Probes the nature of linguistic or symbolic action as it relates to specific novels, plays, and poems.

Literary Forms of Argument in Early China examines the functions of rhetorical markers and devices as well as the patterns and larger modes structuring various styles of early Chinese argumentation. The nine contributors to the volume each present tight analyses of specific compositional or literary aspects of persuasion, hoping to demonstrate how an unabashed focus on the formal elements of philosophical writing might come to the aid of, or even more drastically alter and transform, philosophical interpretation. The volume (...) includes essays by the following nine scholars, who are at once a mixture of philologists, textual and literary specialists, and intellectual historians: Rudolph Wagner, Andrew Plaks, David... (shrink)

In "Literary Forms of Argument in Early China," Gentz and Meyer explore a new analytical approach to the study of written thinking by focusing on the argumentative function of literary patterns in early Chinese texts.

Eighteenth-century France witnessed the rise of matter itself—in forms ranging from atoms to anatomies—as a privileged object of study. Voluptuous Philosophy redefines what is at stake in the emergence of an enlightened secular materialism by showing how questions of figure—how should a body be represented? What should the effects of this representation be on readers?—are tellingly and consistently located at the very heart of 18th-century debates about the nature of material substance. French materialisms of the Enlightenment are crucially invested (...) not only in the development of a sophisticated theoretical apparatus around the notion of matter but in the production of specific relationships between readers and the "matter" of the texts that they consume. How, the book asks, did the period's fascination with a markedly immaterial and ephemeral event—the reading of works of fiction—come to coincide with what appears to be a gradual materialization of human subjects: men and women who increasingly manage to envision themselves transfigured, as the century wears on, into machines, animals, and even, in the work of the Marquis de Sade, tables and chairs? In what way did the spread of new philosophies of matter depend upon the ability of readers to perceive certain figures of speech as literally and immediately true—to imagine themselves as fully material bodies even as they found themselves most deeply compelled by disembodied literary forms? More broadly, in what sense does the act of reading literature alter and transfigure our perceptions of what is, and can be, real? Voluptuous Philosophy articulates the gradual coming into being of literature as a distinct arena of textual production with the rise of an enlightened reader who remains abstracted from the bodily symptoms that any given piece of writing may induce in him. The very definition of "the literary" as an autonomous field, this book suggests, may, ironically, be dependent upon the simultaneous construction of a material world that remains fully immune to its effects. (shrink)

By examining in particular Augustan notions of probability and the way they provided a framework for thinking about and organising experience, Dr Patey ...

This paper examines Hume's four essays on happiness: the "Epicurean," the "Stoic," the "Platonist," and the "Sceptic." I argue, first, that careful attention to how these essays are written shows that they do not simply argue for one position over others. They also elicit affective and imaginative responses in order to modify the reader's outlook and to improve the reader's understanding in service to moral ends. The analysis offers an improved reading of the essays and highlights the intimate connections between (...) the purposes of philosophical writing and its manner of presentation. Secondly, I contend that appreciating how Hume's essays on happiness work on the reader demonstrates the insufficiency of Hume's categories of "anatomist" and "painter.". (shrink)

A formalist approach to literature, one that bears witness to the movements of distinct levels of form as they compel one another to a kind of infra-literary psychoanalysis, helps move us beyond the critical dichotomies — text vs. context, history vs. form, realism vs. the avant-garde — that have sometimes hampered recognition of the topologically complex and uneven fashion in which literature intervenes in the world. This article argues that it is the particular modes of constriction, isolation (...) and textual withdrawal that literature induces which paradoxically reveal literature’s psychoanalytic approach to its outsides. The article begins by close-reading a few short passages from Lacan, passages which when reframed offer the initial ingredients of a psychoanalytically informed materialist literary-critical formalism. It then turns to Paul de Man’s late reflections on literary form and materiality, before concluding with a reading of the poetry of Geoffrey G. O’Brien. (shrink)

A common contention of literary criticism is that literary forms can express, reflect, shape, represent or otherwise give form to human life. Literature can seem to offer the same idea as a promise of life’s meaningfulness; where expressive form is powerful, life need not be empty. Can literary forms give form to human life? I will argue for one sense in which this is true. As will become clear, at stake in this inquiry is (...) not simply an idea about the meaningfulness of literature’s poetry, but a way of answering the question of what it means to be human. (shrink)

Too often the study of philosophical texts is carried out in ways that do not pay significant attention to how the ideas contained within them are presented, articulated, and developed. This was not always the case. The contributors to this collected work consider Jewish philosophy in the medieval period, when new genres and forms of written expression were flourishing in the wake of renewed interest in ancient philosophy. Many medieval Jewish philosophers were highly accomplished poets, for example, and (...) made conscious efforts to write in a poetic style. This volume turns attention to the connections that medieval Jewish thinkers made between the literary, the exegetical, the philosophical, and the mystical to shed light on the creativity and diversity of medieval thought. As they broaden the scope of what counts as medieval Jewish philosophy, the essays collected here consider questions about how an argument is formed, how text is put into the service of philosophy, and the social and intellectual environment in which philosophical texts were produced. (shrink)

In previous work, I have drawn attention to certain systematic differences among philosophical traditions as regards to the literary forms that are prevalent in each. In this paper, however, I focus on the commentary form. I raise the question of why the use of commentaries abounds in most traditions except those transmitted in the English language and suggest that problems of translation are central to this issue. I argue that the appearance of commentaries in a philosophical tradition is (...) a criterion of such untranslatability that emerges in a broader cultural, economic, political, and religious context. Features of the relation between language and forms of communication in the history of philosophy are here explicated, concentrating especially on the German case. (shrink)

This is a wide-ranging anthology that examines, in chronological order, several genres that have been prominent in the history of Western philosophy. The programmatic introduction outlines the diverse range of genres used by philosophers and explains how genre-based exegesis can enrich our analysis and interpretation of philosophical texts. The remaining essays examine individual texts from this perspective.

At the Third Congress of the Society for Ancient Philosophy, philologists and philosophers gave presentations about this point of intersection between philosophical argument and literary forms. This volume seeks to provide insight into the discussion as well as stimulate further thought.

