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  1. Jon Adams (2008). Plot Taxonomies and Intentionality. Philosophy and Literature 32 (1):pp. 102-118.
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  2. Robert Alter (1996). Reading Style in Dickens. Philosophy and Literature 20 (1):130-137.
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  3. Idelber Avelar (2004). The Letter of Violence: Essays on Narrative, Ethics, and Politics. Palgrave Macmillan.
    This book traces the theory of violence from nineteenth-century symmetrical warfare through today's warfare of electronics and unbalanced numbers. Surveying such luminaries as Walter Benjamin, Frantz Fanon, Hannah Arendt, Paul Virilio, and Jacques Derrida, Avelar also offers a discussion of theories of torture and confession, the work of Roman Polanski and Borges, and a meditation on the rise of the novel in Colombia.
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  4. Simon Beck (2006). Fiction and Fictions: On Ricoeur on the Route to the Self. South African Journal of Philosophy 25 (4):329-335.
    In reaching his narrative view of the self in Oneself as Another, Paul Ricoeur argues that, while literature offers revealing insights into the nature of the self, the sort of fictions involving brain transplants, fission, and so on, that philosophers often take seriously do not (and cannot). My paper is a response to Ricoeur's charge, contending that the arguments Ricoeur rejects are not flawed in the way he suggests, and that his own arguments are sometimes guilty of the very charges (...)
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  5. Ilya Bernstein (2008). Temporal Registers in the Realist Novel. Philosophy and Literature 32 (1):pp. 173-182.
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  6. Jeanette Bicknell (2004). Self-Knowledge and the Limitations of Narrative. Philosophy and Literature 28 (2):406-416.
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  7. Jeffrey Bloechl (1998). The Virtue of History: Alasdair Maclntyre and the Rationality of Narrative. Philosophy and Social Criticism 24 (1):43-61.
    Maclntyre's critique of modern moral theory is supported by a theory of narrative in turn premised on a discontinuous reading of history. Thought through to the end, historical discontinuity redefines objectivity according to the rules of the particular context in which it appears. This claim both founds Maclntyre's intervention in moral debate and troubles that intervention from within. Against his opponents, he claims to have the argument most in accord with the rules of our context; Maclntyre's narra tivity is thus (...)
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  8. Wayne Booth (1988). The Company We Keep. University of California Press.
    Wayne C. Booth argues for the relocation of ethics to the center of our engagement with literature.
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  9. Luk Bouckaert & Rita Ghesquiere (2004). Dostoyevsky's Grand Inquisitor as a Mirror for the Ethics of Institutions. Journal of Business Ethics 53 (1-2):29-37.
    The aim of the paper is twofold. On a methodological level we explore the way classic literary texts can be used as a resource for analysis and reflection in the field of business ethics. On the level of substance we use the story of the Grand Inquisitor to analyze the problem of hypocrisy in business ethics and leadership. To overcome the problem of hypocrisy we look for some clues in the work of Dostoyevsky himself.
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  10. Malcolm Bowie (1994). The Morality of Proust: An Inaugural Lecture Delivered Before the University of Oxford on 25 November 1993. Clarendon Press.
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  11. Eva T. H. Brann (1999). Tapestry with Images: Paul Scott's Raj Novels. Philosophy and Literature 23 (1):181-196.
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  12. Hugh Bredin (1982). The Displacement of Character in Narrative Theory. British Journal of Aesthetics 22 (4):291-300.
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  13. Germaine Brée (1974). Camus and Sartre: Crisis and Commitment. Calder and Boyars.
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  14. Gert Buelens (ed.) (1997). Enacting History in Henry James: Narrative, Power, and Ethics. Cambridge University Press.
    The Jamesian mode of writing, it has been claimed, actively works against an understanding of the way truth, history and power circulate in his texts. In this collection of essays, leading scholars of James analyse the strategies James used to address these crucial issues. Enacting History in Henry James claims that, because the type of knowledge available in James's fiction is never of a cognitive kind, the reader can never know 'truth' in any verifiable sense. James's writing instead promises an (...)
