Literary Interpretation

I discuss Dante’s understanding that human existence is “ordered by two final goals” and how this understanding defines philosophy’s and theology’s respective scopes of authority in guiding human conduct. I show that, while Dante devalues the philosophical authority associated with the traditional Aristotelian emphasis on the significance of contemplative activity, he does so in order to highlight philosophy’s ethico-political authority to guide human conduct toward its “earthly beatitude.” Moreover, I argue that, although Dante subordinates earthly beatitude to spiritual beatitude, he (...) nonetheless maintains that philosophy’s authority to reveal a path to spiritual beatitude requires its fundamental independence from theology. (shrink)

I discuss Dante’s understanding that human existence is “ordered by two final goals” and how, for Dante, this understanding defines philosophy’s and revelation’s respective scopes of authority in guiding human conduct. Specifically, I show that, although Dante subordinates our earthly beatitude to spiritual beatitude in a way that seems to suggest the subordination of the authority of philosophy to that of revelation, he in fact limits philosophy’s scope to an arena in which its authority is not only legitimate but also (...) crucial to the cultivation of the higher, spiritual beatitude of human activity. (shrink)

Seit über 30 Jahren gibt es in den deutschen wie französischen Kultur- und Geisteswissenschaften das Bestreben, den Begriff der »Lesbarkeit« von seiner engen Bindung an den geschriebenen Text zu emanzipieren. Die vorliegende Ausgabe von Trivium lässt einige der maßgeblichen Stimmen in dieser Debatte zu Wort kommen. Auf der gemeinsamen Schnittfläche von Mikrohistorie, Semiologie, Psychoanalyse, Kulturgeschichte, Physiognomie und Mantik zeichnet sich ein neues und zugleich altes Verständnis des Lesens ab. Wenn sich in der Moderne die Frage nach dem Lesen von Spuren (...) – und damit im weiteren Sinne von Indizien, Symptomen, Vorzeichen etc. – neu stellt, so wird damit an eine archaische Praxis des Lesens neu angeknüpft, welche uns vor das unabschließbare Problem der Lesbarkeit der Welt stellt. -/- Lire. Voilà une chose que ne réfléchissent plus les sur-alphabétisés que nous sommes, habitués à ingérer les signes sans y prendre garde. Repenser la lecture et l’investir d’une fonction critique suppose de méditer la lettre en revenant à son antériorité : se souvenir que, de tout temps et avant tout livre, il y a eu des lecteurs. Des lecteurs – littéralement – avant la lettre. L’art de la lecture réunit le chasseur lisant les déjections des animaux dans les forêts, l’astronome babylonien scrutant les cartographies stellaires, le pêcheur hawaïen lisant les courants marins en plongeant dans l’eau sa main et l’amant déchiffrant aveuglément le corps de l’aimée. On apprend à lire non seulement des textes, mais encore des partitions de musique, des tableaux de peinture, des cartes à jouer, des notations chorégraphiques, des sillons dans la terre, des tourbillons dans l’eau, des gestes révélateurs ou bien des rêves. (shrink)

I examine the contribution that the first part of Maurice Blancot's recit Death Sentence makes to his understanding of the relationship between philosophy and literature. I use a reading of the Kantian, transcendental account of literature in “How is Literature Possible” as the starting point for an analysis of the way in which Blanchot uses secrets in describing J.'s death in Death Sentence, linking secrecy up with the imaginary, ambiguity and dissimulation. The purpose for this refinement is to challenge the (...) philosophical tradition's self-understanding, particularly as exhibited in Hegel. This challenge is seen by reading the account of grief in the first part of Death Sentence as a parody of Hegel's interpretation of Antigone. (shrink)

Victorian scriptural hermeneutics : history, intention, and evolution -- Intertext 1 : Victorian legal interpretation -- Carlyle : between biblical exegesis and romantic hermeneutics -- Intertext 2 : Victorian science and hermeneutics : the interpretation of nature -- George Eliot's hermeneutics of sympathy -- Intertext 3 : Victorian literary criticism -- Subjectivism, intersubjectivity, and intention : Oscar Wilde and literary hermeneutics.

