Literary Materialisms addresses what has become a fundamental concern in the last decade: how do we today define literary studies as an academic discipline and literature as a relevant object of study? Avoiding unproductive proclamations, this volume unites new materialist critical thinking with a commitment to fundamental principles.

Sandro Jung’s study begins by examining the illustrations in three eighteenth-century literary works: Daniel Defoe’s Robinson Crusoe (1719), James Thomson’s poetic cycle The Seasons (1726-1730), an...

In "Literary Variation of Indian Buddhist Stories in Chinese 志怪 Novels," Wei Guo discusses Buddhist Sutra scriptures which have been a reservoir of inspiration for Zhiguai novels since their first introduction in Chinese literature. Buddhist texts were less relevant for the "documentary" tradition of Chinese literature owing to their rough structure, vague context, and lack of a sense of history and reality, since they were originally intended as texts of didacticism. Hence, in order to integrate these exotic literary (...) materials with local aesthetic concepts, Chinese writers explored creative adaptations including the addition of adding detail, linguistic embellishments, and the endowment of each story with specific narrative scenes in terms of character, place, and time. Guo argues that Indian Buddhist stories have been remolded in Zhiguai novels and transformed from imaginary religious literature into figurative and documentary literature whereby the convergence of the source texts with the target texts shows the processes of formation of world literature. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Roman Literary Culture: From Cicero to ApuleiusWilliam S. AndersonElaine Fantham. Roman Literary Culture: From Cicero to Apuleius. Baltimore and London: The Johns Hopkins University Press, 1996. xv 1 326 pp. Cloth, $39.95.This is a book that needed to be written, in answer to a deep gap in our resources on Latin literature. As our current time and our students keep raising questions along the lines of (...) cultural history, we are obliged to seek answers about the circumstances that conditioned the production and consumption of [End Page 135] poetry and prose. Fantham’s book is a significant start on a project which, I dare predict, others in coming generations will be inspired to continue.Fantham modestly declares at the outset that she is contributing to the search “toward a social history of Latin literature.” If we ask her to elaborate on the extent of her project, she obliges as follows: “I see as important aspects of any literary work its author in his social and political setting, its recipients and their culture, and the medium or nature of its presentation” (2). Fleshing out each of these three aspects (author, audience, and medium of presentation), she devotes most attention to the various circumstances that affect the author. First of all, the author is almost universally male: Sulpicia is a precious exception that proves the rule. But then his social class may vary widely, as will his civil status in Rome. Fantham instances for contrast Cato and Ennius, the first a novus homo and therefore an almost fanatic advocate of Roman values, a thorough politician (consul, censor, senator), a celebrated speaker and a writer of prose (history and treatises on agriculture and education); the second a noncitizen Calabrian who came to Rome and won patronage for his poetry, then citizenship, practicing a variety of genres that looked to the Hellenistic world—a poet, not a politician. (An even greater contrast would have used Terence, a slave brought to Italy from Carthage and eventually freed because of his literary talents.) Fantham does not elaborate on how the different social and civil backgrounds affected the literary culture, except to say that senators and some equestrians did not need to resort to patronage, whereas of course outsiders and equestrians like Horace did. We would expect that social background would often have had decisive and particular influence on writers, but that is an area where we still are groping for reliable methodology. How often did men use their literary presentation to turn their backs on their socially inferior or non-Roman background? How often did they look at Roman culture obliquely from the alien cultural position of their origins?A writer’s education was obviously very important. We have a fair sense of how senatorial sons and wealthy equestrians were educated; Horace’s father, who wasn’t exactly poor, but rather undignified in the way he personally took the boy to and from school, saw to it that Horace was given an education that equaled the training of senatorial sons, both in Rome and later in Athens. Boys were taught Latin grammar, style, and the classics of Latin literature; and they were given a grounding in Greek. The amount of Greek and the relative mastery of that language would vary according to the century and the social and political intentions of the future writer. A young man whose family destined him for a political career and who one day might retire to write history, like Sallust or later Tacitus, would be unlikely to become as thoroughly bilingual and bicultural as a poet like Vergil, Horace, or Ovid, whose entire career was centered on poetry and achieving effective intertextuality with the great poets of Classical Greece and the Hellenistic world. There were men like Cato who ostentatiously [End Page 136] put Greek culture down (while instinctively exploiting it), and men like Catullus, a century later, who idolized the literary culture of Alexandria.As Fantham notes, the word “audience” (auditores) does not fully cover what we today mean by the literary public, but it was accurate to start with. Since the first literary material was tragedy and comedy, it was aimed at the... (shrink)

This book describes the development of Proust's treatment of material objects from his earliest work Les Plaisirs et les jours to his mature novel À la recherche du temps perdu. It examines the literary influences on Proust's way with objects in the light of certain critical texts and reconsiders the significance of Ruskin. As the movement from unreflective and spontaneous representation to a meta-narrative of consciousness is traced, some questions as to the banality of the 'banal object' arise. The (...) meta-narrative finds resonance in a peculiarly Proustian pictoriality which has been largely unnoticed. It resides in descriptions where objects appear simultaneously or at different times as things in paintings and in the real. By exploring connections between Proust's pictoriality and his reflections on 'matière' and 'surface', the author suggests a radical approach to the modernism of À la recherche du temps perdu. (shrink)

This paper considers Achebe's No Longer at Ease in terms of its modest canonical fortunes and its peculiar formal construction. The paper argues that the novel's urban setting is produced through an emergent and local noir style, that this setting indexes the increasing centrality of the city in late colonial African life, and that it formally responds to the success of Achebe's rural Things Fall Apart and its problematic status as a paradigmatic African text. The paper suggests that No Longer (...) at Ease 's foreign and local horizons of interpretation, as symptoms of an ongoing imperial world-system, are internalized and symbolically resolved by the novel's instantiation of Lagos as chronotope. The paper's methodological intervention offers a hermeneutics of literary setting through which to elaborate the relationships between form, literary institutions, and material conditions in the postcolony. (shrink)

The following text is taken from the publisher's website: "Romanticism is, and always has been, one of the most hotly contested terms in literary and cultural history. Many of the writers now described as Romantic refused to be defined by the word: 'it would be such bad taste', said Byron in 1820. Lovejoy spoke of a plurality of ‘romanticisms’, born of distinct thought complexes, whilst René Wellek argued that literatures labelled Romantic indicated common conceptions. Comparably, in the post-World War (...) II period, political commentators have seen Romanticism as either profoundly radical or deeply reactionary. This significant collection gathers key critical discussions that explore the complex and many-sided nature of the 'Romantic'. A new introduction by the editors, a full index and chronological table of contents guide the reader through the wealth of material dedicated to a term that is both extremely unstable and remarkably persistent.". (shrink)

