Dissertations / Theses: 'Philosophy in literature'

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Vice, Samantha Wynne. "Personal autonomy : philosophy and literature." Thesis, Rhodes University, 1999. http://hdl.handle.net/10962/d1002853.

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Gerald Dworkin's influential account of Personal Autonomy offers the following two conditions for autonomy: (i) Authenticity - the condition that one identify with one's beliefs, desires and values after a process of critical reflection, and (ii) Procedural Independence - the identification in (i) must not be "influenced in ways which make the process of identification in some way alien to the individual" (Dworkin 1989:61). I argue in this thesis that there are cases which fulfil both of Dworkin's conditions, yet are clearly not cases of autonomy. Specifically, I argue that we can best assess the adequacy of Dworkin's account of autonomy through literature, because it provides a unique medium for testing his account on the very terms he sets up for himself - ie. that autonomy apply to, and make sense of, persons leading lives of a certain quality. The examination of two novels - Kazuo Ishiguro's The Remains of the Day and Henry James's The Portrait of a Lady - shows that Dworkin's explanation of identification and critical reflection is inadequate for capturing their role in autonomy and that he does not pay enough attention to the role of external factors in preventing or supporting autonomy. As an alternative, I offer the following two conditions for autonomy: (i) critical reflection of a certain kind - radical reflection, and (ii) the ability to translate the results of (i) into action - competence. The novels demonstrate that both conditions are dependent upon considerations of the content of one's beliefs, desires, values etc. Certain of these will prevent or hinder the achievement of autonomy because of their content, so autonomy must be understood in relation to substantial considerations, rather than in purely formal terms, as Dworkin argues.

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Biermann, Brett Christopher. "Travelling philosophy from literature to film /." [S.l. : Amsterdam : s.n.] ; Universiteit van Amsterdam [Host], 2006. http://dare.uva.nl/document/51450.

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Kerr, Joanna. "Learning from the novel : feminism, philosophy, literature." Thesis, University of Edinburgh, 1998. http://hdl.handle.net/1842/26656.

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Analytic philosophy since Plato has been notoriously hostile to literature, and yet in recent years, increasing numbers of philosophers within the tradition have sought to take seriously the question of how it is that literature can be philosophical. Analytic philosophy has also been noted for its hostility to women and resistance to feminism. In this thesis I seek to make connections between firstly the prejudice against, and then the potential for, the contribution of the perspectives of literature and feminism in philosophy, attempting to answer simultaneously the two questions; How can literature be philosophical? How can feminists write philosophy? In the sense that I attempt to take these questions seriously, and answer them precisely, this thesis fits into the analytic philosophical tradition. However, my response to these questions, and thus the majority of this thesis, takes the form of a non-traditional demonstration of the philosophical potential of literature presented through three feminist literary genres; autographical fiction, utopian fiction, and detective fiction. Using generic divisions seems to be an appropriate strategy for reclaiming literature as philosophical, since it suggests an identification with the Aristotelian defence of literary arts against Plato's assault. However, I will argue that these literary genres have traditionally been defined in terms which prohibit a philosophical reading. I will expose and then recover this anti-philosophical bias, particularly when it coincides with feminist genre revisions. This recovery will take the form of a philosophical reconceptualizing of each genre, and a specific comparative analysis of two texts adopted as representative of each genre as I conceive it. In this way I hope to show that it is not only possible, but highly advantageous, to learn from the novel.

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au, 19310449@student murdoch edu, and Joseph Marrable. "Transpersonal literature." Murdoch University, 2003. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20051222.155152.

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What do you get if you apply Ken Wilbers theories of transpersonal psychological development within human consciousness to William Goldings Lord of the Flies or Conrads Heart of Darkness, or Shakespeares Hamlet? Can they provide a clear interpretative tool in order to uncover the intentional or unintentional aspects of consciousness development contained within them? Do these literary texts reveal a coherent quest for knowledge of human consciousness, the nature of good and evil, and the ineffable question of spirit? Is there a case for presenting a transpersonal perspective of literature in order to expound the theories of this psychological discipline? Can literary texts provide materials that are unique to that art form and can be explicated by knowledge of transpersonal psychology? Is there an evolutionary motion, which is not necessarily historically chronological but nonetheless displays a developmental map of human consciousness across literary works? In other words, can we see a hierarchical framework along the lines of consciousness development as proposed by Ken Wilber, that suggests a movement up the evolutionary ladder of consciousness from Lord of the Flies to Hamlet and beyond? Can we counter oppose Lord of the Flies and Hamlet, suggesting that the first is a fable of regression to transpersonal evil within a cultural community and the second sees Hamlet attempt to avoid this path in order to move toward the transcendence of ego and self, within the individual? If this is so then we should be able to plot both paths relative to the models of development traced in Wilbers theories and interpret the texts according to this framework. What is the relationship between transpersonal aspects of consciousness and literature? And what are the effects upon the cultural consciousness of human evolution that literature has had so much to inform? How do the literary works of individuals inform the cultural consciousness and transcend the age in which they are written? Equally we should be able to test the theories with the aid of some texts of literature especially those works which are of, and about consciousness. What does this mean to the literary interpretation of these texts? How does it differ from other interpretations? What are the pitfalls and what disclaimers need to be put in place? Is the difference between the notion of a transpersonal evil and a transpersonal good simply a matter of individual moral choice?

