This article details the variety of critical strategies in Mary Wollstonecraft’s A Vindication of the Rights of Woman, finding strong connections with her writing as a reviewer for the Analytical Review, the literary review published by the reformer and Dissenter Joseph Johnson. In Rights of Woman, Wollstonecraft employed textual analyses and an evolving set of theoretical positions that had been introduced in the course of her career at the Analytical Review. By elucidating the importance of the reviews and the (...) specificity of Wollstonecraft’s procedures, this article contributes to a growing consensus that Rights of Woman initiated feminist literary criticism. (shrink)

Feminism came to the discipline of philosophical aesthetics rather late--approximately 1990--in spite of advances made much earlier in the 1970s by feminist scholars in related fields such as literary theory, art history, art criticism, and film studies. This essay tracks notions of "tradition" within the history of aesthetics and subsequent feminist challenges to patriarchal traditions and existing philosophical practices. No one unitary feminist approach is sought; rather a multiplicity of feminisms have arisen within aesthetics that (...) have brought new focus to discussions of taste, the (beautiful) body, "art," the concept of genius, everyday aesthetics, the environment (including natural beauty), motherhood, and even bioethics. (shrink)

Writer, book and reader. Without writer and writings wouldn’t have been a reader. Hence, there wouldn’t have been criticism. The basis of human intellectual criticism depends on three basic elements: The writer, the book, and the reader. Criticism was essentially linked with the discovery of writing. Criticism as an idea is basically linked with human consciousness. Maturity, writing has merely added a new dimension to it namely criticism and synthesis, in which literature and philosophy has (...) contributed greatly, despite the differences between the two subject. Philosophy does not define one method for itself , for there are many trends and methods. Despite the differences in philosophers’ views on methods, there is a sort of unanimous of agreement among them on the method of analysis and synthesis. Literature is like philosophy, literary critic does not write for himself or merely for the enjoyment of his reader. He is in fact considered one of the tools that help the reader to understand the text of the criticized subject . We have many examples in the heritage of the Arab literary criticism. For example the writing of Taha Hussein in “Wednesday Talk” and his book on “ Matanabi”. Sometimes the literary critic helps the artist in understanding his art, as “Al Akaad” and “ Al Mazni” did in “ Al Diwan”. -/- As we saw the philosopher can build his philosophy while the literary critic can implement his purpose, we will try here to review and analyze the status of philosophical and literary criticism and then try to define the points of agreement and disagreement between them. (shrink)

Katy Deepwell calls for a vital and visible "new" feminist criticism in 1997 amidst a pessimistic overview of the state of feminist art and criticism in Britain, Canada, and the U.S. As an update to this review, I note that Deepwell took decisive and effective action on her pessimism and for the past twenty years (as of this writing in July 2017) created an online feminist journal--n.paradoxa: international feminist art journal--that has published over 550 (...) articles by 400 writers and artists from more than 80 countries. After 40 issues, the journal has come to an end. What a success story! (shrink)

This essay offers an overview of the diversity of women’s prose writing that emerged on the Czech cultural scene in the post-communist era. To that end it briefly characterizes the work of eight Czech women authors who were born within the first two decades after World War II and began to create during the post-1968 era of ‘normalization’. In this broad sense they belong to a single generation. With rare exception their work was not officially published in their homeland until (...) the 1990s. The writers included are: Lenka Procházková, Tereza Boučková, Alexandra Berková, Zuzana Brabcová, Daniela Hodrová, Sylvie Richterová, Iva Pekárková, and Eva Hauserová. The overview is followed by a concise comparative analysis of texts by three very different writers (Procházková, Pekárková, and Hodrová), using a feminist critical approach. There is also an appendix of works by these writers available in English translation. (shrink)

Specialization appears to be a more efficient way to achieve shared ends: you specialize in one task and I in another and we combine our efforts. Specialization in literature would seem to call for a divide between literary critics, who interpret and evaluate fictions, and fiction writers themselves. But such a divide is a disadvantage for assessing some claims made within literary criticism, notably that a certain style goes with a certain content.

This article argues that postwar Seventeen magazine, a publication deeply invested in enforcing heteronormativity and conventional models of girlhood and womanhood, was in fact a more complex and multivocal serial text whose editors actively sought out, cultivated, and published girls’ creative and intellectual work. Seventeen's teen-authored “Curl Up and Read” book review columns, published from 1958 through 1969, are examples of girls’ creative intellectual labor, introducing Seventeen's readers to fiction and nonfiction which ranged beyond the emerging “young-adult” literature of the (...) period. Written by young people – including thirteen-year-old Eve Kosofsky (later Sedgwick) – who perceived Seventeen to be an important publication venue for critical work, the “Curl Up and Read” columns are literary products in their own right, not simply juvenilia. Seventeen provided these young authors the opportunity to publish their work in a forum which offered girl readers and writers opportunities for intellectual development and community. (shrink)

Cognitive science and evolutionary psychology show great potential as explanatory paradigms for a wide array of cultural products and activities, including literature. In some scholars’ minds these two fields are emerging as the cornerstones of a major ‘‘new interdisciplinarity’’ that may well displace the relativistic interpretive paradigms that have dominated the humanities for the last few decades. Through a review of a number of recently published works, I assess the situation of these two fields in relation to the specific, currently (...) reigning approaches to literary study as well as in relation to more general issues of academic literary interpretation.What do we have so far, and what can we possibly expect these essentially empirical-scientific disciplines to add to literary criticism? If cognitive science and evolutionary psychology are to become important in a truly interdisciplinary sense, then what kinds of claims will they need to make? Most important, how will the problematic but unavoidable distinction between nature and nurture be dealt with? Though the kinds of explanations offered in both fields can obviously enough be relevant to defining what literature is in relation to the human organism, how will the same kinds of explanations be involved in the actual interpretation of specific literary texts? For only an approach that provides new interpretive possibilities of actual texts can succeed on any broad level. After considering examples of current interdisciplinary work that, regardless of their other strengths, do not turn out to be significantly new and different from previous paradigms, I consider an example that, to my mind, most strongly illustrates in a general way what the new interdisciplinarity will have to look like if it is going to succeed. (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.

