Reading Todorov’s The Fantastic: A Structural Approach to a Literary Genre - Irfan Ajvazi.

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)

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)

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)

Abstract: This research delves into the utilization of Artificial Neural Networks (ANNs) as a powerful tool for predicting the overall ratings of books by leveraging a diverse set of attributes. To achieve this, we employ a comprehensive dataset sourced from Goodreads, enabling us to thoroughly examine the intricate connections between the different attributes of books and the ratings they receive from readers. In our investigation, we meticulously scrutinize how attributes such as genre, author, page count, publication year, and reader (...) reviews influence a book's overall rating. Through rigorous analysis and experimentation, we construct an advanced ANN model tailored for predictive analysis in the realm of book ratings. The outcomes of our study reveal the remarkable potential of ANNs in this domain. The ANN model exhibits an impressive level of accuracy when it comes to forecasting book ratings, underlining the efficacy and promise of artificial neural networks in enhancing our understanding and prediction of book evaluations. This research opens up new avenues for leveraging machine learning techniques to gain deeper insights into the dynamics of book ratings and reader preferences. (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)

A discussion, in Spanish, on blogs as a discursive and literary genre. The first section of this paper explores an analogy between the generic characteristics of essay-writing and those of blogging, as modes of tentative, processual textual practice. Blogs open up a new age for essay-writing, in a medium well suited to develop some characteristics of the genre. The second section of the paper puts forward some parameters to gauge a number of dimensions of originality and relevance (...) in blog posts, some of them specific and some non-specific to the medium. (shrink)

The article relates to “empirical ecocriticism” and has attracted the attention of many academics, political circles, and social groups for the global living environment. Schneider and Mayerson explore the topic of “climate fiction,” a literary genre focusing on climate related themes that has grown in popularity over the last decade. It is generally believed that this genre can create positive ecological-political impacts by providing climate information to the readers and helping them recognize the urgency of climate change.

This is an attempt to investigate the causal relationship existing between the psychedelic literary genre in fiction and the application of trauma theory in the study of One Flew over the Cuckoo's Nest. Trauma theory, which is a psychological theory in essence; has been widely linked to the study of literature since traumatic responses take narrative forms. Scientifically, many studies have proven that the psychedelic trip leads to a deepened exploration of the unconscious tracing latent emotional traumas. Henceforth, (...) I am going to explore this novel as a psychedelic example of science fiction through a generic analysis due to the numerous parallels I have noticed with the effects of drug administration on real life patients. I will base my claim on a medical theory known as Psychedelic Information Theory which investigates psychedelic hallucinations, expanded consciousness and their impact on the metaphysical aspects of self-exploration. Consequently, I shall presuppose that psychedelics act metaphorically on the text of One Flew over the Cuckoo's Nest inducing character-based hallucinatory narratives. Hallucinations are caused by an eruption of a psychedelic consciousness that is the antithesis of the normal state of a mind. Hallucinations range from happy enjoyable experiences laden with kaleidoscopic colourful streams of visions to painful manifestations of latent trauma. I endeavour to analyze this novel as a traumatic example of psychedelic fiction through establishing a cause-result relationship between information theory and trauma theory as a fluid encounter between literature and science within science fiction framework. Finally, I attempt to link the cultural integration of psychedelics to the shift of the traumatic experience from cultural to structural. This paper explores primarily the manifestations of Chief Bromden’s historic trauma. It traces secondarily the psychedelic characteristics of the novel. Lastly, it studies the effects of Bromden’s psychedelic journey on his traumatic recovery. (shrink)

This dissertation in classics might be of interest for gender studies as well since it is a sustained demonstration how one social and literary sterotype (the elegiac lover -- der elegisch Liebende) is systematically transformed into another (the artist of love -- der Liebeskünstler) as part of generic transformation (turning Latin love elegy into didactic poetry). The counterpart of these stereotypes is the "harsh lady" (dura domina), who is domesticated in the third book of the Ars amatoria. The copyright (...) for the book belongs to the author, who has uploaded it to the site. Please feel free to use it for non-profit purposes. (shrink)

I offer a novel reading in this dissertation of René Descartes’s (1596–1650) skepticism in his work Meditations on First Philosophy (1641–1642). I specifically aim to answer the following problem: How is Descartes’s skepticism to be read in accordance with the rest of his philosophy? This problem can be divided into two more general questions in Descartes scholarship: How is skepticism utilized in the Meditations, and what are its intentions and relation to the preceding philosophical tradition? -/- I approach the topic (...) from both a historical and a text-based analysis, combining textual and contextual research. I examine Descartes’s skepticism against two main traditions in the historical analysis: philosophical skepticism and Aristotelian Scholasticism. I argue that skepticism in the Meditations is intended to oppose and upheave both Scholasticism and skepticism. The intended results of the work are not merely epistemological but also metaphysical and even ethical. Furthermore, these ambitions cannot be neatly distinguished but merge into each other. -/- The third historical context against which the skeptical meditations are examined is the literary genre of meditative exercises, particularly from the 1500–1600’s, which, while religiously and spiritually oriented, likewise provided the practitioner with an enlightened understanding of self-knowledge and their cognitive place in the world on the way to closer spiritual proximity to God. I argue by this reading that the skepticism of the Meditations is an attentive, meditational cognitive exercise that is not merely instrumental and methodological but is to have a genuine and serious (psychologically real) effect on our thinking. The skeptical meditation is not simply a theoretical thought experiment but is to be seriously practiced as a transformative process of reorienting one’s cognitive framework to discover truth, certainty, and a way to a happy, tranquil, and virtuous life. -/- I offer a close reading in the textual analysis of the first three meditations of the Meditations. I argue that the meditative skepticism employed in the work does not reject the previous beliefs but suspends judgment on them, withdrawing assent until further evidence can be found. I introduce a new term into Descartes scholarship in this analysis, based on the terminology of ancient skepticism: Cartesian epochē (gr. epochē, suspension, withdrawal). Instead of rejecting previous beliefs or assenting to the probably false, the skeptical procedure of the Meditations is argued to emulate in important ways the suspension of judgment on equally balanced reasons in ancient Pyrrhonian skepticism. Novel interpretations are presented along the way of the will’s freedom, of the First Meditation’s skeptical scenarios, of the cogito, and of the vindication of metaphysical certainty, as well as a clarification of the Cartesian Circle problem. -/- Reinterpreting the relation of Descartes’s skepticism to the preceding historical and literary traditions leads to a new look at the skeptical method itself. Presenting a new interpretation of skepticism in the Meditations leads at the same time to a new look at its relation to the historical context. The two research questions are, then, intrinsically tied together. -/- My focus in the study is on the Meditations, but I also reference and discuss Descartes’s other philosophical works, as well as his correspondence, when necessary. (shrink)