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Johansson, Viktor. "Dissonant Voices : Philosophy, Children's Literature, and Perfectionist Education." Doctoral thesis, Stockholms universitet, Institutionen för pedagogik och didaktik, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-92106.

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Dissonant Voices has a twofold aspiration. First, it is a philosophical treatment of everyday pedagogical interactions between children and their elders, between teachers and pupils. More specifically it is an exploration of the possibilities to go on with dissonant voices that interrupt established practices – our attunement – in behaviour, practice and thinking. Voices that are incomprehensible or expressions that are unacceptable, morally or otherwise. The text works on a tension between two inclinations: an inclination to wave off, discourage, or change an expression that is unacceptable or unintelligible; and an inclination to be tolerant and accept the dissonant expression as doing something worthwhile, but different. The second aspiration is a philosophical engagement with children’s literature. Reading children’s literature becomes a form of philosophising, a way to explore the complexity of a range of philosophical issues. This turn to literature marks a dissatisfaction with what philosophy can accomplish through argumentation and what philosophy can do with a particular and limited set of concepts for a subject, such as ethics. It is a way to go beyond philosophising as the founding of theories that justify particular responses. The philosophy of dissonance and children’s literature becomes a way to destabilise justifications of our established practices and ways of interacting. The philosophical investigations of dissonance are meant to make manifest the possibilities and risks of engaging in interactions beyond established agreement or attunements. Thinking of the dissonant voice as an expression beyond established practices calls for improvisation. Such improvisations become a perfectionist education where both the child and the elder, the teacher and the student, search for as yet unattained forms of interaction and take responsibility for every word and action of the interaction. The investigation goes through a number of picture books and novels for children such as Harry Potter, Garmann’s Summer, and books by Shaun Tan, Astrid Lindgren and Dr. Seuss as well narratives by J.R.R. Tolkien, Henrik Ibsen, Jane Austen and Henry David Thoreau. These works of fiction are read in conversation with philosophical works of, and inspired by, Ludwig Wittgenstein and Stanley Cavell, their moral perfectionism and ordinary language philosophy.

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Kollias, Hector. "Exposing romanticism : philosophy, literature, and the incomplete absolute." Thesis, University of Warwick, 2003. http://wrap.warwick.ac.uk/57579/.

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The aim of this thesis is to present the fundamental philosophical positions of Early German Romanticism, focusing on the three following writers: J. C. F. Holderlin, Novalis, and F. Schlegel. Chapter 1 begins with an examination of the first-philosophical, or ontological foundations of Romanticism and discusses its appropriation and critique of the work of Fichte, arriving at an elucidation of Romantic ontology as an ontology of differencing and production. The second chapter looks at how epistemology is transformed, in the hands of the Romantics, and due to the attention they paid to language, semiotic theory, and the operations of irony in discourse, into poetology - a theory of knowledge, into a theory of poetic production. In the third chapter a confrontation between the philosophical positions of Romanticism and those of the main currents of German Idealism (Schelling, Hegel) is undertaken; through this confrontation, the essential trait of Romantic thought is arrived at, namely the thought of an incomplete Absolute, as opposed to the absolute as totality in Idealism. The final chapter considers the avenue left open by the notion of the incomplete Absolute, and the Romantics' chief legacy, namely the theory of literature; literature is thus seen as coextensive with philosophy, and analysed under three conceptual categories (the theory of genre, the fragment, criticism) which all betray their provenance from the thought lying at the core of Romanticism: the incomplete Absolute. Finally, in the conclusion a summation of this exposition of romanticism is presented, alongside a brief consideration of the relevance of the Romantic project in contemporary critical/philosophical debates.

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Cho, Ju Gwan. "Time philosophy in Derzhavin's poetics /." The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487694389392671.

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Antonova, Antonia Ivo. "Finding Truth in Literature." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/cmc_theses/992.

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This thesis uses Amy Kind’s defense of epistemic relevance in imagination to examine how and when true beliefs imparted in literary imaginings are justified as knowledge. I will show that readers’ literary imaginings must pass a test of epistemic relevance, as well as be paired with a strong affirming emotional response in order to justify the truth behind the beliefs they impart. I believe the justificatory affective response is a kind of non-propositional emotional imagining, distinct from the type of literary imaginings that initially imparted the beliefs. Due to this thesis’ focus on the justificatory power of literary imaginings related to emotion, my work shows how literature can provide new knowledge to the philosophical realms of ethics and emotion. Literary implications in other types of philosophical inquiry still remain unexplored.