I identify and resolve an internal tension in Critical Contextual Empiricism (CCE) – the normative account of science developed by Helen Longino. CCE includes two seemingly conflicting principles: on one hand, the cognitive goals of epistemic communities should be open to critical discussion (the openness of goals to criticism principle, OGC); on the other hand, criticism must be aligned with the cognitive goals of that community to count as “relevant” and thus require a response (the goal-relativity of response-requiring (...) criticism principle, GRC). The co-existence of OGC and GRC enables one to draw both approving and condemning judgments about a situation in which an epistemic community ignores criticism against its goals. This tension results from conflating two contexts of argumentation that require different regulative standards. In the first-level scientific discussion, GRC is a reasonable principle but OGC is not; in the meta-level discussion about science, the reverse holds. In meta-level discussion, the relevance of criticism can be established by appealing to goals of science that are more general than the goals of a specific epistemic community. To illustrate my revision of CCE, I discuss why feminist economists’ criticism of the narrowness of the goals pursued in mainstream economics is relevant criticism. (shrink)

This paper discusses two novels by contemporary writer Inga Iwasiów (b. 1963), Bambino (2008) and Ku słońcu [Towards the Sun] (2010), in the context of geopolitical, ideological, social and psycho-cultural transformations as they specifically affect different generations of inhabitants of the Polish city of Szczecin (pre-1945 German Stettin) from 1945 until the first decade of the 21st century. Bambino covers the years 1945–1981, but also contains flashbacks to pre-war memory of Stettin and to the suppressed experiences of the new post-war (...) inhabitants, as well as ‘flash-forwards’ to post-1989, post-communist reality; Ku słońcu covers 1981 to the first decade of 2000s. It shows how the novels portray these transformations through the experience primarily of women (but not only) — in Bambino, through the main protagonists: Ula (formerly Ulrike), Anna and Marysia, and through that of the hidden narrator Magda (Marysia’s daughter born in the same year as the author, Iwasiów, 1963); and in Ku słońcu, primarily through the experience of Magda herself, as well as through that of two generations of ‘feminist’ academics: Małgorzata and Sylwia (in which it is hard not to perceive the personal experience of the author, though she is at pains to emphasize elsewhere that her work is a collective biography of the city, not so much of herself). The analysis follows Katarzyna Chmielewska’s supposition that contemporary Polish fiction dealing with the past ‘constantly oscillates between memory and genealogy’, and that it raises raw issues not yet addressed by historians; it also derives inspiration from the new ‘postdependency’ studies proposed by Hanna Gosk and Ryszard Nycz. It also attempts to capture the specific nature of Iwasiów’s use of language, her style of feminism, her method of portraying place, and the connections in her prose between place and memory. (shrink)

Arthur C. Danto, philosopher and art critic for The Nation from 1984-2009, offered interpretations of artworks by a wide array of artists, including Eva Hesse, Judy Chicago, and Cindy Sherman, whose "disturbatory" works were either ignored or denounced by mainstream critics at the time. Danto's championing of feminist art was deliberate and delightful; he openly endorsed the Guerilla Girls! His feminist art critical writings ultimately shaped the early development of what has come to be known as "feminist (...) aesthetics" particularly his focus on defiant artworks by female artists who sought to reclaim agency and expression of the female body. He revived interest in the neglected topic of beauty while simultaneously advancing radical political goals within the artworld. His call to arms urged art viewers to experience the new--what he often called "art on the edge and over"--wherein, "The experience of art becomes a moral adventure rather than merely an aesthetic interlude" (in Art on the Edge and Over: Searching for Art's Meaning in Contemporary Society 1970s-1990s, 1996). (shrink)

The article deals with the philosophical problem of the objectivity of knowledge in relation to the ideas and postulates advanced by feminist critics from the 1960s on. To this end, I take the historical perspective into account and present successively selected threads of feminist criticism of the traditional theory of knowledge, followed by selected positive aspects of feminist epistemology. First of all, I discuss feminist criticism of the androcentric research model, which is based on (...) the doctrine of the disembodied, detached objectivity of the subject and object of research as well as of knowledge itself. Next, I present selected feminist approaches to knowledge which constitute cognitively valuable proposals for the transformation of the traditional theory of knowledge through the application in philosophical reflection and research of the feminist research perspective. (shrink)

This paper highlights John Stuart Mill’s views on the problem of gender equality as expressed in The Subjection of Women, which is commonly regarded as one of the core texts of Enlightenment liberal feminism of the 19th century. In this paper, the author outlines the historical context of both Mill’s views and his personal biography, which influenced his argumentation for the emancipation of women, and considers Mill’s utilitarianism and liberalism, as the main philosophical background for his criticism of social (...) conditions that subordinated women. She reflects on some of the philosopher’s ideas and arguments for equality and friendship between women and men which may still be considered noteworthy and relevant. Attention is also given to the main lines of contemporary reception of Mill’s liberal feminism from the perspective of current feminist philosophy, within which certain critical views predominate. Despite some problematic points in Mill’s considerations, his essay on women’s subjection may be regarded as one of the philosophically most interesting conceptions of liberal feminist thinking. (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)

Feminist aesthetics can be characterized as a critical conceptual framework for analyzing the gender assumptions Western aesthetics, philosophy of the arts and the arts have had and their implications in the categories they have historically employed. It emerged as a result the influence feminism had in the study of gender bias in the artistic production and its reception. Works like Linda Nochlin’s Why Have There Been No Great Women Artists? (1971) and Laura Mulvey’s Visual Pleasure and Narrative Cinema (1975) (...) were fundamental for recognizing the exclusion of women from the history of the great visual artists and how the male gaze is a predominant kind of depiction that satisfies and is designed from a masculine and heterosexual point of view. -/- During the 1970s and 1980s it started the analysis of the male gaze in literature, film and visual arts, but also the women’s artistic production demanding its recognition. However, it was not until the 1990s that philosophical feminist aesthetics was first addressed as an important and necessary area of study with the special issues Feminism and aesthetics (Hein, Korsmeyer 1990) in “Hypatia: a journal of Feminist Philosophy”, and Feminism and traditional aesthetics (Brand, Korsmeyer 1990) in “The Journal of Aesthetics and Art Criticism”. And the first introductory book on the field, Gender and aesthetics: an introduction by Carolyn Korsmeyer (2004) was published during the first decade of the 2000s. -/- Although feminist aesthetics came later than feminist political philosophy, it appeared almost at the same time as feminist perspectives of other philosophical fields, such as epistemology and philosophy of science. Like other feminist approaches to different philosophical domains, there is not a unitary feminist perspective on aesthetics, however, despite the variety of approaches, all implicitly or explicitly demand the recognition of women in its sphere of influence, that is, philosophy and the arts. Nevertheless, contrary to other fields it does not only take contributions from analytic and continental feminism, but also from cultural theory, art history, comparative literature, film theory, psychoanalysis, just to name a few disciplines and theories. Feminist aesthetics’ literature covers a broad range of topics, but the most important are the feminist critique of philosophical aesthetics and the feminist philosophy and theory of the arts. (shrink)

