In Poetics chapter 9, Aristotle famously claims that poetry is more philosophical than history. What does this mean? I argue that he is talking about the metaphysics of events. Poets seek causal coherence among the events in their stories. Historians must report what happened whether or not the events of history exhibit causal coherence. This makes the poet's job more philosophical than the historian's, for the poet is seeking a unified plot -- an action-type -- that serves as the backbone (...) of the story he is trying to tell. The poet's final script is a token of an Aristotelian universal, the universal being an action-type that could have been fleshed out in many different ways, although with similar characters. Hence, the poet shows us what he thinks it is likely or necessary for agents of different types to do in the circumstances that confront them. Aristotelian mimesis, on this account, is the poetic representation of "one action," that is, of one action-type. (shrink)

What are we to make of works of art whose apparent point is to convince us of the meaninglessness and absurdity of human existence? I examine, in this paper, the attempt of Albert Camus to provide philosophical justification of art in the face of the supposed fact of absurdity and note its failure as such with specific reference to Sartre’s criticism. Despite other superficial similarities, I contrast Camus’s concept of the absurd with that of his ‘existentialist’ colleagues, including Sartre, and (...) suggest that the latter concept is more philosophically viable. I conclude that existential phenomenology consequently provides a more promising philosophical justification for artistic creation in the light of the more viable conception of absurdity. (shrink)

The shortest stories are zero words long. There is no maximum length.

Literary ontology is essentially a phenomenological issue rather than one of epistemology, sociology, or psychology. It is a theory of the phenomenological essence intuited from a sense of beauty, based on the phenomenological ontology of beauty, which puts into brackets the sociohistorical premises and material conditions of aesthetic phenomena. Beauty is the objectified emotion. This is the phenomenological definition of the essence of beauty, which manifests itself on three levels, namely emotion qua selfconsciousness, sense of beauty qua emotion, and sentiment (...) qua sense of beauty. Art on the other hand is the objectification of emotion whose most general and closest manner to humanity is literature and poetry. Poetry is the origin of language and the linguistic essence is a metaphor. Language as the house of being is both thinking and poetry. Literature expresses the essence of art in the most direct way and, in traditional Chinese aesthetic terminology, literature is the language of emotion conveyed by the writer based on his own emotion towards the language of scene. (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 paper considers what kinds of things are musical, literary, pictorial and sculptural works, how they relate to physical objects or abstract types, and what their identity and survival conditions are. Works are shown to be cultural objects with essential intentional and relational properties. These essential properties are connected to conditions of production and conditions of reception, of both a generic and work-specific kind. It is argued that work-identity is value-laden, whereby essential to the survival of a work is the (...) quality of the experience the work affords. However, the overall stance is realist, defending the view that works are real, perceivable, and objectively characterisable. (shrink)