This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections (...) in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ The Ethics Of George Eliot's Works 3 John Crombie Brown W. Blackwood, 1880 Literary Criticism; European; English, Irish, Scottish, Welsh; Literary Criticism / European / English, Irish, Scottish, Welsh; Literary Criticism / Women Authors. (shrink)

THE MORAL SYSTEM OF SHAKESPEARE INTRODUCTION WHAT IS IMPLIED IN "THE MORAL SYSTEM OF SHAKESPEARE " The title of this work, The Moral System of Shakespeare,..

I begin by asking an engagingly naive question that a layman would have every right to put to us - and often has. Why should we interest ourselves seriously in the once-upon-a-time worlds of fiction - these unreal stories about unreal individuals? It has been a persistent question in the history of criticism - ever since Plato called the poet a liar - and it is a question at once obvious and embarrassing. It is obvious because, for the (...) apologist for imaginative literature, it becomes a prolegomenon to all further questions; and it is embarrassing because merely to ask it threatens to put literature out of business and, with it, all those who treat it as a serious and world-affecting art. Why, then, should we interest ourselves seriously in fictions? However elementary, it is a question that is more easily asked than answered. Murray Krieger is the author of The Tragic Vision and The Classic Vision, which have recently been reprinted in the two-volume paperback Visions of Extremity in Modern Literature. He is University Professor of English and director of the Program of Critical Theory at the University of California at Irvine. "Poetic Presence and Illusion: Renaissance Theory and the Duplicity of Metaphor," another contribution to Critical Inquiry, appeared in the Winter 1974 issue. See also: "The Dismantling of a Marionette Theater; or, Psychology and the Misinterpretation of Literature" by Erich Heller in Vol. 4, No. 3. (shrink)

Humanitarianism has a narrative problem. Far too often, aid to Africa is envisioned through a tale of Western heroes saving African sufferers. While labeling white savior narratives has become a familiar gesture, it doesn't tell us much about the story as story. Humanitarian Fictions aims to understand the workings of humanitarian literature, as they engage with and critique narratives of Africa. Overlapping with but distinct from human rights, humanitarianism centers on a relationship of assistance, focusing less on rights than on (...) needs, less on legal frameworks than moral ones, less on the problem than on the nonstate solution. Tracing the white savior narrative back to religious missionaries of the nineteenth century, Humanitarian Fiction reveals the influence of religious thought on seemingly secular institutions and uncovers a spiritual, collectivist streak in the discourse of humanity. Because the humanitarian model of care transcends the boundaries of the state, and its networks touch much of the globe, Humanitarian Fictions redraws the boundaries of literary classification based on a shared problem space rather than a shared national space. The book maps a transnational vein of Anglophone literature about Africa that features missionaries, humanitarians, and their so-called beneficiaries. Putting humanitarian thought in conversation with postcolonial critique, this book brings together African, British, and U.S. writers typically read within separate traditions. Paustian shows how the novel--with its profound sensitivity to narrative--can enrich the critique of white saviorism while also imagining alternatives that give African agency its due. (shrink)

The gift of death and the new magic of politics: Hegel and Tolkien on sorcery and secondary worlds -- The political theology of catastrophe: Plato's Athenian Atlantis, Tolkien's Númenoran Atalantë, and the Nazi Reich -- Burglar and bourgeois? Bilbo Baggins' dialectical ethics -- Hobbes, Hobbits, and the modern state of Mordor: myths of power and desire in Leviathan and Tolkien's Legendarium -- Middle-earth and the return of the common good -- Epilogue: from apocalypse to eucatastrophe: "The end of history," (...) happy endings, and the politics of narrative form. (shrink)

Theorists of Orientalism and postcolonialism argue that novelists betray political and cultural anxieties when characterizing "the Other." Shameem Black takes a different stance. Turning a fresh eye toward several key contemporary novelists, she reveals how "border-crossing" fiction represents socially diverse groups without resorting to stereotype, idealization, or other forms of imaginative constraint. Focusing on the work of J. M. Coetzee, Amitav Ghosh, Jeffrey Eugenides, Ruth Ozeki, Charles Johnson, Gish Jen, and Rupa Bajwa, Black introduces an interpretative lens that captures the (...) ways in which these authors envision an ethics of representing social difference. They not only offer sympathetic portrayals of the lives of others but also detail the processes of imagining social difference. Whether depicting the multilingual worlds of South and Southeast Asia, the exportation of American culture abroad, or the racial tension of postapartheid South Africa, these transcultural representations explore social and political hierarchies in constructive ways. Boldly confronting the orthodoxies of recent literary criticism, Fiction Across Borders builds upon such seminal works as Edward Said's Orientalism and offers a provocative new study of the late twentieth-century novel. (shrink)

