Pub Date : 2023-12-05DOI: 10.1353/phl.2023.a913810
Tomislav Zelić
Abstract:
Is it possible to speak about the unspeakable as it is represented in music, lyric poetry, and tragedy? The answer is yes, if we adopt a purely aesthetic perspective. The answer is no, if we adopt the perspective of the transcendental subject as the metaphysical source of music, lyric poetry, and tragedy. In this paper, I conceptualize the nondiscursivity of music, lyric poetry, and Attic tragedy in the philosophical aesthetics of Kant, Schopenhauer, and Nietzsche. I also make a few incidental remarks to Plato's Socrates and Aristotle as well as the Theban plays by Sophocles.
{"title":"The Nondiscursive Aesthetics of Music, Lyric Poetry, and Tragedy","authors":"Tomislav Zelić","doi":"10.1353/phl.2023.a913810","DOIUrl":"https://doi.org/10.1353/phl.2023.a913810","url":null,"abstract":"<p><p>Abstract:</p><p>Is it possible to speak about the unspeakable as it is represented in music, lyric poetry, and tragedy? The answer is yes, if we adopt a purely aesthetic perspective. The answer is no, if we adopt the perspective of the transcendental subject as the metaphysical source of music, lyric poetry, and tragedy. In this paper, I conceptualize the nondiscursivity of music, lyric poetry, and Attic tragedy in the philosophical aesthetics of Kant, Schopenhauer, and Nietzsche. I also make a few incidental remarks to Plato's Socrates and Aristotle as well as the Theban plays by Sophocles.</p></p>","PeriodicalId":51912,"journal":{"name":"PHILOSOPHY AND LITERATURE","volume":"72 2 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-12-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138537202","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-05DOI: 10.1353/phl.2023.a913805
Üner Daglier
Abstract:
In book 5 of his historically controversial autobiography, the Confessions, Jean-Jacques Rousseau describes his involvement in a perfectly harmonious ménage à trois centered around the charming Mme. de Warens. Despite his assertions to the contrary, however, the text indicates that Rousseau harbored jealous feelings and banked on Mme. de Warens's passion for music to gain an edge over his rival, Claude Anet. But Rousseau's apparently sincere denial of jealous feelings and lost hold over Mme. de Warens's romantic imagination after Anet's sudden death might have been related to the philosophical life, which often demands and imposes solitude.
{"title":"Of Love and Music in Book 5 of Rousseau's the Confessions","authors":"Üner Daglier","doi":"10.1353/phl.2023.a913805","DOIUrl":"https://doi.org/10.1353/phl.2023.a913805","url":null,"abstract":"<p><p>Abstract:</p><p>In book 5 of his historically controversial autobiography, the <i>Confessions</i>, Jean-Jacques Rousseau describes his involvement in a perfectly harmonious ménage à trois centered around the charming Mme. de Warens. Despite his assertions to the contrary, however, the text indicates that Rousseau harbored jealous feelings and banked on Mme. de Warens's passion for music to gain an edge over his rival, Claude Anet. But Rousseau's apparently sincere denial of jealous feelings and lost hold over Mme. de Warens's romantic imagination after Anet's sudden death might have been related to the philosophical life, which often demands and imposes solitude.</p></p>","PeriodicalId":51912,"journal":{"name":"PHILOSOPHY AND LITERATURE","volume":"23 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-12-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138537203","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-05DOI: 10.1353/phl.2023.a913806
Andrei Ionescu
Abstract: In this article I investigate D. H. Lawrence's influence on the development of Gilles Deleuze and Félix Guattari's aesthetics, by focusing on the notion of doxa and its relation to art. Deleuze and Guattari's understanding of art as a struggle against opinion emerges from their engagement with Lawrence and gives rise to a form of cultural elitism dating back to Plato. After historically contextualizing their negative attitude toward doxa, I identify a different, Aristotelian tradition, which stresses the positive functions of doxa and offers more nuanced understandings of art, as well as opportunities for the formation of a more inclusive canon.
