이 논문은 『화엄경』 「화장세계품」의 문학적 표현론에 대한 분석을 중심으로 살펴본 글로써, 이 글에서 살펴볼 「화장세계품」은 신역인 80권 본에만 敎說되어 있는 품이다. 여기서 부처님을 대신해 보현보살이 화엄정토인 연화장세계에 대하여 설하고 있다. 즉, 화장세계는 비로자나부처님께서 무량겁 동안 보살행을 행하여 깨달아 얻은 깨끗한 눈(淨眼)으로 본 세계이자, 오늘날 우리가 현재 살고 있는 세계의 본래 모습의 국토이다. 다만 우리는 갖가지 業報에 의해 淨眼의 세계를 바로 보지 못하고 혼돈의 세계로 보고, 그 삼독의 혼란 속에서 살고 있다는 것이 이품의 핵심내용이다. 따라서 이글은 이러한 내용을 전제로 ‘『화엄경』 「화장세계품」의 (...) 문학적 표현론’에 대한 논의를 통해 문학적 표현과 이품에 담긴 含意를 규명해보는데 그 목적이 있다. (shrink)

The history of Mexico in the first half of the 20th century is almost completely dominated by the Mexican Revolution (1910–1920/40). Revolutionary events continue to shape Mexican society up to the present day. Due to the unequal distribution of resources and land and political instability, persistent social tensions have developed, resulting primarily from a collective impoverishment accompanied by de facto lawlessness, violence, and oppression of the Mexican rural population, and a rising elite in the cities. Mexican author Juan Rulfo (1917–1986) (...) experienced violent clashes between social revolutionary and state actors in which around two million people died. These events fundamentally shaped Rulfo’s literary works, _El Llano en llamas_ (1953), an anthology of short stories, and the novel _Pedro Páramo_ (1955). This article focuses on _El Llano en llamas_, understanding the collection of short stories as an aestheticization of the structural grievances suffered by the Mexican rural population at the beginning of the 20th century and regards it as a form of literary protest. Showing that Rulfo’s stories are placed in a tension between ethics, aesthetics, and documentation, this article seeks to uncover the social agenda that Rulfo pursued as an author, giving voice to figures who can hardly articulate themselves outside of literature. Through literature, Rulfo appropriates, reshapes and reflects socially located power structures and socio-economic hierarchies. Finally, this article shows that the links between poverty, inequality of opportunity, structural discrimination, and spatial marginalization that Rulfo’s stories express remain virulent in the 21st century. (shrink)

Philosophy has become trapped by the belief that precision is our surest path to knowledge. It is my aim to challenge this assumption and to affirm in its place a wide variety of means by which we may “speak” philosophically. Drawing on George Santayana’s ontological realm of truth and his concept of literary psychology, I will argue that the varieties of human expression, in their relationship to truth, are not fundamental differences in kind but exist on a continuum (...) of expression, where the referent ranges from descriptions closest to the material facts to those closest to the human relationship to those facts. (shrink)

BackgroundModern literary appreciation seems to be reading literary works phenomenally. In fact, appreciation is not a general reading, which has an important difference from general reading. It is the identification and appreciation of literary works and a complex spiritual activity for people to feel, understand, and imagine literary and artistic works. At the same time, literary appreciation is also a cognitive activity, an aesthetic activity, and a re-creation activity.MethodIn this paper, the machine learning algorithm was (...) creatively used to classify the emotions of figures in modern literary works, to analyze the emotions of the figures that the writer wanted to depict in modern literary works.ResultsExperimental results verify the accuracy of the emotion classification method through experiments, which is helpful for us to better understand the emotion expression in modern literary works. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.1 (2003) 80-97 [Access article in PDF] Literary Truth as Dreamlike Expression in Foucault's and Borges's "Chinese Encyclopedia" Robert Wicks ALTHOUGH THE TOPIC REMAINS MOSTLY unexplored, Michel Foucault had an aesthetic and intellectual attraction towards writers and artists in the Spanish-speaking tradition. For example, at the conclusion of his Histoire de la folie (Madness and Civilization, 1961)—a book which brought him extensive intellectual recognition (...) in France—Foucault drew his readers' attention to José de Goya y Lucientes's (1746-1828) well-known etching, El Sueño de la Razón Produce Monstruos (The Sleep of Reason Brings Forth Monsters, Plate 43 of Los Caprichos, 1797). In Foucault's estimation, by revealing a "night which is doubtless that of classical unreason," Goya's work represented a socially removed condition within which people encounter "what is most solitary" and experience what is "deepest" within themselves. With his reference to Goya's imagery, Foucault illustrated a major theme of his history of madness, namely, how people referred to as "mentally ill" experienced a gradual, physical exclusion from participation in public society, and how they were eventually isolated in a more frightening way: within their physical confinement, they were subject to techniques of psychological and spiritual alienation that reduced them to a condition of utter solitude.In a comparable, if not more central manner, Foucault used as thematic motifs for the preface, first and second chapters of a book for which he is widely known, Les Mots et les choses (The Order of Things, 1966), the work of three major writers and artists from the Spanish-speaking world: Jorges Luis Borges (1899-1986), Diego Velázquez (1599-1660), and Miguel de Cervantes (1547-1616). Among these references, the most popular is probably Foucault's discussion of [End Page 80] Velázquez's Las Meninas—a painting which captured Foucault's interest as a perfect exemplar of its time period—and which inspired him to devote the entire first chapter of his book to decoding the mechanics of its perspectival arrangement. And within the community of those who read, write and discuss the interrelationship between Foucault's thought, literary theory and the contemporary emphasis upon the multivocal quality of textual meaning, Foucault's citation of an excerpt from a short story by Borges—the subject of this essay—is also familiar. Foucault introduced his 1966 book, The Order of Things, with the following words: This book first arose out of a passage in Borges, out of the laughter that shattered, as I read the passage, all the familiar landmarks of my thought—our thought, the thought that bears the stamp of our age and our geography—breaking up all the ordered surfaces and all the planes with which we are accustomed to tame the wild profusion of existing things, and continuing long afterwards to disturb and threaten with collapse our age-old distinction between the Same and the Other. This passage quotes a "certain Chinese encyclopedia" in which it is written that "animals are divided into: (a) belonging to the Emperor, (b) embalmed, (c) tame, (d) suckling pigs, (e) sirens, (f) fabulous, (g) stray dogs, (h) included in the present classification, (i) frenzied, (j) innumerable, (k) drawn with a very fine camelhair brush, (l) et cetera, (m) having just broken the water pitcher, (n) that from a long way off look like flies." In the wonderment of this taxonomy, the thing we apprehend in one great leap, the thing that, by means of the fable, is demonstrated as the exotic charm of another system of thought, is the limitation of our own, the stark impossibility of thinking that. 1The short story from which Foucault extracted the above, quasi-cubistic, excerpt was published in Borges's 1952 collection, Otras Inquisiciones (Other Inquisitions), and is entitled, "The Analytical Language of John Wilkins." Although this story's entirety is rarely surveyed in discussions of Foucault, appreciating its broader contents helps illuminate why Foucault began The Order of Things with this entertaining and bizarre segment. Borges's original... (shrink)

