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What is narrative? What is distinctive about the great literary narratives? In virtue of what is a narrative fictional or non-fictional? In this important new book Peter Lamarque, one of the leading philosophers of literature at work today, explores these and related questions to bring new clarity and insight to debates about narrative in philosophy, critical theory, and narratology.
What is narrative? What is distinctive about the great literary narratives? In virtue of what is a narrative fictional or non-fictional? In this important new book Peter Lamarque, one of the leading philosophers of literature at work today, explores these and related questions to bring new clarity and insight to debates about narrative in philosophy, critical theory, and narratology.
Transparency in Global Change by Burkart Holzner,Leslie Holzner Pdf
An examination of the quest for information exchange in an increasingly international, open society, Transparency in Global Change discusses the reasons for the recent increase in public desire for transparency and the byproducts this transparency can produce.
The Philosophy of Literature by Peter Lamarque Pdf
By exploring central issues in the philosophy of literature, illustrated by a wide range of novels, poems, and plays, Philosophy of Literature gets to the heart of why literature matters to us and sheds new light on the nature and interpretation of literary works. Provides a comprehensive study, along with original insights, into the philosophy of literature Develops a unique point of view - from one of the field's leading exponents Offers examples of key issues using excerpts from well-known novels, poems, and plays from different historical periods
Oscar Wilde's famous quip 'All art is quite useless' might not be as outrageous or demonstrably false as is often supposed. No-one denies that much art begins life with practical aims in mind: religious, moral, political, propagandistic, or the aggrandising of its subjects. But those works that survive the test of time will move into contexts where for new audiences any initial instrumental values recede and the works come to be valued for their own sake. The book explores this idea and its ramifications. The glorious Palaeolithic paintings on the walls of the Chauvet Cave present a stark example. In spite of total ignorance of their original purposes, we irresistibly describe the paintings as works of art and value them as such. Here we are at the very limits of what is meant by art and aesthetic appreciation. Are we misusing these terms in such an application? The question goes to the heart of the scope and ambition of aesthetics. Must aesthetics in its pursuit of art and beauty inevitably be culture-bound? Or can it transcend cultural differences and speak meaningfully of universal values: timelessly human not merely historically relative? The case of literature or film puts further pressure on the idea of art valued for its own sake. Characters in works of literature and film or finely-honed emotions in poetry often give pleasure precisely because they resonate with our own lives and seem (in the great works) to say something profound about human existence. Is not this kind of insight why we value such works? Yet the conclusion is not quite as clear-cut as it might seem and the idea of valuing something for its own sake never quite goes away.
Once Upon a Time is a collection of essays in the philosophy of literature with two central themes: the significance of story –telling for us and the question of whether the novel, perhaps the art form most closely associated with story-telling, is a legitimate source of human knowledge. Leading philosopher of art Peter Kivy explores why human beings are so enthralled by being told stories and whether story-telling is a significant source of knowledge. Starting with a study of Aristotle's Poetics, Kivy then undertakes a critical discussion of Noel Carroll’s suggestion that our interaction with the artists of the past is a kind of “conversation.” He goes on to defend the thesis that one of the legitimate artistic pleasures we take in novel-reading is the acquiring of knowledge and, furthermore, that the silent reading of a novel is a kind of performance, making the novel one of the performing arts. The volume concludes with a chapter about jokes, and, in particular, whether it is immoral to tell or be amused by an “immoral” joke. This volume of essays is a must-read for anyone seriously interested in literature and the conceptual problems it may raise for philosophers.