{"title":"The Question of Doxa: D. H. Lawrence's Influence on Deleuze and Guattari's Aesthetics","authors":"Andrei Ionescu","doi":"10.1353/phl.2023.a913806","DOIUrl":"https://doi.org/10.1353/phl.2023.a913806","url":null,"abstract":"Abstract: In this article I investigate D. H. Lawrence's influence on the development of Gilles Deleuze and Félix Guattari's aesthetics, by focusing on the notion of doxa and its relation to art. Deleuze and Guattari's understanding of art as a struggle against opinion emerges from their engagement with Lawrence and gives rise to a form of cultural elitism dating back to Plato. After historically contextualizing their negative attitude toward doxa, I identify a different, Aristotelian tradition, which stresses the positive functions of doxa and offers more nuanced understandings of art, as well as opportunities for the formation of a more inclusive canon.","PeriodicalId":51912,"journal":{"name":"PHILOSOPHY AND LITERATURE","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-12-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138537244","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-05DOI: 10.1353/phl.2023.a913820
Mario Clemens
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>The Philosophy of Isaiah Berlin</em> by Johnny Lyons <!-- /html_title --></li> <li> Mario Clemens </li> </ul> <em>The Philosophy of Isaiah Berlin</em>, by Johnny Lyons; 276 pp. London: Bloomsbury Academic, 2020. <p>A well-established Isaiah Berlin scholar recently pointed out, "Berlin gets us interested in value pluralism, but he leaves us with many questions."<sup>1</sup> Therefore, is it really the case—as value pluralism holds—that human life in general and politics in particular are characterized by potentially conflicting values that cannot be brought into a hierarchy, thus leaving us with tough and sometimes tragic choices? Does pluralism, thus understood, not lead to moral relativism? And what are the political implications of value pluralism?</p> <p>In the <em>Philosophy of Isaiah Berlin</em>, an encompassing study of Berlin's extensive oeuvre, Johnny Lyons makes an original suggestion for how to address these sustained riddles of Berlin scholarship. For Lyons, the key to understanding Berlin's political theory is his particular notion of philosophy. The author seeks to show "that it is only by unearthing Berlin's conception of philosophy that we can make sense of his political theory" (p. xv).</p> <p>Lyons—who taught philosophy for six years, then abandoned academia in the late 1990s to work in corporate communications, and now has reentered the philosophical debate with this study on Berlin's philosophy—is highly skeptical of the mainstream way of doing philosophy. Lyons sees much of anglophone moral and political philosophy engaged in a "self-styled scientific enterprise" (p. 213), where philosophy is "identifying itself too closely with science or at the very least with a severely naturalistic mindset" (p. 219). This has led to "weirdly formal and systematic moral theorizing" (p. 214), resulting in "predominantly formal, abstruse and largely unreadable work" (p. 213), which moreover ignores the insights of the "<em>the historical turn</em>" (p. 154, emphasis in the original). According to Lyons, this "current state of largely sterile detachment and ossifying specialization is neither inevitable nor useful" (p. 218).</p> <p>What Berlin had, and what, according to Lyons, contemporary anglophone philosophy lacks, is the awareness of more than one legitimate way of describing and understanding the world. Notwithstanding the crucial achievements of the natural sciences, this philosophy's positivist methods are not the only possible approaches to genuine insights.</p> <p>For Lyons, the primary task of philosophy is "to make sense of the world we live in" and to help "us to determine how best to live our lives within that world" (p. 215). And in the light of such a definition of philosophy, Berlin's approach appears preferable to the mainstream analytic tradition.</p> <p>The claim that scien
{"title":"The Philosophy of Isaiah Berlin by Johnny Lyons (review)","authors":"Mario Clemens","doi":"10.1353/phl.2023.a913820","DOIUrl":"https://doi.org/10.1353/phl.2023.a913820","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>The Philosophy of Isaiah Berlin</em> by Johnny Lyons <!-- /html_title --></li> <li> Mario Clemens </li> </ul> <em>The Philosophy of Isaiah Berlin</em>, by Johnny Lyons; 276 pp. London: Bloomsbury Academic, 2020. <p>A well-established Isaiah Berlin scholar recently pointed out, \"Berlin gets us interested in value pluralism, but he leaves us with many questions.\"<sup>1</sup> Therefore, is it really the case—as value pluralism holds—that human life in general and politics in particular are characterized by potentially conflicting values that cannot be brought into a hierarchy, thus leaving us with tough and sometimes tragic choices? Does pluralism, thus understood, not lead to moral relativism? And what are the political implications of value pluralism?