Among the tools of philosophical work, the dialogue, as form of live "transaction" between two or more persons, seems to have its beginning and its end with Socrates. Along the subsequent development of our philosophical tradition the dialogue reappears only as literary genre. The essay aims to suggest that the live philosophical dialogue, if offered in new forms as a distributed social practice arranged and supported by the professional skills of philosopher, shows some promise of widening the boundaries (...) of the examined life. (shrink)

Fiction is the favorite of most of the readers. Fiction is the reflection of the societal living and lives of human beings as observed by the writer. The writer also will have individual experiences, ideas, likes, dislikes, philosophy which influence and mold his writings. Fiction is famous as short-fiction and novel. Though fictitious, and also because fictitious, fiction takes possession of minds and hearts of readers more than any other literary genre. Their imaginations sore and they get engrossed (...) in the reading of fiction. Fiction is very good in engaging and passes time to the readers. The scholarship, study, reading, worldly knowledge and observation will make one a good fiction writer. The influence of earlier famous fiction writers will mold the writing of author. I am influenced by stories from the Ramayana and the Mahabharata, Panchatantra, Hitopadesa, Jataka Tales, Somerset Maugham, O. Henry, P.G. Wodehouse, Boris Pasternak, Sir Conon Doyle, Saratchanda Chaterjee, Sripada Subrahmanya Sastry, Satyam Sankarmanchi, mostly and many foreign and Indian fiction-writers. My style of writing is mostly in first person-the aatmaasraya narration. (shrink)

Krankheit und Verwundung gehörten in der Antike zum Alltag der Soldaten. Die militärische Fachschriftstellerei der Antike hat sich aus verschiedenen Blickwinkeln und mit unterschiedlichen Zielstellungen mit zahlreichen Aspekten des Militärwesens ihrer Zeit befasst. Der vorliegende Beitrag untersucht deshalb die Behandlung von Krankheit und Verwundung in den griechischen und römischen militärischen Fachschriften vom 4. Jh. v. Chr. bis ins 6. Jh. n. Chr. Aufgrund der spärlichen Forschungsliteratur zu diesem Thema steht die vergleichende Quellenanalyse der erhaltenen militärischen Fachschriften dieses Zeitraums im Vordergrund. (...) Ein kurzer Überblick über die literarische Gattung „Antike militärische Fachschriften“ sowie über die Entwicklung der Militärmedizin in der griechisch-römischen Antike bietet den nötigen Bezugsrahmen für die historische und literaturhistorische Einordnung der untersuchten Quellen. -/- Diseases and wounds were part of a soldier‘s everyday life in Greco-Roman antiquity. Ancient military manuals dealt with numerous aspects of contemporary military affairs from different perspectives and with various objectives. Therefore, this paper analyses how ancient Greek and Roman military manuals between the fourth century BC and the sixth century AD deal with diseases and wounds in the military. Due to scarce research literature on this topic the present paper focuses on the analysis of the surviving military manuals from this period. A brief overview of ancient military manuals as a literary genre as well as of the development of the ancient military medicine provides an historical and literary historical reference framework for the source analysis. (shrink)

‘Philosophical dialogue’ indicates both a form of philosophical inquiry and its corresponding literary genre. In its written form, it typically features two or more characters who engage in a discussion concerning morals, knowledge, as well as a variety of topics that can be widely labelled as ‘philosophical’. Our philosophical dialogue takes place in Krakow, Poland. It is a rainy morning and two strangers are waiting at a tram stop. One of them is dressed neatly, and cannot stop fidgeting (...) with his closed umbrella. The other was caught unprepared by the morning downpour and water is dripping from his worn, soaked jacket. (shrink)

The Republic was written approximately between 380 and 370 BC. The title Republic is derived from Latin, being attributed to Cicero, who called the book De re publica (About public affairs), or even as De republica, thus creating confusion as to its true meaning. The Republic is considered an integral part of the utopian literary genre. The second title, Peri dikaiou (περὶ δικαίου, On Justice), may have been included later. The central theme of the book is justice, argued (...) with the help of several Platonic theories, including the allegorical myth of the cave, the doctrine of Ideas, dialectics, the theory of the soul, and the design of an ideal city. The Republic is considered by many academics to be the greatest philosophical text ever written, being the most studied book in top universities. -/- DOI: 10.13140/RG.2.2.21273.90723. (shrink)

