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Due to political constraints, academic philosophy had a hard stand both in Tsarist and Soviet Russia. This is why the philosophical self reflection of Russian society significantly moved to the realm of literature. All domains of modern philosophy entered the literary discourse. Lev Tolstoi dwelled in War and Peace on the Hegelian problem of the relation between man and history. Fyodor Dostoevsky addressed in his „Legend of the Grand Inquisitor" from his novel The Brothers Karamazov the problem of theodicee and personal freedom. Finally, Boris Pasternak shaped in his Doctor Shivago a literary version of life philosophy. All three examples show how philosophical ideas gain persuasiveness in the broader context of an epic narrative. This is not a difference but rather a radicalization of the Western way of building a philosophical argument. [ABSTRACT FROM AUTHOR]

Copyright of Olivar is the property of Universidad Nacional de La Plata and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article explores the literary, philosophical, and phenomenological dimensions of neighbor‐love. Phenomenologically speaking, neighborly love must be given, that is, it must be given voluntarily through attitudes, actions, or gestures. But whom do we actually acknowledge as our neighbor, and why? Adopting a comparative literary approach, this paper argues that literature is not philosophy's adversary but its creative interlocutor: Ilse Aichinger's poem "Foundling" transcends anthropocentric perspectives, presenting the Neighbor as a being beyond denomination by translating it from human to animal. Doris Lessing's novel The Diary of a Good Neighbour depicts the unpredictable and accidental nature of encounters with the Neighbor, leaving no room for personal choice. Ultimately, Amélie Nothomb's Les catilinaires illustrates how the Neighbor can be a persistent annoyance that both irritates and resists systematic thinking. These literary works outline a nuanced poetics of neighbor‐love and givenness that extends beyond any anthropological, theological, or religio‐ethical concept. [ABSTRACT FROM AUTHOR]

The question of the relation between philosophy and literature is, in the present contribution, approached from the notion of reflexivity as it appears in the thinking of Herder and Gadamer. Following up on Gadamer's critique of the Kantian and post‐Kantian idea of the autonomy of art, literature is considered a reflective discourse that at an existential level harvests insights that can be used in a fruitful exchange with philosophy. As an example of the reflexivity of literature, an analysis of Julio Cortázar's short story 'The Continuity of Parks' appears at the end of the article. [ABSTRACT FROM AUTHOR]

Copyright of Comparative Literature / Primerjalna Književnost is the property of Slovenian Comparative Literature Association and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Comparative Literature / Primerjalna Književnost is the property of Slovenian Comparative Literature Association and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The present article attempts to make explicit the existential dimension of a canonical literary text: Baudelaire’s The Flowers of Evil. This work is chosen because it transmits a series of disturbing existential assertions; that is, it is used, in the present context, to investigate Gadamer’s thesis of the reader achieving a new self-understanding through the text. By taking both the author’s as well as the reader’s positions into account in the interpretation, the intention is furthermore to explore the dialogical situation that Gadamer highlights in the understanding process. In order to achieve this, focus is put on the notion of subjectivity in the context of Romanticism and Kierkegaard’s existential philosophy. The contribution is structured as follows: first, an overview is provided with respect to the development of the notion of subjectivity from Kant to Kierkegaard. After this, the existential aspects of Les Fleurs du mal are analyzed.

Copyright of Comparative Literature / Primerjalna Književnost is the property of Slovenian Comparative Literature Association and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The goal of this article is to show the interdependence of the reception of Don Quixote and the concept of identity. The argument is founded on the rejection of Don Quixote perceived as an invented character from the world of fiction and treating him instead as a Cartesian subject, in possession of the cogito faculty and defined by the truth. The Cartesian project, though, comes under pressure when the cogito constitutes itself by telling a story about itself. Cartesianism, a philosophy of consciousness, contains an embryo of a new reflection about subjectivity. With the new approach comes a positive reappraisal of the figure of Don Quixote and an acknowledgement of the key role of fiction in the process of becoming human. The liberation of identity from the tyranny of substantialism and the foundation of the subject on action has paved the way for treating the goals of action as originals produced by the subject rather than copies or reproductions. [ABSTRACT FROM AUTHOR]

Copyright of Comparative Literature / Primerjalna Književnost is the property of Slovenian Comparative Literature Association and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Phainomena is the property of Phenomenological Society of Ljubljana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