Religion-based AI chatbots serve religious practitioners by bringing them godly wisdom through technology. These bots reply to spiritual and worldly questions by drawing insights or citing verses from the Quran, the Bible, the Bhagavad Gita, the Torah, or other holy books. They answer religious and theological queries by claiming to offer historical contexts and providing guidance and counseling to their users. A criticism of these bots is that they may give inaccurate answers and proliferate bias by propagating homogenized versions (...) of the religions they represent. These “embodied spiritual machines” may likewise bear bias against women, their gender, and their societal roles. This paper crafts a concept intended to address this GPT issue by reimagining, modifying, and implementing a feminist approach to these chatbots. It examines the concepts and designs of these bots and how they address women-related questions. Along with the challenge of bringing gender and diversity-sensitive religious wisdom closer to the people through technology, the paper proposes a re-engineered model of a fair religion-based AI chatbot. (shrink)

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

Feminist philosophers do not take well to criticism, and while many scholars are appalled at the idea of an academic field adhering to a controversial political philosophy and pursuing a controversial agenda within the academy, very few have been willing to take on the daunting and unrewarding job of examining and criticizing the feminists’ arguments and assumptions. In consequence, a feminist philosophy that is inspiring the successful effort to transform the American academy goes on virtually unchallenged. In (...) this paper I will briefly be discussing some serious moral and pedagogic weaknesses of feminist philosophy. My intentions are to initiate discussion on some important and controversial topics. The hope is that others will enter the fray and that a more open and less diffident debate will ensue. (shrink)

This essay examines antiracist feminist writing and activist oral histories, finding in these scholars' and organizers' attention to the role of spirit in their work an approach it names “loving criticism.” Loving criticism seeks knowledge that does something besides expose the truth of oppression. It seeks to amplify kindness, creativity, love, and joy wherever it can find it, so that the critic, activist, and the world can draw on these resources. Love leads us to bring old knowledges (...) into our work and to find common ground with those whom we protest and criticize. Through loving criticism, we look for and encourage the best in others and ourselves, trusting that nourishing our creative parts is intrinsically good. Love helps us find alternatives to oppositional thinking and violence so that we can create deep, lasting change. (shrink)

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

The Oxford handbook of cognitive literary studies' applies developments in cognitive science to a wide range of literary texts that span multiple historical periods and numerous national literary traditions. The volume is divided into five parts: Narrative, History, Imagination; Emotions and Empathy; The New Unconscious; Empirical and Qualitative Studies of Literature; and Cognitive Theory and Literary Experience. Most notably, the volume features case studies representing not just North American and British literary traditions, but also Argentinian, (...) Chinese, Colombian, Dominican, German, French, Indian, Mexican, Polish, Puerto Rican, Russian, South African, and Spanish. Moreover, the volume will cover a variety of periods (e.g.,0. (shrink)

This paper explores the role of 1980s to early 1990s feminist theory of art within the analytic philosophical tradition of aesthetics starting with a critique of the noncontextual criticism of aesthetics of Jerome Stolnitz and Monroe Beardsley contrasted with contextual feminist theory, informed by contextual theories of Arthur Danto, George Dickie and Marcia Eaton, and concluding that knowledge of external, contextual data is necessarily required to assess a work of art that has been deemed a work of (...) art by means of external, contextual data. Feminist theory is one type of contextual theory available. (shrink)

This article reviews the debate on ‘intersectionality’ as the dominant approach in gender studies, with an emphasis on the politics of representation. The debate on intersectionality officially began in the late 1980s, though the approach can be traced back to the institutionalization of women's studies in the 1970s and the feminist movement of the 1960s. Black and lesbian feminists have long advocated hyphenated identities to be the backbone of feminist thought. But in recent years, intersectionality has sustained (...) class='Hi'>criticism from numerous angles within gender studies, ranging from feminist philosophy to applied political research. This article will use the theorization of ‘interference’ as a searchlight to produce an overview of this interdisciplinary debate, culminating in our affirmative answer to the question: should we move from intersectionality to interference? Our answer is based on onto-epistemological reflections, i.e., reflections in which being and knowing are always already entangled. -/- . (shrink)

Analytic aesthetics has had little to say about academic schools of criticism, such as Freudian, Marxist, feminist, or postcolonial perspectives. Historicists typically view their interpretations as anachronistic; non-historicists assess all interpretations according to formalist criteria. Insofar as these strategies treat these interpretations as on a par, however, they are inadequate. For the theories that ground the interpretations differ in the claims they make about the world. I argue that the interpretations of different critical schools can be evaluated according (...) to the truth or epistemic merit of these claims. (shrink)