The paper defends Wollheim’s account of aesthetic expressive perception by showing that it may fruitfully be extended to artistic genres other than painting. The paper hopes to show the richness of Wollheim’s theory of expressive projection as an account of aesthetic perception. In investigating the application of Wollheim’s account of artistic expression to literature, I shall illustrate how understanding expression as the result of the projective activity of the writer is a useful way of understanding some of the (...) expressive properties of two poems by Wordsworth. I shall also attempt to show how Wordsworth’s poems require and facilitate the activity of projection by the reader, so as to allow for the appreciation of the work’s expressive properties. In exploring the application of Wollheim’s account of expression-as-projection to poetry, this paper will also attempt to defend Wollheim’s account against some objections raised by Malcolm Budd. (shrink)

Literary racial impersonation occurs when a narrative work fails to express the perspective of a minority ethnic or racial group. Interestingly, even when these works express moral themes congenial to promoting empathetic responses towards these groups, they can be met with public outrage if the group’s perspective is portrayed inaccurately. My goal in this paper is to vindicate the intuition that failure to express the perspective of a minority group well renders the work defective, both aesthetically and morally. I (...) argue that available frameworks exploring the connections between aesthetic and moral realms of value are inadequate to analyzing this phenomenon and propose a novel connection between aesthetic and moral values. Specifically, I demonstrate that the primary defect of literary racial impersonation is aesthetic and contingently constitutes a moral defect in our current social context. (shrink)

To explore literary silence is to explore the relationships between literary texts and the silence of the ineffable. It is to enquire what dynamics texts develop as they strive to 'say the unsayable', and it is to think literature as a silence that speaks itself. This study describes these literary and silent dynamics through readings of Pascal's Pensées, Rousseau's Rêveries, and Beckett's trilogy Molloy, Malone meurt, and L'Innommable. It contributes to our understanding of three major writers and (...) challenges our idea of what silence is. The subject of silence and of the ineffable has a long philosophical and critical tradition. A careful study of this tradition reveals the dominance of a limiting dualistic understanding of silence and its relationship to noise or language: silence becomes the negative other, the beyond, about which there remains nothing to say. The study of literary silence seeks rather to trace a language that becomes its own silence. It compromises the attempt to think a silence that moves within and through texts, that is inherent to the literary expression. Central to this theoretical endeavour are thinkers like Derrida, Deleuze, Gadamer, and Vattimo. The theoretical understanding of silence permits an effective methodology for reading literary silence. Notions of repetition, the aporia and the implosion, which are developed in reference to Kierkegaard and Bataille, describe textual strategies of literary silence and structure the readings. Finally, the reading of literary silence has its point of reference in writers like Mallarmé, Blanchot, and Beckett. It is their texts that have taught us to become topological readers, to move in and out of texts' movements; they have shown us how the literary expression is irreducible to linear, meaning oriented language. As readers of such texts we have been prepared to read the dynamics of the unsayable, and finally to start discerning the silences of the literary. (shrink)

Literary performance in the form of expressive reading aloud was central to Greco-Roman cultural transmission; scholars have described its role both in education and in ancient scholarship. Noting parallels in the terminology, objectives, and criteria for literary performance among the Techne Grammatike of Dionysius Thrax, scholia to canonical works, the Colloquia, and the scholia to the Techne, I argue that the scholia to canonical works reflect a performance culture in the Imperial period that included the ancient schoolroom, and (...) that the dynamics of literary performance in the ancient schoolroom may therefore help to solve the question of whether references to performance style and audience response in the scholia to canonical works were intended to guide real performances or, instead, they were meant simply describe an ideal performance by The Poet. I conclude that this is a false distinction for the schoolroom setting, since student performances were strongly conditioned by ideas of the historical origins of genre. (shrink)

Scepticism has been the driving force in the development of Greco-Roman culture in the past, and the impetus for far-reaching scientific achievements and philosophical investigation. Early Jewish culture, in contrast, avoided creating consistent representations of its philosophical doctrines. Sceptical notions can nevertheless be found in some early Jewish literature such as the Book of Ecclesiastes. One encounters there expressions of doubt with respect to Divine justice or even Divine involvement in earthly affairs. During the first centuries of the common era, (...) however, Jewish thought, as reflected in rabbinic works, was engaged in persistent intellectual activity devoted to the laws, norms, regulations, exegesis and other traditional areas of Jewish religious knowledge. An effort to detect sceptical ideas in ancient Judaism, therefore, requires a closer analysis of this literary heritage and its cultural context. This volume of collected essays seeks to tackle the question of scepticism in an Early Jewish context, including Ecclesiastes and other Jewish Second Temple works, rabbinic midrashic and talmudic literature, and reflections of Jewish thought in early Christian and patristic writings. Contributors are: Tali Artman, Geoffrey Herman, Reuven Kiperwasser, Serge Ruzer, Giuseppe Veltri, Cana Werman, and Casten Wilke. (shrink)

The polysemy of the expression "the literary thing" draws our attention to an ambiguity and a tension at the heart of our conception of literature. Between its essence and its existence, its invocation of timeless ideals and its participation in worldly matters, its celebration of genius and its reliance on the minor writing that makes up the ordinary and continuous weft of literary production, literature is at least two things at once, between which we have not finished (...) going uncertainly back and forth. The "literary thing" is the difficult cohabitation of these aspects, which seem to exclude one another yet are inseparable. (shrink)

What is the relationship between place and cultural production? How do we account for the interaction between the domain of spatiality and that of artistic expression? In particular, how might we conceptualize the connections between space and literature? Here, I attempt to map the principal ways in which the central thematic issues we associate with literary expression are related to questions about space and place. By elucidating these matters, I hope to arrive at a rationale for an (...) approach to setting out the links between symbolic expression and spatiality. Literature is envisaged here as one specific type of cultural expression, and the suggestion is that much of what applies to literature can be taken as... (shrink)