</p> <p>In the <em>Philosophy of Isaiah Berlin</em>, an encompassing study of Berlin's extensive oeuvre, Johnny Lyons makes an original suggestion for how to address these sustained riddles of Berlin scholarship. For Lyons, the key to understanding Berlin's political theory is his particular notion of philosophy. The author seeks to show \"that it is only by unearthing Berlin's conception of philosophy that we can make sense of his political theory\" (p. xv).</p> <p>Lyons—who taught philosophy for six years, then abandoned academia in the late 1990s to work in corporate communications, and now has reentered the philosophical debate with this study on Berlin's philosophy—is highly skeptical of the mainstream way of doing philosophy. Lyons sees much of anglophone moral and political philosophy engaged in a \"self-styled scientific enterprise\" (p. 213), where philosophy is \"identifying itself too closely with science or at the very least with a severely naturalistic mindset\" (p. 219). This has led to \"weirdly formal and systematic moral theorizing\" (p. 214), resulting in \"predominantly formal, abstruse and largely unreadable work\" (p. 213), which moreover ignores the insights of the \"<em>the historical turn</em>\" (p. 154, emphasis in the original). According to Lyons, this \"current state of largely sterile detachment and ossifying specialization is neither inevitable nor useful\" (p. 218).</p> <p>What Berlin had, and what, according to Lyons, contemporary anglophone philosophy lacks, is the awareness of more than one legitimate way of describing and understanding the world. Notwithstanding the crucial achievements of the natural sciences, this philosophy's positivist methods are not the only possible approaches to genuine insights.</p> <p>For Lyons, the primary task of philosophy is \"to make sense of the world we live in\" and to help \"us to determine how best to live our lives within that world\" (p. 215). And in the light of such a definition of philosophy, Berlin's approach appears preferable to the mainstream analytic tradition.</p> <p>The claim that scien","PeriodicalId":51912,"journal":{"name":"PHILOSOPHY AND LITERATURE","volume":"22 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-12-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138537195","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-05DOI: 10.1353/phl.2023.a913811
Russell L. Quacchia
Abstract:
The nub of Sherlock Holmes's investigative process has been overlooked in the analytical literature on the subject—until now. This study drills down into the character's methodology to explicate what is at its very heart. I present Holmes as a rational empiricist operating at the explicit level of observation and inference but also as an intuitive empathizer operating at a tacit level of awareness involving imaginative guesswork. I claim that the operational story of the former, where identifying essential clues to resolving a case involves intuitively sensing relevance, necessarily relies on that of the latter.
{"title":"The Methodology of Sherlock Holmes: What Is at the Nub of the Process?","authors":"Russell L. Quacchia","doi":"10.1353/phl.2023.a913811","DOIUrl":"https://doi.org/10.1353/phl.2023.a913811","url":null,"abstract":"<p><p>Abstract:</p><p>The nub of Sherlock Holmes's investigative process has been overlooked in the analytical literature on the subject—until now. This study drills down into the character's methodology to explicate what is at its very heart. I present Holmes as a rational empiricist operating at the explicit level of observation and inference but also as an intuitive empathizer operating at a tacit level of awareness involving imaginative guesswork. I claim that the operational story of the former, where identifying essential clues to resolving a case involves intuitively sensing relevance, necessarily relies on that of the latter.</p></p>","PeriodicalId":51912,"journal":{"name":"PHILOSOPHY AND LITERATURE","volume":"36 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-12-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138537201","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-05DOI: 10.1353/phl.2023.a913807
Nicholas Gaskill
Abstract:
Philosophers and art critics have long argued that the language of color misses or even mars the ineffable sensation of color. But a literary perspective shows otherwise. Starting with examples of colors read but not seen, and then discussing how philosophers have addressed (and often muddled) the so-called problem of color, I propose thinking of color terms as techniques for stabilizing and directing color sensations. I then show how William H. Gass and Maggie Nelson develop a version of this idea in their respective books about blue, which are really books about the relationship between writing and quality.