With her "poetic reason", María Zambrano managed to find, in the process of searching, a possible method of self-discovery, of the self facing itself, based on a form of thought that allows for the maximum possible amplitude, with the minimum possible violence. Zambrano's ontology is suitable as a possible theoretical model to explore the fragmented state of both the Humanities in general and feminist theory. [ABSTRACT FROM AUTHOR]

Adrianna Halwa presents a review of the book by Artur Żywiołek Tristitia moderna - pasja mitu tristanowskiego w nowoczesnej literaturze, filozofii i muzyce [Tristitia moderna - the passion of the Tristan myth in modern literature, philosophy and music]. Artur Żywiołek in his monograph shows the presence and changes of the Tristan myth in European culture. The author analyzes the turning point of the Modernist era, when there were revolutionary changes in literature, music and philosophy. Żywiołek examines this phenomenon in relation to the Tristan myth, its new interpretations, as well as symbols and cultural codes that it has developed since the Middle Ages. [ABSTRACT FROM AUTHOR]

This article studies the empiricist and rationalist worldviews presented in H. C. Andersen’s enigmatic fairy tale “The Snow Queen”. These two epistemic views are in contest not only with one another but also with the Christian doctrine that challenges them both and is offered in the tale as their superior alternative. While the empiricist and rationalist worldviews give the tale its epistemic aspects, the strong emphasis on Christian faith brings central ethical problems to the discussion, motivating the title’s question: why is reason a vice? By showing how empiricism and rationalism are presented in “The Snow Queen” and become embodied in the mirror-motif, this study seeks to provide an answer to the most disturbing ethical dilemma of the tale: scientific worldviews, such as empiricism and rationalism, and the Snow Queen herself in particular, are in the tale viewed as immoral and deceitful and abhorred by the protagonists, but this notion is in fact falsified by the tale’s own logic.

Three Review Essays: Cormac McCarthy, Philosopher Review of:Eagle (ed), Philosophical Approaches to Cormac McCarthy: Beyond Reckoning. Mundik, A Bloody and Barbarous God: The Metaphysics of Cormac McCarthy.Hawkins, Cormac McCarthy’s Philosophy. Three Ways of Looking at a Horse: Literature and Media / The Medium of Literature Review of:St Clair, Sound and Aural Media in Postmodern Literature: Novel ListeningBarton, Visual Devices in Contemporary Prose Fiction: Gaps, Gestures, ImagesBruhn, The Intermediality of Narrative Literature: Medialities Matter “Where in the World is American Literature?” Tracing the Postnational in Postmodern and Contemporary FictionReview of:Coffman, Rewriting Early America: the Prenational Past in Postmodern LiteratureGarcía-Caro, After the Nation: Postnational Satire in the Works of Carlos Fuentes and Thomas Pynchon McClintock, Topologies of Fear in Contemporary Fiction: The Anxieties of Post-Nationalism and Counter Terrorism [a note from the Book Reviews Editor: if you’re interested in reviewing a book on any aspect of unconventional post-1945 US literature—especially in the present format of single review essays covering multiple related books—please send an email proposing a review to reviews@pynchon.net]

The possibility and the ways of articulating subjectivity is the main theme of both the philosophical books and essays of Dobrosław Kot as well as his fiction, written under the pseudonym Wit Szostak. His approach is grounded in 'the relational subject', a notion which has been developed in numerous philosophical treaties and in literature. This article examines the ways and means of the constituting the textual subject in Kot's philosophical books, Subjectivity and Loss (2009), Dramatic Thinking (2016), and Odyssseus' Raft: An essay about migrants (2020) and tries to position his thought with regard to similar studies of the relational subject in contemporary humanities. The discussion ranges from second-person narration and the semantics of personal pronouns in the structure of literary works (i.e. points of contact between philosophy and literary discourse) to the functioning of implied and thematized information in literary narratives. Crucially, the tensions between these two forms of communication offer the textual subject an opportunity to articulate his position. Finally, all the analyses point to the conclusion that loss is indeed at the heart Dobrosław Kot's work. [ABSTRACT FROM AUTHOR]