A formalist approach to literature, one that bears witness to the movements of distinct levels of form as they compel one another to a kind of infra-literary psychoanalysis, helps move us beyond the critical dichotomies — text vs. context, history vs. form, realism vs. the avant-garde — that have sometimes hampered recognition of the topologically complex and uneven fashion in which literature intervenes in the world. This article argues that it is the particular modes of constriction, isolation and textual (...) withdrawal that literature induces which paradoxically reveal literature’s psychoanalytic approach to its outsides. The article begins by close-reading a few short passages from Lacan, passages which when reframed offer the initial ingredients of a psychoanalytically informed materialist literary-critical formalism. It then turns to Paul de Man’s late reflections on literary form and materiality, before concluding with a reading of the poetry of Geoffrey G. O’Brien. (shrink)

Izravni interes ove studije tiče se uvriježene opozicije između virtualnosti i materijalnosti kao razlikovno označenih pojmova u jeziku. Raspravlja se o virtualnosti odnosno materijalnosti jezičnoga medija i njegove podatnosti daljnjim remedijacijskim preobrazbama, o oblicima i modusima tekstualizacije virtualnog i materijalnog, a u tome kontekstu – oprimjerenu kroz različite vidove jezične uporabe – i o suodnosima virtualnog i materijalnog u kontekstu čovjekova spoznajnog funkcioniranja. Pritom se propituju modusi i razine združivanja i/ili razdruživanja subjekta, objekta i medija, da bi se uputilo na (...) fenomene predmedijacije , medijacije i remedijacije koji se u svojoj ilustriranoj raznolikosti svode na uvijek iste sastavnice – materijalne i virtualne – povezane sa samim činom spoznavanja, razvidne i u proizvodima ljudske spoznaje.The direct interest of this study is to evaluate relations between material and virtual phenomena weighed against the linguistic dichotomy which suggests these terms to be mutually excluding opposites. From such a point of view, the processing of language at the levels of pre-mediation , mediation and remediation is being discussed. Special focus is on forms and modes of textualization of language, reflecting both the virtual and the material sides of the medium, which is shown through examples ranging from everyday use of language to the literary one. The adopted perspective is cognitive, aiming to unveil the correlation between the virtual and the material at all levels of the cognitive process. (shrink)

This collection of essays links Paul de Man's late work as a literary theorist and critic to the development of the 'new materialism' as it first emerged in the late eighties and early nineties, especially in the field of literary theory. The notion of materialism that is explored in these essays is non-classical and non-foundational, which means that it stems from a special approach to language rather than to the viewer's relationship to the object-world. The contributions to this (...) volume come from different individuals, working in different fields, who derive insight from de Man's criticism, which was strongly influenced by Jacques Derrida's deconstruction. This collection is especially interesting in its treatment of Paul de Man 's late work as an inconclusive attempt to approach the question of ideology in a fresh manner. (shrink)

Eighteenth-century France witnessed the rise of matter itself—in forms ranging from atoms to anatomies—as a privileged object of study. Voluptuous Philosophy redefines what is at stake in the emergence of an enlightened secular materialism by showing how questions of figure—how should a body be represented? What should the effects of this representation be on readers?—are tellingly and consistently located at the very heart of 18th-century debates about the nature of material substance. French materialisms of the Enlightenment are crucially invested not (...) only in the development of a sophisticated theoretical apparatus around the notion of matter but in the production of specific relationships between readers and the "matter" of the texts that they consume. How, the book asks, did the period's fascination with a markedly immaterial and ephemeral event—the reading of works of fiction—come to coincide with what appears to be a gradual materialization of human subjects: men and women who increasingly manage to envision themselves transfigured, as the century wears on, into machines, animals, and even, in the work of the Marquis de Sade, tables and chairs? In what way did the spread of new philosophies of matter depend upon the ability of readers to perceive certain figures of speech as literally and immediately true—to imagine themselves as fully material bodies even as they found themselves most deeply compelled by disembodied literary forms? More broadly, in what sense does the act of reading literature alter and transfigure our perceptions of what is, and can be, real? Voluptuous Philosophy articulates the gradual coming into being of literature as a distinct arena of textual production with the rise of an enlightened reader who remains abstracted from the bodily symptoms that any given piece of writing may induce in him. The very definition of "the literary" as an autonomous field, this book suggests, may, ironically, be dependent upon the simultaneous construction of a material world that remains fully immune to its effects. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Herodotus' Literary and Historical Method:Arion's Story (1.23-24)Vivienne GrayHerodotus' story of how the talented and original musical performer and conductor Arion of Methymna was rescued from the sea and carried to dry land by a dolphin is of great interest because of the literary and historical methods he uses.1 The story arises out of the siege of Miletus and is connected with it through Periander (1.20, 1.24.1, 7), (...) but different readings have been presented in order to make a better connection with the immediate or wider context.2 Questions have also been raised about the authenticity of Herodotus' inquiry and his own belief in the miracle.3 His normal inquiry (historia) involves akoe (what he heard), opsis (what he saw), and gnome (his judgment).4 He tells Arion's story mainly on the authority of the traditions of the Corinthians and Lesbians, whose agreement on it frames the story.5 He supplements this akoe with [End Page 11] apparent opsis, in the form of a "material proof": the dedication "of Arion" on a statue of a man on a dolphin, at Taenarum, to which his sources said the dolphin carried him. The genitive case of the dedication suggests that Arion dedicated it and inscribed it with his name.6 And Herodotus' description of the statue as "bronze, not big" suggests that he saw it. But he does not add his own gnome of belief, or disbelief, in the miracle.I would like to offer a new reading of Arion's story that combines insights into Herodotus' presentation of it and its context with some comments on Herodotus' own beliefs and his use of the oral traditions available to him.The StoryThe story goes that Arion had been spending most of his time at the court of Periander. Periander plays an important role in the story: his experience of Arion's miracle is the focus from beginning to end. The traditions that Herodotus cites present the story as a "very great wonder" () that "occurred to Periander in his lifetime" (1.23.1). They give an account of how it happened, and say that Arion gave an account to Periander, presumably in the same form (1.24.6). Periander experiences "disbelief" as a result of the "wonder" but conducts an "inquiry" that shows it to be true.7Arion decides to go west to acquire his fortune. He hires a Corinthian ship to take him back to Corinth, but the crew plots to rob him and make him kill himself, giving him a choice that seems to be no choice (): to kill himself on board and be buried, or to jump overboard (and not be buried). Arion promises to kill himself, but first secures the crew's permission to give a last performance, which he does in full dress, of "the shrill/rising tune" ().8 He then makes what appears to be the worse choice and jumps overboard, whereupon a dolphin rescues him and carries him safely to Taenarum. [End Page 12]Herodotus does not explain Arion's choice or directly connect his performance with his rescue, but Arion's religious dedication () at Taenarum implies that Arion, at least, believed that the dolphin came as a divine agent (1.24.8). Poseidon had a very famous shrine at Taenarum and was thought to save men from disaster at sea by sending his dolphin to assist them.9 Similar patterns of action in other stories strengthen the hypothesis that Arion has appealed to some divine force to rescue him.10 Croesus, for example, secures his divine salvation by shouting out to the god Apollo, appealing to him to stand by and deliver him from death if ever he has given him any gift that pleased him (1.87.1). Arion sings () instead of shouting, but a song from the world's best kitharode (1.23) is bound very much to please the god to whom it is addressed.11 The Magi sacrifice and sing () to the god of the wind and sacrifice to Thetis and the Nereids of the sea in order to quell a storm that is threatening them and prevent further... (shrink)