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Walmsley, Peter Samuel. "The rhetoric of Berkeley's philosophy." Thesis, University of Cambridge, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.254447.

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Davis, C. "Michael Tournier : Philosophy and fiction." Thesis, University of Oxford, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.375871.

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Barlow, Richard. "Scotographic joys : Joyce and Scottish literature, history and philosophy." Thesis, Queen's University Belfast, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.580301.

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This thesis examines how the work of James Joyce deals with the literature, history and philosophy of Scotland. My first chapter discusses the Scottish character Crotthers of the , 'Oxen of the Sun' and 'Circe' chapters of Ulysses and demonstrates how this character, especially his name, is the beginning of Joyce' s treatment of the connections of Scottish and Irish histories. Chapter Two examines a motif from Finnegans Wake based on words related to the names of two tribes from ancient Scottish and Irish history, the Picts and the Scots. Here I discuss how this motif relates to the divided consciousness of the Wake's dreamer and also how Joyce bases this representation on 19th century Scottish literature, especially the works of James Hogg and Robert Louis Stevenson. Chapter Three is a look at the function of allusions to the work of the Scottish poet James Macpherson in Finnegans Wake. I claim that references to Macpherson and his work operate as signifiers of the cyclical and repetitive nature of life and art in the text. Chapter Four studies connections between the works of Joyce and Robert Burns, studying passages from Finnegans Wake, Ulysses and Joyce's poetry. The chapter covers the use of song in Finnegans Wake, connections in Irish and Scottish literature and provides close readings of a number of passages from the Wake. The final chapter looks at Joyce and the Scottish Enlightenment, particularly allusions to the philosopher David Hume in Finnegans Wake. The chapter considers connections between the scepticism and idealism of Hume's thought with the internal world of the dreamer of Finnegans Wake. As a whole this thesis seeks to show Joyce's indebtedness to Scottish literature, examine the ways in which Joyce uses Scottish writing and describe Joyce's representation of the Scottish nation.

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Brocious, Elizabeth Olsen. "Transcendental Exchange: Alchemical Discourse in Romantic Philosophy and Literature." Diss., CLICK HERE for online access, 2008. http://contentdm.lib.byu.edu/ETD/image/etd2301.pdf.

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Ashok, Kumar Kuldeep. "Clairvoyance in Jainism: Avadhijñāna in Philosophy, Epistemology and Literature." FIU Digital Commons, 2018. https://digitalcommons.fiu.edu/etd/3700.

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This thesis is an analytical study of the place of clairvoyance (avadhijñāna) in Jain epistemology and soteriology. It argues that avadhijñāna occupies an ambivalent position regarding both, since it is not solely attained by means of spiritual progression but may also spontaneously arise regardless of a being’s righteousness (samyaktva). Beginning with a survey of descriptions of avadhijñāna in the canons of each sect, including a translation of Nandisūtra 12-28, it examines how commentaries, philosophy and narrative literature developed and elaborated upon avadhijñāna as part of its epistemological system. Further, it examines the nexus of avadhijñāna and karma theory to understand the role of clairvoyance in the cultivation of the three jewels—correct perception, knowledge, and conduct—that lead to liberation (mokṣa). Finally, several examples of clairvoyants from Jain narratives show how clairvoyance reamined an ambivalent tool for virtuous transformation in popular literature.

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Seiler, Nils A. "Retranslating philosophy: Dharmottara’s theory of perception." Thesis, University of Iowa, 2019. https://ir.uiowa.edu/etd/6852.

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Stocker, Barry. "Law and form : Joyce, Beckett and philosophy." Thesis, University of Sussex, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307251.

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Moon, Shane Phoenix. "The Search for Meaning and Morality in the Works of Cormac McCarthy." Wright State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=wright1431165514.

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Bartlett, Mark. "Chronotopology and the scientific-aesthetic in philosophy, literature and art /." Diss., Digital Dissertations Database. Restricted to UC campuses, 2005. http://uclibs.org/PID/11984.

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Michaels, Christopher. "Worst case scenarios : the philosophy of catastrophe in American literature." Thesis, University of Bristol, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.446097.

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Avalon, Jillian. "Life and Death: Spiritual Philosophy in Anna Karenina." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/cmc_theses/772.

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This paper examines the structure, title, epigraph, and spiritual philosophy of Leo Tolstoy’s great novel, Anna Karenina. The intricate structure of the novel can leave more questions than it answers, and as the novel was written at such a critical, complex time of Tolstoy’s life, the ideas the characters struggle with in Anna Karenina are of both daily and cosmic importance. Considering influences and criticism of the novel, the method of Tolstoy’s vision of living well as shown in Anna Karenina leads to a very specific and intricate spiritual philosophy. It is also found that the novel’s structure and title are in conflict.