Fooled by Randomness is a standalone book in Nassim Nicholas Taleb’s landmark Incerto series, an investigation of opacity, luck, uncertainty, probability, human error, risk, and decision-making in a world we don’t understand. The other books in the series are The Black Swan, Antifragile, Skin in the Game, and The Bed of Procrustes. Fooled by Randomness is the word-of-mouth sensation that will change the way you think about business and the world. Nassim Nicholas Taleb–veteran trader, renowned risk expert, polymathic scholar, erudite raconteur, and New York Times bestselling author of The Black Swan–has written a modern classic that turns on its head what we believe about luck and skill. This book is about luck–or more precisely, about how we perceive and deal with luck in life and business. Set against the backdrop of the most conspicuous forum in which luck is mistaken for skill–the world of trading–Fooled by Randomness provides captivating insight into one of the least understood factors in all our lives. Writing in an entertaining narrative style, the author tackles major intellectual issues related to the underestimation of the influence of happenstance on our lives. The book is populated with an array of characters, some of whom have grasped, in their own way, the significance of chance: the baseball legend Yogi Berra; the philosopher of knowledge Karl Popper; the ancient world’s wisest man, Solon; the modern financier George Soros; and the Greek voyager Odysseus. We also meet the fictional Nero, who seems to understand the role of randomness in his professional life but falls victim to his own superstitious foolishness. However, the most recognizable character of all remains unnamed–the lucky fool who happens to be in the right place at the right time–he embodies the “survival of the least fit.” Such individuals attract devoted followers who believe in their guru’s insights and methods. But no one can replicate what is obtained by chance. Are we capable of distinguishing the fortunate charlatan from the genuine visionary? Must we always try to uncover nonexistent messages in random events? It may be impossible to guard ourselves against the vagaries of the goddess Fortuna, but after reading Fooled by Randomness we can be a little better prepared. Named by Fortune One of the Smartest Books of All Time A Financial Times Best Business Book of the Year
Argues that blackness disrupts our essential ideas of race, gender, and, ultimately, the human Rewriting the pernicious, enduring relationship between blackness and animality in the history of Western science and philosophy, Becoming Human: Matter and Meaning in an Antiblack World breaks open the rancorous debate between black critical theory and posthumanism. Through the cultural terrain of literature by Toni Morrison, Nalo Hopkinson, Audre Lorde, and Octavia Butler, the art of Wangechi Mutu and Ezrom Legae, and the oratory of Frederick Douglass, Zakiyyah Iman Jackson both critiques and displaces the racial logic that has dominated scientific thought since the Enlightenment. In so doing, Becoming Human demonstrates that the history of racialized gender and maternity, specifically antiblackness, is indispensable to future thought on matter, materiality, animality, and posthumanism. Jackson argues that African diasporic cultural production alters the meaning of being human and engages in imaginative practices of world-building against a history of the bestialization and thingification of blackness—the process of imagining the black person as an empty vessel, a non-being, an ontological zero—and the violent imposition of colonial myths of racial hierarchy. She creatively responds to the animalization of blackness by generating alternative frameworks of thought and relationality that not only disrupt the racialization of the human/animal distinction found in Western science and philosophy but also challenge the epistemic and material terms under which the specter of animal life acquires its authority. What emerges is a radically unruly sense of a being, knowing, feeling existence: one that necessarily ruptures the foundations of "the human."
Peer review processes in scholarly publishing are often hidden behind layers of opacity, leaving authors--and even reviewers--with many questions about the process. Open peer review is one way to improve the practice. It can shorten the time between manuscript submission and publication, hold reviewers accountable for their work, make more apparent the hidden labor of reviewing and editing, allow for collaborative discourse between authors and reviewers, and more. Even with these benefits, open peer review is not widely accepted or understood. Few academic librarians have experienced it, and each implementation can be different; anything open is highly nuanced and contextual. Ultimately, when we discuss "open," we must discuss the stories around it. What is the aim? What are the pitfalls? What are the gains? And are we trying to simply replicate a broken system instead of reinventing it? Stories of Open: Opening Peer Review through Narrative Inquiry examines the methods and processes of peer review, as well as the stories of those who have been through it. Eleven chapters are divided into three parts: * Part 1: Orientation. This section offers a conceptual frame for the book, providing details about narrative inquiry as a methodology and the author's worldview and research approach. * Part 2: The Stories (The Story Middle). What is the standard experience of peer review in our field? This section shares stories told from a variety of viewpoints and roles--author, editor, and referee--and explores how these roles interact, the tension between them, and the duality and sometimes multiplicity of roles experienced by any one individual. * Part 3: Coda. These four chapters tie the stories to the idea of open and look in detail at the research method, as well as imagine how we might move forward--reflecting on our past stories to create future ones. When we open ourselves to others' experiences, we reflect on our own. Stories of Open offers questions for reflection at the end of many chapters in order to assist in the continued exploration of your own experiences with peer review, and encourages the use of these reflections in creating new and improved peer review methods. This book is also available as an open access edition at https://bit.ly/ACRLStoriesofOpen
This book introduces narrative justice, a new theory of aesthetic education – the thesis that the cultivation of aesthetic or artistic sensibility can both improve moral character and achieve political justice. The author argues that there is a subcategory of narrative representations that provide moral knowledge regardless of their categorisation as fiction or non-fiction, and which therefore can be employed as a means of moral improvement. McGregor applies this narrative ethics to the criminology of inhumanity, including both crimes against humanity and terrorism. Expanding on the methodology of narrative criminology, he demonstrates that narrative representations can be employed to evaluate responsibility for inhumanity, to understand the psychology of inhumanity, and to undermine inhumanity – and are thus a means to the end of opposing injustice. He concludes that the cultivation of narrative sensibility is an important tool for both moral improvement and political justice.