The book revives literary theory, which was popular at the end of the 20th century, with the purpose of showing how useful it is in the current century in opening the minds of students to the dangers of claiming to have a fixed identity. It shows that in Western cultures identity is a construct that always sees individuals as lacking something (being fallen) that can be retrieved or gained at the expense of an Other, an adversary seen as standing (...) in the way of identity fulfillment. The history of "fallenness" is expressed through an analysis of Melville's Billy Budd, Faulkner's Absalom, Absalom!, Pynchon's The Crying of Lot 49. The book also shows ways to heal identity through an analysis of Toni Morrison's Beloved and Rudolfo Anaya's Tortuga. (shrink)

A common contention of literary criticism is that literary forms can express, reflect, shape, represent or otherwise give form to human life. Literature can seem to offer the same idea as a promise of life’s meaningfulness; where expressive form is powerful, life need not be empty. Can literary forms give form to human life? I will argue for one sense in which this is true. As will become clear, at stake in this inquiry is not simply an (...) idea about the meaningfulness of literature’s poetry, but a way of answering the question of what it means to be human. (shrink)

Debates over “Big Data” shed more heat than light in the humanities, because the term ascribes new importance to statistical methods without explaining how those methods have changed. What we badly need instead is a conversation about the substantive innovations that have made statistical modeling useful for disciplines where, in the past, it truly wasn’t. These innovations are partly technical, but more fundamentally expressed in what Leo Breiman calls a new “culture” of statistical modeling. Where 20th-century methods often required humanists (...) to squeeze our unstructured texts, sounds, or images into some special-purpose data model, new methods can handle unstructured evidence more directly by modeling it in a high-dimensional space. This opens a range of research opportunities that humanists have barely begun to discuss. To date, topic modeling has received most attention, but in the long run, supervised predictive models may be even more important. I sketch their potential by describing how Jordan Sellers and I have begun to model poetic distinction in the long 19th century—revealing an arc of gradual change much longer than received literary histories would lead us to expect. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Walter Glannon WHAT LITERARY THEORY MISSES IN WITTGENSTEIN Wittgenstein's stock is rising in literary criticism. The market value of expressions such as "language games" and "form oflife" is increasing in that they seem to lend themselves to the notion of interpretive communities endorsed by diose of reader-response persuasion.1 Wittgenstein's style is also apparently at a premium, in light of a recent attempt by a proponent of deconstruction (...) to relate the philosopher's writing to that movement's use of rhetorical strategies in dealing with texts.2 There are affinities between Wittgenstein's repudiation (in the Investigations and the Remarks on the Foundations of Mathematics) of the metaphysical realism in the Tractatus and die arguments from reader-response critics against the notion of unmediated facts, as well as the rejection of the metaphysics of presence by deconstructionists. All diree oppose the idea that truth and falsity are conferred on our statements about the world by properties independent of diese statements. Insofar as these two critical schools are concerned primarily with language, they share Wittgenstein's aspiration to "bring words back from their metaphysical to their everyday use" (PI, I, § 116), for we can arrest the tendency to postulate objective, unmediated facts by "looking into the workings of our language" (PI, I, § 109). Moreover, Wittgenstein avoids psychology which involves the mental faculties. Presumably, this puts him at one with die concerted effort of many critics to rid texts of die author and with it the problem of intentionality. At first blush, then, the relation between Wittgenstein and literary criticism appears to be an attractive one. Yet Wittgenstein's antirealism does not militate against his passion for truth, that is, his intense desire to achieve complete understanding in the areas ofphilosophy that vexed him most.3 Nor does it debar him from thinking about the inexpressible realm 263 264Philosophy and Literature of the mystical, since, despite his concern for language, Wittgenstein never ceased being attracted to "things that cannot be put into words" (TLP, 6.522). This is not at all congenial to die purpose ofliterary theory, which admits ofno such shadowy domain beyond words and our linguistic practices. Indeed, I shall illustrate that Wittgenstein's resdess search for truth, spiritual concerns, and the dialectical structure of his works for the most part put him radically at odds with a critical enterprise whose aversion to truth and penchant for rhetorical analysis and conventions blinds it to both his view of literature and his aim in doing philosophy. I Since die advent of the New Criticism, literary theory has in great measure addressed itself to die discourse ramer than the story in texts. With the focus on literature as a rhetorical construct, more traditional humanistic interpretations have been excised. A more recent development of this shift to the discursive side of diings has been the effort to blur the distinction between literature and philosophy.4 With neidier discipline having a privileged status, both have been reduced to a textual discourse with no lines ofdemarcation, a reduction diat is at variance with Wittgenstein on two counts. First, he compartmentalized literature and philosophy as having distinct purposes: the literary works that interested him were stories ofmoral import; philosophy was to be practiced for the sake of clarity in thought. To the extent diat such clarity, if attainable, pointed toward an ethical dimension that lay beyond the bounds of language, literature and philosophy for him did have a common goal; but the paths leading to it were distinct. Second, and more importantly, Wittgenstein had no concern for the discourse of the literature diat he read. Rather, it was the moral import of the stories that attracted him. Most noteworthy on this score were the writings of Tolstoy, who had a profound influence on Wittgenstein's view oflife, and Dostoevsky.5 Wittgenstein often recommended Tolstoy's Twenty-three Tales to his friends, and while a schoolmaster in Lower Austria from 1920 to 1926, he constantly read The Brothers Karamazov, doing so aloud on one occasion in die presence of the village priest. He was especially impressed with Dostoevsky's character the Elder Zossima, "who could see into people's hearts and direct diem" (Rhees... (shrink)

This article presents three brief case studies of the way Romans talked about and expressed contempt. It examines aspects of discourses about contempt that are characteristic both of Roman literature and of modern concepts. The focus is on the relationship of hierarchy, recognition, and (active and passive) contempt in the Latin vocabulary and in two literary motifs taken from invective and historiography, two genres in which expressions of contempt are particularly frequent and prominent.

