Recent philosophical discussion about the relation between fiction and reality pays little attention to our moral involvement with literature. Frank Palmer's purpose is to investigate how our appreciation of literary works calls upon and develops our capacity for moral understanding. He explores a wide range of philosophical questions about the relation of art to morality, and challenges theories that he regards as incompatible with a humane view of literary art. Palmer considers, in particular, the extent to which the values (...) and moral concepts involved in our understanding of human beings can be said to enter into our understanding of, and response to, fictional characters. The scope of his discussion encompasses literary aesthetics, ethics, and epistemology, and he makes extensive reference to literary examples. (shrink)

Moral change in a historical perspective is a prominent theme in narrative literature, but this dimension of our moral lives has been left in the shade of what I call a context sensitive universalism that guides the mainstream of moral philosophical readings of literature after Nussbaum, Murdoch, Diamond and Cavell among others. Focalizing Robert Pippin’s reading of Henry James’s The Wings of the Dove, this paper addresses literature as a place for philosophical exploration of the historicity of (...) morality, and argues for making more space for the facticity of change in ethics and ethical readings of literature, not least as a necessary prerequisite for both individual and collective moral self-understanding. (shrink)

An influential body of recent work on moral psychology has stressed the interconnections among ethics, narrative, and empathy. Yet as Patrick Colm Hogan argues, this work is so vague in its use of the term 'narrative' as to be almost substanceless, and this vagueness is in large part due to the neglect of literary study. Extending his previous work on universal story structures, Hogan argues that we can transform ill-defined intuitions about narrative and ethics into explicit and systematic accounts of (...) the deep connections between moral attitudes and narratives. These connections are, in turn, inseparable from empathy, a concept that Hogan proceeds to clarify and defend against a number of widely read critiques. In the course of the book, Hogan develops and illustrates his arguments through analyses of global narratives, constructing illuminating ethical interpretations of literary works ranging from Shakespeare to Chinese drama and the Bhagavad Gita. (shrink)

I will consider what literature might add to moral thought and understanding as distinct from moral philosophy as it is commonly understood. My argument turns on a distinction between two conceptions of moral thought. One in which the point of moral thought is that it should issue in moral judgement leading to action; the other in which it is concerned also with what Iris Murdoch calls ‘the texture of a man’s being or the nature of his personal vision’. Drawing (...) on this second conception and Dostoevsky’s The Idiot, I argue that the question ‘what ought I to do?’ can itself distort moral understanding—that this question may undermine the connection between understanding human life and living a human life. I then argue that insofar as literature is concerned with what is possible within a human life, it has a distinct contribution to make to moral thought, in particular to our reflections on the nature of moral thought itself. (shrink)

It is always fun to observe the wheel being reinvented. More often than not in philosophy this happens when young philosophers ignore the history of their field and attempt to come to terms with something not included in the latest journal articles. In this case, the end result is of some interest. The author, in stressing the relationship between fiction and reality, realizes that reality cannot be true without a moral aspect. In wrestling with this moral aspect the author quite (...) rightly turns to ethics, culture and education in an attempt to allow for an account of our moral stance and to introduce it into practice. A very tricky, but a very worthwhile, project. (shrink)

In this essay, then, I would like to address what I believe are the most compelling epistemic arguments against the notion that literature (and art more broadly) can function as an instrument of education and a source of knowledge.

I am grateful to the National Endowment for the Humanities for a year-long fellowship that enabled me to write major portions of this book; ...

First published in 1994. Routledge is an imprint of Taylor & Francis, an informa company.

Following in the footsteps of Chinua Achebe’s Things Fall Apart, the tenor of the postcolonial African culture has been justifiably anti-imperialist. In the 21st century, however, there has been a gradual but certain shift away from the “write-back” discourse paradigm, towards more integrative, globally inflected cultural interpretive models in Africa. This book celebrates the emergence of new interpretive paradigms such as in African philosophy, gender studies and literature.

