This paper addresses the question of how literary andphilosophical thinking can converge in experience of a literary work. Peter Lamarque and Stein Haugom Olsen, in Truth, Fiction, and Literature,dispute this possibility, and this discussion responds to their view, withparticular attention to their account of thematic interpretation. Thematicinterpretation is presented here as involving thought about the reasonsbehind a work’s use of its content and other features. Those reasons havean implicit generality that allows us to move from literary specificity togeneral, philosophically significant (...) thought. Philosophy’s need for thekind of thinking supported by literature, exploring pa. (shrink)

This chapter contains section titled: Seinfeld Waiting to Exhale Ellen Special News Broadcasts Radio Programs Outlaw Communities Talk Shows Conclusion.

Appeals to imagination to distinguish fiction from nonfiction have been persuasively challenged by philosophers such as Derek Matravers and Stacie Friend. This essay aims to uphold the importance of the fiction/nonfiction distinction by other means. Instead of relying on contrasting roles for imagination and belief, can we isolate kinds of experience that are paradigmatically sustained by fiction? Can status as fiction encourage, and help to explain, certain tendencies and qualities of experience? Several common aspects of experience, of what it is (...) like to experience something as fiction, are proposed: the experience of individuals as representative; a linked epistemic and aesthetic interest in detail; and openness to evaluative judgement. Nonfictional works can support these experiences, but they make most sense ethically and epistemically in the context of fiction. (shrink)

New readings of Anselm’s speculative and spiritual writings brought in light of questions and thinkers from Augustine to today.

ABSTRACT Disagreements about art are considered here for their potential to pose questions about reality beyond the artwork. The project of assessing artistic value is useful for bringing complex questions to light. The ambitiousness of the cognitive stock, in Richard Wollheim's term, that can be relevant to understanding an artwork may mean that confident evaluation will elude us. Thinking about artistic value judgment in this way shifts its centrality as the point of artistic interpretation and evaluation; the goal of judging (...) a work's meaning and value is a useful tool for prompting us to understand a work. But if we fail to reach that goal, that does not mean we have failed to engage with the work appropriately. The artistic value judgment, and achieving consensus on that value, can be secondary in importance to grasping the problems a work poses that are not immediately resolvable. Examples drawn from literary and philosophical imagining, in the work of Grace Paley and Mary Mothersill, and from Toni Morrison's literary criticism are used to illustrate and support the fruitfulness of this approach. (shrink)

This paper takes meals, rather than food itself, as its focus. Meals incorporate the project of nutrition into human life, but it is a contingent matter that we nourish ourselves in this way. This paper defends the importance of meals as meaning-makers and contrasts them with art in that regard. Meals and art represent interestingly different extremes with respect to how needs for meaning are met. Artworks ask for coordination of experience, understanding and appreciation: the meaning of art is to (...) be experienced. The meaning of meals is enacted and accumulates collectively, but need not be experienced. (shrink)

Do poems provide “scripts” for reader’s thoughts? Kendall Walton’s account of poets as thoughtwriters, in which poems can serve to express readers’ thoughts without positing an expressive thinker in the poem, is considered from various angles. While it seems a minimal expressive thinker needs to be posited, this leaves open other questions about poems as the stuff of thought. Can poems be fully thought, and do readers take ownership of the thinking that poetry prompts? Elizabeth Bishop’s “At the Fishhouses” is (...) discussed as a poem that allows the reader a chance to separate aspects of content and control of thought. (shrink)

The notion of a meal is explored in relation to questions of art status and artistic value. Meals are argued not to be works of art, but to have the capacity for artistic value. These claims are used to respond to Dominic Lopes’s arguments in Beyond Art that demote artistic value in favour of the values that emerge from specific kinds of art. A conception of artistic value that involves ‘taking reflective charge’ of the possibilities for goodness available in an (...) activity is sketched. (shrink)

Working relationships between practice nurses and general practitioners in Australia: a critical analysisThis research set out to explore shared care between practice nurses and general practitioners in South Australia. Nine practice nurses (PNs), two nurse practitioners and 10 general practitioners (GPs) were interviewed in urban and rural practices in order to build up a picture of how GPs and PNs worked together. The interviews showed that shared care was not a reality, although practice nurses were very busy, enjoyed their work (...) and were no longer performing as receptionists doing a little nursing on the side, but as highly skilled nurses. Questions that emerged included whether or not practice nurses are specialists or generalists; their relationship to nurse practitioners; the extent to which the doctor–nurse game explains the relationship between practice nurses and general practitioners; and the potential for expanding the practice nurse role. (shrink)

(2014). ‘Philosophy and the Novel’, by Goldman, Alan H. Australasian Journal of Philosophy: Vol. 92, No. 3, pp. 590-593. doi: 10.1080/00048402.2014.885069.