Literature’s qualities can be highlighted by combining it with other forms of art. Manga, which is a Japanese traditional literary genre that involves visual art, has gained worldwide popularity in the last few decades. Subsequently, it was adapted into anime. This study explores the legitimacy of manga in literature, its global influence among notable figures such as prime ministers or presidents, and the zenith it attained in anime, which is a universal language. Are manga and anime universal solely (...) due to their graphics and stories? Or is it rather because of their ability to connect people to the sacred? Is image universal? If so, what kind of image? Static one? Moving one? Which, manga or anime, can rather be considered universal? What does the future hold for literature and its various adaptations? (shrink)

In the chapter Spirit of the book "Phenomenology of spirit" in a section called "True spirit, ethical Life", Hegel looks into the happy state of "ethical life" in Greece. The concept of ethical life is a very crucial concept because it formulates Hegel's fundamental political and social ideal, which is to establish synthesis between the community and the individual. In this research, we study the ethical life of people who are unreasonably immersed in the customs and laws of a certain (...) society. In the following, we see that this world is divided and the unity of laws in it is shaken. For this reason, Hegel discusses the literary genres of epic and tragedy in order to show that in them, a person progressively becomes himself and becomes aware of his individual character. Hegel destroys his primitive ethical substance dialectically through essential conflicts, with forced actions and untangling choices of people with will and as a result people are deprived of their social identities. In this dialectical process, the "living unity" of the polis is fragmented and becomes a mass of separate atoms. (shrink)

"CONSOLATIONE PHILOSOPHIAE" BY SEVERIN BOETHIUS The paper examines the literature basic of Severin Boethius work «The Consolation of Philosophy». The author starts with the historical context of the appearance of the text and then goes to consider its variety of literary genres and forms. Main of them are satura Menippea, consolation, protreptic, soliloquy, and dialogue. Textual and conceptual analyses have relieved the connection between Boethius’s «The Consolation» and the works of other famous authors of Antiquity among them there are (...) Plato, Aristotle, Seneca, Cicero, and St. Augustine. As a connoisseur of Antiquity, Boethius uses literature to explain his philosophical ideas. In addition, the author of the article suggests an analytical review of the image of the Lade Philosophy in «Consolation». The genealogy of this literary character refers to the Greek mythology, Plato’s «Symposium» and «Crito» dialogues, Martianus Capella’s work «On the Marriage of Philology and Mercury» and Augustine’s the literary image of St. Monika. The article reconstructs an epistemological methodology of Boethius’s Neoplatonic dialogue that consists of five stages and describes a therapeutic role of philosophy in the traditions of Plato and Stoics. The essence of this role is a mind therapy. Philosophy teaches us to see the world as a whole, to describe it in clear notions and judgments. According to the text of «Consolation», Boethius takes us to make an intellectual Neoplatonic climbing from practical (ethic) to theoretical (metaphysic) philosophy – from vita activa to vita speculativa. The main aim or the top of this Neoplatonic meditation is a contemplative life or reminding own Ego. The great ideas of this work have the significant influence on Medieval andRenaissance philosophy and literature. Keywords: Lady Philosophy, Neoplatonic. (shrink)

Throughout his work, Deleuze not only draws on literature in order to address philosophical problems but he seeks to map out the ‘mobile relations’ between philosophy and literature. After an initial overview, I will focus on A Thousand Plateaus (1980), a book co-authored with Guattari, and in particular, on plateaus “1874: Three Novellas or ‘What happened?’” and “1730: Becoming-intense, becoming-animal, becoming-imperceptible…” In doing so, I aim to explore: (a) how the relation between literature and philosophy is refracted in Novellas Plateau (...) and (b) the way in which Deleuze and Guattari articulate their key philosophical notion of becoming-imperceptible via Kierkegaard’s knight of faith. The novella as a literary genre by essentially relating to secrecy also advances a distinctive way of relation between the three dimensions of time (the past, present and future). I argue that novella-time could be extended beyond the limits of the literary genre ‘novella.’ To this end, I propose a reading of Kierkegaard’s Repetition (1843) and selected entries from his Journals in order to identify his contribution as a religious writer to the discussion of philosophy as literature. I conclude that time, change and faith stand out as a common problematic of philosophy, literature, and life. (shrink)

The family is a social group. Its characteristics are among other things; common residence, co-operation and reproduction. The family has always been considered to be the foundation or nucleus of the society; the most basic unit of its organization. The structure of the family varies according to each society. In pre-colonial era, the family as a social group among the Yorùbá, was a large unit, and extended in nature. They were bound together by the realization of having a common ancestor; (...) alájọbí. All the members of the family see one another as blood relations, as such incest was (and still is) a taboo. Apart from this, sexual relationship among the Yorùbá is heterosexual and permissible only in marriage; between husband and his wife/wives. Though extra-marital relationships are practiced, it is frowned at for men, but intolerable for women. Homosexuality is also a taboo; punishable by public disgrace, with culprits liable to excommunication from the society, especially if unrepentant. It cannot be totally ruled out that these anomalous relationships were not secretly engaged in by few non-conformists among the Yorùbá, before coming into contact with the West, the fact remains that the magnitude by which they are practiced in present times is alarming; threatening the harmony and cultural heritage of the Yorùbá. This fear is expressed in the literary genres of the Yorùbá, especially the film, which is the contemporary popular theatre of the Yorùbá of Nigeria and other tribes in Africa. This study examined sexual relationship among members of the family, in randomly selected Yorùbá films that have family-living as their major or minor themes; to know how affected is the stability of family (sexual) relationship among the Yorùbá. This is in the light of evolving modernity; with its individualistic life-style of people globally, as against the inherited communal social organization of the Yorùbá; built around the virtuous ọmọlúwàbí principle. The plausible reasons for the anomalous behaviors are also examined. Our findings are that prevailing strict traditional conditions, living in private homes as nuclear family, not being properly oriented in Yorùbá cultural values, increased exposition to Western lifestyles and its more relaxed societal expectations, and non-realization of the possibility of anomalous sexual behaviors as mental and biological issues that can be medically treated; are some of the reasons why such behaviors manifest, and are becoming prevalent. We have suggested communal encouragement with empathy, to seek medical assistance for and by the ‘diseased’ person. One finding here is that prevailing traditional conditions, ignorance, poor orientation and westernization present the anomaly mildly and make people not to see anomalous sex behavious as a mental disorder which requires medical attention. (shrink)

