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  1. Review author[S.]: J. Agassi (1970). Philosophy as Literature: The Case of Borges. Mind 79 (314):287-294.
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  2. Jesús Aguilar (2010). Philosophy and Latin American Literature. In Susana Nuccetelli, Ofelia Schutte & Otávio Bueno (eds.), A Companion to Latin American Philosophy. Wiley-Blackwell.
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  3. Timo Airaksinen (1995). The Philosophy of the Marquis De Sade. Routledge.
    The Marquis de Sade's books have been censored in many countries. He is notorious for his forbidden novels like The 120 Days of Sodom and Justine, Juliette . The Marquis de Sade has long been considered the archetypal pornographer. The Philosophy of the Marquis de Sade challenges these traditional interpretations by reading de Sade and his books philosophically. Airaksinen examines de Sade's claim that in order to be truly happy and free we must perform evil acts. The Sadeian hero leads (...)
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  4. Ernest Albee (1909). The Meaning of Literature for Philosophy. International Journal of Ethics 20 (1):1-10.
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  5. Maria Antonaccio (2000). Picturing the Human: The Moral Thought of Iris Murdoch. Oxford University Press.
    Iris Murdoch has long been known as one of the most deeply insightful and morally passionate novelists of our time. This attention has often eclipsed Murdoch's sophisticated and influential work as a philosopher, which has had a wide-ranging impact on thinkers in moral philosophy as well as religious ethics and political theory. Yet it has never been the subject of a book-length study in its own right. Picturing the Human seeks to fill this gap. In this groundbreaking book, author Maria (...)
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  6. Antony Aumann (2013). Kierkegaard, Paraphrase, and the Unity of Form and Content. Philosophy Today 57 (4):376-387.
    On one standard view, paraphrasing Kierkegaard requires no special literary talent. It demands no particular flair for the poetic. However, Kierkegaard himself rejects this view. He says we cannot paraphrase in a straightforward fashion some of the ideas he expresses in a literary format. To use the words of Johannes Climacus, these ideas defy direct communication. In this paper, I piece together and defend the justification Kierkegaard offers for this position. I trace its origins to concerns raised by Lessing and (...)
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  7. Christopher Bartel (2012). The Puzzle of Historical Criticism. Journal of Aesthetics and Art Criticism 70 (2):213-222.
    Works of fiction are often criticized for their historical inaccuracies. But this practice poses a problem: why would we criticize a work of fiction for its historical inaccuracy given that it is a work of fiction? There is an intuition that historical inaccuracies in works of fiction diminish their value as works of fiction; and yet, given that they are works of fiction, there is also an intuition that such works should be free from the constraints of historical truth. The (...)
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  8. Harrison Bernard (1994). Symposium: Truth, Meaning and Literature. British Journal of Aesthetics 34 (4):376-381.
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  9. Gerald Bruns (2002). Review of Jorge J.E. Gracia, Carolyn Korsmeyer (Eds.), Literary Philosophers: Borges, Calvino, Eco. [REVIEW] Notre Dame Philosophical Reviews 2002 (10).
  10. Mikel Burley (2012). D. Z. Phillips' Contemplations on Religion and Literature. International Journal for Philosophy of Religion 71 (1):21-37.
    This paper critically discusses D. Z. Phillips’ use of literary works as a resource for philosophical reflection on religion. Beginning by noting Phillips’ suggestion, made in relation to Waiting for Godot , that the possibilities of meaning that we see in a literary work can reveal something of our own religious sensibility, I then proceed to show what we learn about Phillips from his readings of certain works by Larkin, Tennyson, and Wharton. Through exploring alternative possible readings, I argue that, (...)
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  11. Anthony J. Cascardi (2000). Two Kinds of Knowing in Plato, Cervantes, and Aristotle. Philosophy and Literature 24 (2):406-423.
    This essay argues that Cervantes engages and responds to the Platonic critique of mimesis through a tradition that is rooted in Aristotle's _Nicomachean Ethics. Especially in _Don Quixote, the standard by which mimesis is judged in Platonic terms is replaced by notions of the fitting, the just, and the appropriate, which draw on Aristotelian notions of practical reasoning. These had been promulgated by Renaissance rhetoricians and in proverbial discourse. Cervantes finds these traditions particularly well-suited to discourse in the novel, which (...)
