Gadamer’s hermeneutic philosophy avoids the problem of literary objectiveness altogether. His approach witnesses the general fact that an indifference towards literary objectiveness in particular, leads to a peculiar neglect of par excellence literariness as such. It seems obvious, however, that the constitutive aspects of the crisis of literary objectiveness cannot be shown to contain the underlying intention of bringing about this situation. At this point, one can identify what could probably be the most important element in a (...) definition of literary objectiveness. In contrast to ‘natural’ objectiveness and objectiveness based on various societal conventions, the legitimacy of a literary work is solely guaranteed by its elements being organized in accordance with the rules of literary objectiveness. Thus when the crisis of literary objectiveness intensifies, literariness will also find itself in a crisis. This crisis detaches new, quasi-literary formations from various definitions of literariness. When literary objectiveness ceases, however, to be understood as a system constituted by various objective formations aiming to correspond in one way or another to the ‘world’, scientific analysis of literary objectiveness will be rendered impossible. The crisis of literary objectiveness thus brings about the crisis of the theory of literature and the philosophy of art. Gadamer explicitly argues that the scientific approach proves to be inadequate in the analysis of artistic experience. This attitude results in the categorical rejection of a scientific orientation, but he seems to overemphasize an otherwise correct thesis on the non-reflexive character of artistic experience. It is the anti-mimetic and Platonic character of Gadamer’s aesthetic hermeneutics that determines the status of literary objectiveness in his system of thought. What is of crucial importance, however, is to point out that this aesthetics entails a fundamental reduction of the significance of literary objectiveness. As soon as the essence of aesthetic object-constitution is taken to be re-cognition, the absolutely natural interest in the original object represented by a work of art.Undoubtedly, Gadamer’s conception answers a number of questions that tend to be ignored by other theories. It is just as obvious, however, that Gadamer completes here the aesthetic devaluation of the objective domain. It is not the characteristics of the ‘original’ that constitute the image, but in effect the image turns the original into an original. Paraphrasing this claim one arrives at a near paradox: not objectiveness makes a work of art possible, but a work of art lends objects their objectiveness. (shrink)

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

Behind all of Sheldon Sacks' writing and teaching lay an intense belief in the objectivity of literary experience and our capacity to achieve a shared conceptual understanding of the forms which underlie it. Literary criticism for him was not the critic's unique and unrepeatable performance but a serious inquiry—a critical inquiry—seeking explicit and precise explanatory concepts which others could grasp, test, and build upon. His effort was to show that we could in significant measure understand and explain literature (...) and its value as standing independent of our understanding and explanation, and it was this double emphasis on the real being of literature and the possibility of valid conceptualization of it which gave his thought its appeal for those whom it influences. His creative constitution—and the length and circumstances of his life—were such as to allow only the one sustained effort of Fiction and the Shape of Belief and a series of articles in which he modified and expanded the application of the ideas developed therein. Yet in this relatively small body of work he revised and extended the ideas of the Chicago School within which he worked so as to achieve what seem to me genuine advances in the explicit conception of novelistic forms—what might be called portable ideas, sharp and definite enough to be adopted and used and in their turn revised and redefined by others; this sets them apart from much critical work and marks their value and his intention. Ralph W. Rader, chairman of the department of English at the University of California at Berkeley, is the author of Tennyson's "Maud": The Biographical Genesis. His previous contributions to Critical Inquiry are "Fact, Theory, and Literary Explanation" , "Explaining Our Literary Understanding: A Response to Jay Schleusener and Stanley Fish" , and "The Dramatic Monologue and Related Lyric Forms". (shrink)

