Philosophy of Literature

Recollection is a central component of Kierkegaard’s dramaturgical aesthetics, as it is recollection that allows for the actor and audience to accomplish continuity between the past and present, and, crucially, the private and the public. This continuity is accomplished imaginatively, wherein an actor or a poet seeks to elicit mood and establish an interpersonal dimension to inwardness, hence allowing the act of recollection to have both existential and social significance. My task is to articulate this aspect of his dramaturgical aesthetics (...) and demonstrate how there is a further continuity, between Kierkegaard’s thinking of the aesthetic and the religious in his authorship. I establish this continuity by analyzing the relationship between the living and the dead in recollection. Because recollection also forms an inward relation to the dead, this analysis has important implications for his doctrine of Christianity. Consequently I suggest Kierkegaard’s authorship fits Lessing’s criteria for a successful Christian drama. At a minimum Kierkegaard wrote in order to be read dramaturgically, with the reader thinking alongside and interpreting the text based on the mood it elicits. Finally, Kierkegaard’s own work of recollecting Christ in a “martyrdom of laughter” [Latterens Martyrium] establishes a continuity between the aesthetic (im)possibility of Christian theater qua Lessing and the religious (im)possibility of imitating Christ. (shrink)

The main title and subtitle of this well-researched, lucidly written, and engaging book reflect the author's double-sided approach. On the one hand, David Edmonds uses individual life stories as a route of access to key philosophical, political, and sociocultural issues and trends in the first half of the twentieth century. On the other hand, in chronicling the broader history of the origins, aims, and legacy of the Vienna Circle, he shows how individual lives were caught up in—and shaped by—the group's (...) collective endeavor to "marry an old empiricism with the new logic", pioneered by thinkers such as Gottlob Frege, Bertrand Russell, Alfred North Whitehead, and Ludwig... (shrink)

In "Who the Meek Are Not," poet Mary Karr thinks it unlikely that peasants, serfs, and the socially low will inherit the earth. Puzzling out that beatitude, she instead conjures the image of "a great stallion at full gallop / in a meadow, who—/at his master's voice—seizes up to a stunned / but instant halt."1 We are then invited to picture his muscles rippling even when at rest, to see in that rippling an immense power purposely held back. Blessed are (...) the meek, for they restrain what they could unleash.If this is not exactly the theme of Steven Connor's book on unappreciated dispositions, it comes close. In his revaluation of those quieter virtues that decline to speak their names, he draws a link between... (shrink)

There is no better time than the present to be studying the intersections of drama, theater, and philosophy. Since 2000, numerous monographs have been published on the interrelation between those subjects, and organizations such as the Performance Philosophy Network continue to promote innovative research by theater professionals and academics alike. However, a lacuna remains in this bustling scholarly enterprise. This scholarship, by and large, tends to draw from either ancient philosophy or from Continental European thought. As is often the case (...) in... (shrink)

In his Epistle to the Pisos, Horace advises aspiring playwrights to use their work to teach and delight,1 a dictum that has resonated down through the ages and has been referred to as the "Horatian platitude."2 In the preface to his comedy Clizia, Niccolò Machiavelli echoes Horace: "Comedies were discovered in order to benefit and to delight the spectators. Truly it is a great benefit to any man, and especially to a youth, to know the avarice of an old man, (...) the passion of a lover, the tricks of a servant, the gluttony of a parasite, the misery of a pauper, the ambition of one who's rich, the flatteries of a whore, the untrustworthiness of all men."3And what of Machiavelli's Mandragola?... (shrink)

What is the orienting response, and what does it have to do with narrative? How is narrative related to lying? And what is the motive force of narrative? What we shall see is that the mental activity of writers creating fictions, readers reading them, liars fashioning lies, and listeners when they detect a lie, all share distinct and significant cognitive functions in common.

For me, this all began with a conversation about James Frey. You know James Frey: he's the chap who went on Oprah with a memoir about his life as an alcoholic, then ended up having to go back on Oprah to get ripped into, well, a million little pieces for having made a bunch of it up. In thinking his book a calamitous thing to happen to the world of letters, I didn't imagine I was being particularly original or controversial. (...) But then I happened to use it as an offhand example of something in conversation, and all of a sudden I found myself meeting with resistance. "What's wrong with A Million Little Pieces?" I was asked. "So what if it's made up? All memoirs are made up! If readers get something out of it, what's... (shrink)

References to Heraclitus and the simile of the ever-flowing river into which one cannot step twice occur frequently in the poetry of Jorge Luis Borges. Borges understood the constantly flowing river to represent both the inevitable passage of time and the constantly changing nature of human existence. On occasion, however, Borges indicates that a Heraclitean identification of our personal existence with an ever-flowing river cannot be the whole story. As he suggests in ‘Year’s End’, ‘There is something in us that (...) endures:/something unbudgeable/ that didn’t find what it was looking for’. The temporal character of human existence justifies the likening of our reality to the flow of a stream, but not everything passes away. The poetic art, for one thing, endures. And if poetry has a claim on immortality, then so does the poet. Thus, while Borges embraced Heraclitus as his alter ego he stoutly resisted his doctrine of flux. -/- . (shrink)