Literature has been dealing with modern work and its psychological and social consequences through two kinds of narrations: verismo/realism and symbolism. Jack London wrote incredibly penetrating pages from a psychological viewpoint with a veristic prose; Kafka widened the reflection with his symbolism and, particularly, through dreamlike parables. Kafka was not a passive and absent-minded employee. Recent studies on his working documents have shown considerable passion and professional competence. This expertise was poured into his literary works about work and organizations (...) with a direct knowledge. Kafka's symbolist style has been very effective in changing the way to see organizations. The writer particularly realized the growth of the exceeding population in recent years and could grasp the workers' psychology and deeper aspects when they face their superfluity and expulsion from the world of work. More specifically, Kafka was able to analyze psychological surrender to superfluity, which is mainly expressed with a specific form of “mental emptiness,” already described by London. (shrink)

불교의 모든 경전의 분류는 십이부경으로 구성되어 있으며, 이것은 오늘날 우리가 말하는 문학적 표현 방법이다. 「이세간품」의 교설은 모두 문학적 갈래에 속한다는 것을 전제로, 제Ⅱ장에서는 12분교와 문학과의 연관성을, 제Ⅲ장은 ｢이세간품｣에 보이는 12분교의 문학적 특징을 분석해보았다. 그 결과를 도출해보면 첫째, 십이분교는 십이부경, 십이분성교, 십이분경이라 이명하며, 서술형식 등에 따라 삼장의 불교 경전을 12가지로 분류한 것으로, 불교의 총칭이다. 십이분교는 수다라․기야․수기․가타 ․우타나․인연․비유․본사․본생․방광․미증유법․ 논의가 있다. 둘째, 십이분교의 정의에 대한 언급은 부처님의 원음이라 할 수 있는 초기경전인 잡아함경·부파불교·초기 대승경전인 화엄경의 「십무진장품」등까지 전승된 교설로 모든 불교경전의 교설에까지 상용된 경전서술의 표현방법이다. (...) 셋째, 문학과 십이분교의 절점은 일상적인 문학적 표현방법을 불교에선 12가지 항목의 갈래로 조금 더 세분화했다. 문학이 우리 삶에 대한 표현이라면, 불교교설 또한 우리 삶에 대한 내용을 본질로 삼고 있다는 점에서 상통한다. 12분교는 불교의 심오한 교설을 조금 더 쉽게 이해하기 위한 표현방법론으로서 사용되었기 때문에, 십이분교는 문학과 깊은 접점 관계에 있다. 넷째, 「이세간품」에는 12분교 전체 항목이 드러나진 않고, 구체적으로 나타나는 십이분교는 9종류로 ①수다라②응송③수기④풍송⑤자설 ⑥비유⑦본생⑧방광⑨미증유법이다. 품에서 가장 많이 사용된 것은 수다라와 운문, 풍송이다. 다섯째, 화엄수행 단계인 52계위 등에서 주로 사용된 수사법은 철학적 의미와 언어형식인 은유적 표현과 비유와 강조법 등이 혼용되었다. 이러한 수사적 표현을 통해본 「이세간품」의 핵심은 보살도의 실천을 총괄함에 있다. 이것이 보혜의 물음에 보현이 2천 가지로 대답한 요지이며, 이것은 곧 12분교가 화엄수행의 52계위 함의를 발현한 맑고 강직한 마음을 상징적으로 금강보주와 바다 등의 문학에 비유하고 있다는 것을 엿볼 수 있다. (shrink)

We shall give reconsideration to the problem of communicating the allegedly unique and unprecedented aspects that may be possessed by a literary work. In doing this we will distinguish two senses of uniqueness. The first of these, which we call objective uniqueness, is communicated without fundamental difficulty. It is given by a definite description in terms of properties which are entirely familiar but which occur in an unprecedented combination. Criticism’s overall task, however, demands concern for a second notion of (...) uniqueness, to which we apply the term qualitative uniqueness and which cannot be communicated, like the first, by any description in the informative sense. The critic, however, does come to grips with this second sense of uniqueness by using language expressively. In this connexion we shall argue that through the expressive use of language the critic can not only transmit something of the qualitative uniqueness of his object, but can do so without requiring, as some have supposed, the presence of the object itself. Thus, we will conclude, critical communication in the fuller sense is possible because the critic, like the poet, can use language affectively and expressively to get beyond the limitations of ordinary description so as to give what we shall call a representation of that which is qualitatively unprecedented in any distinctive literary work. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:LITERARY THEORY, PHILOSOPHY OF HISTORY AND EXEGESIS XYONE FAMILIAR with the present state of biblical studies is aware that there is a significant shift on the part of many,scholars away from the historical critical method as it was practiced earlier toward methods that are based upon various theories of literature.1 Criteria for judging the aptitude of either the historical or literary method are often established on the (...) ·basis of their practical effectiveness in " yielding a meaning," particularly one that seems to serve the believing community. The difficulty with such an approach is that the philosophical principles latent in and undedying the various methods are not examined directly and are thus left to function unquestioned while the debate centers on results. The purpose of this study is modest. It is to reflect critically on a concrete work of exegesis in order to see how exegesis actually proceeds or might proceed. I a1so wish to question some of the unexpressed epistemological principles that often operate in whrut biblical scholars do. Taking rus a model those historians who have reflected philosophically on what it means to do history, I wish in a similar manner to reflect on what it means to do exegesis·. Such an undertaking, it is hoped, will advance the dialogue between systematic theology and exegesis and indicate further avenues to be explored. We have arrived at a moment when it is in the interest of both disciplines to have a clearer notion of how to assess the results of biblical study. It is becoming increasingly obvious that the central issue in biblical studies is not method as such, though discussion of 1 For a description of more profound aspects of this shift, see: J. P. Martin, "Toward a Post-Critical Paradigm," New Testament Studies 33 (1987) 370-385. 575 576 FRANCIS MARTIN what is called the historical critical method, the literary method, etc. will always have its place. The core problem is that of developing a theology of human communication. This will be a theology that learns from the philosophy of language and literature and yet derives its primary lessons from the unique communication that each theologian experiences in his or her personal contact with the biblical text. The work done by Paul Ricoeur in the field of the philosophy of l1 anguage and literature can provide a, point of departure in the elaboration of such a theology of communication. In addition to reflecting philosophically on many aspects of human communication, Ricoeur has expressed himself from time to time on the relation of his philosophy to biblica,l issues. Thus, in his essay, " Toward a Hermeneutic of the Idea of Revelation," 2 Ricoeur speaks of biblical hermeneutic as being " one regional hermeneutic within a general hermeneutic and a unique hermeneutic that is joined to philosophy as its organon." 3 In discussing the expression of dependence without heteronomy, at the conclusion his essay, Ricoeur goes on to say:... the experience of testimony can only provide the horizon for a specifically religious and biblical experience of revelation, without our ever being able to derive that experience from the philosophical categories of truth as manifestation and reflection as testimony.4 These statements, as we can easily recognize, touch upon a key dimension of the problem facing us as we attempt to locate the human communication of the scriptures in the context of revelation. The question is that of the presence of the unique existing within the common. It is the fact that the particular and irreducible nature of the biblical witness is necessarily made in language common to 1 alL Scripture directs itself, not 2Now found in L. Mudge (ed.), Essays iAi Bibliaal Interpretation (Philadelphia : Fortress, 1980), pp. 73-118. See in addition, "Naming God," Union Seminary Quarterly Review 34 (1979) 215-227. 3" Toward a Hermeneutic," p. 104. 4Jbid., p. 117. LITERARY THEORY, HISTORY AND EXEGESIS 577 to a remote and privileged sphere of " religion," but rather to the marketplace where human thoughts about existence jostle one another in a desire to be heard: Wisdom cries aloud in the street, in the open squares she raises her voice. Down the crowded ways she calls out, at the city gates she... (shrink)

