Genre theory, as it has developed in the last forty years, has made use of what I call a constitutive concept of genre, a concept that has built into it the assumption that genre plays a central epistemic role in the interpretation of verbal discourse. In this paper I argue that there are theoretical problems with such a concept that have not been recognized and that make it unsuitable as a critical instrument in literary history and literary studies. A fruitful (...) concept of literary genre needs to be pragmatic with only a heuristic and not an epistemic function. As an example, the article looks at the criticism produced in connection with the picaresque novel and in particular at the account given of the origin of the genre, an account that could not have been given if one had employed a constitutive concept of genre. (shrink)

This book examines the complex and varied ways in which fictions relate to the real world, and offers a precise account of how imaginative works of literature can use fictional content to explore matters of universal human interest. While rejecting the traditional view that literature is important for the truths that it imparts, the authors also reject attempts to cut literature off altogether from real human concerns. Their detailed account of fictionality, mimesis, and cognitive value, founded on the methods of (...) analytical philosophy, restores to literature its distinctive status among cultural practices. The authors also explore metaphysical and skeptical views, prevalent in modern thought, according to which the world itself is a kind of fiction, and truth no more than a social construct. They identify different conceptions of fiction in science, logic, epistemology, and make-believe, and thereby challenge the idea that discourse per se is fictional and that different modes of discourse are at root indistinguishable. They offer rigorous analyses of the roles of narrative, imagination, metaphor, and "making" in human thought processes. Both in their methods and in their conclusions, Lamarque and Olsen aim to restore rigor and clarity to debates about the values of literature, and to provide new, philosophically sound foundations for a genuine change of direction in literary theorizing. (shrink)

The essays in this collection are concerned with the philosophical problems that arise in connection with the understanding and evaluation of literature - such problems as the relationship between the work and the author (authorial intention), between the work and the world (reference and truth), the definition of a literary work, and the nature of literary theory itself. Professor Olsen attacks many of the orthodoxies of modern literary theory, in particular the enterprise to build a comprehensive systematic literary theory. (...) His own work is informed by a consistent perspective: the assumption that literature is a social institution governed by conventions, and that answers to problems of interpretation and appreciation can be found only through an analysis of these conventions. This is an important book for scholars and students of literary theory and philosophy, especially for those who see an ever-increasing cross-fertilization between the two disciplines. (shrink)

This is a paperback edition of what has become an important contribution to aesthetics and the theory of literature. The author analyses in detail how the reader responds to literature and how he begins to evaluate it. Mr Olsen characterizes literature as an institution and thus forges links with contemporary philosophy which sees all human action as ordered and defined by social institutions.

This chapter contains sections titled: Background The Way Forward.

Views of what role convention plays in the creation and appreciation of art works gravitate towards two extremes. One view holds that works of art can be apprehended and appreciated as well as created with no reference to convention. The other claims that conventions fully determine how works of art are apprehended and are therefore necessary conditions for the creation of works of art as well as constitutive of appreciation. The former is a version of the Romantic view of art (...) as something that appeals spontaneously to man's most profound emotions, to man's sentient nature, without making use of or needing mediating conventions. The conventionalist view denies that it is possible to respond spontaneously to art. All apprehension and appreciation of art are structured by conventions, and the reader/audience cannot go beyond these conventions because they constitute the experience of the work of art. This paper explains the sense in which the constitutive view may be best understood. (shrink)

In this book Robert Stecker sets out to answer three basic questions in the philosophy of art: What is art? What is it to understand a work of art? And what is the value of art? Stecker addresses each question in turn and delivers what he claims to be “a unified, if incomplete, philosophy of art—a theory of the nature and functions of art and of the practice of interpreting and appreciating it”. His strategy is to discuss thoroughly recent contributions (...) to the debate concerning each of these questions and to put forward his own alternative answers. This leads to an extensive and detailed discussion of the journal literature on each of these subjects and considerable effort is spent both presenting and evaluating this literature. (shrink)

This chapter contains sections titled: Critical Theory's Attack on Biography The Attack from within Literary Criticism Distinguishing a Category of Relevant Biographical Information Biographical Information as an Aid to Understanding Biographical Information as an Aid to Appreciation Biographical Information as an Integral Part of Appreciation Conclusion.

There is a class of critics who are dissatisfied with the academic status of literary criticism and who want to re-establish for literary criticism the status it possessed in the early and mid nineteenth century as simultaneously cultural and social criticism. This is an impossible task. The 'cultural critics' of the nineteenth century possessed their authority because they were without competition and because they could command the attention and respect of the whole of the literate audience. However, at the end (...) of the nineteenth century intellectual authority came to be based in specialised academic disciplines and individual authority was undermined and ultimately disappeared. At the same time, the arrival of universal literacy in Britain fragmented and ultimately destroyed the generally educated audience to which the cultural critics addressed themselves. Consequently there is today no role for the cultural critic. Literary critics cannot speak with authority about social, political, or cultural questions. They can, however, speak with authority about literature. Whether or not this criticism can be grounded in disciplinary knowledge, it serves a necessary function for an audience that no longer possesses the skill of reading literary works and lacks the background knowledge that is necessary to make sense of literature. (shrink)

This chapter contains sections titled: I II III IV V VI VII.