Many of the poems of Louis MacNeice display a knowledge of the philosophical theories he studied during his undergraduate years in Oxford. In his ‘Variation on Heraclitus’ and in several other poems, MacNeice alludes to the ‘doctrine of flux’ Plato attributed to the Greek thinker Heraclitus of Ephesus. In ‘Plurality’, his most extended exploration of the conflict between the life-affirming doctrine of flux and a life-suppressing monism, MacNeice embraces the reality of change and rejects the monism he credits to the (...) philosopher Parmenides of Elea: ‘World is not like that, world is full of blind/ Gulfs across the flat, jags against the mind/ Swollen or diminished according to the dice/ Foaming, never finished, never the same twice.’ Although his understanding of the teachings of Heraclitus and Parmenides was controversial, it provided MacNeice with a framework within which to reflect on the conditions essential to living a free and productive life. (shrink)

‘Of Ephesus’ begins with a series of vivid impressions of a wild and free nature—vineyards rolling across the landscape, an untrammeled sky, a runaway donkey, flaming pinecones, roosters, and colorful kites and flags. Fire in some form (wildfires, the sun, flames, torches, lightning, sunlight) is the hallmark of a dynamic reality. The reference to ‘St. Heraclitus’ supports this interpretation: Elytis, like Heraclitus, seeks to alert his audience to the possible existence of a higher realm of being. So he fashions a (...) series of striking juxtapositions intended to disrupt our ordinary experience of the world and to spark a vision of an alternative reality. In the process he draws on Heraclitus’ doctrine of the unity of the opposites, on the conception of fire as the basic power that rules the cosmos, and on the conviction that beyond the world we know through ordinary sense experience lies a second, higher reality. (shrink)

What might Adam Smith have learned from Jane Austen and other novelists of his moment? This paper finds and examines a serious problem at the center of Adam Smith’s moral psychology, stemming from an unacknowledged tension between the effort of the spectator to sympathize with the feelings of the agent and that of the agent to moderate her feelings. The agent’s efforts will result in her opacity to spectators, blocking their attempts to read her emotions. I argue that we can (...) resolve this tension by looking to developments in eighteenth-century literature, as perfected in the hands of Jane Austen. I focus on two techniques, focalization and free indirect style, and I show that the problems for spectatorship diminish when we see that good Smithian spectators are savvy readers. (shrink)

Strange weather is one of the growing ways human beings experience climate change phenomenologically or beyond abstract scientific data. Even those who do not “believe” in climate change experience it. Odd weather is also one of first things human beings talk about with one another or share, today and at least since the great flood in the Epic of Gilgamesh. This article considers how increasingly violent weather is ushering in a new type of narrative and art and announcing a new (...) political and climatic regime. It considers a series of contemporary works of art about strange weather as a more precise example or microcosm of a certain reinvention of epic in our time. It then considers how this shared narrative of violent weather is intruding on, disrupting, and reconfiguring our political systems at the same time as it is collectivizing, historicizing, and politicizing the public before the growing threat of climate change. (shrink)

Montaigne’s “Of friendship” is often read as a celebration of his relationship with his late friend, Étienne La Boétie. This is not wrong, but rather, incomplete. Drawing on the chapters of Montaigne’s Essays that immediately follow “Of friendship,” this essay argues that Montaigne’s chapter on friendship is part of a larger project in which he employs philosophical fictions—specifically, his “perfect friendship” with La Boétie and the “perfect society” that he depicts in “Of cannibals”—to reorient us in our relationships not only (...) with our friends, but also with our enemies. (shrink)

As a work of philosophically grounded literary criticism in the tradition of Stanley Cavell's ordinary language philosophy, Kenneth Dauber's The Logic of Sentiment: Stowe, Hawthorne, and Melville will be an altogether welcomed book among those for whom it is more instructive to think sentimentality alongside literary authors than to merely historicize—to "archeologize" or "genealogize"—it from an all-too-safe critical distance. Though primarily a book on sentiment, its theoretical through line is to think skepticism outside of the epistemological, to think it in (...) "nonepistemological terms". In line with what he elsewhere calls "ordinary language criticism," Dauber throughout the book follows the example of... (shrink)

This morning, as I ate breakfast, I started David Foster Wallace's short story "Good People."1 I began. … Wait a minute! Damn it! Why not Wallace's, or David Wallace's short story? I've never seen nor heard his name other than as a trio; the same is so with others, such as Louisa May Alcott, William Carlos Williams, Joyce Carol Oates, Robert Louis Stevenson, Katherine Anne Porter, et al. One finds it even in operas—for example, in Giacomo Puccini's Turandot we have (...) Ping, Pang, and Pong, who rarely solo or sing duets. And consider the Christian or Hindu trinities as being clearly acknowledged as further instances of the power of three names, as well as the three ancient Greek gods of Zeus, Poseidon, and Hades; the... (shrink)

