Michèle Roberts: Female Genius and the Theology of an English Novelist Since Simone de Beauvoir published The Second Sex in 1949, feminist analysis has tended to assume that the conditions of male normativity—reducing woman to the merely excluded "Other" of man—holds true in the experience of all women, not the least, women in the context of Christian praxis and theology. Beauvoir's powerful analysis—showing us how problematic it is to establish a position outside patriarchy's dominance of our conceptual fields—has helped (...) to explain the resilience of sexism and forms of male violence that continue to diminish and destroy women's lives because they cannot be seen as questionable. It has also, I would argue, had the unintended consequence of intensifying the sense of limitation, so that it becomes problematic to account for the work and lives of effective, innovative and responsible women in these contexts. In order to address this problematic issue, I use the life and work of novelist Michèle Roberts, as a case study in female genius within an interdisciplinary field, in order to acknowledge the conditions that have limited a singular woman's literary and theological aspirations but also to claim that she is able to give voice to something creative of her own.The key concept of female genius within this project draws on Julia Kristeva's notion of being a subject without implicitly excluding embodiment and female desire as in normative male theology, or in notions of genius derived from Romanticism. Roberts' work as a writer qualifies her as female genius in so far as it challenges aspects of traditional Christianity, bringing to birth new relationships between theological themes and scriptural narratives without excluding her singular female desires and pleasures as a writer. This paper—as part of a more inclusive, historical survey of the work of women writers crossing the disciplinary boundaries between literature and Christian theology over the last several centuries also asks whether, in order to do proper justice to the real and proven limitations imposed on countless women in these fields across global and historical contexts, we need, at the same time, to reduce the Christian tradition to something that is always antithetical or for which women can take absolutely no credit or bear no responsibility. (shrink)

In _The Preparation of the Novel_, a collection of lectures delivered at a defining moment in Roland Barthes's career (and completed just weeks before his death), the critic spoke of his struggle to discover a different way of writing and a new approach to life. _The Neutral_ preceded this work, containing Barthes's challenge to the classic oppositions of Western thought and his effort to establish new pathways of meaning. _How to Live Together_ predates both of these achievements, a series of (...) lectures exploring solitude and the degree of contact necessary for individuals to exist and create at their own pace. A distinct project that sets the tone for his subsequent lectures, _How to Live Together_ is a key introduction to Barthes's pedagogical methods and critical worldview. In this work, Barthes focuses on the concept of "idiorrhythmy," a productive form of living together in which one recognizes and respects the individual rhythms of the other. He explores this phenomenon through five texts that represent different living spaces and their associated ways of life: Émile Zola's _Pot-Bouille_, set in a Parisian apartment building; Thomas Mann's _The Magic Mountain_, which takes place in a sanatorium; André Gide's _La Séquestrée de Poitiers_, based on the true story of a woman confined to her bedroom; Daniel Defoe's _Robinson Crusoe_, about a castaway on a remote island; and Pallidius's _Lausiac History_, detailing the ascetic lives of the desert fathers. As with his previous lecture books, _How to Live Together_ exemplifies Barthes's singular approach to teaching, in which he invites his audience to investigate with him--or for him--and wholly incorporates his listeners into his discoveries. Rich with playful observations and suggestive prose, _How to Live Together_ orients English-speaking readers to the full power of Barthes's intellectual adventures. (shrink)

During the 18th Century there was an explosion of female writing as well as a demand from women for fiction. This was predominently met by the growing number of circulating libraries and together with the rapid and rather inferior methods of production, precluded a high survival rate for the mass of this genre. This has resulted in a general scarcity and inaccessability of English novels of this period with, until recently, a corresponding shortage of critical knowledge and study. New (...) introductions specially commissioned from Dr Peter Garside, University of Wales Collge of Cardiff, and Dr Caroline Franklin, Trinity College Carmarthen, put these neglected works in the wider context of the development of English Literature. The choice of books reprinted in this first series of 'British Novels in the 18th and 19th Century' also reflects the varied motives of authorship during that period. (shrink)

One of many writers inspired by Laurence Sterne's Tristram Shandy, the German novelist Jean Paul Richter coined the term 'Shandean humour' in his work of aesthetic theory. The essays in this volume investigate how Sterne's humour functions, the reasons for its enduring appeal, and what role it played in identity-construction and in the representation of melancholy. In tracing its hitherto under-recognised impact both on literary writers, such as Jean Paul and Herman Melville, and on philosophers, including Hegel and Marx, the (...) collection reveals that Shandean humour is a Grenzgänger - a point of commerce not only between Anglophone and German discourses, but also between literature and philosophy.Klaus Vieweg is Professor of Philosophy at the Friedrich Schiller University of Jena; James Vigus is postdoctoral research fellow at the Department of English and American Studies, Ludwig Maximilian University of Munich; Kathleen M. Wheeler is Reader in English Literature at the University of Cambridge. (shrink)

In _The Preparation of the Novel_, a collection of lectures delivered at a defining moment in Roland Barthes's career, the critic spoke of his struggle to discover a different way of writing and a new approach to life. _The Neutral_ preceded this work, containing Barthes's challenge to the classic oppositions of Western thought and his effort to establish new pathways of meaning. _How to Live Together_ predates both of these achievements, a series of lectures exploring solitude and the degree of (...) contact necessary for individuals to exist and create at their own pace. A distinct project that sets the tone for his subsequent lectures, _How to Live Together_ is a key introduction to Barthes's pedagogical methods and critical worldview. In this work, Barthes focuses on the concept of "idiorrhythmy," a productive form of living together in which one recognizes and respects the individual rhythms of the other. He explores this phenomenon through five texts that represent different living spaces and their associated ways of life: Émile Zola's _Pot-Bouille_, set in a Parisian apartment building; Thomas Mann's _The Magic Mountain_, which takes place in a sanatorium; André Gide's _La Séquestrée de Poitiers_, based on the true story of a woman confined to her bedroom; Daniel Defoe's _Robinson Crusoe_, about a castaway on a remote island; and Pallidius's _Lausiac History_, detailing the ascetic lives of the desert fathers. As with his previous lecture books, _How to Live Together_ exemplifies Barthes's singular approach to teaching, in which he invites his audience to investigate with him -- or for him -- and wholly incorporates his listeners into his discoveries. Rich with playful observations and suggestive prose, _How to Live Together_ orients English-speaking readers to the full power of Barthes's intellectual adventures. (shrink)

A study of the life and works of Denis Diderot in reference to English influences in the eighteenth century. Specifically examines Diderot's life and general relationship to England, his English friends, and his professions as a moralist, philosopher, scientist, encyclopedist, dramatist, novelist, and critic.

This paper responds to a European novel presenting the development of a poet. The novelist depicts a stage in which the poet seeks to escape from his mother, but I show that there are textual resources for an alternative interpretation of why.

Dooley provides background information for each of the interviews, along with a thorough index.