In this provocative new examination of the philosophical, moral and religious significance of literature, Michael Weston explores the role of literature in both analytic and continental traditions. He initiates a dialogue between them and investigates the growing importance of these issues for major contemporary thinkers. Each chapter explores a philosopher or literary figure who has written on the relation between literature and the good life, such as Derrida, Kierkegaard, Murdoch and Blanchot. Challenging and insightful, Philosophy, Literature (...) and the Human Good is ideal for all students of philosophy and literature. (shrink)

Challenges to Legal Theory offers the reader a fascinating journey though a variety of multi-disciplinary topics, ranging from law and literature, and law and religion, to legal philosophy and constitutional law. The collection reflects some of the challenges that the field of legal theory currently faces. It is compiled by a selection of international and Spanish scholars, whose essays are made available in English translation for the first time. The volume is based on a collection of essays, published in (...) Spanish, in honour of Professor José Iturmendi Morales, of Complutense University, Madrid, and brings the rich scholarship of pre-eminent Spanish scholars of law and legal theory to an international audience. (shrink)

Many prominent accounts of free will and moral responsibility make use of the idea that agents can be responsive to reasons. Call such theories Reasons accounts. In what follows, I consider the tenability of Reasons accounts in light of situationist social psychology and, to a lesser extent, the automaticity literature. In the first half of this chapter, I argue that Reasons accounts are genuinely threatened by contemporary psychology. In the second half of the paper I consider whether such threats (...) can be met, and at what cost. Ultimately, I argue that Reasons accounts can abandon some familiar assumptions, and that doing so permits us to build a more empirically plausible picture of our agency. (shrink)

This book analyzes a rich and diverse body of philosophical and theological literature concerning the import of narrative for the understanding of morality. Nelson begins by examining the theses that to understand oneself, a tradition, and history as a whole, they must be understood in the context of a narrative. Recent philosophical writings on the relation of narrative to the moral concepts of social groups and individuals—including Alasdair MacIntyre's proposal for the rehabilitation of an ethic of virtue shaped by (...) narrative—are explored. Issues discussed include the freedom of moral agents in relation to their narratives, the relation between narrative and universal moral rules, and the problem of relativism. Next, Nelson classifies theological uses of narrative as belonging to either a liberal-universalistic or postliberal-particularistic tradition and considers the implications of construing scripture as narrative for the problematic relation between scripture and ethics. The work of Stanley Hauerwas, the foremost narrativist in Christian ethics, is analyzed at length. Nelson argues that while narrative is a necessary focus, it does not exhaust the methodological agenda. Narrative is not, as its advocates sometimes suggest, a universal solvent for every theological problem and disagreement. An adequate Christian ethics must not lose sight of the universal, narrative-independent features of morality. Since the realm of the moral is an interweaving of narrative-dependent and narrative-independent features, Christian ethics stands to profit from both narrativist and rationalist insights. The role of narrative is demonstrably a major topic of conversation across several fields in religious studies today. Particularly designed for scholars in ethics, theology, and the philosophy of religion, the book is a reliable guide to an expanding literature and a judicious introduction to these interdisciplinary discussions. (shrink)

Fish, S. Georgics of the mind: Bacon's philosophy and the experience of his Essays.--Brett, R. L. Thomas Hobbes.--Watt, I. Realism and the novel.--Tuveson, E. Locke and Sterne.--Kampf, L. Gibbon and Hume.--Frye, N. Blake's case against Locke.--Abrams, M. H. Mechanical and organic psychologies of literary invention.--Ryle, G. Jane Austen and the moralists.--Schneewind, J. B. Moral problems and moral philosophy in the Victorian period.--Donagan, A. Victorian philosophical prose: J. S. Mill and F. H. Bradley.--Pitcher, G. Wittgenstein, nonsense, and Lewis Carroll.--Bolgan, A. C. (...) The philosophy of F. H. Bradley and the mind and art of T. S. Eliot: an introduction.--Davie, D. Yeats, Berkeley, and Romanticism.--Ross, M. L. The mythology of friendship: D. H. Lawrence, Bertrand Russell, and "The Blind man".--Rosenbaum, S. P. The philosophical realism of Virginia Woolf.--Bibliography (p. 357-360). (shrink)

Alison Denham examines the ways in which our engagement with literary art, and metaphorical discourse in particular, informs our moral beliefs. She considers to what extent moral and metaphorical discourses are capable of truth or falsehood, warrant or justification, and how it is that we understand these discourses. This vital new study offers a fresh view of the nature of the moral and the metaphorical, and the relations between art and morality.