A complex, polyvalent phenomenon, the kiss, once embedded in a literary text, is first and foremost a cipher to be decoded. Texts effectively expose its many-sidedness: not merely its potentially seductive power or ostensible expression of affection, but, no less compellingly, its risky demeanors, its capacity to establish dominance, to terrorize, to subdue, to belittle, to ingratiate, even to infuriate. Variously bestowed, retracted, avowed, disavowed, meaningful, meaningless, the kiss can become, as it does in the work so named by (...) Kate Chopin, a multi-layered form of contrivance, the incarnation of tempting, albeit ultimately invidious, non-realities. Though, perhaps, not manifest at first blush, a careful reading reveals that each occasion marked by the “joining of lips” yields an odd sequence of awkward and oft deleterious, consequences: motion is superseded by motive, candor by disingenuousness—all in an unending slew of backward and forward slippages. Thus is engendered the metaphorization of an altered reality—structured all but exclusively upon the relentless deceits it proffers. Jubilation and despair come and go, as though wholly inter-changeable; acceptance and rejection, promulgation and rescission are converted into mere variants of the same gestures of ambivalence, if not of travesty. One might thus conclude that the kiss adopts significance worthy of note only as a metonym for and of factitiousness, vacuity and thinly-veiled distortion. Chopin’s script adeptly explores the multifarious comportments and consequences of the kiss: an act fashioned as a “weapon” of dubious value, as a tactical strategy, as a play-act borne of ulterior objectives and, which, as such, deftly prostitutes itself, willingly, nefariously. In the given context, the kiss-act lays bare the heroine’s ostensible “liberation” to be more imagined than real. Her would-be triumph over gendered subjugation exists, if at all, as but an ill-conceived romantic daydream—destined to slake gradually into a woeful destiny of loneliness and imprisonment. Chopin’s brief narration center-stages betrayal, challenges authenticity and valorizes consummate illegitimacy. -/- . (shrink)

This essay reviews the domain of the literary contrasting it with other intellectual discourses; especially philosophy. It establishes the superiority of literature over philosophy. And mentions the philosophies informing literature. The essay is written consciously with copious endnotes, contrary to current ways of writing. The essay proper is simple; the endnotes often mock jargon and mimic pedantry.

This book describes the development of Proust's treatment of material objects from his earliest work Les Plaisirs et les jours to his mature novel À la recherche du temps perdu. It examines the literary influences on Proust's way with objects in the light of certain critical texts and reconsiders the significance of Ruskin. As the movement from unreflective and spontaneous representation to a meta-narrative of consciousness is traced, some questions as to the banality of the 'banal object' arise. (...) The meta-narrative finds resonance in a peculiarly Proustian pictoriality which has been largely unnoticed. It resides in descriptions where objects appear simultaneously or at different times as things in paintings and in the real. By exploring connections between Proust's pictoriality and his reflections on 'matière' and 'surface', the author suggests a radical approach to the modernism of À la recherche du temps perdu. (shrink)

Roman Ingarden published his two major works in aesthetics in the 1930’s. The Literary Work of Art was published first in a German edition in 1931 and The Cognition of the Literary Work of Art was published first in a Polish edition in 1937. A revised and enlarged edition of the second book was published in Germany in 1968 and it is the German edition translated into English in 1973 which is the subject of this review. Ingarden’s two (...) works, founded on the antipsychologism of Edmund Husserl are intended as companion volumes, the first responding to the question, "How is the object of cognition, the literary work of art, structured?" and the second answering the question, "What is the procedure which will lead to knowledge of the literary work?" In The Cognition of the Literary Work of Art, Ingarden is concerned with the mode of cognition which corresponds to the necessary structures of the literary work of art which he has analyzed in his earlier study. He sets out to show that such a cognition is composed of heterogenous but closely connected processes and that it is accomplished in a temporal process. (shrink)

Despite the attention paid to the artistic and literary dimensions of Nietzsche’s writings, the literary structure of On the Genealogy of Morality has received little attention. In this article I examine the literary structure of GM’s first treatise. This study shows that Nietzsche structured the treatise simultaneously as a descent to the depths of ressentiment-fueled hatred, and as an ascent bringing its readers from self-ignorance to the beginnings of self-knowledge. The treatise’s structure responds to the preface’s twofold (...) genealogical question on the historical origins of modern moral values, and on their real worth. In GM I:1–8 Nietzsche addresses the first part of the question, while in GM I:10–17 he addresses its second part. The free spirit’s objection in GM I:9, I argue, is the hinge upon which GM I turns, and which brings the treatise to the question of the real worth of moral values. (shrink)