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  12. Stephen R. L. Clark (1995). How to Live Forever: Science Fiction and Philosophy. Routledge.
    Immortality has long preoccupied everyone from alchemists to science fiction writers. In this intriguing investigation, Stephen Clark contends that the genre of science fiction writing enables the investigation of philosophical questions about immortality without the constraints of academic philosophy. He shows how fantasy accounts of phenomena such as resurrection, outer body experience, reincarnation or life extending medicines can be related to philosophy in interesting ways. Reading Western myths such as that of vampire, he examines the ways fear and hopes of (...)
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  13. Oliver Conolly & Bashar Haydar (2007). Literature, Knowledge, and Value. Philosophy and Literature 31 (1):111-124.
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  14. S. G. Couvalis (1988). Feyerabend, Ionesco, and the Philosophy of the Drama. Critical Philosophy 4:51-66.
  15. Gregory Currie (2012). Literature and Truthfulness. In James Maclaurin (ed.), Rationis Defensor. 23-31.
    How should we characterise the view that we can learn about the mind from literature? Should we say that such learning consists in acquiring knowledge of truths? That option is more attractive than it is sometimes made to seem by those who oppose propositional knowledge to practical knowledge or “knowing how”. But some writers on this topic—Lamarque and Olsen—argue that, while literature may express interesting propositions, it is not their truth that matters, but their “content”. Matters to what? To literary (...)
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  16. Edward A. Davenport (1983). Literature as Thought Experiment (on Aiding and Abetting the Muse. Philosophy of the Social Sciences 13 (3):279-306.
  17. Miguel de Beistegui & Simon Sparks (eds.) (2000). Philosophy and Tragedy. Routledge.
    Philosophy and Tragedy is a compelling contribution to that oversight and the first book to address the topic in a major way. Eleven new essays by internationally renowned philosophers clearly show how time and again, major thinkers have returned to tragedy in many of their key works. Philosophy and Tragedy asks why it is that thinkers as far apart as Hegel and Benjamin should make tragedy such and important strand of philosophy should present itself tragically. From Heidegger's reading of Sophocles' (...)
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  18. Paul Deussen (1906/1966). The Philosophy of the Upanishads. New York, Dover Publications.
    In this work-originally published in German in 1906 and translated into English two years later-Deussen explores the place of the Upanishads in the literature ...
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  19. Paul Dumouchel (1989). Literary Knowledge, Humanistic Inquiry and the Philosophy of Science Livingston Paisley Ithaca, NY: Cornell University Press, 1988. Pp. Ix, 276. Dialogue 28 (02):346-.
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  20. Mary Eagleton (2003). Literature. In , A Concise Companion to Feminist Theory. Blackwell.
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  21. Richard Thomas Eldridge (ed.) (1996). Beyond Representation: Philosophy and Poetic Imagination. Cambridge University Press.
    The essays in this volume explore the ways in which traditional philosophical problems about self-knowledge, self-identity, and value have migrated into literature since the Romantic and Idealist periods. How do so-called literary works take up these problems in a new way? What conception of the subject is involved in this literary practice? How are the lines of demarcation between philosophy and literature problematised? The contributors examine these issues with reference both to Romantic and Idealist writers and to some of their (...)
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  22. Colin Falck (1996). Book Review: Myth, Truth and Literature: Towards a True Post- Modernism. [REVIEW] Philosophy and Literature 20 (1).
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  23. Frank B. Farrell (2008). Review of John Gibson, Fiction and the Weave of Life. [REVIEW] Notre Dame Philosophical Reviews 2008 (10).
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  24. C. Fox & M. Green (2011). Narratives and Narrators: A Philosophy of Stories * by Gregory Currie. Analysis 71 (4):800-802.
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  25. William Franke (2009). Dante's Inferno as Poetic Revelation of Prophetic Truth. Philosophy and Literature 33 (2):pp. 252-266.
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  26. William Franke (2008). Equivocations of “Metaphysics”. Philosophy and Theology 20 (1/2):29-52.