The confessional work of the Church has been from the very beginning a foundation and basis for the Divine Truth. Starting from this real necessity, the Apologetic Theology claims some important research directions, grounded on the Holy Scripture and the Holy Tradition. Given this historical and doctrinal context, we can highlight the next support coordinates of the Christian Apologetics background: “the truth of God’s existence, the reality of the supernatural world and man’s immortality. All of this are, as we can (...) say, the Christian specific starting from the first ages. The truths about the divine origin of Christianism are to be found here, on the dignity of this revealed doctrine, on the divine-human character of his Founder, on the importance and necessity of Christian Church for the religious and morale life of human kind”. . Apologetics and (or) Fundamental Theology The reason why the Church must justify her teaching in the context of her missionary activity does not rise up from inner necessity. It does more from external misconceptions. In this context we can define the main concern of apologetics as a theological discipline. On the other hand, one can discover almost the same meaning in Fundamental Theology. However, as a difference between them, Fundamental Theology is interested in the direction and bears informative message, since “it aims at basic religious principles systematic presentation, both external and internal, as well as their justification before the scientific-theological conscience of believers. Thereafter, Christianity can be considered the only true religion”. On the other hand, one can claim that the name of “Apologetics” rises up from the necessity that the Christian arguments must be scientifically enforced and illustrated externally. Therefore, the mission of Christian Apologetics is to reject the anti-Christian objections through the power of the theological arguments in dialogue with philosophy, culture or science. In fact, even the object of Apologetics is "the scientific ground of Christian truths" with the purpose to "offer the Truth, reject error, and eradicate lies." In order to achieve its goal, Christian Apologetics offers us a positive method, which consists in "a logical and direct development of a certain thesis, in clarifying a certain truth, by revealing its content and the outcomes deriving from it". Therefore, we have a very dynamic field through which this discipline comes and supports the active life of the Church. Moreover, the method of the Apologetics as a theological subject is based on a conceptual struggle, very active starting with the very first centuries of the Early Church. Due to its energetic character, Fundamental Theology won its most important place among Christian doctrines. “Through struggle, Fundamental Theology imposed itself as a theological subject and became individualised. Through struggle and only through struggle, Fundamental Theology must exist and strengthen the positions of Christianity”. In its theologically mission, Christian Apologetics identifies and also prevents the alteration of the doctrinal truth. In this concern, it has the responsibility to enforce of believers’ moral conscience in their spiritual process of development. As a subject, one can say that the mission of Apologetics is “rational, objective and represents a very important basis for the Christian truths of faith”. Therefore, one can notice that the most important aspect of our subject is to enforce the Christian faith and experience through proper knowledge of the fundamental principles of the doctrine. This is the reason why we also mention Apologetics together with Fundamental Theology. However, we must highlight a few important details regarding the sensible difference between both of the denominations. Therefore, historically speaking, “they both arise from those who personally share Christian faith and act within the believing community and in its service. They both aim to respond to objections raised by critics and to offer a trustworthy account of main beliefs about matters as the existence of a personal God, the divine self-revelation in Jesus Christ, and the nature of faith”. On the other hand, we can identify almost three important differences between Apologetics and Fundamental Theology. “First, a Christian apologist can simply address a question: does the existence of horrendous evil in our world rule out the existence of almighty and all-loving God? or has science caused faith in God to be demoted in the past? … Second, good Apologetics has typically a sharply defined audience: Apologetics can seek, for example, to alert non-believers to the weakness of the case currently being against God and religion. But Fundamental Theology addresses to a wider range of readers … Third, polemics (in the good sense of this word and not as mindless ranting) belong to the exercise of Apologetics … The tone of fundamental theologians, even when rebutting objections to Christian faith, is or should be more expository and less polemically inclined to illustrate defects in opposing positions”. Moreover, we must mention that Apologetics can be considered as a particular subject. Although, it is similar in terms of content with Dogmatic and Philosophy through its method, our subject has its own research direction. Therefore, if Dogmatic is defined by an expositive and imperative character, Apologetics is demonstrative and constraining. In other words, dogmatic rationality, which has a subsidiary role, in Apologetics becomes primordial. In this case, “the faith truths become truths also for the rationality and moreover, the eternal truths of the Divine Reason become constraining for the human reason, too. Truths of natural religion, which are in fact the object of the Philosophy of Religion, are conditioned in Apologetics by the Absolute Truth completed in the Christian faith”. In all its theological and external interaction perspectives, Apologetics holds the main role to “expose, defend and justify with rational meanings the general truths of religion”. It is necessary to clear up one aspect: as subject, Apologetics is different from Apology. On the one hand, one can speak about the general research background and, on the other hand, one can describe a singular part of theological approach. Therefore, these two “theological sisters” are different depending on the type of approach. However, Apology is older than Apologetics. Among the first Christian apologists, we mention: Saint Justin the Martyr and Philosopher, Tatian, Athenagoras or Tertullien. In its current meaning, Apologetics is of a western theological origin, having its beginning in Middle Ages. Even so, its blooming age is the 18th century, when the Western Catholic Church replied to the materialist and atheistic philosophy. In the Eastern Church this type of confession had a more profound theological overview, in a theonomic perspective. “In the light of the Holy Scripture, the eastern theological thinking always shows priority to the divine Revelation in spite of the philosophical human systems and places the Creator - Logos at the basis of all creation, in the light of biblical thoughts”. -/- II. “Rational-spiritual Apologetics” Reverend Professor Dumitru Popescu, one of the most important Romanian theologians, develops the concept of “Rational-spiritual Apologetics”. In his theological approach, he illustrates the fact that one of the most essential part of the Church’s confessional work are the relations between rational arguments and spiritual purpose of the Christian life. In this case, we can identify two possibilities of argumentation: rational and spiritual, each of them in connection with the knowledge of God. This is in fact, the Orthodox specificity of the Apologetics, as theological subject, in contrast with the principles of western scholastic. Therefore, the most important argument, which Dumitru Popescu brings up in the support of his thesis, belongs to Saint Maximus the Confessor’s theology: “The Scripture provide a double knowledge of the divine things. One is relative and consists in its rationality and meanings, without the direct feeling of God. Through it we are guided in this life. The other one is in a true sense true and consists in leaving experience of divine grace, outside rationality and meanings, having the complete experience of God. Through it we will receive in the future life the deification”. On the other hand, we can understand that the purpose of human rationality is not to replace the spiritual perspective, since human mind does not own the divine mystery. In this case, rationality can be useful in discovering and demonstrating the existence of God from natural realities to a point where we must assume a spiritual understanding. Consequently, in the context of human deification, the orthodox theology cannot conceive the gnoseological process in rational terms. Therefore, Rev. Dumitru Popescu carries out a dual argumentation: 1. since God is not a solitary power, but descends and interacts with man providentially (through His divine grace and energies); 2. because the created world doesn’t have an independent rationality through which man can receive the possibility to reach God. Therefore, Father Professor Dumitru Popescu concludes that “the deification process is here, on the earth, a foretaste of immortality, which springs from the personal meeting of man with God”. One of the most recent Romanian Apologetics academically approach is the book of professor Adrian Lemeni: “Truth and Demonstration”. Except his very complex analysis on the interaction between theology and science, Professor Lemeni goes further and perfects Dumitru Popescu’s theological view, on the “Rational-spiritual” character of Orthodox Apologetics. Therefore, he offers a very important example, starting from Saint Gregory Palamas’ theological view. In his work “the authority of Patristic gnoseology” is illustrated, which is offered by the “Eternal Truth, God’s Word, incarnated in the Person of Jesus Christ”. “The authority of patristic gnoseology” – notes down Adrian Lemeni – “is expressed along the process for searching the truth of knowledge illustrated by deeds and life. In his debate with Varlaam from Calabria, Saint Gregory Palamas insists on the power of persuasion which arises from the Church’s Tradition, biblical and patristic fundamentally. In an ultra-confident argument, based on the autonomic logical power, we believe that one word has power over another. But Saint Gregory Palamas shows that the truth is based and validated through spiritual and ecclesiastical experience. Truth is validated by the words and deeds of the Holy Fathers, in direct connection with apostolic Tradition. Any argument can be fought against by another argument. Nevertheless, the apologetic concession based on the deeds of the saints is unbookable. This is the thesis which Saint Gregory Palamas develops in complete harmony with the patristic gnoseological Tradition”. Therefore, we can consider that the position of the subject of Apologetics (of Fundamental Theology) is one of interactions. It has connections with all domains external to Theology. In this case, we can consider it sets up a dialogue or debate with philosophy, culture or science. Starting from the historical argument, this interaction between theology and other sciences has existed from the very first Christian century. Therefore, we have an apologetic literary genre starting with the first patristic writings. Including the Early Church, we can identify three important stages in terms of historical apologetics development: 1. The Christian apologists struggle age with Judaism and paganism; 2. From the issue of Islam to the Middle Eve; 3. From the period of the Renaissance of Western sciences to the present day. (shrink)