Ingarden’s phenomenology of aesthetics is characterised primarily as a realist ontological approach which is secondarily concerned with acts of consciousness. This approach leads to a stark contrast between spatiotemporal objects and literary objects. Ontologically, the former is autonomous, totally determined, and in possession of infinite attributes, whilst the latter is a heteronomous intentional object that has only limited determinations and infinitely many “spots of indeterminacy.” Although spots of indeterminacy are often discussed, the role they play in contrasting the (...) real and literary object is not often disputed. Through a close reading of Ingarden’s ontological works and texts on aesthetics, this essay contests the purity of Ingarden’s ontological approach and the ensuing disparity between real and literary object, particularly on the question of spots of indeterminacy. I do this by demonstrating the following five theses: 1) Ingarden’s claim that the real object has an infinitude of properties belies an epistemology, and we should instead conclude that ontologically the real object’s properties are finite. 2) Ingarden’s a priori argument that absent properties of real objects are ontologically determined is unsound. 3) The radical difference between the infinitude and finitude of givenness and absence of the real and the literary object ought to be relativised. 4) Indeterminacies within the novel are concretised in much the same way that absent properties of real objects are intended. 5) Literature makes claims that have a truth value that we can attribute to their author. (shrink)

The time of the literary work of art is a schematized aspect of the represented objectivities of the literary work. Roman Ingarden’s analysis of the time of the literary work extends upon Husserl’s phenomenology of time consciousness but nevertheless remains consistent with it, insofar as within a literary work as well as actuality, an objective time or literary objective time is constituted from an experience of temporal objects. The time of the literary work of (...) art is experienced through its represented objectivities and depends on an already existent concept of objective time. The time of the literary work, however, gains an indeterminacy, as the author of the literary work is able to manipulate our experience of time within the literary work by predicting how the reader will concretize its events, characters, and objects with respect to time. I use Alain Robbe-Grillet’s representation of the centipede in La Jalousie as an example of the possible manipulations of time, explicable through Ingarden’s analysis of time in the literary work of art. (shrink)

For the New Objectivity art, both literature and paintings, urban reality played a significant role. The aesthetics of the New Objectivity, movement that bloomed in the 20s and 30s, was defined through urban issues. This tendency can be observed primarily in the so-called Zeitroman that became a topic of interest for German literary studies earlier. In contrast to the prose, the New Objectivity poetry was rarely an object of studies. In the article, selected urban verses are analysed and (...) connected with the New Objectivity paintings on a modernist background. (shrink)

We have seen that a musical score is in a notation and defines a work; that a sketch or picture is not in a notation but is itself a work; and that a literary script is both in a notation and is itself a work. Thus in the individual arts a work is differently localized. In painting, the work is an individual object; and in etching, a class of objects. In music, the work is the class of performances (...) compliant with a character. In literature, the work is the character itself. And in calligraphy, we may add, the work is an individual inscription. (shrink)

According to the so-called ‘artifactual theory’ of fiction, fictional objects are to be considered as abstract artifacts. Within this framework, fictional objects are defined on the basis of their complex dependence on literary works, authors, and readership. This theory is explicitly distinguished from other approaches to fictions, notably from the imaginary-object theory. In this article, I argue that the two approaches are not mutually exclusive but can and should be integrated. In particular, the ontology of fiction can be (...) fruitfully supplemented by a phenomenological analysis, which allows us to clarify the defining modes of givenness of fictional objects. Likewise, based on the results of the artifactual theory, some assumptions in the imaginary-object theory, which are liable to be interpreted as laying the ground to phenomenalism, can be corrected. (shrink)