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Milne, Andrew Greg. "A critique of the philosophy of modern theatre." Thesis, University of Cambridge, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.385351.

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Elicker, Bradley Joseph. "The Mediated Nature of Literature: Exploring the Artistic Significance of the Visible Text." Diss., Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/381480.

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Philosophy
Ph.D.
My goal in this dissertation is to shed light on a practice in printed literature often overlooked in philosophy of literature. Contemporary works of literature such as Mark Z. Danielewski’s House of Leaves, Jennifer Egan’s A Visit from the Goon Squad, and Irvine Welsh’s Filth each make artistic use of the features specific to printed literature such as font and formatting. I show that, far from being trivial aberrations, artistic use of font and formatting has a strong historical tradition going back to the Bucolic poets of ancient Greece. When these features deviate from traditional methods of inscription and perform some artistic function within the work, they are artistically significant features of the works themselves. The possibility of the artistic significance of these features is predicated on works of printed literature being visually mediated when one reads to oneself. All works of literature are mediated by some sense modality. When a work of printed literature is meant to be read to oneself, it is mediated by the modality of sight. Features specific to this method of mediation such as font and formatting can make artistic contributions to a text as well. Understanding the artistic significance of such features questions where we see literature with respect to other art forms. If these features are artistically significant, we can no longer claim that works of printed and oral literature are both the same performative art form. Instead, philosophy of literature must recognize that works of printed literature belong to a visually mediated, non-performative, multiple instance art form separate from the performative tradition of oral literature.
Temple University--Theses

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Niehoff, Maren. "The figure of Joseph in post-biblical Jewish literature." Thesis, University of Oxford, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.305003.

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Elliott, Elizabeth. "The counsele of philosophy : the Kingis Quair and the medieval reception history of the Consolation of Philosophy in vernacular literature." Thesis, University of Edinburgh, 2006. http://hdl.handle.net/1842/1960.

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This thesis examines the relationship between the fifteenth-century Kingis Quair and the text which it cites as its inspiration, Boethius' Consolation of Philosophy, finding analogues for the poet's response to this authoritative material in vernacular literature. The Quair is perhaps best known for its association with James I of Scotland, and an analysis of the connection between the king and the poem is employed as a means of demonstrating the extent to which his identity shapes the meaning of the work and is, in turn, reformulated within it. The Quair's treatment of the Consolation is a vital part of this transformation , as the poem establishes a parallel between James and Boethius, articulating the sense that his experience repeats that of the auctor. The medieval craft of memory is considered as a precedent for this treatment of literature and personal history as texts which are subject to revision. Analysis of several texts illuminates the tradition of Boethian adaptation which informs the Quair. The popularity of the Consolation made the image of Boethius as an exemplary politician a commonplace of medieval literary culture, and through association with his experience, exile and imprisonment become trials which confer philosophical wisdom upon their subjects. Against this background, the Quair emerges as a sophisticated engagement with the medieval reception history of the Consolation, which reimagines James I as the model of the perfect prince.

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Whitmarsh, Timothy John Guy. "Symboulos : philosophy, power and culture in the literature of Roman Greece." Thesis, University of Cambridge, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.624909.

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Kanke, Jennifer S. "Crash Course in the Philosophy of Passion." Ohio University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1242835565.

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Cassidy, Alison Ross. "T.S. Eliot and Charles Peirce : a study of the influence of Peircean philosophy on the philosophy, poetry and criticism of T.S. Eliot." Thesis, University of Dundee, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319469.

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This is a study of the relationship between the philosophy of Charles Peirce and the philosophy, criticism and poetic methodology of T.S. Eliot. I begin by considering Peirce's connections with Harvard University, and the effects of Peircean philosophy on the ideas and teaching methods of the philosophers who taught Eliot at Harvard between 1907 and 1914. I discuss Peirce's sign-theory of cognition, and consider ho~ this theory may have influenced Eliot's choice of a poetic method - his choice, that is, to write a poetry of 'signification'. I argue that the choice of such a method by Eliot evidences a Peircean conception of reality. I consider the Pragmatism of Peirce, and argue that Eliot' ~ poems consistently present a 'pragmatistic' view of reality, a Vl~ of reality as dependent upon, or identifiable with, actio] ('practice'). Conversely, ~eality in the poetry of Eliot i: frequently represented in terms of a failure of practice, the fail ure to act. Central to Peirce's Pragmatism is the theory that a experience of the world as 'real' requires the sense of continuit in experience. I discuss this theory as it is found in the work 0 Peirce and William James, and argue that in the poems and plays c Eliot reality is consistently represented as directly dependent upc continuity and coherence in experience. Associated with the Pragmatism of William James is the VlE that our 'habits' of perception and behaviour are what literal] determine the identity (and thus the reality) of objects. I discu~ the extent to which 'habits' of various kinds (including Freudic , ceremonials') are represented in Eliot's poems as that In which reality in same sense inheres. I discuss finally Peirce's conception of the crucial function of 'Doubt' in the quest for knowledge specifically in the 'scientific method' of inquiry. I argue that doubt plays a crucial role in Eliot's poetry, and performs an essentially Peircean function in Eliot's quest for reality and truth.