Gaston Bachelard occupies a unique position in the history of European thinking. As a philosopher of science, he developed a profound interest in genres of the imagination, notably poetry and novels. While emphatically acknowledging the strength, precision and reliability of scientific knowledge compared to every-day experience, he saw literary phantasies as important supplementary sources of insight. Although he significantly influenced authors such as Lacan, Althusser, Foucault and others, while some of his key concepts are still widely used, his oeuvre (...) tends to be overlooked. And yet, as I will argue, Bachelard’s extended series of books opens up an intriguing perspective on contemporary science. First, I will point to a remarkable duality that runs through Bachelard’s oeuvre. His philosophy of science consists of two sub-oeuvres: a psychoanalysis of technoscience, complemented by a poetics of elementary imagination. I will point out how these two branches deal with complementary themes: technoscientific artefacts and literary fictions, two realms of human experience separated by an epistemological rupture. Whereas Bachelard’s work initially entails a panegyric in praise of scientific practice, he becomes increasingly intrigued by the imaginary and its basic images, such as the Mother Earth archetype. (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)

It is a truism that the attitude of deference to the text plays a lesser role in Anglo-Saxon philosophy than in other philosophical traditions. Works of philosophy written in English have, it is true, spawned a massive secondary literature dealing with the ideas, problems or arguments they contain. But they have almost never given rise to works of commentary in the strict sense, a genre which is however a dominant literary form not only in the Confucian, Vedantic, Islamic, (...) Jewish and Scholastic traditions of the past, but also in relation to more recent German-language philosophy (thus for example in work on Hegel, Heidegger or Wittgenstein). Moreover Anglo-Saxon philosophers have themselves embraced the commentary form when dealing with Greek or Latin philosophers outside their own tradition. The paper seeks to establish the reasons for this imbalance by examining those factors which might be conducive to the growth of a commentary literature in a given culture. (shrink)

