The article dwells on the origin of the dystopian genre in the Russian classical literature of the 19th century in M. Saltykov-Shchedrin and F. Dostoevsky’s creative work. It is shown that a new genre created in the authors’ polemics of "The History of a Town" and "Legend of the Grand Inquisitor" with the utopian novel "What is to be done" by N. Chernyshevsky was finally completed in E. Zamyatin’s "We".

If literary avant-garde journals and their communities have been, in the twentieth century, a space for creating, if not sustaining, major political utopias, it should help explain why this “literary communism,” as Jean-Luc Nancy called it, is not a weakened or substitutional form of politics. No myth without narration, no implementation without an instrumentation, no organic unity without a political organ voicing its claim, in short: no organicity without an organon. But can there be a (literary) community that does not (...) aim at the achievement of its own assumed truth, a form of writing in common that does not serve to convey a meaning, but bears witness, in its very form, to the fragmentation of meaning? This essay examines three attempts of an affi rmative answer to this question by reappraising three interrelated experimental cases: Jena around 1800 and the Athenaeum journal of the Early Romantics; Walter Benjamin’s journal projects, from the Angelus Novus to the prison camp journal at the end of his life; Maurice Blanchot and the failed trans-European project of what was arguably the most ambitious intellectual journal enterprise of the century, the Revue internationale in the early 1960s. (shrink)

Wayne C. Booth argues for the relocation of ethics to the center of our engagement with literature.

The article is focused on discourse and fantasy studies representing Siberia in social mythology as one of the relevant and topical directions in the identity studies. Techniques of forming different myths uniting the society as a whole are presented. A mythologem “Siberia” together with various metaphorical characteristics (cold, snow, hard labour, clear) became unifying for ethnic and social groups of the region. Siberian literature plays an important role in forming the concept “Siberian” in numerous poetic texts serving as codes and (...) messages in the communication process. The conflict in interpreting symbols connected with the concept-mythologem “Siberia” is rather vague in the traditional society as it is related to the general world view setting of the communication subjects. (shrink)

Paradise Lost can be read on various levels, some of which challenge or even contradict others. The main, explicit narrative from Genesis chapters 2 and 3 is shadowed by many other related stories. Some of these buried tales question or subvert the values made explicit in the dominant narrative. An attentive reader needs to be alert to the ways in which such references introduce teasing complexities. The approach of Satan to Eve in the ninth book of Paradise Lost is loaded (...) in just that way with allusion to the literature of Greece and Rome. The poem recovers for this long and intricately constructed passage the weight of classical reference, especially in similes, that it had during the first Satanic books. Gardens, both classical and biblical, disguised or transformed serpents, and the weight of allusions that Eve is required to bear, all threaten to undermine the meanings of the overt narrative. The narrator has difficulty rescuing Eve from the allusions she attracts, or the many stories told about her. (shrink)

Readers of “lives” of the famous know well the tendency of biography, and especially autobiography, to become steadily less interesting as the subject grows older. A predictable record of challenges met, enemies shafted, honours received and great men encountered often succeeds an account of a childhood that is a highly-coloured and unique emotional drama. Often the best pages are those on the subject’s schooldays, when the personality first tangles with the public realm. As Barry Oakley says of school in a (...) piece quoted in the book’s preface: “Like the stage, it’s an image of life: life accelerated, life concentrated, life more formidable.” The project of selecting just the highlights of all the stories of Australians’ schooldays promises, then, a high payoff if it is well done. It is a high-risk enterprise, though: a pointillist canvas brilliant in each fleck may easily look like mud from a distance. There are well over a hundred authors here, with only three pages or so each to paint a vignette of school. In fact, the result is an enormous success. The editors have a sure eye, and they and their research assistant, Pamela Williams, have put in the work to find the goods. Almost every piece is gripping, and quite different from the others. The total effect is additive, and is an unexampled insight into how the Australia we know came into being. The classics are there: Henry Lawson and Patrick White, Seven Little Australians and The Getting of Wisdom, Donald Horne, Barry Humphries and Clive <span class='Hi'>James</span>. So are the many unknowns whose recollections take us into obscure corners. If there is one overall theme, it is that of sameness, difference and “fitting in”. The effect of the accumulated evidence is rather more subtle than the received ideas on “identity and difference”, multiculturalism and so on. School is where the strangeness of one’s own family, or of one’s own personality, meets the social world – itself perhaps no less weird, objectively speaking, but possessed of resources for ensuring conformity.. (shrink)

Creationism is the view that fictional individuals such as Sherlock Holmes are contingently existing abstracta that come about due to the intentional activities of authors. Author-essentialism is the stronger thesis that the author responsible for bringing a fictional individual into existence at a time is essential to the existence of that individual. Takashi Yagisawa has recently attacked this view on the following grounds: author-essentialists rely on an ontological parallelism between fictional individuals and whole works of fiction, but this parallelism fails (...) to obtain. I here argue that Yagisawa’s grounds are weak. (shrink)