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Harskin, Robin Peter Simon. "Poetics, philosophy and structure in the poetry of Norge." Thesis, University College London (University of London), 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.339216.

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Bodner, Keith David. "Illuminating personality : the dynamics of characterization in Biblical Hebrew Literature." Thesis, University of Aberdeen, 1996. http://digitool.abdn.ac.uk/R?func=search-advanced-go&find_code1=WSN&request1=AAIU081703.

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The plan of this thesis is to outline the various techniques of characterization, and to illustrate how they operate in the biblical literature. Accordingly, the study is divided into two sections. First, after an introduction tracing the rise of the literary approach and a survey of the study of character by biblical scholars, "Part One" delineates an analytic framework for studying the elements of characterization. The framework, which is subdivided into characterization achieved through narration and intimated through direct discourse, is "heuristic". It serves to specify the main techniques, and is designed to explore literary questions of character in the text. These categories are descriptive, providing definitions and clarity to terms such as 'motif' and 'irony' as they relate to the study of character. Second, "Part Two" is composed of a series of chapters entitled "the dynamics of characterization". This section features close readings of six selected biblical texts, with a specific emphasis on character and the accompanying techniques of characterization. This thesis provides an introduction to the study of character in biblical literature, and a "foundational" description of the elements of characterization which can be seen to dynamically operate in the text. There are, then, three main objectives for the thesis as a whole. First, through the analytic framework, to identify and define the main elements used in biblical characterization. Second, by means of the textual examples, to illustrate how these various elements are deployed in the Hebrew corpus to render human personality. And third, to demonstrate the exegetical value in this kind of enterprise; that a focused study of, and attention to the issues relating to character, can yield interpretative dividends and be useful in the overall interpretation of the biblical literature.

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Leubner, Benjamin Jordan. "The Point of View of the Author: Intersections in Philosophy and Literature." Thesis, Montana State University, 2004. http://etd.lib.montana.edu/etd/2004/leubner/LeubnerB04.pdf.

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The question of this thesis is what does it mean to write under the temporal categories, or categories of understanding of, repetition, recurrence and return. Naturally, before the question can be dealt with, these categories must be investigated, as well as set off against the traditional categories which they aim to expand. The method of exposition utilized within the thesis is meant to walk, as it were, hand in hand with its content. The content being largely the \"three R\'s\" mentioned above, the thesis accordingly repeats, recurs and returns to the same ideas and the same metaphors, throughout. The materials incorporated within the thesis include, but are not limited to, the philosophical writings of Soren Kierkegaard, Friedrich Nietzsche, Martin Heidegger, Ludwig Wittgenstein and Jacques Derrida, as well as the literary writings of William Faulkner, James Joyce, Samuel Beckett and Cees Nooteboom. There are no acknowledged borders between literature and philosophy within the thesis; instead I work from the tautological premise that a text is a text. The conclusion of the thesis is, at best, inconclusive. My methods of elucidation may be quite foreign to some readers. Through working as a tutor with Japanese exchange students for several years, I have found that rather than stating and continually restating the thesis throughout the course of the essay, starting away from the goal and from there slowly circling in upon it, in an elucidatory spiral, with the thesis, or center, being reached substantially for the first time only at the end, is more to my liking as a method.

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Burnstone, Daniel. "Styles in argument : philosophy and writing in John Stuart Mill." Thesis, University of Cambridge, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.311306.

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Requate, Angela. "Idealist and pragmatist elements in R.G. Collingwood's philosophy of history." Thesis, London School of Economics and Political Science (University of London), 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.281782.

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Zeng, Hong. "A deconstructive reading of Chinese natural philosophy in poetry." online access from Digital dissertation consortium, 2002. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3070928.

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Feng, Dongning. "Text, politics and society : literature as political philosophy in post-Mao China." Thesis, University of Stirling, 1997. http://hdl.handle.net/1893/2216.