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

Electronic text can be defined on two different, though interconnected, levels. On the one hand, electronic text can be defined by taking the notion of “text” or “printed text” as the point of departure. On the other hand, electronic text can be defined by taking the digital format as the point of departure, where everything is represented in the binary alphabet. While the notion of text in most cases lends itself to being independent of medium and embodiment, it is also (...) often tacitly assumed that it is in fact modeled on the print medium, instead of, for instance, on hand-written text or speech. In late 20th century, the notion of “text” was subjected to increasing criticism, as can be seen in the question that has been raised in literary text theory about whether “there is a text in this class.” At the same time, the notion was expanded by including extralinguistic sign modalities (images, videos). A basic question, therefore, is whether electronic text should be included in the enlarged notion that text is a new digital sign modality added to the repertoire of modalities or whether it should be included as a sign modality that is both an independent modality and a container that can hold other modalities. In the first case, the notion of electronic text would be paradigmatically formed around the e-book, which was conceived as a digital copy of a printed book but is now a deliberately closed work. Even closed works in digital form will need some sort of interface and hypertextual navigation that together constitute a particular kind of paratext needed for accessing any sort of digital material. In the second case, the electronic text is defined by the representation of content and (some parts of the) processing rules as binary sequences manifested in the binary alphabet. This wider notion would include, for instance, all sorts of scanning results, whether of the outer cosmos or the interior of our bodies and of digital traces of other processes in-between (machine readings included). Since other alphabets, such as the genetic alphabet and all sorts of images may also be represented in the binary alphabet, such materials will also belong to the textual universe within this definition. A more intriguing implication is that born-digital materials may also include scripts and interactive features as intrinsic parts of the text. The two notions define the text on different levels: one is centered on the Latin, the other on the binary alphabet, and both definitions include hypertext, interactivity, and multimodality as constituent parameters. In the first case, hypertext is included as a navigational, paratextual device; whereas in the second case, hypertext is also incorporated in the narrative within an otherwise closed work or as a constituent element on the textual universe of the web, where it serves the ongoing production of (possibly scripted) connections and disconnections between blocks of textual content. Since the early decades of early 21st century still represent only the very early stages of the globally distributed universe of web texts, this is also a history of the gradual unfolding of the dimensions of these three constituencies—hypertext, interactivity, and multimodality. The result is a still-expanding repertoire of genres, including some that are emerging via path dependency; some via remediation; and some as new genres that are unique for networked digital media, including “social media texts” and a growing variety of narrative and discursive multiple-source systems. (shrink)

Works of philosophy written in English have spawned a massive secondary literature dealing with ideas, problems or arguments. But they have almost never given rise to works of ‘commentary’ in the strict sense, a genre which is however a dominant literary form not only in the Confucian, Vedantic, Islamic, Jewish and Scholastic traditions, but also in relation to more recent German-language philosophy. Yet Anglo-Saxon philosophers have themselves embraced the commentary form when dealing with Greek or Latin philosophers outside (...) their own tradition. The paper seeks to establish the reasons for this peculiar asymmetry by examining those factors which might be conducive to the growth of a commentary literature in a given culture. (shrink)

Works of philosophy written in English have spawned a massive secondary literature dealing with ideas, problems or arguments. But they have almost never given rise to works of ‘commentary’ in the strict sense, a genre which is however a dominant literary form not only in the Confucian, Vedantic, Islamic, Jewish and Scholastic traditions, but also in relation to more recent German-language philosophy. Yet Anglo-Saxon philosophers have themselves embraced the commentary form when dealing with Greek or Latin philosophers outside (...) their own tradition. The paper seeks to establish the reasons for this peculiar asymmetry by examining those factors which might be conducive to the growth of a commentary literature in a given culture. (shrink)

Works of philosophy written in English have spawned a massive secondary literature dealing with ideas, problems or arguments. But they have almost never given rise to works of ‘commentary’ in the strict sense, a genre which is however a dominant literary form not only in the Confucian, Vedantic, Islamic, Jewish and Scholastic traditions, but also in relation to more recent German-language philosophy. Yet Anglo-Saxon philosophers have themselves embraced the commentary form when dealing with Greek or Latin philosophers outside (...) their own tradition. The paper seeks to establish the reasons for this peculiar asymmetry by examining those factors which might be conducive to the growth of a commentary literature in a given culture. (shrink)

Behrouz Boochani’s No Friend but the Mountains, a literary sensation upon its publication in Australia in August 2018, deserves a place alongside classics of the prison writing genre. At the same time, it contains important lessons for everyone thinking about power in the contemporary world. In particular, it prompts to reconsider the kind of power that is exercised in camps, where it comes from and how it could be resisted.

XENOLOGY AND XENOTOPOGRAPHY OF BERNHARD WALDENFELS The paper strives to adapt Bernhard Waldenfels’ xenology and so called ‘xenotopography’ for the philosophico-literary studies in fantastic world-building with a special concern of the ‘portal-quest’ model of fantasy and SF. Following Waldenfel’s remarks on the nature of post- Husserlian diastasis of our world [Heimwelt] and otherworld [Fremdwelt] and acknowledging the consequences of allocating one’s attitude towards the otherness in the symbolical borderland [‘sphere of intermonde’] in between, it is examined whether such a (...) model can occur in the fantastic literature and what may be the consequence of xenotopographic reconsideration of its basic ontological premises. Additionally, the article offers an original xenotopograpfic model of worldbuilding which addresses three carefully chosen case studies of fantastic worlds from Orson Scott Card’s Ender’s Game tetralogy, Neil Gaiman’s Stardust and George R. R. Martin’s The Song of Ice and Fire. In the end, it is suggested that hitherto presented xenotopography gravely inspired a postmodern shift in the genres of fantasy and SF which results in more ethically conscious representations of the otherness and even more concise and alien comprehensive world-building. (shrink)

