- Professor of Comparative literature, Rhetoric, and Spanish, and Dean of Arts and Humanities at UC Berkeley.edit
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... and Rosenberg, and, from India, the Arctic Aryans of Tilak, the quintessential nordic models for ... between the vicissitudes of sacramental theology and the theoretical develop-ment of witchcraft as a ... taken not simply as part of... more
... and Rosenberg, and, from India, the Arctic Aryans of Tilak, the quintessential nordic models for ... between the vicissitudes of sacramental theology and the theoretical develop-ment of witchcraft as a ... taken not simply as part of what the transition from the middle ages to modernity ...
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... ROSE Possible worlds in literary theory RUTH RONEN Critical conditions: postmodernity and the question of foundations HORACE L. FAIRLAMB ... parts of which appeared in Hannah Arendt and the Meaning of Politics, ed. Craig Calhoun and... more
... ROSE Possible worlds in literary theory RUTH RONEN Critical conditions: postmodernity and the question of foundations HORACE L. FAIRLAMB ... parts of which appeared in Hannah Arendt and the Meaning of Politics, ed. Craig Calhoun and John McGowan (Minneapolis, 1997 ...
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... viii Acknowledgments Secularization and Literary Self-Assertion in Don Quixote" in Cultural Authority in Early Modern Spain: Continuation and Its Alternatives ... The task of a historicized reading of Fuenteovejuna would be... more
... viii Acknowledgments Secularization and Literary Self-Assertion in Don Quixote" in Cultural Authority in Early Modern Spain: Continuation and Its Alternatives ... The task of a historicized reading of Fuenteovejuna would be to deconstruct this vision by asking about the specific ...
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Research Interests: Art and Literature
info:eu-repo/semantics/publishe
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Research Interests: Aesthetics and Art
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Of all the riddles of aesthetic theory, none is as puzzling as the fact that what is arguably the pivotal work in the field-Kant's third Critique -contains no sustained or systematic theory of art. As Theodor Adorno bluntly remarked,... more
Of all the riddles of aesthetic theory, none is as puzzling as the fact that what is arguably the pivotal work in the field-Kant's third Critique -contains no sustained or systematic theory of art. As Theodor Adorno bluntly remarked, "Pre-Hegelian, including Kantian, aesthetics had no emphatic conception of the work of art, relegating it to the status of some kind of sublimated means of enjoyment."1 Although Kant does offer some re-
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material shows striking resemblances to features in die text, dien we insist die audior intended to use it in such a way as to give meaning to the text. Alas, die audior's intention is a fiction of literary study. NotJames but Beidler... more
material shows striking resemblances to features in die text, dien we insist die audior intended to use it in such a way as to give meaning to the text. Alas, die audior's intention is a fiction of literary study. NotJames but Beidler makes die paraUel between extratextual material and text intentional. Beidler moves from rhetorical suggestion to conclusive conviction: "we must also be impressed widi how much the fictional The Turn oftL· Screw owes to die motifs its author could have learned by reading this and odier ghost narratives" (p. 75). He begs the question, however, since simüarity is not demonstration. "The task I set for myself was to show how The Turn oftL· Screw, fiction though it is, derives from factual traditions about ghosts and demons. We cannot fuUy understand James's story widiout knowing some of the reported cases upon which he based it" (p. 239). This is a beautiful expression of the faUacy of source, for fiction, wherever it may take its sources, has it own creative powers which make the work of art understandable in its own terms.
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Experience and knowledge in the baroque are inseparable from the question of style. But whereas style is generally linked to the use of ornamentation in principally decorative ways, style in the baroque is essential. It is essential to... more
Experience and knowledge in the baroque are inseparable from the question of style. But whereas style is generally linked to the use of ornamentation in principally decorative ways, style in the baroque is essential. It is essential to the construction of objects and it is likewise essential to our experience of them. Two areas to which this is key are figures of force and figures of form. Figures of force describe instances in which style and ornament are part of a dynamic ontology. Figures of form describe instances in which doubles and duplications are part of the essentially twinned nature of things. These instances and our experiences of them require forms of knowledge that defy the Cartesian wish to reduce things to their simple essences. They establish a materialist ontology that supports the project of self-invention through the resources of language and wit (ingenio).