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The purpose of this study is to arrive at a critical overview of politics and literature in the Chinese context. The relationship has increasingly become a "field" of studies and theoretical inquiry that most scholars in either disciplines are wary to tread. This thesis tries to venture into this problematic field by a theoretical examination as well as an empirical critique of Chinese literature and politics, where the relationship seems even more paradoxical, but adds more insight into the argument. The Introduction and Chapter One set up a framework by asking some general but fundamental questions: what literature is, and how it is to be related to politics. Chapter Two examines the historical function of literature and Chinese writers in society to establish the basis of argument in the Chinese context. Chapter Three focuses the discussion on the relationship between politics and literature during the Mao era and after. Chapters Four analyses the literary works published during the post-Mao period to establish the argument that literature, as part of our perception of the world, is most concerned with human society and social amelioration and participates in the socio-political development by contributing to it through a discourse that is otherwise inaccessible. Chapter Five explores the argument further by extending it into the field of cinema, which basically comes from the same narrative tradition of prose literature, but offers a wider and different dimension to the argument pursued. Chapter Six and the Conclusion try to draw together the argument by examining literature as both form and content to argue how and why literature is related to politics and how it has functioned in a political manner in Chinese society. To summarise, Chinese literature in this period will b& shown to be involved In a process of political reform and development by way of bringing the reader to participate in a critical and philosophical dialogue with power, history and future. In the long run, it offers emancipating visions and possibilities revealed to the reader in ways that are historical, developmental, philosophical and comparative. This study focuses on the prose fiction published in this period, for it is the leading force in China's cultural development and constitutes the major trunk of the modern Chinese canon. In addition, the research also extends to drama and films, and the way they, together with prose fiction, make up the most popular perception and intellectual discovery of contemporary Chinese society and politics and best inform the argument of the study of politics and literature.

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Haman, Brian. "Perpetuum mobile? : literature, philosophy, and the journey in German culture around 1800." Thesis, University of Warwick, 2012. http://wrap.warwick.ac.uk/55510/.

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Scholarly interest in travel literature has increased substantially in recent years. However, there has been a lack of sustained, cohesive commentary on the journey motif in German Romantic culture, particularly its origins and manifestations in literature and philosophy. My doctoral research fills this gap through a philosophically- and historically-informed reading of German Romanticism. The thesis examines 1) the paradigmatic template of the literary journey established by Goethe in Wilhelm Meisters Lehrjahre, 2) metaphors of movement and mobility within the Idealist philosophy of Kant and Fichte and their role, 3) the manner in which these metaphors migrate into the theoretical and prose writings of Novalis, 4) Tieck’s notion of the sublime and its relevance for the Romantic journey, and 5) the late Romantic satirization of the journey motif within Eichendorff’s prose. Additionally, the thesis serves to show how philosophical discourse of the Enlightenment had reached something of an impasse in its use of the journey motif, with the subject unable to evolve and renew itself beyond the strictures of particular models of subjective cognition. The Romantics thought literary practice was to supersede philosophy and it was mobility in the form of the journey as both metaphor and process, which helped bring about this transition and created a flexible self-authoring and self- renewing model of the subject. The study also recounts a particular history of Romanticism which charts, via the history of the journey, the movement’s youthful idealism, the fear of the pitfalls of human subjectivity, and its eventual self-distanciation through parody.

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Camps, James. "Interpretation, the subject and the literature of Georges Bataille." Thesis, Cardiff University, 2015. http://orca.cf.ac.uk/74200/.

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This thesis pursues two closely related lines of argument. In the first half, I explore the Bataillean notion of man through his complex relationship with Hegel and Nietzsche. The Janus-like conception that will be dis-covered results from Bataille’s unwillingness to grant priority either to Hegel’s insights concerning the structure of consciousness or to Nietzsche’s claim, contra Hegel, that those putative insights ‘involve a vast and thorough corruption, falsification, superficialization, and generalization’ (The Gay Science) Bataille acknowledges the heuristic value of both thinkers’ work but ultimately refuses to let either become the dominant force within his thought. In the end Bataille’s human being remains caught between the ‘ex-cess’ of Nietzschean Will and the ‘restriction’ of Hegelian consciousness. He sees human existence, much like Freud, as moving with a ‘vacillating rhythm’ (Beyond the Pleasure Principle) between ‘conscious’ and ‘unconscious’ activity. This recognition leads him to conclude that there exists a fundamental ambiguity to human existence – the Impossible – which resists reduction or assimilation to any kind of formal discourse. The second half proceeds to explore this ambiguity in more detail by first teasing out the relationship be-tween the traumatic experiences at the heart of two of Bataille’s novels against the Freudian notion of Trauma (repetition automatism) and its relation to the creation of Identity. This ultimately proves insuffi-cient when it comes to interpreting the actions of Bataille’s fictional characters. However it opens a space within which other methodologies of interpretation, namely those of Lacan, Girard, and Derrida, can be in-vestigated as potential sources of insight into those characters’ psychological structures and motivation. Here they are explored in relation to each other and in order to describe and explain more adequately the ‘impossible’ ambiguity at the heart of Bataille’s novels and conception of the human.

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Winder, Stephanie J. "The ancient quarrel between poetry and philosophy in Callimachus' hymn to Zeus /." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487948807587843.

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Hamm, Richard F. III. "It's all uphill from here| finding the concept of joy in existential philosophy and literature." Thesis, Purdue University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3719195.

