraft showed us that the horror as a literary genre is by far the greater of the two genres. This essay does not get into the literary values of either the gothic or the horror novel. That has been treated in a fuller manner by this author in his PhD thesis. (shrink)

The Iliad is a work of great poetic temperament, and by analyzing its content we can see how, through the development of the theme of the Trojan War, cultural categories are created that have acquired an immeasurable value in the life of the human being. For this reason, it is worth pausing to analyze the text from different points of view, from which one can begin to understand how those categories are created that, without being aware of it, manifest (...) themselves in one way or another in daily life, such as the love for a child and the close friendship between two people, to name just a few. In this paper we have studied epithets, which have a certain importance in the composition of the Iliad. Therefore, we began by analyzing the genesis of this literary resource and its repercussions on the style of the work, all of this organized into four short sections. In this research, special emphasis was placed on answering whether the use of epithets contributes to the configuration of Zeus as an Olympian god. In order to answer this question, the value of the epithet as a literary resource was first taken into account, and then the epithets of the god Zeus were analyzed, observing if there is any relationship between the times they are mentioned, who uses them, and the location of this god at the top of Olympus. This specific case in the Iliad allowed us to draw conclusions that could perhaps be applied to epithets in general. -/- La Ilíada es una obra de un gran temple poético que al analizar su contenido se puede entrever cómo a través del desarrollo del tema de la guerra de Troya, se van creando categorías culturales, que han tomado un valor inconmensurable en la vida del ser humano. Por esto vale la pena detenerse a analizar el texto bajo diferentes puntos de vista, a partir de los cuales se pueda ir adentrándose a conocer cómo se van originando esas categorías que sin darse cuenta se manifiestan, de una u otra forma en la vida diaria, como lo es el amor por un hijo y la amistad entrañable entre dos personas, como para mencionar algunas. En este trabajo se estudiaron los epítetos, los cuales tienen una cierta importancia en la composición de la Ilíada. Por consiguiente se empezó analizando cómo fue surgiendo este recurso literario y su repercusión en el estilo de la obra; todo esto, organizado en cuatro cortas secciones. En esta investigación se hizo un énfasis especial en responder la pregunta de si el uso de los epítetos ayuda a configurar a Zeus como un dios olímpico. Para responderla, se tomó inicialmente el valor del epíteto como recurso literario, para luego analizar los epítetos del dios Zeus, observando si existe alguna relación entre las veces en que son mencionados, quién hace uso de ellos, y la ubicación de este dios en la cima del Olimpo. Este caso específico en la Ilíada permitió llegar a conclusiones que tal vez se puedan aplicar a los epítetos en general. (shrink)

ABSTRACT One striking feature of On the Genealogy of Morals is how it is written. Nietzsche employs a literary style that provokes his readers' emotions. In Beyond Selflessness, Christopher Janaway argues that such a literary approach is integral to Nietzsche's philosophical goals. Feeling the emotions Nietzsche's style arouses is necessary for understanding the views he defends. I argue that Janaway's position is mistaken. The evidence at our disposal fails to establish that emotion is ever necessary for cognition. However, (...) I maintain that we do have good evidence for a slightly weaker claim. The emotionally sensitive person is epistemically better off than the cold and dispassionate person. There are some truths he or she will be more likely to believe and will have better reasons for believing. I conclude that Janaway is right to defend the philosophical importance of Nietzsche's literary writing style. His error is simply that he overstates the case. (shrink)

Defined as vicarious sensorimotor experiencing, mental imagery is a powerful source of aesthetic enjoyment in everyday life and, reportedly, one of the commonest things readers remember about literary narratives in the long term. Furthermore, it is positively correlated with other dimensions of reader response, most notably with emotion. Until recent decades, however, the phenomenon of mental imagery has been largely overlooked by modern literary scholarship. As an attempt to strengthen the status of mental imagery within the literary (...) and, more generally, aesthetic discipline, this dissertation proposes an analysis positioned at a confluence of literary theory and the cognitive sciences, especially the emergent research framework of embodied cognition. Questions asked throughout the dissertation include the following: a) What are the basic varieties of mental imagery in the reading of literary narrative? b) By what contents or narrative strategies are they most likely to be prompted? c) What is it like to experience a mental image of a particular variety? d) What are its psychophysiological underpinnings? e) How does a mental image of a particular variety relate to perception? f) How does it relate to higher-order meaning-making? Four prototypical imagery varieties are distinguished on the basis of two variables with two values each (referential vs. verbal domain; inner vs. outer stance). Gradual transitions and in-between imagery varieties are acknowledged. The imagery typology and related hypotheses are grounded in introspection but carefully supported with indirect empirical evidence and, whenever possible, formulated so as to facilitate direct validation. (shrink)

In a political moment characterised by post-truth ideologically generated misinformation and algorithmically propagated discourse: questions of fact, of inquiry, of perspective are paramount. This work examines what it means to write literature or to do philosophy while encountering a world of diffuse truths. It asks how can we retain clarity without erasing the fact that perspectival knowledge is always already embedded, piecemeal, contextual? To answer this question, I turn to a more foundational one, that has plagued philosophy since Plato proclaimed, (...) “there is an old quarrel between philosophy and poetry” (Republic, 607b5–6). My thesis picks up on a central aspect of the quarrel, the claim that art doesn’t lead to truth. I ask: what is the nature of literary inquiry and how can literature distinguish itself as an autonomous form of intellectual inquiry, if it can at all? Beginning with David Foster Wallace’s “The Empty Plenum”, I argue for a novel ‘perspectival’ or ‘mystical’ interpretation of Wittgenstein’s Tractatus Logio-Philosophicus. Contrary to dominant literary scholarship, I claim that it is Wittgenstein’s Saying–Showing distinction that offers us a guide for conceiving of the true value of literary inquiry, and thereby provides us with a robust response to Plato. The ‘ancient quarrel’ can thus be addressed resolutely. What does literature offer? Literature is free to communicate where philosophy is unable—to show what philosophy cannot say. Using the examples of Davidson, Heidegger, Wallace, Wittgenstein, Borges and Lerner I flesh out the notion of showing in literature, and how it functions to induce a perspectival shift in order that the reader may see the world ‘aright’, whatever ‘aright’ may be. This dissertation may be best conceived as a contribution to the project of questioning the inherent power-dynamics and ideological biases that inform the disciplinary separation of literature and philosophy. (shrink)

Many of us share a strong intuition that fictional literature possesses cognitive value in the sense that it has the capacity to expand and/or clarify our knowledge or understanding of the world. If we agree that we learn something when we read and discuss certain texts, we may nevertheless find the form this learning takes to be anything but obvious.

This essay explores the philosophical significance of Anthony Burgess’s 1960s novel "A Clockwork Orange." Specific themes in this novel are developed through character and situation, in a way which takes cognisance of important problems in the history of philosophy. The essay looks at two particular themes in this context. The first relates to the epistemological question of the distinction between truth and illusion. The novel thematizes the demarcation between truth and illusion, or truth and appearance, and raises the issue of (...) whether we can have a knowledge or epistemological foundation for such a distinction. Second, the novel addresses a question at the heart of ethics, that is, the issue of whether there is a clear distinction between good and evil. Moreover, it develops this question in relation to the further issue of the explanation for the seeming attractiveness of evil, if good is an acknowledged superior value. In the novel these questions are addressed especially through the main character of Alex, whose incarceration and rehabilitation treatment by psychiatry comes centre stage. Additionally, the text itself is adapted for film by Stanley Kubrick in 1971 and the essay explores how Kubrick’s interpretation of the original novel is distinct from that of Burgess (this difference being added to by the medium of film). Kubrick’s different interpretation nonetheless builds on the original novel and thus brings new insights in terms of the reading of the primary themes, while also complexifying the hermeneutics. (shrink)

In a Times Literary Supplement review of some recent literature on Marx and Marxism for a general readership, Jonathan Wolff claimed that Marx’s solution to the so-called “transformation problem” is “half-baked.” The aim of this paper is to challenge this complacent dismissal of some of Marx’s central economic ideas. In the process, I want to show that although the issues here are subtle and complex, Marx’s ideas retain a great deal of intuitive appeal, and his “solution” to the so-called (...) “transformation problem” is neither conceptually implausible nor mathematically dubious. Crucial to this aim is to show that Marx viewed the categories of (what he called bourgeois) economics through a social lens, which is given in the first chapter of the first volume of Capital. (shrink)