The Shadow of God in the Philosopher’s Garden. The Parc de La Villette in Paris in the context of the philosophy of chôra I Bernard Tschumi’s project of the Parc de La Villette could have won the competition and was implemented thanks to the political atmosphere that accompanied the victory of the left-wing candidate in the French presidential elections in 1981. François Mitterand’s revision of the political programme and the replacement of radical reforms with the construction of prestigious architectural objects (...) and urban assumptions in the French capital gave Tschumi a unique opportunity to realise ideas that polemicised with traditional forms of social life, questioned the basic principles of architecture and included architectural work in the philosophical disputes over the issues of metaphysics. Tschumi’s theoretical assumptions put forward during the design of the Parc de La Villette highlighted the questions of conflict between the main components of the project and suggested that the intensification of differences was analogous to Jacques Derrida’s creation of the concept of différance. It was this philosopher who in a special commentary to Derrida’s project also introduced the concept of maintenant, which aimed at demonstrating that the architect’s polemical inclinations remain in a hidden balance with his inclinations to affirmation of architectural principles. During the discussion between Derrida and Peter Eisenman, who was to take part in the design of the Parisian park, the concept of the chôra was also put forward, which in the course of the debate led to an additional confusion of architectural and philosophical problems. II In the period from the Antiquity to the Renaissance, the dialogue Timaeus was the most frequently commented work of Plato. At present, the most frequently discussed is the issue of the chôra included in it, which aroused fascination among philosophers, researchers of rhetoric, religion, feminism, but also architecture. The work on the chôra also influenced the development of the interpretation of the Parc de La Villette, among which the topics related to the beginning and the change were highlighted. In early uses of the word chôra in Greek, as in Homer’s 18th Book of Iliad, it meant both dancing and a place to dance. On this occasion, it can be seen that it is not possible to determine which phenomenon took precedence in the creation of the name. It cannot be denied, however, that the word concerned a specific movement, as if circular and returning to an indefinable beginning. Despite gaining more and more general meanings, the word chôra has retained its connection with the dance of people on the threshing floor, the dance of bees (choros meliton) or the dance of stars (choros astron). In Timaeus, the chôra is a space filled with movement with an effect similar to shaking the sieve to husk the grain: it separates similar elements from the dissimilar ones. The juxtaposition of the Parc de La Villette and the chôra already at this stage leads to the suggestion that the park was treated by the architect as a place of dynamic changes leading to the establishment of new social solutions. In his statements, the architect confirmed that the park was to be a space of new politics and ethics. The book by Julia Kristeva La Révolution du langage poétique contributed to the spread of the belief that works of art can play a role as factors of political revolution. In this work, the author put forward the thesis that the chôra is a kind of space, the character of which has a destructive influence on attempts to conclude language games. The chôra gives beginning to words, but at the same time, by leaving a trace of this beginning it forces us to renew their meanings. The chôra understood in this way, turns out to be an irremovable beginning, to which one has to return all the time. Kristeva found manifestations of the chôra’s activity in avant-garde French poetry, to which she attributed the role of a mediator between criticism of metaphysics and aspirations for social change. The chôra, violating the language, introduces some voids into it, as if traces of the abyss, which direct the consciousness towards understanding the necessity of political changes. The Parc de La Villette was to pursue similar objectives in the city space. In his essays, Tschumi considered the problems of creating spaces that would give rise to a radical democracy. The proposed rebellious spaces should have the characteristics of a void, in which contradictory forces would occur as forms of pure activity. The means of achieving this goal was to concentrate contradictions and make them visible. The Parc de La Villette was supposed to collect differences as indelible and at the same time by showing them it was supposed to raise awareness of the social world as a conglomerate of differences. Saturation of the space of the park with subversive values results from the character of this space suppressed in the consciousness, as well as from the social diversity which has not been taken into account so far. The main contradictions contained in space relate to the division that exists between its presentation as a mental problem and a sensual one. The park was the deliberate creation of a place that transcends such a division and creates a separate space for negotiation between architectural theories and its practical applications. The purpose of the park was to become a place of future events, which would not hide their conflicting character coming from diversity of both space and society. The method of composition usually aimed at achieving a harmonious whole has been replaced by Tschumi with a system of juxtaposition of non-coherent elements or those resulting from variations and transformations. Tschumi did not seek direct influence on politics in the Parc de La Villette, but made room for thinking about the possibilities of the future. He introduced problems rather than showed solutions to them. The task of the park was to put the principles of architecture into a kind of vibration that would inspire users to participate in the new community. III Tschumi believes that the quality of architecture depends on the theoretical factor it contains. Such a view led to the creation of architecture that would achieve visibility and comprehensibility only after its interpretation. On his way to creating such an architecture he took on a purely philosophical reflection on the basic building block of architecture, which is space. In 1975, he wrote an essay entitled Questions of Space, in which he included several dozen questions about the nature of space. The questions he formulated could be regarded as analogous to the situation in the philosophy of the time, in which the interest in questioning the most obvious forms of understanding the world and intellectual categories increased. The research on space is an area common to many fields of natural sciences, humanities and artistic creation, but it also deals with other problems, such as issues of experience. The concept of space-time continuum proposed by Hermann Minkowski drew attention to the identity of time and space with the events taking place. Probably regardless of the postulates of physicists commenting on Albert Einstein’s discoveries, also in philosophy it increased the importance of the concept of the event which became dominant in Martin Heidegger’s latest work Contributions of Philosophy: Of the event. Furthermore, Tschumi’s reflections on space entered into relation with the problem of experience, which aroused the interest of a group of French philosophers trying to assimilate Georges Bataille’s concept of “inner experience”. Both Tschumi and Derrida referred to Bataille because his views could be used not only to modify the concept of the subject, but also to change the understanding of what constitutes the area of architecture. The discussion on experience has led to the recognition that the subject is not sovereign, but actually a form of what is on their outside. Such insights make it possible to treat the area of the Parc de La Villette as existing mainly when it is organised by its users. The decisive features of the park are its assumptions, according to which it is a variety of active void that leads to agreeing new social relations with it. The park does not force to participate in already existing moral or political communities, but tries to move into an unknown future in which the scope of free functioning of individuals will be increased. Doubts about the principles of functioning of the individual self and its discovery as a whole composed of non-coherent parts, as well as its dependence on its own depth full of disordered forces, influenced the understanding of architecture as a set of contradictions whose source is a fundamental void anticipating the empty phenomenal space. The use of this phenomenal void in architecture, as well as the rejection of the whole and unity, had a specific political purpose and drew its inspiration from political analyses. In the Parc de La Villette, metaphysics and politics were brought closer together because the philosophy of void was used to create new conditions for community action. It can be argued that the source of this philosophy was the perception of errors in existing societies dependent on the shortcomings of traditional metaphysics. Spacing (espacement) was one of the key terms in Derrida’s philosophy, which was also combined with the concepts of différance and chôra. The study of the nature of space, especially its transition from the level of pure possibility to the level of sensual phenomenon, also contributes to understanding how well designed space can have an impact on its audience. This explanation is based on Tschumi’s assumption that the space of the Parc de La Villette contradicts the integrating approaches and instead exposes contradictions, but it does so in a way that combines incompatible properties into a single piece of architecture. The specificity of such integration is similar to the invention of a musical phrase, which is an ideological message: moral and political. Such a thesis may raise doubts, however, if both the clearly adopted assumptions and those deduced from the work allow for their logically ordered presentation then to a limited extent it may be assumed that the work has achieved a connection between a specific philosophy of space and its practical application. Derrida combined the problem of spatiality with the problem of transcendental imagination in the philosophy of Immanuel Kant, who in the first version of Critique of Pure Reason assumed that pure imagination precedes the appearance of time and space, even in their transcendental forms. The imagination in such a situation can be described as a factor activating time and space, which indicates what function is played by movement in this activity. This leads us to recognize that the ultra originary source of pure forms of sensual intuition is movement, which in early Greek philosophy was identified with void and its lack of resistance to phenomena occurring in it. Derrida’s philosophy in search of a certain super-transcendental source of time and space pointed to différance which, like void or the chôra, does not have material features or even any other form of being. Différance is the primary cause of the disruption of motionlessness and the introduction of activity into motionless time and space, thus its activity can be described as spacing (espacement). Derrida’s discoveries in this respect are not entirely original, because Georg Wilhelm Friedrich Hegel already pointed out when examining the present that it is primarily a differential relation (differente Beziehung), which, being seemingly neutral, influences the present with supernatural force and makes it unidentifiable with itself. Differente Beziehung must similarly influence the originary space, negating its initial character by multiplying its divisions and expanding its boundaries. Différance acts by revealing contradictions wherever there is apparent undifferentiation. Tschumi, composing the Parc de La Villette as a variety of void and a set of incompatible layers, followed the rules of différance or the chôra: he made void visible together with its saturation with contradictions. If space can be considered to be the result of the activity of difference, such activity has a certain regularity, which influences the behaviour of its observers. Differences or contradictions fall into a certain rhythm, which can be considered a manifestation of transcendent order. The problem is that what can be considered the source of such order, namely the logos or God, is partly disorder and error. According to descriptions contained in Timaeus, the world is a combination of forces that drive to order with forces of erroneous necessity that resounds