This article explores and defends some of f r leavis's ideas about the nature of reasoning in literary criticism. In particular, It examines leavis's contention that the validity of literary criticism does not wait upon a theoretical defence of its canons of judgments of standards. It aims to show that this eschewal of theoretical thought is rationally justifiable and that the form of reasoning leavis advocates for literary criticism has respectable parallels elsewhere, Not least in (...) class='Hi'>philosophy itself. Throughout, Reference is made to the work of wittgenstein and john wisdom for elucidation and justification of leavis's point of view. (shrink)

This book proposes a new paradigm for the interpretation of Plato's early and middle dialogues. Rejecting the usual assumption of a distinct 'Socratic' period in the development of Plato's thought, this view regards the earlier works as deliberate preparation for the exposition of Plato's mature philosophy. Differences between the dialogues do not represent different stages in Plato's own thinking but rather different aspects and moments in the presentation of a new and unfamiliar view of reality. Once the fictional character (...) of the Socratic genre is recognised, there is no reason to regard Plato's early dialogues as representing the philosophy of the historical Socrates. The result is a unified interpretation of all of the dialogues down to the Republic and the Phaedrus. (shrink)

"The Ironic Space" is a highly original study which explores how Kantian epistemology opens a critical window onto the inner form of nineteenth-century realist texts. By tracing the outlines of German idealism, the author describes a philosophical and literary paradigm, which reveals the many contours of irony in Stendhal's "Le Rouge et le noir," Goncharov's "A Common Story," and Meredith's "The Ordeal of Richard Feverel." The readings not only illuminate surprising aspects of the novels, but also demonstrate how (...) their philosophical grounding problematizes the reading process. (shrink)

Critics of literary Darwinism like to point out the weaknesses of its scientific scaffolding, but the real flaw in this research program is its neglect of literary history and stylistic evolution. A full-fledged scientific approach to literary criticism should incorporate the kind of work being done by Franco Moretti at the Stanford Literary Lab—a quantitative analysis of the history of literary form. While Moretti and the literary Darwinists are almost never mentioned together, I (...) contend that their work is not only compatible but also necessarily so for a more consilient literary criticism. The Darwinian aesthetics promoted by Denis Dutton can help to unite these two approaches. (shrink)

Acknowledging the powerful impact that Plato's dialogues have had on readers, Jill Gordon shows how the literary techniques Plato used function philosophically to engage readers in doing philosophy and attracting them toward the philosophical life. The picture of philosophical activity emerging from the dialogues, as thus interpreted, is a complex process involving vision, insight, and emotion basic to the human condition rather than a resort to pure reason as an escape from it. Since the literary features of (...) Plato's writing are what draw the reader into philosophy, the book becomes an argument for the union of philosophy and literature—and against their disciplinary bifurcation—in the dialogues. Gordon construes the relationship of Plato's text to its audience as an analogue of Socrates' relationship with his interlocutors in the dialogues, seeing both as fundamentally dialectic. On this insight she builds her detailed analysis of specific literary devices in chapters on dramatic form, character development, irony, and image-making. In this way Gordon views Plato as not at all the enemy of the poets and image-makers that previous interpreters have depicted. Rather, Gordon concludes that Plato understands the power of words and images quite well. Since they, and not logico-deductive argumentation, are the appropriate means for engaging human beings, he uses them to great effect and with a sensitive understanding of human psychology, wary of their possible corrupting influences but ultimately willing to harness their power for philosophical ends. (shrink)

The book considers biology in parallel with philosophical structuralism in order to argue that notions of form in the organism are analogous to similar ideas in structuralist philosophy and literary theory. This analogy is then used to shed light on debates among biological scientists from the turn of the 19th century to the present day, including Cuvier, Geoffroy Saint-Hilaire, Dawkins, Crick, Goodwin, Rosen and West-Eberhard. The book critiques the endorsement of genetic manipulation and bioengineering as keys to (...) solving agricultural and environmental problems, suggesting that alternative models have been marginalized in the promotion of this discourse. Drawing from the work of philosophers including Cassirer, Saussure, Jakobson and Foucault the book ultimately argues that methods based on agroecology, supported by molecular applications (such as marker-assisted selection, MAS), can both advance agricultural development and remain focused on the whole organism. (shrink)

This book proposes a new paradigm for the interpretation of Plato's early and middle dialogues. Rejecting the usual assumption of a distinct 'Socratic' period in the development of Plato's thought, this view regards the earlier works as deliberate preparation for the exposition of Plato's mature philosophy. Differences between the dialogues do not represent different stages in Plato's own thinking but rather different aspects and moments in the presentation of a new and unfamiliar view of reality. Once the fictional character (...) of the Socratic genre is recognised, there is no reason to regard Plato's early dialogues as representing the philosophy of the historical Socrates. The result is a unified interpretation of all of the dialogues down to the Republic and the Phaedrus. (shrink)

This essay concerns Adorno's articulation of an idea of philosophy as it is developed through his considerations of philosophy's form or mode of presentation. It hereby attempts to illuminate some of what remains obscure about Adorno's understanding of a renewal of philosophy after Marx and the crisis of German Idealism. Various forms–from "anti-system" and "constellation" to "essay," "fragment," "encyclopaedia" and "dictionary"–are examined for what they contribute to an idea of philosophy. This focus distinguishes this essay (...) from other studies of form in Adorno that have predominantly literary or musical concerns. (shrink)