On one standard view, paraphrasing Kierkegaard requires no special literary talent. It demands no particular flair for the poetic. However, Kierkegaard himself rejects this view. He says we cannot paraphrase in a straightforward fashion some of the ideas he expresses in a literary format. To use the words of Johannes Climacus, these ideas defy direct communication. In this paper, I piece together and defend the justification Kierkegaard offers for this position. I trace its origins to concerns raised by (...) Lessing and Mendelssohn about the relationship between form and content in works of art. I maintain that Kierkegaard follows early German Romantic thinkers in applying these aesthetic concerns to philosophical writing. By way of conclusion, I discuss the implications of Kierkegaard’s position for contemporary scholarship. (shrink)

Can fictional narration yield knowledge in a way that depends crucially on its being fictional? This is the hard question of literary cognitivism. It is unexceptional that knowledge can be gained from fictional literature in ways that are not dependent on its fictionality (e.g., the science in science fiction). Sometimes fictional narratives are taken to exhibit the structure of suppositional argument, sometimes analogical argument. Of course, neither structure is unique to narratives. The thesis of literary cognitivism would be (...) supported if some novels exhibit a cogent and special argument structure restricted to fictional narratives. I contend that this is the case for a kind of transcendental argument. The reason is the inclusion and pattern of occurrence of the predicate ‘believable’ in the schema. Believability with respect to fictional stories is quite a different thing than it is with respect to nonfictional stories or anything else. (shrink)

If novels can be arguments, that fact should shape logic or argumentation studies as well as literary studies. Two senses the term ‘narrative argument’ might have are (a) a story that offers an argument, or (b) a distinctive argument form. I consider whether there is a principled way of extracting a novel’s argument in sense (a). Regarding the possibility of (b), Hunt’s view is evaluated that many fables and much fabulist literature inherently, and as wholes, have an analogical argument (...) structure. I argue that a better account is that some novels inherently exhibit a transcendental argument structure. (shrink)

Lloyd Jones’s *The Book of Fame*, a novel about the stunningly successful 1905 British tour of the New Zealand rugby team, represents both skilled group action and the difficulty of capturing it in words. The novel’s form is as fluid and deceptive, as adaptable and integrated, as the sweetly shaped play of the team that became known during this tour for the first time as the All Blacks. It treats sport on its own terms as a rich world, a set (...) of bodily skills, and an honest profession in itself. A reading of *The Book of Fame* can contribute to the interdisciplinary study of literature and cognition, exemplifying two-way ‘exchange values’. On the one hand, we gain insights into the nature of skilful group agency, of distinct forms and at distinct timescales, by focussing on the precise forms taken by the All Blacks’ creation of space. Here, we treat The Book of Fame as a brilliant evocation of features of collective thought, movement, and emotion that both everyday and scientific inquiry can easily miss. On the other hand, we also read back into the novel a subtle, fascinated interrogation of the mechanisms by which small groups form, evolve, and act. In this more ambitious mode of analysis, we use independently motivated theoretical concerns to help us see real features of the literary work that might otherwise remain invisible. We focus on the relationship between skilful performance and collective action. These topics fall outside the ambit of much current work by literary theorists using cognitive research, who tend to focus on theory of mind and modularity, metaphor and blending, emotion and empathy, consciousness and concepts, representation and so on. But skilled performance and collective action comprise surprisingly lively research fields across the sciences, from neuropsychology to philosophy of mind and cognitive anthropology. These areas of inquiry may provide even more productive avenues for future work in the interfield of literary and cultural theory and the cognitive sciences. (shrink)

Camus’ early philosophy has been subject to various kinds of criticism. In this paper I address a problem that has not been noticed so far, namely that it appears to be essentially inconsistent. On the one hand, Camus explicitly denies the existence of moral values, and construes his central notion of the absurd in a way that presupposes this denial. On the other hand, he is also committed to the existence of certain values. Both in his literary and philosophical (...) works Camus is not so much interested in the absurd per se, but rather in how we ought to respond to it. In justifying his supposed normative conclusions, he tacitly, but crucially, relies on evaluative judgements. If all this is true, then prospects for defenders of absurdism seem bleak. In whichever way the inconsistency is resolved, they will have to give up or significantly modify central parts of Camus’ early philosophy. But things may not stand quite as bad. As I try to show, there is a route to consistency that preserves much of Camus’ early philosophy, and leaves it prima facie plausible. The key is to re-interpret its normative aspects. Stated a bit provocatively, we need to put Camus in the self-help genre. (shrink)

Michael H. Mitias argues that friendship is a central moral value constituting an integral part of the good life and therefore deserving a prominent place in ethical theory. He consequently calls upon ethicists to make immediate and decisive adjustments toward accommodating what he regards as a neglected organic relationship between friendship and morality. This is not a fanciful amendment to our standard conception of morality but a radical proposal grounded in a unifying vision to recapture the right way of (...) doing ethics. While the assessment is compelling, and the plea well-placed, neither has been fully understood in the scholarly reception of Mitias. This paper clarifies both. What sets it apart from other reactions to Mitias is a holistic approach drawing on literary considerations as well as philosophical ones. The combined aim is to demonstrate that Mitias is not seeking simply to restore friendship to its rightful place in normative ethical theory, which is indeed the full extent of his formal mission, but that he is seeking to do so specifically within virtue ethics. This interpretation rests on a broad engagement with Mitias’s publications beyond the recent treatise often taken understandably yet erroneously to be his only work on the subject. (shrink)

The contemporary debate in the philosophy of literature is strongly shaped by the anticognitivist challenge, according to which works of literary fiction (that contain propositions that are neither literally true nor affirmed by the author) cannot impart (relevant) knowledge to the readers or enrich their worldly understanding. Anti-cognitivists appreciate works of literary fiction for their aesthetic values and so risk to reduce them to mere ornaments that are entertaining, but eventually useless. Many philosophers have reacted to this challenge (...) by pointing at ways in which works of literary fiction can be informative even though they lack worldly reference: it has been argued, for example, that works of fictions are thought experiments; that they add not to our theoretical knowledge, but to our know-how or to our phenomenal knowledge; or that that they help readers to understand the perspectives of others. A stubborn defense of literary cognitivism, however, risks to collapse into an instrumental understanding of literature. In my paper I suggest that both sides in the debate focus too narrowly on semantic features of the works in question that is tied to what I will call the “referential picture” of language. A shift perspective is needed: for one, we ought to fully appreciate that the term “literature” does not refer to a homogeneous phenomenon, but rather to a very heterogeneous and multifarious set of works that are read by many different readers for many different reasons in many different ways. Second, we need to understand that these works have in common much more than the semantic peculiarity of lacking worldly reference: they are a unique means of communication between authors and readers – and in particular the role of the latter is often neglected in contemporary debate. These two points should help us to get a more comprehensive understanding of the practice of literature and the vast range of values we can find works of literary fiction – and the interplay between them. (shrink)