In recent years, there has been increasing discontent with feminism’s understanding of its own history and, more specifically, the place of the feminist 1970s. Feminist scholars – most prominently, Elizabeth Freeman, Victoria Hesford, Kate Eichhorn and Kathi Weeks – have sought to move beyond the feelings of progress and nostalgia that the feminist 1970s often inspires. There is a need to mediate between the urge to leave the past behind and the desire to return to it, with feminists adopting positions (...) that ricochet between progress and nostalgia. In this article, I argue that the feminist literary utopia offers a particularly productive means by which to represent this ambivalent, paradoxical temporal understanding. The classic feminist utopias of the 1970s have become the object of critical contention in more recent speculative texts, which destabilise both progress and nostalgia in their evocation of second-wave separatism. To elaborate this claim, I turn to Sarah Hall’s The Carhullan Army, which critically assesses the feminist 1970s via an account of a separatist feminist enclave in a near-future Britain. The community of women is a homage to the feminist 1970s, displaying both the potentialities of the movements of this time as well as their sometimes violent limitations. The dreams of the 1970s emerge in the text as an unsettling presence in the world, a force that can neither be left behind nor fully embraced. (shrink)

D. W. Winnicott is increasingly recognized as one of the most important psychoanalysts since Freud, but the relevance of his Independent version of object relations theory to psychoanalytic literary criticism has not been sufficiently appreciated. As Peter L. Rudnytsky notes, "There must be ten literary critics conversant with Lacan's ecrits for every one who has read Winnicott's Playing and Reality." Transitional Objects and Potential Spaces begins to redress this imbalance. The title and subtitle of this collection highlight (...) three of Winnicott's key concepts: transitional objects, potential space, and the use of an object. Because Winnicott is unique in respecting the integrity of art as an autonomous human activity while continuing to insist on its infantile origins, he may be said to offer the first adequate psychoanalytic account of aesthetics. This volume is organized into three sections: The Analytic Frame, Literary Objects, and Cultural Fields. Beginning with Winnicott's "The Location of Cultural Experience," it features essays by a distinguished group of contributors, including Marion Milner and two current leading members of the British Psycho-Analytical Society, Christopher Bollas and Patrick J. Casement, as well as such eminent critics as Richard Poirier, Murray M. Schwartz, Ellen Handler Spitz, and Madelon Sprengnether. Transitional Objects and Potential Spaces makes a timely and persuasive case for the power of Winnicott's ideas. In defining for the first time an independent tradition of psychoanalytic criticism, it will reorient future work in literary and cultural studies. (shrink)

D. W. Winnicott is increasingly recognized as one of the most important psychoanalysts since Freud, but the relevance of his Independent version of object relations theory to psychoanalytic literary criticism has not been sufficiently appreciated. As Peter L. Rudnytsky notes, "There must be ten literary critics conversant with Lacan's ecrits for every one who has read Winnicott's Playing and Reality." Transitional Objects and Potential Spaces begins to redress this imbalance. The title and subtitle of this collection highlight (...) three of Winnicott's key concepts: transitional objects, potential space, and the use of an object. Because Winnicott is unique in respecting the integrity of art as an autonomous human activity while continuing to insist on its infantile origins, he may be said to offer the first adequate psychoanalytic account of aesthetics. This volume is organized into three sections: The Analytic Frame, Literary Objects, and Cultural Fields. Beginning with Winnicott's "The Location of Cultural Experience," it features essays by a distinguished group of contributors, including Marion Milner and two current leading members of the British Psycho-Analytical Society, Christopher Bollas and Patrick J. Casement, as well as such eminent critics as Richard Poirier, Murray M. Schwartz, Ellen Handler Spitz, and Madelon Sprengnether. Transitional Objects and Potential Spaces makes a timely and persuasive case for the power of Winnicott's ideas. In defining for the first time an independent tradition of psychoanalytic criticism, it will reorient future work in literary and cultural studies. (shrink)

Through engaging interviews, testimonials, and anecdotes from photographers, curators, printers, and colleagues, Object Lesson: On the Influence of Richard Benson pays homage to a legendary figure whose name is synonymous with the evolving history and philosophy of photographic reproduction. From making platinum prints for Paul Strand and books with Lee Friedlander to his own experiments with inkjet and digital offset processes, and as a teacher and dean of the Yale School of Art, by the time of his death in (...) 2017, Benson had inspired over three decades of students and artisans through his mentorship and work. In words and images, Object Lesson stands as a testament to Benson's wit, wisdom, and incomparable obsession with how photographic images render and connect us to the world. (shrink)