Throughout its history of almost a millennium and a half, Sanskrit kāvyaśāstra was resolutely obsessed with the task of unravelling the ontology kāvya. Literary theoreticians in Sanskrit, irrespective of their spatio-temporal locations, unanimously agreed upon the fact that kāvya was a special mode of expression characterized by the presence of certain unique linguistic elements. Nonetheless, this did not imply that kāvyaśāstra was an intellectual tradition unmarked by disagreements. The real point of contention among the practitioners of Sanskrit literary (...) theory was the prioritization of certain formal elements as the ‘soul’ of literature. This strong sense of intellectual disagreement on the question of what constituted the soul of kāvya eventually paved the way for the emergence of new frameworks of criticism and extensive scrutiny of the existing categories, thus playing a vital role in keeping this tradition alive and new.But towards the turn of the 20th century, Sanskrit kāvyaśāstra tradition underwent an epistemic rupture primarily because of a change in the way the idea of literariness was understood. During this phase, the traditional Formalistic notions about literature underwent a radical transformation, and the style and language of literature eventually became similar to everyday speech. This trend played an important role in severing Sanskrit kāvyaśāstra’s natural tie with literature. Eventually, the vigour in which new treatises in Sanskrit literary poetics were produced also dwindled. This did not mean that the scholarship in Sanskrit poetics vanished. Scholars in Sanskrit poetics continued to flourish in India, but in a different form and shape. In other words, the focus of scholars in Sanskrit poetics slowly got shifted from the production of new treatises in Sanskrit poetics to the creation of the intellectual history of this field and the application of these theories to evaluate the literary merit of modern literary texts. Though these two approaches played a vital role in disseminating the knowledge about Sanskrit poetics in modern times, they were caught up in an ontological certitude. In other words, neither of these two directions attempted to study these theoretical positions from a standpoint other than that of literary theory. To borrow a Barthian terminology, these two approaches treated Sanskrit poetics as a ‘work,’ instead of a ‘Text.’ This paper aims to intervene in this lacuna of scholarship by proposing the Derridian idea of ‘play’ as a methodological framework to unearth the potentialities lying dormant in these theories and to move beyond the ontological certitude traditionally imposed on these theoretical positions. The new methodological praxis that I put forward in this paper is further exemplified through a non-canonical reading of Ānandavardhana’s avivakṣita-vācya-dhvani. (shrink)

Inspiring and distinctive, After Meaning provides a radical challenge to the way in which international law is thought and practised. Jean d'Aspremont asserts that the words and texts of international law, as forms, never carry or deliver meaning but, instead, perpetually defer meaning and ensure it is nowhere found within international legal discourse. In challenging the dominant meaning-centrism of the international legal discourse and shedding light on the sovereignty of forms, this book promotes a radical new attitude towards textuality in (...) international law. The author offers new perspectives on interpretation, critique, history, comparison, translation and referencing, inviting international lawyers to reinvent their engagement with these discourses. Chapters define meaning and form in international law, explore deferral of meaning and make an unprecedented use of post-structuralist theory to rethink international law. After Meaning will be an essential reference point for legal scholars, researchers and students who seek to understand a different way of thinking about meaning in international law. The book's engagement with post-structuralism will also prove beneficial to anyone interested in the philosophy of language and literary theory. (shrink)

In this article, the meaning of concept of sharʿī science gained in the conception of education, which was established in Islamic civilization, was studied. The main problem of the research is to evaluate the idea of education in Islamic Civilization, which is closely related to the concept of sharʿī science, with a false perception that it consists entirely of religious education. The beginning of Islamic Civilization is traced back to descent of the Qur'an. The conception of education that started to (...) emerge after this period is based on the understanding of the Qur'an and hadiths at first. In later times, a wide variety of fields, such as language, literature, logic, wisdom, riyāzat, nature, and astronomy, have been included in the concept of education to encompass the whole existence of the entity. In the following centuries, these fields, which were included in the course curriculum of the madrasahs, were examined in detail in the works of classification of sciences. Therefore, the false perception needs to be reconsidered. For this reason, the article focuses on how the concept of sharʿī science is defined. Historical data analysis method was used to solve the problem. The claim of the article is that the concept of shar′i science has wide perspective to cover the world of meaning, mind and essence of man. As a result, this article, it was determined that the concept of sharʿī science has a meaning to cover the majority of information fields that are subject to instruction in our educational conception.Summary: The formation of the conception of education in Islamic civilization has emerged in the long term through a scientific process. During this time, a rich curriculum on the concept of education was shaped. The sciences that form the curriculum have been diversified in later periods compared to the early periods of Islam. With the advent of the different sciences, which provided this diversification and which were not at first, all the existing sciences were classified according to different perspectives by the ulama (muslim scholars). In the classifications, which have important contributions to the conception of education, the sciences were tried to be introduced and their position in the education life was tried to be explained. The sciences classified have not been dealt with against each other but rather to complement each other in different ways. The distinction of sciences in classification; different approaches such as linguistically, religious, secular, mental, transportation, philosophical and sharʿī have been developed.The concept of sharʿī science, which can be expressed as a general definition of the sciences, is given in almost all of the works related to the classification of sciences, even under the name or different titles. When we look at the classification, it is seen that sharʿī sciences are handled in four different approaches. As the first approach, the sharʿī sciences are among the main elements of main division in the classification. Here, the sharʿī sciences, in general, with the linguistic sciences and mental sciences were included in the top title. In the second approach, there are works in their classification that do not include the sharʿī sciences and the distinction between it. In addition, these works collect the sciences within this scope under other scientific compositions or other names. In the third approach, among the works that give information about the general of the sciences, there are those who mentioned all together without classifying these sciences and others. In the last approach, the sharʿī sciences are seen as the upper description of the knowledge fields that are included in the teaching, which covers the majority of the other sciences except for the linguistic sciences.The approaches presented in the classification of sciences indicate the diversity of the issue. In order to have better understanding of the issue, it is useful to look closely at the meaning of the concept of sharʿī sciences. At this point, three definitions of 2nd, 4th and 12th centuries are given respectively. Firstly, for Jābir b. Hayyān sharʿī science is the most useful politics in terms of religion and the world, because it contains the benefits of the world's interests after death.Secondly, al-Ghazali (d. 505/1111) describes the sharʿī science as the knowledge learned from Şārī ʿ and prophets, but not by the experience and hearing. According to this, the sharʿī science is defined as the knowledge of the sunnah that only gives information about revelation. The information fields outside this definition are also considered as the sciences, which are instrumental in reaching to sharʿī science.The perspective of the third definition of sharʿī science is given by Saçaklızāde (d. 1145/1732). He lists the three definitions made before the time of his life from the specific (hās) to the general (ām). Saçaklızāde gave the aforementioned definition of al-Ghazali in the first sense of the concept of sharʿī science. He points out that the meaning given here is allocated. The second definition belongs to Molla Husraw (d. 885/1480). According to him, the sharʿī science is the sciences that can be reached through the sciences of the Şārīʿ. In other words, it is the sciences that are not used except for obtaining the sciences obtained from Şārīʿ itself. This meaning is a bit more extensive since there are no records as described in al-Ghazali. This definition is also included in the sciences benefited from it. Although it is not the first, there is usūl-i fiqh (Islamic legal theory) within this meaning.In the third definition, sharʿī science is the sciences that form the basis for things arising from Şārīʿ or originating from Şārīʿ. This definition belongs to Ibn Hajar el-Haytamī. He did not consider the partial allocation of the second meaning as given above, and included all the instrument sciences in the definition of sharʿī science. Based on the definitions he gave, three sharʿī science approaches made before the time he lived were listed from specific to general. Thus, in a sense, he depicts the general shape of the sharʿī science perspective. With the approach to generalization, we can say that a sharʿī science perspective that encompasses the majority of the fields involved in education is developing. In the third meaning of sharʿī science, it is seen that the majority of the fields of knowledge in education and training are gathered under one roof. The most important factor gathering the sciences together is the effort to understand the purpose of Şārīʿ, who owns the whole area of existence. The fields of knowledge and sciences needed to achieve this aim can be included in the definition of sharʿī science. The effort to understand the purpose of Şārīʿ is also at the center of the idea of Islamic education. Since there are various dimensions of being, each step taken to understand and learn them is directed in a way to Şārīʿ itself. Whether it is language and literary sciences or other sciences, such as mathematics, physics and philosophies, the aim is to recognize and understand Şārīʿ for the collection of things that fall within the scope of all educational activities. With sharʿī science approach, teaching the whole of the area of existence owned by Allah is possible within the concept of education. In the works written for the education curriculum, it is seen that the perspective covering the majority of the sciences in the definition of third sharʿī science is preserved. First of all, the meaning integrity of the sharʿī science concept has been determined. In the definitions of three different periods given here, it is seen that the approach to the sciences, which are the subject of instruction in education is not exclusive but inclusive. Especially because of the width in the third sense, the majority of the instrument sciences and mental science fields in the curriculum are included in the definition of sharʿī science. (shrink)