Sarah Grand was one of the most prominent New Women of the 1890s and a notable social purity feminist and suffragist. This collection offers important insights into the full range of her journalistic output and lesser-known fictional writings. It also makes available biographical and autobiographical material, and previously unpublished manuscript sources. The first volume reproduces Grand's articles and the contemporary critical reception of her work. The letters in volume two, written mostly in the 1920s and 1930s, shed light on Grand's (...) genesis as a writer and her interaction with 1890s artistic and feminist circles. The third and fourth volumes contain a selection of short stories from three collections published at and after the turn of the century. These comment on some of the explosive issues of that time: feminism, decadence, eugenics, class, race and war. They also reflect Grand's exploration of the interplay between gender and genre. (shrink)

This book offers the first full-length study of philosophical dialogue during the English Enlightenment. It explains why important philosophers - Shaftesbury, Mandeville, Berkeley and Hume - and innumerable minor translators, imitators and critics wrote in and about dialogue during the eighteenth century; and why, after Hume, philosophical dialogue either falls out of use or undergoes radical transformation. Philosophical Dialogue in the British Enlightenment describes the extended, heavily coded, and often belligerent debate about the nature and proper management of dialogue; (...) and it shows how the writing of philosophical fictions relates to the rise of the novel and the emergence of philosophical aesthetics. Novelists such as Fielding, Sterne, Johnson and Austen are placed in a philosophical context, and philosophers of the empiricist tradition in the context of English literary history. (shrink)

English title: Cultural Stereotypes and Bias Towards the Indians in Writing of Rudyard Kipling. The aim of this paper is to characterize and dispute the cultural stereotypes and prejudices against the Indians depicted in the writings of Rudyard Kipling (1865–1936), one of the most popular British novelists of the Victorian era. The starting point for these reflections is George Orwell’s essay in which he describes Kipling as a racist and imperialist as well as a morally insensitive and aesthetically disgusting (...) figure. To verify this view the present author undertakes an analysis of the cultural stereotypes and prejudices embedded in the selected novels by Kipling. In reconsidering Kipling’s works, she traces the connections between his own world-view and the negative reception of Indians within the Anglo-Indian community by which he was largely shaped. The paper concludes by supporting Orwell’s criticism and demonstrating how Kipling reinforced the stereotype of an Indian, thus reflecting the cultural cliché widespread among the xenophobic and conservative Anglo-Indians in the 19th century. (shrink)

In 1766 philosopher, novelist, composer, and political provocateur Jean-Jacques Rousseau was a fugitive, decried by his enemies as a dangerous madman. Meanwhile David Hume—now recognized as the foremost philosopher in the English language—was being universally lauded as a paragon of decency. And so Rousseau came to England with his beloved dog, Sultan, and willingly took refuge with his more respected counterpart. But within months, the exile was loudly accusing his benefactor of plotting to dishonor him—which prompted a most uncharacteristically (...) violent response from Hume. And so began a remarkable war of words and actions that ensnared many of the leading figures in British and French society, and became the talk of intellectual Europe. Rousseau's Dog is the fascinating true story of the bitter and very public quarrel that turned the Age of Enlightenment's two most influential thinkers into deadliest of foes—a most human tale of compassion, treachery, anger, and revenge; of celebrity and its price; of shameless spin; of destroyed reputations and shattered friendships. (shrink)

A complete English translation of the correspondence between the philosopher Martin Heidegger and the novelist and essayist Ernst Jünger, together with a translation of Jünger’s essay Across the Line.

This is an English translation of Waldenfels' German essay: Equality and inequality are basic elements of law, justice and politics. Equality integrates each of us into a common sphere by distributing rights, duties and chances among us. Equality turns into mere indifference as far as we get overintegrated into social orders. When differences are fading away experience loses its relief and individuals lose their face. Our critical reflections start from the inevitable paradox of making equal what is not equal. (...) In various ways they refer to Nietzsche’s concept of order, to Marx’s analysis of money, to Lévinas’s ethics of the Other, and to novelists like Dostoevsky and Musil. Our critique turns against two extremes, on the one hand against any sort of normalism fixed on functioning orders, on the other hand against any sort of anomalism dreaming of mere events and permanent ruptures. Responsive phenomenology shows how we are confronted with extraordinary events. Those deviate from the ordinary and transgress its borders, without leaving the normality of our everyday world behind. The process of equalizing moves between the ordinary and the extraordinary. What makes the difference and resists mere indifference are creative responses which are to be invented again and again. (shrink)

A complete English translation of the correspondence between the philosopher Martin Heidegger and the novelist and essayist Ernst Jünger, together with a translation of Jünger’s essay Across the Line.

Although the great French novelists of the last two centuries are widely read in America, there is a widespread notion that little of importance has happened in French literature since the heyday of Sartre, Camus, and the nouveau roman. Curious American readers seeking new, up-to-date information and analyses will find in Paths to Contemporary French Literature a stimulating and much-needed guide to the major currents of one of the worldas great literatures. This critical panorama of contemporary French literature introduces (...) class='Hi'>English-language readers to over fifty important writers and poets. Emphasizing authors who are admired by their peers, John Taylor offers a compelling insideras view. (shrink)

Although the great French novelists of the last two centuries are widely read in America, there is a widespread notion that little of importance has happened in the French literature since the heyday of Sartre, Camus, and the nouveau roman. Some might argue that even well-read Americans are ignorant about what is happening in European literature generally. Certainly, there has never been so few translations of foreign books in the United States, or so little coverage of foreign writers. Curious American (...) readers need new, up-to-date information and analyses about what is happening elsewhere. Paths to Contemporary French Literature is a stimulating and much-needed guide to the major currents of one of the world's great literatures. This critical panorama of contemporary French literature introduces English-language readers to over fifty important writers and poets, many of whom are still little known outside of France. Emphasizing authors who are admired by their peers, John Taylor offers a compelling insider's view. Their pioneering essays included in this book offer incisive analyses of the ideas motivating current writing and delve into a writer's or poet's entire output. Although some names may be familiar, the reader obtains fresh reappraisals of their seminal work. Especially noteworthy, however, are Taylor's lively introductions to many other key writers who either have not yet crossed the English Channel, let alone the Atlantic. Combating the notion that French literature is overtly intellectual, inaccessible, or interested only in formal experimentation, Taylor shows that many French writers are instead acutely inquisitive about the outside world, shrewd observers of reality, even very funny. Although not conceived as a "reference book," the volume possess some qualities of a reference work: a good bibliography, reliable dates and biographical facts. (shrink)

In 1809 the radical English philosopher, novelist, and historian William Godwin published Essay on Sepulchres—a proposal to mark the burial sites of the morally great with a simple wooden cross. This paper explores Godwin's essay in terms of his evolution as moral philosopher and historian. While Godwin is commonly renowned as a utilitarian rationalist given to optimistic assertions on human perfectibility, this essay demonstrates the extent to which his moral theory depended on emotion and intuition and how he came (...) to posit an alternative mode of historical perception which queried the progressivist assumptions of ‘Enlightenment’ historiography. (shrink)

A new, comprehensive English anthology What is the meaning of life? How should I live? Is there any purpose to the universe? Generations have turned to the great German philosopher Arthur Schopenhauer for answers to such essential questions of existence. His influence has extended not only to later philosophers—Nietzsche, Freud, and Wittgenstein among them—but also to musicians, artists, and important novelists such as Tolstoy, Thomas Mann, and Proust. The Essential Schopenhauer, the most comprehensive English anthology now available of (...) this seminal thinker’s writings, will open English readers to Schopenhauer’s profound ideas. Selected by Wolfgang Schirmacher, president of the International Schopenhauer Association, The Essential Schopenhauer is an invaluable and accessible introduction to Schopenhauer’s powerful body of work. (shrink)

Galligan (Professor Emeritus, English, Western Michigan U.-Kalamazoo) argues that contemporary American critics should embrace literary truths with all of their uncertainties rather than cling to make- believe certainties of ideologies. He celebrates values commonly associated with modern, not postmodern, criticism, applying them to contemporary works in a series of fresh and unusual inquiries. He finds implications for criticism in work from the physical sciences and in the works of largely ignored novelists. Annotation copyrighted by Book News, Inc., Portland, OR.

A study of the novelist's deterministic philosophy & its impregnation of his major works of fiction.

