PHILOSOPHY AND LITERATURE最新文献

Abstract:

The prevailing anti-authorial trend in contemporary mainstream literary theory and aesthetic anti-intentionalism produces different versions of "the death of the author" concept. Conversely, different forms of intentionalism in the analytic tradition strongly defend the relevance of authorial intentions. Although I agree with classic intentionalism on some key points, I find it untenable to believe that the meaning of a literary work is wholly dependent on the intentions of its creator. Rather I consider authorial meaning as one variety of literary meaning. My explanation of the part the author plays in literary understanding is consistent with Anders Pettersson's theory.

Abstract:

Although the Iliad is typically approached as a version of, say, Catch-22, the epic is not about armed conflict and its horrors. The war at Troy serves the poet as a metaphor for life. Advanced in the hexameters is an account of the genesis, and a defense, of the humanist view that men and women occupy an autonomous place midway between clods and gods. Plato's harsh criticism of Homer's work comes into focus once Achilles's transformation is interpreted along these philosophical lines. Homer is rejecting what Plato, who flattens human reality and calls it justice, endorses.

• Aphorisms
• Daniel Liebert

One man alone is too much for one man alone.

—Antonio Porchia¹

Inspired by the Antonio Porchia quotation above, I have put aside aphorisms as varieties of "wit and word" games for a while to explore the question, "Can the writing of aphorisms be a profoundly serious activity of the inner life?" I hope to capture that "too-much-ness" of a man alone. We are all of us such intrinsically lovely, overwhelmed creatures.

It is too late too soon.Once I wasn't, but never again will I not have been.An ugly city is an ugly idea about man.A small boy prays to the God of small boys.There is only truth—what else could there be?The end of the poem is the oldest part of the poem.Even this pellet of mouse dung is a fated thing.Not even a handhold; a breathhold in this world is all.Here evokes infinite elsewheres. [End Page 463] I will die where I was born—in medias res.To have had a destiny—how I would have loved that!My secrets have secrets from me.I don't want what I need—I hate what I need.

Footnotes

1. Antonio Porchia, "Voices," trans. Gonzalo Melchor, unpublished manuscript, 2008.

Abstract:

Narratives are an interface that evolution has instilled in our brains for their optimal interaction with reality. Without them we would not be who we are: creatures that narrativize their experiences, integrate them into their autobiographical self, and imagine the future of this self. But narratives also distort reality by endowing it with meaning, purpose, and causality even when none exist. Literary stories with weak narrativity, such as those by Raymond Carver, remind us of another modality of the human mind and selfhood available to us, one that registers the world without subjecting it to narrative selection and chronological ordering.

Abstract:

In 1798, Friedrich Schlegel published a review of Wilhelm Meister's Apprenticeship, extolling Johann Wolfgang Goethe's book as a masterpiece. At the same time, he commenced work on Lucinde, which caused a moral scandal and was criticized widely. Here, I retrace several threads of Schlegel's novel that testify to the fact that his assessment of Goethe's work may not have been so unequivocally favorable as it might seem at first sight. When looking at Wilhelm Meister through Lucinde's eyes, we can see that Schlegel challenges the Goethean philosophy of man, and his novel remains the only consistent record of this criticism.

Abstract:

In the Phaedrus, Plato provides an intriguing dramatic detail immediately before Socrates's first speech. "I shall veil myself to speak," Socrates declares, "so that I may run through the speech as quickly as possible and may not be at a complete loss from a sense of shame as I look towards you." In this essay, I argue that Socrates's veiling illustrates how authors of dialogic literature about philosophical topics subtly use dramatic and literary details to suggest preferred philosophical takeaways.