The paper offers a qualified endorsement of Terry Eagleton’s striking claim that “a work’s moral outlook … may be secreted as much in its form as its content”. A number of points are raised in defence of the claim: an argument for the inseparability, under certain conditions, of form and content in a literary work; an idea of moral content, not as derived moral principle, but as inward-facing interpretation grounded in an ethical vocabulary; the possibility of internal and external (...) perspectives on fictional characters; and an emphasis on emotions expressed in, rather than caused by, narrative. Three literary examples are explored, to show how vocabulary, syntax, implicature, and tone, contribute to the emergence of moral salience. A consequence drawn is that the ethical stance readers take to a scene or incident is partially shaped by the narrative modes of its presentation. The overall perspective of the paper is that of aesthetic autonomism: the view that the aesthetic value of a work of literature is distinct from, and not reducible to, any instrumental moral values (positive or negative) attributed to the work. (shrink)

Islamic education has been regarded as a thorn in the side of religious minority community integration into the nation state, and consequently to the expression of citizenship. Expressions of citizenship are associated with public participation while Islamic education is more readily associated with retreat and isolation of religious communities. At the same time the pervasiveness of religion in public life has led to calls for the post-secular—that is where religious communities are present in secular society. Habermas demonstrates that a (...) public which is literary constituted through critical rational communication is an effective means with which individuals can participate in the public sphere of modern society. Literary publics get constituted when three features are satisfied; writing, reading and discussing matters of common interest. The article considers the features of a literary public in relation to a review of some literature on the Deobandi education movement. The article argues that Islamic education at Deobandi institutions is able to constitute a literary public through the use of common texts in vernacular languages which are accessible to individuals who can then read and discuss them. The article suggests, then, that Islamic education within the Deobandi network of institutions opens up fascinating possibilities for expressing of post-secular citizenship requiring further research. (shrink)

Ekphrasis, a part of the ancient Greek and Roman rhetorical practices, is, in its most basic sense, the verbal expression of a visual object. Since the description of Achilles’ shield in Homer’s Iliad, ekphrasis has been a literary practice used for the portrayal of visual artworks through fiction and poetry, as well as in prose written in history, art criticism and travelogues. Ekphrasis is a convenient literary tool for analysing the author’s treatment of the object depicted. Ekphrastic (...) studies enable the identification of the author’s relationship with objectivity and subjectivity, and the building blocks of the said subjectivity, through literary elements. What kind of fictional language does ekphrasis, which is essentially the act of making the mute object speak, point to, in Evliya Çelebi’s representation? This article will aim to examine the subjective factors, personal taste and cultural positioning that emerge in Evliyâ Çelebi’s writing practice, mainly in his “ekphrastic” narration of the Western paintings that he saw in the Balkans and Vienna, which he describes in great detail in his Seyahatnâme. It is of the author’s opinion that, although Evliyâ Çelebi’s cultural positioning imposed limitations on his aesthetic perception and ekphrastic narration, he had an admiration for the Western art; and his “actual” cultural position manifests itself in an “in-betweenness” in the East-West spiral, which also reflects his unique literary mode. (shrink)

A complex, polyvalent phenomenon, the kiss, once embedded in a literary text, is first and foremost a cipher to be decoded. Texts effectively expose its many-sidedness: not merely its potentially seductive power or ostensible expression of affection, but, no less compellingly, its risky demeanors, its capacity to establish dominance, to terrorize, to subdue, to belittle, to ingratiate, even to infuriate. Variously bestowed, retracted, avowed, disavowed, meaningful, meaningless, the kiss can become, as it does in the work so named (...) by Kate Chopin, a multi-layered form of contrivance, the incarnation of tempting, albeit ultimately invidious, non-realities. Though, perhaps, not manifest at first blush, a careful reading reveals that each occasion marked by the “joining of lips” yields an odd sequence of awkward and oft deleterious, consequences: motion is superseded by motive, candor by disingenuousness—all in an unending slew of backward and forward slippages. Thus is engendered the metaphorization of an altered reality—structured all but exclusively upon the relentless deceits it proffers. Jubilation and despair come and go, as though wholly inter-changeable; acceptance and rejection, promulgation and rescission are converted into mere variants of the same gestures of ambivalence, if not of travesty. One might thus conclude that the kiss adopts significance worthy of note only as a metonym for and of factitiousness, vacuity and thinly-veiled distortion. Chopin’s script adeptly explores the multifarious comportments and consequences of the kiss: an act fashioned as a “weapon” of dubious value, as a tactical strategy, as a play-act borne of ulterior objectives and, which, as such, deftly prostitutes itself, willingly, nefariously. In the given context, the kiss-act lays bare the heroine’s ostensible “liberation” to be more imagined than real. Her would-be triumph over gendered subjugation exists, if at all, as but an ill-conceived romantic daydream—destined to slake gradually into a woeful destiny of loneliness and imprisonment. Chopin’s brief narration center-stages betrayal, challenges authenticity and valorizes consummate illegitimacy. -/- . (shrink)

Over the past century or so, questions concerning the word ‘meaning’ have been understandably prominent in the field of the philosophy of language. There is, however, a historical aspect to the debate that is of especial interest to literary critics – the fact that verbs and expressions of meaning have been applied to different kinds of things in a number of languages spanning the western literary tradition. I shall introduce the topic by focussing on the Latin expressionsibi uelleand (...) on how Roman authors exploited its ambiguities for the purposes of humour (§§ I and II). I shall then move on to a discussion of a later Latin phrase familiar from the pages of the Virgilian commentator Servius,hoc uult dicere, and argue that the assumptions we have about expressions of meaning may lead us to adopt a particular interpretation of it (§§ III and IV). In the final part of the paper (§§ V, VI and VII) I shall proceed to a discussion of why it is important for modern literary critics to pay attention to how they use verbs such as ‘to mean’: I argue that the different functions of the verb facilitate a personification of the text that allows us to equivocate about the role of the author. (shrink)