This paper draws together as many as possible of the clues and pieces of the puzzle surrounding T. S. Eliot’s “infamous” literary term “objective correlative”. Many different scholars have claimed many different sources for the term, in Pound, Whitman, Baudelaire, Washington Allston, Santayana, Husserl, Nietzsche, Newman, Walter Pater, Coleridge, Russell, Bradley, Bergson, Bosanquet, Schopenhauer and Arnold. This paper aims to rewrite this list by surveying those individuals who, in different ways, either offer the truest claim to being the source (...) of the term, or contributed the most to Eliot’s development of it: Allston, Husserl, Bradley and Bergson. What the paper will argue is that Eliot’s possible inspiration for the term is more indebted to the idealist tradition, and Bergson’s aesthetic development of it, than to the phenomenology of Husserl. (shrink)

Is there a role for aesthetic judgements in science? One aspect of scientific practice, the use of thought experiments, has a clear aesthetic dimension. Thought experiments are creatively produced artefacts that are designed to engage the imagination. Comparisons have been made between scientific (and philosophical) thought experiments and other aesthetically appreciated objects. In particular, thought experiments are said to share qualities with literary fiction as they invite us to imagine a fictional scenario and often have a narrative form (Elgin (...) 2014). But philosophical discussions of aesthetics in science have focused mainly on the epistemic role of beauty and elegance when it comes to theories and mathematical proofs, and thought experiments have been widely overlooked. My aim in this chapter is to address how the aesthetic choices scientists make in the design of a thought experiment contribute to its function: to communicate, convince, or explain a theory or phenomenon. A key issue is whether any aesthetic features in science provide anything beyond catching our attention, or are at best, a mere heuristic aid. I respond to accounts that argue this way and show how formulation is important in scientific thought experiments and, similarly to literary fictions, there is more than one way of interpreting a thought experiment scenario. I end by considering which literary examples are most appropriate when making comparisons with thought experiments. As a result, the difference between representations in art and science raised in current discussions is not as stark as it has been made out to be, and science is a more heterogeneous practice than has been allowed. Part of the value of thought experiments in scientific practice includes the qualities they share with literary works. (shrink)

In traditional Chinese literary criticism, textual strategies comparable to intertextuality have governed Chinese critics’ and poets’ reading and writing aboutliterature throughout the dynasties. Drawing on the intertextual theories of Kristeva and Riffaterre, the paper probes into the phenomenon of sign system-mutations in two highly influential ancient texts: the Confucian Classic of Changes of the fifth century B.C.E. and Liu Xie’s The Literary Mind and the Carving of Dragons, an ars poetica in the third century. The transformation of sign (...) systems from nonverbal to verbal, in the case of the Changes, and from literate to literary or “creative” to “theoretical”, in the case of the Dragons, bears witness to the Hjelmslevian reciprocity of object-semiotic and meta-semiotic. (shrink)

This article re-evaluates the 22 so-called Tabulae Iliacae. Where most scholars (especially in the English speaking world) have tended to dismiss these objects as 'trivial' and 'confused', or as 'rubbish' intended for the Roman 'nouveaux riches', this article relates them to the literary poetics of the Hellenistic world, especially Greek ecphrastic epigram. Concentrating on the tablets' verbal inscriptions, the article draws attention to three epigraphic features in particular. First, it explores the various literary allusivenesses of the two epigrammatic (...) invocations inscribed on tablets lA and 2NY; second, it examines the Alexandrian diagrammatic word-games on the reverse of seven Tabulae (2NY, 3C, 4N, 50, 7Ti, 15Ber, 20Par), relating these to the pictorial-poetic games of the Greek technopaegnia; third, it discusses the possible hermeneutic significance of associating six tablets with 'Theodorean techne' (lA, 2NY, 3C, 4N, 50, 20Par), comparing a newly discovered epigram by Posidippus (67 A-B). All of these allusions point to a much more erudite purpose and clientele: the tablets toyed with Hellenistic visual-verbal relations at large. (shrink)