摘要:哲学家和艺术评论家长期以来一直认为，色彩语言错过了甚至破坏了色彩的不可言说的感觉。但从文学的角度来看，情况并非如此。从阅读但没有看到的颜色的例子开始，然后讨论哲学家如何解决(并且经常混淆)所谓的颜色问题，我建议将颜色术语视为稳定和指导颜色感觉的技术。然后我展示了William H. Gass和Maggie Nelson是如何在他们各自关于蓝色的书中发展出这个观点的，这些书实际上是关于写作和质量之间关系的。
{"title":"How Blue Is Read: Language and Sensation in Literature and Philosophy","authors":"Nicholas Gaskill","doi":"10.1353/phl.2023.a913807","DOIUrl":"https://doi.org/10.1353/phl.2023.a913807","url":null,"abstract":"<p><p>Abstract:</p><p>Philosophers and art critics have long argued that the language of color misses or even mars the ineffable sensation of color. But a literary perspective shows otherwise. Starting with examples of colors read but not seen, and then discussing how philosophers have addressed (and often muddled) the so-called problem of color, I propose thinking of color terms as techniques for stabilizing and directing color sensations. I then show how William H. Gass and Maggie Nelson develop a version of this idea in their respective books about blue, which are really books about the relationship between writing and quality.</p></p>","PeriodicalId":51912,"journal":{"name":"PHILOSOPHY AND LITERATURE","volume":"6 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-12-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138537187","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-05DOI: 10.1353/phl.2023.a913821
Katie Pelkey
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Everyday Poetics: Logic, Love, and Ethics</em> by Brett Bourbon <!-- /html_title --></li> <li> Katie Pelkey </li> </ul> <em>Everyday Poetics: Logic, Love, and Ethics</em> by Brett Bourbon; 200 pp. London: Bloomsbury Publishing, 2022. <p>In <em>Everyday Poetics: Logic, Love, and Ethics</em>, Brett Bourbon probes the nature of poetry and its centrality in our everyday lives, working from the ordinary-language philosophical framework associated with Ludwig Wittgenstein, J. L. Austin, W. V. O. Quine, and Stanley Cavell. Bourbon's ideas contribute new dimensions to the elusive concept of poetry and pivots the reader's attention inward: how can we recognize poetry in our day-to-day and why should we? At sentence level, his claims are clear and compelling to readers across disciplines with varying knowledge of philosophy and poetry. This book is thus addressed to "poets, literary scholars, philosophers, and students of religion, and anyone who cares about the ethics of everyday life, about the surprises that punctuate and give our lives form" (p. ix).</p> <p>Poems themselves are such "events of form," Bourbon emphasizes, which live among us and need not be constituted by words. Wordless poems can be uncovered and embraced through the development of a "poetic vulnerability" to ordinary experiences that are not necessarily wedded to one's aesthetic reaction. Bourbon designates the alphabet as one such example of what he calls a "primal everyday poem"; the alphabet is wordless and consists of a patterned order whose mere form does not encompass its meaning. The ordinary expression "I love you" also falls under this classification; the phrase is a performative poem whose intricate connotation is simplified by common language, yet is not the equivalent of its mere words. Bourbon asserts that, like the phrase "I love you," poems of the everyday cannot be reduced to mere language, conditions, or creative modes.</p> <p>Of the ineffable nature of poetry, Bourbon claims, "Poetry, like death, is that which we can only know by analogy—by examples—but it has a scope beyond all our examples" (p. 108). In terms of examples, he draws from poignant personal experiences to reinforce his arguments and provide insight into his keen sensibility. In chapter 1 ("Poems of the Everyday"), Bourbon recounts his own dismissal as a young boy of poetry's worthiness until one day while watching an old film, he in fact was struck by the phrase "I love you." This ordinary phrase allowed him to reconsider the parameters of what constitutes poetry and acknowledge the dichotomy of the phrase's formal power constituted by trivial symbols.</p> <p>Chapter 4 ("Epithalamion") is also rooted in personal experience. Bourbon opens with the flat assertion, "I have never liked weddings" (p. 43), but he notes a difference between a "marriage of form