in every order and forces it to return to disorder. Derrida denied the possibility of understanding différance as a theological value, even if it were a negative or apophatic theology, but no categorical denial could be perfect. The assumption that différance or the chôra are not endowed with any substance properties cannot deny their activity, and thus a certain force. Already since Democritus, philosophy has multiplied the names of such a force and the contradictory variety of its manifestations, never forgetting also the necessity for reason to withdraw from the possibility of giving its correct characteristics. Such a withdrawal may be interpreted as an expression of respect and, in certain situations, as a cult of the force that precedes reasonableness. The Parc de La Villette, which is an artistic divagation about the contradictions and forces behind them, can be considered as a place of their sublimation, and therefore as a variation of the temple of what differs from order and disorder. IV In the texts that presented the theoretical assumptions of the Parc de La Villette, Tschumi used a large number of terms that contradicted not only the traditional principles of composing architecture, but also negated the rules of social order and the foundations of Western metaphysics. Tschumi’s statements, which are a continuation of his leftist political fascinations from the May 1968 revolution, as well as his interest in the philosophy of French poststructuralism and his collaboration with Derrida, prove that terms such as “disruption”, “dissociation”, “disfunction”, “disjunction” and “dispersion” not only referred to architectural problems but also applied to political criticism and the deepest foundations of thinking itself. His collaboration with Derrida manifested itself primarily in the publication La Case Vide: La Villette 1985, in which the architect’s design drawings and texts explaining his concepts related to the Parc de La Villette were accompanied by an extensive essay by Derrida, which included theoretical problems taken up by Tschumi in a philosophical context. Architectural and philosophical issues were also combined during seven discussion meetings organised by Eisenman, invited by Tschumi to collaborate on the design of the Parc de La Villette. Eisenman, who, like Tschumi, invited Derrida to participate in the design of the park and also led to the publication of Chora L Works: Jacques Derrida and Peter Eisenman, in which his ideas were confronted with Derrida’s philosophical text. In this case, Derrida’s essay was not a direct commentary on the architect’s concepts, but rather a reflection on the question of the chôra presented by Plato in Timaeus. During the discussion and in his essay, Derrida pointed out that the chôra is a component of the created world, yet it does not belong to it, but precedes it. The originality of the chôra is so radical that she also precedes all the factors of creating the world, including ideas and the Demiurge. Thus athesis appeared in the metaphysics of the West that the chôra is a form of active abyss, in relation to which all beings are secondary, both those perfect (as ideas or God) and those created, such as the world, things, people or language. This leads to the conclusion that the chôra does not exist, because all existence is a derivative of the chôra. Nor could the chôra be described, since it is a form of developing a space that is preceded by a lack of space characteristic of the chôra. Derrida intended the chôra to be an instance with an exceptional degree of transcendentalism, an anti-metaphysical instance, but also an a-theological one. However, this attempt failed, both in the field of secular philosophy and in the field of theology. Derrida’s characteristics of the chôra to strengthen its transcendentalism and negation of metaphysics had to be expressed in a language that immediately produces new concepts and a new metaphysics that reproduces the categories of the beginning, the origin or the foundation known from earlier philosophical traditions. All forms of criticism of metaphysics are also inspired by negative, apophatic and mystical theology. The undermining of many concepts of permanent meaning and the introduction of new concepts of unstable meaning, characteristic of the philosophy of deconstruction, had many features of originality, but it was directed towards problems whose solutions repeat, with the use of new vocabulary, the findings known in culture since Democritus. Thus, if apophatic philosophy can be regarded as deconstruction avant la lettre, then deconstruction itself in its late versions began to take on the features of a new religion. The exchange of inspiration between theology and deconstruction was manifested in a series of scientific conferences and publications in which Derrida’s philosophical concepts were interpreted within the scope of religious thought. Theological threads began to be found in such concepts of deconstruction as différance or the chôra, while at the same time Derrida himself undertook in his philosophy to study problems such as the Other (L’Autre) or the Impossible (Impossible), which belonged to newer theological traditions. As a consequence of the new problems, the deconstruction became closer to the features of a new religion. Philosophy, at least from Kant’s time, has tried to create a system that would take over from religion the tasks of setting moral and political goals. Similarly, Derrida has directed his interest towards the problems of democracy and ethics, which would enable their renewal. Attempts to create a new religion (cleared of old metaphors), a new community or a new democracy bring problems and threats which may be no less troublesome than the previous systems. All promises of freedom carry with them threats, the greater the more they strive for perfection. The renewal of existential orders, sometimes carried out by means of violent changes, is a certain repetitive feature of human cultures. Deep changes, however, do not protect against the return of both old gods and old demons. Tschumi and Derrida were shaped in their youth by the atmosphere of leftist rebellion against the moral and political limitations of ossified communities and the imperfections of democracy. The ethical theme distinguishes many of their works, including the Parc de La Villette. The opposition to the metaphysical traditions of philosophy and architecture contained in this park was prompted by specific political situations and resulted from bringing political issues to the level of philosophical considerations. Achievements made at the level of pure concepts were then subject to elevation, to a kind of sacralization, which made them religious concepts. The deconstruction reached for the status of the new religion especially when it found its followers and began to generate moral obligations. In the new situation, terms such as the chôra, l’Autre or the Impossible were absolutized and in relation to them a cult and attitude of adoration emerged. The Parc de La Villtette then gained new post-secular meanings, which allow it to be assigned the function of a Temple of Otherness (L’Autre) and Impossible. V In the traditional sense, a work of art creates an illustration of the outside world, or of a certain text or doctrine. Sometimes it is considered that such an illustration is not literal, but is an interpretation of what is visible, or an interpretation of a certain literary or ideological message. It can also be assumed that a work of art creates its own visual world, a separate story or a separate philosophical statement. Parc de La Villette represents the last of these possibilities: it is a philosophical statement that develops the premises derived from poststructuralist philosophies and the philosophy of deconstruction. The uniqueness of its being status, however, is that it does so not only at the level of the theoretical assumptions, but also through its functioning as an active philosophical work. This means that a park is a happening philosophy. Its activity, however, does not refer only to the present tense, but is also an attempt to penetrate the future, all otherness and impossibility. This kind of activity assumes that the work, in a sense, does not yet fully exist, but is also still produced in the processes of its interpretation. The theoretical foundations of the park included texts by Tschumi, in which he questioned traditional ways of creating a work of architecture, postulating in return the use of a long series of negations, which were comparable to the crisis of metaphysics characteristic of contemporary philosophy. It is therefore no coincidence that the publication containing Tschumi’s theoretical text on Parc de La Villette was accompanied by an essay by Derrida developing some of the architect’s concepts. The next step in integrating philosophy into the process of park design was a series of discussions between Eisenman and Derrida, who completely moved the creation of the park into the world of thoughts, without accentuating the need for their realization in the material reality. The main topic of these discussions was the problem of the chôra, which was taken up by later commentators and used to interpret the park as a work in which the philosophy of the beginning is manifested relating to issues of politics, morality and religion. The park was therefore interpreted as a space of invention within the scope of creating new rules of functioning of the community and democracy. Thinking about the political future may, however, exceed the horizon of ordinary expectations. Although philosophical thought is always connected with contemporary problems and metaphysics sometimes intertwines with current politics, yet at the same time the customs of philosophy also include crossing horizons and thinking about absolute otherness and impossibility. Initially, the chôra, différance, absolute otherness (tout autre) and the Impossible were concepts of pure philosophy of atheistic character, but with the further development of the discussion, more and more theological motifs began to emerge. One of the reasons for this phenomenon was the fact that radical negations of all being, which were contemplated in contemporary philosophy (by Heidegger and Derrida, among others), had previously been manifested in negative and apophatic theologies (by Master Eckhart, among others).Also the category of the “Other”, taken from Emmanuel Levinas, was clearly connected with the thought about God. A further reason for connecting the chôra with the theological thought was the interest in the philosophy of deconstruction expressed by some theologians. John Caputo in particular managed to persuade Derrida to participate in discussions on the current status of religion. In the late period of Derrida’s writing, further statements on religious topics appeared. All these reasons led to posing a question about the identity of the chôra and God. Although there were no satisfactory conclusions on this issue, the discussion was also important to create an interpretation of the park as a place of worship. The chôra, representing, according to Plato, the preoriginal emptiness is the place of every beginning, but it turns out that it is not neutral to the being created in it. The chôra deposits itself in every being as an irremovable beginning that interferes with its stability. The chôra, therefore, forces us into a palintropical movement, but it also turns out to be a pure compulsion, an erring necessity and a fundamental force from which, in the human perception, motifs useful to the individual and to the community are extracted. All definitions of this force, including its anthropomorphisation, are formulated in such a way that they allow for building private and collective morality upon them. Such definitions are changed depending on variable political situations. It is difficult to determine whether in the processes of changes in the formulation of “God’s names” any essential value is retained, which is not subject to change. The current definitions of the chôra (God?), which can be found, for example, in the philosophy of Caputo, stress that she is a combination of various and contradictory forces. This characteristic inherits much of Plato’s concept, reminds us of Master Eckhart’s views on Gottheit and, at the same time, is not unfamiliar to Tschumi, whose essays were an apologia of contradictions. The current concept of chôra, transferred into the sphere of politics, is the praise of social diversity and the protection of the difference from the forces of order. In the Parc de La Villette, the future community and democracy were elevated as a system of safe existence of individuals in all their singularity. The park is a temple of a future community in which individual beings have nothing in common. (shrink)

