Literary Values

Is it possible for postmodernism to offer viable, coherent accounts of ethics? Or are our social and intellectual worlds too fragmented for any broad consensus about the moral life? These issues have emerged as some of the most contentious in literary and philosophical studies. In Renegotiating Ethics in Literature, Philosophy, and Theory a distinguished international gathering of philosophers and literary scholars address the reconceptualisations involved in this 'turn towards ethics'. An important feature of this has been a renewed interest in (...) the literary text as a focus for the exploration of ethical issues. Exponents of this trend include Charles Taylor, Bernard Williams, Iris Murdoch, Cora Diamond, Richard Rorty and Martha Nussbaum, the latter a contributor and a key figure in this volume. This book assesses the significance of this development for ethical and literary theory and attempts to articulate an alternative postmodern account of ethics which does not rely on earlier appeals to universal truths. (shrink)

Examines an aspect of Malraux's exploration of action as a value.

Recent attention to the relationship between aesthetic value and cognitive value has focused on whether the latter can affect the former. In this article, I approach the issue from the opposite direction. I investigate whether the aesthetic value of a work can influence its cognitive value. More narrowly, I consider whether a work's aesthetic value ever contributes to or detracts from its philosophical value, which I take to include the truth of its claims, the strength of its arguments, and its (...) internal consistency. I argue that aesthetic value does have such an impact, at least sometimes and to some degree. The aesthetic merits of some works help to preserve their consistency, and the aesthetic defects of other works render them self-contradictory. (shrink)

Works of fiction are often criticized for their historical inaccuracies. But this practice poses a problem: why would we criticize a work of fiction for its historical inaccuracy given that it is a work of fiction? There is an intuition that historical inaccuracies in works of fiction diminish their value as works of fiction; and yet, given that they are works of fiction, there is also an intuition that such works should be free from the constraints of historical truth. The (...) puzzle of historical criticism is that these intuitions are obviously in conflict, and yet we wish to give up neither. In this essay, I address the shortcomings of two seemingly intuitive strategies for solving the puzzle: the puzzle cannot be solved by appealing to historical constraints of a work’s genre, nor can it be explained as an instance of imaginative resistance. Given the failure of these two strategies, I suggest that there is no easy way to account for our conflicting intuitions and that the puzzle is deserving of greater attention. (shrink)

This book is an encounter between Deleuze the philosopher, Proust the novelist, and Beckett the writer creating interdisciplinary and inter-aesthetic bridges between them, covering textual, visual, sonic and performative phenomena, including provocative speculation about how Proust might have responded to Deleuze and Beckett.

This critical reading of the concept of style in 20th-century Spanish aesthetic thought ranges from Eugenio d'Ors' 1908 Glosari Catala via Jose Ortega y Gasset's 1913 Meditaciones del Quiiote to Maria Zambrano's 1981 La Espana de Galdos. In redrawing the theoretical boundaries of the notion of style, these writers develop a non-essentialist understanding of the term. Style articulates a "bindingness" of culture , either by enabling critical cultural reflection or by ordering what is experienced as a chaotic culture . My (...) study underscores how the selected texts question the relations between the world of the arts and the world of culture, while simultaneously re-examining the function of the artist and the beholder in a fragmented, "post-auratic," modern condition. ;In addition to framing these authors in a particular Spanish post-Generation of 1898 and vanguard context, my analysis takes into consideration main trends in European phenomenology , existentialism and hermeneutics . By introducing these 20th -century modes of philosophy as points of comparison, I underscore how the three Spanish writers re-read the prototypically "modern" aesthetic paradigms set forward by Kant, Hegel and Nietzsche. A site of critical interest in the three chapters concerns the reflections on the genre of the novel. The dynamic understanding of style as an interface between form and substance testifies in these texts to a crisis of Modernity and leads to a theoretical reevaluation of the novel. These writers critique the novelistic narrative as the expressive site for modern "melancholia" and for Bildung of subjectivity, and thereby articulate the idea of a non-essentialist but nevertheless culturally productive rapprochement between the artist and reader. In thinking about the novel, they either re-confirm their theory on style, or underscore the inner paradoxes related to style . ;The relevance of this study is two-fold. It analyzes Spanish aesthetic theory in the twentieth century beyond a facile reading of Ortega y Gasset's La Deshumanizacion del Arte. In addition, it presents a European perspective on the poetic generations of early 20th -century Spain and so re-appraises the "other" literary production in prose. (shrink)

Polemics are a sort of critique typically suffused with inimical emotions and passions. But how are these emotions and passions to be construed? Neither authorial expression nor actual arousal properly account for their rôle in polemics. Rather, the polemicist must stage an unequal battle between a polemical self and the polemical target vis-à-vis an anticipated audience, skilfully handling, through his words, the emotions ascribed to each of them.