This paper is dedicated to the Εἰκόνες of the two Philostrati and to the Ἐκφράσεις of Callistratus, that is to say to three Greek works that bear important witness to the genre of art criticism in Antiquity and which concern both literary history and the history of art. The first series of Εἰκόνες is the work of Philostratus the Elder (2nd-3rd century AD) and comprises sixty-five descriptions of paintings with mythological subjects, which the author assures us he has (...) seen in a gallery in Naples. Another Philostratus, who claims to be the grandson of the former, and who is traditionally referred to as Philostratus the Younger, wrote a second, shorter series of Εἰκόνες, which describes seventeen paintings. Finally, a certain Callistratus, who probably dates from the 4th century AD, is the author of the Ἐκφράσεις, which group together fourteen descriptions of statues in marble and bronze.1 Ecphrasis is a subject that is often the focus of contemporary research. Perhaps its importance stems from the fact that we live in a civilization dominated by images, and we feel the need to control the visual imagery that surrounds us, to govern it and to make sense of it through language. The attention given to literary theory, rhetoric and sophistry today also helps to explain the success of this subject. The present book is situated in this field of research. The "La Licorne" series in which it is published specializes in the study of ancient and modern literature, a specialization to which this volume corresponds. This volume has two points of focus: (1) the literary form of description and the complex relationships between word and image, between the oral and the visual (hence the title Le défi de l'art, which signifies, among other things, that the art of the painter and of the sculptor challenges the sophist, who tries to describe works of art with words); (2) the Nachleben of ancient texts, because Philostratus and Callistratus were well-known to posterity, particularly during the Renaissance. (shrink)

The famous Bulgariann writer Yordan Radichkov's works are interpreted philosophically. The genre of philosophical and literary criticism is utilized. Any great writer referring to considerable questions of human life and being, and thus, philosophical. A few short stories, plays, and novels of Radichkov (1929-2004) are interpreted accordingly their philosophical content.

My dissertation argues that Plato composed the figure of Socrates as a three- dimensional literary character who experiences and confronts emotions in ways that other studies have overlooked. By adopting a dramatic, non-dogmatic mode of reading the dialogues and emphasizing the literary elements of the texts and their dramatic connections, this dissertation offers a new and compelling portrait of Socrates in the dialogues that relate his finals weeks of life: Theaetetus, Euthyphro, Apology, Crito, and Phaedo. This study in (...) turn provides new insights into the genre of Plato’s texts and demonstrates how he exploited the dramatic nature of the prose dialogue to capture social-historical realities surrounding the trial and execution of Socrates. By emphasizing emotional and interpersonal aspects of Plato’s texts, my dissertation shows that Plato’s dialogues are profitably read through a literary lens to recover their complex reconstruction of Socrates’ place and time in history. (shrink)

In her Dinny Gordon series (1958–1965), junior novelist Anne Emery’s heroine manifests intellectual desire, a passionate engagement in the life of the mind along with the desire to connect with like-minded others. Within a genre which focused on socialization and dating, in Dinny, Emery normalizes a studious, inner-directed, yet feminine heroine, passionate about ancient history rather than football captains. Emery’s endorsement of the pleasure Dinny takes in intellectual work, and the friends and boyfriends Dinny collects, challenge stereotypes of intellectual (...) girls as dateless isolates while suggesting an alternative model of girlhood operating within apparent conformism to postwar “good girl” standards. (shrink)

Hearing the other’s voice in literary text is one of Bakhitan's main concerns. Bakhtin take the remarkable capacity of literature to concideration to express differences and break monologues. This article seeks to ponder Sadegh Chubak's novel Tangsir based on Bakhtin's views. The main character of this novel is a southern Tangsir named Zair Mohammad who seeks revenge on those who in his opinion have violated his rights. The story of the novel takes place in Bushehr after the First World (...) War and in the era of Ahmad Shah Qajar, when southern Iran was occupied by the British. Due to the political and social atmosphere of that time, the "other" can be formulated in this story in different ways: Iranian encounter with English, Muslim encounter with nonMuslim, encounter between the people and the government, And even encounter between the southern Tangsir with the non-Tangsir southern. Although in this novel, encounter with the other has a prominent role, but the main question is whether the novel Tangsir is a monophonic novel or polyphonic? In general, Bakhtin considers the novel as a genre of dialogue and polyphony. But even in this genre, literary works realize the character of carnival or polyphony to a different extent. Bakhtin's ideal of “the other” is realized when the other’s voice is heard in the novel and not only the author's point of view is dominant. (shrink)

J. R. R. Tolkien’s four functions of fantasy stories, as developed in his Andrew Lang lecture “On Fairy Stories” (1939), have become a key conceptual tool for discussing human beings’ attraction to fantasy stories, particularly when attempting to push the analysis beyond the literary into the aesthetic, and beyond the aesthetic into the existential. Applying this interpretive key to an analysis of the expanding genre of post-apocalyptic fiction reveals that post-apocalyptic stories, despite superficial differences, are surprisingly close to (...) fairy stories in their aesthetic core and orientation, and that post-apocalyptic stories are well-suited to fulfill—albeit with their own distinctive aesthetic feel—the functions of Enchantment, Recovery, Escape and Consolation. Furthermore, in exploring the function of Consolation, a number of motifs come to surface that suggest the presence of a religious dimension common to many of the most celebrated exponents of the genre. (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)