Professor Kahn says that Plato and the Socratic Dialogue “presents a new paradigm for the interpretation of Plato’s early and middle dialogues as a unified literary project, displaying an artistic plan for the expression of a unified world view”. To this end, Kahn argues that “[w]hat we can trace in these dialogues is not the development of Plato’s thought,” as Aristotle and others seem to have thought, “but the gradual unfolding of a literary plan for presenting his philosophical (...) views to the general public”. This “unfolding” begins shortly after the Gorgias. Kahn argues that Plato then “created an essentially new form, the aporetic dialogue with a pseudo-historical setting” in order to bridge the psychological distance between the ordinary conception of the world and the radically new world view he would present in the middle dialogues. Kahn calls his interpretation “the hypothesis of ingressive exposition” and says that this hypothesis is “the claim that the seven threshold dialogues [Laches, Charmides, Euthyphro, Protagoras, Meno, Lysis, and Euthydemus] are designed to prepare the reader for the views expounded in the Symposium, Phaedo, and Republic, and that they can be adequately understood only from the perspective of these middle dialogues”. (shrink)

These challenging essays defend Romanticism against its critics. They argue that Romantic thought, interpreted as the pursuit of freedom in concrete contexts, remains a central and exemplary form of both artistic work and philosophical understanding. Marshalling a wide range of texts from literature, philosophy and criticism, Richard Eldridge traces the central themes and stylistic features of Romantic thinking in the work of Kant, Hölderlin, Wordsworth, Hardy, Wittgenstein, Cavell and Updike. Through his analysis he shows that Romanticism is neither (...) emptily literary and escapist nor dogmatically optimistic and sentimental. This is the first serious philosophical defense of the ethical ideals of Romanticism and will appeal particularly to all professionals and students in philosophy, literature and aesthetics who are interested in what, philosophically, literature can show that philosophy cannot say. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Literary Modernist Assault on PhilosophyMichael LackeyIn a recent essay, Richard Rorty makes an insightful distinction between two views of the concept in order to distinguish analytic from conversational philosophy. Rorty defines traditional and analytic philosophy's orientation toward knowledge in terms of "an overarching ahistorical framework of human existence that philosophers should try to describe with greater and greater accuracy."1 Implicit in this view is the (...) belief that there exists a mind-independent Concept that is what it is whether humans perceive it or not. Moreover, this Concept is best suited to represent the world's essence or nature. Therefore, the task of the philosopher is "to pin down" this invariable and universally valid Concept so that he or she can represent reality. Starting with Hegel, however, concepts were treated "like persons—never quite the same twice, always developing, always maturing" ("ACP," p. 21). This is, according to Rorty, the conversational philosopher's view of the "concept." Instead of being an immutable, mind-independent reality, it is a human-constructed semiotic force that evolves in relation to specific communities of language users. The idea of getting a concept right, therefore, is simply incoherent.This distinction between an immutable and evolving concept is certainly a valuable way of understanding some crucial developments in philosophy, but Rorty's use of it to characterize non-analytic philosophy as conversational instead of Continental philosophy is certainly an executive decision on his part. And yet, Rorty is not alone in making such an executive declaration about philosophy, for many early twentieth-century writers also examined this shift to a view of the concept as an ever-evolving and ever-shifting force of meaning, but instead of reconfiguring [End Page 50] and redefining philosophy in light of this shift, they proclaimed the discipline dead. What I want to do in this short essay is to identify a tension in the writings of early twentieth-century writers on the topic of philosophy and to initiate a dialogue that would take more seriously the crisis in philosophy that led to the split between the analytic and Continental traditions.2I"The appartement of the Boulevard des Philosophes presented the dreary signs of impending abandonment. It looked desolate and as if already empty to my eyes."3In the Western intellectual tradition, philosophy has been defined as a discipline that makes use of rigorous forms of logic in order to apprehend an overarching ahistorical truth, which is embodied in either an Ideal Form or a universal concept. Given the superior nature of philosophy's intellectual tools and primary object of desire, it has been dubbed a "nonempirical super science,"4 a disciplinary touchstone used to determine the quality and value of all other systems of knowledge.5 According to this view, a discipline has legitimacy and worth insofar as it contributes to, approximates, or yields philosophical knowledge. Philosophy certainly dominated the Western intellectual tradition from Plato to the end of the nineteenth century, but by 1899, Bertrand Russell was suggesting that philosophy was on the verge of losing its title as the Monarch of knowledge and truth: "Philosophy, by the slow victories of its own offspring, has been forced to forgo, one by one, its high pretensions."6 Friedrich Nietzsche's genealogical method certainly did much to undermine philosophy's credibility, for in exposing the way concepts evolve in relation to an individual community's ideological needs and desires, Nietzsche implicitly identified the philosopher's non-normative, mind-independent truth as the seething product of an overheated imagination.7Deeply concerned about the radical subversion of philosophy was T. E. Hulme, the modernist aesthetician who understood the threat that the anthropomorphic turn in knowledge posed to Truth. For Hulme, should the intellectual world accept the view that truth is a human construction instead of a pre-given Idea, all conceptual systems would be nothing more than a Weltanschauung. To save universal Truth and objective Reality, therefore, modernist intellectuals have only one option: to purge philosophy of "anthropomorphism" so that they could [End Page 51] re-establish an "objective basis" for knowledge, a basis that does "not in the least depend on the human mind." Once... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Arthur A. Krentz DRAMATIC FORM AND PHILOSOPHICAL CONTENT IN PLATO'S DIALOGUES AN intriguing innovation in the history of philosophical discourse is Plato's employment ofdramatic dialogues as his deliberately chosen means ofcommunication. Throughout the history of philosophy scant attention has been focused on this feature of Plato's works. Recently, however, some students of Plato's writings contend that it is crucial for interpreters to give careful attention to the (...) dialogue form in order to reach an essential understanding of the philosophical content. Thus WernerJaeger, commenting in 1934 on the importance of the form of Aristotle's philosophical works, mentions as an aside that, "Even in the case of Plato, the importance of the form for the understanding of his particular thought has often been overlooked for long periods; departmental philosophers and students ofliterature in particular are always prone to consider it as something literary which had no material significance for Plato, in spite of the fact that it is unique in die history of philosophy. By now, however, most persons know mat the study of the development of the form ofhis writing is one of me main keys to a philosophical understanding of him." ' In spite ofJaeger's contention that most contemporary interpreters of Plato are aware of the significance of investigating the dramatic form for an understanding of a dialogue's content, a survey of the literature on Plato shows that interpreters often abandon such a concern in their own approach to his dialogues. For example, many interpreters treat dialogues as treatises, ignoring the dramatic features in order to concentrate on the examination of the logical, epistemológica!, ethical or other philosophical aspects of the argumentation in a single dialogue or group ofdialogues; as a result interpreters tend to separate the content from the form of Plato's works.2 The effect of this approach is one-sided, for, although such interpretations attempt to do justice to the arguments, they ignore the dramatic features of the dialogues and their bearing on an interpretation of die philosophical substance. Currently a growing number of interpreters of Plato in Europe and North America hold that a consideration of the form of Plato's dialogues is important 32 Arthur A. Krentz33 for an understanding oftheir content and philosophical message.3 1 am in agreement with this position and in this article I consider some reasons that may have led Plato to adopt dialogue as his medium of philosophical expression and attempt to show how attention to the dialogue form shapes the interpretation of their content. Unlike his philosophical predecessors who cast their writings in the form of extended poems, aphorisms, or treatises "On Nature," Plato wrote dramas. That the dramatic form ofhis writings is not incidental to his philosophical purposes becomes apparent as one considers how Plato presents philosophy in a fundamentally different way from that of his predecessors and successors who adopted the essay and treatise as the paradigm ofphilosophical communication. In a philosophical work such as a treatise, an author ordinarily attempts to state his own position on issues under discussion as clearly and as forcefully as possible. This, however, is not the primary aim of Plato's works, for certain features of his dramas indicate that he deliberately concealed his own views. Of special note in this regard is the fact that Plato never speaks on his own behalf in the discourses he creates. There is no character named "Plato" unequivocally declaring the author's own position.4 Instead a variety of interlocutors ask questions, investigate philosophical problems, and puzzle over solutions while Plato remains noticeably silent. This silence of Plato indicates that he did not regard the unequivocal presentation of his own views to be of paramount importance. If this had been his aim, Plato had only to write a dialogue which included himselfas one ofthe characters clearly stating his own position. Having engaged in many philosophical discussions with Socrates and with his own students, Plato could have written a dialogue based on such conversations. His not doing so is sufficient to show that he did not use his writings as a primary vehicle for transmitting his own position in his own words. Nor did Plato use... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Walter Glannon WHAT LITERARY THEORY MISSES IN WITTGENSTEIN Wittgenstein's stock is rising in literary criticism. The market value of expressions such as "language games" and "form oflife" is increasing in that they seem to lend themselves to the notion of interpretive communities endorsed by diose of reader-response persuasion.1 Wittgenstein's style is also apparently at a premium, in light of a recent attempt by a proponent of (...) deconstruction to relate the philosopher's writing to that movement's use of rhetorical strategies in dealing with texts.2 There are affinities between Wittgenstein's repudiation (in the Investigations and the Remarks on the Foundations of Mathematics) of the metaphysical realism in the Tractatus and die arguments from reader-response critics against the notion of unmediated facts, as well as the rejection of the metaphysics of presence by deconstructionists. All diree oppose the idea that truth and falsity are conferred on our statements about the world by properties independent of diese statements. Insofar as these two critical schools are concerned primarily with language, they share Wittgenstein's aspiration to "bring words back from their metaphysical to their everyday use" (PI, I, § 116), for we can arrest the tendency to postulate objective, unmediated facts by "looking into the workings of our language" (PI, I, § 109). Moreover, Wittgenstein avoids psychology which involves the mental faculties. Presumably, this puts him at one with die concerted effort of many critics to rid texts of die author and with it the problem of intentionality. At first blush, then, the relation between Wittgenstein and literary criticism appears to be an attractive one. Yet Wittgenstein's antirealism does not militate against his passion for truth, that is, his intense desire to achieve complete understanding in the areas ofphilosophy that vexed him most.3 Nor does it debar him from thinking about the inexpressible realm 263 264Philosophy and Literature of the mystical, since, despite his concern for language, Wittgenstein never ceased being attracted to "things that cannot be put into words" (TLP, 6.522). This is not at all congenial to die purpose ofliterary theory, which admits ofno such shadowy domain beyond words and our linguistic practices. Indeed, I shall illustrate that Wittgenstein's resdess search for truth, spiritual concerns, and the dialectical structure of his works for the most part put him radically at odds with a critical enterprise whose aversion to truth and penchant for rhetorical analysis and conventions blinds it to both his view of literature and his aim in doing philosophy. I Since die advent of the New Criticism, literary theory has in great measure addressed itself to die discourse ramer than the story in texts. With the focus on literature as a rhetorical construct, more traditional humanistic interpretations have been excised. A more recent development of this shift to the discursive side of diings has been the effort to blur the distinction between literature and philosophy.4 With neidier discipline having a privileged status, both have been reduced to a textual discourse with no lines ofdemarcation, a reduction diat is at variance with Wittgenstein on two counts. First, he compartmentalized literature and philosophy as having distinct purposes: the literary works that interested him were stories ofmoral import; philosophy was to be practiced for the sake of clarity in thought. To the extent diat such clarity, if attainable, pointed toward an ethical dimension that lay beyond the bounds of language, literature and philosophy for him did have a common goal; but the paths leading to it were distinct. Second, and more importantly, Wittgenstein had no concern for the discourse of the literature diat he read. Rather, it was the moral import of the stories that attracted him. Most noteworthy on this score were the writings of Tolstoy, who had a profound influence on Wittgenstein's view oflife, and Dostoevsky.5 Wittgenstein often recommended Tolstoy's Twenty-three Tales to his friends, and while a schoolmaster in Lower Austria from 1920 to 1926, he constantly read The Brothers Karamazov, doing so aloud on one occasion in die presence of the village priest. He was especially impressed with Dostoevsky's character the Elder Zossima, "who could see into people's hearts and direct diem" (Rhees... (shrink)