The contributors to The Moral of the Story, all preeminent political theorists, are unified by their concern with the instructive power of great literature. This thought-provoking combination of essays explores the polyvalent moral and political impact of classic world literatures on public ethics through the study of some of its major figures-including Shakespeare, Dante, Cervantes, Jane Austen, Henry James, Joseph Conrad, Robert Penn Warren, and Dostoevsky. Positing the uniqueness of literature's ability to promote dialogue on salient moral and (...) intellectual virtues, editor Henry T. Edmonson III has culled together a wide-ranging exploration of such fundamental concerns as the abuse of authority, the nature of good leadership, the significance of "middle class virtues" and the needs of adolescents. This collection reinvigorates the study of classic literature as an endeavor that is not only personally intellectually satisfying, but also an inimitable and unique way to enrich public discourse. (shrink)

The contributors to The Moral of the Story, all preeminent political theorists, are unified by their concern with the instructive power of great literature. This thought-provoking combination of essays explores the polyvalent moral and political impact of classic world literatures on public ethics through the study of some of its major figures-including Shakespeare, Dante, Cervantes, Jane Austen, Henry James, Joseph Conrad, Robert Penn Warren, and Dostoevsky. Positing the uniqueness of literature's ability to promote dialogue on salient moral and (...) intellectual virtues, editor Henry T. Edmonson III has culled together a wide-ranging exploration of such fundamental concerns as the abuse of authority, the nature of good leadership, the significance of "middle class virtues" and the needs of adolescents. This collection reinvigorates the study of classic literature as an endeavor that is not only personally intellectually satisfying, but also an inimitable and unique way to enrich public discourse. (shrink)

Contemporary literature includes a wide variety of definitions of empathy. At the same time, the revival of sentimentalism has proposed that empathy serves as a necessary criterion of moral agency. The paper explores four common definitions in order to map out which of them best serves such agency. Historical figures are used as the backdrop against which contemporary literature is analysed. David Hume’s philosophy is linked to contemporary notions of affective and cognitive empathy, Adam Smith’s philosophy to projective (...) empathy, and Max Scheler’s account to embodied empathy. Whereas cognitive and projective empathy suffer from detachment and atomism, thereby providing poor support for the type of other-directedness and openness entailed by moral agency, embodied and affective empathy intrinsically facilitate these factors, and hence are viewed as fruitful candidates. However, the theory of affective empathy struggles to explain why the experience of empathy includes more than pure affective mimicry, whilst embodied empathy fails to take into account forms of empathy that do not include contextual, narrative information. In order to navigate through these difficulties, Edith Stein’s take on non-primordial experience is used as a base upon which a definition of affective empathy, inclusive of an embodied dimension, and founded on a movement between resonation and response, is sketched. It is argued that, of the four candidates, this new definition best facilitates moral agency. (shrink)

_Art and Morality_ is a collection of groundbreaking new papers on the theme of aesthetics and ethics, and the link between the two subjects. A group of distinguished contributors tackle the important questions that arise when one thinks about the moral dimensions of art and the aesthetic dimension of moral life. The volume is a significant contribution to philosophical literature, opening up unexplored questions and shedding new light on more traditional debates in aesthetics. The topics explored include: the relation (...) of aesthetic to ethical judgement; the relation of artistic experience to moral consciousness; the moral status of fiction; the concepts of sentimentality and decadence; the moral dimension of critical practice, pictorial art and music; the moral significance of tragedy; and the connections between artistic and moral issues elaborated in the writings of central figures in modern philosophy, such as Kant, Schopenhauer and Nietzsche. The contributors share the view that progress in aesthetics requires detailed study of the practice of criticism. This volume will appeal both to the philosophical community and to researchers in areas such as literary theory, musicology and the theory of art. (shrink)

"Spanning many historical and literary contexts, Moral Imagination brings together a dozen recent essays by one of America's premier cultural critics. David Bromwich explores the importance of imagination and sympathy to suggest how these faculties may illuminate the motives of human action and the reality of justice. These wide-ranging essays address thinkers and topics from Gandhi and Martin Luther King on nonviolent resistance, to the dangers of identity politics, to the psychology of the heroes of classic American literature. Bromwich (...) demonstrates that moral imagination allows us to judge the right and wrong of actions apart from any benefit to ourselves, and he argues that this ability is an innate individual strength, rather than a socially conditioned habit. Political topics addressed here include Edmund Burke and Richard Price's efforts to define patriotism in the first year of the French Revolution, Abraham Lincoln's principled work of persuasion against slavery in the 1850s, the erosion of privacy in America under the influence of social media, and the use of euphemism to shade and anesthetize reactions to the global war on terror. Throughout, Bromwich considers the relationship between language and power, and the insights language may offer into the corruptions of power.Moral Imagination captures the singular voice of one of the most forceful thinkers working in America today"--. (shrink)