The most important work of the famed German philosopher, this 1841 polemic asserts that religion and divinity are outward projections of inner human nature. Feuerbach's critique of Hegelian idealism excited immediate international attention — Marx and Engels were particularly influenced. This acclaimed translation is by the celebrated English novelist George Eliot.

Things Fall Apart, No Longer at Ease, Arrow of God and A Man of the People, the first four novels by Chinua Achebe, the contemporary Nigerian novelist, are among the most outstanding works of African postcolonial literature. As a matter of fact, each of these four novels focuses on a different colonial or postcolonial phase of history in Nigeria and through them Achebe intends to provide an authentic record of the negative and positive impacts of ‘hybridity’ on different aspects of (...) the life of native subjects. Briefly stated, Achebe is largely successful in taking advantages of variable discursive tools he structures based on the potentials of the hybrid, Igbo-English he adopts. Thus, it might be deduced that reading these four novels in line with each other, and as chains or sequels of Tetralogy, might result in providing a more vivid picture of the Nigerian (African) subjects and the identity crises emerging in them as a result of colonization. To provide an account of the matter, the present study seeks to focus on one of the discursive strategies Achebe relies on in those four novels: Igbo Naming Cosmology and Name-symbolization. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 30.1 (2006) 102-117 [Access article in PDF] Gossip and Literary Narrative Blakey Vermeule Northwestern University Since its murky origins in Grub Street, a specter has haunted the novel—the specter of gossip. In its higher-minded mood, literary narratives have been very snobbish about gossip and the snobbishness is unfair. Even the most casual reader of social fiction will recognize that gossiping is what characters do most passionately. (...) However, they can neither admit nor be aware of it. Only minor or morally compromised characters are allowed to indulge in its pleasures. Matronly middle-aged women, chatty maids, little girls, and effeminate fops are the ones who gossip; their more reflective counterparts—the men and women designated as heroes and heroines—only briefly tolerate such idle chatter. Gossip is derided, decried, condemned, and maligned. It is womanish, low, slavish, servantish, silly, pert, loose, wanton, jiggetty, mean. It is the "tittle-tattle of Highbury" in Austen's Emma, an activity for the old maid Miss Bates and her even older, blind, and senile mother. In Middlemarch, although the world is "apparently a huge whispering-gallery," the greatest gossip of all is Mrs. Cadwallader, a matron with a mind like "phosphorous, biting at everything" (Spacks, p. 194). In Richardson's Clarissa, Lovelace—a man not known for his indifference to social information—airily dismisses gossip as "the female go-round." (In novels, the male equivalents of the "female go-round" tend to be such despised modes of exchange as business letters, gambling, chess, and games of chance.) Gossip has always been a part of charivari with the power to turn the world upside down. It also has the power to destroy lives (Les Liasons Dangereuses) and to derail love (when it becomes the "prejudice" of Pride and Prejudice). If it ever innocent, it is only because it is meaningless.Gossip is all of these things even—especially—when it powers the [End Page 102] whole narrative. This paradox is evident almost anywhere we choose to look. Social novelists view the stuff of direct, unmediated social information as so intense that it requires special handling—even disavowal. I will briefly survey examples from French, English, and Russian fiction. The first is a lurid and overheated speech by Henri de Marsay, the peculiar hero of Balzac's short novel, The Girl with the Golden Eyes (1815). De Marsay is a dissipated aristocrat in love with a mysterious young girl who, he finds out much later, is the sexual slave of de Marsay's long-lost sister. But first, after a night of passion that "had begun with a slow trickle of pleasures and ended in overflowing torrents," de Marsay realizes, when his lover accidentally lets slip the name of his rival, that the person he is competing with is female. The next day he becomes consumed with a bitter plan to kill his faithless lover. He reflects to his friend Paul "Upon my honor, man is a clown dancing on the edge of a cliff. We're told about the immorality of Les Liaisons dangereuses, and some book with the name of a chambermaid. But there is one ghastly, dirty, dreadful, corrupting book that is always open and never closed, the great book of the world—not to mention another book, a thousand times more dangerous, that consists of everything passed on by word of mouth between men or women behind their fans at the ball."1 Even though de Marsay is a corrupt aristocrat, his sentiments are little different from those the narrator expresses in the book's opening chapter, a panoptic survey of Parisian life as a glorious mosaic of infection, rot, and moral disease.In Emily Bronte's Wuthering Heights, Heathcliff's new tenant Lockwood breaks his self-imposed exile from social life by pressing the housekeeper Nellie Dean to do what housekeepers do best and launch into an aggrieved saga about her master's family. He wants her to serve up the gossip hot. "I ate..., hoping sincerely she would prove a regular gossip, and either rouse me to animation, or lull me to sleep... (shrink)

My purpose in this essay is to describe and define the ways in which Afro-American women intellectuals, in the last decade of the nineteenth century, theorized about the possibilities and limits of patriarchal power through its manipulation of racialized and gendered social categories and practices. The essay is especially directed toward two academic constituencies: the practitioners of Afro-American cultural analysis and of feminist historiography and theory. The dialogue with each has its own peculiar form, characterized by its own specific history; (...) yet both groups are addressed in an assertion of difference, of alterity, and in a voice characterized by an anger dangerously self-restrained. For it is not in the nature of Caliban to curse; rather, like Caliban, the black woman has learned from her behaviour of her master and mistress that if accommodation results in a patronizing loosening of her bonds, liberation will be more painful. Hazel V. Carby is assistant professor of English at Wesleyan University. She is the coauthor of the Empire Strikes Back: Race and Racism in Seventies Britain and the author of Uplifting as They Write: The Emergence of the Afro-American Woman Novelist. (shrink)

Until very recently, feminist criticism has not had a theoretical basis; it has been an empirical orphan in the theoretical storm. In 1975, I was persuaded that no theoretical manifesto could adequately account for the varied methodologies and ideologies which called themselves feminist reading or writing.1 By the next year, Annette Kolodny had added her observation that feminist literary criticism appeared "more like a set of interchangeable strategies than any coherent school or shared goal orientation."2 Since then, the expressed goals (...) have not been notably unified. Black critics protest the "massive silence" of feminist criticism about black and Third-World women writers and call for a black feminist aesthetic that would deal with both racial and sexual politics. Marxist feminists wish to focus on class along with gender as a crucial determinant of literary production. Literary historians want to uncover a lost tradition. Critics trained in deconstructionist methodologies with to "synthesize a literary criticism that is both textual and feminist." Freudian and Lacanian critics want to theorize about women's relationship to language and signification.· 1. See my "Literary Criticism," Signs 1 : 435-60.· 2. Annette Kolodny, "Literary Criticism," Signs 2 : 420.Elaine Showalter is professor of English at Rutgers University. The author of A Literature of Their Own: British Women Novelists from Bronte to Lessing, she is currently completing The English Malady, a study of madness, literature, and society in England. (shrink)

"Wisdom in the Open Air" traces the Norwegian roots of the strain of thinking called "deep ecology" - the search for the solutions to environmental problems by examining the fundamental tenets of our culture. Although Arne Naess coined the term in the 1970s, the insights of deep ecology actually reflect a whole tradition of thought that can be seen in the history of Norwegian culture, from ancient mountain myths to the radical ecoactivism of today. Beginning with an introduction to Norway's (...) emphasis on nature and the wild, Reed and Rothenberg explore the birth of the environmental movement in the 1960s and 1970s. What follows is a collection of writings by prominent Norwegian thinkers on humanity and nature, most never before published in English. From Peter Wessel Zapffe, a twentieth-century Kierkegaardian figure, the list goes on to include Arne Naess, activist/critic/artist Sigmund Kvaloy, wilderness educator Nils Faarlund, novelist Finn Alnaes, sociologist Johan Galtung, and social reformer Erik Dammann. Their points of view offer thoughts on the significance of modern life and what it means to be human in the face of deteriorating environmental global trends of the 20th century. "Wisdom in the Open Air" asks and answers a fundamental question concerning the ecomovement: what is the role of deep, often abstract, thinking in the attempt to avert a very real ecological crisis? (shrink)