This article attempts to explore some current theoretical problems within the field of postcolonial studies. In particular, I address Ato Quayson's recent complaint that postcolonial theorists generally have failed to ‘provide a persuasive account of literature and history simultaneously’, a problem which I link to what I see as the field's theoretical obsession with the concept of ‘representation’; I argue that the field's disciplinary ambition to represent, authoritatively, the postcolonial per se necessarily but also problematically circumscribes and limits its relation (...) to discourses of historical representation and literary representation. On an aesthetic level, this problematic is expressed through postcolonial studies’ troubled relationship with literary realism as an aesthetic form. In a wider perspective, I connect the field's disparagement of literary realism with Lazarus's notion of the ‘postcolonial unconscious’, i.e. postcolonial studies’ failure to grasp and address some of the deeper global-political contradictions. (shrink)

The central task of this paper is to bring into focus a conception of spiritual development which is not, in essence, religious, and which, therefore, can express the meaning of personal and communal identity within the established climate of the age. Such a conception must accept cultural diversity, reflect democratic humanism and seek to promote life-chances for children and adults in a world of high stress and rapid change.

Normal 0 21 false false false ES X-NONE X-NONE MicrosoftInternetExplorer4 /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Tabla normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} The idea that is possible to produce new forms of subjectivity, trough an intelligent use of expression, has been recurring in modern and contemporary literature. Fiction, in this sense, has played a central role in the (...) (des)construction of national identities. Even if programmatically he always stud up on the antipodes of literary commitment, in his youth Borges saw in art a «political compensatory function » of this type. Namely, he claimed that, in order to escape from the tight spots in which we get enclosed, literature can help us in the work of reinvent ourselves as individual and collective subjects. Using concepts from Deleuze and Foucault, Ranciére and Burgoyne, this article tries to analyze that secret borgean politics, as a case study of a wider aspiration of literature to operate on the agency of the forms we have to say «I» and «Us». (shrink)

In the late thirteenth century, western Europe suffered the notable disgrace of losing the last of the Christian strongholds in mainland Syria with the fall of Acre in 1291, and yet throughout the early fourteenth century Western powers were unable to launch a crusade to recover the Holy Land despite repeated and costly attempts. Until not long ago, historians of the crusades had interpreted the inaction of the fourteenth century as a sign that the age of true crusading was over (...) and that both disillusionment with the machinery of the papal indulgence and increasing local strife effectively removed the possibility of international cooperative action that a crusade to the Holy Land required. Recent scholarly work on the late Middle Ages has shown that this interpretation ignores both historical reality and late-medieval attitudes toward crusading. Acre's loss in many respects crystallized issues regarding crusade reform, and, though no new crusade to the Holy Land ever materialized, crusading in its various guises experienced renewed vitality throughout the fourteenth century—notably in Iberia, Italy, and the Baltic—in spite of the ravages of the Black Death, the suppression of the Templars, the collapse of prominent Italian banking houses that supported crusade finance, and the Anglo-French conflict. While the Holy Land may have remained in heathen hands, crusading remained a diverse, multifaceted, and vibrant set of practices that continued to be contested and redefined by various social groups despite the papacy's sophisticated descriptions of it in papal bulls and in canon law. In this study I hope to facilitate interdisciplinary discussion of crusade theory and practice by examining literary evidence—specifically, the Middle English romance Sir Isumbras—with a more broadly conceived notion of crusade discourse that includes connections among propaganda, chronicle, religious ritual, and popular romance. As I argue, Sir Isumbras critiques certain knightly behavior following Acre's loss and at the very least imagines, if not outright promotes, crusading reform and action for a mixed audience of lesser knights and non-nobles. The topicality of the poem's critique, however, is fully intelligible only when considered in light of other facets of crusade discourse; hence, I discuss below how features of popular fourteenth-century crusading movements, chronicle histories, and literary history are appropriated and reconfigured by the text. By reading these various sources as part of a connected, evolving discussion, we effectively expand our definition of the genre of the crusading romance in a way that not only incorporates historians' recent insights regarding the range of crusading practices but also reveals that crusading's personal and political aspects, in addition to its mass military campaigns, continued to shape a complex medieval outlook that found literary expression. (shrink)

In its narrative, dramatic, and representational genres, art regularly depicts contexts for human emotions and their expressions. It is not surprising, then, that these artforms are often about emotional experiences and displays, and that they are also concerned with the expression of emotion. What is more interesting is that abstract art genres may also include examples that are highly expressive of human emotion. Pure music – that is, stand-alone music played on musical instruments excluding the human voice, and without (...) words, literary titles, or associated texts connected to it by its composer – is often characterized as the expressive art par excellence. Yet how could that be possible, given that such music lacks semantic or representational content? Pure music presents the hardest and most vivid philosophical challenge to any account of expressiveness in the arts, which is why it is crucial to consider the musical case for the light it sheds on the underlying principles and issues. In this chapter I consider two accounts of expressiveness in pure music. Both regard expressiveness as an objective property of such music. I argue for the position I call appearance emotionalism and against the alternative, which I label hypothetical emo- tionalism. But before I get to that, there is a different mode of musical expression to be acknowledged. Even instrumental music comes charged with associations. Some of these are private to the listener, but many are widely shared. The latter may be included in a piece by accident but are, more often, deliberately placed for their effects. For instance, when a song is quoted in an instrumental work, its title or words may be brought to mind. Certain melodies (e.g., “Ode to Joy”), styles (e.g., tarantella), idioms (e.g., fanfares), forms (e.g., minuet), modalities (e.g., church modes), and instruments (e.g., fifes and snare drums) recall particular social events, geocultural regions, historical periods, ideas, and sensibilities, and in this way can hook up with affective life-experiences. Though it is music’s associative ties that are likely to be referred to when most people are asked about music’s significance, philosophers say little about them.. (shrink)

The deepest crises cannot destroy the universal model of literariness. It maintains its appeal for participants in literary communication as a -contradictory- model. This thought recurs in many epochs. Literariness involves suspending the formal or logical norms of contradiction ("lex contraditionis"). In everyday speech, it is not permissible for -A- to simultaneously be -not-A-; in literary structures this is the norm. This is both in the ideas, and in the tensions between the artificiality and naturalness of speech, the (...) structure and the chaos of the plot, experimentation and revitalization of tradition, objective observation and a biased vision of the world, its visibility and invisibility, expressibility and inexpressibility, and a realistic and an imaginative focus. Executions of this model are gradative.". (shrink)

This chapter contains sections titled: The Absence of the Ethical Reflective Equilibrium Straightness and Surprise Perception and Method Perception and Love Literary Theory and Ethical Theory.

