Approaching the study of literature as a unique form of the philosophy of language and mind—as a study of how we produce nonsense and imagine it as sense—this is a book about our human ways of making and losing meaning. Brett Bourbon asserts that our complex and variable relation with language defines a domain of meaning and being that is misconstrued and missed in philosophy, in literary studies, and in our ordinary understanding of what we are and how things make sense. Accordingly, his book seeks to demonstrate how the study of literature gives us the means to understand this relationship.
The book itself is framed by the literary and philosophical challenges presented by Joyce’s Finnegans Wake and Wittgenstein’s Philosophical Investigations. With reference to these books and the problems of interpretation and meaning that they pose, Bourbon makes a case for the fundamental philosophical character of the study of literature, and for its dependence on theories of meaning disguised as theories of mind. Within this context, he provides original accounts of what sentences, fictions, non-fictions, and poems are; produces a new account of the logical form of fiction and of the limits of interpretation that follow from it; and delineates a new and fruitful domain of inquiry in which literature, philosophy, and science intersect.
Henry James rebelled intuitively against the tyranny and banality of plots. Believing a life to have many potential paths and a self to hold many destinies, he hung the evocative shadow of "what might have been" over much of what he wrote. Yet James also realized that no life can be lived--and no story written--except by submission to some outcome. The limiting conventions of society and literature are, he found, almost inescapable. In a major, comprehensive new study of James's work, Millicent Bell explores this oscillation between hope and fatalism, indeterminacy and form, and uncertainty and meaning. In the process Bell provides fresh insight into how we read and interpret fiction.
Bell demonstrates how James's texts steadfastly, almost perversely at times, preserve a sense of alternative possibilities. James involves his characters in overlapping scenarios drawn from folklore, drama, literature, or naturalist formula. The reader engages, with the hero or heroine, in imagining many plots other than the one that finally--and often ambiguously--emerges. The story arouses expectations, proposes courses, then cancels them successively. In complicity with author and character, the reader crafts the story in an adventure of constant revision and anticipation. Literary meaning becomes an experience as well as a goal. In the end, revelations and resolutions, even if unclear or partial, assume an altered significance in light of the earlier imaginings.
Not surprisingly, James's deepest sympathies lay with those characters who resisted entrapment by cultural expectations--his idealistic free spirits like Isabel, his marriage renouncers like Fleda Vetch, his largely silent and detached witnesses to life like Strether and the generous Maisie. They are frequently the victims of callous manipulators who box them into oppressive roles or who literally "plot against" them. By looking closely at James's critiques of the "clever" categorical mind and at his loving and complex portraits of characters of unfulfilled potentiality, Bell celebrates the paradoxes of James's story-denying fiction.
In extended analyses of "Daisy Miller," Washington Square, The Portrait of a Lady; The Bostonians, The Princess Casamassima, "The Aspern Papers," The Spoils of Poynton, "The Turn of the Screw," What Maisie Knew, "The Beast in the Jungle," "The Jolly Corner," The Wings of the Dove, and The Ambassadors, Bell relates James's work to influential movements of the day, notably impressionism and naturalism. She examines the influence of Hawthorne, Emerson, Flaubert, Balzac, and Zola on James at various periods throughout his career. Drawing on rich traditions of criticism and on stimulating recent theories, Bell forges a critical approach both accessible and profound for this elegant reading of one of the greatest writers of this or any time.
Hailed by Horace and Quintilian as the greatest of Greek lyric poets, Pindar has always enjoyed a privileged position in the so-called classical tradition of the West. Given the intense difficulty of the poetry, however, Pindaric interpretation has forever grappled with the perplexing dilemma that one of the most influential poets of antiquity should prove to be so dark.
In discussing both poets and scholars from a broad historical span, with special emphasis on the German legacy of genius, Soliciting Darkness investigates how Pindar’s obscurity has been perceived and confronted, extorted and exploited. As such, this study addresses a variety of pressing issues, including the recovery and appropriation of classical texts, problems of translation, representations of lyric authenticity, and the possibility or impossibility of a continuous literary tradition. The poetics of obscurity that emerges here suggests that taking Pindar to be an incomprehensible poet may not simply be the result of an insufficient or false reading, but rather may serve as a wholly adequate judgment.
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