Frank Kermode is one of our most distinguished and beloved critics of English literature. Here, he contributes a new epilogue to his collection of classic lectures on the relationship of fiction to age-old concepts of apocalyptic chaos and crisis. Prompted by the approach of the millennium, he revisits the book which brings his highly concentrated insights to bear on some of the most unyielding philosophical and aesthetic enigmas. Examining the works of writers from Plato to William Burrows, Kermode shows (...) how they have persistently imposed their "fictions" upon the face of eternity and how these have reflected the apocalyptic spirit. Kermode then discusses literature at a time when new fictive explanations, as used by Spenser and Shakespeare, were being devised to fit a world of uncertain beginning and end. He goes on to deal perceptively with modern literaturewith "traditionalists" such as Yeats, Eliot, and Joyce, as well as contemporary "schismatics," the French "new novelists," and such seminal figures as Jean-Paul Sartre and Samuel Beckett. Whether weighing the difference between modern and earlier modes of apocalyptic thought, considering the degeneration of fiction into myth, or commenting on the vogue of the Absurd, Kermode is distinctly lucid, persuasive, witty, and prodigal of ideas. (shrink)

We are concerned here with two towers. One is a Norman keep in the Galway barony of Kiltartan, some twenty miles from the western seacoast. The second, one of a chain constructed by the British to withstand a Napoleonic invasion, stands facing eastwards towards the Irish sea at the village of Sandycove, a few miles south of Dublin. Yeats's tower at Ballylee—Ballylee Castle as it was grandly termed—and the Martello tower in which Joyce lived in for a few weeks in (...) 1904, the setting upon which Ulysses opens, take on central and symbolic roles in the art of each man and enter also those shorthands of symbols by which we, in our turn, hold the two writers in our imagination. I propose to consider the very different manner in which each man came to accept his identity as an Irish writer. And this in its turn involves some consideration of what for convenience we may term the "matter of Ireland," the body of oral and written Irish literature, and the accumulated symbolic powers of the word "Ireland" itself. If I place their two towers, Ballylee and Martello, as twin emblems at our entrance way, it will at last appear, I trust, that I do so for substantial rather than decorative purposes. Thomas Flanagan, chairman of the Department of English at the University of California at Berkeley, is the author of The Irish Novelists, 1800-1850 and many studies of contemporary literature. (shrink)

B.F. Skinner was the voice of radical behaviourism for some five decades, fighting relentlessly against consciousness as a scientific question. While in public he always argued the case for behaviourism, in fact Skinner was deeply at odds with himself, as he reveals in several books. Surprisingly, as a college student he was deeply interested in becoming a stream-of-consciousness novelist. When that ambition failed, he reacted with a radical rejection of the conscious life. Decades later Skinner's inner struggle still continued, as (...) his autobiography shows. Like a mystery novelist, B.F. Skinner again and again provides the clues to his own secret. Skinner's conflict about consciousness was not just a personal idiosyncracy. Behaviourism and its radical rejection of personal experience was a major theme of the twentieth century, and continues even today. Rejection of consciousness became a core belief for academic psychologists and philosophers in the English-speaking world, justifying their claim to standing among the physical sciences. Skinner's life suggests that radical behaviourism may be associated with psychological conflict and some degree of dissociation. It also raises questions about the cultural climate that celebrated the rejection of consciousness. (shrink)

The Darwinian Revolution--the change in thinking sparked by Charles Darwin's On the Origin of Species, which argued that all organisms including humans are the end product of a long, slow, natural process of evolution rather than the miraculous creation of an all-powerful God--is one of the truly momentous cultural events in Western Civilization. Darwinism as Religion is an innovative and exciting approach to this revolution through creative writing, showing how the theory of evolution as expressed by Darwin has, from the (...) first, functioned as a secular religion. Drawing on a deep understanding of both the science and the history, Michael Ruse surveys the naturalistic thinking about the origins of organisms, including the origins of humankind, as portrayed in novels and in poetry, taking the story from its beginnings in the Age of Enlightenment in the 18th century right up to the present. He shows that, contrary to the opinion of many historians of the era, there was indeed a revolution in thought and that the English naturalist Charles Darwin was at the heart of it. However, contrary also to what many think, this revolution was not primarily scientific as such, but more religious or metaphysical, as people were taken from the secure world of the Christian faith into a darker, more hostile world of evolutionism. In a fashion unusual for the history of ideas, Ruse turns to the novelists and poets of the period for inspiration and information. His book covers a wide range of creative writers - from novelists like Voltaire and poets like Erasmus Darwin in the eighteenth century, through the nineteenth century with novelists including Elizabeth Gaskell, George Eliot, Thomas Hardy, Henry James and H. G. Wells and poets including Robert Browning, Alfred Tennyson, Walt Whitman, Emily Dickinson and Gerard Manley Hopkins, and on to the twentieth century with novelists including Edith Wharton, D. H. Lawrence, John Steinbeck, William Golding, Graham Greene, Ian McEwan and Marilynne Robinson, and poets including Robert Frost, Edna St Vincent Millay and Philip Appleman. Covering such topics as God, origins, humans, race and class, morality, sexuality, and sin and redemption, and written in an engaging manner and spiced with wry humor, Darwinism as Religion gives us an entirely fresh, engaging and provocative view of one of the cultural highpoints of Western thought. (shrink)

Adrian Stokes , long admired by a small, highly distinguished, mostly English circle, was the natural successor to Pater and Ruskin. But though his place in cultural history is important, what is of particular interest now to art historians is his theory of the presentness of painting, a theory which offers a challenging critique of the practice of artwriting. From Vasari to the present, the most familiar rhetorical strategy of the art historian is the narrative of “the form, prophet-saviour-apostles,” (...) in which the first artist poses some problem that his successors develop and their successors solve.1 Such very different books as Art and Illusion and Art and Culture deploy that plan. The three periods of naturalism in E. H. Gombrich’s narrative—antiquity, Renaissance religious narrative, nineteenth-century landscape—function like Clement Greenberg’s sequence—old master art, early French modernism, American abstract expressionism. Gombrich and Greenberg disagree about how to narrate art’s history and about which works to include in that narrative—Gombrich asserts that cubism closes the canon while for Greenberg analytical cubism anticipates Jackson Pollock—but in each case, the art historian aims, as the novelist does, to tell a satisfying story and achieve narrative closure, and so how we think of the artworks the historian discusses depends in part upon the structure of the narrative. In a certain mood, we may find this fact intolerable. Why should a mere text tell us how to see the painting we may stand before?Stokes’ attempt to respond to this mood belongs to a tradition of early twentieth-century antihistorical thinking. For Rainer Maria Rilke, Rodin’s sculpture aimed to “refer to nothing that lay beyond it.” For Ezra Pound, an image “is real because we know it directly”; Henri Gaudier-Brzeska could read Chinese ideograms without knowing that language because those ideograms are transparently meaningful images. For Wyndham Lewis, a musical piece is inferior to a statue, “always there in its entirety before you.”2 Such an artwork need not be interpreted because it contains “within itself all that is relevant to itself.”3 All art is accessible to the gifted observer, and time is, in an interesting double sense, irrelevant. We see directly the meaning of works even from distant cultures; the visual artwork is experienced all at once, outside of time. If these claims are correct, what is the artwriter to do? Speaking of the Tempio Malatestiana, Hugh Kenner points to this issue:There is no description of the Tempio in accordance with good Vorticist logic: one art does not attempt what another can do better, and the meaning of the Tempio has been fully explicated on the spot by Agostino di Duccio with his chisel.4 1. Michael Baxandall, Giotto and the Orators: Humanist Observers of Painting in Italy and the Discovery of Pictorial Composition 1350-1450 , p. 75.2. Rainer Maria Rilke, Rodin, trans. Jessie Lemont and Hans Trausil , p. 19; Ezra Pound, Gaudier-Brzeska: A Memoir , p. 86; Wyndham Lewis, Time and Western Man , p. 174.3. Frank Kermode, Romantic Image , p. 107.4. Hugh Kenner, The Pound Era , p. 428. David Carrier, associate professor of philosophy at Carnegie-Mellon University, is coauthor, with Mark Roskill, of Truth and Falsehood in Visual Images and author of the forthcoming Artwriting, a study of recent American art criticism. He is working on a history of art history. (shrink)