In a paper presented at a symposium on structuralism at the Johns Hopkins University in 1968, the historian Charles Morazé analyzed the issue of invention largely with reference to mathematics and the theory of Henri Poincare.1 Poincare, along with the physiologist Hermann von Helmholtz, was the first to put forward a theory of scientific discovery as occurring in discrete phases. In 1926, Joseph Wallas generalized this theory to apply to all creativity, positing phrases which closely resemble those of Morazé. While (...) both Poincare and Wallas use a four-phrase model of invention, Morazé reduces his to three phrases: information, cogitation, and intellection. In information, the inventor becomes familiar with the sign systems and knowledge, the "collective contributions of society," relevant to his field of problems. Cogitation assembles these materials and concentrates them until "a certain moment" when "a light breaks through." This "sudden illumination...forces us to insist upon the neurological character" of the inventive moment. Finally, in intellection, the inventor rationally evaluates the utility of his invention and thus, in a sense, steps outside of himself and rejoins society. The distinction which organizes Morazé 's entire account, as well as most of the discussion that followed his presentation, is between the "collective" support and control of the inventor and his own individual, or "neurological," act of synthesis or creation. · 1. See Charles Morazé 's "Literary Invention," in The Structuralist Controversy: The Languages of Criticism and the Sciences of Man, ed. Richard Macksey and Eugenio Donato, pp. 22-55. Loy D. Martin is an assistant professor of English at the University of Chicago. He has written The Language of Invention, a study of Robert Browning and the genesis of the dramatic monologue. "A Reply to Carl Pletsch and Richard Schiff" appeared in the Spring 1981 issue of Critical Inquiry. (shrink)

These texts, the property of the Egypt Exploration Society, were purchased, together with other literary and documentary material, from a Greek lady at Medînet-el-Faiyûm by Dr. J. de M. Johnson in 1914. I am grateful to the Secretary of the Society for permission to publish them.

This paper is a response to Kathleen Stock’s book Material Girls, by way of imitation. I have attempted to write a faux chapter in the book’s style, identifying four moments in overcoming the low-high culture divide in responses to the arts.

What can textual combinations, format, and size tell us about the worldviews of the donors, scribes, and readers of medieval Chinese Buddhist manuscripts? How can material sources inform us about the ways adherents both perceived and actively shaped their traditions? This essay offers answers to these questions through analysis of several manuscripts of the Scripture on the Cause and Effects of Wholesome and Unwholesome Acts (Shan’e yinguo jing 善惡因果經, T no. 2881), discovered in the Dunhuang Library Cave. The text was (...) likely composed in Chinese, and it first appears in Buddhist catalogs in the year 695 ce. Extant manuscripts of Cause and Effects appear in both scroll and booklet formats and number at least fifty-two in total, a significant number that attests to the popularity of the text. This essay analyzes the textual content and literary techniques, relating both to physical aspects of the manuscripts. It examines the textual and the material together through the mediating concept of practice—in this case, medieval Chinese reading practices. (shrink)

Originally, literary prizes were restricted to the world of academia, but since the 19th century they have grown to become commercial events in the publishing calendar. This article looks at the role of the literary prize as an agent of change by focusing on two prominent prizes in the United Kingdom: the Booker and the Women’s Prize for Fiction. By analysing data from archive material held at Oxford Brookes University, this article argues that the founding of the Women’s (...) Prize highlighted an issue with the Booker and promoted discussion around that issue, and that the Booker reacted positively in the years after the introduction of a competing literary prize. (shrink)

This chapter argues that contemporary literary criticism suffers from a reflexive faith in things, conceived broadly as static objects that reflect wider political, social, and cultural practices. Literature is re-imagined here as an open-ended event that demands an immanent materialism in which distinctions between literary objects and human bodies no longer stand up. By reflecting on the ambiguous “thing-ness” of Shakespeare, Vallelly draws attention to the elusive nature of things in theatrical spaces, and explores how this enigmatic (...) class='Hi'>materiality can be applied to literary experience more generally. To do so, he draws on Roberto’s Bolaño’s 2666, affect theory, and new materialism to construct a new literary materialism, one in which literary meaning is located neither in the human nor in the non-human world, but in the affective correspondence between these worlds. To illustrate this point, the chapter concludes with a discussion of the relationship between characters and stones in Shakespearean drama. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.1 (2001) 171-173 [Access article in PDF] Book Review Literary Lives: Biography and the Search for Understanding Literary Lives: Biography and the Search for Understanding, by David Ellis; ix & 195 pp. New York: Routledge, 2000, $35. In his discussion of biography as a form, Ellis points to his study as a response to the scarcity of "monographs on biography... and [that] none of (...) them are particularly satisfactory" (p. 2). He further points out that "the comparative dearth of analytic enquiry into biography is surprising" (p. 3). In short, his first pages get off to a rocky start in their tatty justification of a critical study. Though a critic of D. H. Lawrence, Ellis uses the English writer sparingly, pointing out in his "Preface" what he feels is a need "to keep illustration involving Lawrence to a decent minimum" (p. viii) while concentrating on those problems which face the biographer. That said, he sets about to characterize biography as an integration of "a disinterested enthusiasm for information... [fashioning a]... compelling story in which many details with no direct relevance to the life of his subject can be considered as contributing successfully to a period atmosphere" (p. 35). Ellis is thinking specifically of Norman Sherry's biography of Graham Greene through which he has brought to the discussion his intent of pointing to an approach which concerns itself with chapters on "Ancestors," "Primal Scenes," "Body Matters," "the Sociological [End Page 171] Imagination," "History, Chance and Self-determination," "Compatibility, Sartre and Long Biographies." All are aspects of biography.As well as the approach he suggests by these areas of concentration, Ellis draws broadly from many subjects of biography, always keeping a critical eye on its form. Anne Stevenson's approach "is towards psychological determinism" (p. 135); Ackroyd in his biography of Dickens raises "through a degree of intellectual play" the questions of when "lineage" is appropriate, that is, the extent to which it has any productive consequence. He also uses Hawthorne and Virginia Woolf as examples. Writing of the role of the historian raises difficulties for writers creating biographies from such an early period as that of Chaucer; Ellis points to Derek Pearsall's "excellent Life of Geoffrey Chaucer" (p. 121).Ellis neither can nor should ignore Lawrence and what better chapter to include him in than "Body Matters" in its concentration on illness. Here Ellis draws on Lawrence's concern with the harm of his health on his work (p. 78). He also considers Flaubert, Sartre, and Woolf. Briefly he mentions Stendhal's imagination of his "future audience" after his death (p. 109), sensibly rejects the long ago depleted and so, parenthetically, apparently permanent speculation on what Keats's might have become had he lived a full life "in a time of drugs for treatment of tuberculosis" (p. 123) and the equally mined issue of what prompted Hemingway's suicide (pp. 132-33). Certainly he is aware of the danger that such a use of material may pander to the pleasure of mere name-hunters (what if there were no index!). At the same time, if the effect of his range of examples invites additions of our own, while keeping before us that his study is about biography as form, it is successful.In "Primal Scenes," the fourth chapter of his book, Ellis gives what he feels is necessary space to Freud, the creator of the term. He points to Wordsworth's "spots of time" as only one indication of the difficulty--if not impossibility--of capturing biographically those moments in childhood by which the individual written about might be defined (p. 57). (Such an impossibility should not be surprising to those of us readers who recognize the nearly impossible task for ourselves in our own lives.) Surely both the biographer and autobiographer share this ignorance and frustration. In a very interesting move, Ellis points to Compton Mackenzie's discussion of a critical event in his six-year old life surrounding the interruption of an Easter evening with his parents and siblings, interrupted by the arrival of friends. Ellis writes... (shrink)