Are the intentions of the author relevant to literary criticism? Do the author's intentions determine the meaning of the literary work of art, or provide a standard by which its merit may be judged? ;On the one hand, the intentionalist says that the meaning of a literary work is what its author meant, and that at least one measure of the work is the extent to which it instantiates the author's intentions. ;On the other hand, the anti-intentionalist says that the (...) work is a "verbal icon," which derives its meaning not from the author's intentions but from the conventions of language, and which must be measured solely according to whether or not it "works." ;In this dissertation, my strategy is to show that the controversy is based upon a misapprehension of the aims of literature and of criticism. Given that the aim of criticism is to maximize aesthetic enjoyment, we must acknowledge that although every work assumes the character of a "verbal icon," the conventions that govern meaning are subject to pressure from a variety of sources, one of which is our knowledge of the author's intentions. Further, while we certainly want to judge the work according to the extent to which it "works," its efficacy is determined not just by the properties of the work itself, but by the context of its apprehension, which may include knowledge of auctorial intentions. ;To prosecute this strategy, I expound the view that the aim of criticism is the maximization of aesthetic enjoyment and argue that an essential characteristic of literature is the potential to provoke an enjoyment that is distinct from other kinds of enjoyment. I then examine in detail the paper that originally sparked the controversy and five representative rejoinders, showing in each case how the authors have allowed a misconstruction of criticism to vitiate their conceptualization of the issue. My conclusion is that vis-a-vis literary criticism we must adopt a pluralistic view of the meaning and the merit of works of literary art that takes into account all of the factors that actually bear on our experience of literary works. (shrink)

On one standard view, paraphrasing Kierkegaard requires no special literary talent. It demands no particular flair for the poetic. However, Kierkegaard himself rejects this view. He says we cannot paraphrase in a straightforward fashion some of the ideas he expresses in a literary format. To use the words of Johannes Climacus, these ideas defy direct communication. In this paper, I piece together and defend the justification Kierkegaard offers for this position. I trace its origins to concerns raised by Lessing and (...) Mendelssohn about the relationship between form and content in works of art. I maintain that Kierkegaard follows early German Romantic thinkers in applying these aesthetic concerns to philosophical writing. By way of conclusion, I discuss the implications of Kierkegaard’s position for contemporary scholarship. (shrink)

marginal notes on Jung, Sartre, Valéry, Tolkien, Borges, and more; with woven-in autobiography.

The influence of surrealism and Philippe Soupault on William Carlos Williams' poetry.

Was heißt es, einen literarischen Text zu interpretieren? Wie können Interpretationen begründet werden? Können wir mit Interpretationen Anspruch auf Erkenntnis erheben? Können Interpretationen wahr sein? In welcher Weise fließt das Wissen von Interpreten in ihre Interpretationen ein? Aus der Perspektive verschiedener Disziplinen suchen die Beiträge dieses Bandes Antworten auf diese und andere fundamentale Fragen, die sich mit der Interpretation von Literatur verbinden. Der einleitende Beitrag gibt einen Überblick über wichtige Themen und Probleme, die gegenwärtig im Hinblick auf die Theorie und (...) Praxis der Literaturinterpretation diskutiert werden. Die in den folgenden vier Sektionen versammelten Studien widmen sich unter anderem Fragen nach dem Interpretationsbegriff, der Geltung und der methodisch geleiteten Begründung von Interpretationen, den kognitiven Operationen beim Verstehen und Interpretieren von Literatur sowie den Problemen, die sich in der Praxis der Literaturinterpretation angesichts der spezifischen Beschaffenheit literarischer Texte ergeben. Vertreten sind die Fachgebiete der deutschsprachigen Literaturwissenschaft, Philosophie, Linguistik, Mediävistik, Anglistik und Computerphilologie. [What does it mean to interpret a work of literature? How can interpretations be justified? Can interpretations serve as a source of knowledge? Is it possible for interpretations to be true? How does the knowledge of interpreters contribute to their interpretations? The essays comprised in this volume look for answers to these and other fundamental questions regarding the interpretation of literature. The introduction provides an overview of the main issues and problems in contemporary debates on the theory and practice of interpretation. The articles are grouped into four sections and cover topics like the concept of interpretation, the validity of interpretations, the methods for justifying interpretations, the cognitive processes that are involved in understanding and interpreting literature, and address problems that arise in the practice of interpretation and in light of the specific characteristics of literary texts. The contributors to this volume come from a variety of disciplines such as literary studies, philosophy, linguistics, and the digital humanities.]. (shrink)

This book provides more than a historical account of the development of criticism. It examines the epistemology of criticism, and pursues how criticism on a fundamental structural level develops and changes. The work focuses on the transformation of the critical theories of Classicism and Romanticism.

In this essay, I argue that Søren Kierkegaard’s oeuvre can be seen as a theater of ideas. This argument is developed in three steps. First, I will briefly introduce a theoretical framework for addressing the theatrical dimension of Kierkegaard’s works. This framework is based on a distinction between“performative writing strategies” and “categories of performativity.” As a second step, I will focus on Repetition: A Venture in Experimenting Psychology, by Constantin Constantius, one of the best examples of Kierkegaard’s innovative way of (...) doing philosophy. This strange and elusive book introduces the difficult and counter-intuitive notion of repetition. Repetition is a category of performativity that aims to activate the subjectivity of the reader. This performative effect is achieved by confronting the reader with an “unresolved”existential problem that is not yet drawn into clarity but is staged in all its confusions and contradictions. Kierkegaard’s pseudonym Constantius relies here on a performative writing strategy that is animated by a dialectic of advance and withdrawal. In the last and third step, I will analyze Constantius’s own reflection on the performative dimension of his text. Constantius has left several clues behind, each of which suggests that he deliberately developed a performative writing strategy. (shrink)