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  15. Joseph Carroll (2008). The Cuckoo's History: Human Nature in Wuthering Heights. Philosophy and Literature 32 (2):pp. 241-257.
    Wuthering Heights has proved exceptionally elusive to interpretation. By foregrounding the idea of human nature, Darwinian literary theory provides a framework within which we can assimilate previous insights about Wuthering Heights , delineate the norms Brontë shares with her projected audience, analyze her divided impulses, and explain the generic forms in which those impulses manifest themselves. Brontë herself presupposes a folk understanding of human nature in her audience. Evolutionary psychology converges with that folk understanding but provides explanations that are broader (...)
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  16. Noël Carroll (2007). Narrative Closure. Philosophical Studies 135 (1):1 - 15.
    In this article, “Narrative Closure,” a theory of the nature of narrative closure is developed. Narrative closure is identified as the phenomenological feeling of finality that is generated when all the questions saliently posed by the narrative are answered. The article also includes a discussion of the intelligibility of attributing questions to narratives as well as a discussion of the mechanisms that achieve this. The article concludes by addressing certain recent criticisms of the view of narrative expounded by this article.
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  17. Peter Caws (2000). Moral Certainty in Tolstoy. Philosophy and Literature 24 (1):49-66.
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  18. Evgenia V. Cherkasova (2004). Kant on Free Will and Arbitrariness: A View From Dostoevsky's Underground. Philosophy and Literature 28 (2):367-378.
  19. Kelly Coble (2005). Authenticity in Robert Musil's. Philosophy and Literature 29 (2).
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  20. Ted Cohen (1997). Metaphor, Feeling, and Narrative. Philosophy and Literature 21 (2):223-244.
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  21. Dorrit Cohn (2000). The Poetics of Plato's. Philosophy and Literature 24 (1).
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  22. Thomas P. Crocker (2002). An American Novelist in the Philosopher King's Court. Philosophy and Literature 26 (1):57-74.
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  23. Angela Curran (1998). Feminism and the Narrative Structures of Aristotle’s Poetics. In Cynthia Freeland (ed.), Re-Reading the Canon: Feminist Readings on Aristotle. Penn State University Press.
  24. Gregory Currie (2010). Narratives and Narrators: A Philosophy of Stories. Oxford University Press.
    This text offers a reflection on the nature and significance of narrative in human communication.
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  25. Gregory Currie (2010). Narrative, Imitation, and Point of View. In Garry Hagberg & Walter Jost (eds.), A Companion to the Philosophy of Literature. Wiley-Blackwell.
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  26. Gregory Currie (2007). Both Sides of the Story: Explaining Events in a Narrative. Philosophical Studies 135 (1):49 - 63.
    Our experience of narrative has an internal and an external aspect--the content of the narrative’s representations, and its intentional, communicative aetiology. The interaction of these two things is crucial to understanding how narrative works. I begin by laying out what I think we can reasonably expect from a narrative by way of causal information, and how causality interacts with other attributes we think of as central to narrative. At a certain point this discussion will strike a problem: our judgements about (...)
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  27. Gregory Currie (2006). Narrative Representation of Causes. Journal of Aesthetics and Art Criticism 64 (3):309–316.
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  28. Gregory Currie (2004). Arts and Minds. Oxford University Press.
    Philosophical questions about the arts go naturally with other kinds of questions about them. Art is sometimes said to be an historical concept. But where in our cultural and biological history did art begin? If art is related to play and imagination, do we find any signs of these things in our nonhuman relatives? Sometimes the other questions look like ones the philosopher of art has to answer. Anyone who thinks that interpretation in the arts is an activity that leaves (...)
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  29. Gregory Currie (1995). Unreliability Refigured: Narrative in Literature and Film. Journal of Aesthetics and Art Criticism 53 (1):19-29.