It is a truth universally acknowledged that great works of literature have an impact on people's lives. Well known literary characters—Oedipus, Hamlet, Faustus, Don Quixote—acquire iconic or mythic status and their stories, in more or less detail, are revered and recalled often in contexts far beyond the strictly literary. At the level of national literatures, familiar characters and plots are assimilated into a wider cultural consciousness and help define national stereotypes and norms of behaviour. In the English speaking (...) world, Shakespeare's plays or the novels of Jane Austen, the Bronte sisters, Dickens, and Trollope, provide imaginative material that reverberates in people's lives every bit as much as do the great historical figures, like Julius Caesar, Elizabeth I, Horatio Nelson, or Winston Churchill. What is striking is how often fictional characters from the literary tradition—like the well-loved Elizabeth Bennett, Jane Eyre, Oliver Twist, Pip, Tess of the d'Ubervilles—enter readers' lives at a highly personal level. They become, as Martha Nussbaum puts it, our ‘friends’, and for many readers the lives of these characters become closely entwined with their own. Happy and unhappy incidents in the fictional worlds are held up against similar incidents in the real lives of readers and such readers take inspiration from the courage, ingenuity, or good fortune of their fictional heroines and heroes. Nowhere is it more true that life imitates art. (shrink)

Rush Rhees, Georg Henrik von Wright and Elizabeth Anscombe are well known as the literary executors who made Ludwig Wittgenstein’s later philosophy available to all interested readers. Their editions of Wittgenstein’s writings have become an integral part of the modern philosophical canon. However, surprisingly little is known about the circumstances and reasons that made Wittgenstein choose them to edit and publish his papers. This essay sheds light on these questions by presenting the story of their personal relationships—relationships that, on (...) the one hand, gave Rhees, von Wright and Anscombe distinct insights into Wittgenstein’s philosophizing; and, on the other hand, let Wittgenstein assume that these three former students, and later colleagues and friends, were the most capable of preparing his work for publication. Using hitherto unpublished archival material as well as information from published recollections, the essay sketches the development of the personal and philosophical bonds from which the literary heirs’ distinct ways of handling Wittgenstein’s unpublished writings grew in later years. (shrink)

The cellphone is at once a transformative, even revolutionary, technology but also an artefact of social fragmentation and managerial/administrative command-control. This chapter explores the contradictory discursive record of utopic and dystopic accounts of the cellphone. The former anchors the cellphone’s historical time to high capitalist consumerism, a purported source of happiness, development, and revolution. Dystopic accounts are more likely to emphasize the record of techno-criticism aimed at the quasi-religious nature of the utopian discourse, highlighting popular and literary protests against (...) the harms to workers and ecosystems. The dystopic perspective points archaeological research to a crucial layer of evidence that moves from a focus on utopian/dystopian forms of consciousness to one centred on the gadget’s chemico-mechanical materiality and the toxic environmental legacy it bequeaths to future generations. (shrink)

The debate about computational literary studies (CLS) is stuck. Forceful arguments are repeatedly made as to why literary studies must now—or could never—involve quantification, statistics, and algorithms (not least in this journal) with little sense of either side convincing the other of their case. Surveying this debate over the past decade, I propose that what seems a complete divergence of opinion obscures a fundamental agreement: that computation is separate from literary phenomena. For the field’s critics, this distinction (...) makes CLS an oxymoron; for its proponents, both ways of knowing can contribute to literary studies, and there is critical potential in working across the divide. Yet the perception of a divide remains, and it prevents either effective critiques of reductive uses of computation (in literary studies and beyond) or productive engagements with computation’s constitutive effects (including for literary textuality and subjectivity). In charting this divide as it characterizes and limits apparently very different arguments, I connect claims about technology and subjectivity made in critiques and defenses of CLS to the separation of matter and meaning commonly referred to as Cartesian dualism. With both sides maintaining this arrangement, the debate about CLS is sealed off from technocultural inquiries in multiple fields (including literary studies) and from much of what matters in and as contemporary literary phenomena. The performative approaches to scientific and literary materiality I use to elucidate problems with the existing debate also help to characterize, explain the need for, and make legible where it already exists, a different—performative—CLS. Attuned to the coconstitution of computational methods and objects, with each other, and with literary subjectivities and textualities, this CLS builds on and extends existing critical paradigms to enable literary studies in the postprint era. (shrink)

Steven Connor, one of the most influential critics of twentieth-century literature and culture, has spent much of his career writing and thinking about Samuel Beckett. This book presents Connor's finest published work on Beckett alongside fresh essays that explore how Beckett has shaped major themes in modernism and twentieth-century literature. Through discussions of sport, nausea, slowness, flies, the radio switch, religion and academic life, Connor shows how Beckett's writing is characteristic of a distinctively mundane or worldly modernism, arguing that it (...) is well-attuned to our current concern with the stressed relations between the human and natural worlds. Through Connor's analysis, Beckett's prose, poetry and dramatic works animate a modernism profoundly concerned with life, worldly existence and the idea of the world as such. Lucid, provocative, wide-ranging, and richly informed by critical and cultural theory, this book is required reading for anyone teaching or studying Beckett, modernism and twentieth-century literary studies. (shrink)