Through an argumentation analysis can one show how it is feasible to view a narrative religious text such as the Gospel of Matthew as a literary argument. The Gospel is not just good news but an elaborate argument for the standpoint that Jesus is the Son of God, the Messiah. It is shown why an argumentation analysis needs to be supplemented with a pragmatic literary analysis in order to describe how the evangelist presents his story so as to (...) reach his argumentative objective. The analysis also shows why in the case of historical religious literary texts, certain demands are put on the analyst that are not normally present. (shrink)

Literature is recognised as having significantly influenced the development of modern psychoanalytic thought. In recent years psychoanalysis has drawn increasingly on the literary and artistic traditions of western culture and moved away from its original medical–scientific context. Originally published in 1991 _The Chamber of Maiden Thought _ is an original and revealing exploration of the seminal role of literature in forming the modern psychoanalytic model of the mind. The crux of the 'post-Kleinian' psychoanalytic view of personality development lies in (...) the internal relations between the self and the mind's 'objects'. Meg Harris Williams and Margot Waddell show that these relations have their origins in the drama of identifications which we can see played out metaphorically and figuratively in literature, which presents the self-creative process in aesthetic terms. They argue that psychoanalysis is a true child of literature rather than merely the interpreter or explainer of literature, illustrating this with some examples from clinical experience, but drawing above all on close scrutiny of the dynamic mental processes presented in the work of Shakespeare, Milton, the Romantic poets, Emily Bronte and George Eliot. _The Chamber of Maiden Thought_ will encourage psychoanalytic workers to respond to the influence of literature in exploring symbolic mental processes. By bringing psychoanalysis into creative conjunction with the arts, it enables practitioners to tap a cultural potential whose insights into the human mind are of immense value. (shrink)

Literature is recognised as having significantly influenced the development of modern psychoanalytic thought. In recent years psychoanalysis has drawn increasingly on the literary and artistic traditions of western culture and moved away from its original medical–scientific context. Originally published in 1991 _The Chamber of Maiden Thought _ is an original and revealing exploration of the seminal role of literature in forming the modern psychoanalytic model of the mind. The crux of the 'post-Kleinian' psychoanalytic view of personality development lies in (...) the internal relations between the self and the mind's 'objects'. Meg Harris Williams and Margot Waddell show that these relations have their origins in the drama of identifications which we can see played out metaphorically and figuratively in literature, which presents the self-creative process in aesthetic terms. They argue that psychoanalysis is a true child of literature rather than merely the interpreter or explainer of literature, illustrating this with some examples from clinical experience, but drawing above all on close scrutiny of the dynamic mental processes presented in the work of Shakespeare, Milton, the Romantic poets, Emily Bronte and George Eliot. _The Chamber of Maiden Thought_ will encourage psychoanalytic workers to respond to the influence of literature in exploring symbolic mental processes. By bringing psychoanalysis into creative conjunction with the arts, it enables practitioners to tap a cultural potential whose insights into the human mind are of immense value. (shrink)

This article details the variety of critical strategies in Mary Wollstonecraft’s A Vindication of the Rights of Woman, finding strong connections with her writing as a reviewer for the Analytical Review, the literary review published by the reformer and Dissenter Joseph Johnson. In Rights of Woman, Wollstonecraft employed textual analyses and an evolving set of theoretical positions that had been introduced in the course of her career at the Analytical Review. By elucidating the importance of the reviews and the (...) specificity of Wollstonecraft’s procedures, this article contributes to a growing consensus that Rights of Woman initiated feminist literary criticism. (shrink)

How should one describe the irreducible relationships in photopoetry observed in intermedial literary photobooks? According to most authors, in literary photobooks, the verbal sign system is linked to the photographic image as a bidirectional interaction, creating a coupled system that can be seen as a new sign system. Mutually modulatory influences link verbal text and photography. But the nature of such influences needs to be explained in detail and with accuracy. What kind of relation are we dealing with? (...) Many authors have tried to explain this phenomenon through several epistemic metaphors. The problem is that these metaphors are rarely subjected to any general theory of meaning. Surprisingly, this is not even mentioned as a problem. In this article, we propose a general semiotic model to describe the irreducible photography-poetry relation, derived from C. S. Peirce’s pragmatic theory of signs, and we also present some preliminary results of the analysis of Quarenta Clics em Curitiba, a photobook by Paulo Leminski and Jack Pires. Our purpose here is to introduce and explore this model to describe the photography-poetry relationship in coupled systems. This relationship is decomposed, in the functional roles occupied by poems and photographs, into a sign-object-interpretant relation. The triadic irreducibility that characterizes semiosis (à la Peirce) is the main property applied to photograph-poetry coupling in Quarenta Clics em Curitiba. (shrink)