A Paris Review Staff Pick, one of Chicago Tribune's 25 Hot Books of Summer, and one of The A.V. Club's 15 Most Anticipated Books of 2019 A stark, elegiac account of unexpected pleasures and the progress of seasons Fifteen years ago, Kathryn Scanlan found a stranger’s five-year diary at an estate auction in a small town in Illinois. The owner of the diary was eighty-six years old when she began recording the details of her life in the small book, a gift from her daughter and son-in-law. The diary was falling apart—water-stained and illegible in places—but magnetic to Scanlan nonetheless. After reading and rereading the diary, studying and dissecting it, for the next fifteen years she played with the sentences that caught her attention, cutting, editing, arranging, and rearranging them into the composition that became Aug 9—Fog (she chose the title from a note that was tucked into the diary). “Sure grand out,” the diarist writes. “That puzzle a humdinger,” she says, followed by, “A letter from Lloyd saying John died the 16th.” An entire state of mourning reveals itself in “2 canned hams.” The result of Scanlan’s collaging is an utterly compelling, deeply moving meditation on life and death. In Aug 9—Fog, Scanlan’s spare, minimalist approach has a maximal emotional effect, remaining with the reader long after the book ends. It is an unclassifiable work from a visionary young writer and artist—a singular portrait of a life revealed by revision and restraint.
A Google executive once said: "If you want to liberate a society just give them the Internet." But how does one liberate a society that already has the Internet? Publicly, modern government adheres to the twin ideals of institutional transparency and personal privacy. In reality, while citizens are subjected to mass surveillance, government practice goes unchecked. A new generation has taken to the Internet to defend the right to governance without secrets. From Bradley Manning and WikiLeaks to LulzSec and Anonymous, from the Icelandic Modern Media Initiative to the revelations of Edward Snowden, a coalition is breaking through the secrecy that lies at the core of the modern state. The story gets more complex when open government is contrasted with black transparency, and when a geopolitical rift between the West and Russia becomes the dividing line for whistleblowers and transparency activists seeking refuge. What is transparency for one may be propaganda for the other.
Being Played: Gadamer and Philosophy’s Hidden Dynamic by Jeremy Sampson Pdf
Are we being played? Is our understanding of the traditionally fixed and static concepts of philosophy based on an oversimplification? This book explores some of the theories of the self since Descartes, together with the rationalism and the empiricism that sustain these ideas, and draws some startling conclusions using Gadamer’s philosophical study of play as its starting point. Gadamer’s ludic theory, Sampson argues, reveals a dynamic of play that exists at the deepest level of philosophy. It is this dynamic that could provide a solution in relation to the Gadamer/Habermas hermeneutics debate and the Gadamer/Derrida relativism debate, together with a theory of totality. Sampson shows how ludic theory can be a game-changer in understanding the relationship between philosophy and literature, exploring the dynamic between the fictive and non-fictive worlds. These worlds are characterized simultaneously by sameness (univocity of Being) and difference (equivocity of Being). The book questions Heidegger’s idea that the univocity of Being is universal, instead maintaining that the relationship between the univocity of Being and equivocity of Being is real, and that ontological mediation is required to present them as a unified whole. Using the works of Shakespeare, Beckett and Wilde, Sampson contends that such a mediation, termed ‘the ludicity of Being’, takes place between literature and its audience. This literary example has profound implications not only for literature and its attendant theories but also for philosophy — in particular, ontology and hermeneutics.