    Aims to improve an understanding of the theoretical issues in response to the influence of fiction. Four things in narrative unreliability; Relation between narration in literary fictions and film; Comprehension of narrative essentially a matter of intentional inference; Fictions misdescribed; Asymmetry between literature and film; Ambiguity and unreliability; Implied author and narrator.
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  30. Gregory Currie & Jon Jureidini (2004). Narrative and Coherence. Mind and Language 19 (4):409–427.
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  31. E. M. Dadlez (2008). Form Affects Content: Reading Jane Austen. Philosophy and Literature 32 (2):pp. 315-329.
    What does it mean to hold that the significant aspects of a literary passage cannot be captured in a paraphrase? Does a change in the description of an act "risk producing a different act" from the one described? Using Jane Austen as an example, we'll consider whether her use of metaphor and symbol really amounts to calling someone a prick, whether her narrative voice changes what it is that is expressed, and whether comedy can hold just as much significance (...)
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  32. Alan Dagovitz (2008). Moby-Dick 's Hidden Philosopher: A Second Look at Stubb. Philosophy and Literature 32 (2):pp. 330-346.
    The hard-drinking, joke-cracking second-mate of Melville's Moby Dick doesn't receive much respect from critics. At best Stubb is seen as a comic foil, at worst as a cruel coward and mechanical optimist. Yet this perspective distorts the text and does him an injustice. In fact, Stubb can be read quite fruitfully as an exemplar of wisdom. Using recent scholarship to fill out Melville's conception of fine philosophy, a set of criteria emerges for the true philosopher according to which Stubb fares (...)
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  33. Arthur C. Danto (1991). Narrative and Style. Journal of Aesthetics and Art Criticism 49 (3):201-209.
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  34. David Davies (2010). Eluding Wilson's “Elusive Narrators”. Philosophical Studies 147 (3).
    George Wilson has defended the thesis that even impersonal third-person fictional narratives should be taken to contain fictional narrations and have fictional narrators. This, he argues, is necessary if we are to explain how readers can take themselves, in their imaginative engagement with fictions, to have knowledge of the things they are imagining. I argue that there is at least one class of impersonal third-person fictional narratives—thought experiments—to which Wilson’s model fails to apply, and that this reveals more general problems (...)
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  35. Vincent Descombes (1992). Proust: Philosophy of the Novel. Stanford University Press.
    Through the voice of the narrator of Remembrance of Things Past, Proust observes of the painter Elstir that the paintings are bolder than the artist; Elstir the painter is bolder than Elstir the theorist. This book applies the same distinction to Proust; the Proustian novel is bolder than Proust the theorist. By this the author means that the novel is philosophically bolder, that it pursues further The task Proust identifies as the writer's work: to explain life, to elucidate what has (...)
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  36. Mary Devereaux (2004). Moral Judgments and Works of Art: The Case of Narrative Literature. Journal of Aesthetics and Art Criticism 62 (1):3–11.
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  37. Daniel Dohrn (2009). Counterfactual Narrative Explanation. Journal of Aesthetics and Art Criticism 67 (1):37-47.
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  38. Jane Duran (2004). Virginia Woolf, Time, and the Real. Philosophy and Literature 28 (2):300-308.
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  39. Richard A. Dwyer (1976). Boethian Fictions: Narratives in the Medieval French Versions of the Consolatio Philosophiae. Mediaeval Academy of America.
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  40. Laura Rachel Felleman Fattal (2004). The Search for Narrative. Journal of Aesthetic Education 38 (3).
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  41. Susan L. Feagin (2007). On Noël Carroll on Narrative Closure. Philosophical Studies 135 (1):17 - 25.
    This paper examines various claims by Noël Carroll about narrative closure and its relationship to narrative connections, which are, roughly, causal connections generously conceived to include necessary conditions for sufficient conditions for an effect. I propose supplementing the expanded notion of a cause with Michael Bratman’s notion of a psychological connection to account for the particular role that human agents play in narratives. A novel and a film are used as examples to illustrate how the concept of a psychological connection (...)