fusion theory challenges efforts to see theory as inhibiting by presenting an approach that is innovative, eclectic, and subtle in order to draw out competing and constellating ideas and opinions. This collected volume of essays examines fusion theory and demonstrates how the theory can be applied to the reading of various works of Indian English novelists.

Crucial texts, many available in English for the first time, written before and during the Bolshevik Revolution by the radical biopolitical utopianists of Russian Cosmism. Cosmism emerged in Russia before the October Revolution and developed through the 1920s and 1930s; like Marxism and the European avant-garde, two other movements that shared this intellectual moment, Russian Cosmism rejected the contemplative for the transformative, aiming to create not merely new art or philosophy but a new world. Cosmism went the furthest in (...) its visions of transformation, calling for the end of death, the resuscitation of the dead, and free movement in cosmic space. This volume collects crucial texts, many available in English for the first time, by the radical biopolitical utopianists of Russian Cosmism. Cosmism was developed by the Russian philosopher Nikolai Fedorov in the late nineteenth century; he believed that humans had an ethical obligation not only to care for the sick but to cure death using science and technology; outer space was the territory of both immortal life and infinite resources. After the revolution, a new generation pursued Fedorov's vision. Cosmist ideas inspired visual artists, poets, filmmakers, theater directors, novelists (Tolstoy and Dostoevsky read Fedorov's writings), architects, and composers, and influenced Soviet politics and technology. In the 1930s, Stalin quashed Cosmism, jailing or executing many members of the movement. Today, when the philosophical imagination has again become entangled with scientific and technological imagination, the works of the Russian Cosmists seem newly relevant. Contributors Alexander Bogdanov, Alexander Chizhevsky, Nikolai Fedorov, Boris Groys, Valerian Muravyev, Alexander Svyatogor, Konstantin Tsiolkovsky, Anton Vidokle, Brian Kuan Wood A copublication with e-flux, New York. (shrink)

Andrew Dobson charts Sartre's transformation from novelist and apolitical philosopher of existentialism, before the Second World War, to a committed defender of Marxism and Marxist method after it. Examining Sartre's post-war work in detail, he shows how the biographies of Baudelaire, Genet and Flaubert, often considered tangential to his main oeuvres, are in fact central to this defence of Marxism, and should therefore be read as acts of political commitment. Andrew Dobson's study of posthumous sources, including the extended commentaries in (...) English of Volume II of the Critique of dialectical reason, and in its insistence on reading Sartre's philosophical development as primarily politically motivated. It provides a clear reading of some of Sartre's less familiar works, situating them in an overarching social and political project. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Francis Sparshott THE CASE OF THE UNRELIABLE AUTHOR Narratology, as the study of narrative in its most general sense, has made great advances in the last decade, ranging from the rhetorical and syntactic study of narrative forms to an interpretation of human life as a fabric of stories we tell ourselves and each other. I do not keep up with these studies, and the intention of die present article (...) is not to add to them. The standpoint from which it is written is not that of the literary theorist, but that of the relatively plain reader. I write as someone who reads stories that people have written for relatively naive people like me to read, though I have fortified myselfwith a handful of appropriately down-to-earth theoretical works to help me out. The article presents some reflections prompted by a novel that I have found disturbing, not as a special sort of being called a reader and correlated with an equally special writer, but as someone who has been reading a book and has had to come to terms with the fact of being transformed into a person who has read it. In 1966, the English novelist Anthony Burgess announced his intention of writing a novel "of Tolstoyan proportions."1 In 1980 it appeared, under the title Earthly Powers, and was duly described by some reviewers as his War and Peace.2 But why? Perhaps it was just the size of it, 649 pages. Perhaps it was the way the novel combined a story of private life with a background of world history. But perhaps what the reviewers found relevant in Tolstoy was not only the length and the epic scale but also the way his novel conveyed a view oflife, partly in the story invented, partly in the opinions of favorably presented characters, and partly in the way he supplemented his story with comments directiy addressed to the reader — or should we rather say, projected into the readerly void. As for Burgess himself, he probably had nothing more specific in mind than the narrowness he elsewhere complains of in English novelists, whose interests remain typically domestic and suburban when they could be "expanding the 145 146Philosophy and Literature resources of literature to find out more about die whole human complex, the roots on which societies are built."3 Suppose we take the parallel with Tolstoy seriously. War and Peace reads as if told in a voice which is that of the implicit author, a distinctive and cranky character represented for us by the name "Tolstoy" on the title page. A distinctive character, but not a character in the book; it is just the putative owner of a voice projected by the tone in which the book is written. However, much of the special effect of War and Peace comes from our tendency to identify this highly personalized voice-bearer with a real person. The authorial voice ofthe book becomes that ofthe person who wrote it, Count L. Tolstoy himself, quite widiout regard to who this person was in real life and what the real life was that he was in. The book reads like a communication, and mat is how many ofus read it. As it happens, the actual person Tolstoy was himselfat least sometimes prepared to read books that way. Our first question to a new author, he said when writing about Maupassant, is: "What sort of a man axe you? Wherein are you different from all die people I know, and what can you tell me that is new, about how we must look at this life ofours?"4 That is, a book is not only a text to exercise our readership on, and a story told for us to follow in delight or suspense, but also a message from a real person who writes, to real people who read, about the world they all share. Note that we do not have to read War andPeace that way. Fielding's Tom Jones is written in a comparably distinctive and insistent authorial voice, as of someone buttonholing the reader and sharing a joke about the world; but I, and many other readers, take mis to be a... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.1 (2003) 21-39 [Access article in PDF] Capability and Language in the Novels of Tarjei Vesaas Catherine Wilson I THOUGH RELATIVELY UNKNOWN to English-speaking readers, Tarjei Vesaas (1897-1970) is recognized as one of the great Scandinavian novelists and literary innovators of the last century. His oeuvre is substantial, extending to thirty-four volumes published between 1923 and 1966, many of them translated into English and (...) European languages. He was one of four nominees for the 1964 Nobel Prize in literature, and he received a number of other awards and citations in the course of his life. At the same time, his work has failed almost entirely to generate a secondary literature going beyond plot summary, stylistics, and moral approval, and even that literature remains strongly regionalized. 1 Vesaas wrote in nynorsk or "New Norwegian," the minority language of the country created from south-central dialects and distinct from the official, bureaucratic bokmal. He settled permanently on a farm in the remote Telemark district of Norway and assumed no role in European culture as critic or essayist, refusing to discuss his own work in literary or philosophical terms. As a result, analytic and comparative studies have proved difficult to launch.The present essay is intended to provide one such analytical study, addressed specifically to the philosophical themes of ethical resignation, the precariousness of communication, and inwardness. These are familiar themes in twentieth-century literature. In his study of the "literary conquest of the void," R. M. Adams shows how Moravia, Musil, and Beckett amongst others make use of devices of paralysis, immobility, exhaustion, and incomprehension that have their origins in the romantic literature of the nineteenth century, notably in Baudelaire [End Page 21] and Gogol. 2 Literary modernism rejected certain nineteenth-century conventions of plot and character, but did not abandon the fascination of the preceding century with nihilistic themes. Vesaas's work demands to be read in this literary context. The novels, at once semirealistic and highly stylized, deal almost exclusively with rural people and their struggles against the elemental forces of nature. The main characters are often children and adolescents who suffer some degree of helplessness. Simple contrasts are posed: warmth and cold; loss and retrieval, childbirth and death. Agricultural cycle motifs abound. The choice of protagonists and the dominance of vitalistic and biological themes pose the threat of sentimentality and preciousness, but it is avoided by the ubiquity of devastation and destruction in the moral landscape. According to Randi Brox's note in the Dictionary of Scandinavian Literature, the early novels in particular "advocate as the highest goal in life an accepting, contented attitude toward the human condition." 3This judgment reflects what might be termed a judicial-theological picture of fiction. On this view, a novel constitutes a testing ground for discovering what sort of world we live in and what pursuits are possible and worthwhile. Various alternatives are set up as hypotheses, and novels prove and disprove them through narrative demonstrations of the causal effects of adopting them. False theories of the human world and untenable values are subject to refutation. This template is surprisingly useful, not only with respect to the nineteenth-century novel, with its apparent tendency to confident judgment, but even to modern fiction. Moravia, for example, can be seen to be awarding divergent roles to characters and allowing the qualities they represent to struggle for supremacy. 4Yet poststructuralist and postmodernist criticism have cast doubt on the notion that, to the extent that they are important, such contests can ever be decided, and it is increasingly clear that the greatest nineteenth-century novelists, Hardy and Eliot, did not regard the hierarchy of values as settled and demonstrable. Persons, we are coming to understand, are more plausibly seen as sites of conflict; thus fictional representations of persons are repositories of opposing values. Vesaas's novels reflect such an understanding of persons and values, and so the judicial-theological template is inapplicable.The critical view that Vesaas's novels are essentially instructions in adaptation is untenable, because the goal of... (shrink)