This dissertation focuses on the problem of novelty as seen from the perspective of two French philosophers: Paul Ricoeur and Gilles Deleuze. As such, a new interpretation of the works of these two philosophers is developed. I argue that two models can be derived from their works: a model that strives to make tensions productive (based on Ricoeur) and a model that aims to organize encounters between bodies (taken from Deleuze). These models are developed on their own terms without superimposing (...) one over the other. Hence, the first part of the dissertation focuses on Ricoeur, the second on Deleuze. Through an extensive reading of Ricoeur’s La métaphore vive, it is shown that the living metaphor creates a productive tension in which two previously distinct domains are drawn together. This results in a semantic innovation that first appears as an image and only later can be conceptualized. This argument is further developed by analyzing Augustine’s notion ‘time is a distention of the mind (distentio animi)’ as an example of how a living metaphor introduces a new language that re-describes reality. This example prepares the way for broadening the model of productive tensions by showing how, from Ricoeur’s perspective, the innovative potential of actions can be understood in terms of a productive tension between two orders of imagination. In contrast to Ricoeur, Deleuze’s conception of novelty is not analyzed in terms of a productive tension between two heterogeneous domains, but in terms of an encounter between bodies in which a creative coupling or an affective relation emerges that links these bodies together in a common trajectory. On the basis of a reading of Deleuze’s essays on literature, it is shown how such an encounter can give rise to a single process of metamorphosis. This process can be divided in two closely connected moments: a mutual metamorphosis that sets the whole process in motion and a continuous metamorphosis of proliferating series that keeps it alive. This first, intuitive understanding of the model is deepened by linking it to a metamorphic ontology of expression that is derived from Deleuze’s works on Spinoza. This provides the model with a more rigorous vocabulary and also shows in how these encounters can be organized in such a way that they create the conditions for novelty in three forms of thinking: science, art, and philosophy. (shrink)

In 'Literature Suspends Death: Sacrifice and Storytelling in Kierkegaard, Kafka and Blanchot' Chris Danta takes Genesis 22 as the starting point for an investigation of the role of literary imagination. His aim is to read the Genesis story from a literary-theoretical perspective in order to show how it can 'illuminate the secular situation of the literary writer.' To do this, Danta stages a fruitful confrontation between Søren Kierkegaard as defender of religion and inwardness and Franz Kafka and Maurice Blanchot as (...) defenders of literature. In this review, three important points in this confrontation are highlighted. 1. The problem of identification. 2. The moment of substitution. 3. The spectrality of the writer. (shrink)

Paul Valéry is de dichter die zwijgt; de denker die weigert filosoof te zijn; de schrijver die de taal in staat van beschuldiging stelt; de expert die volhoudt een amateur te zijn; de mysticus die zijn heil zoekt bij de wiskunde; de stamelaar die aan een kwaal van precisie lijdt; de Narcissus die misschien toch liever Orpheus had willen zijn. Hij is de chroniqueur van het denken en de meester van de tegenspraak. Ik probeer me hem voor te stellen. Het (...) is 1894 en hij zit gebogen te schrijven in de schriftjes waarin hij elk ochtend 'entre la lampe et le soleil' zijn denken fileert, een project dat uitmondde in ca. 30.000 bladzijden weerbarstige onvoltooidheid: de Cahiers. (shrink)

In his recent book, English Poetry; A Critical Introduction , Mr. F. W. Bateson makes the observation that as romantic criticism is now dead it should receive “decent and final interment.” By “romantic” criticism he seems to have in mind either what he calls the Pure Sound theory of poetry, which would have us believe that meaning has nothing to do with poetry, that poetry makes nothing but an emotional or physiological impact upon us; or the suggestion theory which argues (...) that “a good poem should mean very little while suggesting a good deal.” Both of these, according to Mr. Bateson, attempt “to justify the exclusion of meaning from poetry.”. (shrink)

Welche Anforderungen können an Interpretationen gestellt werden, wenn sie Erkenntnisse vermitteln sollen? In diesem Aufsatz führe ich sieben solcher Anforderungen auf und erläutere sie knapp: (1) Eine Interpretation soll mit dem Anspruch auf empirische Erkenntnis verbunden sein. (2) Sie befasst sich mit einem historischen Einzelfall. (3) Sie erklärt die Beschaffenheit von Texten psychologisch mit Absichten und Überzeugungen. (4) Diese Absichten und Überzeugungen haben Inhalte, sind über etwas. (5) Interpretationen sind im Sinne des Metaphysischen Realismus aufzufassen. (6) Die Tätigkeit der Texthervorbringung (...) wird als Prozess angesehen, der einer einheitlichen zusammenhängenden Welt angehört. (7) Deswegen sind die Methoden der Textinterpretation nicht grundsätzlich verschieden von den Methoden anderer Wissenschaften, auch nicht der Naturwissenschaften, die alle dieselbe einheitliche Welt untersuchen. (shrink)