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  42. Gary D. Fireman, T. E. McVay & Owen J. Flanagan (eds.) (2003). Narrative and Consciousness: Literature, Psychology and the Brain. Oxford University Press.
    We define our conscious experience by constructing narratives about ourselves and the people with whom we interact. Narrative pervades our lives--conscious experience is not merely linked to the number and variety of personal stories we construct with each other within a cultural frame, but is subsumed by them. The claim, however, that narrative constructions are essential to conscious experience is not useful or informative unless we can also begin to provide a distinct, organized, and empirically consistent explanation for narrative in (...)
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  43. Eitan Fishbane (2002). Tears of Disclosure: The Role of Weeping in Zoharic Narrative. Journal of Jewish Thought and Philosophy 11 (1):25-47.
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  44. Carol Freedman (1997). The Morality of Huck Finn. Philosophy and Literature 21 (1):102-113.
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  45. David Gallop (1999). Jane Austen and the Aristotelian Ethic. Philosophy and Literature 23 (1):96-109.
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  46. John Gibson (2011). Thick Narratives. In John Gibson Noel Carroll (ed.), Narrative, Emotion, and Insight. PSUP.
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  47. John Gibson, Luca Pocci & Wolfgang Huemer (2007). A Sense of the World: Essays on Fiction, Narrative, and Knowledge. Routledge.
    A team of leading scholars have been brought together in this impressive book to examine how works of literary fiction can be a source of knowledge. Together, they analyze the important trends in this current popular debate.
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  48. Amihud Gilead (2008). How Few Words Can the Shortest Story Have? Philosophy and Literature 32 (1):pp. 119-129.
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  49. David A. Goldfarb (1996). Lermontov and the Omniscience of Narrators. Philosophy and Literature 20 (1):61-74.
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  50. David Goldknopf (1969). The Confessional Increment: A New Look at the I-Narrator. Journal of Aesthetics and Art Criticism 28 (1):13-21.
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  51. Robert Gooding-Williams (1986). Literary Fiction as Philosophy: The Case of Nietzsche's Zarathustra. Journal of Philosophy 83 (11):667-675.
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  52. James Harold (2006). On Judging the Moral Value of Narrative Artworks. Journal of Aesthetics and Art Criticism 64 (2):259–270.
    In this paper, I argue that in at least some interesting cases, the moral value of a narrative work depends on the aesthetic properties of that artwork. It does not follow that a work that is aesthetically bad will be morally bad (or that it will be morally good). The argument comprises four stages. First I describe several different features of imaginative engagement with narrative artworks. Then I show that these features depend on some of the aesthetic properties of those (...)
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  53. James Harold (2005). Narrative Engagement with Atonement and The Blind Assasin. Philosophy and Literature 29 (1):130-145.
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  54. James G. Hart (1989). From Mythos to Logos to Utopian Poetics: An Husserlian Narrative. International Journal for Philosophy of Religion 25 (3):147 - 169.
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  55. Penelope Ingram (1999). "One Drifts Apart": To the Lighthouse as Art of Response. Philosophy and Literature 23 (1):78-95.
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  56. Daniel Jacobson (1996). Sir Philip Sidney's Dilemma: On the Ethical Function of Narrative Art. Journal of Aesthetics and Art Criticism 54 (4):327-336.
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  57. Marjorie Jolles (2012). Between Embodied Subjects and Objects: Narrative Somaesthetics. Hypatia 27 (2):301-318.
    Michel Foucault's ethics of embodiment, focusing upon care of the self, has motivated feminist scholars to pursue promising models of embodied resistance to disciplinary normalization. Cressida Heyes, in particular, has advocated that these projects adopt practices of “somaesthetics,” following a program of body consciousness developed by Richard Shusterman. In exploring Shusterman's somaesthetics proposal, I find that it does not account for the subjective challenges of resisting normalization. Based on narrative theories of subjectivity, the role narrative plays in normalization, and a (...)
