The paper examines the very different insights of theorists into the interpretation of historical meaning of literary reception and Anglo-American theorists of the "new" history of political thought . Among the former, readers create meaning; among the latter, authorial intended meanings are fundamental. Both perspectives are valuable, but one-sided. The differences between them arise from different perspectives on the character of a text. But those perspectives are not as incompatible as has been supposed, especially by reception theorists. By (...) examining the incoherences of literary reception theory when viewed from the perspective of the intentionalists, and by examining the one-sidedness of intentionalist theory in the light of a modified version of the reception perspective, it is shown that an understanding of historical meaning requires both insights. The argument is illustrated by reference to the history of political thought, a history which might more usefully be conceived as the history of political literature. (shrink)

_ Source: _Volume 26, Issue 1, pp 67 - 93 The talmudic sages granted the legal status of _sefer_ to five texts: the Torah, _tefillin_, the _get_, the _mezuzah_, and the Scroll of Esther. These texts share two features: they have a ritualistic format and use, and they are the only sacred texts that demonstrate _mise en abyme_—the trait of literary self-containing. These two traits turn the rabbinic book into a radical case of “open work”: the _sefer_ consists of both (...) textual signs and the actual body of an empirical reader; its pragmatic level is not bracketed out in favor of the semiotic one. I argue that Deleuze’s reception theory best accounts for the _sefer_. (shrink)

Drawing on his investigation of over one hundred mid-Victorian British newspapers and periodicals, Alvar Ellegård describes and analyzes the impact of Darwin's theory of evolution during the first dozen years after the publication of the Origin of Species . Although Darwin's book caused an immediate stir in literary and scientific periodicals, the popular press largely ignored it. Only after the work's implications for theology and the nature of man became evident did general publications feel compelled to react; each social (...) group responded according to his own political and religious prejudices. Ellegård charts the impact of this revolution in science, maintaining that although the idea of evolution was generally accepted, Darwin's primary contribution, the theory of natural selection, was either ignored or rejected among the public. (shrink)

This essay explores the reception and used of Suárez’s philosophy by two canonical early modern philosophers, René Descartes and Gottfried Leibniz. It is argued that Descartes’ theory of distinctions does not betray any indications of being Suárezian, despite many claims to the contrary. Leibniz, however, was a very different reader of Suárez’s works, it is argued, and his thinking about individuation was clearly influenced by Suárez even if he did not adopt the Suárezian position in the end.

Evaluation of the influence of Hayden White on the theory of history is made difficult by his preference for the essay form, valued for its experimental character, and by the need to find comparable data. A quantitative study of citations of his work in English and foreign-language journals, 1973–1993, reveals that although historians were prominent among early readers of Metahistory, few historical journals reviewed White's two subsequent collections of essays and few historians-except in Germany-cited them. Those historians who did (...) tended still to cite Metahistory and often the parts of it devoted specifically to nineteenth-century historians.Literary critics, on the other hand, were relatively late to discover White, but during the "narrative turn" of the 1970s and 1980s his work was important for students of the novel and the theater. Recognition of it was especially marked in Spanish-speaking countries and in Germany.As a result, salient themes of White's later work-the ideological and political import of narrativization, the "historical sublime," and writing in the "middle voice"-have largely gone unremarked by historians and philosophers. Both these groups have tended to be irritated by White's bracketing of questions of historical epistemology; some have accused him of effacing the line between fiction and history, while White's numerous literary readers have generally applauded his tendencies in this direction. White however has consistently maintained that there is a difference, although not the one conventionally postulated. His exploration of writing in the "middle voice" brings his work full circle, in that it promises a "modernist" realism appropriate for representing the "sublime" events of our century. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Fictions of Discourse: Reading Narrative TheoryCarol S. GouldFictions of Discourse: Reading Narrative Theory, by Patrick O’Neill; x & 188 pp. Toronto: University of Toronto Press, 1994, $35.00 paper.Patrick O’Neill serves up a rich stew of narratology, reader-reception theory, and a postmodern theory of truth. Many narratologists have taken the postmodern turn, while others have pursued a reception-theory route. Either path requires (...) careful navigation, and the combined one even more so. Classical narratology focuses on the textual structure with its network of various narratological relations. Reader-reception theory assigns to the reader a leading role in the creation of the text. O’Neill in various ways challenges or at least reformulates the notions of both text and reader, endorsing as he does a postmodern theory of truth which he terms the “Zeno Principle.” This principle is that “narrative discourse is always potentially subversive of the story it would seem to reconstruct” (p. 7). The Zeno Principle is a version of what he understands to be the Heisenberg Principle, namely that “discourse (including theoretical discourse) at least potentially subverts the story it sets out to narrate, and ultimately itself also” (p. 9). O’Neill contends that his narratological project will support the Zeno Principle. If successful, though, his endeavor will of course meet the usual self-destructive fate of such theories. But its self-annihilation seems not to discourage O’Neill, who finds all theories essentially “ludic.” O’Neill’s undertaking is ambitious; I shall focus on just a few of his moves.First of all, it is no surprise to hear that postmodernism is not new nor even that it has a classical pedigree. But it will probably astound—not to say sadden—the reader to see O’Neill locate its origins in the paradoxes of Zeno—the fifth-century Eleatic, the logician so well known for defending the epistemic primacy of reason, one of the uncontested intellectual progenitors of Plato, who remains the explicit target of Derridean fire. This is not simply a persnickety objection to O’Neill’s terminology, but a reflection on the broad implications he draws from his narratological investigations.Plato, working in the Eleatic (Zenoian) tradition, draws our attention to the perspectival nature of literature and would extend this to all empirical discourse. Any empirical narrative—history, biography, or literature—is in principle illusory because merely perspectival. Plato, true intellectual heir of Zeno, anticipates the narratological enterprise in this respect, while demonstrating [End Page 532] the exclusive epistemic integrity of logical thought. One finds this of course in his Republic, but nowhere are his narratological sympathies more evident than in the Symposium, with its many tiers of narration. He prefigures, then, the modern insight that all narrative is, in Wayne Booth’s terms, rhetoric and in narratological terms, focalized.If we grant with Zeno, Plato, and other friends of rationality that empirical discourse is perspectival or focalized, we can see that narrative must place us in some hypothetical vantage point: from another standpoint, the world looks different and assumes new contours and mood. Once we acknowledge that no one point of view is more privileged than another, our perceptions seem less stable. Lolita, for example, told from the viewpoint of the nymphet herself, would be a different story. Moreover, any narrative must be mediated by narrative perspective, and as O’Neill indicates, the narrative vantage point may not be that of the narrator or implied author. As he puts it, “Voice and vision... [may] derive from separate points of origin” (p. 84).In a sense, then, all empirical discourse is subversive. But does it follow that all theoretical discourse is therefore subversive? O’Neill scrutinizes fictional discourse, and helpfully so for us. But the perspectival nature of literary or empirical narrative hardly suffices to cast doubt on the notion of truth per se. The real Zeno Principle is the Platonic one that however arbitrarily empirical perspective might shift, rational intuition does not. If one wants to challenge that view, one must defend the Protagoras Principle, the true classical articulation of postmodernism. Aristotle, after all, wrestles with this in his Metaphysics rather than in his Poetics.O’Neill... (shrink)