This book considers the significance of this confluence through an examination of myths in the writings of H. G. Wells, Arthur C. Clarke, Philip K. Dick and Frank Herbert. Presenting fresh insights into their works, the author brings to light the tendency of science fiction narratives to reaffirm spiritual myths.

Analyzes principal forces that determined the direction of Camus' thought on ethics and political values.

This book argues for the ethical relevancy of contemporary fiction at the beginning of the 21st century. The writers discussed in Contemporary Fiction and the Ethics of Modern Culture pay close attention to the concrete realities of the everyday world, such as the feelings of isolation created in urban environments; the roles played by sports, drugs, advertising, and the media; and the widespread use of computer, telecommunication, and entertainment technologies. Through reading novels by such writers as David Foster Wallace, Richard (...) Powers, and Irvine Welsh, this book looks at how these works seek to transform the ways that readers live in the world. This book should appeal to scholars of contemporary literature, persons interested in cultural studies, critics interested in ethics, scholars of Gilles Deleuze and Felix Guattari, students of contemporary literature, and general readers of contemporary literature. (shrink)

Contains over fifteen essays that discuss philosophical topics in J.R.R. Tolkien's "The Hobbit" providing new insights into the characters and plot.

Why have theorists approached narrative primarily as a form of retrospect? Mark Currie argues that anticipation and other forms of projection into the future are vital for an understanding of narrative and its effects in the world. In a series of arguments and readings, he offers an account of narrative as both anticipation and retrospection, linking fictional time experiments (in Ali Smith, Ian McEwan, Martin Amis and Graham Swift) to exhilarating philosophical themes about presence and futurity. This is an argument (...) that shows that narrative lies at the heart of modern experiences of time, structuring the present, whether personal or collective, as the object of a future memory as much as it records the past. (shrink)

Drawing on the analogy between musical meaning-making and human subjectivity, this book develops the concept of the acoustic self, exploring the ways in which musical characterization and structure are related to issues of subject-representation in the modernist English novel. The volume is framed around three musical topics-the fugue, absolute music, and Gesamtkunstwerk-arguing that these three modes of musicalization address modernist dilemmas around selfhood and identity. Varga reflects on the manifestations of the acoustic self in examples from the works of (...) E.M. Forster, Aldous Huxley, and Virginia Woolf and such musicians as Bach, Beethoven, Handel, and Wagner. An additional chapter on jazz and electronic music supplements these inquiries, pursuing the acoustic self beyond modernism and thereby inciting further discussion and theorization of musical intermediality, as well as recent sonic practices. Probing the analogies in the complex interrelationship between music, representation, and language in fictional texts and the nature of human subjectivity, this book will appeal to scholars interested in the interface of language and music, in such areas as intermediality, multimodality, literary studies, critical theory, and modernist studies. (shrink)

No detailed description available for "Prince William B.".

A lucid intervention in current debates about identity and difference, this book uses the concept of Otherness to look again at both Gothic fiction and Postcolonialism.

