Online research in philosophy

An innovative theory of consciousness, drawing on the phenomenology of Edmund Husserl and supported by brain-imaging, presented in the form of a hardboiled ...

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 use names from fiction in ways that suggest that we take these names to refer. Philosophers who investigate fiction aim to reconcile such apparently incompatible phenomena, and, in general, to account for the myriad ways that we talk, think, and feel about fiction.

While post-World War II business fiction writers viewed the modern corporation as a threat to individualism, the author makes the point that modern fiction writers do not share that concern. However, modern fiction does describe the business world as being heavily populated by amoral or immoral valueless people, especially among those businessmen engrossed in financial manipulations. The author also observes that the world of business fiction remains an essentially white male dominated one.

An original work of theory as well as a deft critical performance, Narrative Ethics also stakes a claim for itself as moral inquiry.

Philosophers of literature direct their studies to the moral, cognitive, and emotional aspects of our involvement with fiction. In spite of this, they rarely engage works of popular fiction. In this paper I use The Da Vinci Code as a case study of the impact of popular fiction on readers in terms of these three areas. Although this book will never be considered good literature, its impact is far reaching. l address concerns dealing with the fiction/non-fiction distinction as weIl as issues with history, accuracy, and falsehoods. I flesh out the issues The Da Vinci Code brings up and argue that it, along with other works of popular fiction (Oprah’s book club for example), might be taken more seriously by philosophers of literature.

• Suppose further that you want to be able to treat all sorts of discourses as fiction, i.e. not just literary fiction but also ethics, mathematics, science, parts thereof, etc.

Here’s a boring thought experiment that doesn’t demonstrate anything: Burglary Smith burgled the house last night; Detective Stanley is investigating the crime scene. He acquires evidence sufficient for knowledge that the burglar came in through the window, but finds very little evidence about whether it was Smith or someone else who committed the crime.

Both psychoanalysis and modern detective fiction evolved into their modern form around the turn of 20th century. In several ways, their development reflected the turbulent time period: an era that saw increasing doubt over logic and reason as ways to govern the world and that questioned humanity's ability to redeem itself through progress and knowledge. Detective fiction was an attempt to solve the unexpected through logic and reasoning, while psychoanalysis was a way to make coherence out of a fragmented presentation. The preceding period had marked a growing public concern over crime in urban areas that was fed into public consciousness by the burgeoning print industry. After the establishment of the world's ..