{"title":"Everyday Poetics: Logic, Love, and Ethics by Brett Bourbon (review)","authors":"Katie Pelkey","doi":"10.1353/phl.2023.a913821","DOIUrl":"https://doi.org/10.1353/phl.2023.a913821","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Everyday Poetics: Logic, Love, and Ethics</em> by Brett Bourbon <!-- /html_title --></li> <li> Katie Pelkey </li> </ul> <em>Everyday Poetics: Logic, Love, and Ethics</em> by Brett Bourbon; 200 pp. London: Bloomsbury Publishing, 2022. <p>In <em>Everyday Poetics: Logic, Love, and Ethics</em>, Brett Bourbon probes the nature of poetry and its centrality in our everyday lives, working from the ordinary-language philosophical framework associated with Ludwig Wittgenstein, J. L. Austin, W. V. O. Quine, and Stanley Cavell. Bourbon's ideas contribute new dimensions to the elusive concept of poetry and pivots the reader's attention inward: how can we recognize poetry in our day-to-day and why should we? At sentence level, his claims are clear and compelling to readers across disciplines with varying knowledge of philosophy and poetry. This book is thus addressed to \"poets, literary scholars, philosophers, and students of religion, and anyone who cares about the ethics of everyday life, about the surprises that punctuate and give our lives form\" (p. ix).</p> <p>Poems themselves are such \"events of form,\" Bourbon emphasizes, which live among us and need not be constituted by words. Wordless poems can be uncovered and embraced through the development of a \"poetic vulnerability\" to ordinary experiences that are not necessarily wedded to one's aesthetic reaction. Bourbon designates the alphabet as one such example of what he calls a \"primal everyday poem\"; the alphabet is wordless and consists of a patterned order whose mere form does not encompass its meaning. The ordinary expression \"I love you\" also falls under this classification; the phrase is a performative poem whose intricate connotation is simplified by common language, yet is not the equivalent of its mere words. Bourbon asserts that, like the phrase \"I love you,\" poems of the everyday cannot be reduced to mere language, conditions, or creative modes.</p> <p>Of the ineffable nature of poetry, Bourbon claims, \"Poetry, like death, is that which we can only know by analogy—by examples—but it has a scope beyond all our examples\" (p. 108). In terms of examples, he draws from poignant personal experiences to reinforce his arguments and provide insight into his keen sensibility. In chapter 1 (\"Poems of the Everyday\"), Bourbon recounts his own dismissal as a young boy of poetry's worthiness until one day while watching an old film, he in fact was struck by the phrase \"I love you.\" This ordinary phrase allowed him to reconsider the parameters of what constitutes poetry and acknowledge the dichotomy of the phrase's formal power constituted by trivial symbols.</p> <p>Chapter 4 (\"Epithalamion\") is also rooted in personal experience. Bourbon opens with the flat assertion, \"I have never liked weddings\" (p. 43), but he notes a difference between a \"marriage of form","PeriodicalId":51912,"journal":{"name":"PHILOSOPHY AND LITERATURE","volume":"201 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-12-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138537197","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-05DOI: 10.1353/phl.2023.a913815
Brett Beasley
Abstract:
What does it mean to claim that "lives" should be the cornerstone of ethical analysis and reflection? This question has been raised by the Black Lives Matter movement. However, public discussions of the movement have often devolved into rhetorical battles that elide the movement's central moral claims. This paper investigates the question by examining the role of "lives" in the Black womanist ethical tradition and in neo-Aristotelian virtue ethics. I argue that these two traditions, despite their differences, can illuminate one another, and I explain and defend my position through a reading of Alice Walker's The Color Purple.