This article suggests that comparative literature scholars may benefit from the awareness that different communities around the world subscribe to different models of mind and that works of fiction can thus be fruitfully analyzed in relation to those local ideologies of mind. Taking as her starting point the “opacity of mind” doctrine, the author compares cultural practices originating in communities in which people think but do not talk publicly about others’ internal states, to those originating in communities in which people (...) both think and talk about them, indeed, in which public speculation about other people’s intentions is (mostly) rewarded. (shrink)

The genre to which an artwork belongs affects how it is to be interpreted and evaluated. An account of genre and of the criteria for genre membership should explain these interpretative and evaluative effects. Contrary to conceptions of genres as categories distinguished by the features of the works that belong to them, I argue that these effects are to be explained by conceiving of genres as categories distinguished by certain of the purposes that the works belonging to (...) them are intended to serve. (shrink)

У статті розглянуто феномени жанрової та ідеологічної пам’яті ландшафтів українських ходінь до раю та показано поліморфізм функцій просторових описів у середньовічній літературі. Теоретичний аспект дослідження передбачає осмислення способів протистояння авторської інстанції стихіям культурної та жанрової пам’яті, яка зберігає усі ціннісні, етичні й естетичні програми претекстів новопосталого твору. На позначення цього явища запроваджено термін «криптограматичність літературного дискурсу», сила опору якій прямо пропорційна до меж індивідуалізму письменницької свободи, установленої в рамках кожної культурно-історичної епохи. З цієї перспективи стверджено, що специфіка ходіння до раю (...) як окремої таксономічної одиниці визначається сумою його претекстів та архітекстуальних взаємодій, оскільки для середньовічного скриптора схрещення й модифікація жанрових матриць подекуди ставали ключовою формою самовираження. Завдяки внутрішній жанровій інтеракції у наративній структурі апокрифів завжди наявні осередки інших типів раціональності та ідеологем, резервуарами яких у художньому тексті часто слугували шаблонізовані екфразиси. Історико-літературний ракурс розвідки сфокусований на механізмах рецепції античного греко-римського «індійського тексту» в середньовічній апокрифічній традиції. (shrink)

The present studies investigate morality’s influence on aesthetics and one potential moderator of that influence: genre. Study 1 finds that people’s moral evaluation positively influence their aesthetic evaluation of an artwork. Study 2 and 3 finds that this influence can be moderated by the contextual factor of genre. These results broaden our understanding of the relationship between morality and aesthetics, and suggest that models of art appreciation should take into account morality and its interaction with context. [Unpublishable 2010-2017.].

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

Genre discourse is widespread in appreciative practice, whether that is about hip-hop music, romance novels, or film noir. It should be no surprise then, that philosophers of art have also been interested in genres. Whether they are giving accounts of genres as such or of particular genres, genre talk abounds in philosophy as much as it does the popular discourse. As a result, theories of genre proliferate as well. However, in their accounts, philosophers have so far focused (...) on capturing all of the categories of art that we think of as genres and have focused less on ensuring that only the categories we think are genres are captured by those theories. Each of these theories populates the world with far too many genres because they call a wide class of mere categories of art genres. I call this the problem of genre explosion. In this paper, I survey the existing accounts of genre and describe the kinds of considerations they employ in determining whether a work is a work of a given genre. After this, I demonstrate the ways in which the problem of genre explosion arises for all of these theories and discuss some solutions those theories could adopt that will ultimately not work. Finally, I argue that the problem of genre explosion is best solved by adopting a social view of genres, which can capture the difference between genres and mere categories of art. (shrink)

Imaginative resistance refers to a phenomenon in which people resist engaging in particular prompted imaginative activities. On one influential diagnosis of imaginative resistance, the systematic difficulties are due to these particular propositions’ discordance with real-world norms. This essay argues that this influential diagnosis is too simple. While imagination is indeed by default constrained by real-world norms during narrative engagement, it can be freed with the power of genre conventions and expectations.

An adequate account of the nature of genre and of the criteria for genre membership is essential to understanding the nature of the various categories into which comics can be classified. Because they fail adequately to distinguish genre categories from other ways of categorizing works, including categorizations according to medium or according to style, previous accounts of genre fail to illuminate the nature of comics categories. I argue that genres are sets of conventions that have developed (...) as means of addressing particular interpretative and/or evaluative concerns, and have a history of co‐instantiation within a community, such that a work’s belonging to some genre generates interpretative and evaluative expectations among the members of that community. Genres are distinct from styles in consisting of conventions, and are distinct from media both in consisting of conventions and in generating interpretative and evaluative expectations. (shrink)

In 2005, Charles Mills published “‘Ideal Theory’ as Ideology” in Hypatia: a withering critique of much of contemporary political philosophy and ethics. For Mills such work in philosophy failed to attend to the realities of social life and politics, and in remaining silent on actual issues of domination and oppression served an ideological role in supporting the interests of white bourgeois men. Around the time that Charles Mills launched his broadside against ideal theory, trans theorists had been fighting their own (...) battle against the abstraction of theory from the realities of trans lives and oppression. Vivian Namaste (2000) and Jay Prosser (1998) argued that contemporary gender theory failed to justice to the actuality of trans life, retreating instead to understanding trans life through literary archetypes and idealized radical figures. In this chapter I’ll compare Mills’ critique of ideal theory with the transfeminist critique of 1990s gender theory, arguing that they share much in common. Centrally, both critiques share an underlying commitment to theory needing to be grounded in the actuality of oppression and power relations. This common thread, I suggest, must continue to guide transfeminist thought and action: contra Marquis Bey (2022) transfeminist thought and praxis must continue to be about trans lives, about the oppression of trans women, and about ways of actually achieving liberation from our current dire position. (shrink)