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Current readings of existentialism are overly negative. It is not without reason that existentialism has a reputation of pessimism preceding it, to the point that the uninitiated cannot help but picture beatnik poets chain-smoking by the first syllable of the name "Sartre." Existentialism, while a movement over one hundred and fifty years old, is often characterized in the light of the media popularity it was given in the decade following the Second World War--although much of the spirit of what is supposedly existentialism came more as a response to the First. The Great War brought with it devastation across Europe that it instilled a sense of malaise in an entire generation of survivors. In the face of such violence, one of the common responses was to wonder if there could truly be any sense of meaning or purpose to life. This movement, philosophically, was existentialism.

Existentialism as a movement is not a denial of meaning. That is the role of nihilism. Existentialism simply says there is no sense of predetermined meaning, and that, in a particular formation, we are verbs before nouns: "to be" rather than a being thing in any real sense. Of course, there is an obvious pessimistic reading of any text that bases its thought on the foundation that humans are existent before their essence—if there is no predetermined meaning in the world, there certainly is a possibility that there does not have to be meaning in the world at all.

The future of the study of existential philosophy in part depends on its continuing attractiveness to a new generation of scholars. One of the things holding existentialism back is the alienating effect it can have on people—in large part because of its perceived concurrence with negativity. The aforementioned lack of a predetermined essence can cause anxiety, angst or anguish depending on whether you ask Søren Kierkegaard, Martin Heidegger or Jean-Paul Sartre.

Sartre explains anguish as the realization of the possibility of our own negation. If we imagine ourselves on the brink of a cliff or precipice, we can look down into the depth below and realize that, at that moment, there is nothing to prevent us from throwing ourselves over the precipice to our death. Freedom from meaning also implies there is a sense in which we do not have to live by any prescribed rules, or even at all. It can be intimidating.

A positive reading could bring stability to an otherwise dizzying discipline. Existential philosophy and literature both would benefit from a reimaging of certain thinkers' approaches. What is needed is not a new reading to replace the old, but to supplement the accepted framework of understanding with serious alternative possibilities. In this prospectus, I intend to expand the traditional reading of existentialism.

I will offer differing interpretations of familiar texts in an effort to breathe new life into the texts themselves along with the discipline more generally. Existentialism can be freed from its trappings of negativity and pessimism. It is with this goal of liberation in mind that I seek to offer a new interpretation of the existential movement. If existentialism is liberated from negativity, that does not mean that more traditional interpretations are not possible, but rather that these common readings of a complex system of thought cannot define it.

My reading will be an attempt at an existential reading of existentialism. At its heart, this is an existential idea. Labeling, along with the idea that a past interpretation dictates a present or future condition, is inherently essentialist. Existentialism has been, in effect, "playing at" existentialism for too long, to use a Sartrean formulation. There is a sense in which the prevailing interpretations of the prominent texts are so ingrained in the public consciousness that any new scholarship takes them for granted.

My existential reading will try to be consistent and liberating. Because much of existentialism is a philosophy of freedom, it only makes sense that providing alternative readings and interpretations is good. In fact, this may be the only way to prevent essentialism from overtaking existentialism and unfairly making it something it was never intended to be.

After explaining the roots of joy in Camus and Nietzsche, I will seek to find this same idea in other existentialist writers and show how this concept can be used to varying degrees in Sartre and Kierkegaard. Both of these authors, through their texts and styles, allow for the possibility of joy as Camus or Nietzsche do.

Despite these differences, there is an essential similarity amongst these authors that both qualifies them to be considered "existentialist" and preserves the possibility of joy. This similarity is the emphasis all of them place on freedom. The same freedom that characterized the post-war malaise as a freedom-from—freedom from meaning—can also be a freedom-to—freedom to act. That action, moreover, is entirely determined by the self, independent of the constraint of essence. While freedom can be terrifying, it can also be uplifting.

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Takim, Liyakatali Nathani. "The Rijal of the Shii Imams as depicted in Imami biographical literature." Thesis, SOAS, University of London, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.308597.

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Tikhanov, Galin. "Bakhtin and Lukacs : the theory of the novel as social philosophy." Thesis, University of Oxford, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.388956.

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Faure, Isabelle. "Solzhenitsyn's Krasnoe koleso and the philosophy of the Russian spiritual renaissance." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.244304.

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Balasubramanian, Ranganathan. "The Tirukkaḷiṟṟuppaṭiyār : transition from Bhakti to Caiva Cittāntam philosophy." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99574.