Psychoanalytic literary criticism has always been something of an embarrassment. One resists labeling as a “psychoanalytic critic” because the kind of criticism evoked by the term mostly deserves the bad name it largely has made for itself. Thus I have been worrying about the status of some of my own uses of psychoanalysis in the study of narrative, in my attempt to find dynamic models that might move us beyond the static formalism of structuralist and semiotic narratology. And in (...) general, I think we need to worry about the legitimacy and force that psychoanalysis may claim when imported into the study of literary texts. If versions of psychoanalytic criticism have been with us at least since 1908, when Freud published his essay on “Creative Writers and Day-dreaming,” and if the enterprise has recently been renewed in subtle ways by post-structuralist versions of reading, a malaise persists, a sense that whatever the promises of their union, literature and psychoanalysis remain mismatched bedfellows—or perhaps I should say playmates.The first problem, and the most basic, may be that psychoanalysis in literary study has over and over again mistaken the object of analysis, with the result that whatever insights it has produced tell us precious little about the structure and rhetoric of literary texts. Traditional psychoanalytic criticism tends to fall into three general categories, depending on the object of analysis: the author, the reader, or the fictive persons of the text. The first of these constituted the classical locus of psychoanalytic interest. It is now apparently the most discredited, though also perhaps the most difficult to extirpate, since if the disappearance of the author has been repeatedly announced, authorial mutants ceaselessly reappear, as, for instance, in Harold Bloom’s psychomachia of literary history. Like the author, the fictive character has been deconstructed into an effect of textual codes, a kind of thematic mirage, and the psychoanalytic study of the putative unconscious of characters in fiction has also fallen into disrepute. Here again, however, the impulse resurfaces, for instance in some of the moves of a feminist criticism that needs to show how the represented female psyche refuses and problematizes the dominant concepts of male psychological doctrine. Feminist criticism has in fact largely contributed to a new variant of the psychoanalytic study of fictive characters, a variant one might label the “situational-thematic”: studies of Oedipal triangles in fiction, their permutations and evolution, of the roles of mothers and daughters, of situations of nurture and bonding, and so forth. It is work often full of interest, but nonetheless methodologically disquieting in its use of Freudian analytic tools in a wholly thematic way, as if the identification and labeling of human relations in a psychoanalytic vocabulary were the task of criticism. The third traditional field of psychoanalytic literary study, the reader, continues to flourish in ever-renewed versions, since the role of the reader in the creation of textual meaning is very much on our minds at present, and since the psychoanalytic study of readers’ responses willingly brackets the impossible notion of author in favor of the acceptable and also verifiable notion of reader. The psychoanalytic study of the reader may concern real readers or the reader as psychological everyman . But like the other traditional psychoanalytic approaches, it displaces the object of analysis from the text to some person, some other psychodynamic structure—a displacement I wish to avoid since, as I hope to make clear as I go along, I think psychoanalytic criticism can and should be textual and rhetorical. Peter Brooks is the Tripp Professor of the Humanities at Yale University, where he is also director of the Whitney Humanities Center and chairman of the French department. His most recent book is Reading for the Plot: Design and Intention in Narrative, which has recently been reissued in paperback. His work in progress concerns psychoanalysis and story-telling. (shrink)

Mathematical objects are divided into (1) those which are autonomous, i.e., not dependent for their existence upon mathematicians’ conscious acts, and (2) intentional objects, which are so dependent. Platonist philosophy of mathematics argues that all objects belong to group (1), Brouwer’s intuitionism argues that all belong to group (2). Here we attempt to develop a dualist ontology of mathematics (implicit in the work of, e.g., Hilbert), exploiting the theories of Meinong, Husserl and Ingarden on the relations between autonomous and intentional (...) objects. In particular we develop a phenomenology of mathematical works, which has the stratified intentional structure discovered by Ingarden in his study of the literary work. (shrink)