This paper challenges the accepted interpretation of Oedipus Rex, which takes Oedipus’ ignorance of the relevant facts to be an established matter. I argue that Oedipus’ epistemic state is ambiguous, and that this in turn generates a moral ambiguity with respect to his actions. Because ignorance serves as a moral excuse, my demonstration that Oedipus was not ignorant bears significantly on the moral meaning of the play. I next propose to anchor this ambiguity in the Freudian notion of the unconscious, (...) by presenting an interpretation that treats Oedipus’ knowledge as unconscious. I discuss the moral status of an agent acting from unconscious knowledge and find it to be genuinely indeterminate, thus supporting my claim that the play is epistemically and morally ambiguous. (shrink)

Considering the philosophic intelligence that has set out to discredit it, intentionalism in critical interpretation has shown an uncanny resilience. Beginning perhaps most explicitly with the New Criticism, continuing through the analytic tradition in philosophy, and culminating most recently in deconstructionism, philosophers and literary theorists have kept under sustained attack the notion that authorial intention can provide a guide to interpretation, a criterion of textual meaning, or a standard for the validation of criticism. Yet intentionalist criticism still has avid theoretical (...) defenders and plenty of informal practitioners. The essay that follows, while an exercise in neither such defense nor practice, nevertheless attempts to demonstrate why intentional questions can be expected to be of permanent concern to criticism. (shrink)

Terry Eagleton has been reviewed in the light of theism; especially Christianity which he had earlier disowned.

Bashabi Fraser is known the world over as a Scottish-Bengali aka diasporic writer. Further she has also been slotted as a feminist scholar with a huge corpus on Tagore. This essay proves the fallacy of such pigeon-holeing of Fraser and shows that she is as mainstream as Yeats and even before that, like unto Blake. The essay also makes a point for rejecting every other mode of poetry except the Romantic mode. It established the Vedantic nature of the poetic genius. (...) The endnotes are copious and comment on how/why/(what of) Fraser should compulsory reading at which age. The essay speaks at length on the nature of poetry. It stresses the value of Vedanta in assessing true poetry written even in English. This essay is also valuable since it has within it acute observations on Fraser as a Tagore scholar. (shrink)

This article examines a particular shipboard newspaper situated within the centuries- long hunt for the Northwest Passage. The newspaper existed in both an original handwritten form produced on a ship in the Arctic and as a printed edition in London. An examination of the newspaper in both versions suggests the ways in which the same text can be transformed by variations on its physical form, its readers, and its temporal situation. This study shows the ways that a focus on print (...) culture and books as objects can be used to interpret primary historical sources, revealing the value of dealing with primary sources in a personal way. (shrink)

The book addresses the questions how literature can convey knowledge and how literary meaning can arise in the face of the fact that fictional texts waive the usual claim to truth. Based on the interdisciplinary cooperation of literary scholars and analytic philosophers, the present anthology attempts a) to analyze the possibility and conditions of gaining knowledge through literature, and b) to apply, in a fruitful way, philosophical theories of meaning and interpretation to the constitution of meaning within the language of (...) literature. The project is guided by the hypothesis that the cognitive function of literature cannot be understood without such fundamental modelings of the complex interaction of meaning, truth and knowledge. (shrink)

Contemporary literary theory takes truth and meaning to be dependent on shared conventions in a community of discourse and views authors’ intentions as irrelevant to interpretation. This view, argues Reed Way Dasenbrock, owes much to Anglo-American analytic philosophy as developed in the 1950s and 1960s by such thinkers as Austin and Kuhn, but it ignores more recent work by philosophers like Davidson and Putnam, who have mounted a counterattack on this earlier conventionalism. This book draws on current analytic philosophy to (...) resuscitate the notion of objective truth and intentionalist models of meaning and interpretation, thereby moving beyond the antifoundationalism of postmodern theory. It addresses the work of Rorty and Fish as representative of literary conventionalism, discusses the futility of Derrida’s anti-intentionalism, and shows how poststructuralist thinkers like Althusser and Foucault have contributed to the "new thematics" of race, class, gender, and sexual orientation that dominates literary theory today. Examining the counter-arguments of conventionalists to have their theory judged by its consequences, Dasenbrock shows how damaging this antiobjectivism and anti-intentionalism have been for literary studies. (shrink)