This study offers a comprehensive new interpretation of one of Plato's most enigmatic and controversial dialogues, the Cratylus , showing it to present a complex and unified argument for a positive conclusion. Throughout, the book combines analysis of Plato's arguments with attentiveness to his philosophical method, including its "dramatic" or "literary" features; in particular, Socrates' extended etymological discourse, long an interpretive puzzle, is explained in terms of the various Platonic genres to which it belongs.

We usually think of philosophy as the production of theories and arguments. Yet there are other sides to philosophy, the recognition of which is necessary to understand its wider personal and cultural significance. Some of these sides are seldom acknowledged as philosophical at all, perhaps because literature has appropriated what professional philosophy unfortunately has lost. One philosophical activity often overlooked is the construction of philosophical allegories: to describe one's life in explicit philosophical terms or philosophically suggestive ways. Reading life allegorically (...) is to recognize philosophy in what seems merely details of the whole picture and to develop a sense for how philosophical constellations are mirrored in one's life, no matter how ordinary that life may seem. As a theoretical position skepticism is sometimes stated by saying that we are in a prison from which we cannot escape. What if one had actually been in some kind of prison, say, a home or a university, and then described that episode so that the skeptical picture is revealed in the description? That would be what I call an autobiographical philosophical allegory: a part of one's life is sublimated into a picture of the human condition. To attain as much, the episode need not be imbued with philosophical significance at the time—it may have felt utterly ordinary or utterly private. Yet the telling of it can make it extraordinary and promote it into a philosophical piece. In the following, I shall elucidate the concept of philosophical allegory through a reading of some episodes in Jean-Jacques Rousseau's autobiographical works. (shrink)

: This essay argues that Pascal's work both questions the accuracy of perspective in an infinite universe, and describes a model for moral truth that escapes the limitations of perspective. This model, rooted in Christianity, requires a total reorientation of approach towards moral truth. By asserting the limits of rational method, making use of recent scientific developments, and constructing a new model for moral truth, Pascal's work sought to update the role of Christianity to be not only consonant with the (...) secular thinking of his day but also as the only solution to the implications of that thinking. (shrink)

In this provocative new study, Richard Eldridge presents a highly original and compelling account of Wittgenstein's Philosophical Investigations , one of the most enduring yet enigmatic works of the twentieth century. He does so by reading the text as a dramatization of what is perhaps life's central motivating struggle--the inescapable human need to pursue an ideal of expressive freedom within the difficult terms set by culture. Eldridge sees Wittgenstein as a Romantic protagonist, engaged in an ongoing internal dialogue over the (...) nature of intentional consciousness, ranging over ethics, aesthetics, and philosophy of mind. The picture of the human mind that emerges through this dialogue unsettles behaviorism, cognitivism, and all other scientifically oriented orthodoxies. Leading a human life becomes a creative act, akin to writing a poem, of continuously seeking to overcome both complacency and skepticism. Eldridge's careful reconstruction of the central motive of Wittgenstein's work will influence all subsequent scholarship on it. (shrink)

Why did Plato put his philosophical arguments into dialogues, rather than presenting them in a plain and readily understandable fashion? A group of distinguished scholars here offer answers to this question by studying the relation between form and argument in his late dialogues. These penetrating studies show that the literary structure of the dialogues is of vital importance in the ongoing interpretation of Plato.

Michel de Montaigne, the inventor of the essay, has always been acknowledged as a great literary figure but has never been thought of as a philosophical original. This book is the first to treat Montaigne as a serious thinker in his own right, taking as its point of departure Montaigne's description of himself as 'an unpremeditated and accidental philosopher'. Whereas previous commentators have treated Montaigne's Essays as embodying a skepticism harking back to classical sources, Ann Hartle offers a fresh account (...) that reveals Montaigne's thought to be dialectical, transforming skeptical doubt into wonder at the most familiar aspects of life. This major reassessment of a much admired but also much underestimated thinker will interest a wide range of historians of philosophy as well as scholars in comparative literature, French studies and the history of ideas. (shrink)

"Faction" is a hybrid genre, aiming at the factual accuracy of journalism on the one hand and the literary form of the novel on the other. There is a fundamental tension however between those two aims, given the constraints which factual accuracy places on characterization, plot, and thematic exploration characteristic of the novel. Further, faction cannot be defended on the grounds that factual accuracy is a literary value in faction. Finally, some aspects of faction, such as its inability to refer (...) to sources or provide an analytic framework for a narrative, hinder rather than facilitate the communication of facts. (shrink)

: A transitional text in other respects as well, De Cive differs from Hobbes's earlier Elements of Law and later Leviathan by claiming points of agreement between his own political philosophy and that embodied allegorically in the fables of classical antiquity (as explicated by himself). Though he did not begin with and subsequently abandoned this unconvincing approach, it reveals how late in his intellectual development he was still tempted to find some way of establishing classical precedents for his views, and (...) thereby calls into question his frequent assessment as an arch-modern. (shrink)

: 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 (...) "art of the familiar," whereas biblical narrative "defamiliarizes" traditional forms. (shrink)

Before imagination became the transcendent and creative faculty promoted by the Romantics, it was for something quite different. Not reserved to a privileged few, imagination was instead considered a universal ability that each person could direct in practical ways. To imagine something meant to form in the mind a replica of a thing—its taste, its sound, and other physical attributes. At the end of the Renaissance, there was a movement to encourage individuals to develop their ability to imagine vividly. Within (...) their private mental space, a space of embodied, sensual thought, they could meditate, pray, or philosophize. Gradually, confidence in the self-directed imagination fell out of favor and was replaced by the belief that the few—an elite of writers and teachers—should control the imagination of the many. This book seeks to understand what imagination meant in early modern Europe, particularly in early modern France, before the Romantic era gave the term its modern meaning. The author explores the themes surrounding early modern notions of imagination (including hostility to imagination) through the writings of such figures as Descartes, Montaigne, François de Sales, Pascal, the Marquise de Se;vigne;, Madame de Lafayette, and Fe;nelon. (shrink)

