As the editors of the series, New Literary Theory, proclaim in the preface of the book, the purpose of the series is to make more room in literary theory for playful and accessible approaches to li...

Art plays a significant role in Iris Murdoch’s moral philosophy, a major part of which may be interpreted as a proposal for the revision of religious belief. In this paper, I identify within Murdoch’s philosophical writings five distinct but related ways in which great art can assist moral/religious belief and practice: art can reveal to us “the world as we were never able so clearly to see it before”; this revelatory capacity provides us with evidence for the existence of the (...) Good, a metaphor for a transcendent reality of which God was also a symbol; art is a “hall of reflection” in which “everything under the sun can be examined and considered”; art provides us with an analogue for the way in which we should try to perceive our world; and art enables us to transcend our selfish concerns. I consider three possible objections: that Murdoch’s theory is not applicable to all forms of art; that the meaning of works of art is often ambiguous; and that there is disagreement about what constitutes a great work of art. I argue that none of these objections are decisive, and that all forms of art have at least the potential to furnish us with important tools for developing the insight required to live a moral/religious life. (shrink)

Father Lord, author of Armchair Philosophy, herein offers to a wider audience some notes from a recent talk to the Philosophers in St. Louis. He believes that writing is necessary not only to express, but also really to assimilate philosophy.

Father Lord, author of Armchair Philosophy, herein offers to a wider audience some notes from a recent talk to the Philosophers in St. Louis. He believes that writing is necessary not only to express, but also really to assimilate philosophy.

So you want to publish some philosophy—preferably, good philosophy in a nice journal. -/- How do you do it?

Writing philosophy to be read by people who are not professional philosophers ought to be central to the work of professional philosophers. Writing for the public should be central to their work because their professional end is to produce ideas for use by people who are not professional philosophers. Philosophy is unlike most disciplines in that the ideas produced by professional philosophers generally have to be understood by a person before they can be of any use to them. (...) As a tool for delivering philosophical ideas to the public, writing philosophical works is invaluable. The need to write philosophy directly for the public should be clear regardless of one’s conception of the value of philosophy, since writing directly for the public is in the spirit of all the most popular modern philosophical movements. (shrink)

Writing Philosophy: A Student's Guide to Writing Philosophy Essays is a concise, self-guided manual that covers the basics of argumentative essay writing and encourages students to master fundamental skills quickly, with minimal instructor input. Opening with an introductory chapter on how to read philosophy, the book then moves into the basics of writing summaries and analyzing arguments. It provides step-by-step instructions for each phase of the writing process, from formulating a thesis, to creating an outline, (...) to writing a final draft, supplementing this tutorial approach with model essays, outlines, introductions, and conclusions. Skills essential to evaluating arguments, citing sources, avoiding plagiarism, detecting fallacies, and formatting final drafts are dealt with in detail. The final two chapters serve as a reference guide to common mistakes and basic skills in sentence construction, writing style, and word choice. Employing a rulebook format similar to that of the classic Elements of Style (by Strunk, White, and Angell), Lewis Vaughn distills helpful writing advice into simple rules that students can easily remember and apply--and that instructors can refer to when reviewing student papers. These rules cover essay organization, sentence structure, documentation styles, plagiarism, grammar, usage, and more. Written in a clear and engaging style and incorporating samples of student writing, Writing Philosophy is an indispensable resource for virtually any philosophy course. (shrink)

Writing Philosophy: A Student's Guide to Reading and Writing Philosophy Essays, Second Edition, is a concise, self-guided manual that covers how to read philosophy and the basics of argumentative essay writing. It encourages students to master fundamental skills quickly--with minimal instructor input--and provides step-by-step instructions for each phase of the writing process, from formulating a thesis, to creating an outline, to writing a final draft, supplementing this tutorial approach with model essays, outlines, introductions, and conclusions. (...) Writing Philosophy is just $5 when packaged with any Oxford University Press Philosophy text. Contact your Oxford representative for details and package ISBNs. (shrink)

Writing philosophy to be read by people who are not professional philosophers ought to be central to the work of professional philosophers. Writing for the public should be central to their work because their professional end is to produce ideas for use by people who are not professional philosophers. Philosophy is unlike most disciplines in that the ideas produced by professional philosophers generally have to be understood by a person before they can be of any use to them. (...) As a tool for delivering philosophical ideas to the public, writing philosophical works is invaluable. The need to write philosophy directly for the public should be clear regardless of one’s conception of the value of philosophy, since writing directly for the public is in the spirit of all the most popular modern philosophical movements. (shrink)

This paper presents two reasons for writing philosophy fast: to succeed in certain competitions; and to realize new and better ideas.