This engaging, interactive and pedagogical introduction to ethics combines the best features of a textbook and an anthology. The Moral Domain: Guided Readings in Philosophical and Literary Texts contains numerous readings from key philosophical writings in ethics along with captivating literary selections that bring the ethical issues to life. Offering extensive excerpts from major figures in the history of Western ethics--Aquinas, Aristotle, Hobbes, Hume, Kant, Mill and Plato--the book also integrates work from non-Western perspectives, including selections from the (...) Bhagavad Gita, Confucian views and Hsun-Tzu. It also represents women's voices with readings by Julia Annas, Sarah Broadie, Carol Gilligan, Martha Nussbaum and others. Literary selections--including work from the Bible, Camus, Dostoevsky, Golding, Sophocles, Tolstoy, Twain and Wharton--enable students to grasp deep ethical concepts at an intuitive level. The Moral Domain features a unique built-in study guide that helps students to better comprehend and interact with the material. It introduces each selection with orienting questions and then intersperses explanations, commentary and study questions (designed to test comprehension and provoke reflection) throughout the readings. Each chapter includes a "Further Discussion and Applications" section that demonstrates how ethical theory affects such contemporary moral debates and problems as abortion, euthanasia, feminism, hunger, warfare and more. An exemplary text for introduction to ethics and moral philosophy courses, The Moral Domain provides a comprehensive and accessible introduction to all facets of ethics; its foundations, history, debates and current real-life controversies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Darwin Meets Literary TheoryEllen DissanayakeEvolution and Literary Theory, by Joseph Carroll; xi & 518 pp. Columbia: University of Missouri Press, 1995, $44.95.In my experience, most literary theorists, even those who participate in conferences called “Literature and Science,” know little about evolution, and don’t want to know. For them, “science” means information theory, chaos or catastrophe theory, fractals, pataphysics, “autopoeisis” or self-organization, emergence, cyborgs, hypertext, virtual signs (...) and other aspects of sci-fi, or techno-politics. (I encountered these subjects at a comparative literature conference I attended in March 1995.) These “scientific” positions are used as trendy metaphors for talking about chance, uncertainty, accident, ideology, and multidimensionality in literary works or in the aims of their authors. In other words, the buzzwords of contemporary science become one more angle from which to view or project another facet onto the glassy, self-reflective edifice of contemporary literary theory, rather than a means from which to shatter it and build again from scratch with more earthy, substantial materials. Joseph Carroll’s book provides the view and the means for this genuinely new and constructive (if initially destructive) possibility.It is ironic that in the present critical climate the very virtues of the book might be seen by some as faults—e.g., the lucid, elegant writing and the erudition and interdisciplinarity of the work as a whole. Carroll [End Page 229] writes clearly, authoritatively, without jargon, and with frequent, delicious wit. His values, aims, explanations, evidence, and criticisms are concisely and plainly stated. This is in marked contrast to the enigmatic and idiosyncratic nature of much recent criticism, and might have the initially disorienting effect of returning to earth and breathing pure oxygen after one has become accustomed to the thin and rarefied atmosphere of remote, icy peaks.Carroll offers wide-ranging and illuminating discussions of standard literary and critical works from both the European and Anglo-American tradition over the past several centuries, and refers to dozens of writers from diverse periods and nationalities. Additionally he enlists, and criticizes where appropriate, ideas from such diverse nonliterary figures as Darwin himself and writers about Darwin, T. H. Huxley, Konrad Lorenz, John Bowlby, Sir John Eccles, the prominent sociobiologists and evolutionary psychologists, S. J. Gould, Richard Lewontin, Derek Bickerton, Piaget, Karl Popper, Thomas Kuhn, Clifford Geertz, H. J. Eysenck, Cardinal Newman, Thorstein Veblen, Trotsky, Raymond Williams, and Richard Rorty, among others.One can be forgiven for wishing to forego an exploration of this demanding array of knowledge argued from the unfamiliar perspective of evolutionary biology. For in order seriously to consider Carroll’s new way of looking at human endeavor (including literature) one must also look critically at what was laboriously mastered during all those years of graduate school and tenure-driven writing for publication. No one wants to be persuaded to give up a view of the world that has been mastered with painstaking diligence. Still less does anyone want to spend time with something that according to conventional academic wisdom is downright wrong-headed. This is really the challenge of Carroll’s book—because such minor matters as the plain unfashionable title, clear writing, impressive erudition, and dated or forgotten thinkers can be overcome if the stakes are high enough.I wish to suggest that the stakes are high enough and that the time is right for this inevitable change of viewpoint. Along with others in diverse fields such as cognitive and developmental psychology, personality theory, neurology, medicine, sociology, political science, epistemology, cultural anthropology, ethics, and linguistics, I find the Darwinian perspective to offer the most comprehensive and viable possibility for an understanding of human behavior and culture, including the arts. Joseph Carroll admirably articulates this position and applies it to literary theory. I invite scholars who think that evolutionary explanations [End Page 230] are erroneous, dangerous, reductionist, simplistic, or irrelevant to read Carroll and deal seriously with his arguments. His book should be the central text for theory classes and seminars, as well as the subject of conferences. Those who would dismiss it should have the courage and curiosity to lay aside their misgivings and have a look. Especially those who are dissatisfied with the surfeit... (shrink)

Smith expressed regret in 1780 that his Custom‐house duties held up ‘Several Works’ he had projected. One of these was on the subject of the ‘Imitative Arts,’ presumably his mimetic aesthetic philosophy. This was very likely connected with the two ‘Great Works’ he had ‘on the anvil’ on 1785. He described the first one as a ‘sort of Philosophical History of all the different branches of Literature, of Philosophy, Poetry, and Eloquence.’ The second he described as a ‘sort of theory (...) and History of Law and Government,’ which presumably would have included the ‘system of jurisprudence’, Smith promised his readers at the conclusion of TMS in 1759. He reported in 1785 that the materials collected were in tolerably good order, but he doubted whether the onset of old age would allow him to finish either work. Parts of the first project were published after his death in Essays on Philosophical Subjects, the only book of his that was not a commercial success. His major efforts of the end of his life went into further editions of TMS and WN, which he had in hand by 1783, in part responding to his critics. (shrink)