Marjorie Perloff, among our foremost critics of twentieth-century poetry, argues that Ludwig Wittgenstein provided writers with a radical new aesthetic, a key to recognizing the inescapable strangeness of ordinary language. Taking seriously Wittgenstein's remark that "philosophy ought really to be written only as a form of poetry," Perloff begins by discussing Wittgenstein the "poet." What we learn is that the poetics of everyday life is anything but banal. "This book has the lucidity and the intelligence we have come to expect (...) from Marjorie Perloff.--Linda Munk, American Literature "[Perloff] has brilliantly adapted Wittgenstein's conception of meaning and use to an analysis of contemporary language poetry."--Linda Voris, Boston Review " Wittgenstein's Ladder offers significant insights into the current state of poetry, literature, and literary study. Perloff emphasizes the vitality of reading and thinking about poetry, and the absolute necessity of pushing against the boundaries that define and limit our worlds."--David Clippinger, Chicago Review "Majorie Perloff has done more to illuminate our understanding of twentieth century poetic language than perhaps any other critic. . . . Entertaining, witty, and above all highly original."--Willard Bohn, Sub-Stance. (shrink)

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 (...) it shows how the writing of philosophical fictions relates to the rise of the novel and the emergence of philosophical aesthetics. Novelists such as Fielding, Sterne, Johnson and Austen are placed in a philosophical context, and philosophers of the empiricist tradition in the context of English literary history. (shrink)

Plato's dialogues are usually understood as simple examples of philosophy in action. In this book Professor Rowe treats them rather as literary-philosophical artefacts, shaped by Plato's desire to persuade his readers to exchange their view of life and the universe for a different view which, from their present perspective, they will barely begin to comprehend. What emerges is a radically new Plato: a Socratic throughout, who even in the late dialogues is still essentially the Plato (and the Socrates) of the (...) Apology and the so-called 'Socratic' dialogues. This book aims to understand Plato both as a philosopher and as a writer, on the assumption that neither of these aspects of the dialogues can be understood without the other. The argument of the book is closely based in Plato's text, but should be accessible to any serious reader of Plato, whether professional philosopher, classicist, or student. (shrink)

Autobiographies are particularly interesting in the context of moral philosophy because they offer us rare and extended examples of how other people think, feel and reflect, which is of crucial importance in the development of phronesis (practical wisdom). In this article, Martha Nussbaum's use of fictional literature is shown to be of limited interest, and her arguments in Poetic Justice against the use of personal narratives in moral philosophy are shown to be unfounded. An analysis of Aristotle's concept of mimesis (...) shows that Nussbaum's claims for fictional literature also apply to personal narratives. A case is then made for the importance of personal narratives in developing practical wisdom, and three sub-genres of autobiography are discussed: (1) the confession, (2) the apology and (3) the testimonial. These sub-genres exemplify some of the unique features of personal narratives. (shrink)

This major new work from Quentin Skinner presents a fundamental reappraisal of the political theory of Hobbes. Using, for the first time, the full range of manuscript as well as printed sources, it documents an entirely new view of Hobbes's intellectual development, and re-examines the shift from a humanist to a scientific culture in European moral and political thought. By examining Hobbes's philosophy against the background of his humanist education, Professor Skinner rescues this most difficult and challenging (...) of political philosophers from the intellectual isolation in which he is so often discussed. This book presents a splendid exemplification of the 'Cambridge' contextual approach to the study of intellectual history with which Professor Skinner himself is especially associated. It will be of interest and importance to a wide range of scholars in history, philosophy, politics, and literary theory. (shrink)

The work of Jacques Derrida can be seen to reinvent most theories. In this book Robert Smith offers both a reading of the philosophy of Derrida and an investigation of current theories of autobiography. Smith argues that for Derrida autobiography is not so much subjective self-revelation as relation to the other, not so much a general condition of thought as a general condition of writing - what Derrida calls the 'autobiography of the writing' - which mocks any self-centred finitude of (...) living and dying. In this context, and using literary-critical, philosophical, and psychoanalytical sources, Smith thinks through Derrida's texts in a new, but distinctly Derridean, way, and finds new perspectives to analyse the work of classical writers including Hegel, Nietzsche, Kierkegaard, Freud, and de Man. (shrink)

Whereas previous studies have made George Berkeley (1685-1753) the object of philosophical study, Peter Walmsley assesses Berkeley as a writer, offering rhetorical and literary analyses of Berkeley's four major philosophical texts, A Treatise Concerning the Principles of Human Knowledge, Three Dialogues Between Hylas and Philonous, Alciphron, and Siris. Berkeley emerges from this study as an accomplished stylist who builds structures of affective imagery, creates dramatic voices in his texts, and masters the range of philosophical genres--the treatise, the dialogue, and the (...) essay. (shrink)

This article is a response to Ole Martin Skilleås's "Knowledge and Imagination in Fiction and Biography." The first section of the article summarizes the line of the argument in four theses: (1) What is real is more influential than what is made up; (2) there is no metaphysical chasm between autobiographers and us; (3) (auto)biographies are not just empirical; and (4) the moral lesson of a fiction need not be accepted. In the second section each of these theses is criticized. (...) This criticism leads to the conclusion that we should welcome (auto)biographical texts in our moral investigations, but not at the cost of fictional texts. This conclusion is coupled with a proposal to formulate criteria to distinguish texts that matter from those that do not. (shrink)