This thesis is concerned with the ways in which meaning is generically mediated in the novel. In particular it addresses the productive diversity of meanings generated by critical interpretation and asks how, given this diversity, comprehension and consensus might be possible. I argue that the construction of subject, object, space and time is achieved in the novel through different manifestations of four key metaphors: voice, view, setting and event. These metaphors supply meanings that rely on a common experience of embodiment. (...) Embodiment supplies the basis for an intersubjectively established consensus which identifies subjects and objects in terms that correspond to the semiotic, syntagmatic and semantic uses of metaphor. I begin by surveying and reviewing certain constructionist accounts of language and meaning in order to establish the importance of metaphor in conveying meaning in rhetorical, rather than linguistic, terms. I then discuss two examples of continental philosophy on speech: Derrida on voice and Foucault on discourse. I demonstrate how meaning is rhetorically constructed according to the use to which metaphors are put—whether they denote formal, semantic, or functional aspects of meaning—through an explication of Foucault’s theory, reserving Derrida’s grammatology for my analysis of the stabilisation of meaning in the theory of certain narratologists (Gérard Genette and Marie-Laure Ryan). Voice and view are key terms in literary theory, and I examine refinements to these metaphors in Genette and Ryan. The insistence of these narratologists on restricting the rhetorical dimension of meaning undermines the value of the literary work, prompting me to argue for a relaxing of such constraints. I read Peter Carey’s True History of the Kelly Gang for its uses of voice and point of view, many of which expose the limitations of the narratological approach. This is a theoretical thesis, which engages a wide range of perspectives—constructionist, deconstructionist, sociological and structuralist—together with their various accounts of language, metaphor, speech and meaning. In terms of sociological approaches to genre and discourse, I employ the chronotope as a critical tool, examining it in the context of the theme of the country house to demonstrate the role of two of my key metaphors, setting and event, which are important for the construction of space and time in abstract terms. Focusing on novels by Jane Austen, Virginia Woolf, and Kazuo Ishiguro, in which the country house defines the space and the temporality through which thematic and “material” elements are mediated, I reveal how the chronotope supplies an overarching coherence that unites thought and event in narrative. My readings of these novels describe a theory that is concerned with the rhetorical capacities of genre rather than with taxonomic constructions of form. To this end I argue that the metaphorical dimensions of narrative—voice, view, setting and event—be loosely drawn, according to the acknowledged mutability of genre. I also emphasise the constructive effect of metaphor whilst according it a rhetorical versatility consistent with the mutability and instability of genre as a semiotic tool, concluding that consensus is achieved in our readings of novels through the form’s reliance on these four key metaphors of embodiment. These metaphors have ordinary, everyday, widespread usage beyond narrative theory; in appreciating their rhetorical value, it must be noted nonetheless that any confusion that ensues is productive, for it results in the diversities of meaning and form celebrated in the literary work. (shrink)

The aim of the book is to encourage discussion among experts on De ira, a text of philosophical nature, by reading it page by page, from a philosophical, philological, and literary perspective (a multidisciplinary choice which is the conditio sine qua non of all judicious research on Seneca). Moreover, the way in which each of these close readings is conducted adds an additional value: they each deal with a section of the text, presenting all the data necessary for (...) its understanding. All together, they cover the whole work. Each of them is also an attempt at a global interpretation of the treatise, examined through the particular framing of the textual passage around which the “Lectures plurielles” are conceived. Around this “polyphonic” analysis of the text, we have built a structure that aims to offer the reader a complete reference work on all the issues of the De ira. Sources, manuscript tradition, images, political and philosophical concepts, posterity – in short, all the aspects that a traditional commentary of the text would not have allowed us to distinguish so clearly – find their place here. This book is therefore aimed at specialists as well as students or anyone interested in the thought of emotions in antiquity. (shrink)

Beauty has captured human interest since before Plato, but how, why, and to whom does beauty matter in today's world? Whose standard of beauty motivates African Americans to straighten their hair? What inspires beauty queens to measure up as flawless objects for the male gaze? Why does a French performance artist use cosmetic surgery to remake her face into a composite of the master painters' version of beauty? How does beauty culture perceive the disabled body? Is the constant effort to (...) remain young and thin, often at considerable economic and emotional expense, ethically justifiable? Provocative essays by an international group of scholars discuss beauty in aesthetics, the arts, the tools of fashion, the materials of decoration, and the big business of beautification—beauty matters—to reveal the ways gender, race, and sexual orientation have informed the concept of beauty and driven us to become more beautiful. Here, Kant rubs shoulders with Calvin Klein. Beauty Matters draws from visual art, dance, cultural history, and literary and feminist theory to explore the values and politics of beauty. Various philosophical perspectives on ethics and aesthetics emerge from this penetrating book to determine and reveal that beauty is never disinterested. Foreward by Eleanor Heartney; "Introduction" by Peg Brand [Weiser] included here. Authors include Marcia M. Eaton, Noel Carroll, Paul C. Taylor, Arthur C. Danto, Kathleen M. Higgins, Susan Bordo, Dawn Perlmutter, Eva Kit Wah Man, Anita Silvers, Hilary Robinson, Kaori Chino, Sally Banes, and Peg Brand's essay "Bound to Beauty: An Interview with Orlan." (available on PhilPapers). (shrink)

Contemporary philosopher David Benatar has advanced the self-evidently controversial claim that “coming into existence is always a harm.” Benatar’s argument turns on the basic asymmetry between pleasure and pain, an asymmetry he seeks to explain by the principle that those who never exist cannot be deprived. Benatar’s import is almost incredible: humans should cease to procreate immediately, thereby engendering the extinction of the species—a view known as “anti-natalism.” According to many of his readers, the ancient Hebrew sage Qoheleth expresses a (...) pessimistic nihilism that runs as thick as Benatar’s. Prima facie grounding for this assertion is that Qoheleth, like Benatar, raises the issue of whether coming into existence may be a harm—and gives an affirmative answer. In two passages, Ecclesiastes 6:1-6 and 4:1-3, Qoheleth declares that an unborn hypothetical person is “better off” than their existent counterpart. Yet the meaning and implication of these words is far from obvious. Does Qoheleth imply that the non-exister’s state, and non-existence in general, is universally superior to existence? Or is he instead speaking exceptionally, of particular persons in rare circumstances? By examining the two “better”-statements in their literary context, I will argue that Qoheleth intends these examples as exceptions. He does not go so far as to make the supremely nihilistic claim that coming into existence is always, or even generally, a net harm; yet, he does concede that in certain cases, it can be. Beyond this, I will explore how the two thinkers’ divergent conclusions can be traced to a deeper difference of philosophical method. This question concerning non-existence opens a window to Qoheleth’s broader scheme of values and therefore serves as a surprisingly useful entry point by which to engage his philosophy. The paper utilizes the methodology Jaco Gericke has recently termed “philosophical criticism,” but specifically applied to Qoheleth. (shrink)

What should we do, aesthetically speaking, and why? Any adequate theory of aesthetic normativity must distinguish reasons internal and external to aesthetic practices. This structural distinction is necessary in order to reconcile our interest in aesthetic correctness with our interest in aesthetic value. I consider three case studies—score compliance in musical performance, the look of a mowed lawn, and literary interpretation—to show that facts about the correct actions to perform and the correct attitudes to have are explained by (...) norms internal to a practice. Practice-internal norms, however, cannot settle the distinct question of which practices we have reason to opt into. When it comes to the source of aesthetic normativity—in virtue of what aesthetic value is genuinely reason-giving—I argue that existing accounts, which appeal to pleasure or achievement, are inadequate. The only practice-external aesthetic requirement is a generic one to opt into at least some aesthetic practices. (shrink)

The transcendental approach to understanding narrative argument derives from the idea that for any believable fictional narrative, we can ask—what principles or generalizations would have to be true of human nature in order for the narrative to be believable? I address two key issues: whether only realistic or realist fictional narratives are believable, and how could it be established that we have an intuitive, mostly veridical grasp of human nature that grounds believability?