The article argues that the work of literary theorist Mikhail M. Bakhtin presents a starting point for thinking about the instrumentalization of climate change. Bakhtin’s conceptualization of human–world relationships, encapsulated in the concept of ‘cosmic terror’, places a strong focus on our perception of the ‘inhuman’. Suggesting a link between the perceived alienness and instability of the world and in the exploitation of the resulting fear of change by political and religious forces, Bakhtin asserts that the latter can only (...) be resisted if our desire for a false stability in the world is overcome. The key to this overcoming of fear, for him, lies in recognizing and confronting the worldly relations of the human body. This consciousness represents the beginning of one’s ‘deautomatization’ from following established patterns of reactions to predicted or real changes. In the vein of several theorists and artists of his time who explored similar ‘deautomatization’ strategies – examples include Shklovsky’s ‘ ostranenie’, Brecht’s ‘ Verfremdung’, Artaud’s emotional ‘cruelty’ and Bataille’s ‘base materialism’ – Bakhtin proposes a more playful and widely accessible experimentation to deconstruct our ‘habitual picture of the world’. Experimentation is envisioned to take place across the material and the textual to increase possibilities for action. Through engaging with Bakhtin’s ideas, this article seeks to draw attention to relations between the imagination of the world and political agency, and the need to include these relations in our own experiments with creating climate change awareness. (shrink)

“Eve Sedgwick’s ‘Other Materials’” refers to a graduate seminar that Sedgwick offered at the CUNY Graduate Center entitled “How to Do Things with Words and Other Materials.” As its title suggests, her seminar advanced Sedgwick’s enduring “FASCINATION” with “MAKING UNSPEAKING OBJECTS” of all sorts, which elsewhere included the body’s organic and inorganic waste. Taking a cue from her teaching, I suggest that, while critics have extensively detailed Sedgwick’s contributions to literary interpretation, sexuality, gender, affect, and performativity, we should also (...) appreciate her writings as theorizing queer material relations. This observation is pertinent given her rethinking of psychodynamic object relations theory alongside her creative writings on “THE WASTE PRODUCTS,” or the matter we ceaselessly produce. My argument thus anchors its claims in a close non-Kleinian reading of her poem “Bathroom Song,” which also offers an unforeseen take on paranoid and reparative idioms of psycho-material being. How waste matter facilitates this unanticipated insight is one of my essay’s – and Sedgwick’s – subsidiary concerns. (shrink)

If any emergent historical criticism will tend by its own choice toward inclusiveness and eclecticism, it is also likely to be constrained by more subtle forms of complicity with the theoretical subculture within which it seeks its audience. It is not in principle impossible that we might choose to set going an initiative that is very different indeed from the methods and approaches already in place. But is nonetheless clear that we must be aware, in some propaedeutic way, of the (...) predispositions for or against such change that are latent in the horizons of the field as they are presently conceived and transmitted. An account of these predispositions will take up most of the following essay. Whether or not the particular texts I shall discuss constitute anything as firm as an establishment in the absolute sense does not matter much: they neither sum up the ongoing careers of their particular authors, in the diachronic sense, nor do they represent any simple totality in the critical culture of the late 1960s. All we need here is the weaker assumption: that these writings by Derrida, Paul de Man, Michel Foucault, and Pierre Macherey do offer, by virtue of their very notoriety, evidence of the priorities within the discipline that have afforded them their reputations in the first place. Thus, while they do not in themselves prohibit the emergence of alternatives, they do give us clues about the residual pressures that might constrain those alternatives, and they signal the questions that the historical party must respond to if it is to be recognized as making an important contribution to a debate. My argument will be that the influential critics of the late 1960s have made it very hard indeed to find a place for history, so much so that the avowedly Marxist alternative set forth by Jameson finds itself making disabling concessions to those very influences. I do not claim to describe the entire range of options and alternatives, and indeed offer no discussion of the most excitingly contested field of all, that represented by contemporary feminisms. I mean instead to demonstrate, through a reading of those methodologies that have become authoritative, that the status of historical inquiry has been so eroded that its reactive renaissance, in whatever form, threatens to remain merely gestural and generic. “History” promises thus to function as legitimating any reference to a context beyond literature exclusively conceived, whether it be one of discourse, biography, political or material circumstance. In particular, given the current popularity of discourse analysis, it seems likely that for many practitioners the historical method will remain founded in covertly idealist reconstructions. David Simpson is professor of English and comparative literature at the University of Colorado, Boulder. He is the author of various books and essays, most recently The Politics of American English, 1776-1850 and Wordsworth’s Historical Imagination: The Poetry of Displacement. (shrink)

The selection of nineteenth-century Arabic texts on medical education, medicine and health demonstrates the significant link between the revival of the Arabic language and literary culture of the nineteenth century, known as thenahda, and the introduction of medical education to the Ottoman Empire. These include doctor Ibrahim al-Najjar's autobiographical account of his studies in Cairo (1855), an article by doctor Amin Abi Khatir advising on the health and care of infants (1877), questions and answers in the major popular Arabic (...) journalsal-Hilalandal-Muqtataf(1877–1901) and an article about a new tuberculosis treatment by doctor Anisa Sayba‘a (1903). Taken together they contribute to our understanding of the bottom-up production, reproduction and reception of global scientific knowledge, as well as to a social and intellectual history of science. We argue that the engagement with science during thenahdawas a multi-vocal and dialogical process, in which doctors and patients, journal editors and their readers, negotiated the implications of scientific knowledge for their own lives and their own society. The texts of the original documents and their translations can be found in the supplementary material tab athttps://doi.org/10.1017/S0007087422000413. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Work in Progress: Literary Revision as Social Performance in Ancient Rome by Sean Alexander GurdThomas HabinekSean Alexander Gurd. Work in Progress: Literary Revision as Social Performance in Ancient Rome. American Classical Studies 57. Oxford: Oxford University Press, 2012. xi + 167 pp. Cloth, $74.The New Critical approach to texts of Latin literature as well-formed artifacts comprehensible solely on their own terms has been in decline for (...) some time now. Cultural critics have illuminated the ways in which literary texts intersect with a broad range of practices and discourses; increasing attention has been paid to the cognitive, conceptual, and emotional aspects of poetry and prose; even diehard intertextualists find themselves wondering how to connect literary texts with other communicative systems. Most such work, however, has taken the form of interpretation. Debates have been concerned with the relative weight to be given to internal and external factors in assessing the meaning and significance of texts, but rarely have scholars stopped to ask what is meant by “text” in the context of Roman verbal production. Indeed, critics who insist on the boundlessness of interpretation are among those most committed to the boundedness of the objects to be interpreted.Sean Gurd’s new study reorients discussion of Latin literature by asking whether and when Roman readers and audiences came to regard a text as complete. His interest is still discursive, that is to say, he shies away from detailed discussion of the material practices evidenced in papyri and manuscripts, which in my view is a mistake. Nonetheless, his crisp, insightful examination of the way [End Page 340] multiple Roman (and Greek) authors represent the process of textual revision and completion should force reconsideration of widely shared assumptions about the boundedness and autonomy of the texts that constitute the interpreter’s object of inquiry. On Gurd’s account, the familiar Alexandrian and neoteric concern with formal completeness is just one of many models of textualization available to ancient authors. Like Enrica Sciarrino in her recent study of Cato the Elder (Cato the Censor and the Beginnings of Latin Prose. From Poetic Translation to Elite Transcription [Columbus, Ohio 2011]), Gurd manages to shake things up in part through the simple (and to this writer self-evident and long-overdue) move of including prose as well as poetry in the Latinist’s remit. Cicero and Pliny contribute as much to his account as do Horace and his Alexandrian predecessors.Equally important, if less successfully handled, is Gurd’s identification of different models of craftsmanship implicit in a preference for complete as opposed to revisable texts. Gurd suggests that an Aristotelian model, in which the craftsman has a telos or ideal in mind to which the object is expected to adhere, has been allowed to dominate discussion of texts at the expense of other models, identifiable in the writings of Isocrates, Plato, Quintilian, and others, that allow for revision, by the author or by others, as part of the creative process. I agree, but think the connection between the Aristotelian approach and the literary texts that embody it could have been developed in more detail, as might the philosophical underpinnings of alternative approaches to revision. At the same time, Gurd’s pursuit of the Aristotelian lead through other philosophical writings (Stoic, Epicurean, euphonist) is unpersuasive and a distraction from his main story, which is the diverse uses to which authors assign the process of revision, as discussed in four compelling chapters that form the substance of the book.The first of these chapters groups Isocrates, Plato, and Quintilian as promoters of textual revision as pedagogical strategy. For them, revision of a text is aimed at the improvement of the revising subject as much as the revised text. The ability to collaborate with others, especially apparent in Isocrates’ Panathenaicus, becomes predictive of political competence, while in the case of Plato’s Theaetetus and Euthydemus, revising a text is another means of revising the self. For Quintilian, revision, without entirely losing its Isocratean or Platonic aims, eventually produces a speaker who no longer needs to revise. The practice of criticizing and correcting, alone or with others, generates a substantive transformation of the student’s psyche... (shrink)