Tolkien is one of our most beloved fantasy writers. Such was the power of his imagination that much has been written on his invented world, languages, and myth. This book is an invitation to tread the paths of Tolkien's realm, exploring three regions of his work: language, myth, and imagination. We will be looking for a path leading to a summit from where we can view Tolkien's whole realm. Yannick Imbert argues that we can gain such a view only if (...) we understand Tolkien's philosophical theology, his Thomism. To attain this vantage point and better understand the genius of his Middle Earth, readers journey with Tolkien through his academic, personal, and theological milieu, which together formed his Thomistic imagination."--Amazon. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Indian Science Fiction: Patterns, History and Hybridity by Suparno BanerjeeBarnita BagchiSuparno Banerjee. Indian Science Fiction: Patterns, History and Hybridity. Cardiff: University of Wales Press, 2020. xiii + 256 pp. E-book, ISBN 9781786836670.Suparno Banerjee’s monograph examines science fiction (henceforth SF) from India, a country that has a rich and fascinating tradition of SF. This is a book that will be of interest and value to scholars and (...) students in higher education of utopia, dystopia, and speculative fiction, and to readers across disciplines interested in SF as a mode. It is quite clear today that Darko Suvin’s canonical definition of SF as cognitive estrangement, an interplay between the familiar and the strange, and its emphasis on the novum that is created in SF, has been enriched with further attention to context, including postcolonial contexts. Whose familiarity in cognition are we speaking about, and what happens when contexts are not necessarily hegemonic Anglo-American or Western ones? Indeed, even in Western contexts, science is not a given, but an element that always has political, historical, and ideological overtones. The novum, too, as with the term utopia, is moored in the contexts of the text.Banerjee’s book is one among several excellent monographs on Indian SF that have been published in the 2020s: Sami Ahmad Khan’s Star Warriors of the Modern Raj: Materiality, Mythology and Technology of Indian Science Fiction (2021) and Upamanyu Pablo Mukherjee’s Final Frontiers: Science Fiction and Techno-Science in Non-Aligned India (2020) come to mind. Khan adopts a refreshing fan’s guide to Indian SF register in his monograph, discussing mythology, materiality, ideology, and technology, and he coins the abbreviation TransMIT to capture his approach. Mukherjee’s book examines how Indian SF syncs with or questions the technological and scientific paradigms of India under Nehru and the Non-Aligned Movement; arguing that Indian SF needs to be seen as semiperipheral, the book also applies concepts from energy humanities [End Page 586] to Indian SF in an arresting way. Suparno Banerjee’s monograph is a solidly grounded work in its clearly explained choice of corpus, and a methodology that elicits particularly generative insights in a number of areas, including the epistemological status of science in Indian SF, the importance of SF written in bhasha or non-English Indian languages, the interplay between past and future in Indian SF, analysis of how Indian SF imaginatively represents the Other, and attention to Indian women writers of SF.Banerjee offers a lucid and useful chronology of Indian SF in four historical periods: 1835–1905, 1905–47, 1947–95, and 1995–2019. The period from 1835 to 1905 offers the first specimens of Indian SF, primarily in the form of future histories that question colonialism, in the utopian mode, and adventure tales and stories with scientific and technological elements. The establishment of a British education system, starting in the 1820s, gave an impetus to the birth of Indian SF. Rokeya Sakhawat Hossain’s “Sultana’s Dream” was published in 1905, a year that heralds the second period lasting until Indian independence. In this period, SF starts appearing not just in the English, Bengali, and Hindi languages, as in the first period, but also in a number of other Indian languages, such as Assamese, Marathi, and Tamil. Children’s and youth magazines develop from the 1920s, spaces where science writing and SF both appear. Nationalist, anticolonial stances emerge, challenging western hegemony, in the 1940s. In the early post-Independence period, the nationalistic elements become even stronger, and SF interacts quite strongly with older forms of fantastic writing such as myths, fairytales, and ghost stories. This third period, Banerjee argues, is the golden age of bhasha SF. From the 1990s English-language SF again becomes very prominent in India and its diaspora, though SF in bhashas continues to flourish.Banerjee examines fiction not just from post-Independence India, but also from colonial British India, and diasporic Indian writing. SF written primarily in Bengali, English, Hindi, and Marathi is examined and, when possible, the book also brings into its ambit of analysis SF written in the languages Assamese, Tamil, Telugu, and Kannada. Reflexivity about the corpus of... (shrink)

Aims of education: historicism and In the castle of my skin -- The meaning of life and Black lightning -- The inner radiance of the shelf in Palace of the peacock -- Knowledge and human understanding in A house for Mr Biswas -- Existentialism and The children of Sisyphus -- Tragic vision in Wide Sargasso Sea -- African conceptions of a person and Myal -- The law of karma in Sastra -- The moralty of reparations in Salt -- Plato versus (...) Kincaid?: A reading of The autobiography of my mother. (shrink)