ABSTRACTThe purpose of this article is an attempt to understand the concept of ‘confession’ as a literary genre in the works of Spanish philosopher María Zambrano. Firstly, we will try to understand confession within Zambrano's most relevant philosophical concepts, in particular her study La confesión: género literario y método [Confession. Literary Genre and Method]. Secondly, we will offer reinterpretation to confession in dialogue with theories of Reception by Wolfgang Iser and Hans Robert Jauss, and other authors like St. Agustin, (...) Rosa Chacel, Mikhail Bakhtin, Miguel de Unamuno and Michel Foucault. Finally we will highlight the performative aspect of confession as something that is truly relevant to Zambrano’s theory. Zambrano understands confession as a method that can bring people's experiences closer to knowledge, and therefore a method that can change life. In this context, we propose that the reader of confession plays a fundamental role in understanding Zambrano’s conception. (shrink)

Few pedagogical theories and practices have met with such strongreactive ambivalence in Germany as Dewey's. As it contained theideas of democracy and pragmatism it clashed with the monarchial andidealistic patterns of school-practice and pedagogic theory right fromthe beginning. On the other hand, reformists of all kinds wereoverwhelmed with enthusiasm. But even in the democratic phases of political development this ambivalence continued. The traditionof setting metaphysical and religious backgrounds stood in the way of a free examination of Dewey. Therefore, the (...) reception has, upuntil now, been signed by mistakes and misinterpretations, but also by a minority of fruitful debates. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Montaigne Among the Moderns: Receptions of the “Essais”Patrick HenryMontaigne Among the Moderns: Receptions of the “Essais,” by Dudley M. Marchi; xiii & 334 pp. Providence, Rhode Island: Berghahn Books, 1994, $49.95.This ambitious project is not a study of the Essais per se, but rather an analysis of their receptions from the seventeenth century to the present. Written by a comparativist with access to German, French, and English literature (...) and philosophy, it deals with authors from diverse backgrounds and time periods and pays careful attention throughout both to intertextuality and to the particular “horizons-of-experience” in which the Essais were received. “Reception” here does not mean some un-Mont aigne-like passive acceptance, but rather the assimilation and reactivation of the essayist’s concept of literature, writerly project, and theories of reading and writing in the works of later writers, mainly “premodernists” (Emerson and Nietzsche), “high modernists” (Pater and Woolf), and “postmodernists” (Butor, Chaillou, Sollers). In the most general sense, what Montaigne shares with all these authors is the need to make central in the form and substance of his work the paradox of a rupture with the pa st and its simultaneous continuation. Here modernism is less a period concept than a recurring literary phenomenon whereby the essayist not only influences the moderns and the postmoderns but is one of them. This enables us, finally, to perceive in the Essais a dialogical process that resists closure and reenacts the literary and philosophical debates of our own historical situation.Chapter One schematizes the history of the receptions of the Essais in France from 1580 to 1950 focusing mainly on the stylistic and religious readings of major figures in French literature. While much of this has already been done, Marchi syn thesizes well, makes his own original points, and offers us exceedingly interesting pages on the essayist’s covenant daughter and most active literary executrix, Marie le Jars de Gournay. Throughout he depicts how the shifting nature of the Essais’ textuality (their “hermeneutic undecidability” [p. 74]) allows them to assume various identities in the minds of different interpreters through the ages, thus problematizing the very act of reception and granting the reader a role in the production of me aning.The next chapters constitute the most original parts of the study and analyze the reception of the Essais in the works of Emerson, Nietzsche, Pater, Woolf, Butor, Chaillou, and Sollers. In Emerson and Nietzsche, we find reactivated the Montaig nean dialogue between the unique self and cultural tradition. Emerson read the Essais in the Cotton translation and wrote about Montaigne in Representative Men but only relied on the essayist to help him reach his own intellectual independen ce, finally moving from a more ego-centered position to the security of past models and rejecting skepticism in favor of dialectical resolution. Nietzsche read Montaigne in the original and knew him through Emerson. Marchi finds “an active inter textual Montaignean dimension” (p. 124) [End Page 140] in Nietzsche’s work and underscores their mutual preoccupation with radical skepticism, self-cultivation, self-portraiture, mutability, the instability of language, and the crisis of representa tion. He discovers two sides to Nietzsche’s reception of the Essais: the Apollonian “Socrantic optimism” and the Dionysian “libertine transgression” (p. 165) and indicates how the essayist’s concreteness and acceptance of human limitations tempered respectively Nietzsche’s propensity toward abstract metaphysics and Schopenhaurean pessimism.The third chapter unveils the aesthetic and thematic elements of the Essais in the critical and creative works of Pater and Woolf who went beyond the philosophical essaying of Emerson and Nietzsche, were the first to extend aspects of the E ssais in narrative works since Marie de Gournay, and created Montaigne the modernist “by insisting on the qualities of his textuality most akin to their own” (p. 186). The most interesting pages here delineate, on the one hand, Pater’s failed attempt to reconcile the religion of Pascal and the aesthetics of Montaigne and the essayist’s presence in Pater’s Gaston de Latour and, on the other, Woolf’s Montaigne-like essayistic techniques of weighing probabilities, suspending dogmatic judgment, and breaking of narrative sequentiality and her concomitant assimilation... (shrink)

Few pedagogical theories and practices have met with such strong reactive ambivalence in Germany as Dewey’s. As it contained the ideas of democracy and pragmatism it clashed with the monarchial and idealistic patterns of school-practice and pedagogic theory right from the beginning. On the other hand, reformists of all kinds were overwhelmed with enthusiasm. But even in the democratic phases of political development this ambivalence continued. The tradition of setting metaphysical and religious backgrounds stood in the way of a (...) free examination of Dewey. Therefore, the reception has, up until now, been signed by mistakes and misinterpretations, but also by a minority of fruitful debates. (shrink)

_The Legacy of Herbert Marcuse: A Critical Reader_ is a collection of brand new papers by seventeen Marcuse scholars, which provides a comprehensive reassessment of the relevance of Marcuse's critical theory at the beginning of the 21st century. Although best known for his reputation in critical theory, Herbert Marcuse's work has had impact on areas as diverse as politics, technology, aesthetics, psychoanalysis and ecology. This collection addresses the contemporary relevance of Marcuse's work in this broad variety of fields (...) and from an international perspective. In Part One, veteran scholars of Marcuse and the Frankfurt school examine the legacy of various specific areas of Marcuse's thought, including the quest for radical subjectivity, the maternal ethic and the negative dialectics of imagination. Part Two focuses on a very new trend in Marcuse scholarship: the link between Marcuse's ideas and environmental thought. The third part of this collection is dedicated to the work of younger Marcuse scholars, with the aim of documenting Marcuse's reception among the next generation of critical theorists. The final section of the book contains recollections on Marcuse's person rather than his critical theory, including an informative look back over his life by his son, Peter. (shrink)

_The Legacy of Herbert Marcuse: A Critical Reader_ is a collection of brand new papers by seventeen Marcuse scholars, which provides a comprehensive reassessment of the relevance of Marcuse's critical theory at the beginning of the 21st century. Although best known for his reputation in critical theory, Herbert Marcuse's work has had impact on areas as diverse as politics, technology, aesthetics, psychoanalysis and ecology. This collection addresses the contemporary relevance of Marcuse's work in this broad variety of fields (...) and from an international perspective. In Part One, veteran scholars of Marcuse and the Frankfurt school examine the legacy of various specific areas of Marcuse's thought, including the quest for radical subjectivity, the maternal ethic and the negative dialectics of imagination. Part Two focuses on a very new trend in Marcuse scholarship: the link between Marcuse's ideas and environmental thought. The third part of this collection is dedicated to the work of younger Marcuse scholars, with the aim of documenting Marcuse's reception among the next generation of critical theorists. The final section of the book contains recollections on Marcuse's person rather than his critical theory, including an informative look back over his life by his son, Peter. (shrink)