A development in Management research is observed in recent years: interface of literature and management. The paper highlights the possibility of constructive impacts on human development through philosophy and experiments of Rabindranath Tagore, the Nobel Laureate literary genius from India (1913), in the field of education. The essential equality of all, preservation of cultural diversity, and the infinite possibility of deepening our understanding of each other form the core of Tagorean values. Tagore was a visionary and, throughout (...) his life, he tried to bring about a radical change in society through education which would enable the world to come together—irrespective of diversity of language, identity, race, nationality, or religion. He recognized the need to promote a culture that fosters intellectual, social, and cultural growth in the global community. Using the classic example of Tagore the paper will examine how embracing of diversity in leadership and organizational development can contribute to holistic effectiveness through the introduction of non-conventional and alternative learning as advocated by Tagore that makes him all the more relevant in the present globalized context. The paper will also attempt to outline a learning path and unfold a voyage from knowledge to wisdom for leaders and organizations in future. (shrink)

Literary Analysis: The Basics is an insightful introduction to analysing a wide range of literary forms. Providing a clear outline of the methodologies employed in twenty-first century literary analysis, it introduces readers to the genres, canons, terms, issues, critical approaches, and contexts that affect the analysis of any text. It addresses such questions as: What counts as literature? Is analysis a dissection? How do gender, race, class and culture affect the meaning of a text? Why is the (...) social and historical context of a text important? Can digital media be analysed in the same way as a poem? With examples from ancient myths to young adult fiction, a glossary of key terms, and suggestions for further reading, "Literary Analysis: The Basics "is essential reading for anyone wishing to improve their analytical reading skills. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Constructive Postmodernism: Toward Renewal in Cultural and Literary StudiesDavid CarrierConstructive Postmodernism: Toward Renewal in Cultural and Literary Studies, by Martin Schiralli. Westport, CT, and London: Bergin and Garvey, 1999, 165pp., $55 cloth.Concerned with the consequences of Jacques Derrida's philosophy of deconstruction for cultural and literary studies, Martin Schiralli's elegantly written book offers, first, a critique of these claims and, then, a constructive alternative analysis. (...) He admires Derrida's brilliantly innovative writing, which as he rightly notes is "serious and philosophical" even if "the most patient reader can easily become disoriented and confused" (24). But even if, as Derrida argues, Ferdinard de Saussure's theory of meaning is flawed, we need not—he urges—become deconstructionists. Looking to the work of Stephen Toulmin, John Dewey, and late Wittgenstein, Schiralli finds suggestive ways of identifying concerns with cognitive value in literary texts. It then is possible, he argues, to offer a more reasonable perspective on recent debates about culture and politics than the recent academic arguments between "postmodern revisionists... [and] often hostile and defensive traditionalists" (73).In the second part of his book Schiralli illustrates the value of this perspective by offering a great deal of productive positive discussion. He discusses how "theoretically pertinent knowledge" (95) may be found in the novels of Jane Austen, Barbara Pym, and Anita Brookner. Appealing to Michael Polanyi's conception of tacit knowledge, he argues that Austen's ability to intuit "the rules governing social meaning... represents the tacit emergence of insight, just as her ability to use those insights explicitly in her fiction marks the emergence of more focal knowledge" (123). In analyzing an emotional response, he claims, we can ask whether it is "warranted or unwarranted in a given circumstance" (31). Using E. M. Forster's Howards End as his model, he develops this claim in an analysis that is brief, clear, and convincing. Finally, in his concluding pages he looks at the studies of character provided by Henry James and Marcel Proust. A proper theory of literary intelligence, he argues, should "treat those forms of cognitive acuity involved imaginatively in miming and representing verbally the intricacies and particularities of all aspects of human sensibility" (150).This bold, far-reaching book avoids the fanaticism that, as Schiralli notes, has marred all too much recent debate in the humanities. At this time, when the influence of Derrida has faded, I think this argumentation about his philosophical position is of less value than the constructive parts of the analysis. Treating Derrida as a theorist whose arguments tell us how to analyze literature is an unpromising project, as Schiralli well shows. Once that point is acknowledged, then we are ready to look seriously at literature as a form of social knowledge. Humanists teaching literature will find much of value in this graceful volume—and along with their colleagues in philosophy, these scholars will benefit from study of this well-argued analysis. [End Page 122]David CarrierCase Western Reserve University and Cleveland Institute of ArtCopyright © 2008 Board of Trustees of the University of Illinois... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Question of Style in Philosophy and the ArtsJeffrey R. Di LeoThe Question of Style in Philosophy and the Arts, edited by Caroline van Eck, James McAllister and Renée van de Vall; xi & 245 pp. Cambridge: Cambridge University Press, 1995, $49.95.The question, “Should philosophers concern themselves with questions of style?” motivates this rich collection of twelve essays on the interrelatedness of content and its formal (...) representation in both philosophical writing and the arts. Alongside issues such as aestheticized forms of philosophizing and the relationship between method and style, there are articles on Heinrich von Kleist’s Marionettentheater, the graphic works of William Hogarth, Alexis de Tocqueville’s use of metaphor and paradox, the use of ellipses in Johannes Kepler’s astronomical theories, and eclecticism in eighteenth-century English architecture.Style has been an explicit concern for historians and theorists of the arts long before it came to the fore in philosophy. The editors think philosophers can learn a lot not only about the concept of style but also about philosophical style by looking into the practices of musicians, architects, and painters and by thinking about how styles are formed, transformed, and understood in the arts. By comparing the arts and philosophy, we can move toward something lacking in contemporary discussions, namely stylistic categories specific to philosophy. Richard Wollheim’s essay, for example, offers many categories appropriate to painting that could be relevant to philosophical writing.A provocative point traced here is that until the end of the eighteenth century, “style” had little to do with the meaning of a work of art—the term merely denoted an artwork’s place in the hierarchy of art. Before 1800, there was hardly a question of choice among styles: contributions to a practice were regarded not as belonging to one style or another, but as falling within or being alien to a practice. Only in the early nineteenth century did style become a key element in the meaning of a work, when it took the place previously occupied by nature, antiquity, or absolute standards of reason. With the traditional bearers of meaning gone, one could no longer look to content for meaning, and artists turned to style to create meaningful art—style being that aspect of writing, painting, or building traditionally associated with ornament, that could be varied without changing the content. Gradually, the “variable” element in art became the prime bearer of meaning.The claim here is that an analogous transition from stylistic monism to pluralism occurred in philosophy about a century after it did in art. This shift away from the monistic geometrical and mathematical standards of philosophical reasoning established in the late sixteenth century was brought about by philosophers such as Nietzsche and Wittgenstein. Lambert Weising suggests that, with Wittgenstein, there is a substitution of style for truth—a point which seems equally true of others, notably Nietzsche. A consequence of this new [End Page 187] pluralism is a loosening of what can be called philosophical reasoning, and an increasing receptiveness to and acceptance of a diversity of philosophical styles. Questions of style do tend to arise in connections with philosophers of the literary sort—Plato or Kierkegaard. Now philosophers have much less difficulty regarding as philosophical a work such as Pascal’s Pensées, which has traditionally been treated more as literature than as philosophy.One of the challenges of this collection is to refute the view of those who deny that the content of their philosophical writing depends at all on style. This would give support to a thesis defended by Martha Nussbaum in this journal in 1983: “No stylistic choice can be presumed to be neutral—not even the choice to write in a flat or neutral style” (p. 146). Beryl Lang, who has addressed this question in other books and articles, argues that style is relevant to all philosophical writing, even that professed to be “style-less.” Lang correctly shows that philosophers’ general disregard for expressiveness, and their belief that the proper philosophical method will lead all who follow it to the same results, has itself become a feature of philosophical writing. So “style-less” writing is a philosophical... (shrink)

A unique and honored figure in American intellectual history, Josiah Royce stands out as a master of many disciplines who made significant contributions to mathematical logic, psychology, social ethics, literary criticism, and history as well as metaphysics. These thirteen lectures elucidate his early philosophical idealism and explore the historical framework of his doctrine. Spanning three centuries of the speculative concerns of philosophy, Royce discusses the theories of Descartes, Spinoza, Kant, Fichte, Hegel, Schopenhauer, and other important thinkers. A lucid (...) and readable text, this volume provides students and other readers with scholarly views of the important developments in modern philosophy from the 1600s to the dawn of the twentieth century. (shrink)

A unique and honored figure in American intellectual history, Josiah Royce stands out as a master of many disciplines who made significant contributions to mathematical logic, psychology, social ethics, literary criticism, and history as well as metaphysics. These thirteen lectures elucidate his early philosophical idealism and explore the historical framework of his doctrine. Spanning three centuries of the speculative concerns of philosophy, Royce discusses the theories of Descartes, Spinoza, Kant, Fichte, Hegel, Schopenhauer, and other important thinkers. A lucid (...) and readable text, this volume provides students and other readers with scholarly views of the important developments in modern philosophy from the 1600s to the dawn of the twentieth century. (shrink)

Taking as a point of departure the thesis that philosophical content and stylistic form are internally related to each other, we explore in our text the possibilities enabled by the literary form of the letter. We begin with a brief description of the current situation of the academic philosophy around the world characterized by international migrations of thinkers and thoughts. In the second section, we highlight the importance of the literary form of the letter (...) in the current background dominated by the canonical format of the paper. In the third and fourth sections we focus on the main features and current use of this literary form and examine its possibilities for philosophy. In the final section, we render plausible our thesis examining with different examples how is possible to write letters about philosophy and to do philosophy in and through letters. (shrink)