The question of how well we need to be known, to be loved, is considered. A ‘second-person’ model is argued for, on which love requires that the beloved’s demands to be known be respected. This puts pressure on the idea that lovers need to make a beloved’s interests their own, taking that to require comprehension of the beloved’s interests: a lover would have to appreciate the normative intelligibility and motivating force of an interest. The possibility of love with failure of (...) comprehension is defended, using illustrations from Marilynne Robinson’s novel Gilead. (shrink)

Should we aspire to aesthetic consistency? Two kinds of aesthetic consistency are considered, following Ted Cohen’s discussion of consistency in personal aesthetics: consistency of aesthetic reasons and coherence of aesthetic personality. Neither of these kinds of consistency seems like something to aspire to, possibly because we cannot do so – if we are not typically reasoning at the level of aesthetic response that is envisaged – or because consistent, coherent responsiveness does not seem like a worthwhile aesthetic goal. A third (...) kind of consistency is defended, at the level of reflection on the desirable functions of art. We can try to be consistent about broadly ethical principles, showing our commitments as to the goods that art should provide in a life or to a society. These very broad principles do not make direct or clear aesthetic contact with individual artworks, so we cannot straightforwardly apply them as evaluative principles. But we can be consistent in trying to link the very specific achievements of works with these reflective values. (shrink)

Pack includes 2 titles from the popular Blackwell Philosophy Anthologies Series: _ _ Philosophy of Literature_: Contemporary and Classic Readings_ _Edited by Eileen John and Dominic McIver Lopes ISBN: 9781405112086 _ Philosophy of Film and Motion Pictures_: An Anthology _Edited by No ë l Carroll and Jinhee Choi ISBN: 9781405120272.

Philosophical aesthetics is to some extent beholden to what I will call personal aesthetics. By personal aesthetics, I mean the phenomena of individual aesthetic sensitivity: how each of us discerns and responds to elements of experience. I take that sensitivity to be finely woven into feeling to some degree at home in the world. There is something extremely local, and in a certain sense unreflective, about personal aesthetics – it is hard to notice one's own, historically specific aesthetic formation. Philosophical (...) aesthetics, meanwhile, aspires to understand aesthetic life in a more reflective and general way. Aesthetic theories in the Western tradition, like most philosophical theories, try to articulate universally relevant and illuminating theoretical concepts and values. But can a theory of this kind acknowledge what is important at the level of personal aesthetics? Can aesthetic theories find fruitful application while also respecting the locality and variability of aesthetic sensitivity? What kinds of theoretical ambition and humility are called for in philosophical aesthetics? (shrink)

This chapter considers how and why real people can care about fictional characters.. Caring rests on having interests at stake, and in literary contexts those interests concern the accuracy and content of a representation; we as people, as part of our natural history, are beings for whom representation and being represented are centrally important. This chapter argues for a better integration of the “internal” and “external” perspectives on fictional characters, that is, a better integration of what are too often taken (...) as divergent and incompatible points of view: (1) the characters as witnessed from the outside, and (2) the reader’s vicarious identification with, and thus imaginative entry into the life of, the character from the inside. (shrink)

This authoritative volume offers a handy compilation of contributions to the field by its leading figures.

To understand rational response to ethical disagreement, we need to consider how epistemic and ethical factors interact. The notion of an ethical peer is developed, and the roles that epistemic and ethical peers play in disagreement are compared. In the light of some literary examples, the view that conciliation in response to an ethical peer can be called for, even if that peer is an epistemic inferior, is defended.