Eugene Afonasin highlights the wealth of information on Pythagoras and his tradition preserved in Clement of Alexandria’s Stromateis and presents them against the background of Later Platonic philosophy. He  rst outlines what Clement knew about the Pythagoreans, and then what he made of the Pythagorean ideal and how he reinterpreted it for his own purposes. Clement clearly occupies an intermediate position between the Neopythagorean biographical tradition, rmly based on Nicomachus, and that more or less vague and difuse literary (...) situation which preceded the later developments, and in this respect is a very good source, worth studying for its own sake and as supplementary material which can help to understand the great Pythagorean synthesis attempted by Iamblichus. Developing their variants of the “exhortation to philosophy” (protreptikoi logoi), these men were much concerned with the educational value of the Pythagorean way of life rather than biographical circumstances, designed to place the ancient sage in the proper cultural context. (shrink)

Notwithstanding its value as the earliest extant New Persian treatment of the art of rhetoric, Rādūyānī’s Interpreter of Rhetoric (Tarjumān al-Balāgha) has yet to be read from the vantage point of comparative poetics. Composed in the Ferghana region of modern Central Asia between the end of the eleventh century and the beginning of the twelfth century, Rādūyānī’s vernacularization of classical Arabic norms inaugurated literary theory in the New Persian language. I argue here that Rādūyānī’s vernacularization is most consequential (...) with respect to its transformation of the classical Arabic tropes of metaphor (istiʿāra) and comparison (tashbīh) to suit the new exigencies of a New Persian literary culture. In reversing the relation between metaphor and comparison enshrined in Arabic aesthetics, Rādūyānī concretized the Persian contribution to the global study of literary form. -/- . (shrink)

RESUMO A Transferência de Embrião (TE) em bovinos se trata de uma técnica mundialmente disseminada com objetivo de aumentar a capacidade reprodutiva da fêmea. Mantém vínculo direto com outras técnicas das biotecnologias da reprodução, como, a Ovum Pick-Up (OPU), Produção In Vitro e In Vivo de embriões (PIVE) e Transferência de Embrião em Tempo Fixo (TETF), sendo estas, técnicas que fazem parte de um processo, que vai desde a seleção de doadoras, passando pelo preparo dos embriões até sua inovulação em (...) receptoras criteriosamente selecionadas. Com seu avanço, várias tecnologias de manejo vêm sendo implantadas: formas no transporte de embriões, protocolos de sincronização de doadoras e receptoras, e protocolos de recuperação de oócitos para produção de embriões. Isto infundiu a tecnologia, porém, os investimentos previstos para a produção de um animal de alto mérito genético limita sua utilização. Contudo, esta análise abordou avanços tecnológicos essenciais para o sucesso da TE, incluindo novos protocolos, sexagem de embriões, além do uso de embriões congelados Direct Transfer (DT) e vitrificados. No entanto, é claro que o sucesso do procedimento está no processo como um todo, em destaque ressalta-se que é de grande valia que o profissional apto a executar a técnica esteja sempre preparado e atualizado garantindo qualidade, eficiência e sustentabilidade na pecuária. Esta revisão foi desenvolvida com o propósito de adquirir conhecimento teórico, de forma detalhada e crítica, nas técnicas e procedimentos de Transferência de Embriões em bovinos, incluindo a colheita, manipulação e implantação de embriões. Palavras-chaves: Bovino, doadora, embrião, receptora. ABSTRACT Embryo Transfer (ET) in cattle is a globally widespread technique aimed at enhancing the reproductive capacity of females. It is closely linked to other techniques in reproductive biotechnologies, such as Ovum Pick-Up (OPU), In Vitro and In Vivo Embryo Production (PIVE), and Timed Embryo Transfer (TET), all of which are part of a process that ranges from donor selection, through embryo preparation, to their inoculation into carefully chosen recipients. With its advancement, various management technologies have been implemented: including methods for embryo transport, synchronization protocols for donors and recipients, and oocyte recovery protocols for embryo production. Although technology has been infused, the anticipated investments for producing animals of high genetic merit limit its widespread use. However, this analysis addressed essential technological advances for the success of ET, including new protocols, embryo sexing, as well as the use of frozen-thawed (DT) and vitrified embryos. Nevertheless, it is clear that the success of the procedure lies in the entire process. Notably, it emphasizes the significant value of having a qualified professional who is always prepared and updated to ensure quality, efficiency, and sustainability in livestock farming. This literary review was developed with the purpose of acquiring theoretical knowledge, in a detailed and critical way, on the techniques and procedures of Embryo Transfer in cattle, including the collection, manipulation and implantation of embryos. Keywords: Bovine, donor, embryo, recipient. -/- REFERÊNCIAS BIBLIOGRÁFICAS BARUSELLI, P.S; MADUREIRA, E.H. Controle farmacológico do ciclo estral em ruminantes. 2000, Anais.. São Paulo: Fundação da Faculdade de Medicina Veterinária e Zootecnia, USP, 2000. BARUSSELI, P.S. et al. Importância do emprego da eCG em protocolos de sincronização para IA, TE e SOV em tempo fixo. Biotecnologia de reprodução em bovinos (3° Simpósio Internacional de Reprodução Animal Aplicada). 2008. BRANDÃO, G.V.R. Revisão de Literatura: Transferência de Embrião em Bovinos. Curitibanos-SC, 2019. BUENO, A.P.; BELTRAN, M.P.; Produção in vitro de embriões bovinos. Revista Científica Eletrônica De Medicina Veterinária. ISSN 1679-7353, ano VI, n.11, Julho, 2008. CAETANO, S.G; SILVA, N.V.S. Inseminação artificial de bovnos em tempo fixo (IATF) – Revisão de literatura. UNIFUCAMP, Monte Carmelo- M.G, Junho, 2023. CARVALHO, V.H.S. et al. Impactos das biotécnicas da reprodução animal e o melhoramento genético na pecuária de corte. PUBVET, São Luis De Montes Belos, v.17, n.8, p.1-10, 2023 DANTAS, K.S.A.; NUNES, C. C. C.; FERREIRA, J.; DANTAS, R. A. A. Seleção de receptoras em um programa de transferência de embriões (PIVE) em bovinos no Nordeste do Brasil. Ciência Animal, Fortaleza, v. 28, p. 1-14, 2018. DA SILVA, Emanuel Isaque Cordeiro. Fisiologia Clínica do Ciclo Estral de Vacas Leiteiras: Desenvolvimento Folicular, Corpo Lúteo e Etapas do Estro. 2020. DA SILVA, Emanuel Isaque Cordeiro. Fisiologia da Reprodução de Bovinos Leiteiros: Aspectos Básicos e Clínicos. Emanuel Isaque Cordeiro da Silva, 2022. DA SILVA, Emanuel Isaque Cordeiro. Fisiologia do ciclo estral dos animais domésticos. Emanuel Isaque Cordeiro da Silva, 2021. DA SILVA, Emanuel Isaque Cordeiro. Transferência de Embriões nos Animais e a Indústria de Embriões no Brasil. DIAS, L.R.O. Fatores que afetam a produção de embriões pela Transferência Intrafolicular de Ovócitos Imaturos (TIFOI) em bovinos. 2021. 85 f. Tese (Doutorado em [nome do programa]) - Faculdade de Agronomia e Medicina Veterinária, Universidade de Brasília, Brasília, 2021. DOMINGUES, P.F.; LANGONI, H. Manejo Sanitário Animal. Editora de Publicações Biomédicas Ltda - EPUB, Rio de Janeiro, 2001. 209 p. EMBRAPA. MINERAIS NA EFICIÊNCIA REPRODUTIVA DE BOVINOS. SÃO CARLOS- SÃO PAULO 2008. FIDELIS, C.A.S. Inseminação artificial em tempo fixo intracornual profunda em bovinos. Dissertação (mestrado acadêmico). Araguaína - TO, 2019. GONÇALVES, R.L.R.; VIANA, J.H.M. Situação atual da produção de embriões bovinos no Brasil e no mundo. In: Anais do XXIII Congresso Brasileiro de Reprodução Animal, 2019, Gramado, RS, 2019, p. 156-159. GOUVEIA, F.F. A Produção in vitro de embriões Bovinos. Monografia (Conclusão do curso de Medicina Veterinária) – Faculdade de Agronomia e Medicina Veterinária, Universidade de Brasília, Brasília, DF, 2011. GREGIANINI, J.T.F. et al. Avaliação de embriões bovinos utilizando sêmen sexado e convencional. In: SEMINÁRIO DA EMBRAPA ACRE DE INICIAÇÃO CIENTÍFICA E PÓS-GRADUAÇÃO, 4., 2021, Rio Branco, AC. Atividades agropecuárias e florestais para o desenvolvimento sustentável da Amazônia: Anais... Rio Branco, AC: Embrapa Acre, 2022. Pôster. GUARDA, A.C.A. Biotecnologia na reprodução animal: Uma visão teórico/prática de produção in vitro de embriões bovino. 2023. 28p. Trabalho de Conclusão de curso (Bacharelado de Zootecnia). Instituto Federal de Educação, Ciência e Tecnologia Goiano – Câmpus Rio Verde, Rio Verde, GO, 2023. HAFEZ, E.S.E.; HAFEZ. Reprodução animal / [coordenador de tradução da 7. ed. original Renato Campanarut Barnabe]. – Barueri, SP : Manole, 2004, il.; HONORATO, M.T. et al. Importância da escolha de receptoras em um programa de transferência de embriões em bovinos. PUBVET, Londrina, V. 7, N. 19, Ed. 242, Art. 1601, Outubro, 2013. HOPPER, R.M. Bovine Reproduction. Wiley Blackwell, Capítulo 78, p. 723-733, 2015. LIMA, Fabio Junior Arruda. Transferência de embriãos em tempo fixo em bovinos: Relato de Caso. Trabalho de Conclusão de Curso (graduação em medicina veterinária)- Universidade Federal de Santa Catarina-Campus Curitibanos. Curitibanos, 2018. MACHADO, R. et al. Metodologia para obtenção de concepto bovino. Embrapa Pecuária Sudeste, ISSN 1981-2078, São Carlos-SP, 2009. Disponível em:. Acessado em 11 de outubro, 2023 BASTOS, M.R. et al. Criopreservação de embriões bovinos produzidos in vitro. In: MENDONÇA, P. P. et al. (Org.). Tópicos Especiais em Ciência Animal XI. 1. ed. Alegre: CAUFES, 2022. Capítulo 13. MELO, R. et al. Utilização de ECG e FSH em protocolos de superovulação em bovinos. Manejo, Nutrição e Produção Animal: Tópicos Atuais em Pesquisa, v. 1, n. 1, p. 110-116, 2023. OLIVEIRA, C.S. et al. Biotécnicas da Reprodução em Bovinos. EMBRAPA, 2014. PASA, C. Transferência de embriões em bovinos. Biodiversidade, v. 7, n. 1, 2008. PAZZIM, L.V.L. Transferencia de embriões em bovinos: Revisão de literatura. Monografia (Trabalho conclusão de curso) - Universidade federal de Santa Catarina. Curitibanos, 2021. PENITENTE FILHO, J.M. et al. Produção de embriões bovinos in vivo e in vitro. Revista CFMV, Ano XX, p. 73-82, 2014. PENITENTE FILHO, J.M. Produção de Embriões Bovinos In Vivo e In Vitro. 2011. 22 f. Monografia (Especialização) - Curso de Medicina Veterinária, UFV, Viçosa, 2011. PILLA, L.F.C. Congelamento ultra-rapido de embriões bovinos com etilenoglicol associado ou não a trealose. 2005. 37f. Dissertação (Mestrado em Area de concentração em Fisiopatologia da Reprodução), Universidade Federal de Santa Maria, Santa Maria. RIBEIRO, L.V.P.; RIGOLON, L.P.; CAVALIERI, F.L.B.; SEKO, M.B.; MARTINEZ, A.C.; RIBEIRO, M.G.; MARTINS, R.R.; ÁVILA, M.R.; DE CONTI, J.B. Recuperação de oócitos e recuperação in vitro de embriões de vacas estimuladas com FSH ou eCG. Archivos de zootecnia. v. 60, n. 232, p. 1021-1029, 2011. ROCHA, J.R.; SANTOS, L.M. As vantagens da sexagen de embriões em bovinos. Revista científica eletrônica de medicina veterinária, ano IV, n.8, janeiro de 2007. RUBIN, M.I.B; Histórico dos 20 anos da Sociedade Brasileira de Tecnologia de Embriões, 2005. SANTOS, P.H. Impactos da superestimulação ovariana sore a diferenciação das celulas da grranulosa bovina. Dissertação de Mestrado em Farmacologia e Biotecnologia - UNESP. 2017. SEIDEL, G.E.J.; SEIDEL, S. M. Training manual for embryo transfer in cattle 2005. SENEDA, M.M.; ESPER, C.R.; GARCIA, J.M.; ANDRADE, E.R. Aspecto técnicos e biológicos da obtenção de oócitos bovinos: Revisão de Literatura. Ciências agrárias, Londrina, v. 23, n. 1, p. 101-110, 2002. SILVA, D.P.; TOLEDO, H.R.P.; SILVA, R.A.B.; CARVALHO, G.F.; MELO, A.F.; GARCIA, M.S.; et al. Transferência Intrafolicular de Ovócitos Imaturos (TIFOI): revisão de literatura. Zootecnia: Pesquisa e práticas contemporâneas - volume 2, 255-266, 2021. SPELL, A.R.; BEAL, W.E.; CORAH, L.R.; LAMB, G.C. Evaluating recipient and embryo factors that affect pregnancy rates of embryo transfer in beef cattle. Theriogenology, v. 56, p. 287-297, 2001. SPRÍCIGO, J.F.W.; DODE, M.A.N. Transferência Intrafolicular de Ovócitos Imaturos (TIFOI): uma Alternativa para Produção de Embriões Bovinos. Embrapa Recursos Genéticos e Biotecnologia, Brasília, 2016. VALLE, E.R. O ciclo estral de bovinos e os métodos de controle. EMBRAPA, 1991. VIANA, J.H.M. Classificação de embriões bovinos produzidos in vivo. Comunicado Técnico (EMBRAPA). ISSN 1678-3131, Juiz De Fora-MG, Novembro, 2009. VIANA, J.H.M. 2017 Statistics of embryo production and transfer in domestic farm animals: Is it a turning point? In 2017 more in vitro-produced than in vivo-derived embryos were transferred worldwide. Embryo Transfer Newsl, v.36(4), p.8-25, 2018. VIANA, J.H.M.; SIQUEIRA, L.G.; PALHAO, M.P.; CAMARGO, L.S.A.; Features and perspectives of the Brazilian in vitro embryo industry. Anim Reprod, v.9, p.12-18, 2012. WÜNSCHE JÚNIOR, A.G et al. Avaliação de uma segunda lavagem uterina sobre a recuperacão de embriões em vacas Nelore. Semina: Ciências Agrárias, Londrina, v. 29, n.3, p. 677-684, jul./set. 2008. (shrink)