The Oxford Handbook of Philosophy and Literature contains 23 newly commissioned essays by major philosophers and literary scholars that investigate literature ...

Proposing that the interaction between reader and literature involves four “modes of textual engagement” — recognition, enchantment, knowledge, and shock — The Uses of Literature bridges the gap between literary theory and common-sense beliefs about why we read literature.

This paper is not so much a reading of Shakespeare's play as reading through As You Like It to the kinds of resolution and catharsis that can exist in comedy. We will find two kinds of resolution and catharsis, and within each kind two sub-types. We will then read through the figures of the play and the catharses available in it to the kinds of culture that need or can use each type of catharsis.

From Martha Nussbaum to Terence Cave, contemporary literary criticism and philosophy question the moral and cognitive value of literature. Founding their anthropological and moral investigation on a cognitive and pragmatic usage of fictional and non-fictional literature, Montaigne’s Essais offers a striking example of the productive and close relations between literature, philosophy and life.

Is philosophy, as the love of wisdom, inherently tragic? Must philosophy abolish its traditional modes of thinking if it is to attain the wisdom of tragedy? Sharing a common origin, even direction, does philosophy move beyond tragedy, epitomizing it? Is the action of tragedy analogous to the activity of philosophy? Have Hegel and Nietzsche distorted the tragic? Can there be a philosophy of the tragic? It is with such questions that the essays of this volume become involved, coming up with (...) original interpretations of tragedy, new approaches to traditional views, and novel conceptions of philosophy. Their diversity and novelty emerge out of a common problematic, a theme they all address: the relation between philosophy and tragedy. By exploring this relation, this volume adds to our comprehension of both. (shrink)

What is the relation between works of fiction and the acquisition of knowledge?

A team of leading contributors from both philosophical and literary backgrounds have been brought together in this impressive book to examine how works of literary fiction can be a source of knowledge. Together, they analyze the important trends in this current popular debate. The innovative feature of this volume is that it mixes work by literary theorists and scholars with work of analytic philosophers that combined together provide a comprehensive statement of the variety of ways in which works of fiction (...) can engage questions of worldly interest. It uses the problem of cognitive value to explore: literature’s contribution to ethical life literature’s ability to engage in social and political critique the role narrative plays in opening up possibilities of moral, aesthetic, experience and selfhood This remarkable volume will attract the attention of both literature and philosophy scholars with its statement of the various ways that literature and life take an interest in one another. (shrink)

A team of leading contributors from both philosophical and literary backgrounds have been brought together in this impressive book to examine how works of literary fiction can be a source of knowledge. Together, they analyze the important trends in this current popular debate. The innovative feature of this volume is that it mixes work by literary theorists and scholars with work of analytic philosophers that combined together provide a comprehensive statement of the variety of ways in which works of fiction (...) can engage questions of worldly interest. It uses the problem of cognitive value to explore: literature’s contribution to ethical life literature’s ability to engage in social and political critique the role narrative plays in opening up possibilities of moral, aesthetic, experience and selfhood This remarkable volume will attract the attention of both literature and philosophy scholars with its statement of the various ways that literature and life take an interest in one another. (shrink)

Hegel was ambivalent about Dutch genre painting’s uncanny ability to find beauty in daily life. The philosopher regarded the Dutch painterly aesthetic as Romanticism avant la lettre, and classifies it as such in his Lectures on Aesthetics, under the section entitled “Die romantischen Künste [The Romantic arts].”1 Dutch art, in Hegel’s reading, is marred by many shortcomings. The most prominent among these are the “subjective stubbornness [subjective Beschlossenheit]” that prevents this art from attaining to the “free and ideal forms of (...) expression” that marked the productions of Italian artists such as Raphael. In contradistinction to their Italian counterparts, Dutch artists in Hegel’s view are apt to. (shrink)

Introduction 1 -- Ancient Greece -- Reason and the irrational : Sophocles' Oedipus tyrannus -- Psuchê : literature and moral psychology from Homer to Sophocles -- Aristotle's poetics : Oedipus and the problem of tragedy -- Psuchê redux : philosophy and the new psychology -- Psychologizing Oedipus : reason and unreason in Aristotle's ethics -- Golden age denmark -- Kierkegaard's retrieval of Greek tragedy -- Tragedy as historical idea : either/or ancient drama reflected in the modern -- Stages on life's (...) way : Hamartia in the wake of modernity -- Fear and trembling : tragedy, comedy, and the heroism of Abraham -- The concept of anxiety : fate and the tragic logos of a second ethics -- Beyond eudaimonism : tragic virtue and the practice of eternity -- Moral psychology in the pseudonyms, search for a method ethicscontra ethics : Climacus on eternal happiness and tragic virtue -- Kierkegaard and the tragedy of authorship. (shrink)