The giant strides to be taken in becoming an academic do not just entail acquiring knowledge through formal education but demand further steps to master, philosophize and profess knowledge. Apart from the credentials to show that quality conditions were fulfilled in a higher education, volumes of well researched publications in peer review academic journals are vital. In Nigeria, when this form of learning came through colonial education women were not as privileged as men to acquire it immediately. So, men become (...) educated first, hence were the first set of academics. Subsequently, women joined this league of educated men in the academic world. The utilization of this knowledge by both men and women in academic community encroached on culture, its administration and expression. In this instance, issues in various endeavours, including academics are expressed through culture of criticism and criticism of culture. This study examines women’s academic world and their efforts in criticizing Nigerian culture with a focus on Mabel Evwierhoma’s involvement using theatre scholarship. The theory of Cultural Studies as it relates to cultural criticism specifically feminist criticism will be adopted to explore cultural feminist thoughts of Nigerian women in the academics with Evwierhoma’s input as a focus. The study finds that since the inception of feminism in Nigeria, women have deployed its scholarship, to criticise culture. Women in the theatre have used every available tool including creative writing, critical writing, research, pedagogy and philosophy to highlight cultural values that favour women. Evwierhoma has made a robust impact in this regard. (shrink)

In this paper I propose to describe, in brief, a semiotic paradigm which results from the redefinition of the linguistic sign as a molecular sememe. Borrowing a tactic from Wittgenstein, I wish to use the game of chess as an analogy for the sake of describing what a molecular sememe is. Then I hope to use it further to sketch several implications of this semiotic paradigm for literary criticism and critical theory.

If ecocriticism can and should be dialectically assimilated to the project of a Marxist literary and cultural criticism, how do we have to rethink both ecocritical and Marxist literary critical praxis? What can a Marxist ecocriticism lend to interrogations of the relation between literature and ecocriticism’s most undertheorized category: the environment? Leerom Medovoi illustrates that Marxism not only can, but must play a central role in the formulation of an ecocritical approach to literature capable of transcending the (...) inability to think beyond thematic criticism and ethical critique. (shrink)

Both books published in 1996 explore the role that gender plays in the psychology of art (dealing with both making and viewing), complicating current philosophical distinctions between the aesthetic and the cognitive, and providing new insights into basic topics in the history and psychology of perception, representation, and disinterestedness.