As the English word “scientism” is currently used, it is a trivial verbal truth that scientism—an inappropriately deferential attitude to science—should be avoided. But it is a substantial question when, and why, deference to the sciences is inappropriate or exaggerated. This paper tries to answer that question by articulating “six signs of scientism”: the honorific use of “science” and its cognates; using scientific trappings purely decoratively; preoccupation with demarcation; preoccupation with “scientific method”; looking to the sciences for answers beyond their (...) scope; denying the legitimacy or worth of non-scientific (e.g., legal or literary) inquiry, or of writing poetry or making art. (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)

There is a famous and important dictum reminiscent of the medieval age posited by Carl Jung in Alchemical Studies, the thirteenth volume of his collected works: in sterquiliniis invenitur—in filth it shall be found (35). Translated for modern society this might be better understood as “that which is most valuable will be found in the place you least want to look.” If there is one source in the corpus of popular culture that best typifies “the last place we would want (...) to look” for masculine values, it would be Mads Mikkelsen’s portrayal of Hannibal Lector, particularly Lector’s relationship with FBI profiler Will Graham during the first two seasons of the HBO series Hannibal. By stripping away the perverse horror of Lector’s actions toward Graham, and treating their relationship as an absolute value, I systematically explore the series’ portrayal of masculine nurturing in a way that reveals potentially praiseworthy facets relevant to modern masculinity. (shrink)

This paper develops an aesthetics of crossword puzzles. I present a taxonomy of crosswords in the Anglophone world and argue that there are three distinct sources of aesthetic value in crosswords. First, and in common with other puzzles, crosswords merit aesthetic experiences of our own agency: paradigmatically, the aesthetic experience of struggling for and hitting upon the right solution. In addition to instantiating the aesthetic value of puzzles in general, crosswords in particular can have two other sources of (...) aesthetic value: the visual appeal of grid art and the poetic delight of idiomatic language. Crossword aesthetics takes place at the intersection of the recently popular aesthetics of puzzles and games and the more familiar aesthetics of the visual and literary arts. (shrink)