_The Legacy of Herbert Marcuse: A Critical Reader_ is a collection of brand new papers by seventeen Marcuse scholars, which provides a comprehensive reassessment of the relevance of Marcuse's critical theory at the beginning of the 21st century. Although best known for his reputation in critical theory, Herbert Marcuse's work has had impact on areas as diverse as politics, technology, aesthetics, psychoanalysis and ecology. This collection addresses the contemporary relevance of Marcuse's work in this broad variety of fields (...) and from an international perspective. In Part One, veteran scholars of Marcuse and the Frankfurt school examine the legacy of various specific areas of Marcuse's thought, including the quest for radical subjectivity, the maternal ethic and the negative dialectics of imagination. Part Two focuses on a very new trend in Marcuse scholarship: the link between Marcuse's ideas and environmental thought. The third part of this collection is dedicated to the work of younger Marcuse scholars, with the aim of documenting Marcuse's reception among the next generation of critical theorists. The final section of the book contains recollections on Marcuse's person rather than his critical theory, including an informative look back over his life by his son, Peter. (shrink)

In this article, we re-examine the oft-assumed link between theories of modernity and the “death of fortune”. It is often argued that recourse to “fortune” as a legitimate cause of events had declined substantially by the end of the seventeenth century, replaced by aetiologies based on the calculation of probabilities inspired by the techniques of the new science. Focusing on the reception of the Greek historian of the Hellenistic period, Polybius, in whose Histories tyche appears in a notorious variety (...) of roles, we argue that fortune was subtly replaced, but not as drastically as assumed, as a cause of events by a number of influential figures in the development of modern historiography, in particular, Bossuet (1627–1704) and Hegel (1770–1831). We argue that, far from seeing a “death of fortune” in the works of these authors, the reader is met with a radical transformation of this ancient rhetorical and ethical trope, albeit subordinated to particular theological and philosophical preoccupations. (shrink)

Theodor Adorno's Aesthetic Theory is a vast labyrinth that anyone interested in modern aesthetic theory must at some time enter. Because of his immense difficulty of the same order as Derrida - Adorno's reception has been slowed by the lack of a comprehensive and comprehensible account of the intentions of his aesthetics. This is the first book to put Aesthetic Theory into context and outline the main ideas and relevant debates, offering readers a valuable guide through (...) this huge, difficult, but revelatory work. Its extended argument is that, despite Adorno's assumptions of autonomism, cognitivism, and aesthetic modernism, his idea of artistic truth content offers crucial insights for contemporary philosophical aesthetics.The eleven chapters are divided into three parts: Context, Content, and Critique. The first part offers a brief biography, describes Adorno's debates with Benjamin, Brecht, and Lukács, and outlines his philosophical program. The second part is an interpretation of Adorno's aesthetics, examining how he situates art in society, production, politics, and history and uncovering the social, political, and historical dimensions of his idea of artistic truth. The third part evaluates Adorno's contribution by confronting it with the critiques of Peter Bürger, Frederic Jameson, and Albrecht Wellmer.Lambert Zuidervaart is Professor of Philosophy at Calvin College. (shrink)

In Between Facts and Norms, Jürgen Habermas works out the legal and political implications of his Theory of Communicative Action (1981), bringing to fruition the project announced with his publication of The Structural Transformation of the Public Sphere in 1962. This new work is a major contribution to recent debates on the rule of law and the possibilities of democracy in postindustrial societies, but it is much more. The introduction by William Rehg succinctly captures the special nature of the (...) work, noting that it offers a sweeping, sociologically informed conceptualization of law and basic rights, a normative account of the rule of law and the constitutional state, an attempt to bridge normative and empirical approaches to democracy, and an account of the social context required for democracy. Finally, the work frames and caps these arguments with a bold proposal for a new paradigm of law that goes beyond the dichotomies that have afflicted modern political theory from its inception and that still underlie current controversies between so-called liberals and civic republicans. The book includes a postscript written in 1994, which restates the argument in light of its initial reception, and two appendixes, which cover key developments that preceded the book. Habermas himself was actively involved in the translation, adapting the text as necessary to make it more accessible to English-speaking readers. (shrink)

In Between Facts and Norms Jürgen Habermas works out the legal and political implications of his Theory of Communicative Action, bringing to fruition the project announced with his publication of The Structural Transformation of the Public Sphere in 1962. This new work is a major contribution to recent debates on the rule of law and the possibilities of democracy in postindustrial societies, but it is much more.The introduction by William Rehg succinctly captures the special nature of the work, noting (...) that it offers a sweeping, sociologically informed conceptualization of law and basic rights, a normative account of the rule of law and the constitutional state, an attempt to bridge normative and empirical approaches to democracy, and an account of the social context required for democracy. Finally, the work frames and caps these arguments with a bold proposal for a new paradigm of law that goes beyond the dichotomies that have afflicted modern political theory from its inception and that still underlie current controversies between so- called liberals and civic republicans.The book includes a postscript written in 1994, which restates the argument in light of its initial reception, and two appendixes, which cover key developments that preceded the book.Habermas himself was actively involved in the translation, adapting the text as necessary to make it more accessible to English-speaking readers. (shrink)

Everything we know about what goes on in the world comes to us through reports, information transmitted through human communication. We rely on reports, which can take any number of forms, to convey useful information, and we derive knowledge from that information. It's no surprise, then, that reporting has many philosophical dimensions. Because it plays such a major role in knowledge management, as Nicholas Rescher argues, the epistemology of reporting not only deserves our attention but also sheds important light on (...) how we understand the theory of knowledge. This book offers a clear, accessible introduction to the theory of reporting, with a special emphasis on national security, particularly military and diplomatic reporting, drawing on examples from historical accounts of espionage and statecraft from the Second World War. Rescher explores the various issues and problems related to the production and reception of reports - including reporter expertise and trustworthiness, transmission modalities, confidentiality, cognitive importance, and the interpretation, evaluation, and utilization of reports - providing readers with a distinctive and well organized philosophical clarification of some central features of the theory of reporting. (shrink)