    Western intellectual tradition is brought to focus through the lens of Dante’s Comedia around the idea of the identity of being and intellect. All reality is dependent on God as pure Being, pure actuality of self-awareness (“thought thinking itself ”); everything else is or,equivalently, has form by its participation in this Being which is Intellect. The human soul can experience itself as divine by realizing this identity of Being with Intellect through its own being refined to pure intellect and form. (...)
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  27. Henry Dyer] Fruit (1938). Line Index to the Philosophy of William Shakespeare. [Washington, Planoprinted by the Washington Planograph Co., Inc..
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  28. Robert S. Gall (2003). Interrupting Speculation: The Thinking of Heidegger and Greek Tragedy. [REVIEW] Continental Philosophy Review 36 (2):177-194.
    Despite his extended readings of parts of the Antigone of Sophocles, Heidegger nowhere explicitly sets about giving us a theory of tragedy or a detailed analysis of the essence of tragedy. The following paper seeks to piece together Heidegger's understanding of tragedy and tragic experience by looking to themes in his thinking – particularly his analyses of early Greek thinking – and connecting them both to his scattered references to tragedy and actual examples from Greek tragedy. What we find is (...)
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  29. Richard Gaskin (1995). Truth, Fiction and Literature. British Journal of Aesthetics 35 (4):395-401.
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  30. Richard Gaskin (1994). Symposium: Truth, Meaning and Literature. British Journal of Aesthetics 34 (4):382-388.
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  31. John Gibson (2013). Representation and the Novel. The Henry James Review 34 (3):220-231.
  32. John Gibson (2013). What Do Humanists Want? In P. Hanna (ed.), Reality and Culture: Essays on the Philosophy of Bernard Harrison. Rodopi.
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  33. John Gibson (2008). Cognitivism and the Arts. Philosophy Compass 3 (4):573-589.
    Cognitivism in respect to the arts refers to a constellation of positions that share in common the idea that artworks often bear, in addition to aesthetic value, a significant kind of cognitive value. In this paper I concentrate on three things: (i) the challenge of understanding exactly what one must do if one wishes to defend a cognitivist view of the arts; (ii) common anti-cognitivist arguments; and (iii) promising recent attempts to defend cognitivism.
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  34. John Gibson (2007). Fiction and the Weave of Life. Oxford University Press.
    Printbegrænsninger: Der kan printes 1 kapitel eller op til 5% af teksten.
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  35. John Gibson (2003). Between Truth and Triviality. British Journal of Aesthetics 43 (3):224-237.
    A viable theory of literary humanism must do justice to the idea that literature offers cognitive rewards to the careful reader. There are, however, powerful arguments to the effect that literature is at best only capable of offering idle visions of a world already well known. In this essay I argue that there is a form of cognitive awareness left unmentioned in the traditional vocabulary of knowledge acquisition, a form of awareness literature is particularly capable of offering. Thus even if (...)
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  36. Stavroula Glezakos (forthcoming). Truth and Reference in Fiction. In Gillian Russell & Delia Graff Fara (eds.), Routledge Companion to the Philosophy of Language. Routledge.
    Fiction is often characterized by way of a contrast with truth, as, for example, in the familiar couplet “Truth is always strange/ Stranger than fiction" (Byron 1824). And yet, those who would maintain that “we will always learn more about human life and human personality from novels than from scientific psychology” (Chomsky 1988: 159) hold that some truth is best encountered via fiction. The scrupulous novelist points out that her work depicts no actual person, either living or dead; nonetheless, we (...)
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  37. Jorge J. E. Gracia, Carolyn Korsmeyer & Rodolphe Gasché (eds.) (2002). Literary Philosophers?: Borges, Calvino, Eco. Routledge.
    Borges, Calvino, and Eco are as noted for the intriguing philosophical puzzles they present as they are for their inventive literary styles. In their writings, sequences of causality are reversed, individuals switch identities, and stories of one person mirror those of others. Literary Philosophers brings together a group of distinguished philosophers, literary scholars, and comparativists to explore and debate the relationship between philosophy and literature in the works of these brilliant figures.
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  38. Mitchell Green (2008). Empathy, Expression, and What Artworks Have to Teach. In Garry Hagberg (ed.), Art and Ethical Criticism. Blackwell Pub..