This interdisciplinary approach to the semiotics of emotion offers insights on emotion as a semantic category organising an array of feelings, thoughts and sensations into meaningful (communicable) terms. This is achieved via an exploration of the role of perspective-taking in making meanings that are felt rather than expressly articulated through words. Forming a semiotic system based on embodied experiences and their contexts, emotions, as semantic categories, are the first stage in processes of expression and communication. I lay the groundwork for (...) an interdisciplinary semiotics of emotion in accordance with findings and stances taken in the fields of literary and cultural studies, neuroscience, and cognitive and comparative psychology. Narrative empathy (sometimes called narrative emotion), like emotion per se, stands upon processes of communication involving the interpretive capacities of feeling, cognitive processes of identification, and perspective-taking. Feeling, beginning as an interpretation of sensorial and neurologically driven values, intensifies through the cognitive-affectual interpretative processes of perspective-taking. With recursive (multi-perspectival) feeling resulting in intensifications of feeling we recognise as emotion, I define emotion as a complex recursive pattern of feeling and affect that calls attention to itself in terms that are readily identifiable with semantic categories such as love, hate, shame, sadness, and anger. (shrink)

From the school yard to the workplace, there’s no charge more damning than “you’re being unfair!” Born out of democracy and raised in open markets, fairness has become our de facto modern creed. The very symbol of American ethics—Lady Justice—wears a blindfold as she weighs the law on her impartial scale. In our zealous pursuit of fairness, we have banished our urges to like one person more than another, one thing over another, hiding them away as dirty secrets of our (...) humanity. In Against Fairness, polymath philosopher Stephen T. Asma drags them triumphantly back into the light. Through playful, witty, but always serious arguments and examples, he vindicates our unspoken and undeniable instinct to favor, making the case that we would all be better off if we showed our unfair tendencies a little more kindness—indeed, if we favored favoritism. Conscious of the egalitarian feathers his argument is sure to ruffle, Asma makes his point by synthesizing a startling array of scientific findings, historical philosophies, cultural practices, analytic arguments, and a variety of personal and literary narratives to give a remarkably nuanced and thorough understanding of how fairness and favoritism fit within our moral architecture. Examining everything from the survival-enhancing biochemistry that makes our mothers love us to the motivating properties of our “affective community,” he not only shows how we favor but the reasons we should. Drawing on thinkers from Confucius to Tocqueville to Nietzsche, he reveals how we have confused fairness with more noble traits, like compassion and open-mindedness. He dismantles a number of seemingly egalitarian pursuits, from classwide Valentine’s Day cards to civil rights, to reveal the envy that lies at their hearts, going on to prove that we can still be kind to strangers, have no prejudice, and fight for equal opportunity at the same time we reserve the best of what we can offer for those dearest to us. Fed up with the blue-ribbons-for-all absurdity of "fairness" today, and wary of the psychological paralysis it creates, Asma resets our moral compass with favoritism as its lodestar, providing a strikingly new and remarkably positive way to think through all our actions, big and small. (shrink)

The common view is that no novel IS an argument, though it might be reconstructed as one. This is curious, for we almost always feel the need to reconstruct arguments even when they are uncontroversially given as arguments, as in a philosophical text. We make the points as explicit, orderly, and (often) brief as possible, which is what we do in reconstructing a novel’s argument. The reverse is also true. Given a text that is uncontroversially an explicit, orderly, and brief (...) argument, in order to enhance plausibility, our first instinct is to flesh it out with illustrations and relationships to everyday life. If this process is fictive (e.g., with “thought experiments”) and orderly, it is story-telling. This paper investigates whether there is a principled way of determining a novel’s argument, which should contribute as much to understanding arguments as to understanding novels. (shrink)

We tend to identify “real” knowledge of nature with science, and for good reasons. The sciences have developed unique ways of disclosing and modifying the intricate workings of nature, building on quantitative, experimental and technologically advanced styles of thinking. Scientific research has produced robust and reliable forms of knowledge, using methodologies that are often remarkably transparent and verifiable. At the same time, laboratories and other research settings are highly artificial environments, constituting drastically modified versions of reality, allowing nature to emerge (...) in a particular way. This book starts from the conviction that there are other ways of knowing about nature besides science. Notably, literary documents (novels, plays, poems) on nature and natural entities (landscapes, animals, plant forms) often convey careful analyses and observations, quite elaborate and true to life. Comparative epistemology is the discipline that tries to assess, in a critical manner, the relative validity and value of various knowledge forms. This volume presents a series of case studies in comparative epistemology, critically comparing the works of prominent representative of the life sciences (such as Aristotle, Darwin, Mendel and many others) with the writings of their literary counterparts (such as Andersen, Melville, Verne, Ibsen, and many others). The book aims to contribute to the expanding field of Science and Literature Studies, allowing basic insights from the sciences and the humanities to mutually challenge and enlighten one another. (shrink)

We tend to identify “real” knowledge of nature with science, and for good reasons. The sciences have developed unique ways of disclosing and modifying the intricate workings of nature, building on quantitative, experimental and technologically advanced styles of thinking. Scientific research has produced robust and reliable forms of knowledge, using methodologies that are often remarkably transparent and verifiable. At the same time, laboratories and other research settings are highly artificial environments, constituting drastically modified versions of reality, allowing nature to emerge (...) in a particular way. This book starts from the conviction that there are other ways of knowing about nature besides science. Notably, literary documents (novels, plays, poems) on nature and natural entities (landscapes, animals, plant forms) often convey careful analyses and observations, quite elaborate and true to life. Comparative epistemology is the discipline that tries to assess, in a critical manner, the relative validity and value of various knowledge forms. This volume presents a series of case studies in comparative epistemology, critically comparing the works of prominent representative of the life sciences (such as Aristotle, Darwin, Mendel and many others) with the writings of their literary counterparts (such as Andersen, Melville, Verne, Ibsen, and many others). The book aims to contribute to the expanding field of Science and Literature Studies, allowing basic insights from the sciences and the humanities to mutually challenge and enlighten one another. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.2 (2001) 215-232 [Access article in PDF] Eighteenth-Century Print Culture and the "Truth" of Fictional Narrative Lisa Zunshine As a session entitled "Truth" at a recent Modern Language Association of America annual convention has demonstrated, the obsession with the epistemologies of truth is alive and well. Our "familiar ways of thinking and talking about truth," as one of the speakers, Barbara Herrnstein Smith, observed, remain "theoretically (...) elusive, discursively slippery, and hard or perhaps impossible to articulate clearly in relation to other current concepts and ideas" 1 --an irresistible invitation to further thinking and talking on the subject. My essay enters this conversation by attempting to contemplate truth not as a stable attribute but as a ongoing attribution, that is, not as an inherent property but rather as a dynamic process predicated upon functional idiosyncrasies of our evolved cognitive architecture. The broad question posed here is this: What if our never-ending quest for truth is itself cognitively constructed and the various forms that this quest takes manifest the (not necessarily harmonious) interaction between our evolved cognitive capacities and the ever-changing specifics of our cultural environment?Consider just one of the forms of such an interaction, namely, our age-long preoccupation with the "truth" of literary narrative. In many respects, this preoccupation is counterproductive: the most "fantastic" story contains a number of contingently useful "truths" about the world, whereas the most "factual" narrative manipulates facts by virtue of being a narrative or a subjective arrangementof information. Still, we persevere in wanting to put the label "fiction" or "nonfiction" onto any story that comes our way. As I will argue, the bookstore's organization of its sections satisfies this species of "cognitive" craving as well as [End Page 215] reinforces it, making it seem culturally inevitable. Viewed from this perspective, our culture appears to be a multifaceted feedback mechanism engaged in the process of satisfying, reinforcing, struggling with, and manipulating our cognitive predispositions.The cultural manipulation of our cognitive predispositions is the topic of the present essay, which discusses several examples of such manipulation that respond to our desire to assign a certain "truth-value" to a given narrative, i.e., to attach a label to it announcing its "factuality" or "fictionality." "Truth-value" is a loaded term, resisting definition, and liable to lead me into trouble. Imperfect as it is, however, I need it in order to shuffle between two scholarly discourses that do not (yet) have much vocabulary in common: literary criticism and cognitive science. The reason for turning to cognitive science in my discussion of literary narrative is that cognitive anthropologists and psychologists frequently engage the same problems that we do when we ask, What is "Fiction"? How is it different from "History"? How do we decide whether what we are reading is "true?" The key difference between the two approaches is, however, that whereas the literary critic focuses on specific texts produced and read in specific cultural circumstances, the cognitive anthropologist pays attention to the cross-cultural insistence with which people wish to and often claim to distinguish "truth" from "fiction" and inquires into the possible evolutionary history of the cognitive architecture implicated in our never-ending quest for "truth." The latter perspective can thus be useful for literary studies because, by suggesting that our evolved cognitive architecture often "encourages" us to construe the world as a negotiation of "truths" and "nontruths," this perspective begins to account--at least on some level--for the fact that people may approach a complex cultural artifact, such as a novel, with a "truth"/"non-truth" binary in mind that is ultimately not very productive. 2 Evolutionary psychologists and anthropologists frequently point to disjunctions between the tasks that our brain evolved to solve and the tasks that we have to deal with in the modern environment; our vexed insistence on determining the truth-value of the 500-page printed narrative--not an object one would come across in the Pleistocene--can be seen as yet another instance of such a disjunction.Thus, I suggest that, on the... (shrink)