The articles in this collection focus attention on the concept of literature and on the relationship between this concept and the concepts of a literary work and a literary text. Adopting an analytic approach, the articles attempt to clarify how these concepts govern our thinking about the phenomenon of literature in various ways, exploring the issues which arise when these concepts are employed as theoretical instruments for describing and analyzing the phenomenon of literature.

In the course of the nineteenth century the study of literature was professionalized. There was a concerted attempt to make the study of literature an academic pursuit, ‘a particular branch of learning or science’, to turn it into ‘literary studies’ or, as it was called in German, Literaturwissenschaft. 1 This attempt was ultimately successful in the sense that literary studies became a recognized and established discipline within the new Humboldtian kind of university. However, this success brought troubles of its own. (...) Among other things, the arrival of the academic discipline of literary studies not only required a method of study but also a determinate field of study. In order to delimit such a field, a clear and well-defined concept of literature was needed. This meant that academic literary studies would have to transform, for its own specific purposes, such concepts as ‘literary work’ and ‘literary text’ as well as the concept of ‘literature’, from broad, vague, non-theoretical, everyday notions into something like well-designed theoretical tools. Though it has not always been recognized, this transformation has presented a major theoretical problem for literary studies, and it is arguable that to this day no satisfactory solution has been found. (shrink)

P. D. Juhl, Interpretation. An Essay in the Philosophy of Literary Criticism, Princeton University Press, Princeton, N.J. 1980, 332 pp., no price given. References in parentheses are to this work.

This article explores the relationship between interpretation and what is normally called ‘understanding’. It is argued that different modes of interpretation define different kinds of ‘mental uptake’ (‘apprehension’), and that some modes of interpretation define types of apprehension for which the concept of ‘understanding’ is inadequate. It is also argued that given a mode of interpretation, the constraints of that mode are necessary in the sense that it is the constraints on how to interpret that define a mode of interpretation. (...) Thus within a mode of interpretation (historical, literary) one cannot interpret freely. Indeed, unconstrained interpretation is not interpretation. In order to illustrate these points the article offers a detailed discussion of two examples. The interpretative debate over the Magna Carta is used to illustrate the difference between a constitutional and a historical interpretation. These two modes of interpretation are then contrasted with literary interpretation, the aim of which is appreciation. (shrink)

En plus de son œuvre logique, MacColl a aussi écrit et publié des travaux que l’on qualifierait aujourd’hui de cultural criticism. Ces écrits concernaient deux des thèmes centraux de la période victorienne : l’avancement et l’influence grandissante de la science, et le déclin de la religion. À l’image de son œuvre logique ignorée, jusqu’à très récemment, aucune attention n’a été accordée à ses œuvres littéraires ou celles relevant du cultural criticism. Cet article examine les travaux de MacColl qui ne relèvent (...) pas du domaine de la logique et discute la façon dont MacColl a approché et traité les deux thèmes de la science et de la religion. Il fournit ensuite une explication du peu d’attention accordée à ces œuvres malgré les talents intellectuels évidents de leur auteur. Cette explication impute l’oubli de l’œuvre de MacColl aussi bien à la façon dont il traite ces thèmes qu’à sa position d’outsider. En effet, MacColl vivait expatrié dans une ville provinciale française sans lien avec l’environnement culturel et littéraire de Londres. Par ailleurs, il était au sens véritable du terme, un auteur dont les sensibilités correspondent au milieu de la période victorienne, mais dont les œuvres paraissent tardivement à la fin de cette période et au cours de la période edwardienne, alors que les termes du débat sur la science et la religion avaient déjà changé. (shrink)

En plus de son œuvre logique, MacColl a aussi écrit et publié des travaux que l’on qualifierait aujourd’hui de cultural criticism. Ces écrits concernaient deux des thèmes centraux de la période victorienne : l’avancement et l’influence grandissante de la science, et le déclin de la religion. À l’image de son œuvre logique ignorée, jusqu’à très récemment, aucune attention n’a été accordée à ses œuvres littéraires ou celles relevant du cultural criticism. Cet article examine les travaux de MacColl qui ne relèvent (...) pas du domaine de la logique et discute la façon dont MacColl a approché et traité les deux thèmes de la science et de la religion. Il fournit ensuite une explication du peu d’attention accordée à ces œuvres malgré les talents intellectuels évidents de leur auteur. Cette explication impute l’oubli de l’œuvre de MacColl aussi bien à la façon dont il traite ces thèmes qu’à sa position d’outsider. En effet, MacColl vivait expatrié dans une ville provinciale française sans lien avec l’environnement culturel et littéraire de Londres. Par ailleurs, il était au sens véritable du terme, un auteur dont les sensibilités correspondent au milieu de la période victorienne, mais dont les œuvres paraissent tardivement à la fin de cette période et au cours de la période edwardienne, alors que les termes du débat sur la science et la religion avaient déjà changé. (shrink)