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The objective is to analyze ethics and platonic love in the literary work "Death in Venice", by the German writer Paul Thomas Mann, in particular the Portuguese edition of Nova Fronteira, Rio de Janeiro, year 2010. It starts from the possible relationship between philosophy and literature and from the evidence that if the human being tends to live according to the standards imposed by the society in which he is circumscribed, in Mann's work, love is limited to the contemplation of the beauty without going beyond the prevailing moral, which provides, often absolute silence and restrained veneration of the beauty as a cult of Greek art or the gods of Greek mythology. In methodological terms, the study adopts the literature review and the qualitative research, whose collected results do not require quantification, but a permanent dialogue with authors from the analytical field, in this case, Sigmund Freud; Jane Adamson; Richard Friedman and David Parker, as well as Martha Nussbaum, Richard Eldridge and Milton Cardoso, among others. As for the structure, the author's life and work are initially presented, with special emphasis on the aforementioned "Death in Venice". Next, it is time to endorse the ethics and virtues of the human being, as well as the love and silence in the philosophical universe of the work in question, always aiming at the interaction between the two major areas - philosophy and literature or literature and philosophy. Finally, it is inferred that philosophy provides a more comprehensive and intrinsically profound reflection in literature: the veneration of love is reduced to mere contemplation, making its effective experience impossible, which endorses platonic love. [ABSTRACT FROM AUTHOR]

This article presents a parallel reading of the chapter “Riddles in the Dark” from J.R.R. Tolkien’s The Hobbit and Plato’s Allegory of the Cave that appears in The Republic. Plato’s metaphysical and epistemological views, known as the theory of forms, provide the theoretical foundation for the analysis in which the literal and figurative meanings of the cave motif are of primary interest. The Allegory of the Cave will be examined alongside the Analogy of the Sun in a manner that takes into account both their literal and analogous aspects, and The Republic will be seen not only as a theoretical work of philosophy but as an eloquent literary dialogue as well. The analysis focuses on the characters of Gollum and Bilbo and considers the moments of entering and leaving the subterranean cave as a transition between different metaphysical and epistemic positions. This article is centred around the cavethematic, but also takes into account the motifs of light, seeing, and blindness that are very common in Tolkien’s fiction: the preliminary assumption is that light and darkness have great epistemic value in Tolkien’s fiction not only symbolically but literally, and Plato’s Analogy of the Sun will be used to illustrate and justify this reading. The questions pondered in this article rise from the overall problems of the metaphysical structure of Tolkien’s fantasy universe as well as its epistemic laws as represented by the symbol of the cave.

This article theorizes the Zimbabwean writer Stanlake Samkange's turn from the novel to philosophy as an effort to circumvent the representational pressure exerted by African cultural traumatization. In breaking with the novel form to coauthor a philosophical treatise called Hunhuism or Ubuntuism in the same year as Zimbabwe achieves independence (1980), Samkange advances a comportment-based, deontological alternative to the psychic or subjective model of personhood that anchors trauma theory. Revisiting the progression from his most achieved novel, The Mourned One, to Hunhuism or Ubuntuism thus offers fresh insight into the range of options available to independence-era writers for representing the relationship between African individuality and collectivity. At the same time, it suggests a complementary and overlooked relationship between novelistic and philosophical forms in an African context. [ABSTRACT FROM AUTHOR]

An analysis of the Taoist elements woven in the five myths presented in the novel The Left Hand of Darkness, examining how philosophical principles such as yin-yang and wu wei (non-action or inaction) inform all myths, their themes, and their representation of Gethenian moral and spiritual conflicts. [ABSTRACT FROM AUTHOR]

Copyright of Revue Nerval is the property of Classiques Garnier and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article presents the concept of evil, as developed in the literary as well as philosophical works of Albert Camus. After a short, preliminary notice on the relationship between literature and evil, the article presents two spheres, in which the problem of evil was grasped by the author of The Rebel. In the main part of the article, the complexity of the problem of evil, as represented by Jean-Baptiste Clamence from The Fall is shown. It is seen as a development of the concept of evil from The Plague, with the potency to disseminate onto others. It is also perceived, as something resulting from severe trauma of the main character. In conclusion, I claim, that the problem of evil, as experienced by Clamence may be understood as a still relevant metaphor of contemporary culture, struggling with passivity against the rise of social evil.

