Theory of Literature was originally published in 1949. It is not a textbook introducing the young to the elements of literary appreciation nor a survey of the techniques employed in scholarly research. The authors have sought to unite "poetics" (or literary theory) and "criticism" (evaluation of literature) with "scholarship" ("research") and "literary history" (the "dynamics"of literature, in contrast to the "statics" of theory and criticism).

The Theory of Literature in German Romanticism Philippe Lacoue-Labarthe, Jean-Luc Nancy. Preface: The. Literary. Absolute. I. "There are classifications that are bad enough as classifications, but that have nonetheless dominated entire ...

Though it is inter-disciplinary in scope, situated as it is on the borderlines of ontology and logic, philosophy of literature and theory of language, Ingarden's work has a deliberately narrow focus: the literary work, its structure and ...

Georg Lukács wrote The Theory of the Novel in 1914-1915, a period that also saw the conception of Rosa Luxemburg's Spartacus Letters, Lenin's Imperialism: The Highest Stage of Capitalism, Spengler's Decline of the West, and Ernst Bloch's Spirit of Utopia. Like many of Lukács's early essays, it is a radical critique of bourgeois culture and stems from a specific Central European philosophy of life and tradition of dialectical idealism whose originators include Kant, Hegel, Novalis, Marx, Kierkegaard, Simmel, Weber, and (...) Husserl.The Theory of the Novel marks the transition of the Hungarian philosopher from Kant to Hegel and was Lukács's last great work before he turned to Marxism-Leninism. (shrink)

"_Of Literature and Knowledge_ looks... like an important advance in this new and very important subject... literature is about to become even more interesting." – Edward O. Wilson, Pellegrino University Professor, Harvard University. Framed by the theory of evolution, this colourful and engaging volume presents a new understanding of the mechanisms by which we transfer information from narrative make-believe to real life. Ranging across game theory and philosophy of science, as well as poetics and aesthetics, Peter (...) Swirski explains how literary fictions perform as a systematic tool of enquiry, driven by thought experiments. Crucially, he argues for a continuum between the cognitive tools employed by scientists, philosophers and scholars or writers of fiction. The result is a provocative study of our talent and propensity for creating imaginary worlds, different from the world we know yet invaluable to our understanding of it. _Of Literature and Knowledge_ is a noteworthy challenge to contemporary critical theory, arguing that by bridging the gap between literature and science we might not only reinvigorate literary studies but, above all, further our understanding of literature. (shrink)

Framed by the theory of evolution, this volume offers a new understanding of the mechanisms by which we transfer information from narrative make-believe to real life. Ranging across game theory and philosophy of science, as well as poetics and aesthetics, Peter Swirski explains how literary fictions perform as a systematic tool of enquiry, driven by thought experiments. Crucially, he argues for a continuum between the cognitive tools employed by scientists, philosophers, and scholars or writers of fiction."--Jacket.

The relationship of words to the things they represent and to the mind that forms them has long been the subject of linguistic enquiry. Joseph Graham's challenging book takes this debate into the field of literary theory, making a searching enquiry into the nature of literary representation. It reviews the arguments of Plato's Cratylus on how words signify things, and of Chomsky's theory of the innate "natural" status of language (contrasted with Saussure's notion of its essential arbitrariness). In (...) the process, Graham explores the issues of meaning and intentionality in representation, and questions of how the mind represents the world. Graham's use of linguistic theories and models leads him to a new response to Wimsatt's notion of the verbal icon, Stanley Fish's concept of literature as self-consuming artifact, and de Man's idea of its function as an allegory of reading. In showing them in fact to be complementary, he transcends the current controversies among literary theorists, arguing that the solution lies not in epistemology or philosophy, but in psychology and the study of how literature teaches and why humans learn best by example. (shrink)

This article responds to the arguments put forth by Peter Lamarque and Stein Haugom Olsen in Truth, Fiction, and Literature: A Philosophical Perspective (1994). It argues that the said work is representative of the widespread tendency in literary theory today to discard the possibility of literary truth, and it provides counterarguments to the work’s main theses. Consequently, it criticizes the philosophy of pragmatism and its implications, and it offers a theory that defines fictional objects as existing and (...) solves contradictions that commonly affect our debates on the ontology of fiction. The article does not provide a positive theory of literary truth, but it undermines its denials, which have become popular in recent decades. (shrink)

This new edition of the classic Contemporary Theories of Knowledge has been significantly updated to include analyses of the recent literature in epistemology.

This book comprises a series of essays exploring the transformative insights of Fichte, Herder, Humboldt and the Romantics into the seminal role of language and imagination in shaping human experience and art, including how language, self-consciousness and understanding arise through speech. Along with topics concerning the literary work of art, the philosophy of history, German humanities, philology, and semiotics, the author also discusses the place of phenomenology and the concept of interpretation in literary theory. In highlighting ideas from A. (...) W. Vico, F. Schlegel, Novalis, Germaine de Staël, and Schleiermacher, the author also elucidates romantic poetics, translation, discourse and cultural transfer themes. Das vorliegende Werk umfasst eine Reihe hermeneutischer Abhandlungen des Autors, in deren Fokus die Deutung der Sprachauffassungen Fichtes, Herders, Humboldts und der Romantiker steht. Der Autor untersucht dabei die Formierung von Erfahrung und Kunst durch Sprache und Einbildungskraft sowie die Entstehung von Sprache, Selbstbewusstsein und Verstehen in der Rede. Desgleichen behandelt er Semiotik, Philologie und Philosophie der Geschichte, sowie die Rolle der Phänomenologie und des Interpretationsbegriffs in der Literaturkritik. Im Besonderen hebt der Autor die Auffassungen von Vico, A.W. und F. Schlegel, Novalis, Germaine de Staël, F. Schleiermacher hervor und beleuchtet Übersetzungs-, Diskurs- und Kulturtransfertheorien sowie die Poetik der Romantiker. (shrink)

本书是作者对文艺学美学现象和问题深入思考的成果辑集,内容涵盖文艺美学,文学批评,文学理论,当代审美文化,文学理论教材研究,戏曲理论,文艺学方法论等方面,基础研究与前沿性探索并重,具有一定的学术参考价值 .

The literature on autonomous language learning reveals both, scholars’ great enthusiasm for the revolutionary potential of learner autonomy as well as pessimism for its continual depoliticization within higher education. Similar to how ‘learner autonomy’ is still today an unfinished construct that raises considerable confusion among scholars, the critical theory of learner autonomy in the field of language learning remains largely unexplored; and thus, yet to be fully articulated. Building on the relevant literature, this article attempts to provide (...) a coherent and nuanced theoretical framework for the critical practice of learner autonomy in higher education. Results show how the field of language learning is dominated by uncritical and apolitical approaches that render learner autonomy a politically impotent practice. Critical autonomous language learning must be both critically aware—so it can raise students’ awareness of the structural and discursive constraints on their autonomy—and politically active—so it may lead to education reform and social change—, while also aiming at reaching the highest levels of institutional material support and student control possible. (shrink)

Greek art and literature follow parallel courses through the long period from Homer to Euripides. Homer and Euripides, Dipylon vases and the latest white lekythoi are as far apart from each other as it is possible for works in the same medium to be. The distance can only be explained by a similar change in the views of artists, writers, and their public.