42 found
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  1.  5
    The Company We Keep: An Ethics of Fiction.Wayne C. Booth - 1988 - University of California Press.
    Wayne C. Booth argues for the relocation of ethics to the center of our engagement with literature.
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  2.  8
    The Rhetoric of Fiction.Wayne C. Booth - 1964 - Journal of Aesthetics and Art Criticism 22 (4):487-488.
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  3.  3
    The Company We Keep: An Ethics of Fiction.Wayne C. Booth - 1988 - University of California Press.
    In _The Company We Keep_, Wayne C. Booth argues for the relocation of ethics to the center of our engagement with literature. But the questions he asks are not confined to morality. Returning ethics to its root sense, Booth proposes that the ethical critic will be interested in any effect on the ethos, the total character or quality of tellers and listeners. Ethical criticism will risk talking about the quality of _this_ particular encounter with _this_ particular work. Yet it will (...)
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  4. The Company We Keep: An Ethics of Fiction.Wayne C. Booth - 1990 - Philosophy and Rhetoric 23 (3):247-248.
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  5.  5
    Modern Dogma and the Rhetoric of Assent.Wayne C. Booth - 1974 - University of Chicago Press.
    When should I change my mind? What can I believe and what must I doubt? In this new "philosophy of good reasons" Wayne C. Booth exposes five dogmas of modernism that have too often inhibited efforts to answer these questions.
  6. A Rhetoric of Irony.Wayne C. Booth - 1975 - Philosophy and Rhetoric 8 (2):123-129.
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  7. Modern Dogma and the Rhetoric of Assent.Wayne C. Booth - 1975 - Philosophy and Rhetoric 8 (4):250-255.
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  8.  13
    Why banning ethical criticism is a serious mistake.Wayne C. Booth - 1998 - Philosophy and Literature 22 (2):366-393.
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  9.  1
    Critical Understanding: The Powers and Limits of Pluralism.Wayne C. Booth - 1980 - Journal of Aesthetics and Art Criticism 38 (3):331-333.
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  10.  2
    The Rhetoric of Irony.Wayne C. Booth - 1975 - Journal of Aesthetics and Art Criticism 33 (3):361-363.
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  11.  8
    Metaphor as Rhetoric: The Problem of Evaluation.Wayne C. Booth - 1978 - Critical Inquiry 5 (1):49-72.
    What I am calling for is not as radically new as it may sound to ears that are still tuned to positivist frequencies. A very large part of what we value as our cultural monuments can be thought of as metaphoric criticism of metaphor and the characters who make them. The point is perhaps most easily made about the major philosophies. Stephen Pepper has argued, in World Hypotheses,1 that the great philosophies all depend on one of the four "root metaphors," (...)
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  12. The ethics of medicine, as revealed in literature.Wayne C. Booth - 2002 - In Rita Charon & Martha Montello (eds.), Stories matter: the role of narrative in medical ethics. New York: Routledge. pp. 10--20.
     
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  13.  9
    Freedom of Interpretation: Bakhtin and the Challenge of Feminist Criticism.Wayne C. Booth - 1982 - Critical Inquiry 9 (1):45-76.
    In turning to the language of freedom, I am not automatically freed from the dangers of reduction and self-privileging. "Freedom" as a term is at least as ambiguous as "power" . When I say that for me all questions about the politics of interpretation begin with the question of freedom, I can either be saying a mouthful or saying nothing at all, depending on whether I am willing to complicate my key term, "freedom," by relating it to the language of (...)
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  14.  3
    Books for review and for listing here should be addressed to Emily Zakin, Review Editor, Department of Philosophy, Miami University, Oxford, OH 45056.A. Aquinas, Robert Audi, Martin Bickman, Wayne C. Booth, Gregory G. Colomb, Joseph M. Williams, Mario Bunge, Steven M. Cahn, Lawrence Cahoone & Dennis Carlson - 2003 - Teaching Philosophy 26 (2).
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  15.  5
    A Rhetoric of Irony.Wayne C. Booth - 1975 - University of Chicago Press.
    Perhaps no other critical label has been made to cover more ground than "irony," and in our time irony has come to have so many meanings that by itself it means almost nothing. In this work, Wayne C. Booth cuts through the resulting confusions by analyzing how we manage to share quite specific ironies—and why we often fail when we try to do so. How does a reader or listener recognize the kind of statement which requires him to reject its (...)
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  16.  2
    Criticism as the pursuit of character.Wayne C. Booth - 1992 - Journal of Medical Humanities 13 (2):67-78.
  17.  9
    Ethics, Literature, and Theory: An Introductory Reader.Wayne C. Booth, Dudley Barlow, Orson Scott Card, Anthony Cunningham, John Gardner, Marshall Gregory, John J. Han, Jack Harrell, Richard E. Hart, Barbara A. Heavilin, Marianne Jennings, Charles Johnson, Bernard Malamud, Toni Morrison, Georgia A. Newman, Joyce Carol Oates, Jay Parini, David Parker, James Phelan, Richard A. Posner, Mary R. Reichardt, Nina Rosenstand, Stephen L. Tanner, John Updike, John H. Wallace, Abraham B. Yehoshua & Bruce Young (eds.) - 2005 - Sheed & Ward.
