Essays On Literature And Philosophy

This volume brings together Nussbaum's published papers on the relationship between literature and philosophy, especially moral philosophy. The papers, many of them previously inaccessible to non-specialist readers, deal with such fundamental issues as the relationship between style and content in the exploration of ethical issues; the nature of ethical attention and ethical knowledge and their relationship to written forms and styles; and the role of the emotions in deliberation and self-knowledge. Nussbaum investigates and defends a conception of ethical understanding which involves emotional as well as intellectual activity, and which gives a certain type of priority to the perception of particular people and situations rather than to abstract rules. She argues that this ethical conception cannot be completely and appropriately stated without turning to forms of writing usually considered literary rather than philosophical. It is consequently necessary to broaden our conception of moral philosophy in order to include these forms. Featuring two new essays and revised versions of several previously published essays, this collection attempts to articulate the relationship, within such a broader ethical inquiry, between literary and more abstractly theoretical elements.

Kivy raises questions of a philosophical nature about the novel that will be of interest both to the professional philosopher and to the general reader.

Bringing together eight previously published essays by M. W. Rowe and a substantial new study of Larkin, this book emphasizes the profound affinities between philosophy and literature. Ranging over Plato, Shakespeare, Goethe, Arnold and Wittgenstein, the first five essays explore an anti-theoretical conception of philosophy. This sees the subject as less concerned with abstract arguments that result in theories, than with prompts intended to induce clarity of vision and psychical harmony. On this understanding, philosophy looks more like literature than logic. Conversely, the last four essays argue that literature is centrally concerned with truth and abstract thought, and that literature is therefore a more cognitive and philosophical enterprise than is commonly supposed.

"Poetry does not impose, it exposes itself," wrote Paul Celan. Werner Hamacher's investigations into crucial texts of philosophical and literary modernity show that Celan's apothegm is also valid for the structure of understanding and for language in general. In Premises Hamacher demonstrates that the promise of a subject position is not only unavoidable--and thus operates as a structural imperative--but is also unattainable and therefore by necessity open to possibilities other than that defined as "position," to redefinitions and unexpected transformations of the merely thetical act. Proceeding along the lines of both philosophical argument and critical reading, Hamacher presents the fullest account of the vast disruption in the theories and ethics of positional and propositional acts--a disruption first exposed by Kant's analysis of the minimal requirements for linguistic and practical action. Focusing on the double trait of every premise--that it is promised but never attained--Hamacher analyzes nine decisive themes, topics, and texts of modernity: the hermeneutic circle in Schleiermacher and Heidegger, the structure of ethical commands in Kant, Nietzsche's genealogy of moral terms and his exploration of the aporias of singularity, the irony of reading in de Man, the parabasis of positing acts in Fichte and Schlegel, Kleist's disruption of narrative representation, the gesture of naming in Benjamin and Kafka, and the incisive caesura that Paul Celan inserts into temporal and linguistic reversals. There is no book that so fully brings the issues of both critical philosophy and critical literature into reach. Reviews "Werner Hamacher's Premises is the heir and successor to the most important theoretical and critical work done in American departments of comparative literature from the 1960s through the 1980s. Yet, Premises is no more a work of literary scholarship than one of philosophical submission to philosophy. With the gesture that is genuinely called post-structural, which is the suspicion and suspension of every code, the book's act of freedom is freedom to read and write language tout court." --Timothy Bahti, University of Michigan "Hamacher's project can be described as the retracing of the epistemological ground upon which the modern conception of the literary was erected. It is quite clear to me that there is nothing presently available to rival this book." --Wlad Godzich, University of Geneva

This volume provides a valuable contribution to our knowledge of eighteenth- and nineteenth-century intellectual life inside and outside Germany. —Prof. Karl S. Guthke, Harvard University This elegant collection of essays ranges across eighteenth and nineteenth-century thought, covering philosophy, science, literature and religion in the ‘Age of Goethe.’ A recognised authority in the field, Nisbet grapples with the major voices of the Enlightenment and gives pride of place to the figures of Lessing, Herder, Goethe and Schiller. These eleven essays range widely in their compass of thought and intellectual discourse, dealing incisively with themes including the philosophical implications of literature and the relationship between religion, science and politics. The result is an accomplished reflection on German thought, but also on its rebirth, as Nisbet argues for the relevance of these Enlightenment thinkers for the readers of today. The first half of this collection focuses predominantly on eighteenth-century thought, where names like Lessing, Goethe and Herder, but also Locke and Voltaire, feature. The second has a wider chronological scope, discussing authors such as Winckelmann and Schiller, while branching out from discussions of religion, philosophy and literature to explore the sciences. Issues of biology, early environmentalism, and natural history also form part of this volume. The collection concludes with an examination of changing attitudes towards art in the aftermath of the ‘Age of Goethe.’ The essays in this volume have been previously published separately, but are brought together in this collection to present Nisbet’s widely-acclaimed perspectives on this fascinating period of German thought. It will be of interest to scholars and students of the intellectual life of Europe during the Enlightenment, while its engaging and lucid style will also appeal to the general reader.

Once Upon a Time is a collection of essays in the philosophy of literature with two central themes: the significance of story –telling for us and the question of whether the novel, perhaps the art form most closely associated with story-telling, is a legitimate source of human knowledge. Leading philosopher of art Peter Kivy explores why human beings are so enthralled by being told stories and whether story-telling is a significant source of knowledge. Starting with a study of Aristotle's Poetics, Kivy then undertakes a critical discussion of Noel Carroll’s suggestion that our interaction with the artists of the past is a kind of “conversation.” He goes on to defend the thesis that one of the legitimate artistic pleasures we take in novel-reading is the acquiring of knowledge and, furthermore, that the silent reading of a novel is a kind of performance, making the novel one of the performing arts. The volume concludes with a chapter about jokes, and, in particular, whether it is immoral to tell or be amused by an “immoral” joke. This volume of essays is a must-read for anyone seriously interested in literature and the conceptual problems it may raise for philosophers.

The work of the German philosopher Manfred Frank has profoundly affected the direction of the contemporary debate in many areas of philosophy and literary theory. This present collection, first published in 1998, brings together some of his most important essays, on subjects as diverse as Schleiermacher's hermeneutics, the status of the literary text, and the response to the work of Derrida and Lacan. Frank shows how the discussions of subjectivity in recent literary theory fail to take account of important developments in German Idealist and Romantic philosophy. The prominence accorded language in literary theory and analytic philosophy, he claims, ignores key arguments inherited from Romantic hermeneutics, those which demonstrate that interpretation is an individual activity never finally governed by rules. Andrew Bowie's introduction situates Frank's work in the context of contemporary debates in philosophy and literary theory.