What so many readers—whether "sensitive and intelligent" and comprising "generations" I do not know—have found in Fiction and the Shape of Belief is sheer delight in the rigor and shrewdness of the argument. The most formidable part of Sacks' book is precisely what one would at first necessarily consider the soft spot: the relations of "belief" to fictional form. If one allows the assumptions about a stable and controllable language implicit in the argument and then perhaps substitutes a Boothian term (...) like "implied author" for "Fielding," the demonstrations are irresistible. Sacks sets himself the job of trying to "formulate a theory about a constant and necessary relationship between the ethical beliefs of novelists . . . and novels" . He works his way through various possibilities largely by means of eliminating the crude and the obvious. The question "What must Fielding have believed to have created such a character or devised such a situation?" is at first answered by "Almost anything." We can infer little directly about belief from "situation characters"; we must be very careful not to regard the speeches of paragon characters as "isolable topical essays" . While the model of a novel presented to us is "constructed," architectural, and therefore undynamic, it is also highly complex. The process of making inferences from the relations between parts and between the parts and the whole, of comparing signals with other signals, is delicate indeed. Sacks' method is to lead us gradually toward more and more complex formulations of belief, blocking easy answers and forcing us to take more and more into account. He is gracious toward but has little interest in historical or biographical evidence that would bear on the question of belief; his subject is relentlessly formal. The central concern—"How can any novelist embody his beliefs in novels?"—is focused on "how," on the manipulation of formal devices, not on the content of that belief. Once inside the system, one can do little but cheer. James R. Kincaid is professor of English at the University of Colorado at Boulder. The author of Dickens and the Rhetoric of Laughter, Tennyson's Major Poems: The Comic and Ironic Patterns, and The Novels of Anthony Trollope, he is currently writing a book on narrative structures and the question of coherence. His previous contributions to Critical Inquiry are "Coherent Readers, Incoherent Text" and "Pluralistic Monism". (shrink)

_Selections from Leopardi’s prose masterwork, _Zibaldone_, one of the great intellectual diaries in European literature, expertly translated by Tim Parks__ _Revenge__—Revenge is so sweet one often wishes to be insulted so as to be able to take revenge, and I don’t mean just by an old enemy, but anyone, or even by a friend_._—from _Passions_ The extraordinary quality of Giacomo Leopardi’s writing and the innovative nature of his thought were never fully recognized in his lifetime. _Zibaldone_, his 4,500-page intellectual diary—a (...) vast collection of thoughts on philosophy, civilization, literary criticism, linguistics, humankind and its vanities, and other varied topics—remained unpublished until more than a half-century after his death. But shortly before he died, Leopardi began to organize a small, thematic collection of his writings in an attempt to give structure and system to his philosophical musings. Now freshly translated into English by master translator, novelist, and critic Tim Parks, Leopardi’s _Passions _presents 164 entries reflecting the full breadth of human passion. The volume offers a fascinating introduction to Leopardi’s arguments and insights, as well as a glimpse of the concerns of thinkers to come, among them Nietzsche, Dostoyevsky, Wittgenstein, Gadda, and Beckett. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reading the Mind:From George Eliot's Fiction to James Sully's PsychologyVanessa L. RyanWhat is the function and value of fiction? Debates over these questions involve considerations that range from aesthetics to ethics, from the intrinsic values of the genre to its moral effects. Recently, largely under the influence of the cognitive sciences, the question has taken on a new cast: might science give us a new answer to these long-standing (...) issues? Studies such as Lisa Zunshine's Why We Read Fiction (2006), John Carey's What Good Are the Arts? (2005), and Alan Palmer's Fictional Minds (2004) are part of a growing area of interdisciplinary work on the relationship between art and consciousness.1 This body of work asks not just how our theories of consciousness inform our understanding of the process and function of [End Page 615] reading fiction, but also whether fiction itself might provide a key to new theories about the nature of consciousness.The nineteenth-century novel is often considered the high point in the literary representation of mind. Indeed, the terms "psychology" and "novel" are explicitly yoked in the nineteenth-century with the simultaneous emergence of both as discrete forms of intellectual and artistic activity. Not surprisingly, George Eliot has come to be identified with the term "psychological novel": in fact, Nicholas Dames argues that she was the first to couple the words psychology and novel in this way in an 1855 review where she contrasted Charles Kingsley's historical romance Westward Ho! with "those 'psychological' novels."2 While George Eliot initially used the phrase in what Dames calls "mock disdain," by the end of the nineteenth century the term "psychological novel" had gained currency as a straightforward description of a type of Victorian novel: Wilbur Cross, in his summary The Development of the English Novel, for example, describes the form as "stressing an inner sequence of thought and feeling, which is brought into harmony with an ethical formula and accounted for in an analysis of motive." Along with Elizabeth Gaskell and George Meredith, Cross also cites George Eliot as one of his central examples of the "psychological novel."3It seems natural, then, when a critic asks, "what is the special distinguishing function of the modern art of fiction?" to turn for an answer to George Eliot's novels and their close connections with psychological science. It is perhaps surprising that this still-current question was posed by the nineteenth-century psychologist James Sully (1842–1923) in an 1881 article in the journal Mind on "George Eliot's Art."4 His essay offers us a Victorian contribution to questions about the relationship of literature and psychology that are being addressed today by critics such as Sally Shuttle-worth, Athena Vrettos, Kay Young, Nicholas Dames, or Rick Rylance, especially [End Page 616] with respect to George Eliot. James Sully's essay not only provides valuable insight into how the Victorians themselves understood the role of psychology in the novel, but also helps to place contemporary debates about fiction and consciousness into sharper relief.In the wake of important studies, such as Rylance's Victorian Psychology and British Culture (2000), that have brought renewed attention to nineteenth-century British psychology, recent scholarship has shown the central role of Victorian debates about the mind in shaping the fiction of the period.5 Nineteenth-century mental science provided material and inspiration for works of literature, with imaginative writers eager to exploit and develop the narrative and thematic potential of contemporary psychological discourse and probe the problems it raised. Novelists such as Wilkie Collins, George Eliot, and Henry James turned to some of the most current work in the science of the mind, which they saw as the most sophisticated and credible approach to psychological realism available. These and other novelists rapidly absorbed the central terms of the new science as it considered problems of consciousness, identity, and memory, and brought them to life by dramatizing and questioning them in their fiction. James Sully's interest in George Eliot reflects this fruitful mid- to late-nineteenth-century cross-pollination between philosophers, scientists, and novelists who were interested in the nature of consciousness, psychology... (shrink)