This study represents a comparison between two radical gestures of literary self-reflexivity: romantic irony and postmodernist metafiction. It examines the impact of early German romantic theory and its central concept of irony on German and English romantic narrative fiction and relates the same to postmodernist self-reflexive novels, including its British and American variants. A primary objective of this comparison is to account for the radical skepticism that postmodernist metafiction voices with respect to the paramount philosophical question of truth and (...) reality. The immanent tension between an absolute idealistic and a radically skeptic position which romantic irony articulates and enacts is conceived of as an important and instructive link to the understanding of postmodernism. (shrink)

This book offers the first full-length study of philosophical dialogue during the English Enlightenment. It explains why important philosophers - Shaftesbury, Mandeville, Berkeley and Hume - and innumerable minor translators, imitators and critics wrote in and about dialogue during the eighteenth century; and why, after Hume, philosophical dialogue either falls out of use or undergoes radical transformation. Philosophical Dialogue in the British Enlightenment describes the extended, heavily coded, and often belligerent debate about the nature and proper management of dialogue; (...) and it shows how the writing of philosophical fictions relates to the rise of the novel and the emergence of philosophical aesthetics. Novelists such as Fielding, Sterne, Johnson and Austen are placed in a philosophical context, and philosophers of the empiricist tradition in the context of English literary history. (shrink)

Looks at the philosophy behind some of the biggest names in pop culture, including movies, video games, music groups, and more.

By meshing psychology with literary analysis, this book inspires us to view the reading of fictional works as an emotional and seductive affair between reader and writer. Arguing that current teaching practices have contributed to the current decline in the study of literature, Jean-François Vernay's plea brings a refreshing perspective by seeking new directions and conceptual tools to highlight the value of literature. Interdisciplinary in focus and relevant to timely discussions of the vitality between emotion and literary studies, particularly within (...) the contexts of psychology, affect studies, and cognitive studies, this book will open up a space in which the formation of our emotions can be openly examined and discussed. Jean-François Vernay has published extensively in the field of Literary Studies both in French and in English. His books, Water from the Moon: Illusion and Reality in the Works of Australian Novelist Christopher Koch andA Brief Take on the Australian Novel, focus on Australian fiction. Carolyne Lee is a Senior Fellow in the School of Culture and Communication at the University of Melbourne, Australia. She has published four books, the latest being Our Very Own Adventure. (shrink)

Bringing together poststructuralist ethical theory with late Victorian debates about the morality of literature, this book reconsiders the ways in which novels engender an ethical orientation or response in their readers, explaining how the ...

During the second half of the eighteenth century, the most powerful literary work in Britain was nonfictional: philosophy, history, biography, and political controversy. Leo Damrosch argues that this tendency is no accident; at the beginning of the modern age, writers were consciously aware of the role of cultural fictions, and they sought to ground those fictions in a real world beyond the text. Their political conservatism (often neglected by modern scholars) was an extensively thought out response to a world (...) in which meaning was inseparable from consensus, and in which consensus was increasingly under attack. Damrosch finds strong affinities between writers who are usually described as antagonists. The first chapter places Hume and Johnson in dialogue, showing that their responses to the challenge of their age have deep similarities, and that their thinking points forward in significant ways to twentieth-century pragmatism. Subsequent chapters explore the interrelationship of the fictive and the "real" in a wide range of works by Boswell, Gibbon, White, Burke, and Godwin. In its combination of literary, philosophical, and cultural criticism, this book will appeal to scholars in many fields as well as to nonacademic readers interested in intellectual history. (shrink)

Applying ideas drawn from contemporary critical theory, this book historicizes psychoanalysis through a new and significant theorization of the Gothic. The central premise is that the nineteenth-century Gothic produced a radical critique of accounts of sublimity and Freudian psychoanalysis. This book makes a major contribution to an understanding of both the nineteenth century and the Gothic discourse which challenged the dominant ideas of that period. Writers explored include Mary Shelley, Edgar Allan Poe, Robert Louis Stevenson, and Bram Stoker.

This book introduces Virginia Woolf as a nondualist and process-oriented thinker whose ideas are strikingly similar to those of her contemporary, Alfred North Whitehead. The author argues that in their respective fields, the two thinkers criticized the materialist turn of their time and attempted to undermine long-rooted dualisms.

He challenges methods of doing ethics that attempt to specify universally binding principles or rules and argues for the need to bring literature back into ...