In her study Fiction and Imagination: The Anthropological Function of Literature (2000), Margit Sutrop criticizes Gregory Currie’s theory of fiction-making, as presented in The Nature of Fiction (1990), for using an inappropriate conception of the author’s ‘fictive intention.’ As Sutrop sees it, Currie is mistaken in reducing the author’s fictive intention to that of achieving a certain response in the audience. In this paper, I shall discuss Sutrop’s theory of fiction-making and argue that although her view is insightful in distinguishing (...) the illocutionary effect and the perlocutionary effect in the author’s fictive intention, there aren flaws in it. My aim is to show that, first, Sutrop’s critique of Currie’s view is misguided and, second, her own definition of fiction as an expression of the author’s imagination is problematic in not distinguishing literary fiction-making from other discursive functions and in dismissing the literary practice which regulates the production of literary fictions. (shrink)

The article deals with the determining role of the primary literary source on the Ukrainian theme in the creation of ballets. This made it possible to assert that at the junction of various arts, choreography and its special plastic form contribute to the creation of new avant-garde forms of art, thereby realizing the richest artistic potential of the direction. Based on this, it becomes clear that the relationship between literary and choreographic arts is close, because it affects the (...) enrichment of the ballet repertoire. Creating a choreographic work based on a literary background is one of the most important achievements of choreography.The artistic integrity of choreographic works forms the basis of the principle of art synthesis. The author of the article determined the important role of Ukrainian dance in creating a choreographic performance based on a literary source, because Ukrainian choreographic art is noted for its inexhaustible wealth of dance colors, emotional fervor, subtle folk humor and sincerity of performance, therefore creating a choreographic work based on literary works, especially on national themes, which is an auxiliary factor for activating the harmonious interrelationship of the specified time, space and transmitted events of the work with the means of stage and everyday dance vocabulary. The aim. The purpose and task of the article is to show the interpretation of literary works in the Ukrainian choreographic art of the 20th and early 21 centuries. Research methodology. A content-comparative method for comparing the works of researchers in different fields, the method of historicism - for researching a phenomenon within specific chronological limits, the method of generalization - for identifying the common and different points of view of scientists on the phenomenon under study. Research results: however, in the Ukrainian ballet theater of the late 50s of the 20th century, new aesthetic principles began to dominate, which were of great importance for the development of all musical and choreographic creativity. It is about rejecting prosaic plausibility as the only way to reproduce the truth of life on stage, restoring the hegemony of dance in the system of expressive means. In the ballet work of Ukrainian artists, the direction towards the heroization of the genre, the tendency towards the epic type of drama and the wide use of folklore becomes noticeable. Conclusion. In the process of working on the embodiment of a literary work or an image, the dramaturgy has the ability to change, develop, acquire specific features and details, the dramaturgy becomes alive, filled and exciting for the viewer. The ballet master’s solution to the embodiment of the literary source is embodied by the ballet dancers, who bring it to the audience with their art. The development and enrichment of choreographic art, the search for new forms, in this way, we observe in a creative union with adjacent muses, in interaction with other arts, where choreography does not dissolve in them, but while keeping its face, makes a fruitful contribution to the development of this union. The artistic integrity characteristic of the best choreographic works is based on the principle of synthesis of arts. Forms and means of dance-plastic action, principles of music-choreography dramaturgy, which allow to create works commensurate with the outstanding achievements of other arts, were formed in this experience. The key to the success of choreographic art is the mastery and development of this experience. (shrink)

Connections between Roman Catholic Modernism and the artistic culture of the fin de siècle have received little attention from scholars, as compared to the prominence accorded intellectual, social, and political issues. Felix Klein is one of a handful of those who worked for intellectual renewal who closely followed developments in literature and music, interpreting those developments in a way that favored an agenda of reconciling Catholicism with modernity. In two collections of essays, Nouvelles tendances en religion et en literature and (...) Autour du dilettantisme Klein expressed hopes for a return to Catholicism among a cultural elite which I turn would have a larger impact upon a broad public. (shrink)

In psychoanalytic theory, the notion of the person inevitably evokes the notion of subjectivity. Not that the former can be reduced to the latter; but if psychoanalytic theory is anything more a certain type of therapeutic practice, it is indeed a theory of the subject or a theory of the subjective relation. We should perhaps begin by specifying that the subjective relation must be understood as a complex whole: an intrapsychic relation, that is, a relation between the various instances that (...) make up the subject, and at the same time an inter subjective relation, that is, a relation between (at least) two subjects. These two aspects are both inseparable and conflictual. They are inseparable because the self cannot exist, cannot construct itself without the other (whether this be a parental other or a peer). They are conflictual for at least two reasons. On the one hand, because the intrapsychic relation is by definition an arena of conflict: the conflict that opposes the Ego to the contradictory but equally tyrannical demands of the Id - which translates its attachment to the body and testifies to its inherent drives - and of the Superego, which represents its rootedness in the social and cultural sphere. And on the other hand, because this subject, which is thus divided within itself, must undergo the trial of bringing its desire face to face with the desire of the others with whom it is destined to live. The psychoanalytic theory of the subject is therefore the theory of a doubly heterogeneous relation: there is the heterogeneity of the components of the self, which go, once again, from their anchorage in somatic drives to the most ethereal expressions of the ideal; and there is the heterogeneity of the relation between this self and the self of the other. Moreover, this double heterogeneity is not limited to the matter of components: after all, these, one might think, would ideally be open to reabsorption into the homogeneity of the individual. On the contrary, this heterogeneity gives rise to a double rationality or double logic. Psychic causality - to borrow André Green's expression - is also driven by the conflict that opposes what in psychoanalysis are known as the primary processes, which Freud has described in chapter 7 of the Traumdeutung and which govern the formation and organization of the dream images, to the secondary processes, which are those processes that govern our daytime thoughts. Psychic causality is formed by the struggle for hegemony between these two logics, each of which is itself acted upon by an antagonism between what Freud, at the end of his life, called Eros and Thanatos, the urge for Life and the drive toward death or destruction. (shrink)

This review essay examines current trends in the field of Quranic studies, as expressed in recent introductory works on the Quran, which in turn reflect developments in more specialized publications. A prominent characteristic in this body of scholarship is an increased emphasis on approaching the Quran as a literary text, as conceived within the structures of textual criticism. Much of this work strives to bypass the autochthonous exegetical corpus developed by Muslim authorities and read the Quran on its own (...) terms, as a text best situated within a sectarian milieu of late antiquity. Particular attention is given here to the configuration of literature as a secular category of analysis and the implications it bears for this growing field. (shrink)