In lieu of an abstract, here is a brief excerpt of the content:Subtlety and Moral Vision in FictionEileen JohnIIn Martha Nussbaum’s work in Love’s Knowledge, the subtlety of literary fiction is given a prominent role in explaining literature’s moral influence. 1 Nussbaum argues that the subtlety displayed in certain works of literary fiction can help readers develop habits of perception such that they will perceive their actual moral world more finely and respond to it with a more nuanced range of (...) feeling. We are encouraged to perceive in this way both by encountering good examples of subtle, sensitive moral agents, in characters such as James’s Maggie Verver in The Golden Bowl, and by undergoing the perceiving, responding activity that can be required of a reader. The overarching assumption is that, as moral agents, we need finely-tuned perceptions and felt responses if we are to pick up on the morally relevant elements of our circumstances. We cannot count on finding bold, neat and regular moral patterns to follow; we are rather likely to find ourselves in a complex web of particular contexts, each demanding special moral attention. 2Nussbaum develops these claims in close conversation with the fiction and literary essays of Henry James. 3 Through examples from his novels, she illustrates and elaborates upon the ideal he points to in his essays, the ideal of “being finely aware and richly responsible,” of being a person “on whom nothing is lost.” 4 It seems quite appropriate to dwell on the works of Henry James as displaying—and as demanding from readers—a finer discrimination of elements of experience than we [End Page 308] ordinarily achieve. Discussing the “we” of James’s readers (and leading with a phrase of James’s), Nussbaum puts it: “‘Participators by a fond attention’ in the lives and dilemmas of his participants, we engage with them in a loving scrutiny of appearances. We actively care for their particularity, and we strain to be people on whom none of their subtleties are lost, in intellect and feeling” (p. 162). Having experienced this as readers, we are supposed to be better prepared to approach our own lives and dilemmas with equally scrupulous and caring attention.In general, I am less confident than Nussbaum about the connections between responsible reading of excellent fiction and the pursuit of a responsible moral life. The effects of intense appreciation of fictional moral contexts on real-life decision-making and action are probably quite indirect, requiring encouragement from real-life experiences, from practice with situations in which we have something at stake. But for the moment, I want to develop a suggestion that assumes, in agreement with Nussbaum, that one may take habits of perception learned as a reader and make them count in one’s larger moral life—albeit with reinforcement from one’s judgments and actions in that life.My suggestion involves seeing literary fiction as sometimes playing a subversive role with regard to subtlety. In saying that literary fiction can be “subversive” of subtlety, I am trying to capture the ways in which reading fiction can disrupt a working standard of subtlety. Works of fiction do not provide “normal” perceptual fields, and readers do not approach them with precisely “normal” perceptual habits, so, roughly stated, the reader-fiction interaction has plenty of potential for disrupting epistemic standards of subtlety, bluntness, opacity and so forth. I will illustrate two sorts of subversions of subtlety with an example from Toni Morrison’s The Bluest Eye. In one case, I will argue that the subversion of the standard of subtlety has moral import—this will provide a case to contrast with Nussbaum’s Jamesian examples.By bringing in an example from a non-Henry James novel, I hope to open up the discussion of moral vision in fiction to encompass epistemic qualities besides subtlety. It does not seem that the ideals of subtlety, fine awareness, and missing nothing can be the only epistemic qualities which serve to support literary works’ moral influence. 5 Nussbaum herself acknowledges that, by focusing on one literary paradigm, she pursues only one strand of a larger project (pp. 45–46). Since I here consider just one example from a different style of novel... (shrink)

If you can, take the chance to see this exhibition of Lynette Yiadom-Boakye paintings. This survey of her works opened briefly at Tate Britain in 2020 and has n.

Essential readings in the philosophy of literature are brought together for the first time in this anthology. Contains forty-five substantial and carefully chosen essays and extracts Provides a balanced and coherent overview of developments in the field during the past thirty years, including influential work on fiction, interpretation, metaphor, literary value, and the definition and ontology of literature Includes an additional historical section featuring generous selections of the writings of early pioneers such as Plato, Aristotle, Nietzsche, and Hume Serves as (...) an ideal introduction to the philosophy of literature or the philosophy of art, as well as a handy compilation of contributions to the field by its leading figures. (shrink)

This paper addresses the question of how literary and philosophical thinking can converge in experience of a literary work. Peter Lamarque and Stein Haugom Olsen, in Truth, Fiction, and Literature, dispute this possibility. I respond to their view with particular attention to their account of thematic interpretation. Thematic interpretation is presented here as involving thought about the reasons behind a work’s use of its content and other features. Those reasons have an implicit generality that allows us to move from literary (...) specificity to general, philosophically significant understanding. Philosophy’s need for the kind of thinking supported by literature, exploring patterns, priorities and less than universal claims, is defended. George Eliot’s novel Middlemarch and Lydia Davis’s story ‘Ethics’ provide illustrations of the issues. (shrink)

How can stories contribute to ethical education, when they reach people who have already been shaped by many stories, including ethically problematic ones? This question is pursued here by considering Plato’s allegory of the cave, focusing on a reading of it offered by Jonathan Lear. Lear claims that the cave allegory aims to undermine its audience’s inheritance of stories. I question the possibility and desirability of that project, especially in relation to ethical education. Some works of contemporary fiction by Jenny (...) Erpenbeck and J. M. Coetzee are discussed as stories that use more complex strategies for ethically constructive engagement with story-saturated audiences. (shrink)