In The Women of Grub Street (1998), Paula McDowell highlighted the fact that the overwhelming majority of women’s texts in early modern England were polemical or religio-political in nature rather than literary in content. Since that time, the study of early modern women’s political ideas has dramatically increased, and there have been a number of recent anthologies, modern editions, and critical analyses of female political writings. As a result of Patricia Springborg’s research, Mary Astell (1668-1731) has risen to prominence (...) as one of the most astute female political commentators of her day. Springborg argues for Astell’s importance as one of the first systematic critics of the philosopher John Locke, and she interprets Astell’s political thought as a reaction to Lockean Whig politics in the early reign of Queen Anne. But some scholars claim that it is a mistake to think that Astell was chiefly preoccupied with Locke, and others suggest that reading Astell in relation to Locke alone can distort our understanding of her larger political theory. In this chapter, I argue that a more accurate picture of Astell’s political outlook emerges by examining a little studied essay, ‘A Prefatory Discourse to Dr D’Aveanant’ in her 1704 work Moderation Truly Stated. In this critique of Charles Davenant’s Essays upon Peace at Home, and War Abroad (1704), Astell provides a commentary on the political ruthlessness of Niccolo Machiavelli in his Discourses on Livy. Astell’s comments reveal that, in an age in which the political vocabulary was turning to the language of rights, property, and liberty, she still subscribed to the ancient world view, and the ethical-political language of virtue and the good. My intention is to show that these ethical dimensions of Astell’s political thought are consonant with her wider philosophy. (shrink)

Focusing on Deleuze´s concept of becoming and on the way it embraces difference in the genesis of literary writing, we intend to put in dialogue the concept and the philosopher with the post-colonial criticism and its re-articulation of the subaltern´s issue, to make a reinterpretation of the becoming and its variations – becoming-woman, becoming-minor – for cultural and literary analysis.

This chapter reviews the history of the major ideas of successful ageing, their current state, and criticism. The original concept of successful ageing understood as life satisfaction continuing into later maturity, was developed by Havighurst in the early 1960s. Afterward, it was associated with active, healthy, positive, or productive ageing. For contemporary gerontology, successful ageing was rediscovered in the late 1980s by Rowe and Kahn who regarded it as good physical and mental health as well as social engagement. Today, (...) one can speak of three major trends in the development of ideas of successful ageing. On the one hand, considerable numbers of scientists and specialists around the world in an uncritical way elaborate projects and programs of successful ageing as a useful research and practice framework. On the other hand, over the past two decades, ideas of successful ageing have tended to embrace more than implied in the classical Rowe-Kahn model. For quite a large group of researchers, successful ageing is an umbrella term for a positive world outlook and a respective lifestyle in old age, not limited to one theory and potentially encompassing all older people who are relatively content with themselves and their life, which can be facilitated through altruistic behavior and spiritual growth. Finally, quite influential is the trend that denies the importance of successful ageing and regards it as a reflection of current neoliberal values. This approach is typical of critical gerontological branches, post-Marxist, feminist, postmodern gerontology among them. Authors sharing this view believe that concepts of successful ageing individualize and psychologize ageing and ignore power relations and structural inequalities in society. (shrink)

Writing within and against the set critical practices of psychoanalytic-deconstructive-Foucauldian-feminist cultural theory, Elizabeth Wilson demonstrates, in this provocative and original book, the productivity and the pleasure of direct, complicitous engagement with the contemporary cognitive sciences. Wilson forges an eclectic method in reaction to the 'zealous but disavowed moralism' of those high cultural Theorists whose 'disciplining compulsion' concocts a monolithic picture of science in order to keep their 'sanitizing critical practice' untainted by its sinister reductionism. Her unsettling accounts of texts (...) by, for example, Karl Popper, Judith Butler, Derrida, Turing, Ebbinghaus and Freud will send many readers back to the sources. It is no surprise that such a broad and ambitious project leaves many threads loose, and no criticism at all that it succeeds more in hinting at the promise of a new connectionist politics than in offering up such a hybrid fully-formed. (shrink)

In this paper, I attempt to find a middle ground between the formalist critic, Vladimir Propp, and the psychoanalytic critic, Carl Jung. I argue that, instead of regarding Russian formalism and psychoanalysis as irreconcilable adversaries, the theories of the two figures can (and should) be unified; the result of which can be devised to establish a theory of what I call an ‘‘archetypal narrative’’. To be more explicit, Propp’s Morphology and Jung’s archetypal psychoanalysis are reconciled to bring about an archetypal (...) narrative theory, in which the underlying structure of narratives lies in the collective unconscious of humanity. (shrink)

These two books challenge museums--the predominant and continually evolving institutions of art delivery--in order to uncover and expose the rampant political biases and hidden strategies that their founders, administrators, and boards of trustees have utilized in order to maintain the preferred status quo of predominantly white male power.

One of the key insights of Simone de Beauvoir’s The Second Sex is the idea that gender-based subordination is not just something done to women, but also something women do to themselves. This raises a question about ethical responsibility: if women are complicit, or actively implicated in their own oppression, are they at fault? Recent Beauvoir scholarship remains divided on this point. Here, I argue that Beauvoir did, in fact, ethically criticize many women for their complicity, as a sign of (...) what she called “bad faith”. I challenge recent accounts by Nancy Bauer and Manon Garcia, who both read Beauvoir as exonerating complicit women. According to this reading, women emerge as human “freedoms” within a social world where a “destiny” of inferiority is already prepared for them. Their self-subordination is then an inevitable product of acting in a patriarchal world. I argue, however, that this interpretation generates a crucial tension, leading Bauer and Garcia to call on women to stop being complicit, while also claiming they cannot avoid complicity. I propose instead a different interpretation, on which feminine complicity is often fueled by criticizable ethical attitudes that are far from inevitable. By revisiting Beauvoir’s notion of “bad faith”, I show that this account is compatible with recognizing the limitations imposed on women’s agency and I show that this feminist ethical criticism is itself an important part of a collective project of social transformation. (shrink)

There are two popular views regarding the origin of critical thinking: (1) The concept of critical thinking began with Socrates and his Socratic method of questioning. (2) The term ‘critical thinking’ was first introduced by John Dewey in 1910 in his book How We Think. This paper argues that both claims are incorrect. Firstly, critical reflection was a distinguishing characteristic of the Presocratic philosophers, setting them apart from earlier traditions. Therefore, they should be recognized as even earlier pioneers of critical (...) thinking. Secondly, John Dewey not only used the term ‘critical thinking’ before 1910, but there were also other authors who used it before him. The meaning of ‘critical thinking’ at the turn of the twentieth century was shaped by various traditions of linguistic usage, including literary criticism, science and medicine, and Kantian philosophy. (shrink)