The political thought of Mohandas K. Gandhi has been increasingly used as a paradigmatic example of hybrid political thought that developed out of a cross-cultural dialogue of eastern and western influences. With a novel unpacking of this hybridity, this article focuses on the conceptual influences that Gandhi explicitly stressed in his autobiography and other writings, particularly the works of Leo Tolstoy and the Bhagavad Gītā. This new tracing of influence in the development of Gandhi’s thought alters the substantive thrust of (...) Gandhi’s thought away from more familiar quasi-liberal interpretations and towards a far more substantive bhakti or devotional understanding of politics. The analysis reveals a conception of politics that is not pragmatic in its use of non-violence, but instead points to a devotional focus on cultivating the self (ātman), ultimately dissolving the public/private distinction that many readings of Gandhi’s thought depend upon. (shrink)

No one is quite sure what happened to T.S. Eliot in that rose-garden. What we do know is that it formed the basis for Four Quartets, arguably the greatest English poem written in the twentieth century. Luckily it turns out that Martin Heidegger, when not pondering the meaning of being, spent a great deal of time thinking and writing about the kind of event that Eliot experienced. This essay explores how Heidegger developed the concept of Ereignis, “event” which, in the (...) context of Eliot’s poetry, helps us understand an encounter with the “heart of light” a little better. (shrink)

T.S. Eliot’s Four Quartets is foremost a meditation on the significance of place. Each quartet is named for a place which holds importance for Eliot, either because of historical or personal memory. I argue that this importance is grounded in an ontological topology, by which I mean that the poem explores the fate of the individual and his/her heritage as inextricably bound up with the notion of place. This sense of place extends beyond the borders of a single life to (...) encompass the remembered past and the unknown future. How this broader narrative of the passing and enduring of human existence can be better understood is a primary concern of the work of Martin Heidegger, in whose Being and Time the historical, situated context of an individual within a community is an important theme. Even more important is his later work in which this theme is extended to include place and dwelling. Dwelling is a particularly rich and poetic idea, weaving the narratological, topological and temporal aspects of human existence together, offering a challenge to modern technology thinking. This paper explores Heidegger’s thoughts on the topology of Being within the context of a poem which, I contend, is also telling the story of human situatedness, and attempting to understand what it means to truly dwell. (shrink)

In Heidegger’s Being and Time certain concepts are discussed which are central to the ontological constitution of Dasein. This paper demonstrates the interesting manner in which some of these concepts can be used in a reading of T.S. Eliot’s The Love Song of J. Alfred Prufrock. A comparative analysis is performed, explicating the relevant Heideggerian terms and then relating them to Eliot’s poem. In this way strong parallels are revealed between the two men’s respective thoughts and distinct modernist sensibilities. Prufrock, (...) the protagonist of the poem, and the world he inhabits illustrate poetically concepts such as authenticity, inauthenticity, the ‘they’, idle talk and angst, which Heidegger develops in Being and Time. (shrink)

This thesis explores, thematically and chronologically, the substantial concordance between the work of Martin Heidegger and T.S. Eliot. The introduction traces Eliot's ideas of the 'objective correlative' and 'situatedness' to a familiarity with German Idealism. Heidegger shared this familiarity, suggesting a reason for the similarity of their thought. Chapter one explores the 'authenticity' developed in Being and Time, as well as associated themes like temporality, the 'they' (Das Man), inauthenticity, idle talk and angst, and applies them to interpreting Eliot's poem, (...) 'The Love Song of J. Alfred Prufrock'. Both texts depict a bleak Modernist view of the early twentieth-century Western human condition, characterized as a dispiriting nihilism and homelessness. Chapter two traces the chronological development of Ereignis in Heidegger's thinking, showing the term's two discernible but related meanings: first our nature as the 'site of the open' where Being can manifest, and second individual 'Events' of 'appropriation and revelation'. The world is always happening as 'event', but only through our appropriation by the Ereignis event can we become aware of this. Heidegger finds poetry, the essential example of language as the 'house of Being', to be the purest manifestation of Ereignis, taking as his examples Hölderlin and Rilke. A detailed analysis of Eliot's late work Four Quartets reveals how Ereignis, both as an ineluctable and an epiphanic condition of human existence, is central to his poetry, confirming, in Heidegger's words, 'what poets are for in a destitute time', namely to re-found and restore the wonder of the world and existence itself. This restoration results from what Eliot calls 'raid[s] on the inarticulate', the poet's continual striving to enact that openness to Being through which human language and the human world continually come to be. The final chapter shows how both Eliot and Heidegger value a genuine relationship with place as enabling human flourishing. Both distrust technological materialism, which destroys our sense of the world as dwelling place, and both are essentially committed to a genuinely authentic life, not the angstful authenticity of Being and Time, but a richer belonging which affirms our relationship with the earth, each other and our gods. (shrink)