Mind and matter.--Moral nerve.--Herbert Spencer as a moralist.--Huxley as a moralist.--Substitutional morals: the principle of punishment.--Literary and scientific verdicts.--The genesis of modern kindliness.--Stuart Mill.--Thomas Carlyle.--The French revolution.--Epoch-making incidents and persons.--The slow change in the fundamental characteristics of peoples and individuals.--Emerson on Napoleon.--Goldwin Smith.--Material prosperity and religion.--Nerve forces as totalities.--The evolution of the direct man (direct brain).

This article compares the use of Romantic metaphor with the Chinese literary device xiang 象 (which I translate as “thing-metaphor”) in regard to how they embody different metaphysical relations between humans and things. Whereas Romantic metaphor transports a physical thing to the immaterial realm of imagination, xiang is a literary device in which the material qualities of the thing, while creatively interpreted to generate human meaning, retain ontologically a strong physical presence. Xiang therefore epitomizes a theory of creation (...) that challenges the Western dualistic paradigm: that the poet creates not virtual copies of the thing, but meanings of the thing, and therefore our relationships with things. The article concludes with Heidegger’s discourses on metaphor to suggest that my discussion of thing-metaphor has universal applicability. (shrink)

This volume is the third volume in Palgrave' Macmillan's new Iris Murdoch Today scholarly series. Iris Murdoch and the Literary Imagination is the first major collection of literary essays since her centenary in 2019. It brings together leading Murdoch scholars from across the world who expand the boundaries of recent criticism offering work not only on the novels, but on her unpublished poetry and archival materials. This collection discusses her interest in, and use of, Japanese literature; her relationship (...) with, and reader-response to her, in Australia; Murdoch in the post #metoo era; her lifelong interest in the supernatural, same-sex relationships and friendships; as well as the use and abuse of biographical material. The collection widens the field of Murdoch studies and marks a new waypoint in the development of her critical reception. (shrink)

Grotesque imagery is widely used by all genres and movements of art and literature without exception, but its historical development and theoretical aspects have not been sufficiently studied. This study seeks to define and diagnose the main aspects of the development of the grotesque as a literary problem. The leading methods of researching this problem are methods of analysis, deduction, induction, and comparison of approaches. The research covers the approaches to the study of the grotesque phenomenon; the interpretation of (...) this trope is provided, its origin is described, in whose works it is widely used; the forms of grotesque and its specific features are described; various theoretical concepts of the question are demonstrated; the codes of grotesque poetics and their levels of display in the artistic system of works are identified; the qualities and features of Poe’s literary activity are diagnosed, and the components of the grotesque aesthetics are defined. The material in this study is of practical and theoretical value to students and literary scholars who study literature and its artistic features. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.4 (2001) 603-604 [Access article in PDF] Irving Singer. George Santayana, Literary Philosopher. New Haven: Yale University Press, 2000. Pp. xiii + 217. Cloth, $25.00. In a prefatory comment, Irving Singer affirms that George Santayana, Literary Philosopher is "an introduction to the part of Santayana's philosophy that has meant the most to me" (xii). The locus of this personal interest, he (...) goes on to say, is in the "humanistic relevance" of Santayana's work. Singer's fruitful reflections on Santayana's literary genius, as well as the great philosopher's depth of critical insight with regard to aesthetics, literature, and love, all testify to this humanistic interest.Singer's examinations of Santayana's critical and fictional works are as accessible as they are interesting, a characteristic which alone recommends the book for readers interested in gaining an introductory understanding. Equally important however is the fact that Singer's reflections lend themselves to a much larger academic audience as well. Santayana's work is revealed, correctly, to be not only relevant to the philosophical community, but to contain contributional elements that are of interest to criticism in both literature and art.This does not mean that Singer avoids criticizing Santayana's philosophy. To the contrary, he levels a key criticism that begs response. Singer believes Santayana is incapable of accounting for interpersonal love. According to Singer, Santayana's deficiency in this regard is due to his belief that "[other] individuals are merely the vehicle [End Page 603] to some cherished ideal" (124). More specifically, Singer holds that Santayana's account of the realization of interpersonal love is restricted by an unnecessary dualism: the gratification of material desires (like Freud), and the distanced contemplation of an ideal (like Plato).This familiar dualism might be referred to as the "desire-renunciation" formula Santayana employs throughout his work in an attempt to pay equal respect to the material ground, and the contrasting ideal groundlessness of all things. For Santayana, the oscillation between desire and renunciation is so obviously reflected in individual aspirations, and in the general course of every human life that, for the philosopher, the task is not to attempt to justify one or the other, but to reconcile them. For Singer however, Santayana ultimately fails in this attempt: "...[Santayana's] attempt to unify Platonism and naturalism fails as philosophy..." (x). He charges that the structure of Santayana's philosophy "fails to show us how people can overcome the split between matter and spirit." Thus, Singer's divergence from Santayana derives from an overall rejection of the philosophical soundness of his work (favoring its humanistic appeal), and from his feeling that Santayana's philosophy never achieves the reconciliation it sets out as its goal. But these charges are unjust, and they seem to arise from an insufficient account of Santayana's doctrine of essence as it relates to his understanding of love.For Singer, "persons" rather than essences (or ideals) are the irreducible themes of human interest: "...loving is not the same as desiring. We desire things or persons for what they can give us, for satisfactions we hope they will provide. In loving anyone, however, we take an interest in that person, as a person and not just as a vehicle to something else" (91). But the implicit charge of this claim, namely, that Santayana's preference for essences as the irreducible themes of human interest results in the view that humans are incapable of loving persons-qua-persons (but only qua-essences), is simply wrong; and, importantly, reflective of a misunderstanding of Santayana's doctrine of essence.Santayana is consistent in his affirmation that in youth, when the demand to act is acute, it is sane to cry and to beat one's fists against the world, while with time and experience, such heated displays become tragic and even unbecoming. The same is true for Santayana with respect to love. It is wisdom reflective of the love of all things to laugh (ironically) at what was in youth an irremediable demand for the love of particular... (shrink)