This article discusses Leo Tolstoy’s view of the Russian revolutionary movement. Taking as a focal point the writer’s lifelong interest in the Decembrist uprising of 1825 and particularly in the personalities of the gentry revolutionaries, the article argues that Tolstoy’s fascination for these figures was due to their superior moral qualities, rather than to their political and socioeconomic doctrines. Following Alexander Herzen, Tolstoy came to regard the Decembrists as full-fledged individualities and “beautiful souls”. Thus, Tolstoy’s much debated “conversion” and subsequent (...) attempts to transform literary art into a medium of religious and moral reform can also be viewed as extensions of his project of self-understanding and self-formation according to the model of kalokagathia provided by Russia’s aristocratic revolutionaries. (shrink)

Recently, a number of Anglo-American philosophers of very different sorts--pragmatists, metaphysicians, philosophers of language, philosophers of law, moral philosophers--have taken a reflective rather than merely recreational interest in literature. Does this literary turn mean that philosophy is coming to an end or merely down to earth? In this collection of essays, one of the most insightful of contemporary literary theorists investigates the intersection of literature and philosophy, analyzing the emerging preferences for practice over theory, particulars over universals, events (...) over structures, inhabitants over spectators, an ethics of responsibility over a morality of rules, and a desire for intimacy with the world instead of simply a disengaged knowledge of it. (shrink)

In the beginning was the night. All light, shapes, language, and subjective consciousness, as well as the world and art depicting them, emerged from this formless chaos. In fantasy, we seek to return to this original darkness. Particularly in literature, visual representations, and film, the night resiliently resurfaces from the margins of the knowable, acting as a stage and state of mind in which exceptional perceptions, discoveries, and decisions play out. Elisabeth Bronfen investigates the nocturnal spaces in which extraordinary (...) events unfold, and casts a critical eye into the darkness that enables the irrational exploration of desire, transformation, ecstasy, transgression, spiritual illumination, and moral choice. She begins with an analysis of classical myths depicting the creation of the world and then moves through night scenes in Shakespeare and Milton, Gothic novels and novellas, Hegel's romantic philosophy, and Freud's psychoanalysis. Bronfen also demonstrates how modern works of literature and film, particularly film noir, can convey that piece of night the modern subject carries within. From Mozart's "Queen of the Night" to Virginia Woolf 's oscillation between day and night, life and death, and chaos and aesthetic form, Bronfen renders something visible, conceivable, and comprehensible from the dark realms of the unknown. (shrink)

In the beginning was the night. All light, shapes, language, and subjective consciousness, as well as the world and art depicting them, emerged from this formless chaos. In fantasy, we seek to return to this original darkness. Particularly in literature, visual representations, and film, the night resiliently resurfaces from the margins of the knowable, acting as a stage and state of mind in which exceptional perceptions, discoveries, and decisions play out. Elisabeth Bronfen investigates the nocturnal spaces in which extraordinary (...) events unfold, and casts a critical eye into the darkness that enables the irrational exploration of desire, transformation, ecstasy, transgression, spiritual illumination, and moral choice. She begins with an analysis of classical myths depicting the creation of the world and then moves through night scenes in Shakespeare and Milton, Gothic novels and novellas, Hegel's romantic philosophy, and Freud's psychoanalysis. Bronfen also demonstrates how modern works of literature and film, particularly film noir, can convey that piece of night the modern subject carries within. From Mozart's "Queen of the Night" to Virginia Woolf 's oscillation between day and night, life and death, and chaos and aesthetic form, Bronfen renders something visible, conceivable, and comprehensible from the dark realms of the unknown. (shrink)

Literature has been philosophically understood as a practice in the last thirty years, which involves “modes of utterance” and stances, not intrinsic textual properties. Thus, the place for semantics in philosophical inquiry has clearly diminished. Literary aesthetic appreciation has shifted its focus from aesthetic realism, based on the study of textual features, to ways of reading. Peter Lamarque’s concept of narrative opacity is a clear example of this shift. According to the philosophy of literature, literature, like any (...) other art form, does not compel us to engage realistically with it. Against this trend, this paper argues for the distinction between two kinds of opacity, defending textual opacity as a necessary condition for literary opacity. In this sense, examples in literary criticism properly illustrate not a peripheral role of meaning in literary appreciation, but arbitrariness in interpretation, which involves semantic concerns. So the assumed interest in the specific ways in which literature embeds meaning in fictional narrative works. (shrink)