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... Parts of the Republic are conceived as an extended analogy in which character and polis serve as ... Plato's words there will be no difference between a just man and a just city(Republic, 435, p ... of tragedy can... more
... Parts of the Republic are conceived as an extended analogy in which character and polis serve as ... Plato's words there will be no difference between a just man and a just city(Republic, 435, p ... of tragedy can all be understood in relation to this schematic theory of soul and state. ...
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A distinguished group of authors reflects on problems currently enlivening the space shared by philosophy and literary theory. Contributors include Alexander Nehamas, Dennis Dutton, Charles Altieri, Martha Craven Nussbaum, and others.... more
A distinguished group of authors reflects on problems currently enlivening the space shared by philosophy and literary theory. Contributors include Alexander Nehamas, Dennis Dutton, Charles Altieri, Martha Craven Nussbaum, and others. (Philosophy)
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Craps, Stef. 2001. “Shadows of Ethics: Criticism and the Just Society.” English Studies: A Journal of English Language and Literature. SWETS ZEITLINGER PUBLISHERS. ... Craps, S. (2001). Shadows of ethics: Criticism and the just society.... more
Craps, Stef. 2001. “Shadows of Ethics: Criticism and the Just Society.” English Studies: A Journal of English Language and Literature. SWETS ZEITLINGER PUBLISHERS. ... Craps, S. (2001). Shadows of ethics: Criticism and the just society. ENGLISH STUDIES: A JOURNAL OF ENGLISH LANGUAGE AND LITERATURE. SWETS ZEITLINGER PUBLISHERS. ... Craps S. Shadows of ethics: Criticism and the just society. ENGLISH STUDIES: A JOURNAL OF ENGLISH LANGUAGE AND LITERATURE. SWETS ZEITLINGER PUBLISHERS; 2001. p. 572–4.
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AT ONE POINT in the Philosophical Investigations, Wittgenstein makes some remarks about telling; they would not, on the surface of it, seem the most auspicious place to begin an essay on the grammar of telling, but there are reasons for... more
AT ONE POINT in the Philosophical Investigations, Wittgenstein makes some remarks about telling; they would not, on the surface of it, seem the most auspicious place to begin an essay on the grammar of telling, but there are reasons for taking up Wittgenstein which will, I think, become clear over the course of what follows: "'But when I imagine something, something certainly happens!' Well, something happens-and then I make a noise. What for? Presumably in order to tell what happens.-But how is telling done? When are we said to tell anything?-What is the language-game of telling? I should like to say: you regard it much too much as a matter of course that one can tell anything to anyone."' You cannot, of course, tell just anything to anyone; telling has its occasions like any other human practice.2 You cannot, for instance, just tell me your name-unless I ask, or unless you propose thereby to accomplish some other action (for example, introduce yourself). Yet notwithstanding such constraints of occasion, Wittgenstein's remark is likely to seem either excessively cautionary or simply superfluous in light of the ordinary kinds of telling we do: I can tell you a secret, tell you the (awful, whole, and so on) truth, tell you my love, tell you a story, or even tell you off, in which cases I apparently do tell something to someone. And I can also tell the time, tell if it looks like rain, tell a forgery, and tell when I've had enough, in which case there is no temptation to say that I tell anything to anyone at all. In order to make sense of Wittgenstein's remark, we need to look more closely at the grammar of telling. Here, I shall limit my considerations to some of the most salient features of telling, broadly understood, drawing on Cervantes's Don Quixote for my specific examples; the Quixote, it seems to me, marks the distinctions among certain kinds of telling with great clarity, while at the same time revealing common features among them that we can describe as part of a single grammar or "language-game." The first distinction I shall make cuts across the classes of telling described above: the one is telling in an epistemological sense, telling as discerning or distinguishing (for example, "to tell twins apart"), in which case the telling is patently a kind of knowing; the other is telling in a narrative sense, as in telling a story