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  58. Peter Jones (1975). Philosophy and the Novel: Philosophical Aspects of Middlemarch, Anna Karenina, the Brothers Karamazov, a La Recherche Du Temps Perdu, and of the Methods of Criticism. Clarendon Press.
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  59. Stewart Justman (2008). Converts, Uncertainty, and the Novel. Philosophy and Literature 32 (2):pp. 359-372.
    In its quest for converts medieval Christendom locked itself into a vicious interpretive circle, pressing unbelievers to join the Christian community and then suspecting them for doing so. Such suspicion drove the Inquisition. An Inquisition whose torture machinery grinds on century after century, as if each execution laid the ground for another, represents a closed system alien to a literary form, the novel, whose English name suggests "the new." As befits a form set in "the present day with all its (...)
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  60. Robert S. Kawashima (2004). Verbal Medium and Narrative Art in Homer and the Bible. Philosophy and Literature 28 (1):103-117.
    : Erich Auerbach's famous comparative study of Homer and the Bible, "Odysseus' Scar," argues that their contrastive styles derive from the different possibilities available to oral tradition and literature. In support of this thesis, I invoke two theories of verbal art: Walter Benjamin's description of the storyteller's craft, and Victor Shklovsky's definition of art as "defamiliarization." Through a comparative analysis of the use of type-scenes in Homer and in biblical narrative, I demonstrate how Homer is a traditional storyteller, practicing an (...)
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  61. Frederick M. Keener (1983). The Chain of Becoming: The Philosophical Tale, the Novel, and a Neglected Realism of the Enlightenment: Swift, Montesquieu, Voltaire, Johnson, and Austen. Columbia University Press.
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  62. Gary Kemp (2005). Philosophy as Fiction: Self, Deception, and Knowledge in Proust (Review). Philosophy and Literature 29 (2):498-500.
    Landy’s book (OUP 2004; 255 pp.+ x) delivers what has gone long and scandalously missing: a philosophical analysis of Proust’s incomparable book that is muscular, concise, philosophically informed and sophisticated; logically rigorous, explanatorily fruitful, and meticulously answerable to its data, namely the text. The philosophy here is not, as often the case in writing about Proust, mere rhetoric or window-dressing, but substantive and literally believable. The book should for a long time be inescapable for anyone writing philosophically about Proust, and (...)
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  63. Tpeter Kemp & Craig Dilworth (1988). Toward a Narrative on Ethics: A Bridge Between Ethics and the Narrative Reflection of Ricoeur. Philosophy and Social Criticism 14 (2):179-201.
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  64. Neil Kenny (ed.) (1991). Philosophical Fictions and the French Renaissance. Warburg Institute, University of London.
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  65. Joseph Carroll Jonathan Gottschall John A. Johnson Daniel J. Kruger (2009). Human Nature in Nineteenth-Century British Novels: Doing the Math. Philosophy and Literature 33 (1):pp. 50-72.
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  66. Peter Lamarque (2004). On Not Expecting Too Much From Narrative. Mind and Language 19 (4):393–408.
    The paper offers a mildly deflationary account of narrative, drawing attention to the minimal, thus easily satisfied, conditions of narrativity and showing that many of the more striking claims about narrative are either poorly supported or refer to distinct classes of narrative—usually literary or fictional—which provide a misleading paradigm for narration in general. An enquiry into structural, referential, pragmatic, and valuebased features of narrative helps circumscribe the limits of narration and the test case of the narrative definition of the (...)
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  67. Iddo Landau (2005). To Kill a Mandarin. Philosophy and Literature 29 (1):89-96.
    IN LE P È R E GO R I O T, Balzac has the main character, Rastignac, ask his friend Bianchon whether he would agree to the killing of a Chinese Mandarin in far-away China if this would yield Bianchon a great fortune. After some joking, Bianchon answers negatively.1 For Rastignac, this thought experiment is connected to a practical dilemma: he is deliberating whether to agree that a man he has never seen, and who has done Rastignac no harm, should (...)