That the story of Cupid and Psyche in Apuleius' Metamorphoses is a version of a common world-wide folk-tale has long been recognized. Scholarly debate has concentrated on the conclusions to be drawn from this with regard to the significance of the story—mythological, religious, allegorical, and so on. With the additional information provided by Swahn's comprehensive monograph on the subject an attempt can now be made to study some of the aspects of literary technique involved in the adaptation of the (...) folk-tale. In what follows I have tried to avoid making any assumptions about a possible literary source of Apuleius' tale. I am concerned with the ways in which the literary version which we possess modifies the folk material, and not with the author of this modification. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Cicero's Correspondence: A Literary StudyJohn NicholsonG. O. Hutchinson. Cicero's Correspondence: A Literary Study. Oxford: Clarendon Press, 1998. xv + 235 pp. Cloth, $65.The focus here is on rescuing Cicero's correspondence from the subliterary status of mere historical and biographical source material, and promoting an appreciation of its inherent artistic value and interest. Now that the text of the letters has finally been restored to a sound (...) footing and their historical contents well elucidated, Hutchinson cogently argues that it is time for scholars to pay more attention to them from a literary perspective. Accordingly, he shows how Cicero's constant rhetorical shaping of his material lifts the letters beyond the level of mere historical documents to that of a sophisticated and persuasive form of literature. In his introductory chapter he explains that critics have long shied away from this kind of literary approach because Cicero did not write these letters for publication. But even so, there is evidence that Cicero saw the potential of letters as a distinct and respectable literary genre. We are reminded, for example, that he knew and valued various published collections of letters, such as those by Plato and Epicurus, and that toward the end of his life he planned to publish a small edited selection of his own correspondence. We also know that he was conscious of different categories of letter writing based on [End Page 159] function and manner (Fam. 2.4.1), thereby showing his awareness of the aesthetic dimensions inherent in the form. In particular, examination of the dozens of his letters of recommendation (Fam. 13) reveals his deliberate manipulation of established epistolary conventions. Also notable is the prevalence of prose rhythms, similar to those found throughout his published works--a strong indication of self-conscious artistry in the composition of his letters. Finally, the goal of persuasion, central in much of the correspondence, naturally called forth the author's exceptional rhetorical powers to craft his words in an artfully persuasive way. Considering all these factors, Hutchinson argues that Cicero's letters must not be naively mined as historical source material without considering the aesthetic considerations which influenced their composition; in fact, he says, "the constant shaping of material for persuasive and aesthetic ends, in presentation, structure, and style, prevents any direct or straightforward access to history" (23). The present literary approach is therefore long overdue.After exploring in chapter 1 these general issues that justify his approach, Hutchinson devotes the remaining chapters of his book to discussing six specific themes, each illustrated by passages taken from a wide selection of different letters (including samples written to Cicero) and comparing them to passages from other types of literature. The six themes are Exile, Consolation, Narrative, Dialogue, Time, and Humor.The chapter on exile presents three letters Cicero wrote in 58 b.c. during the intense personal crisis of his banishment from Rome (Fam. 14.4, Att. 3.7, Q. Fr. 1.3). Though usually interpreted as embarrassing emotional exhibitions of a weak character out of control, these letters in fact show great eloquence and mastery of language, astutely molded to suit the addressee: to his wife he is tender, to Atticus he is argumentative, to his brother he is formal. Beneath the superficial emotional hyperbole, the subtlety and mobility of the author's intelligence remains evident throughout, and emotion blends with argument and rhetorical power just as deftly here as it does in the published speeches. So too in the next chapter, on consolation, where the subject matter remains emotionally gloomy, we can observe Cicero's renowned rhetorical skills at work. Writing in a recognized philosophical genre, he uses argument and persuasion to try to control and lessen the emotional excess of bereaved friends, mixing conventional Stoic adages with acknowledgment of harsh contemporary realities. The writing is elegant, neat, multilayered, and closely reasoned. For the sake of contrast and comparison, Hutchinson also presents two well-known letters of consolation written to Cicero after the death of his daughter in 45 b.c. (Fam. 5.14 and 4.5). The rhetoric in these, though impressive, nevertheless lacks Cicero's masterly smoothness and tact. In place of his... (shrink)

This book is largely unpublished material from Popper’s literary remains regarding his The Open Society and Its Enemies that conveys some interesting stories about its publication and initial reception, throws light on its message, and complements it somewhat. It also contains much that Popper hardly discussed elsewhere.

Francis Bacon, the English philosopher, statesman and jurist, is best known for developing the empiricist method which forms the basis of modern science. Bacon's writings concentrated on philosophy and judicial reform. His most significant work is the Instauratio Magna comprising two parts - The Advancement of Learning and the Novum Organum. The first part is noteworthy as the first major philosophical work published in English. James Spedding and his co-editors arranged this fourteen-volume edition, published in London between 1857 and 1874, (...) not in chronological order but by subject matter, so that different volumes would appeal to different audiences. The material is divided into three parts: philosophy and general literature; legal works; and letters, speeches and tracts relating to politics. Volume 7, published in 1859, continues Bacon's literary works including his writings on religion, and contains his professional works on the law. (shrink)