The investigative trajectory of this proposal was to understand the imaginary of the city according to the theoretical and methodological contributions of G. Bachelard’s phenomenology of imagination and W. Benjamin’s concept of montage, how the flanerie and the poetical topology are articulated. We read works from G. Bachelard (1884-1962) and W. Benjamin (1892-1940) that relate to the city of Paris and the way they lived in the city and wrote about it. In an allegorical and phenomenological way, we took the image of the blue flower, as a symbol of the space in the philosophy of the imagination and the imaginary, as well as the survival of the romanticism that belongs to both philosophers. The blue flower is the direct image of the imagination, manifested in the consciousness and also in the desire as a place to be reached, and at the same time, an emblem of an occult dimension, of something that waits to be discovered. The ontology of the space in the imaginary is the central theme of this work whose main objective is to understand the space lived in the literary landscapes as a thematic branch of the city’s imaginary and, above all, to understand the imaginary by showing the relationships that exist in these two theoretical and methodological paths, with their own perspectives and possibilities of development between the studies of Geography and Literature, through the literary landscape that unfolds in the city’s imaginary.

Copyright of Acta Universitatis Lodziensis. Folia Litteraria Polonica is the property of Wydawnictwo Uniwersytetu Lodzkiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Estudios Filosóficos is the property of Estudios Filosoficos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This essay addresses J.M. Coetzee’s Disgrace, a Booker Prize winner in 1999. The novel captures South African political and cultural turmoil attending the post-apartheid transitional period. Far from overlooking the political allegory, I propose instead to expand on a topic only cursorily developed elsewhere, namely liberty and license. The two terms foreground the textual dynamics of the novel as they compete and/or negotiate meaning and ascendency. I argue that Disgrace is energized by Coetzee’s belief in a total liberty of artistic production. Sex is philosophically problematized in the text and advocated as a serious issue that deserves artistic investigation without restriction or censorship. This essay looks into the subtle libertinism in Coetzee’s text, which displays pornographic overtones without exhibiting a flamboyant libertinage. Disgrace acquires its libertine gesture from its dialogue with several literary works steeped in libertinism. The troubled relationship between the aesthetic and the ethical yields an ambiguous text that invites a responsible act of reading.

Resumen: Entrevista realizada por Zoltán Kulcsár-Szabó y Tamás Lénárt a Werner Hamacher en marzo de 2012 en Budapest, en la que este autor desgrana algunas de sus posiciones sobre la justicia lingüística. Se trata de una aportación en el ámbito de la teoría de la literatura, analizada desde un enfoque filosófico.El texto que aquí se presenta es la traducción de dicha entrevista al castellano y ha sido realizada por Niklas Bornhauser. Absatract: Interview conducted by Zoltán Kulcsár-Szabó and Tamás Lénárt to Werner Hamacher in March 2012 in Budapest, in which this author describes some of his positions on linguistic justice. It is a contribution in the field of literature theory, analyzed from a philosophical approach. The text presented here is the translation of said interview into Spanish and has been done by Niklas Bornhauser.

This article argues that G. E. Lessing should be viewed as one of the German Enlightenment's foremost thinkers of peace alongside his contemporary Immanuel Kant, whose contribution to thinking peace in the eighteenth century is already well recognised. It makes this case by examining two of Lessing's late works: the 1779 drama Nathan the Wise and the 1780 essay The Education of the Human Race. The dialogue between faith and reason characteristic of Enlightenment discourse is at the heart of both texts, but here it is argued that peace is a crucial third moment. While in Nathan Lessing asserts the need to find peace between the forces of faith and reason in a literary register, in the Education essay he does so in a more explicitly theoretical mode. [ABSTRACT FROM AUTHOR]

This article takes as its starting point the Greek term μεταξύ, a preposition meaning 'between', first turned into a noun in Plato's Symposium, and in that substantivized form adapted for their own ends by a number of 20th-century philosophers, most notably by Simone Weil. In her Gravity and Grace (French: La Pesanteur et la grâce) she defines le metaxu as in-betweenness, a social and metaphysical category which embraces all that connects and divides (as, for example, a wall that both separates two prisoners and can be used by them to tap messages). In this article Weil's concept of metaxu is applied to the language and then to various readings of two of Wisława Szymborska's poems, 'Funeral' and 'Elegiac Calculation'. Pragmalinguistics and semantics, too, play a role in the interpretation of these poems. [ABSTRACT FROM AUTHOR]

This essay explores Werner Hamacher’s suggestion that the realm of “philology” lies epékeina tes ousías. I suggest that for him “philology” is concerned with what, according to Plato, generates meaning without itself being generated, and that in his work this “beyond being” is often mediated in terms of caesura. After a brief engagement with a conversation of sorts between Hamacher and Jacques Derrida, in which the view of his “philology” as mostly derivative of Derrida’s work is rejected, the essay returns to Hamacher’s discussion of caesura as what constitutes the very possibility of language. The final section focuses on Hamacher’s engagement with Walter Benjamin and Paul Celan and his suggestion that Dichtung (poetry) is the first philology. The essay concludes by arguing that Hamacher’s philology opens up new ways of thinking about thinking, as well as about the relationship between literature and philosophy. [ABSTRACT FROM AUTHOR]