This article examines the relationship between utopian production and reception via a reading of the work of the great utopian author and theorist William Morris. This relationship has invariably been defined by an inequality: utopian producers have claimed unlimited freedom in their attempts to imagine new worlds, while utopian recipients have been asked to adopt such visions as their own without question. Morris’s work suggests two possible responses to this inequality. One response, associated with theorist Miguel Abensour, is to (...) liberate reception, with Morris’s utopianism containing an invitation to readers to reformulate the vision proffered. However, this response, despite its dominance in contemporary utopian theory, not only misreads Morris but also undermines the political efficacy of utopianism. Consequently, I suggest that Morris responds to the problem of utopian inequality by constraining production, proposing a historical control on utopianising; new utopias are directed by an archive of visions articulated in past struggles. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Recuperation of the Theory-Death of the Avant-GardeRobert Radin (bio)Paul Mann. The Theory-Death of the Avant-Garde. Bloomington: Indiana UP, 1991.It is difficult to respond to an essay that so thoroughly lays bare (and thereby challenges) what it is we do when we respond to another writer’s writing. I find it hard to begin, caught somewhere in that terminal state between speech and silence, that moment Beckett captures (...) at the end of the The Unnamable: “I can’t go on, I’ll go on.” Should I follow every word I write with “[sic],” at once quote myself and distance myself from what I have just written, indicate that I am aware of what it is I’m doing even as I’m doing it? I’ll go on.The fact that Paul Mann’s The Theory-Death of the Avant-Garde has received relatively little critical response since its publication in 1991 may in fact be a measure of its success. Nevertheless, this lack of response seems worthy of attention, given that Mann devotes so much of his essay to making the point that art’s (and theory’s) raison d’être is to generate further discourse, to keep the discursive economy going, however resistant to dominant culture that art or theory may appear to be.After repeatedly, painstakingly pointing out the status of his own essay in the discursive economy he describes—the discourse of the avant-garde—Mann anticipates the likely response to his work:It is not difficult to imagine whatever little response this essay is liable to. For the most part dismissals of what will be taken as its nihilism, its cynicism, its defeatism, its adherence to this or that dubious theory, its outmoded obsession with recuperation. But the essay was not written for those who reject an insistence on recuperation only in order to conceal from themselves the extent of their own recuperation.[141]And further on in the same passage: “it [the essay] was also written precisely so that it could be dismissed” [141]. Mann, to varying degrees, has correctly diagnosed the critical reception of his work thus far. When the essay is dismissed in reviews it is because it is seen as both passé and nihilistic. Even in one of the favorable reviews of Mann’s essay the question of nihilism arises. It is this “specter of nihilism” that I want to take up here—after first reviewing some of the more salient features of Mann’s argument—as I think it is a response most readers will have to struggle through (as Mann correctly points out), and it might tell us something about the larger discursive economy of which The Theory-Death of the Avant-Garde is now a part. That Mann’s position is seen as outmoded is less of an issue for me. It may be that his essay was already “old” by the time it was published, [End Page 41] his position already dismissable under the aegis of other names: Baudrillard, Barthes, Derrida. But that his essay is no longer new, that his position has exhausted its discursive currency, only further makes his point: in the discourse of the avant-garde, and in the discursive economy generally, the new supersedes all other values. More important, Mann’s position in particular must exhaust itself quickly if the discursive economy is to continue to thrive.In The Pleasure of the Text Roland Barthes delineates what he calls the “versus myth”:Art seems compromised, historically, socially. Whence the effort on the part of the artist himself to destroy it.... Unfortunately, this destruction is always inadequate; either it occurs outside the art, but thereby becomes impertinent, or else it consents to remain within the practice of the art, but quickly exposes itself to recuperation (the avant-garde is that restive language which is going to be recuperated). The awkwardness of this alternative is the consequence of the fact that destruction of discourse is not a dialectic term but a semantic term: it docilely takes its place within the great semiological “versus” myth (white versus black); whence the destruction of art is doomed to only paradoxical formulae... (shrink)

Journal of Philosophy of Education, EarlyView.

This article explores what might constitute the good-enough reader of Maggie Nelson's The Argonauts. Prompted by Nelson's use of D.W. Winnicott's theory of the good-enough mother whose insufficiencies generate the infant's capacity to tolerate ordinary frustration and move beyond both idealizations and denigrations, I argue that the good-enough reader here would be the one who resists the temptation to idealize both the book and its author. This argument is presented as an attempt to open up some spaces (...) for the discussion of ambivalent responses to this book, beyond the rather deferential fandom that has characterized the psychic life of its reception. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reading History: On Jacob Burckhardt as Source-ReaderJürgen GroßeThere is a gap between the reputation Jacob Burckhardt (1818–97) has enjoyed among the educated public and among professional historians—a discrepancy that has become commonplace in the century-long reception of the Swiss cultural historian’s work. 1 Nevertheless, in the light of recent appraisals of Burckhardt as an ancestor of a different—perhaps a new—cultural history, and with the rediscovery of his contributions (...) to the history of art, aesthetics, and historical anthropology, the gap seems to be ever-narrowing. 2 However, let us keep it open in the following few pages.The chasm between assessments of Burckhardt as an historian-writer and as an historian-researcher appears roughly analogous to his above-mentioned respective reputations among laymen and professional scholars. As a historian Burckhardt did not want to be a scientific researcher. From the time he began writing history he admitted that he felt little commitment to the predominating concept of scientific progress as a continuous accumulation of facts and theories. Thus, as an outsider to the profession he had only one option, which was to [End Page 525] attain a place of honor as an esteemed writer of historical books for the educated public—a “master historian.” Yet it is precisely this characterization of Burckhardt that makes a curious fact appear all the more baffling: the act of writing books made Burckhardt feel thoroughly tormented. Throughout his career, he lamented historical authorship as a thankless occupation—a form of “slavery.” Just four years after finishing Die Cultur der Renaissance in Italien (1860) Burckhardt wrote to his friend Paul Heyse:I now consider my modest literary career as finally closed, and feel much better and content reading sources, as I only study and make notes for teaching and not for possible book-making. The historical market is tremendously overcrowded as things are, and it will be worse if peace lasts. 3Books like Die Zeit Constantins des Großen, Die Cultur der Renaissance in Italien, and Der Cicerone—works that gained the Basler historian fame that has endured to the present day—were either not prepared by the author for further editions or abandoned for colleagues to revise. Thus, Burckhardt seemed to regard himself neither as a researcher nor as a writer but rather as a reader of history. His dislike of research and authorship deserves our attention not only because it stands in sharp contrast to the mores of the scientific community, both in his and our times; for it might also elucidate yet another interesting paradox: Burckhardt, who celebrated the “reading of sources” and “the insights accessible from sources” as no other nineteenth-century historian, was soon to be charged with failing to meet the accepted standards of source-criticism. This essay examines these problems in terms of a series of questions concerning Burckhardt’s reading of history.Why Burckhardt Prefers ReadingBurckhardt clearly abhorred what he called the “history of the events.” Already as a student, he felt himself confronted with a barrage of events, not so much as matters of real history as rather as products of historical science—the ever-increasing facts that historians produced in relation to actual events. Unlike the humanistic and enlightenment paradigms of history, mainstream nineteenth-century scholarship no longer relied on the eyewitness to guarantee authenticity. The focus had shifted from remembrance to reconstruction; events were now narrated in terms of newly conceived abstractions like “development,” “process,” “spirit of an age,” and “spirit of a nation.” This increasing detachment from eyewitnessed experience paved the way for an endless production of information, [End Page 526] which had become an occupation in its own right. Every newcomer to the study of history now encountered a huge mass of mere historical facts, largely devoid of content—“a desperate prospect at the beginning of the study of history,” according to Burckhardt. Furthermore, the dynamism of modern history itself continued to produce more and more “events,” which were then to be reproduced as “facts.” This mire of facts burdened the reader of historiography even more than the student of history. “Even the most well-meaning of contemporary historians,” Burckhardt... (shrink)

Machiavelli's influence on modern politics and the importance of his thought for the development of modern political ideas has long been universally acknowledged. The Prince has become a key text in Philosophy and Political Theory, one that is widely read and studied. Machiavelli's most important work is a hugely exciting, yet challenging, piece of philosophical writing. In Machiavelli's 'The Prince': A Reader's Guide, Miguel Vatter offers a clear and thorough account of this key philosophical work. Setting Machiavelli's text (...) in its historical and philosophical context, the book offers a detailed review of the key themes (epistemological, social, ethical and theological-political) and a lucid commentary that will enable readers to rapidly navigate the text. Geared towards the specific requirements of students who need to reach a sound understanding of the text as a whole, the guide explores the complex and important ideas inherent in the text and provides a cogent survey of the reception and influence of Machiavelli's work. This is the ideal companion to study this most influential of texts. (shrink)