    Do the rich descriptions and narrative shapings of literature provide a valuable resource for readers, writers, philosophers, and everyday people to imagine and confront the ultimate questions of life? Do the human activities of storytelling and complex moral decision-making have a deep connection? What are the moral responsibilities of the artist, critic, and reader? What can religious perspectives—from Catholic to Protestant to Mormon—contribute to literary criticism? Thirty well known contributors reflect on these questions, including iterary theorists Marshall Gregory, James Phelan, (...)
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  18.  5
    Reply to Richard Berrong.Wayne C. Booth - 1985 - Critical Inquiry 11 (4):697-701.
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  19.  5
    Irony and Pity Once Again: "Thaïs" Revisited.Wayne C. Booth - 1975 - Critical Inquiry 2 (2):327-344.
    Mad about it they still were, in 1926, when Hemingway's splendid spoofing appeared in The Sun Also Rises. But it was not everybody who had been responsible. It was mainly Anatole France, abetted by his almost unanimously enthusiastic critics. And of all his works, the one that must have seemed to fit the formula best was Thaïs, already a quarter of a century old when Jake Barnes learned of irony and pity. It is not a bad formula for the effect (...)
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  20.  4
    Introducing professor mearsheimer to his own university.Wayne C. Booth - 1998 - Philosophy and Literature 22 (1):174-178.
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  21.  7
    Kenneth Burke's Way of Knowing.Wayne C. Booth - 1974 - Critical Inquiry 1 (1):1-22.
    Kenneth Burke is, at long last, beginning to get the attention he de- serves. Among anthropologists, sociologists, psychologists, and rhetori- cians his "dramatism" is increasingly recognized as something that must at least appear in one's index, whether one has troubled to understand him or not. Even literary critics are beginning to see him as not just one more "new critic" but as someone who tried to lead a revolt against "narrow formalism" long before the currently fashionable explosion into the "extrinsic" (...)
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  22. Martha C. Nussbaum's "love's knowledge".Wayne C. Booth - 1991 - Philosophy and Literature 15 (2):302.
     
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  23.  10
    M. H. Abrams: Historian as Critic, Critic as Pluralist.Wayne C. Booth - 1976 - Critical Inquiry 2 (3):411-445.
    When M. H. Abrams published a defense, in 1972, of "theorizing about the arts,"1 some of his critics accused him, of falling into subjectivism. He had made his case so forcefully against "the confrontation model of aesthetic criticism," and so effectively argued against "simplified" and "invariable" models of the art work and of "the function of criticism," that some readers thought he had thrown overboard the very possibility of a rational criticism tested by objective criteria. In his recent reply to (...)
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  24.  3
    My Many Selves: The Quest for a Plausible Harmony.Wayne C. Booth - 2006 - Utah State University Press.
    In his autobiography, _My Many Selves,_ Wayne C. Booth is less concerned with his professional achievements---though the book by no means ignores his distinguished career---than with the personal vision that emerges from a long life lived thoughtfully. For Booth, even the autobiographical process becomes part of a quest to harmonize the diverse, often conflicting aspects of who he was. To see himself clearly and whole, he broke the self down, personified the fragments, uncovered their roots in his experience and background, (...)
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  25. Now Don't Try to Reason with Me.Wayne C. Booth - 1972 - Philosophy and Rhetoric 5 (2):126-127.
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  26.  6
    Pluralism in the Classroom.Wayne C. Booth - 1986 - Critical Inquiry 12 (3):468-479.
    At my university we never stop reforming the curriculum, and we’re now discussing the plurality of ways in which our students fulfill our requirement of a full year of “freshman humanities.” Some of us feel that we now provide too many ways: neither students nor faculty members can make a good defense of a requirement—in itself an expression of power, if you will—that leads to scant sharing of readings or subject matters for the students, and to no goals or methods (...)
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  27.  5
    "Preserving the Exemplar": Or, How Not to Dig Our Own Graves.Wayne C. Booth - 1977 - Critical Inquiry 3 (3):407-423.
    At first thought, our question of the day seems to be "about the text itself." Is there, in all texts, or at least in some texts, what Abrams calls "a core of determinate meanings," "the central core of what they [the authors] undertook to communicate"? Miller has seemed to find in the texts of Nietzsche a claim that there is not, that "the same text authorizes innumerable interpretations: There is no 'correct' interpretation. . . . reading is never the objective (...)
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  28.  8
    Reply to Richard Berrong.Wayne C. Booth - 1985 - Critical Inquiry 11 (4):697-701.
    At first I thought Richard Berrong’s claim was only that I had misread Rabelais. My main point was not about Rabelais but about how, in general, we might deal with sexist classics. But it remains true that if Berrong has caught me misreading—and then condemning—“bits” torn from their context, I have violated my own professed standards. He and I both see Rabelais as a very great author, and we both hope to avoid the pointlessness of judging works, great or small, (...)