As a version of creationism—which claims that fictional charac- ters are created by authors who write characters into existence by penning their names in their works—abstract creationism claims that fictional objects are abstract entities. However, I want to modify the conception of what constitutes a fictional object. In short, I am going to give a defense of abstract creationism that offers answers to the questions, as outlined by Stuart Brock, of ontology, identity, and plenitude by developing a claim that—except for (...) rigidly referring proper names—fictional terms and nonfictional terms are all abstract objects.Working off the debates surrounding abstract creationism, and with a nod to D. M. Armstrong's... (shrink)

La entrevista realizada al doctor Wilfredo Penco indaga acerca de las constantes confrontaciones que existen en las disciplinas de la Literatura y la política; sobre todo, en el tema del compromiso del autor con su respectiva sociedad. En ese sentido, las respuestas que se obtendrán partirán de dos referentes esenciales: los sucesos históricos y los casos particulares que se han apreciado en el ámbito académico, en la que los intelectuales y los escritores cumplen un rol determinante. Uno de los interrogantes (...) que se busca resolver con esta constatación es comprender si es necesario que se articule un compromiso político en un texto literario. (shrink)

César Ernesto Arenas Ulloa nació el 15 de septiembre de 1988 en Chiclayo (Lambayeque, Perú). Realizó estudios literarios en la Universidad Nacional Mayor de San Marcos, hasta obtener el grado de licenciado. En el 2012, obtuvo un reconocimiento académico por ocupar el primer puesto a nivel de toda la escuela de Literatura. En el 2018, presentó su tesis titulada Autonomía y especificidad de la obra dramática: una lectura semiológica de El sistema Solar de Mariana de Althaus. Asimismo, tiene intereses en (...) el teatro peruano, el psicoanálisis y la escritura. Ha sido docente de Lenguaje en diversas universidades privadas de Lima. Ha publicado en revistas indexadas, así como ha participado en congresos y proyectos financiados. Actualmente, vive y estudia en Italia. (shrink)

Within science fiction the topic of ‘first contact’ is a popular theme. How will an encounter with aliens unfold? Will we succeed in communicating with them? Although such questions are present in the background of many science fiction novels, they are not always explicitly dealt with and even if so, often in a poor way. In this article, I will introduce a typology of five dominant types of solutions to the problem of first contact in science fiction works. The first (...) four solutions are the more dominant, but also the least interesting ones. There is a fifth category that addresses the question of first contact in a more interesting way, exemplified by the work of Stanisław Lem. This fifth option defines itself as a critique of the four previous categories, or of their shared assumption of what Lem (1967) has called ‘the myth of cognitive universality’. Lem is sceptical of the common optimism that first contact will always be successful. In books such as Solaris (1961), His Master’s Voice (1967) and Fiasco (1986), humanity makes first contact with an alien phenomenon, but fails to comprehend the phenomenon. Fundamentally, it will be argued that Lem’s work shows that in such an encounter we will typically not only lack the right answers to our questions, but that we also often lack the correct questions: we simply do not have the right categories or instruments to even recognize, let alone meaningfully interrogate, the alien phenomenon. The article ends with an exploration of the implications of Lem’s pessimism and whether it is the most plausible option for first contact. Moreover, the article will draw some lessons for philosophy of science, by exploring the parallel with the confrontation of novel or deviant phenomena in science. Lem’s work is helpful here because it succeeds in articulating what has not always been appreciated in the philosophy of science, namely that the right questions by which to interrogate scientific phenomena are not given, but that their articulation always requires work. (shrink)

In this paper, I highlight the philosophical differences between Camus’s and Sartre’s notions of the absurd. “The absurd” is a technical term for both philosophers, and they mean different things by it. The Camusian absurd is a mismatch between theoretical reasoning and practical reasoning. The Sartrean absurd, in contrast, is our theoretical inability to explain contingency or existence. For Sartre, there is only relative, local absurdity; for Camus, the absurd is universal and absolute. I show how their different understandings of (...) the absurd led to Sartre’s misreading of The Stranger; he misses its main mechanism for generating the feeling of the absurd because he reads the novel through his own conception. In order to draw out their philosophical differences, I will provide a reading of the novel that contrasts with Sartre’s. (shrink)

A review of Jukka Mikkonen's 'Philosophy, literature and understanding: On reading and cognition' (2021).

Narrative has proven itself a continuous as well as adaptable means for environmentally oriented expression. Its role goes beyond the mediation of pre-existing knowledge imported into the realm of storytelling from other domains; rather, influential models of the natural world tend to circulate as storyworlds. This special issue of SubStance proceeds from the premise that narratives are not only a sequence of signs encoding a story but also “invisible, elusive representations that exist only in the mind”. Narrative forms generate and (...) transfer environmental knowledge; moreover, any specifically narrative concerns are important contributing factors to the models of agency, change... (shrink)