This article adopts Ernesto Laclau’s notion of empty signifier to discuss Tang Junyi’s uses of the concept oflixing(‘reason’ or ‘rationality’) in his seminal workCultural Consciousness and Moral Reason(文化意識與道德理性; 1958). My dual goal, in doing so, is to bring to light the relations of power constitutive of the text’s discourse onlixingand relate them to the problematic of writing philosophy from the periphery. I argue that in this work,lixing’s dual referents—as a translation of ‘reason’ and as denoting a Neo-Confucian faculty to (...) intuit moral truths—allow Tang to inscribe himself in a philosophical field designed to exclude non-Western philosophies, while at the same time enabling him to symbolically relegate Euro-American philosophy to a peripheral position by filling in the notion oflixingwith a content that legitimizes his own agenda. Tang could thus authorize his Confucian metaphysics by presenting it as the true content oflixing, understood not only as a universal faculty enabling humanity’s access to all that is universal, but also as a condition sine qua non of for one’s inclusion in the philosophical game. By attempting to co-opt the empty signifier (lixing/reason) for his own purposes, I argue Tang employs one of two possible strategies that can be adopted by those situated at the periphery in order to oppose the hegemon; one that leaves the structure of power relations intact but working in favor of the periphery. (shrink)

This book investigates how philosophical texts display a variety of literary forms and explores philosophical writing and the relation of philosophy to literature and reading. Discusses the many different philosophical genres that have developed, among them letters, the treatise, the confession, the meditation, the allegory, the essay, the soliloquy, the symposium, the consolation, the commentary, the disputation, and the dialogue Shows how these forms of philosophy have conditioned and become the basis of academic writing within both the university (...) and higher education more generally Explores questions of philosophical writing and the relation of philosophy to literature and reading. (shrink)

Avowedly polemical, without a single footnote, and aiming at the educated, non-academic or academic, reader, this short and punchy book - a manifesto, manual of instruction, and inspirational romp through the history of philosophy - argues that what we typically take to be 'philosophy' these days is actually not philosophy in the strong or 'true' sense at all, but a mix of intellectual history, the history of philosophy, philosophical scholarship, and 'academic' philosophy. More specifically, I elaborate, by way of a (...) plethora of examples culled from across the history of philosophy, how "authentically philosophical" writing (as opposed to its academic-scholarly-historical-philosophical counterpart) works, making a pedagogical-institutional recommendation for the creation of what I envision as MFT (Master of Fine Thought) programs in the process. (shrink)

philosophical reasoning, style, arguments, subject-matter.

Because the first book of most professional philosophers is a revised dissertation, Watson presents a plan for writing that dissertation in such a way that its chapters will serve as publishable articles and the dissertation itself will ...

This essay is about the loss of voice. It is about the ways in which the act of writing philosophy often results in an alienating and existentially meaningless experience for many budding philosophers, particularly those who wish to think from their racialized and gendered identities in professional academic philosophy.

Philosophers often write in a particular mood; their work is playful, strident, strenuous, or nostalgic. On the face of it, these moods contribute little to a philosophical argument and are merely incidental. However, I will argue that the cognitive science of moods and emotions offers us reasons to suspect that mood is relevant for philosophical texts. I use examples from Friedrich Nietzsche and Rudolph Carnap to illustrate the role moods play in their arguments. As readers and writers of philosophical texts, (...) we do well to attend to mood. (shrink)

-/- Letter to a friend : Creative Thinking and Intuition Letter to a friend about creative thinking and intuition (art, writing, philosophy, science, etc ) .

The book offers the first systematic reading of Gilles Deleuze's mature philosophy through the lens of creative practice. Six authors - two fine artists, a dancer, a creative writer, a designer and a philosopher - open multiple dialogues between contemporary creative practices and the generative philosophy of Deleuze. These conversations are focused around key aspects of production: forming, framing, experiencing, encountering and practising."-- Back cover.

With essay deadlines looming for many of our students, Matt Parker relives some of the angst involved in writing philosophy. You’re not alone.

Self-organization -- Organisms, finalisms, programs, machines -- Spinoza -- Judaism, determinism, and rationalities -- Fabricating the living -- Ethics.

The book explores three specific areas: the practice of writing with respect to orality; the interpretive modes of poetic and philosophical discourse as self ...

Many contemporaries criticized him for smashing the Age of Reason. Goethe, however, remarked that reading a page of Immanuel Kant was like entering a bright and well-lighted room: The great eighteenth-century philosopher illuminated everything he ever pondered. The twelve essays in this volume reveal Kant's towering importance as an ethical and social thinker as well as his enduring influence on the shape of philosophy. Included are excerpts from Dreams of a Visionary, Prolegomena to Every Future Metaphysics, Metaphysical Foundations of Morals, (...) Critique of Judgement , and Eternal Peace . As Professor Friedrich writes in his introduction to this volume: "The problem of freedom, the freedom of the human personality to unfold and fulfill its higher destiny, is the central issue of all of Kant's philosophizing.". (shrink)

Politics, Philosophy, Culture contains a rich selection of interviews and other writings by the late Michel Foucault. Drawing upon his revolutionary concept of power as well as his critique of the institutions that organize social life, Foucault discusses literature, music, and the power of art while also examining concrete issues such as the Left in contemporary France, the social security system, the penal system, homosexuality, madness, and the Iranian Revolution.