In my dissertation, I develop a novel approach to thought experiments and literary learning. It’s novel primarily because, unlike many prominent approaches, it has us refrain from advancing theories, from giving logical analyses, and from explicating. We are, instead, to proceed in a way inspired by Wittgenstein’s writings. We are, that is, to clarify words that give rise to problems and to clear those problems away. To clarify words, we may compare language games in which figure terms like “thought (...) experiment.” Thereby, we might see that the concept these terms express has a family resemblance character. To clear away problems, we may describe how such a concept, if not illuminated, yields philosophical problems about thought experiments and literary learning. -/- After I develop this approach, I bring it to bear on two problems, and I achieve two main results. One problem concerns the nature of thought experiments. It is: Why do we have trouble explaining what we know them to be? I find that, despite appearances, we have no such trouble. Central to this result are two claims about thought experiments. One is that imaginings aren’t common to them. The other is that our unreflective concept of them has a family resemblance character. -/- The other problem concerns stories in works of literary fiction. It is: How could we possibly learn about the world from them? To solve it, you might claim that we learn by performing thought experiments, and then appeal to a theory of them. I find that you’d risk explaining the wrong thing. That is, you may well explain only how we learn—not how we do so from literature itself. Central to this result are three claims, which concern how these stories differ from thought experiments. They differ, I claim, (i) in how we count imaginings as experiences of them, (ii) in how free we are to interpret them, and (iii) in how complex they may be. This done, I’ve twice taken my novel approach and achieved results. (shrink)

This study blends together ethical philosophy, neurocognitive-evolutionary studies, and literary theory to explore how imaginative discourse addresses a distinctively human deep sociality, and by doing so helps shape cultural and literary history. Deep sociality, arising from an improbable evolutionary history, both entwines and leaves non-reconciled what is felt to be significant for us and what ethical sense seems to call us to acknowledge as significant, independent of ourselves. Ethical Sense and Literary Significance connects literary and cultural (...) history without reducing the literary to a mere expression of something else. It argues that affective differences between non-egocentric and egocentric registers of significance are integral to the bioculturally evolved deep sociality that verbal art addresses-often in unsettling and socially critical ways. Much imaginative discourse, in early societies as well as recent ones, brings ethical sense and literary significance together in ways that reveal their intricate but non-harmonized internal entwinement. Drawing on contemporary scholarship in the humanities and sciences, Donald R. Wehrs explores the implications of interdisciplinary approaches to topics central to a wide range of fields beyond literary studies, including neuroscience, anthropology, phenomenological philosophy, comparative history, and social psychology. (shrink)

Taking as its starting point what is sometimes called 'the prison house of language' - the widespread feeling that language falls terribly short when it comes to articulating the rich and disparate contents of the human mental tapestry - this book sets out a radically new view of the interplay between language, literature and mind. Shifting the focus from the literary text itself to literature as a case of human agency, it reconsiders a wide range of interdisciplinary issues including (...) the move from world to mind, the existence or otherwise of a property of literariness or essence of art, the nature of literature as a unique output of human cognition and the possible distinctiveness of the mind that creates it. In constant dialogue with philosophy, linguistics and the cognitive sciences, this book offers an invaluable new treatment of literature and literary language, and sketches novel directions for literary study in the twenty-first century. (shrink)

The article investigates to what extent metaphysics may shape literary criticism and in how far a discursive mode of thought may mould critical concepts. these issues are discussed in the context of t s eliot's early criticism. the first part of the article shows how eliot envisaged the assembling of speculative ideas inside literary criticism. the second part offers an analysis of the parallelism between the key terms of eliot's criticism and the philosophical concepts gathered from his dissertation (...) of f h bradley. this leads to an assessment of the precise nature of eliot's criticism as the cognitive elucidation of the transition from artistic sensibility to artistic expression. (shrink)

In her astute study of contemporary Arab women writers, Anastasia Valassopoulos begins by noting the pitfalls of much existing criticism of writers such as El Saadawi and Djebar in the West. Citing Amal Amireh’s article on the fraught history of the reception of El Saadawi in Egypt and in Europe, Valassopoulos comments that Arab women’s literature tends to be seen as ‘documentary’, and this obscures the ‘core issue of representation’ as it is explored and challenged by women writers. In the (...) face of this omission, the present article explores a selection of works by El Saadawi and Djebar from an aesthetic perspective. El Saadawi and Djebar use literary writing as a means to escape the constraints placed upon them by patriarchy, as well as by colonialism, and uphold creativity and poetry as a possible release from imprisonment. This article also uses Glissant’s and Bhabha’s concepts of literary opacity and the right to narrate as a partial framework for a reading of the relation between writing, freedom and aesthetic form in the works of El Saadawi and Djebar. El Saadawi and Djebar purposefully deploy a form of self-effacement, both in their autobiographical representations and in their portraits of female characters, also akin to Trinh Minh-ha’s strategy in Woman, Native, Other. Minh-ha’s dissemination of the writing voice, and the affirmation of collective solidarity between multiple but internally fragmentary feminist positions, serves, then, as a further theoretical backdrop for El Saadawi’s and Djebar’s use of opacity and the right to narrate as tools in an active feminist resistance to sexist and racist discourses. Both El Saadawi and Djebar use their writing to conceive women’s liberation from various forms of imprisonment, and they figure women’s fractured, convoluted and at times opaque self-expression as a direct form of resistance to both patriarchal and colonial oppression. (shrink)

I argue that when we interpret a literary work, we engage with at least two different kinds of meaning, each requiring a distinct mode of interpretation. These kinds of meaning are literary varieties of what Paul Grice called nonnatural and natural meaning. The long-standing debate that began with Beardsley and Wimsatt's attack on the intentional fallacy is, I argue, really a debate about nonnatural meaning in literature. I contend that natural meaning has been largely neglected in our theorizing (...) about literary interpretation and that this comes at a serious cost, resulting in an inadequate account of what interpretation involves. I argue, first, that by recognizing that literary meaning includes both nonnatural and natural meaning, we are better placed to understand the interpreter's relationship with the author, and, second, that recognition of the distinction between nonnatural and natural meaning advances the established debate about literary meaning, offering support for actual intentionalism. The more inclusive view of literary meaning helps resolve an apparent difficulty raised by Noël Carroll. (shrink)