French social and philosophical thought has played a very significant role in the development of European and American social theory. This detailed, timely book provides a map of the production and reception of French social thought within a global sociological context. Critically comparing the work of five key theorists Derek Robbins examines how their ideas were produced and received before persuasively setting out the key differences between their philosophical and ideological positions. The book sensitively traces the cross-currents of (...) social theory and confidently leads the reader through the complex foundations of Western social thought. Each chapter represents a textual analysis of the production of a critical intellectual and focuses upon the work of: Althusser, Foucault, Aron, Lyotard, Bourdieu. This carefully crafted volume represents a significant contribution to the globalization of theory and will be essential reading for anyone interested in Western social theory and the foundations of sociological thought."--Publisher's website. (shrink)

What is archaeology? A research field dealing with monuments? A science? A branch of philosophy? Dzbyński suggests the simple but thoughtful equation: Archaeology = History = Knowledge. This book consists of 8 chapters presenting a collection of characteristic philosophical attitudes important for archaeology. It discusses the historicity of archaeological sources, the source of the algorithmic approach in archaeological reasoning, and the accuracy of logical and irrational thinking. In general, this book is concerned with the history of archaeologists' search for a (...) suitable methodology. All these issues are discussed in relation to two main intellectual trends of archaeology to the present day: processual and post-processual archaeology. Processualism introduced and developed the idea of algorithmic and universal reasoning in archaeology, while post-processualism focused attention on the individual value of a monument and the archaeologist himself. These are still two foundations on which the present knowledge of the past is based, and thus their defining role cannot be overestimated. An additional layer of narrative, visible right from the beginning of the book, is the gradual discovery of the relationship between archaeology and popular culture, especially film and literature. Its aim is both illustration and explanation. It is intended that the reader receives not only information and knowledge, but also a deeper emotional reference which is connected with the reception of works of art. (shrink)

Note on the text of the principles -- Context -- Biography -- Berkeley's philosophical background -- Overview of themes -- Teading the text -- The principles : introduction -- The principles : part one -- The objects and subject of knowledge : ideas and spirit -- Unperceived existence : a nicer strain of abstraction -- Problems for materialism -- A Cartesian dream argument -- The master argument -- From the inertness of ideas to the existence of God -- Philosophical objections (...) to immaterialism and replies -- Religious objections to immaterialism and replies -- Further advantages of immaterialism -- Great provinces of speculative science -- The attack on absolute space -- Mathematics -- Other minds -- The divine language of nature -- Reception and influence -- Guide to further reading. (shrink)

This paper has four parts. The first part gives an overview of Alasdair MacIntyre’s theory of rationality; the remaining three parts examine the theory’s implications through the consideration of three examples. Two examples, the reception of MacIntyre’s mature work and the study of Thomas Aquinas’s Five Ways, illustrate the implications of MacIntyre’s theory for reading and interpreting contemporary literature and historical texts. A third example, the investigation of late medieval nominalism, shows how the more straightforward problems (...) of reading and interpreting can be exacerbated during periods of transition within traditions. Traditions, it turns out, can be fragile, yet once broken they are capable of concealing their incoherence and inconsistency from their current and future scholars. If MacIntyre’s theory that rationality is both tradition-constituted and tradition-constitutive is truthful, it follows that the work of contemporary reading, traditional interpretation, and historical scholarship always requires careful attention to differences in rationalities, lest readers misinterpret by filling gaps in their readings with their own presuppositions. (shrink)

For over one hundred and fifty years G.W.F. Hegel’s ghost has haunted theoretical understanding and practice. His opponents first, and later his defenders, have equally defined their programs against and with his. In this way Hegel’s political thought has both situated and displaced modern political theorizing. This book takes the reception of Hegel’s political thought as a lens through which contemporary methodological and ideological prerogatives are exposed. It traces the nineteenth century origins of the positivist revolt against Hegel’s legacy (...) forward to political science’s turn away from philosophical tradition in the twentieth century. The book critically reviews the subsequent revisionist trend that has eliminated his metaphysics from contemporary considerations of his political thought. It then moves to re-evaluate their relation and defend their inseparability in his major work on politics: the_ Philosophy of Right_. Against this background, the book concludes with an argument for the inherent metaphysical dimension of political theorizing itself. Goodfield takes Hegel’s reception, representation, as well as rejection in Anglo-American scholarship as a mirror in which its metaphysical presuppositions of the political are exceptionally well reflected. It is through such reflection, he argues, that we may begin to come to terms with them. This book will be of great interest to students, scholars, and readers of political theory and philosophy, Hegel, metaphysics and the philosophy of the social sciences. (shrink)

Purpose. The aim of this piece is to study the manifestations of humanistic pursuits in a literary fiction work. The main interest is related to the interpretation of those existential and sociocultural concepts that underlie the dystopian novel by Lois Lowry. The theoretical basis of the study is based on works on phenomenology and the theory of reader reception. The method of phenomenology is a descriptive method: the phenomena of consciousness cannot be reduced to limited cognitive forms, (...) and therefore language and means of description are important along with their ability to reveal consciousness through phenomena. Originality of the study lies in the investigation of the humanistic aspect of a dystopian society, depicted in the modern literary fiction. The main attention is focused on the phenomenological identification of existential ideas and their manifestation in the literary characters of the given work. The conclusions speak about the tendencies of humanization and dehumanization of a man and society in the context of philosophical, ethical and aesthetic issues, which are the most important and urgent problems of our time. The current study finds out that in the modern dystopian literature and philosophy, the main subject of attention is a human. This human is perceived and depicted as a phenomenon that cannot be grasped by the notions of intimation and essence. The human is a creature whose freedom presupposes a constant departure from nature and habitual reality to the realm of transcendent through the desire to comprehend his or her certain way of existence. (shrink)

This book puts a creative new reading of Hans-Georg Gadamer's philosophical hermeneutics and literary genre theory to work on the problem of Scripture. Reading texts as Scripture brings two hermeneutical assumptions into tension: that the text will continually say something new and relevant into the present situation, and that the text has stability and authority over readers. Given how contested the Bible's meaning is, how is it possible to 'read Scripture' as authoritative and relevant? Rather than anchor meaning in (...) author, text or reader, Gadamer's phenomenological model of hermeneutical experience as Spiel ('play') offers a dynamic, intersubjective account of how understanding happens, avoiding the dead end of the subjective-objective dichotomy. Modern genre theory addresses some of the criticisms of Gadamer, accounting for the different roles played by readers in different genres using the new term Lesespiel ('reading game'). This is tested in three case studies of contested texts: the recontextualization of psalms in the book of Acts, the use of Hagar's story (Genesis 16) in nineteenth-century debates over slavery and the troubling reception history of the rape and murder in Gibeah (Judges 19). In each study, the application of ancient text to contemporary situation is neither arbitrary, nor slavishly bound to tradition, but playful. (shrink)

