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)

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)

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