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  39. Edward Harcourt (2010). Truth and the 'Work' of Literary Fiction. British Journal of Aesthetics 50 (1):93-97.
    As Lamarque agrees, to read philosophy is to read for truth, so if literary fiction non-accidentally conveys philosophical claims, Lamarque's anti-cognitivist position on it must be flawed. Deploying Iris Murdoch's notion of the ‘work’ an author does in a text, I try to expand what should be understood by an argument in this context, and thus address Lamarque's argument that literary fiction cannot non-accidentally convey philosophical claims because it typically contains no arguments. The main literary example is George Eliot's Felix (...)
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  40. George W. Harris (2006). Reason's Grief: An Essay on Tragedy and Value. Cambridge University Press.
    In Reason's Grief, George Harris takes W. B. Yeats's comment that we begin to live only when we have conceived life as tragedy as a call for a tragic ethics, something the modern West has yet to produce. He argues that we must turn away from religious understandings of tragedy and the human condition and realize that our species will occupy a very brief period of history, at some point to disappear without a trace. We must accept an ethical perspective (...)
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  41. Oliver Conolly Bashshar Haydar (2008). Literature, Politics, and Character. Philosophy and Literature 32 (1):pp. 87-101.
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  42. Ronald Hepburn (2002). Philosophy, Literature and the Human Good. British Journal of Aesthetics 42 (3):328-331.
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  43. John Hospers (1960). Implied Truths in Literature. Journal of Aesthetics and Art Criticism 19 (1):37-46.
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  44. John Hospers (1958). Literature and Human Nature. Journal of Aesthetics and Art Criticism 17 (1):45-57.
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  45. Lester Hunt, Poetic Injustice: How Narratives Can Lead Us Astray.
    In Poetic Justice Martha Nussbaum undertakes to explain how “story-telling and literary imagining” can supply “essential ingredients in a rational argument” and thereby improve public discourse regarding important ethical, political, and legal issues.
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  46. John J. Joughin (2000). Philosophical Shakespeares. Routledge.
    Shakespeare continues to articulate the central problems of our intellectual inheritance. The plays of a Renaissance playwright still seem to be fundamental to our understanding and experience of modernity. Key philosophical questions concerning value, meaning and justice continue to resonate in Shakespeare's work. In the course of rethinking these issues, Philosophical Shakespeares focuses on and encourages the growing dissolution of boundaries between literature and philosophy. Philosophical Shakespeares includes contributions from the first rank of contemporary criticism, drawing together original and previously (...)
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  47. Estelle Kaplan (1940). Philosophy in the Poetry of Edwin Arlington Robinson. New York, Columbia University Press.
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  48. Mehmet Karabela (2011). Beşir Fuad and His Opponents: The Form of a Debate Over Literature and Truth in Nineteenth-Century Istanbul. Journal of Turkish Literature 8 (1):96-106.
    One and a half months after Victor Hugo died in 1885, Beşir Fuad (d.1887) published a biography of him, in which Fuad defended Emile Zola’s naturalism and realism against Hugo’s romanticism. This resulted in the most important dispute in nineteenth-century Turkish literary history, the hakikiyyûn (realists) and hayâliyyûn (romantics) debate, with the former represented by Beşir Fuad and the latter represented by Menemenlizâde Mehmet Tahir (d.1903). This article focuses on the form of this debate rather than its content, and this (...)
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  49. Jeffrey Karnicky (2007). Contemporary Fiction and the Ethics of Modern Culture. Palgrave Macmillan.
    This book argues for the ethical relevancy of contemporary fiction at the beginning of the 21st century. The writers discussed in Contemporary Fiction and the Ethics of Modern Culture pay close attention to the concrete realities of the everyday world, such as the feelings of isolation created in urban environments; the roles played by sports, drugs, advertising, and the media; and the widespread use of computer, telecommunication, and entertainment technologies. Through reading novels by such writers as David Foster Wallace, Richard (...)
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  50. Amy M. Kleppner (1964). Philosophy and the Literary Medium: The Existentialist Predicament. Journal of Aesthetics and Art Criticism 23 (2):207-217.
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