Arthur Danto’s recent book, Andy Warhol, leads the reader through the story of the iconic American’s artistic life highlighted by a philosophical commentary, a commentary that merges Danto’s aesthetic theory with the artist himself. Inspired by Warhol’s Brillo Box installation, art that in Danto’s eyes was indiscernible from the everyday boxes it represented, Danto developed a theory that is able to differentiate art from non-art by employing the body of conceptual art theory manifest in what he (...) termed the ‘artworld’. The strength of Danto’s theory is found in its ability to explain the art of the post-modern era. His body of work weaves philosophy, art history and art criticism together, merging his aesthetic philosophy with his extensive knowledge of the world of art. Danto’s essentialist theory of embodied meaning provides him with a critical tool that succeeds in explaining the currents of contemporary art, a task that many great thinkers of art history were unable to do. If Warhol inspired Danto to create a philosophy of art, it is appropriate that Danto write a tribute to Warhol that traces how Warhol brought philosophy into art. Danto’s account of ‘Warhol as philosopher’ positions him as a pivotal figure in the history of twentieth-century art, effecting a sea change in how art was made and viewed. Warhol achieved this by conceiving of works that embodied the answers to a series of philosophical puzzles surrounding the nature of art. Warhol, as Danto describes him, manifests himself in his art because he had transformed himself, in a way, into an icon of the times. This pragmatist notion that art should undermine the dichotomies that exist between art and life would, by some accounts, position Warhol to be the philosopher that Danto claims him to be, for he dissolved the philosophical questions posted by late modern aesthetic thinkers by creating art that imploded the accepted notions of art at the time. One of Danto’s greatest contributions to aesthetics is his theory’s ability to distinguish art from non-art, recognizing that it is the artist’s intention that levels the sublimity of art into the commonplace, thereby transfiguring the everyday. However, acknowledging this achievement, I argue that Warhol’s philosophical contribution actually manifests itself in a manner different from that proposed by Danto. Danto maintains that the internal drive of art leads to the unfolding of art theoretical concepts that ineluctably shift the terrain of world of art. I would agree with Danto that Warhol, almost as Hegel viewed Napoleon as Geist on a horse, pushed forward the boundaries of art through the actualization of art’s internal drive. But I would disagree that the conceptual nature of art is one that unfolds merely as a relation of concepts that artists trace through a connection to the meaning of history they forge using their unmediated grasp of style. Rather, I would argue that the artist’s style is not bound so narrowly to the meanings they express. Through their aesthetic articulations, artists initiate a process of social interaction. This process employs the philosophical logic which Danto attributes to Warhol indirectly, and through it, it is able to transfigure the vocabulary of art—the concepts of the artworld—by superseding the language of modernism. Warhol’s philosophical contribution is seen in his mastery of both the medium of art and the underlying logic of the medium’s expression and reception. (shrink)

This article discusses to what extent the widely accepted hypotheses of Hugo Grotius’s crucial impact on the theory of contract law – also in Scandinavia – may be maintained or even positively confirmed. Although few direct references to the works of Grotius can be found in Scandinavian legal literature of the seventeenth and eighteenth century, it would be premature to draw a negative conclusion. An impact of Grotius’s thoughts may rather be demonstrated by thoroughly analysing patterns of argumentation concerning (...) specific contractual topics both in legal literature and case law. The article provides the reader with necessary information on the institutional and intellectual preconditions for the reception of Grotius in the Scandinavian legal orders before discussing the impact of the ‘will-theory’ on the requirements of a legally binding contractual agreement in the works of selected influential legal scholars and in case law in more detail. The analysis confirms that Grotius’s work contributed substantially to shaping the intellectual framework in which the first contract law doctrines in Scandinavia evolved. (shrink)