摘要:“生命”应该成为伦理分析和反思的基石，这意味着什么?“黑人的命也是命”运动提出了这个问题。然而，公众对该运动的讨论往往演变成口头上的斗争，忽略了该运动的核心道德主张。本文通过考察“生命”在黑人女性主义伦理传统和新亚里士多德美德伦理学中的作用来探讨这个问题。我认为，这两种传统尽管存在差异，但可以相互启发，我通过阅读爱丽丝·沃克(Alice Walker)的《紫色》(The Color Purple)来解释和捍卫我的立场。
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Pub Date : 2023-12-05DOI: 10.1353/phl.2023.a913819
Iris Vidmar Jovanović
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Reading as a Philosophical Practice</em> by Robert Piercey <!-- /html_title --></li> <li> Iris Vidmar Jovanović </li> </ul> <em>Reading as a Philosophical Practice</em>, by Robert Piercey, 130 pp. London: Anthem Press, 2021. <p>Robert Piercey's <em>Reading as a Philosophical Practice</em> is dedicated to exploring the passion of reading, and to explaining ways in which common readers, as Virginia Woolf calls them, rather than professionals, engage with reading. Piercey's answer to this question, which is also the central claim of the book, is that reading—independently of the subject or a genre—is a philosophical activity, that is, "a kind of reflection on experiences and capacities that are distinctive to human beings" (p. 3). As Piercey argues, reading inevitably invites one to consider issues that fall within three main philosophical domains: those related to selfhood; those related to ethical questions, primarily the ones asking about a valuable life; and those concerning ontological questions regarding the true nature of things. Inspiration for this account comes from the writings of Henry James, Stanley Cavell, and Marcel Proust, each of whom describes reading as an experience in which one's self enlarges and new dimensions of subjectivity are revealed. Piercey's ambition is to understand precisely what happens in such moments of discovery, and he sets out to offer an account of the essence of the experience of reading that explains why reading matters so profoundly to so many people.</p> <p>Piercey finds a philosophical grounding for his main claim in Wolfgang Iser's phenomenological account of reading and Alasdair MacIntyre's account of practice. Piercey praises Iser's account of reading as an activity prolonged in time, during which a reader is situated within the text, and tries to rebuild that text by constantly going through interpretative stages. Such a "wandering viewpoint" (p. 20) generates in one a sense of living through an altered subjectivity. As Piercey argues, the greatest value of this explanation is its capacity to account for how a text is given to one's consciousness.</p> <p>Insightful as it is, however, Iser's account has limits, given his focus on fictional classics and his belief that the aim of reading is to arrive at the correct interpretation of a text. To overcome these shortcomings, Piercey adopts MacIntyre's account of practice and argues that understanding reading as a <strong>[End Page 468]</strong> type of social practice means recognizing it as "embedded in, and expressive of, a full range of human activities and a full picture of the human person." Moreover, thinking of reading as a practice encourages us to see it "as a space where one reflects on what kind of a person one should become, and tries earnestly to make oneself into that kind of a person" (p. 25
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Pub Date : 2023-12-05DOI: 10.1353/phl.2023.a913818
Alessio Zanelli
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <ul> <li><!-- html_title --> Three Poems on Memory <!-- /html_title --></li> <li> Alessio Zanelli </li> </ul> <h2>MICROCHIMERISM</h2> <p><span>I feel them,</span><span>the way I feel the stardust seeping through my skin.</span><span>I feel them in the light and in the dark,</span><span>in absolute silence and in deafening noise,</span><span>in peaceful days and in gloomy days,</span><span>while awake and while asleep.</span><span>They whisper to me who I am,</span><span>where I came from and where I'm headed.</span><span>They uphold me</span><span>when my body falters or my mind breaks down.</span><span>I feel them loud and clear</span><span>even though turmoil surrounds me,</span><span>and I wonder whether she can feel them in turn,</span><span>wherever she is now.</span><span>And if our swapped cells don't do the job,</span><span>I'm sure we'll join anew</span><span>as waves afloat in spacetime,</span><span>liminal ripples invisibly entwined</span><span>that eternally propagate within the whole,</span><span>within the cosmic womb astir with zillions more. <strong>[End Page 465]</strong></span></p> <h2>TIME</h2> <blockquote> <p>Hanging on in quiet desperation</p> —Roger Waters<sup>1</sup> </blockquote> <p><span>They were right. We would get to know the hoax.</span><span>They had ridden the carousel before.</span><span>The swallows have always been returning,</span><span>only fewer with every passing year,</span><span>though they have never really gone away.