This chapter explores what Emma and Austen might have to say about human agency and autonomy. Considered and challenged are Christine Korsgaard’s use of Austen’s characters (Emma Woodhouse and Harriet Smith) to exemplify a species of defective autonomous action. Austen's novel persistently addresses and clarifies the nature and sources of defective action. Harriet Smith’s happy subordination to Emma’s will, as Korsgaard maintains, is obviously problematic. But it is most often Emma Woodhouse herself, and not Harriet, whose conduct Austen presents as (...) compromised, and Emma’s behavior is not defective in such a way as to suggest an abdication of will. Moreover, it is evident that considering what another thinks one should do and allowing that to inform one’s conduct is not a course of action that is invariably deplored in Emma. The chapter investigates the light Austen’s novel can shed on defects in action and the inevitability (or not) of their connection with autonomy. (shrink)

The role of reading in educating a future writer is discussed through study of memoirs by writers including Janet Frame, James Baldwin, and Eudora Welty. The memoirs show reading books to have been a transformative way of melding forms of experience. The following features of childhood reading are examined: (1) the role of the physical book, (2) the cognitive-aesthetic-affective impact of letters, words and ‘voices’, (3) the partially unplanned and challenging path of children’s exposure to texts, and (4) absorption of (...) models that can be imitated and outgrown. The discussion links sympathetically to views in philosophy of education about the importance of content and beauty and of influences whose impact cannot be planned, measured or captured as generic skills. The autobiographical evidence considered here suggests that these influences can nonetheless be crucial to expanding learners’ horizons and stimulating their educational and artistic progress. (shrink)

De Gustibus: Arguing about Taste and Why We Do It By KivyPeterOxford University Press, 2015. xii + 174 pp.

This essay examines how and why historiography—defined to mean the study of the history of historical writing—first emerged as a legitimate subject of historical inquiry in the United States during the period from 1890 to the 1930s by focusing on the practice of historiography by three of the most influential American historiographers whose work spans this period: J. Franklin Jameson, John Spencer Bassett, and Harry Elmer Barnes. Whereas the development of historiography as a field of study signified a recognition (...) that historians and historical writing are themselves products of the historical process, American historiographers in this period at the same time used historiography to further a scientific ideal of objectivity that was premised on the belief in the ability of historians to separate themselves from that process. Modern scholars have attributed to scientific historians like Jameson and Bassett a simplistic and naïve positivism; but the ability of these historiographers to recognize the subjective character of historical writing and yet affirm a belief in objectivity reveals that their understanding of historical truth was more complex than modern scholars have acknowledged. In turn, by questioning the belief that the historical profession was originally founded on a naïve faith in the ideal of objective truth, I demonstrate that New Historians like Barnes were more similar to their predecessors, the scientific historians, than they acknowledged. Thus, rather than portraying the shift from scientific history to the New History as a linear trajectory of development from objectivity to a more relativist viewpoint, I argue that New Historians like Barnes at once expressed a greater recognition than his scientific predecessors of how historical writing was the product of its context, while still insisting on his commitment to an ideal of objectivity that divorced the historian from that context. (shrink)

How can women’s rights be seen as a universal value rather than a Western value imposed upon the rest of the world? Addressing this question, Eileen Hunt Botting offers the first comparative study of writings by Mary Wollstonecraft and John Stuart Mill. Although Wollstonecraft and Mill were the primary philosophical architects of the view that women’s rights are human rights, Botting shows how non-Western thinkers have revised and internationalized their original theories since the nineteenth century. Botting explains why (...) this revised and internationalized theory of women’s human rights—grown out of Wollstonecraft and Mill but stripped of their Eurocentric biases—is an important contribution to thinking about human rights in truly universal terms. (shrink)

ABSTRACTWe trace Susan Moller Okin’s reception of Mary Wollstonecraft with respect to the relationship between religion and feminist liberalism, by way of manuscripts housed at Somerville College, Oxford and Harvard University. These unpublished documents – dated from 1967 to 1998 – include her Somerville advising file, with papers dated from 1967 to 1979; her 1970 Oxford B.Phil. thesis on the feminist political theory of Wollstonecraft, William Thompson, and J.S. Mill; her teaching notes on Wollstonecraft originating in 1978, for her course (...) ‘Gender and Political Theory’ held at Brandeis and Stanford in the 1980s and 1990s; and her correspondence with John Rawls, dated from 1985 to 1998. A consistently secular feminist liberal, Okin had a blind spot with regard to religion, which led her to misinterpret Wollstonecraft’s theology as contradictory to her consequentialist arguments for women’s rights. Wollstonecraft virtually disappeared from Okin’s published corpus, overshadowed by the secular utilitarian feminist liberal J.S. Mill. Wollstonecraft nevertheless remained a deep philosophical source for both the method and the principle behind Okin’s distinctive brand of feminist liberalism. Okin’s reception of Wollstonecraft suggests that the fissures caused by religious conflict in modern politics have not only generated multiple liberalisms, as Rawls argued, but also multiple feminist liberalisms. (shrink)