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  68. Joshua Landy (2004). Philosophy as Fiction: Self, Deception, and Knowledge in Proust. Oxford University Press.
    Philosophy as Fiction seeks to account for the peculiar power of philosophical literature by taking as its case study the paradigmatic generic hybrid of the twentieth century, Marcel Proust's In Search of Lost Time. At once philosophical--in that it presents claims, and even deploys arguments concerning such traditionally philosophical issues as knowledge, self-deception, selfhood, love, friendship, and art--and literary, in that its situations are imaginary and its stylization inescapably prominent, Proust's novel presents us with a conundrum. How should it be (...)
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  69. John Randolph LeBlanc (2006). Memory and Justice: Narrative Sources of Community in Camus's The First Man. Philosophy and Literature 30 (1):140-157.
  70. F. N. Lees (1964). Identification and Emotion in the Novel: A Feature of Narrative Method. British Journal of Aesthetics 4 (2):109-114.
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  71. Thomas M. Lennon (2007). Proust and the Phenomenology of Memory. Philosophy and Literature 31 (1):52-66.
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  72. Shen-yi Liao (forthcoming). Moral Persuasion and the Diversity of Fictions. Pacific Philosophical Quarterly.
    Narrative representations can change our moral actions and thoughts, for better or for worse. In this paper, I develop a theory of fictions' capacity for moral education and moral corruption that is fully sensitive to the diversity of fictions. Specifically, I argue that the way a fiction influences our moral actions and thoughts importantly depends on its genre. This theory promises new insights into practical ethical debates over pornography and media violence.
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  73. John Lippitt (2007). Getting the Story Straight: Kierkegaard, Macintyre and Some Problems with Narrative. Inquiry 50 (1):34 – 69.
    As part of the widespread turn to narrative in contemporary philosophy, several commentators have recently attempted to sign Kierkegaard up for the narrative cause, most notably in John Davenport and Anthony Rudd's recent collection Kierkegaard After MacIntyre: Essays on Freedom, Narrative and Virtue. I argue that the aesthetic and ethical existence-spheres in Either/Or cannot adequately be distinguished in terms of the MacIntyre-inspired notion of 'narrative unity'. Judge William's argument for the ethical life contains far more in the way of substantive (...)
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  74. Genevieve Lloyd (1993). Being in Time: Selves and Narrators in Philosophy and Literature. Routledge.
    Being in Time is a provocative and accessible essay on the fragmentation of the self as explored in philosophy and literature. This original study is unique in its focus on the literary aspects of philosophical writing and their interactions with philosophical content. It explores the emotional aspects of the human experience of time commonly neglected in philosophical investigation by looking at how narrative creates and treats the experience of the self as fragmented and the past as "lost." Genevieve Lloyd demonstrates (...)
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  75. Joseph Margolis (1989). Texts Without Referents: Reconciling Science and Narrative. Basil Blackwell.
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  76. Tony McAdams (1993). The Great Gatsby as a Business Ethics Inquiry. Journal of Business Ethics 12 (8):653 - 660.
    The author argues for the use of F. Scott Fitzgerald's novel,The Great Gatsby, as a text for studying business ethics. The author presents a documented analysis of the major ethics themes in the book including, for example, moral growth, Gatsby's life of illusion, the withering of the American Dream, and the parallels between the 1920s and the 1980s. Fitzgerald's fiction analysis is then tied to the '90s via current social science and philosophical evidence addressing Fitzgerald's 1920s concerns. Data examining the (...)
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  77. Joseph McBride (1992). Albert Camus: Philosopher and Littérateur. St. Martin's Press.