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  29.  7
    The knowing most worth doing: essays on pluralism, ethics, and religion.Wayne C. Booth - 2010 - Charlottesville: University of Virginia Press. Edited by Walter Jost.
    "This important and well-executed collection provides evidence of both the diversity of Booths interests and the consistency of his thought. It will appeal to a substantial audience of Boothophiles, rhetoricians, literary critics and theorists, and students of religion."---James Phelan, Ohio State University, author of Living to Tell about It: A Rhetoric and Ethics of Character Narration "The Knowing Most Worth Doing simultaneously celebrates Booth's career and offers his admirers easy access to significant but difficult-to-find essays. Like most of Booth's best (...)
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  30.  1
    Ten Literal "Theses".Wayne C. Booth - 1978 - Critical Inquiry 5 (1):175-176.
    Because my paper was often metaphorical, some participants on the symposium expressed puzzlement about my literal meaning, especially about the passage from Mailer. Here are ten literal "theses" that the paper either argues for, implies, or depends on.1. What metaphor is can never be determined with a single answer. Because the word has now become subject to all of the ambiguities of our notions about similarity and difference, the irreducible plurality of philosophical views of how similarities and differences relate will (...)
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  31.  6
    The Rhetoric of Fiction.Wayne C. Booth - 2010 - University of Chicago Press.
    The first edition of The Rhetoric of Fiction transformed the criticism of fiction and soon became a classic in the field. One of the most widely used texts in fiction courses, it is a standard reference point in advanced discussions of how fictional form works, how authors make novels accessible, and how readers recreate texts, and its concepts and terms—such as "the implied author," "the postulated reader," and "the unreliable narrator"—have become part of the standard critical lexicon. For this new (...)
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  32.  7
    Why ethical criticism fell on hard times.Wayne C. Booth - 1988 - Ethics 98 (2):278-293.
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  33. What Every Novelist Needs to Know about Narrators (Chicago Shorts) vol. 1.Wayne C. Booth - 2012 - University of Chicago Press.
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  34.  4
    Love's Knowledge: Essays on Philosophy and Literature (review).Wayne C. Booth - 1991 - Philosophy and Literature 15 (2):302-310.
  35.  5
    Selected Writings of Richard Mckeon, Volume Two: Culture, Education, and the Arts.Richard P. McKeon & Wayne C. Booth - 1998 - Chicago: University of Chicago Press. Edited by Zahava Karl McKeon & William G. Swenson.
    Together, the writings in this book show how McKeon reinvented the ancient arts of rhetoric, grammar, logic, and dialectic for the new circumstances of a global culture.
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  36.  7
    The Writing of Organic Fiction: A Conversation.Wright Morris & Wayne C. Booth - 1976 - Critical Inquiry 3 (2):387-404.
    MORRIS: But come back to that other kind of fiction, in which the author himself is involved with his works, not merely in writing something for other people but in writing what seems to be necessary to his conscious existence, to his sense of well-being. For such a writer, when he finished with something he finishes with it; he is not left with continuations that he can go on knitting until he runs out of yarn. This conceit reflects my own (...)
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  37.  3
    Arthur Heiserman 1929-1975.Sheldon Sacks & Wayne C. Booth - 1976 - Critical Inquiry 2 (3).
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  38.  7
    Sheldon Sacks 1930-1979.Robert E. Streeter, Wayne C. Booth & W. J. T. Mitchell - 1979 - Critical Inquiry 5 (3):423-425.
    It is strange to write for the pages of this journal a statement which will not come under the eye of its founding editor, Sheldon Sacks. For nearly five years everything that appeared in Critical Inquiry—articles, critical responses, editorial comments—was a matter of painstaking and passionate concern to Shelly Sacks. With a flow of questions and suggestions and a talent for unabashed cajolery, he generated articles and rejoinders to those articles. He worked tirelessly in editorial consultation and correspondence with contributors, (...)
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  39.  2
    Interpreting IroniesA Rhetoric of Irony.Susan Suleiman & Wayne C. Booth - 1976 - Diacritics 6 (2):15.
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  40.  8
    Our best rhetorologist.Wayne C. Booth - 1995 - Philosophy and Literature 19 (1):116-126.
    In lieu of an abstract, here is a brief excerpt of the content:Our Best RhetorologistWayne C. BoothAristotle’s Rhetoric: An Art of Character, by Eugene Garver; 328 pp. Chicago: University of Chicago Press, 1994, $53.95.Eugene Garver’s new book is not only an original and challenging account of Aristotle’s Rhetoric. It is one of the fullest and most responsible encounters ever with philosophical, political, and ethical issues raised by the theory and practice of rhetoric. I’ll go even further. Because Garver grapples so (...)
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  41.  3
    Review of George Lakoff and Mark Johnson: Metaphors We Live By[REVIEW]Wayne C. Booth - 1983 - Ethics 93 (3):619-621.
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  42.  3
    Book Review:Metaphors We Live By. George Lakoff, Mark Johnson. [REVIEW]Wayne C. Booth - 1983 - Ethics 93 (3):619-.
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