Rawdon Wilson's "On Character" raised a great many questions, and I should like to deal with lesser matters before going on to those of more consequence. He has found in my work the Fallacy of Novelistic Presumption. To commit this unnatural act is to assume "that the novel possesses a history that is independent of other modes of fiction and that it may be discussed independently of the history of literature." Let me say at the outset that I am not (...) trying to frame a restrictive definition of the novel. Novels are whatever most critics agree to call novels, and if I speak of "the novel" I can only hope that the phrase will be taken as convenient shorthand rather than an attempt to define an essence. And of course the novel has a history of its own, just as the state of Connecticut has a history even as it remains one of the fifty states, just as literature has a history although it is only one of the arts or institutions of our culture. Mr. Wilson wants a theory of characters that "will necessarily account for - go to the heart of - all instances of character, symbolic, allegorical, naturalistic, whether in the novel, in epic, in romance, in drama, or in lyric." To that I can only reply with E.M. Forster's sentence: "We must exclude someone from our gathering, or we shall be left with nothing." In this essay Martin Price, Thomas E. Donnelley Professor of English at Yale University, responds to Rawdon Wilson's "On Character" which raised objections to Price's "People of the Book: Character in Forster's A Passage to India". (shrink)

This symposium represents the first major foray of the Journal of Bioethical Inquiry into what may well become one of its significant strands of scholarship. The JBI has always encouraged critical and marginal areas of bioethics scholarship and particularly those which make use of contemporary continental philosophy and cultural theory in addition to traditional analytic methods. For that reason this symposium is an expression of a “natural fit” or a “match made in heaven” (or at least the Platonic version of (...) that idea). The authors span times and sites in history and culture, from ancient Greece to present day Brisbane. They draw on a variety of literary genres and figures, ranging from Greek tragedy to an epic Chinese novel; from Jane Austen to William Styron, a major American novelist and essayist; from the modern English science fiction of Kazuo Ishiguro, a Japanese expatriate in London, to the 20th-century English poetry of Philip Larkin. The symposium also engages with some recur. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Grand Manner Aesthetics in LandscapeFrom Canvas to CelluloidEmily E. Auger (bio)Popular films about the environment and related human and material resource issues, particularly colonialism, tend to enhance the appeal of their subject matter by aesthetically transforming it according to audience preferences and tastes. Such mediating strategies are perhaps too familiar to contemporary artists of all types who would prefer to work beyond the limits of what their readers or (...) viewers are prepared to tolerate as entertainment, but the particular emphases and accommodations made by film artists to convey messages about the environment are little changed from those strategies used by painters over the past three centuries to a similar end. The methods by which environmental issues are aestheticized in late-twentieth-century film is directly and historically related to those established for grand manner painters by Nicholas Poussin (1594-1665) and taught at the French academy from the seventeenth through the nineteenth centuries. That these fundamentals were part of the training of artists who would be willing and able to enhance the glory of Louis XIV's absolutist monarchy seems not to have undermined the popular enthusiasm their association with the "classical" past generated outside of France. Thus, the grand manner ideal was repeated, elaborated, and adapted by subsequent British and American artists, teachers, and aestheticians, both amateur and professional, including Joshua Reynolds (1723-92), president of the British academy; theoretician Edmund Burke (1729-97); and such American painters as Benjamin West (1738-1820), Thomas Cole (1801-48), Frederic Church (1826-1900), and Albert Bierstadt (1830-1902).Examples of filmic adaptations of grand manner aesthetics considered here include English director John Boorman's The Emerald Forest (1985) and Anglo-French director Roland Joffé's The Mission (1986), both British productions; Kevin Costner's Dances with Wolves (1990) and John McTiernan's [End Page 96] Medicine Man (1992), both American productions with American directors; and Australian director Bruce Beresford's Black Robe (1991), a Canadian/Australian production based on Irish-born, Canadian novelist Brian Moore's best-selling novel of the same title (1985). While it might be argued that these films merely show the adaptation of academy-based grand manner ideals and principles to new imperialist interests, this article demonstrates how they educate and draw public sympathy to global environmental concerns, albeit with reference to a recognizably Western aesthetic tradition. Thus, the interest of this study to educators and students of the visual arts is twofold: first, it demonstrates the continued adaptation and application of aesthetic principles originally developed in the seventeenth century to a technology-based medium; and second, it shows how those aesthetic principles are currently applied in film to direct and modulate public opinion on matters well beyond the domain of pure or theoretical aesthetics.The grand manner aesthetic, first defined with reference to seventeenth-century painting and still apparent in twentieth-century film, is largely attributable to Poussin since he was an artist who wrote—and wrote well—about his understanding of artistic quality and priorities. He was deeply committed to classicism; he thought the elements of a painting should be idealized rather than realistic and particularized, that those elements should be clearly delineated in a linear manner, that exotic subjects and excessive color should be avoided as both appeal too much to the senses and not enough to the mind, and that figures should always predominate over landscape. Poussin's ideals became the model for students training at the French Academy, an institution officially formed in 1648 under the direct control of the government. Aspiring academicians were exhorted to produce images that were usually composites of the better, and sometimes imagined, aspects of the appearance, character, and deeds of the fictional and historical people, events, and locations that were their subjects. They were never allowed to forgot the hierarchy of value that placed genre painting forever below history painting, yet it cannot have escaped their notice that a certain number of well-executed examples of the lowly still life, domestic interior, and picturesque landscape on the exhibition walls made the "grandness" of more ambitious works more apparent by contrast.The French Academy soon became the envy of foreign upper-level bureaucrats cognizant... (shrink)

On December 31, 1877, the English novelist George Eliot made her last entry in the notebook in which she had kept her diary for the past 16 years. She was a few weeks past her 58th birthday; one year past the triumphant publication of Daniel Deronda, her last major work of fiction; and three years away from her death, from kidney disease, in December 1880. As she was accustomed to do, Eliot used the last day of the year to (...) look reflectively in her diary at the big picture of her life as a whole: I have often been helped by looking back in [this book] to compare former with actual states of despondency from bad health or other apparent cause. In this way a past despondency has turned to a present hopefulness. But... (shrink)