Aida Míguez Barciela explora la literatura evocando a la vez problemas fundamentales en la historia de la filosofía: los límites de la razón en la interpretación de Swift, la relación del capital y la moral en las novelas de Balzac y Defoe, la cuestión de la libertad del individuo en las lecturas de Kafka y Henry James, así como el problema del arte y la vida en Thomas Mann y Yourcenar. Con un estilo personal y al margen tanto de los (...) trabajos puramente académicos como de la crítica literaria más convencional, "Cuando los pájaros cantan en griego" incluye también ensayos sobre Virginia Woolf y Jane Austen, Melville y Mishima, Tolstói y los poemas homéricos, así como sobre otros autores que solemos considerar «clásicos». (shrink)

Cognitive science can help literary scholars formulate specific questions to be answered by archival research. This essay takes, as its starting point, embedded mental states (that is, mental states about mental states) and their role in generating literary subjectivity. It then follows the transformation of embedded mental states throughout several manuscripts of Christa Wolf’s autobiographical novel, Patterns of Childhood (Kindheitsmuster, 1976), available at the Berlin Academy of Arts. The author shows that later versions of Patterns of Childhood have (...) more complex embedments in the chapter describing the adolescent protagonist’s relationship with her schoolteacher. This textual development is integral to the process whereby the presumably authentic memories of the past are constructed to fit the present needs of the person who is doing the remembering. Accompanying the three case studies of the manuscript revision is a discussion of theoretical and practical implications of this “cognitive-archival” approach to literature. (shrink)

Jorge Luis Borges displays an ambivalence in his writings towards the reality of time’s flow. On the one hand, he seems to accept arguments from various thinkers refuting the reality of time. “And yet, and yet…” Borges appears unable to feel completely reconciled to such a view of time. I argue that this is because a view that refutes time denies the observer too along with it. I conclude with demonstrating how Borges, by trying to identify a reconciliation between a (...) refutation of time and acknowledgment of its reality, addressed this problem. (shrink)

Criticism can sometimes provoke defensive reactions, particularly when it implicates identities people hold dear. For instance, feminists told they are upholding rape culture might become angry or upset, since the criticism conflicts with an identity that is important to them. These kinds of defensive reactions are a primary focus of this paper. What is it to be defensive in this way, and why do some kinds of criticism, or implied criticism, tend to provoke this kind of (...) response? What are the connections between defensiveness, identity, and active ignorance? What are the social, political, and epistemic consequences of the tendency to defensiveness? Are there ways to improve the situation? (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.

The attitude toward nature in James Thomson’s "The Seasons" has not been duly noted by literary commentators. Instead, the reception of "The Seasons" in modern literary criticism has focused on all sorts of aspects, ranging from visual imagery, to “dislocation, deformity and renewal.” However, when nature as a theme in the poem has been tackled, critics have favored its religious implications—specifically, those pertaining to the historical period in English literature, as well as a number of hypotheses about (...) Thomson’s own relation toward god—over Thomson’s conception of nature on its own terms. Furthermore, none has, in my view, concentrated enough on the most emblematic characteristic of "The Seasons": its unresolved stance toward the natural and its strongly polarized attitude toward it. The aim of this essay is to examine these inconsistencies in order to reveal what they tell us about the period’s changing perspectives, to place "The Seasons"’ reception of the natural in the history of eighteenth-century literature, and to uncover the implications and fertile consequences of Thomson’s view of nature—which spill into para-literary domains. (shrink)

This article examines who or what should be the target of feminist criticism. Throughout the discussion, the concept of memes is applied in analyzing systems such as patriarchy and feminism itself. Adapting Dawkins' theory on genes, this research puts forward the possibility that patriarchies and feminisms are memeplexes competing for the limited energy and memory space of humanity.

Definida como beleza lógica e forma do paradoxo, a ironia romântica de Friedrich Schlegel (1772-1829) assimila a antiga ironia socrática e a reinterpreta, inserindo-a como elemento central de sua teorização crítico-literária. O presente artigo analisa a ironia romântica, buscando situar sua alteração e abrangência no final do século XVIII, quando o conceito passa a significar metacrítica, reflexão filosófica, ruptura ficcional, distância estética e forma de exposição da arte literária. Defined as logical beauty and form of paradox, Friedrich Schlegel's (1772-1829) romantic (...) irony incorporates ancient Socratic irony and reinterprets it, inserting it as a nuclear element of his theorization on literary criticism. The current paper analyses the concept of romantic irony seeking to situate its alterations at the end of 18th century, when it changed its meaning for metacritics, philosophical reflexion, fictional rupture, aesthetical distance and form of art exposition. (shrink)

Before her death in 1673, Margaret Cavendish, the Duchess of Newcastle, expressed a wish that her philosophical work would experience a ‘glorious resurrection’ in future ages. During her lifetime, and for almost three centuries afterwards, her writings were destined to ‘lye still in the soft and easie Bed of Oblivion’. But more recently, Cavendish has received a measure of the fame she so desired. She is celebrated by feminists, literary theorists, and historians. There are regular conferences organised by the (...) International Margaret Cavendish Society, and there have been several biographies, as well as essay collections, journal issues, scholarly editions, and anthologies devoted to her work. In terms of studies in the history and philosophy of science, however, Cavendish has yet to achieve her resurrection in full. While there have been journal articles and book chapters, and a 2001 edition of her Observations, there have been (until now) no book-length studies of her philosophy, and there is currently no modern edition of her other major work, the Philosophical Letters. This essay-length review of Lisa Sarasohn’s The Natural Philosophy of Margaret Cavendish highlights why Cavendish should still hold interest for philosophers today. (shrink)

In this article I consider the idea that Glasersfeld’s “radical constructivism” offers an ideal framework for putting in place such a reality of the best fit for us. Along with this, I examine also the fundamental biological and epistemological limitations that we are faced with when trying to fathom objective reality and, secondly, the inescapable gap between language – which we use as a primary cognitive tool in our attempt to comprehend the world. The paper then show that literature – (...) especially fiction – best meets the criteria for addressing these gaps and constructing such a model of reality in line with what radical constructivism proposes. (shrink)