In their discussion of the interpretation of the literary work of fiction, Peter Lamarque and Stein Haugom Olsen explain that: “Literary appreciation is the appreciation of how a work interprets and develops the general themes which the reader identifies through the application of thematic concepts. […] The thematic concepts are, by themselves, vacuous. They cannot be separated from the way they are ‘anatomized’ in literature and other cultural discourses” (Lamarque and Olsen: 399). The subtle unravelling of the work’s thematic concepts (...) relies on the context of its reception, with its idiosyncratic sensitivities and cultural sensibilities of that time and place. However, cultural sensitivity also has a dark side as it may occasionally ignite a sort of allergic reaction to a work, identifying it as a threat that must be eliminated. My paper examines the case of literary censorship in Israel. Three partially banned works of fiction reflect three aspects of the Israeli right-wing anxiety concerning the Israeli-Palestinian confl ict: The futility of sacrificing Israeli soldiers’ lives, the acknowledgement of the Palestinian perspective, and, fi nally, the possibility of deflecting the animosity between the two nations to a point of allowing for mutual love. (shrink)

What does it mean to encounter a literary work of art? When we talk about them, we refer to literary works as characterizable entities. In a genuine encounter with a literary work, instead, our focus shifts to “what it is about”: we bring to mind the intentional objects it invites us to direct our attention to, typically through reading. If what we encounter is a work of art, however, we are invited to do something beyond that even, namely to attune (...) ourselves to disclose something more profound. Through shifting our focus from the individual to the typical and affectively responding to a work’s characteristics, we disclose a qualitative character that presents itself as of general relevance insofar as it characterizes a specific kind of thing potentially experienced in the world. Our focus shifts from individual intentional objects, such as a character’s view of her partner as standing in need of salvation, to the kinds of values and things manifested therein, such as the peculiar kind of ambiguity inhering a specific kind of commitment. To encounter a literary work of art, I conclude, means to follow the invitation to disclose value essentials, and thus to find a specific kind of truth. (shrink)

As part of a larger effort to explore the multiform relations between philosophy and literature—a research field that attracts growing attention— we focus on the philosophical aspects of literature. Our project tackles the subject of literature’s potential to generate knowledge. In our paper we intend to dwell on self-referential literature. This intriguing dimension of literary expression is associated with works in which self-reflective moves can be traced, that is, texts in which literary writing refers to and reflects on literature itself. (...) The self-reflection of self-referential literature assumes many shapes, affecting in various ways the constitution of both content and form. Thus, our aim becomes twofold. First, we look into variants of literary self-reflection, while pondering the philosophical implications of each of those. Here, we are going to draw on examples from the writings of Stéphane Mallarmé, Paul Valéry, Maurice Blanchot and Clarice Lispector. Second, we propose to consider the necessary conditions and the prospects for obtaining some kind of knowledge by means of self-referential literature. In so doing, we examine alternative conceptions and kinds of knowledge which could be taken into account. (shrink)

The paper proposes a radical change of focus for understanding the fundamental purpose and value of literary interpretation. It criticises an orthodox view in analytical philosophy of literature, according to which theories of meaning in the philosophy of language, in particular Gricean or speech act or other pragmatic theories, offer the most illuminating way to grasp the relevant principles of interpretation. The argument here is that the application of such theories in this context is not just wrong in detail (this (...) or that theory needs revising) but wrong in principle. The focus is wrong. The importation of philosophy of language distorts the essential character of interpretation, which should be seen as involving not so much meaning as value, not individual sentences but whole works, not obsessed with authorial intention but focused on the protocols of reading. (shrink)

The purpose of this paper is twofold: to argue for the value of (1) social science as part of the intellectual activity of writing (rather than righting) and (2) the practice of fiction to that intellectual activity. Writing is a mode of representation that eludes our complete and objective knowledge and always remains partial and temporary. While righting, in contrast, is concerned with the absolute truth and the revelation of the right answer. This paper argues that writing is a more (...) productive, creative, and necessary way of engaging with reality than righting, and that it can offer insights and perspectives for both theory and praxis. Drawing on Stephen King’s view on writing fi ction, this paper will also argue that fiction constitutes a kind of writing and employs a particular form of truth that is conceived as a relation between representation and reality. The paper will conclude by suggesting the need for criminologists— and social scientists more generally—to adopt the perspective of writing to gain a better understanding of the phenomena with which they are concerned. (shrink)

The lyric is a form or genre of poetry often intimately related to subjectivity. But is a lyricism divested of the subject possible? By examining the philosophical refl ections of Philippe Lacoue-Labarthe upon lyricism, poetry, and their relation to subjectivity, this article explicates how an impersonal lyricism is not only possible, but perhaps necessary. If we wish to do justice to the phrasing or saying of poetic language, then we must endeavour to think the displacement of the subject in and (...) by the very language that the poem expresses. Following Lacoue-Labarthe, this article explores the paradoxical turn of lyricism—that it is bound to the subject, but not to its personal expression; rather, to its disappearance, its displacement, in the expression of language itself. By tracing a sketch of Lacoue-Labarthe’s poetics, relating this thought to the lyrical theories of Hamburger and Culler, and providing a brief explication of one of Lacoue-Labarthe’s “poetic” writings, lyricism is shown to be the testament to the disappearance of the subject, the remainder of a disappearance already passed insofar as the poem remains. What remains is that the lyrical subject would be no “subject” at all—only language itself, intimating its own diction. (shrink)

Can one have an aesthetically valuable experience of fiction that takes an immoral perspective? Some have argued that one can. However, some important objections have been raised against this idea. Two objections are: that the immorality involved is confined to fictional reality, and that the aesthetic value of immoral fiction is dictated by a pluralistic attitude that not everyone accepts. My aim is to respond to these challenges and to argue, on the basis of two examples, that even an unlimited (...) immoral perspective can enhance a widespread aesthetic value. (shrink)

In this paper I argue that a norm of literary fiction is to compel the reader to form beliefs about the world as it is. It may seem wrong to suggest that the reason I believe p is because I imagined p, yet literary fiction can make this the case. I argue for an account grounded in indexed doxastic susceptibilities mapped between a fictional context and the particular properties of a reader, more specifically the susceptibilities in her beliefs, attitudes, and (...) psychological states. Works of fiction can be about different things at the same time, some of which are fictive and some of which are factual. Since belief can be weak or strong, partial or complete, tenuous or robust, opaque or clear, there are susceptibilities throughout a doxastic set out of which new beliefs are formed. Skillful works of fiction exploit these susceptibilities and create new ones. This is an aesthetic achievement of such works: they take what should be a norm-violating practice of belief-formation on the basis of imaginative engagement and they make it so. (shrink)