    Marking a major new reassessment of Camus' writing, this book investigates the nature and philosophical origins of Camus' thinking on "authenticity" and "the absurd" as these motions are expressed in "The Myth of Sisyphus" and "The Outsider", showing these books to be the product not only of a literary figure, but of a genuine philosopher as well. Moreover, the author provides a complete English-language translation of Camus' "Metaphysique Chretienne et Neoplatonisme" and underlines the importance of this study for the understanding (...)
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  78. Joan McCarthy (2007). Dennett and Ricoeur on the Narrative Self. Humanity Books.
    Why the narrative self? -- Contemporary interest in narrative theory -- Is the self real or illusory? -- Dennett's brand of naturalism -- The heterophenomenological method (HM) -- Consciousness and the self -- The naturalist narrative self -- Puzzle cases -- The HM and the narrative self -- The limitations of Dennett's account -- The limits of language -- Epistemological fragility -- Ontological fragility -- Naturalism and phenomenology -- Confronting naturalism -- Phenomenology and hermeneutics -- The detour of interpretation -- (...)
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  79. Mark Richard McCulloh (2006). Destruction and Transcendence in W. G. Sebald. Philosophy and Literature 30 (2):395-409.
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  80. Eduardo Mendieta (2005). Surviving American Culture: On Chuck Palahniuk. Philosophy and Literature 29 (2):394-408.
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  81. Jukka Mikkonen (2008). Philosophical Fiction and the Act of Fiction-Making. SATS 9 (2):116-132.
    In this paper, I shall sketch a preliminary ground for a cognitivist theory of fiction and argue that theories which align fiction-making with (aesthetically valuable) story-telling consider the act of fiction-making too narrowly. As a paradigmatic example of such anti-cognitivist theories, I shall examine Peter Lamarque and Stein Haugom Olsen’s influential theory of fiction, which suggests that recognizing the author’s fictive and literary intentions manifested in the text would lead to dismissing her aims to make genuine claims and suggestions. I (...)
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  82. John Morreall (1994). The Myth of the Omniscient Narrator. Journal of Aesthetics and Art Criticism 52 (4):429-435.
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  83. Ira Newman (2008). Learning From Tolstoy: Forgetfulness and Recognition in Literary Edification. Philosophia 36 (1):43-54.
    Philosophers have often applied a distinctively epistemic framework to the question of how moral knowledge can be derived from fictional literature, by considering how true propositions, or their argumentative support, can be the cognitive fruits of reading works of fiction. I offer an alternative approach. I focus not on whether readers fail to assent to the truth of a proposition or fail to provide it rational support. Instead, I focus on how readers fail to accord a truth (which they already (...)
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  84. Adam Zachary Newton (1995). Narrative Ethics. Harvard University Press.
    An original work of theory as well as a deft critical performance, Narrative Ethics also stakes a claim for itself as moral inquiry.
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  85. Patrick O'Neill (1996). Book Review: Fictions of Discourse: Reading Narrative Theory. [REVIEW] Philosophy and Literature 20 (2).
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  86. Frederick A. Olafson (1988). Moral Relationships in the Fiction of Henry James. Ethics 98 (2):294-312.
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  87. Yi-Ping Ong (2009). A View of Life: Nietzsche, Kierkegaard, and the Novel. Philosophy and Literature 33 (1):pp. 167-183.
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  88. Donna Tussing Orwin (1995). Book Review: Tolstoy's Art and Thought, 1847-1880. [REVIEW] Philosophy and Literature 19 (1).
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  89. David Parker (1996). Book Review: Ethics, Theory and the Novel. [REVIEW] Philosophy and Literature 20 (1).
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  90. George Pattison (1986). Nihilism and the Novel: Kierkegaard's Literary Reviews. British Journal of Aesthetics 26 (2):161-171.
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  91. Roger Pearson (1993). The Fables of Reason: A Study of Voltaire's "Contes Philosophiques". Oxford University Press.
    This is the first comprehensive study in English of Voltaire's contes philosophiques--the philosophical tales for which he is best remembered and which include his masterpiece Candide. Pearson situates each story in its historical and intellectual context and offers new readings in light of modern critical thinking. He rejects the traditional view that Voltaire's contes were the private expression of his philosophical perplexity, and argues that it is narrative that is Voltaire's essential mode of thought. His book is a witty, lucid, (...)