Often overlooked is the fact that postmodern theory brought to the fore a crisis in the humanities. The implied universalism of the current “iconic turn” in postmodern thinking is a blow to the traditional sciences grouped around national literatures and cultures. In the 1980's, postmodern practitioners in the United States began to assault the discursive practices of the mainstream under the banner of cultural studies. The current crisis in the humanities surfaced in the emancipation of the various studies from their (...) traditional fields in the humanities. The German Studies practiced today in the United States for instance, has no counterpart in Germany's traditional departments of Deutsche Philologie. Whereas the icon in the United States has become an object of investigation for the various studies, it has not yet displaced the littera in Germany's literary sciences. However in the 1990's, the historical sciences in Germany responded to the challenge of the various studies by directing their attention not to cultural studies, but to cultural history, with its well-defined set of methodologies. But what kind of cultural history is it? Is it built on 19th century German foundations, or is it grafted to current North American notions of post-industrial culture? In this paper I show that the supposed opposition between cultural studies and cultural history is artificial. Through a close reading of Hayden White's extremist questioning of historical practice in Metahistory (1973), I demonstrate that there is no opposition between the icon and the littera in this recent radical critique of mainstream humanistic science. The vehement German reaction to his North American assault on European Kultur is based on a misunderstanding of White's premises. Rather than being constructed on a hodgepodge of postmodern approaches, I show that White's postmodern history is in fact conventionally grounded in 19th century Nietzschean thinking. 1 Hans-Peter Söder, Junior Year in Munich Program (Wayne State University). (shrink)

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

If we had no idea which parts of Greek literature in a certain period were poetry or prose, we would regard it as our first job to find out. How much of the Greek prose of the Imperial period is rhythmic has excited less attention; and yet the question should greatly affect both our reading of specific texts and our understanding of the whole literary scene. By ‘rhythmic’ prose, this article means only prose that follows the Hellenistic system of (...) rhythm started, it is said, by Hegesias, and adopted by Cicero and by many Latin writers of the Imperial period. Estimates of how much Greek Imperial prose is rhythmic have long varied drastically. Some experts suggest that all or much artistic Greek prose in the period is rhythmic, others that what little there is fades out after the first centurya.d., as part of the victory of Atticism. There has been fairly little substantial work on rhythmic prose in the first three centuriesa.d.for over fifty years. The object of this article is to investigate a large part of one author's work thoroughly, and to establish that that part is rhythmic. It will also aim to show how that conclusion should greatly affect our whole conception of the author as a writer, and our reading of his every sentence. (shrink)

Las universidades de Ciencias Médicas tienen el reto de graduar un profesional que posea una amplia cultura general integral. El diagnóstico y caracterización del estado actual de la formación socio-humanista de los estudiantes que ingresan a la Casa de Altos Estudios reveló las insuficiencias que existen, por lo cual el objetivo consistió en la elaboración de un sistema de talleres de apreciación literaria para la formación socio-humanista de los estudiantes de Medicina de primer año de la Universidad de Ciencias Médicas (...) de Camagüey que forma parte de un proyecto aprobado en el programa de ciencia, tecnología e innovación nacional número 2, Organización, eficiencia y calidad de los servicios de salud, con el código 152049. El mismo constituye un aporte al Trabajo Educativo y de Extensión Universitaria en la institución. Medical universities face the challenge of graduating a professional with a comprehensive cultural background. The diagnosis and characterization of the current situation in regards to the socio-humanistic education of the students entering Camaguey´s Medical University revealed several insufficiencies. Due to this, the objective of this research was to prepare a system of literary analysis workshops to enable the socio-humanistic education of first year Medical students at Camaguey´s Medical University. This investigation has been approved as a project belonging to a national science, technology and innovation program with the code 152049 and is a contribution to the educational work of the university. (shrink)