Copyright of Comparative Literature / Primerjalna Književnost is the property of Slovenian Comparative Literature Association and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The objective of this work is to reflect on the relations between humanism, modernity and postmodernity, through the summary and commentary of the theories that the philosopher of science Stephen Toulmin carried out in two works as Cosmopolis. The background of Modernity (1990) and Return to Reason (2001). According to Toulmin, the modern era had a first humanist beginning, in which the authors of skeptical and practical, such as Erasmus and Montaigne; although, then, it was replaced by the scientificist, dogmatic and abstract modernity, inspired in Descartes, whose continental hegemony was so great that it became almost exclusively identified with "modernity". This eclipse of the Humanist origins of modern thought prevents from thinking properly about modernity and postmodernity, which can be understood as an attempt to recover some of the specific characteristics of humanism, without renouncing the successes of rationalist modernity. [ABSTRACT FROM AUTHOR]

Copyright of Anales de Literatura Hispanoamericana is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The essay argues that the perceived waning of the influence of the Humanities (Literature, Continental Philosophy, Art, and Religion) and their irrelevance to contemporary problems of globalization and environmental issues is due to a limited exploration of the notion of interdisciplinarity. The essay suggests that, insofar as contemporary power relations pose a problem for our conception of human-being, the resources offered by the humanities acquire a renewed value and power for thinking through the era of the anthropocene.

This essay addresses J.M. Coetzee's Disgrace, a Booker Prize winner in 1999. The novel captures South African political and cultural turmoil attending the post-apartheid transitional period. Far from overlooking the political allegory, I propose instead to expand on a topic only cursorily developed elsewhere, namely liberty and license. The two terms foreground the textual dynamics of the novel as they compete and/or negotiate meaning and ascendency. I argue that Disgrace is energized by Coetzee's belief in a total liberty of artistic production. Sex is philosophically problematized in the text and advocated as a serious issue that deserves artistic investigation without restriction or censorship. This essay looks into the subtle libertinism in Coetzee's text, which displays pornographic overtones without exhibiting a flamboyant libertinage. Disgrace acquires its libertine gesture from its dialogue with several literary works steeped in libertinism. The troubled relationship between the aesthetic and the ethical yields an ambiguous text that invites a responsible act of reading. [ABSTRACT FROM AUTHOR]

Adapting a term coined by Ian Hacking, this article analyzes certain of the styles of reasoning that appear in two novels, Fyodor Dostoevsky's Zapiski iz podpol'ya (Notes from Underground, 1864) and Natsume Sōseki's Kokoro (1914). The confession of the underground man, the protagonist of Dostoevsky's novel, includes an argument against the Chernyshevskian doctrine of rational egoism. The underground man's argument may, as this article shows, be analyzed using logical truth tables to demonstrate that, however thorough the underground man's argument may appear, it does not consider the counterexample of selfless altruism. This omission prepares the way for the underground man's rejection of Liza at the climax of the second part of the novel. Sōseki's novel, too, contains a confession, namely Sensei's testament, in which Sensei relates how he arrived at his belief that humanity is fundamentally selfish. Sensei's style of reasoning is primarily inductive, in contrast with that of other characters in Sōseki's novel, and the present article argues that Sensei's style of reasoning is a primary cause of his suicide. In each novel, then, there is a sustained consideration of how and to what extent a style of reasoning is bound up with a character's fate. [ABSTRACT FROM AUTHOR]

This paper makes a case for the originality of Schiller’s early ethics. Far from passively mirroring the mainstream sentimental views of the German Enlightenment, the young Schiller’s moral philosophy predates those ideas which the mature Schiller is usually said to have endorsed only because of their belonging to the Kantian system. At stake is the inadequacy of love as a moral principle due to its intrinsically egoistic nature, which is revealed in Schiller’s early plays. Schiller’s departure from his earlier philosophy of love should no longer be ascribed to Kant, and dramatic literature should be credited with a crucial value for moral reasoning. [ABSTRACT FROM PUBLISHER]

Copyright of Dialogue: Canadian Philosophical Review is the property of Cambridge University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)