In Euripides' Hippolytus, Phaedra, wife of Theseus, king of Athens, falls in love with the unsuspecting Hippolytus, Theseus' son by the amazon Antiope. Phaedra's passion is the work of the goddess Aphrodite, who wants to revenge herself on Hippolytus because he has rejected her and devoted himself to the chaste Artemis. Through Paedra's nurse Hippolytus is made aware of her love and invited to her bed. He emphatically rejects her offer and violently abuses Phaedra and her nurse. To save her (...) honour Phaedra commits suicide and leaves a note accusing Hippolytus of raping her. Theseus, confronted on his return from an expedition with the suicide and the note, banishes Hippolytus and prays to his father, the seagod Poseidon, to fulfil one of the three wishes he has granted him and kill Hippolytus. Leaving Troezen, Hippolytus is killed when his horses are frightened by a monster thrown on shore by Poseidon from a giant wave. Theseus is brought to realize his mistake by the goddess Artemis who appears to him and reveals the truth. The play ends with the reconciliation of Theseus and the dying Hippolytus. This, in bare outline, is what happens in the play. It is what might be called its subject. The play is about these events and characters. Now it is also possible to give another type of description of Euripides' play. For the play does not merely have a subject but also a theme. While it is straightforward and unproblematic to give a description of the subject of the play a statement of its theme presents difficulties. The subject is, in an obvious sense, given for any competent speaker of the language in which the work is written. The theme, on the other hand, emerges from the subject in conjunction with other features of the work, and it emerges through the reader's constructive labour. There is no theme for the reader who is unwilling or unable to engage in this constructive labour. (shrink)

In Euripides' Hippolytus, Phaedra, wife of Theseus, king of Athens, falls in love with the unsuspecting Hippolytus, Theseus' son by the amazon Antiope. Phaedra's passion is the work of the goddess Aphrodite, who wants to revenge herself on Hippolytus because he has rejected her and devoted himself to the chaste Artemis. Through Paedra's nurse Hippolytus is made aware of her love and invited to her bed. He emphatically rejects her offer and violently abuses Phaedra and her nurse. To save her (...) honour Phaedra commits suicide and leaves a note accusing Hippolytus of raping her. Theseus, confronted on his return from an expedition with the suicide and the note, banishes Hippolytus and prays to his father, the seagod Poseidon, to fulfil one of the three wishes he has granted him and kill Hippolytus. Leaving Troezen, Hippolytus is killed when his horses are frightened by a monster thrown on shore by Poseidon from a giant wave. Theseus is brought to realize his mistake by the goddess Artemis who appears to him and reveals the truth. The play ends with the reconciliation of Theseus and the dying Hippolytus. This, in bare outline, is what happens in the play. It is what might be called its subject. The play is about these events and characters. Now it is also possible to give another type of description of Euripides' play. For the play does not merely have a subject but also a theme. While it is straightforward and unproblematic to give a description of the subject of the play a statement of its theme presents difficulties. The subject is, in an obvious sense, given for any competent speaker of the language in which the work is written. The theme, on the other hand, emerges from the subject in conjunction with other features of the work, and it emerges through the reader's constructive labour. There is no theme for the reader who is unwilling or unable to engage in this constructive labour. (shrink)

This anthology provides comprehensive coverage of the major contributions of analytic philosophy to aesthetics and the philosophy of art, from the earliest beginnings in the 1950’s to the present time. Traces the contributions of the analytic tradition to aesthetics and the philosophy of art, from the 1950’s to the present time. Designed as a comprehensive guide to the field, it presents the most often-cited papers that students and researchers encounter. Addresses a wide range of topics, including identifying art, ontology, intention (...) and interpretation, values of art, aesthetic properties, fictionality, and the aesthetics of nature. Explores particular art forms, including pictorial art, literature, music, and the popular arts. (shrink)

In this book Robert Stecker sets out to answer three basic questions in the philosophy of art: What is art? What is it to understand a work of art? And what is the value of art? Stecker addresses each question in turn and delivers what he claims to be “a unified, if incomplete, philosophy of art—a theory of the nature and functions of art and of the practice of interpreting and appreciating it”. His strategy is to discuss thoroughly recent contributions (...) to the debate concerning each of these questions and to put forward his own alternative answers. This leads to an extensive and detailed discussion of the journal literature on each of these subjects and considerable effort is spent both presenting and evaluating this literature. (shrink)