Stories express hypotheses, interpretations of the world that have a certain degree of probability. To demonstrate this thesis I have adopted the notion of hypothesis, in a sense very close to the Meinongian concept of assumption, and a ‘metric’ conception of the values of the truth or falsity of a proposition – as that has been proposed in several ways by Peirce, Vasil’ev and Meinong. To show the the cognitive value of literary texts, and therefore their truth (...) class='Hi'>value, I take my move from chapter 9 of Aristotle’s Poetics, where he holds that poetry is imitative of reality, not in the sense of history – which relates what has happened – but rather, in so far as it expresses “the kinds of things that might happen, that is, that could happen because they are either probable or necessary.” The probable admits variations of degree. By means of an examination of the Meinongian concepts of assumption and objective (i.e. state of affairs), which also allow different modes of gradation, I introduce, with examples drawn from Dante’s Divine Comedy and The Description (Tradimento) by Machiavelli, a theory of degrees of truth that makes it possible to apply the concept of probability to literary as well as to historical texts. Finally, I connect the universal character of the literary text with the ontological notion of incomplete object and argue that a fictional object, as it is incomplete, is not an individual but a type. (shrink)

Interest in "embodiment", and over how one may best express the implications of embodiment, is no parochial question, of interest only to a small number of effete philosophers. It confronts perceptual psychologists, developmental psychologists, and psychotherapists, of course. It may not be surprising, either, that it has become an important issue to some students of history and sociology, and to linguists, literary theorists and aestheticians. But that's not all. As physicists -- working within the very bastion of "objective" analysis (...) -- have tried to find expression for what seems to be going on in the domain of sub-atomic nature, they have begun to suggest that physical description itself is inevitably situated. And within the study of artificial intelligence, support is growing for the contention that intelligence cannot be understood entirely formalistically. Intelligence must at least be embodied -- it must somehow display "engaged agency" -- if it is to be recognizable as intelligence. It is within this context that the contribution offered by this essay must be understood. I shall contend that a particular conception -- that of "affordances" -- can, when suitably qualified, offer a conceptual tool of quite exceptional value in the construction of a positive theory of embodied agency, and of its philosophical consequences. (shrink)

Among the works of the ancient Greek satirist Lucian of Samosata, well-known for his scathing and obscene irony, there is the novel True History. In this work Lucian, being in an intense satirical mood, intended to undermine the values of the classical world. Through a continuous parade of wonderful events, beings and situations as a substitute for the realistic approach to reality, he parodies the scientific knowledge, creating a literary model for the subsequent writers. Without doubt, nowadays, Lucian’s large (...) influence on the history of literature has been highlighted. What is missing is pointing out the specific characteristics that would lead to the placement of True History at the starting point of Science Fiction. We are going to highlight two of these features: first, the operation of “cognitive estrangement”, which aims at providing the reader with the perception of the difference between the convention and the truth, and second, the use of strange innovations (“novum”) that verify the value of Lucian’s work by connecting it to historicity. (shrink)