This article addresses the writing of the history of Russian philosophy from the first of such works—Archimandrite Gavriil’s Russian Philosophy [ Russkaja filosofija , 1840]—to philosophical histories/textbooks in the twenty-first century. In the majority of these histories, both past and present, we find a relentless insistence on the delineation of “characterizing traits” of Russian philosophy and appeals to “historiosophy,” where historiosophy is employed as being distinct from the historiographical method. In the 1990s and 2000s, the genre of the history (...) of Russian philosophy has grown increasingly conservative with regards to content, with histories from this period demonstrating an almost exclusive Orthodox focus. This conservatism, in turn, has contributed to widespread contention in recent years over the status of these philosophical textbooks—disagreements that often lead to either (1) further appeals to “historiosophical” methods; or (2) denials of the domestic philosophical tradition altogether, where the response to the query “Is there philosophy in Russia?” is emphatically negative. This article argues that the contemporary disputes over the development and preservation of the Russian philosophical canon are in many ways part of a larger debate over the roles of Orthodoxy and the history of philosophy in post-Soviet philosophical thought. (shrink)

From the Series Editor's Introduction: For much of the twentieth century, French intellectual life was dominated by theoreticians and historians of mentalite. Traditionally, the study of the mind and of its limits and capabilities was the domain of philosophy, however in the first decades of the twentieth century practitioners of the emergent human and social sciences were increasingly competing with philosophers in this field: ethnologists, sociologists, psychologists and historians of science were all claiming to study 'how people think'. Scholars, including (...) Gaston Bachelard, Georges Canguilhem, Leon Brunschvicg, Lucien Levy-Bruhl, Lucien Febvre, Abel Rey, Alexandre Koyre and Helene Metzger were all investigating the mind historically and participating in shared research projects. Yet, as they have since been appropriated by the different disciplines, literature on their findings has so far failed to recognise the connections between their research and their importance in intellectual history.In this exemplary book, Cristina Chimisso reconstructs the world of these intellectuals and the key debates in the philosophy of mind, particularly between those who studied specific mentalities by employing prevalently historical and philological methods, and those who thought it possible to write a history of the mind, outlining the evolution of ways of thinking that had produced the modern mentality. Dr Chimisso situates the key French scholars in their historical context and shows how their ideas and agendas were indissolubly linked with their social and institutional positions, such as their political and religious allegiances, their status in academia, and their familial situation.The author employs a vast range of original research, using philosophical and scientific texts as well as archive documents, correspondence and seminar minutes from the period covered, to recreate the milieu in which these relatively neglected scholars made advances in the history of philosophy and science, and produced ideas that would greatly influence later intellectuals such as Foucault, Derrida and Bourdieu. This book will appeal to historians of science and philosophy, particularly Continental philosophy, and those with interest in the history of ideas and the historiography of the disciplines of the social sciences. (shrink)

Philosophy and literature enjoy a close, complex relationship. Elucidating the connections between these two fields, this book examines the ways philosophy deploys literary means to advance its practice, particularly as a way of life that extends beyond literary forms and words into physical deeds, nonlinguistic expression, and subjective moods and feelings.

_After Writing_ provides a significant contribution to the growing genre of works which offers a challenge to modern and postmodern accounts of Christianity.

Writing to Reason presents the principles of writing a clear and well-argued philosophy paper in an easily-referenced numerical format, which facilitates efficient grading and clearer communication between instructors and students. Points out the most common problems students have achieving these objectives Increases efficiencies for instructors in grading papers Presents students with clearer information, objectivity, and transparency about their graded results Facilitates clearer communication between instructors and students.

Moving from the conviction that philosophy differs from mathematics because the signs of philosophy are words, i.e. audible Sprachlaute, and given that the vagueness of natural language cannot be eliminated by adopting a characteristic writing on the model of algebra, Kant poses the problem of how to write a philosophical book with a necessarily only phonetic writing, and yet aspiring to a certainty comparable to that of mathematics. His solution consists in showing, by means of acroamatic proofs, that (...) there are synthetic a priori judgments in philosophy. According to Kant, this solution, which is made possible and is conditioned by the systematic framework provided by the Copernican revolution and by his study of reason, accounts for our capacity to read appearances as experience, but is still insufficient to give us an overall interpretation of the whole experience. Thus Kant adopts the reading and interpreting of a book as the metaphor of his investigation and uses it to highlight the distinct but cooperating fields of the understanding and reason. (shrink)

This book makes available to the English reader nearly all of the shorter philosophical works, published or unpublished, that Husserl produced on the way to the phenomenological breakthrough recorded in his Logical Investigations of 1900-1901. Here one sees Husserl's method emerging step by step, and such crucial substantive conclusions as that concerning the nature of Ideal entities and the status the intentional `relation' and its `objects'. Husserl's literary encounters with many of the leading thinkers of his day illuminates both the (...) context and the content of his thought. Many of the groundbreaking analyses provided in these texts were never again to be given the thorough expositions found in these early writings. Early Writings in the Philosophy of Logic and Mathematics is essential reading for students of Husserl and all those who enquire into the nature of mathematical and logical knowledge. (shrink)

First published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.