Examines the theme of haunting in recent U.S. and postcolonial literature as a response to the dynamics of transnational literary circulation.

Part I. Philosophy of novels. 1. Introduction: philosophical content and literary value -- 2. Interpreting novels -- 3. The sun also rises: incompatible interpretations -- 4. The appeal of the mystery -- Part II. Philosophy in novels. 5. Moral development in Pride and prejudice -- 6. Huckleberry Finn and moral motivation -- 7. What we learn about rules from The cider house rules -- 8. Nostromo and the fragility of the self.

This book invites readers into Tolkien's world through the lens of a variety of philosophers, all of whom owe a rich debt to the Neoplatonic philosophical tradition. It places Tolkien's mythology against a wider backdrop of Catholic philosophy and asks serious questions about the nature of creation, the nature of God, what it means to be good, and the problem of evil. Halsall sets Tolkien alongside both his contemporaries and ancient authors, revealing his careful use of literary devices inspired by (...) them to craft his own "mythology for England. (shrink)

Works by authors of the Romantic period have often been viewed primarily as expressions of escapism, disillusionment, or apostasy on the part of the writer. In contrast, Hoagwood shows that political repression had important effects on the production of Romantic texts. Far from disengaging from the political world, works by Wordsworth, Coleridge, Blake, Shelley, Hays, and Smith, written at a time when overt expression was dangerous, express their author's contentions with political repression through duplicitous meaning and figural terminology. By emphasizing (...) the material textuality of Romantic writing, Hoagwood provides a new model for interpretation in the tradition of countering "Romantic ideology." Hoagwood demonstrates how political pressures and the institutions of publishing helped to shape the meanings of Romantic texts. He argues for the importance of a book's historically specific and material form in influencing the way critics and scholars view a given work. Literary theory and textual criticism come together in this book to show the new ranges of significance that can emerge when a poetic work is studied as a material artifact. The study concludes with a comparative analysis of critical theory in the Romantic period and in our own, addressing ways in which the differences between modernity and romanticism have affected interpretations of Romantic works. Hoagwood suggests that the political forces shaped the formulations of philosophic questions concerning interpretation and fictionality in much the same way they influenced the writing of Romantic literature. (shrink)

This essay enacts a particular instance of the challenge post-structuralism poses to the study of history. In simpler, language, it concerns the difference that point of view makes when people are giving account of events, whether at first or second hand. The problem is that if all accounts of events are determined through and through by the observer’s frame of reference, then one will never know, in any given case, what really happened.I encountered this problem in concrete terms while (...) preparing to teach a course in colonial American literature. I’d set out to learn what I could about the Puritans’ relations with American Indians. All I wanted was a general idea of what had happened between the English settlers and the natives in seventeenth-century New England; post-structuralism and its dilemmas were the furthest things from my mind. I began, more or less automatically, with Perry Miller, who hardly mentions the Indians at all, then proceeded to the work of historians who had dealt exclusively with the European-Indian encounter. At first, it was a question of deciding which of these authors to believe, for it quickly became apparent that there was no unanimity on the subject. As I read one, however, I discovered that the problem was more complicated than deciding whose version of events was correct. Some of the conflicting accounts were not simply contradictory, they were completely incommensurable, in that their assumptions about what counted as a valid approach to the subject, and what the subject itself was, diverged in fundamental ways. Faced with an array of mutually irreconcilable points of view, points of view which determined what was being discussed as well as the terms of the discussion, I decided to turn to primary sources for clarification, only to discover that the primary sources reproduced the problem all over again. I found myself, in other words, in an epistemological quandary, not only unable to decide among conflicting versions of events but also unable to believe that any such decision could, in principle, be made. It was a moral quandary as well. Knowledge of what really happened when the Europeans and the Indians first met seemed particularly important, since the result of that encounter was virtual genocide. This was the kind of past “mistake” which, presumably, we studied history in order to avoid repeating. If studying history couldn’t put us in touch with actual events and their causes, then what was to prevent such atrocities from happening again? Jane Tompkins is professor of English at Duke University. She is the author of Sensational Designs: The Cultural Work of American Fiction, 1790-1860 and editor of Reader-Response Criticism: From Formalism to Post-Structuralism . Her current work concerns the construction of male identity in American popular culture. (shrink)