Situating the subject -- Hermeneutics and spech-act theory -- Hermeneutics, semantics, and conceptual grammar -- Lexicography, exegesis, and reception history -- Parables, narrative-worlds, and reader-response theories -- Philosophy, language, theology, and postermodernity -- Hermeneutics, history, and theology.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 37.1 (2004) 42-71 [Access article in PDF] Narrative as Argument in Indian Philosophy: The Astavakra Gita as Multivalent Narrative Scott R. Stroud Department of Philosophy Temple University Indian philosophy has often been described as radically different in nature than Western philosophy due to its frequent use of narrative structure. By employing poetic elements in their use of language, such texts attempt to convey deep metaphysical truths (...) and philosophical positions about reality that are in many cases quite different from Western ideas (Babbili 1997). Often, these ways of conveying truths are an integral part of that truth. One particularly useful form is narrative, taking instantiations such as a dialogue between characters. Philosophical dialogues such as the Bhagavad Gita and the Astavakra Gita (also known as the Astavakra Samhita ) use a portrayed conversation involving a guru or deity to convey didactic lessons and values to the receptive audience, both ancient and modern. As texts such as the Bhagavad Gita gain in popularity and circulation in the Western world (Minor 1982; Paine 1998; Sharpe 1985), philosophical and rhetorical inquiry must be extended to explain how these texts function in an argumentative philosophical context.Stroud (2002a, 2002b) has advanced the idea that such ancient Indian narratives argue through the use of contradictions and conflicting value structures;1 he labels such texts as multivalent narratives since their use of contradictory value structures compel audience members to reconstruct the narrative's message and allow for the acceptance of novel views. Multivalent narratives are to be distinguished from polysemic narratives (Fiske 1986) in that the latter concern different audience members finding a preferred position from the ambiguous story. Polysemic narratives involve the difference in meaning of the same story to different auditors. Condit criticizes this notion of polysemic narratives and advances her own concept of polyvalent narratives. The concept of a polyvalent narrative involves different auditors understanding the same story in similar ways, but differing in how they evaluate its message. Condit's research with a popular television [End Page 42] show and two students from radically different backgrounds on abortion finds that they understood what occurred in a very similar fashion; they differed in that they "disagree[d] about the valuation of those denotations to such a degree that they produce[d] noticeably different interpretations" (1989, 106). Thus, the auditors differ as to their response to a certain story and how it treats their own cherished values. Stroud (2002a) provides a thorough justification as to why the concepts of polysemic and polyvalent narratives do not capture what can be called multivalent narratives. The important factor in distinguishing these three concepts is that the third involves contradictions at the level of values within a text and the reader's necessitated activity of trying to synthesize or reconcile such contradictions. It is this activity that is the hallmark of multivalent narratives.This employment of multivalent narrative offers a challenge to familiar Western conceptions of argumentative discourse and demands further investigation. This study explores the ways a particular text, the Astavakra Gita, argues its philosophical positions to its audience of potential "pupils."2 Using the insights provided by theories of narrative and reader-response theory, I will argue that this text advances its claims not through overt syllogism or validity claim redemption, but through textual indeterminacy between the audience's disposition and the foregrounded theme of non-individuation in the text. This tension, increased by certain textual devices, results in consistency building by the audience, which enables the transcendence of these two viewpoints (reader and text); it is this experience, not claim, that the Astavakra Gita seems to be advancing to any given audience.In order to explore this interpretation of this text and its argumentative relationship to an audience, insights from both literary studies and rhetorical theory must be used in laying a foundation. The work of Wolfgang Iser (1980, 1989, 1993) and Walter Fisher (1987) will assume roles of particular importance in this endeavor. Iser's theory of aesthetic response provides a useful description of the phenomenological process of reading such a... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 37.1 (2004) 42-71 [Access article in PDF] Narrative as Argument in Indian Philosophy: The Astavakra Gita as Multivalent Narrative Scott R. Stroud Department of Philosophy Temple University Indian philosophy has often been described as radically different in nature than Western philosophy due to its frequent use of narrative structure. By employing poetic elements in their use of language, such texts attempt to convey deep metaphysical truths (...) and philosophical positions about reality that are in many cases quite different from Western ideas (Babbili 1997). Often, these ways of conveying truths are an integral part of that truth. One particularly useful form is narrative, taking instantiations such as a dialogue between characters. Philosophical dialogues such as the Bhagavad Gita and the Astavakra Gita (also known as the Astavakra Samhita ) use a portrayed conversation involving a guru or deity to convey didactic lessons and values to the receptive audience, both ancient and modern. As texts such as the Bhagavad Gita gain in popularity and circulation in the Western world (Minor 1982; Paine 1998; Sharpe 1985), philosophical and rhetorical inquiry must be extended to explain how these texts function in an argumentative philosophical context.Stroud (2002a, 2002b) has advanced the idea that such ancient Indian narratives argue through the use of contradictions and conflicting value structures;1 he labels such texts as multivalent narratives since their use of contradictory value structures compel audience members to reconstruct the narrative's message and allow for the acceptance of novel views. Multivalent narratives are to be distinguished from polysemic narratives (Fiske 1986) in that the latter concern different audience members finding a preferred position from the ambiguous story. Polysemic narratives involve the difference in meaning of the same story to different auditors. Condit criticizes this notion of polysemic narratives and advances her own concept of polyvalent narratives. The concept of a polyvalent narrative involves different auditors understanding the same story in similar ways, but differing in how they evaluate its message. Condit's research with a popular television [End Page 42] show and two students from radically different backgrounds on abortion finds that they understood what occurred in a very similar fashion; they differed in that they "disagree[d] about the valuation of those denotations to such a degree that they produce[d] noticeably different interpretations" (1989, 106). Thus, the auditors differ as to their response to a certain story and how it treats their own cherished values. Stroud (2002a) provides a thorough justification as to why the concepts of polysemic and polyvalent narratives do not capture what can be called multivalent narratives. The important factor in distinguishing these three concepts is that the third involves contradictions at the level of values within a text and the reader's necessitated activity of trying to synthesize or reconcile such contradictions. It is this activity that is the hallmark of multivalent narratives.This employment of multivalent narrative offers a challenge to familiar Western conceptions of argumentative discourse and demands further investigation. This study explores the ways a particular text, the Astavakra Gita, argues its philosophical positions to its audience of potential "pupils."2 Using the insights provided by theories of narrative and reader-response theory, I will argue that this text advances its claims not through overt syllogism or validity claim redemption, but through textual indeterminacy between the audience's disposition and the foregrounded theme of non-individuation in the text. This tension, increased by certain textual devices, results in consistency building by the audience, which enables the transcendence of these two viewpoints (reader and text); it is this experience, not claim, that the Astavakra Gita seems to be advancing to any given audience.In order to explore this interpretation of this text and its argumentative relationship to an audience, insights from both literary studies and rhetorical theory must be used in laying a foundation. The work of Wolfgang Iser (1980, 1989, 1993) and Walter Fisher (1987) will assume roles of particular importance in this endeavor. Iser's theory of aesthetic response provides a useful description of the phenomenological process of reading such a... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 36.4 (2003) 353-375 [Access article in PDF] A Rhetoric for Polytheistic Democracy: Walt Whitman's "Poem of Many in One" Peter Simonson Department of Communication University of Pittsburgh This essay aims to generate rhetorically oriented normative communication theory useful for the current socio-intellectual moment. It draws upon Walt Whitman's 1850s poetry as an artistically compelling statement of what I call polytheistic democracy, a form of life (...) marked by three overlapping ideals: pluralistic tolerance for multiple gods and moral orientations; commitment to recognizing, preserving, and artfully representing socio-cultural variety; and receptivity to contact with a diverse range of particular others. Whitman offers theory in the sense of a structured way of seeing. It is normative in that it describes a world that might be, not one that is, and provides orienting visions, regulative ideals, and topoi of praise and criticism that stand available to guide the communicative practices of individuals, groups, and institutions alike.The theory is "rhetorically oriented" in that it draws upon techniques and vocabularies developed within the rhetorical tradition. Methodologically, it is generated through rhetorical criticism and imitatio. I offer a reading that brings out the rhetorical dynamics of Whitman's vision of polytheistic democracy as articulated in his 1856 "Poem of Many in One" (later and canonically titled "By Blue Ontario's Shore"), a central social statement in his much-revised masterwork, Leaves of Grass. In so doing, I hold Whitman up as a model for imitatio, the complex interpretive practice whereby, in Michael Leff's words, historical texts come to serve "as equipment for future rhetorical production" (1997, 201). Imitatio is an intellectually generative process. "As the embodied utterances of the past are interpreted for current application, their ideas and modes of articulation are reembodied, and old voices are recovered for use in new circumstances" (203).I couple imitatio with a neo-pragmatist rhetorical criticism oriented toward practice and reflection in the current cultural moment. Whitman gains significance insofar as he helps us experience, think about, and act [End Page 353] within the worlds we now traverse. 1 Among other qualities, those worlds are marked by heterogeneous groups and people who must continuously find ways to live with one another; by large institutions that stand as steady reminders that individuals may not matter very much; by ubiquitous electronic and print media offering copious streams of symbolic culture; and by countervailing geographical forces of circulation and social segmentation of fleshly bodies in the material spaces of public life. In worlds with such qualities, Whitman is a useful locus of imitatio—someone whose cosmopolitan social imagination, deep pluralism, wide-ranging habits of contact, and attention to corporeal individuals all serve as useful equipment for new rhetorical and moral production."Poem of Many in One" has a self-exemplifying 2 aspect to it, for it models what it aims to cultivate in the world. Whitman's print-based rhetoric provides an overarching vision of polytheistic democracy and mass community, scattered across time and space and actualized partly through individuals. His discourse models this social condition by displaying radical openness to high and low, sacred and profane, the admired and the socially despised. It is rhetorically driven by a copious style and an aesthetically oriented democratic ethos that Whitman's mediated eloquence aims also to generate in its readers. Its success thus hinges on readerly receptivity and cultivated ethos that re-embodies aspects of his sensibility and rhetorical techniques, giving them new momentum in scattered realms of social being.I amplify key components of Whitman's normative vision not to trump competing moral principles and orientations but to supplement them. In this sense, my essay is pluralist all the way down. It is socially pluralist in that I believe in encouraging the development and preservation of multiple sets of normative orientations, with no single principle or moral perspective ordering all others. It is individually pluralist in that I understand moral principles as interpretive and rhetorical resources deployed and judged on the basis of their contingent appropriateness and usefulness. 3 "One does not... (shrink)

Cognitive Theories of emotions have enjoyed great popularity in recent times. Allegedly, the so-called Perceptual Theory constitutes the most attractive version of this approach. However, the Perceptual Theory has come under increasing pressure. There are at least two ways to deal with the barrage of objections, which have been mounted against the Perceptual Theory. One is to argue that the objections work only if one assumes an overly narrow conception of what perception consists in. On a better (...) and more liberal understanding of perception, the objections lose their force. The other is to stress that the differences between emotions and sensory perceptions can be explained by focusing on a new analogy. As I will argue, emotions have interesting similarities with magnitude representations, such as the representation of distance. Such representations are plausibly thought to be analog and non-conceptual, but by contrast to sensory perceptions, such as colour perceptions, they do not lie at the sensory periphery. This new analogy makes room for a novel and attractive theory of emotions, the Receptive Theory, which allows for a positive and epistemologically fruitful characterization of emotions. (shrink)