Now remembered primarily as Franz Kafta's friend and literary executor, Max Brod was an accomplishered thinker and writer in his own right. In this volume, he considers the nature and differences between Judaism and Christianity, addressing some of the most perplexing questions at the heart of human existence. “One of the most famous and widely discussed books of the 1920’s, Max Brod’s Paganism—Christianity—Judaism, has at last found its way into English translation to confront a new generation of readers. Max (...) Brod is best remembered today as the literary editor and friend of Franz Kafka. In his day, however, he was the more famous of the two by far. A major novelist, playwright, poet, essayist, and composer, he was also, as this book demonstrates, a serious thinker on the perennial questions that are at the heart of human existence. . . .Some of his judgments are open to question. Still, with all its limitations, this is a forthright and passionate proclamation of the uniqueness of Judaism. Paganism—Christianity—Judaism was an intellectual and spiritual event when it was first published and it remains a valuable document even now.” —Rabbi Jack Riemer, Hadassah. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:172 HISTORY OF PHILOSOPHY us," Saint-Simon wrote in 1814. Matching the development of mind of their eighteenthcentury rationalist compatriots with the development of love and action, the Saint-Simonians, Fourier and Comte saw hardly any stop to the inevitability and infinitude of progress and perfectibility. The prospect of the twentieth century, however, shows an "uneasy consensus." Manuel is not concerned to swell the flood of philosophical history but to bear (...) witness to it, and it is as a witness that he reports that man's "urge to place himself in a total time sequence" is undiminished, if anything it continues to grow and magnify. The search for a total meaning of historical existence is an apparently irrepressible drive. In this concluding chapter Manuel shows how the threads of the previously expressed ideas, particularly from French and German sources, are tied and knotted in the more familiar figures, Spengler, Sorokin, Toynbee, and a group of Christian writers and philosophers of history (de Chardin, Niebuhr, Dawson, Tillich, Pope Plus XII, and Pope John XXIII) illustrating and instantiating the vitality and longevity of the archetypal conceptions he began with. The great divide between theorists persists pretty much in the present as it did in older times. There are the progressists among whom are distinguished those still loyal to the French concept of perfectibility, a new school of philosophical life scientists writing cosmic history, and contemporary Marxists. Manuel classes the Christian theologians of history in a special category, which, although progressist in a sense, like Augustine denigrate earthly progress and restrict themselves to spiritual advance. Then there are the non- or anti-progressists, circular theorists, among whom Spengler, Sorokin, and "Toynbee I" are to be found. Having done duty for the Greeks and Romans, the Italians, French and Germans (surprisingly omitting the figure of Schopenhauer in his account) it would be a further service to have Professor Manuel's reading of English and Scottish involvement in philosophies of history of the sort he defines as "pictures of the total meaning of historical existence... (which have) included predictions of things to come as well as a reduction of the whole of the past to an order," for despite their professed empiricism it will not be denied that in figures like Hobbes, Locke, and Hume, as in some of the lesser figures of the English and Scottish Enlightenment (he mentions the "imitative works" of Price, Priestly, Spencer and Buckle), philosophies of history of the sort defined are implicit where they are not explicit and outspoken. Perhaps one day Professor Manuel will turn his illuminating searchlight to this area. While conceding Manuel's point that philosophies of history of the more distinctly speculative type have grown and even multiplied over the recent past, it should be added (what is common knowledge) that many equally responsible philosophers have tried both to discourage this growth and at the same time to make a contribution to the discipline through a more analytic approach. So far has this movement gone, indeed, that it would appear that the tide of speculative philosophies of history has ebbed greatly, and that "theories" of history are now pretty much restricted to poets, novelists, dramatists and their brethren in some of the social sciences, particularly psychology and sociology, especially in the Englishspeaking world. Whether the "analysts" are making a substantial contribution to our knowledge of historical processes (as distinguished from the language and logic of historical discourse) is still somewhat moot, but there is little doubt that the analysts are rapidly displacing the synthesists in philosophy of history. STANLEYM. DAUGERT Western Washington State College Universals: A New Look at an Old Problem. By Farhang Zabeeh. (The Hague: Martinus Nijhoff, 1966. Pp. vi -t- 68. $3.15.) In this short analysis of a perennial philosophical problem, Professor Zabeeh has taken upon himself the rather ambitious task of attempting to trace the development of the various attempts to explain the function, meaning, and ontological status of universals from Socrates BOOK REVIEWS 173 (or Plato) to Wittgenstein and Austin. In doing so, he has neglected (pace a few random references) the most fertile field for the analysis of universals, the medieval writers. To some extent, Professor Zabeeh does... (shrink)

“Writers don’t have tasks,” said Saul Bellow in a Q-and-A. “They have inspiration.”Yes, at the typewriter, by the grace of discipline and the Muse, but here, on Central Park South, in the Essex House’s bright Casino on the Park, inspiration was not running high.Not that attendance at the forty-eight PEN conference was a task. It was rather what Robertson Davies called “collegiality.” “A week of it once every five years,” he said, “should be enough.” He, Davies, had checked in early, (...) Saturday afternoon, and attended every session. In black overcoat and black fur cap, he had a theatrical, Man-Who-Came-to-Dinner look. In the lobby he made a great impression.Why not? After all, weren’t writers here to be seen as well as to see each other, to make as well as take impressions? A month before, I’d spent a couple of hours at the Modern Language Association convention. There were thousands and thousands of scholars and critics there. Some of the most noted make a career of squeezing authors out of their texts. An author, wrote one tutelary divinity, “constitutes the privileged moment of individualization in the history of ideas, knowledge, [and] literature….”1 Not content with auctoricide, deconstructionist critics went after texts. “Il n’y a pas de hors-texte.”2 Since there’s nothing that doesn’t belong to the text, texts are interchangeable. And it’s not that superfluous, mythical being, the author, who decides they are, but his readers, at least those readers capable of erecting on his miserable pedestal—the poem, the story, the novel—a memorable explication.Ah well, was my thought, for some people a corpse will serve as well as a person. Indeed, for intellectual undertakers, hit-men, and cannibals, as well as for those who suffer the tyranny of authority, corpses are preferable to their living simulacra.Few authors at the PEN conference were troubled by these critical corpse-makers. They were here to see the authors behind the books they’d read, to swap stories and opinions, and to make clear to each other what splendid thinkers and noble humans they were outside of the poems and stories which had brought them here in the middle of winter and New York. In this city, more than any other in the history of the word, the word had been turned into gold. If one were going to abandon the typewriter for the podium, what better place to do it? In 1985, Richard Stern was given the Medal of Merit, awarded every six years to a novelist by the American Academy and Institute of Arts and Letters. He is the author of, among other works, the novels A Father’s Words , Other Men’s Daughters , and Stitch . His third “orderly miscellany,” The Position of the Body, will be published in September 1986. This essay is part of a longer work. Stern is professor of English at the University of Chicago. (shrink)

For the last two centuries the novel has been the predominant literary genre; but the generic identity of the novel is far from established. Attempts to define the novel have focussed on formal features of particular types of texts, with the result that definitions of “the” novel have merely canonized one or another of the innumerable novelistic manifestations—Bildungsroman, eighteenth-century English novels, novels of the kind George Eliot or Henry James or Marcel Proust or Feodor Dostoevsky wrote, etc. By basing (...) themselves upon such formal attributes, such definitions exclude a vast number of potential texts on essentially normative grounds. Further, the history of the novel has outgrown and contradicted those conceptions; no sooner than a theory has been formulated, the novel itself has moved forward, adapting to changing conditions and substituting for those formal properties a set of new ones, thus rendering the theories obsolete and revealing the inadequacy of formalist categories to define the genre. This predicament is certainly not unique to the theory of the novel but rather a necessary concomitant of any theoretical project; what makes any attempt to theorize about the novel particularly vulnerable is the genre's resistence to formalist analysis, its lack of precisely those organizing categories upon which a formalist theory of any genre can be built. (shrink)