Sir William Drummond (1770?-1828) enjoyed considerable notoriety in the early nineteenth century as the author of the Academical Questions (1805), a manifesto for immaterialism that is at the same time a creative synthesis of ancient and modern forms of scepticism. In this paper I advance an interpretation of Drummond's work that emphasises his extensive employment and adaptation of Hume's own ‘Academical or Sceptical Philosophy’. I also document the impact of the Academical Questions on the contemporary philosophical scene, including its decisive (...) influence on Shelley's philosophical development. (shrink)

In this review I compare the short video poetry on the DVD to music video clips such as are used to promote rock music.

This book argues that the best way to understand the stories of the Old and New Testaments is to consider them as human stories with sophisticated narrative techniques at play. God is a character in these stories from the beginning, and considering god as a character in a narrative proves fruitful in responding to the human voices of these stories. -/- Although many readers go to the Bible to find the revealed word of Yahweh or of the Christian God, what (...) they find there is always an interpretation of the text through the filters of a religious dogma which exists prior to the reading of the text. Reading the Bible suggests another way of reading the texts, a way of reading which concentrates not on "what does it mean?" but on "what does it say?" and "what do I see there?" The result is a fresh approach to the reading of these biblical texts, an approach which celebrates human storytelling while investigating myth, language, and the act of reading a text. (shrink)

How is it that we can be moved by what we know does not exist? In this paper, I examine the so-called 'paradox of fiction', showing that it fatally hinges on cognitive theories of emotion such as Kendall Walton's pretend theory and Peter Lamarque's thought theory. I reject these theories and acknowledge the concept-formative role of genuine emotion generated by fiction. I then argue, contra Jenefer Robinson, that this 'éducation sentimentale' is not achieved through distancing, but rather through the engagement (...) of our emotions. Literature does this, I claim, by its uniquely perspicuous presentations of emotional concepts, and the cognitive pleasure that such 'presentations' prompt in us. (shrink)

Une théorie de la littérature s'appuyant sur les contraintes de langue mises en évidence par la grammaire chomskyenne est-elle envisageable ? Une telle théorie peut-elle reprendre en des termes nouveaux le programme de recherche envisagé - en termes sémiotiques - par Jakobson, qui tentait de constituer une théorie générale du langage, de la poésie et de l'art ? -/- Une théorie linguistique peut-elle participer à la découverte de nouvelles formes littéraires dont elle s'enrichirait en retour ? C'est ce que suggère (...) ce volume d'hommages à Mitsou Ronat. L'avant-propos montre que son travail pourrait bien constituer une conception différente du programme actuel des sciences cognitives, dont il recoupe en partie l'objet de recherche, tout en y englobant certaines expériences sur l'écriture. (shrink)

There is made an attempt to reconstruct a philosophical context where M. V. Lomonosov poetically comprehended a gerontological theme from anacreontic XI, XXII, XLIII odes and set a problem of cultural models of human behavior in the senior age. It is proved that Lomonosov’s treating the genre subject is polemically opposite to Epicurean behavior patterns and is mediated to moral and philosophic conceptions of antiquity and modern time thinkers (Cicero, La Rochefoucauld, B. Gracian).

Mikhail Bakhtin has gained a reputation of a thinker and literary theorist somehow hostile to poetry, and more specifically to the epic. This view is based on texts, in which Bakhtin creates and develops a conceptual contrast between poetry and the novel (in "Discourse in the Novel") or between epic and the novel (in "Epic and Novel"). However, as I will show, such perceptions of Bakhtin's position are grounded in a misunderstanding of Bakhtin's writing strategy and philosophical approach. Bakhtin often (...) draws such conceptual contrasts as the ones between epic and novel, but does so not in order to characterize pre-given phenomena (in this case, the epic and the novel as two groups of literary works), but to construct a conceptual space which he in turn uses to explicate elements of his philosophy. (shrink)

The importance of the visual aspects of the fantastic reverberates even into theory, as shown by several researchers throughout the last decades. These researchers distinguished themselves from their predecessors, whose definition of the fantastic implied mainly an involvement of the intellect. From the many forms it takes, we will concentrate in this article on the thematic level of the text, or, more precisely, on the use of the mirrors and other forms of reflection as a form of exploration of the (...) self in the fantastic tales of the Belgian writer Thomas Owen. Vision becomes more than a common way of perceiving reality for the writer’s characters, now looking to shed a new light on the unknown and offering an insight on things beyond reason. (shrink)

Imagologies: Media Philosophy is no ordinary book. Provocative, irritating and stimulating, this is a work to be engaged, questioned and pondered.