The study deals with ekphraseis on works of art and poses the question as to how far these texts can be a reliable source for the study or even the reconstruction of the artefacts they describe. Based on reception theory and readerresponse criticism, in the paper is proposed that as every text, byzantine ekphraseis on artworks presuppose an audience or readership, i. e. the one the author had in mind and on the basis of which he encoded his (...) message. In order to decode this message and by extension to extract any information about the described works of art we must aim to discover their “intended reader”, and identify his or her “horizon of expectations. This proposal is tested in the study of a well known piece of this kind, Manasses’s description of a mosaic floor with a depiction of Earth. The author’s dialogue with the earlier tradition of ekphraseis, his readership’s “horizon of expectations” combined with historical facts, allow us to suppose that Manasses is describing a composition with Xenia scenes and an asarotos motif created in the early byzantine period and preserved in the Great Palace of Constantinople up to the twelfth century. (shrink)

In this article we argue that the concept of need is as vital for moral theory as it is for moral life. In II we analyse need and its normativity in public and private moral practice. In III we describe simple cases which exemplify the moral demandingness of needs, and argue that the significance of simple cases for moral theory is obscured by the emphasis in moral philosophy on unusual cases. In IV we argue that moral theories are (...) inadequate if they cannot describe simple needs-meeting cases. We argue that the elimination or reduction of need to other concepts such as value, duty, virtue or care is unsatisfactory, in which case moral theories that make those concepts fundamental will have to be revised. In conclusion, we suggest that if moral theories cannot be revised to accommodate needs, they may have to be replaced with a fully needs-based theory. Correspondence:c1 c.s.reader@durham.ac.ukc2 g. brock @auckland.ac.nz. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Culture of LiteracySusan B. BrillThe Culture of Literacy, by Wlad Godzich; 317 pp. Cambridge: Harvard University Press, 1994, $49.95 cloth, $18.95 paper.This is a collection of essays that spans the range of Wlad Godzich’s work in the 1980s, including several pieces on Paul de Man and a number of others that served as introductions to works by Jauss, Maravall, Nerlich, and Certeau. Even though most of the (...) essays in this volume have already seen the light of publication (only one is new), grouping them together in one volume recasts them into an interdiscursive realm. Rather than being narrowed by their initial venues of publication, they are arranged around the subject of The Culture of Literacy, eliciting new and different questions.In the introduction, Godzich emphasizes that literacy programs in American universities, which developed out of the “New Vocationalism” of the seventies and eighties, “evince a profound distrust of interpretation and other critical functions in relation to language, and proclaim mastery and competence as their goals” (p. 14). Within this framework, theory has raised the voice of difference, challenging the established organization of knowledge as displayed in the academic disciplines and sub-disciplines. Writing programs are one example of the extent to which theory’s original hope of destabilizing [End Page 385] hierarchies of power through greater accessibility to university education has been co-opted and transformed into the commodity of the New Vocationalist literacy programs.This discussion poses the larger problem of the entire collection. Godzich perceives an “epochal shift” in concepts and practices of literacy not only in regards to writing programs but in the struggles over theory, in the reception of de Man, and in the challenge offered by emergent literatures whose voices raise new questions about the literary and critical presuppositions within which all university scholars function.Reprinted alongside such essays as “In-Quest of Modernity,” “The Further Possibility of Knowledge,” “The Changing Face of History,” and “After the Storyteller,” Godzich’s earlier essays on de Man are recontextualized beyond the debates concerning de Man’s wartime writings. The question whether it is possible to consider de Man’s later work divorced from his earlier writings is elided. I almost wish that Godzich had simply brought together his already published essays without the inclusion of the one new piece, “Paul de Man and the Perils of Intelligence,” which largely serves as Godzich’s defense of de Man and of Godzich’s own earlier writings on him. A footnote appended to one of the other articles would have been sufficient. Most readers would place Godzich’s articles on de Man in the context of the years when they were written—prior to the public knowledge of de Man’s collaborationist work. But when Godzich writes, “I doubt whether de Man was personally antisemitic—certainly nothing in his postwar life suggests it—but he certainly was culturally antisemitic during the war and probably before as well” (p. 136), he mires his subsequent essays even more deeply in the very difficulties he attempts to set aside. Even if de Man were antisemitic throughout his life, that in no way invalidates his criticism. We might read de Man differently, but we would read him nevertheless. Godzich’s discussions of Blindness and Insight and The Resistance to Theory demonstrate de Man’s contribution to the poststructural “overturning of modernity” and to our linguistic reconceptualizing of our notions of the self and the social. De Man becomes the pivotal focus that frees the reader from the seductive narratives of written history, official or state-sanctioned culture (specifically Spanish literary history), storytelling authority, disciplinary specialization, and the New Vocationalism. As Godzich says, “de Man’s remapping has liberated praxis from the hold that theory has had over it” (p. 169).There is courage in this collection—the courage to republish that which in a new context takes on a significance other than what the original articles bespoke. In this way, The Culture of Literacy itself exemplifies the “further possibility of knowledge” that Godzich’s essays celebrate and describe.Susan B. BrillBradley UniversityCopyright © 1995 The Johns Hopkins University Press... (shrink)

Although rhetoric is not a category of ancient Indian philosophy, this paper argues that Śāntarakṣita and Kamalaśīla, 2 eighth-century Indian Buddhist philosophers, can nonetheless be seen to embrace a rhetorical conception of rationality. That is, while these thinkers are strong proponents of rational analysis and philosophical argumentation as tools for attaining certainty, they also uphold the contingent nature of all such processes. Drawing on the categories of the New Rhetoric, this paper argues that these Buddhist thinkers understand philosophical argumentation to (...) be directed at a universal audience of rational beings, where this universal audience is not an actual audience but a rhetorical one constructed through the author’s particular and historically contingent conception of what counts as rational. A reception theory of rationality is one that holds that the rationality of an argument depends upon its acceptance by a rational audience. When philosophers recognize the historically contingent nature of what counts as rational, they can embrace a reception theory of rationality that neither reduces the rational to mere opinion nor restricts it to a single, absolute, and timeless standard. (shrink)

Keith Reader's brief, unfinished article ‘Freeze Peach’ situates contemporary controversies surrounding free speech in relation to material and economic concerns. Ian James's response draws attention to the way Keith does this by bringing together four key figures of late twentieth-century philosophy and theory: Louis Althusser, Jean-François Lyotard, Terry Eagleton and Stanley Fish. Ian argues that the conjugation of Marx-inspired theory with thinkers associated with the postmodern would have allowed Keith to develop a uniquely perceptive and productive insight (...) into the present moment of political disorientation, one which demands a renegotiation of the legacies of both modernity and postmodernity. (shrink)

First published in 2002. Routledge is an imprint of Taylor & Francis, an informa company.

This article discusses the implementation of the reader-response theory and approach in the context of a literature course taught to students enrolled at the Department of English Language and Literature, who are preparing to be future teachers of English language. This article aims to examine the benefits and values of the reader-response theory applied in the described context, as well as potential drawbacks. The basic postulates of the reader-response theory and reader-response approach in (...) class emphasize the crucial role of the reader on the literary and aesthetic experience when reading a literary text. The reader’s way of understanding and perceptions of a literary text, as well as the experience of the reader, influence the interaction between the reader and a text. This interaction contributes to the development of interpretation of the text and reconstruction of the ideas expressed in the text. The article examines the possible ways of implementing the reader-response theory in a literature class, including written assignments, personal responses to a literary text and in-class discussions. The research focuses on qualitative data collection and on analyzing students’ responses to these activities. Furthermore, the research aims to provide a clearer picture of students’ attitudes, observations and personal reactions when interacting with a literary text. One of the aims of the article is to provide recommendations and suggestions regarding reader-response theory application in teaching literature courses at tertiary level, in addition to designing course curricula and selecting appropriate in-class activities. (shrink)