1 Introduction1 In the 1980s, hermeneutics was often incorporated into deconstructionism and literary theory. Rather than focus on authorial intentions, the nature of writing itself including codes used to construct meaning, socio-economic contexts and inequalities of power,2 Gadamer introduced a different perspective; the interplay between effects of history on a reader’s understanding and the tradition(s) handed down in writing. This interplay in which a reader’s prejudices are called into question and modified by the text in a fusion of understanding (...) and topic revitalized the study of the printed word. Gadamer’s turn to language for understanding the meaning of Being also appealed to the post-modern antipathy toward modernity and metaphysics.3 If the truth and validity of interpretations are limited to communities of language, then our mode of being in history cannot but be historical. This point of view rendered Gadamer’s phenomenological hermeneutics vulnerable to the critique of moral and epistemological relativism. However, Gadamer’s theory of interpretation also stems from re-examination of the beginning of knowledge in the Pre-Socratics and Plato, and on this basis, is receptive to another dimension of inquiry than that which was trending in North America. -/- At the East-West Center, University of Hawai’i at Manoa in 1982, Chung-ying Cheng for the first time introduced onto-hermeneutics to an audience of esteemed philosophers including Li Zehou, Ren Jiyu, Feng Youlan, and Zhang Liwen.4 In contrast to schools of deconstruction and literary theory that had disengaged the interpreter from trans-historical sources of meaning and truth, Cheng explained that interpreters exist within a cosmological order inextricable from responsibility to harmonize Heaven and Earth in creative acts of interpretation. By integrating Chinese cosmology into hermeneutics through ontology, he tacitly challenged philosophers in the West to re-examine assumptions about humanity’s place in nature and by implication, Gadamer’s recovery of the beginnings of knowledge in Western philosophy. -/- Cheng’s Neo-Confucianism is inspired by the method and goals of Thomé H. Fang. The following words by Fang seem to prefigure, although in an indistinct and bundled way, aspects of Cheng’s philosophy including a Mencian theory of human nature, comprehensive observation, and creativity: “In the very process of living in concord with creative Nature, Man is charged with an ideal to be fully realized in the light of the principle of comprehensive harmony.”5 Like Fang, Cheng reinvigorates Chinese culture and language, but not solely in order to vindicate the insights of Neo-Confucianism. He has studied Western thought, from pragmatism and the analytic school to German idealism and phenomenology, to unlock and clarify philosophical concepts within the Yijing tradition and thereby render them intelligible to Anglophones. The result has been an awakening of Western scholars to the moral and cultural consequences of decoupling their thought from metaphysical foundations that are neither dogmatic nor doctrinal. -/- Not unlike the dialectic of Gadamer’s dialogue form, onto-generative hermeneutics integrates contrary positions on the same topic in order to blend both sides into a world philosophy, or as Cheng says, a “totalizing or integrative theory,”6 not to be confused with a theoretical rewording of a theory. On the contrary, the universal scope and relevance of hermeneutics stems from personal experience. Just as Gadamer, in response to faction and strife, immersed himself in Plato during the war years, and developed a method with which to harmonize opposites, so too, according to On-cho Ng, was Cheng moved by faction, strife and political persecution to develop a path toward unity.7 Gadamer taught at McMaster University in Hamilton, Ontario, and Cheng at the University of Hawai’i at Manoa among other institutions in North America. They facilitated trans-continental educational and cultural ties. Similar experiences yield similar insights irrespective of differences of time and place. Hence, authors in this issue who reside in Europe, China and North America, delineate the differences between Gadamer and Cheng, yet also, in light of Cheng’s onto-generative method and cosmology, develop integrative theories. Due to the page-budget restriction of the publisher, certain articles of this special theme will be subsequently published in the next issue. -/- 2 Integrative Theory This special issue of The Journal of Chinese Philosophy confirms a dimension of hermeneutics that Cheng has both motivated and inspired. The contributors do not abide by the conviction that since thought is mediated by language, interpretations cannot transcend culture. On the contrary, their research exemplifies the fruits of trans-historical onto-dialogical hermeneutics within limits defined by their field inquiry, organized into Parts I and II, around three themes: language, the philosophy of history and ethics. -/- Andrew Fuyarchuk introduces the theme of ontology in relation to Gadamer’s turn to language. Fuyarchuk argues that Chung-ying Cheng’s criticism of Gadamer’s hermeneutics is informed by Heidegger’s concept of Dasein and thereby overlooks how Gadamer’s Platonic-Pythagorean problem of the division between the One and Many is harmonized in the event of language, which in turn positions Gadamer in proximity to the presupposed grounds of receptivity in Cheng’s onto-generative hermeneutics. Lauren Pfister’s contributing article addresses the year 2000 meeting between Cheng and Gadamer in Heidelberg and expands the transhistorical grounds of meaning in Gadamer to matters of theology. Pfister’s summary of the written Chinese record of their conversation indicates that Cheng does not address the role of Christian philosophy and hence, the role of the inner word in Gadamer’s hermeneutics. This is important not only for detecting changes in Cheng’s philosophical development, but also for modifying his hermeneutics along the lines of a living conversation, possibilities explored by Pfister in a sequel to the article submitted to this issue. Nevertheless, by raising the issue of how Gadamer’s turn to language for understanding the meaning of Being extends possibilities in Cheng’s thought, Pfister anticipates the article by Katarina Gajdosova. She returns to the roots of Chinese thought during the Warring States period and broadens the meaning of names in recently excavated texts. Contrary to the conventions about how to understand terms, she appeals to both Heidegger’s ontology and Cheng’s notion of receptivity and creativity to reinterpret naming in relation to cosmology. Along the same lines, insofar as the event of Being is lingual, Jay Goulding captures its emergent structure in an evolving community of scholars and scholarship. He recalls his philosophical journey toward Cheng’s philosophy that begins in conversations with Gadamer at McMaster University in Hamilton, leads to Heidegger and Asian thought, expands into turning points with teachers and colleagues from various backgrounds that by increments contributed to Goulding’s formulation of “Daoist phenomenology.” -/- Although differing traditions guide their inquiries and research, Cheng and Gadamer recall the wisdom of the past to ameliorate the fragmentation in contemporary life. This leads them to re-examine the origins of philosophy; historical roots and thus sources of creative re-interpretations East and West whose affinities are developed in contributions by Hyun Höchsmann and Friederike Assandri. Höchsmann assesses convergences and divergences in the origins of Chinese and Western philosophy (Confucius and Socrates, the Yijing and Pre-Socratics) that culminates in pairing Gadamer’s understanding of paideia in the context of Plato’s political cosmology in the Timaeus with moral and social cultivation in The Western Inscription. She delineates the limits of this comparison which in turn justifies introducing Vattimo’s notion of locality. Assandri’s comparative analysis moves between India and China, Buddhism and Tang Daoism. Based on Gadamer’s argument that writing detaches concepts from their cultural moorings, she defines and applies three levels of understanding in onto-generative hermeneutics to Buddhist terms that were assimilated into the Benji Jing and in so doing clarifies essential dimensions of Daoism. -/- Contributions by Stephen Palmquist and Nicholas Brasovan position Cheng in relation to Kant and Gadamer by way of Aristotle’s ethics respectively. On the one hand, Palmquist plots Cheng’s evolving criticism of Kant’s moral philosophy and draws on crucial dimensions of Gadamer’s hermeneutics to reposition that criticism in a constructive relation to Kant’s emphasis on the philosophical conditions of morality while also indicating how religious dimensions of his thought answer Cheng’s concerns for lived moral action. For Palmquist, Gadamer enables a constructive criticism of Cheng. On the other hand, Brasovan compares Cheng’s Yijing-based account of moral deliberation with Gadamer’s Aristotelian-based ethics and reasons that in contrast to Cheng, Gadamer’s hermeneutical consciousness is disengaged from practical knowledge. For Brasovan, Cheng is a constructive critic of Gadamer. Palmquist and Brasovan’s divergent angles on Gadamer and Cheng map onto a dialectic of contrast and complementarity that constitutes the inner logic of Cheng’s philosophy. In other words, Gadamer and Cheng ought to be read alongside one another for the sake of removing discrepancies and contradictions, which constitutes the organic structure of their thinking. -/- 3 Our Mode of Being in History Is Not Historical The conversations between Cheng and Gadamer in this issue of The Journal of Chinese Philosophy pivot on language, philosophy of history and ethics within a comparative framework of analysis, but also explore the grounds that make the comparisons possible. Those grounds are informed by Chinese cosmology, and function to wrest Gadamer from the shadow of Heideggerian facticity and reposition him within the range of Cheng’s ideas about our place in nature that is embedded in his question about how mind emerges from inorganic matter.8 -/- For Gadamer scholars of Heidegger, human finitude, our ownmost individuating death ensures that hermeneutics is always open to the other as other, always on the way toward understanding the meaning of Being. To arrest the process in a concept of “the Absolute” cannot but represent someone’s point of view, and thereby render hermeneutics indistinguishable from ideology. However, insofar as finitude is defined by them in terms of an onto-theological concept of immorality, finitude is a metaphysical concept consistent with epistemologies and confuse beings with the meaning of Being. As a result, the celebrated political value of hermeneutics to always be on the way toward an understanding of the meaning of Being admits subtle variations on the same worldview that are insufficiently self-critical. -/- Gadamer scholars of Heidegger are right. A transformation in ethos and opening to the meaning of Being depends on awareness of finitude. Yet this awareness does not yield openness to more of the same, i.e., discourse structurally incapable of coming to unity but instead, for both Gadamer and Cheng, openness to a distinctly different ontological dimension of reality. As Sandra Wawrytko and So-Seong Park indicate,9 this ontological dimension is prefigured in the experience of being-as-a-whole or the totality of all possible relations in both Chinese totemic shamanistic rituals,10 and Greek Dionysian festivals.11 Through these religious experiences human ethos and therefore consciousness is expanded and elevated from being centered on one’s ownmost concerns toward an affinity with all sentient beings from insects and plants to animals. The channel for this affinity is an auditory disposition and hence, the emotions, compassion, and feeling response. -/- The capacity for an auditory disposition, or as Gadamer calls it, listening consciousness to respond to the inter-relationality and therefore inherent balance of nature is developed through music, song and dance of the religious rituals and festivals. They facilitate the unity of mind with nature. This use of music, that transforms ordinary consciousness, explains Cheng’s emphasis on the receptivity of feeling response in comprehensive observation, and Gadamer’s emphasis on openness to the other in attunement. However, an auditory disposition characteristic of pre-literate oral cultures that reveals the “All” need not rely on religion. As theorists about the evolution of language have explained,12 modern languages preserve their pre-historical past in music or prosody. That is to say, the song and dance that revealed the totality of inter-related beings to an ethos of comprehensive observation and attunement toward beings in classical civilizations is retained in the back-and-forth movement or rhythm of the dialogue form. Our mode of being in history is a mode of being in nature – through the music of language. -/- While alerting the reader to the limits of a nominalist interpretation, Gadamer expresses the inner law of the nature as follows: “in perishing there is always becoming, and in becoming there is always perishing.”13 Considered in process, opposites generate and blend into each other. This law of nature applies to everything.14 Hence, in a manner comparable to Pfister’s concluding insights, onto-dialogical hermeneutics is not only open to discrete events of otherness but moreover, to the moving structure of reality expressed, as Gajdosova suggests, in the existential moment of naming. Considered as interplay of tension and resolution with a life of its own, the dialectic of a dialogue is self-similar to the way in which an organism grows (by instinct). There is, therefore, a sense in which the art of interpretation extends the human mind into the eternal cycles of nature such that we participate in the articulation of the inner telos/homeostasis toward which all beings strive and importantly for Gadamer scholars of Heidegger, within the material limits of energy to which our embodied minds are self-evidently subject. In mortality there is always immortality. (shrink)

This paper’s main thesis is that in virtue of being believable, a believable novel makes an indirect transcendental argument telling us something about the real world of human psychology, action, and society. Three related objections are addressed. First, the Stroud-type objection would be that from believability, the only conclusion that could be licensed concerns how we must think or conceive of the real world. Second, Currie holds that such notions are probably false: the empirical evidence “is all against this idea…that (...) readers’ emotional responses track the real causal relations between things.” Third, responding with a full range of emotions to a novel surely requires that it be believable. Yet since we know the novel is fiction, we do not believe it. So in what does its believability consist? (shrink)