</span><span>Now they speak to me in dreams, one by one.</span><span>The time has come. To regret time. And all.</span><span>We are drops off the stalactites of time,</span><span>settling the concretions of memory.</span><span>And the sun burns on. Up and down around. <strong>[End Page 466]</strong></span></p> <h2>WHIFFS</h2> <p><span>Light has no edge, darkness has no center, both have shape.</span><span>They visit with me briefly, quick life whiffs,</span><span>between a misty trip into nowhere and the next.</span><span>They speak a few words, terse phrases,</span><span>neat like scratches of diamond over limestone,</span><span>in a forgotten lively voice,</span><span>from a time long before they left.</span><span>I gather nothing, mostly, no real sense.</span><span>I retrieve a very distant memory, every so often,</span><span>as if arising from yesterday.</span><span>They hardly show themselves while speaking,</span><span>and when they do I can but have a fleeting glance.</span><span>Their face shines upon an invisible body,</span><span>illuminates the whole ambience,</span><span>belongs in an older past,</span><span>not the last I have known with them.</span><span>It is a face from youth,</span><span>one I am allowed to recall only when they appear.</span><span>Why do they come if they cannot stay?</span><span>How is it they take the long way around?</span><span>What do they mean?</span><span>Mayb
{"title":"Three Poems on Memory","authors":"Alessio Zanelli","doi":"10.1353/phl.2023.a913818","DOIUrl":"https://doi.org/10.1353/phl.2023.a913818","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <ul> <li><!-- html_title --> Three Poems on Memory <!-- /html_title --></li> <li> Alessio Zanelli </li> </ul> <h2>MICROCHIMERISM</h2> <p><span>I feel them,</span><span>the way I feel the stardust seeping through my skin.</span><span>I feel them in the light and in the dark,</span><span>in absolute silence and in deafening noise,</span><span>in peaceful days and in gloomy days,</span><span>while awake and while asleep.</span><span>They whisper to me who I am,</span><span>where I came from and where I'm headed.</span><span>They uphold me</span><span>when my body falters or my mind breaks down.</span><span>I feel them loud and clear</span><span>even though turmoil surrounds me,</span><span>and I wonder whether she can feel them in turn,</span><span>wherever she is now.</span><span>And if our swapped cells don't do the job,</span><span>I'm sure we'll join anew</span><span>as waves afloat in spacetime,</span><span>liminal ripples invisibly entwined</span><span>that eternally propagate within the whole,</span><span>within the cosmic womb astir with zillions more. <strong>[End Page 465]</strong></span></p> <h2>TIME</h2> <blockquote> <p>Hanging on in quiet desperation</p> —Roger Waters<sup>1</sup> </blockquote> <p><span>They were right. We would get to know the hoax.</span><span>They had ridden the carousel before.</span><span>The swallows have always been returning,</span><span>only fewer with every passing year,</span><span>though they have never really gone away.</span><span>Now they speak to me in dreams, one by one.</span><span>The time has come. To regret time. And all.</span><span>We are drops off the stalactites of time,</span><span>settling the concretions of memory.</span><span>And the sun burns on. Up and down around. <strong>[End Page 466]</strong></span></p> <h2>WHIFFS</h2> <p><span>Light has no edge, darkness has no center, both have shape.</span><span>They visit with me briefly, quick life whiffs,</span><span>between a misty trip into nowhere and the next.</span><span>They speak a few words, terse phrases,</span><span>neat like scratches of diamond over limestone,</span><span>in a forgotten lively voice,</span><span>from a time long before they left.</span><span>I gather nothing, mostly, no real sense.</span><span>I retrieve a very distant memory, every so often,</span><span>as if arising from yesterday.</span><span>They hardly show themselves while speaking,</span><span>and when they do I can but have a fleeting glance.</span><span>Their face shines upon an invisible body,</span><span>illuminates the whole ambience,</span><span>belongs in an older past,</span><span>not the last I have known with them.</span><span>It is a face from youth,</span><span>one I am allowed to recall only when they appear.</span><span>Why do they come if they cannot stay?</span><span>How is it they take the long way around?</span><span>What do they mean?</span><span>Mayb","PeriodicalId":51912,"journal":{"name":"PHILOSOPHY AND LITERATURE","volume":"8 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-12-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138537188","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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