Henri Bergson (1859–1940), the most prominent member of nineteenth-century French spiritualism, is the first philosopher who explicitly defined philosophy as a practice which consists in posing problems anew and in creating concepts. In this article, I will try to reconstruct the progressive importance acquired by the terms ‘problem’ and ‘concept’ in nineteenth-century French philosophy and how they combined in Bergson’s theories about creativity, invention and novelty. I will argue that Bergson’s conception of philosophy as a creative intellectual (...) practice was the result of a negotiation, inside a pre-existent spiritualist framework, between, on the one hand, neo-Kantianism and, on the other hand, evolutionism which strongly influenced empirical psychology and the emerging social sciences. Bergson’s solution, influenced by the evolution of mathematics and literary theory, was just one of the possible options, and the main alternative to a new form of transcendental philosophy. (shrink)

If we inspect closely the works that ascend to world literature from the peripheral, David Damrosch’s well-recognized argument that “world literature is writing that gains in translation” may need some revision, because apparently translation is not the sole factor that decides the formation of world literature. Translated works do not necessarily represent the best part in one national literature. Damrosch’s overemphasis on translation differences and untranslatability in world literature tends to overlook the syncretism of heterogeneous literatures: The influence of Roman (...) Empire on Indian Buddhism, the influx of elements from Indian, Arabic, and Persian stories into European writers’ creation, the genres of China’s ancient literature influenced by Buddhism, etc. Furthermore, a great deal of Chinese idioms and allusions appearing in Japanese, Korean and Vietnamese literatures provide us a general view of how world literature forms through exchange and syncretism. On this account, Damrosh’s argument may be reformulated as “world literature is writing that gains in variation.” Variation reflects the ability to absorb otherness and then to create something new. Meanwhile, the perspective of literary syncretism will help us reasonably distinguish world literature and national canons. (shrink)

This study focuses on the question of individualism in the works of Marcel Proust and Jean-Paul Sartre, particularly with regard to the issue of ethical and political selfhood. If there is to be a fruitful interaction between descriptive narrative ethics and proscriptive ethical theory, the role of the literary imagination needs to be reassessed. The resurging interest in redefining the humanist project begs the question of why exponents of individual liberty and group authority remain firmly opposed to one another. (...) Therefore the analysis begins with a consideration of Sartre's failure to produce a formal system of ethics consistent with his early ontology. Sartre's account of subjectivity is framed within recent reevaluations of ethical individualism in the philosophy of Soren Kierkegaard and Emmanuel Levinas in order to demonstrate that Sartrean existentialism is ethically flawed. It is therefore argued that it is his theory of subjectivity which precludes an existentialist-Marxist alliance--the alliance itself deriving promise from a refinement of the existential position. In posing the question of whether Proust defines a theory of the self or elucidates one of an infinite number of individual paths to an authentic self-relation, I reveal that his emphasis on 'la vie interieure' is not excessive or idealistic individualism but rather ethico-political sobriety. According to Sartre, the novelist's sole purpose should be to present, without any form of edification which could translate to proselytism, the passions and actions of the characters. However, his emphasis on action neglects certain aspects of authorial intervention. When Proust's narrator, through the intricate exploration of his own self-relation, invites the reader to embark on the same journey of self-transformation, the novel becomes a site for experimental selfhood. By addressing these issues, I illuminate the difficulties Sartre faced in attempting to unite a Marxist ethos with the primacy of the individual as well as challenge Richard Rorty's characterization of Proust's literary project as a "purely private act of self-creation.". (shrink)

This volume contains a translation of four early manuscripts by Alfred Schutz, unpublished at the time, written between 1924 and 1928. The publication of these four essays adds much to our knowledge and appreciation of the wide range of Schutz’s phenomenological and sociological interests. Originally published in 1987. The essays consist of: a challenging presentation of a phenomenology of cognition and a treatment of Bergson’s conceptions of images, duration, space time and memory; a discussion of the meanings connected with the (...) grammatical forms of language in general; a consideration of the relation between meaning-contents and literary forms in poetry, literary prose narration and dramatic presentation; and an examination of resemblances and differences in the inner forms and characteristics of the major theatrical art forms. (shrink)

The article traces the lines of interrelation of philosophy as a systematic knowledge of the world and literature as a form of artistic contemplation. Conceptual and figurative comprehension of the world, according to the author, are attributive properties of the spiritual life of society. In the paradigm of this understanding, the union of philosophy with diverse types of literary creativity is considered as a basic component of the national spiritual culture of the XIX — early XX (...) century, which determined its national peculiarity, becoming a kind of symbolic code. On the one hand, she set the main vector of literary creativity, including the search for the meanings of being, and filled the intuitions of artistic and imaginative thinking with philosophical content, on the other hand, she "added" metaphysics of philosophical thought with ideological questions about progress, social justice and equality, insuring philosophical reflection from the dictates of rigid conceptual schemes. (shrink)

RESUMO:Não é incomum que se tome o diálogo de Schelling conhecido como Clara por um estoque de proposições filosóficas, do qual se arrancam aquelas mais apropriadas para a tese que se queira sustentar. Procuramos nos afastar desse tipo de procedimento. Tomando seriamente seu tratamento literário, trata-se antes de investigar esse diálogo, apreendendo-o como um modelo, ensaiado pelo filósofo, para uma crítica do presente. Para tanto, analisamos a oscilação entre diálogo e narrativa, de modo a compreender sua composição e princípio formal, (...) o que acarreta uma reflexão, interna à obra, sobre o tempo histórico, o qual se apresenta numa dialética entre inatualidade e presente. ABSTRACT:It is not unusual that Schelling’s dialogue known as Clara is taken for a stock of philosophical propositions from which one may pluck ideas appropriate for the thesis one wishes to defend. In this article, we try to move away from this type of procedure. Taking Schelling’s literary treatment seriously, our purpose is to investigate this dialogue by looking upon it as a model, put forth by the philosopher, for a critique of the present. We therefore analyze the oscillation between dialogue and narrative in Clara in order to understand its composition and formal principle. This oscillation entails a reflection on historical time and presents a dialectic between inactuality and the present. (shrink)