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  92. Gilbert Plumer (2012). Cognition and Literary Ethical Criticism. In Frank Zenker (ed.), Argumentation: Cognition & Community. Proceedings of the 9th International Conference of the Ontario Society for the Study of Argumentation [CD-ROM]. Ontario Society for the Study of Argumentation.
    “Ethical criticism” is an approach to literary studies that holds that reading certain carefully selected novels can make us ethically better people, e.g., by stimulating our sympathetic imagination (Nussbaum). I try to show that this nonargumentative approach cheapens the persuasive force of novels and that its inherent bias and censorship undercuts what is perhaps the principal value and defense of the novel—that reading novels can be critical to one’s learning how to think.
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  93. Gilbert Plumer (2011). Novels as Arguments. In Frans H. van Eemeren, Bart Garssen, David Godden & Gordon Mitchell (eds.), Proceedings of the Seventh International Conference of the International Society for the Study of Argumentation [CD-ROM]. Rozenberg / Sic Sat.
    The common view is that no novel IS an argument, though it might be reconstructed as one. This is curious, for we almost always feel the need to reconstruct arguments even when they are uncontroversially given as arguments, as in a philosophical text. We make the points as explicit, orderly, and (often) brief as possible, which is what we do in reconstructing a novel’s argument. The reverse is also true. Given a text that is uncontroversially an explicit, orderly, and brief (...)
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  94. Richard A. Posner (2000). Orwell Versus Huxley: Economics, Technology, Privacy, and Satire. Philosophy and Literature 24 (1):1-33.
    Orwell's novel Nineteen Eighty-Four and Huxley's novel Brave New World have often been thought prophetic commentaries on economic, political, and social matters. I argue, with particular reference to the supposed applicability of these novels to issues of technology and privacy, that the novels are best understood as literary works of art, rather than as social science or commentary, and that when so viewed Orwell's novel in particular reflects a dissatisfaction with everyday life and a nostalgia for Romantic values.
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  95. Richard A. Posner (1997). Narrative and Narratology in Classroom and Courtroom. Philosophy and Literature 21 (2):292-305.
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  96. Stephen W. Potts (1982). From Here to Absurdity: The Moral Battlefields of Joseph Heller. Borgo Press.
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  97. Michael Prince (1996). Philosophical Dialogue in the British Enlightenment: Theology, Aesthetics, and the Novel. Cambridge University Press.
    This book offers the first full-length study of philosophical dialogue during the English Enlightenment. It explains why important philosophers - Shaftesbury, Mandeville, Berkeley and Hume - and innumerable minor translators, imitators and critics wrote in and about dialogue during the eighteenth century; and why, after Hume, philosophical dialogue either falls out of use or undergoes radical transformation. Philosophical Dialogue in the British Enlightenment describes the extended, heavily coded, and often belligerent debate about the nature and proper management of dialogue; and (...)
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  98. Anthony Rizzuto (1999). Book Review: Camus: Love and Sexuality. [REVIEW] Philosophy and Literature 23 (1).
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  99. William Roberson (1993). The Ironic Space: Philosophy and Form in the Nineteenth-Century Novel. P. Lang.
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  100. Peter Roberts (2008). Bridging Literary and Philosophical Genres: Judgement, Reflection and Education in Camus'the Fall. Educational Philosophy and Theory 40 (7):873-887.
    Both literature and philosophy, as genres of writing, can enable us to address important ontological, epistemological and ethical questions. One author who makes it possible for readers to bridge these two genres is Albert Camus. Nowhere is this more evident than in Camus' short novel, The Fall. The Fall, through the character and words of Jean-Baptiste Clamence, prompts readers to reflect deeply on themselves, their motivations and commitments, and their relations with others. This paper discusses the origin and structure of (...)
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