By Walter Jost, Garry L. Hagberg
This enormous number of new and up to date essays from a global staff of eminent students represents the easiest modern severe considering with regards to either literary and philosophical reports of literature.* Helpfully teams essays into the field's major sub-categories, between them ‘Relations among Philosophy and Literature’, ‘Emotional Engagement and the adventure of Reading’, ‘Literature and the ethical Life’, and ‘Literary Language’* bargains a mix of analytical precision and literary richness* Represents an unprecedented paintings of reference for college kids and experts alike, excellent for direction use
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Extra resources for A Companion to the Philosophy of Literature (Blackwell Companions to Philosophy, Volume 44)
It is a commonplace that the statements of the philosopher do not refer in any straightforward way to the furniture of the world as do the statements of the scientist or of the ordinary person. This thought is often expressed by saying that the philosopher is concerned with the concept of Mind, or of Courage, or of Justice, or of Law, rather than with an individual mind or individual act of courage or of justice or individual law. 4 Esrock goes on to quote approvingly a remark by Richard Rorty that “philosophy is best seen as a kind of writing, .
I am no doubt not the only one who writes in order to have no face,” claims Foucault. ”23 By creating a textual persona to conceal and thus protect the self-examining self from physical exposure to the public, an exposure that could be much too inhibiting and risky, one can provide greater freedom for imaginative experiments to question one’s self and the social conventions that define it, to challenge one’s own limits (and society’s) in a more adventurous quest for self-transformation. But for all its values of concealing the individual behind the veils of textual constructions and even fictional pseudonyms, literary form is also a crucial device for bringing oneself into the public and thus transforming oneself productively precisely through the public exposure that literary composition brings to the subject herself and that rescues her from the privacy of her thoughts, feelings, and imaginative efforts of self-knowledge and self-care.
It sheds light on how things are in our world by describing a world in which things are very different, thus shedding a refracted light into the dark corners of our world. In short, it is a philosophical 28 friends of the earth? description, and therefore a contestable description, to say of every literary work that it creates a world – a description not merely contestable, in fact, but also false. I conclude, then, that pace Harries, we may still regard ordinary language and literary language as having essentially similar claims to refer to the world.