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This thesis is a Tamil to English translation of Tirukkaḷirruppaṭiyar (TKP), composed by Uyyavanta Tevanayanar toward the end of the twelfth century C.E. The work contains one hundred quatrains of Tamil poetry composed in veṇpa meter. It is a poetic expansion of Tiruvuntiyar (TU), an earlier composition likely by the author's teacher's teacher. The TKP is a transitional text between the devotional religious bhakti(patti -Tamil) hymns of the nayanmar, who lived between the sixth century and the twelfth, and the Saiva-Siddhanta (Caiva Cittantam-Tamil) Theo-philosophical system, which developed between the thirteenth and the fourteenth centuries. TKP is the second work in the canon of fourteen texts called the Meykaṇṭa Sastra (Meykaṇṭa Cattiraṅkaḷ -Tamil), TU being the first. The introduction in the thesis discusses the date of the author, his position in the lineage of teachers, major themes found in the work such as the importance of a teacher, types of worship, miracles of the Saiva saints and final release from the cycle of births and deaths. TKP's similarities and differences with the TU, and how the TKP provides a foundation for later Saiva Siddhanta thought are addressed. Besides translation, each verse has a gloss and there are several appendices, tables and charts with additional information.

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Burrow, R. W. "Rhetoric and philosophy in Swift's 'A Tale of a Tub'." Thesis, Royal Holloway, University of London, 1986. http://repository.royalholloway.ac.uk/items/09ab9d80-56ce-4141-b952-d7c47d5e6d6b/1/.

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My aim is to show that Swift's rhetorical method in the Tale is determined by his adherence to a tradition of political philosophy which held that there is a radical distinction between the philosopher, or lover of knowledge; and the non-philosopher, or lover of delusion. In this ultimately Platonic view, 'noble lies' are though to be more useful to the generality of mankind than certain truths which weaken the fabric of society. The philosopher must work with illusions rather than attempting to destroy them; in fact, to be of any use to the state, he must vigorously maintain opinions which he secretly believes to be false. If he wishes to speak to his philosophical readers as well, his text must contain a second, concealed level which can be uncovered by readers with enquiring minds, but which is not apparent to the non-philosophical majority. I suggest that the forceful defence of Anglicanism in the Tale is swift's popular level, and is secretly contradicted by an argument addressed to the philosophical reader, in which swift admits that established opinions - among which we can number not only Anglicanism but Christianity itself - are false, but asserts that it would nevertheless be folly to discard them. Form and content are thus perfectly welded, as swift practises exactly what he preaches. The Tale's rhetorical method is shaped by a dual aim: to lead on the enquiring reader to its deepest levels, and to exclude'superficial' readers from all but a defence of healthy illusions. The Tale encourages two types of response because what is beneficial to one type of reader is not so to the other. This study treats equally of form and content because the Tale both utilizes and illustrates the principles which it secretly advocates.

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Workman, Jameson Samuel. "Chaucerian metapoetics and the philosophy of poetry." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:8cf424fd-124c-4cb0-9143-e436c5e3c2da.

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This thesis places Chaucer within the tradition of philosophical poetry that begins in Plato and extends through classical and medieval Latin culture. In this Platonic tradition, poetry is a self-reflexive epistemological practice that interrogates the conditions of art in general. As such, poetry as metapoetics takes itself as its own object of inquiry in order to reinforce and generate its own definitions without regard to extrinsic considerations. It attempts to create a poetic-knowledge proper instead of one that is dependant on other modes for meaning. The particular manner in which this is expressed is according to the idea of the loss of the Golden Age. In the Augustinian context of Chaucer’s poetry, language, in its literal and historical signifying functions is an effect of the noetic fall and a deformation of an earlier symbolism. The Chaucerian poems this thesis considers concern themselves with the solution to a historical literary lament for language’s fall, a solution that suggests that the instability in language can be overcome with reference to what has been lost in language. The chapters are organized to reflect the medieval Neoplatonic ascensus. The first chapter concerns the Pardoner’s Old Man and his relationship to the literary history of Tithonus in which the renewing of youth is ironically promoted in order to perpetually delay eternity and make the current world co-eternal to the coming world. In the Miller’s Tale, more aggressive narrative strategies deploy the machinery of atheism in order to make a god-less universe the sufficient grounds for the transformation of a fallen and contingent world into the only world whatsoever. The Manciple’s Tale’s opposite strategy leaves the world intact in its current state and instead makes divine beings human. Phoebus expatriates to earth and attempts to co-mingle it with heaven in order to unify art and history into a single monistic experience. Finally, the Nun’s Priest’s Tale acts as ars poetica for the entire Chaucerian Performance and undercuts the naturalistic strategies of the first three poems by a long experiment in the philosophical conflict between art and history. By imagining art and history as epistemologically antagonistic it attempts to subdue in a definitive manner poetic strategies that would imagine human history as the necessary knowledge-condition for poetic language.

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Taoka, Yasuko. "Philosophy and erotics in Seneca's Epistulae morales." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1179944055.

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Martel, Marie D. "L'oeuvre comme interaction : anti-textualisme, actionnalisme et ontologie écologique." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85187.

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In this thesis, we defend the view of works-as-interaction by developing three independent arguments: the anti-textualist, the actionalist and the ecological arguments. The anti-textualist argument has two parts. First, the uniform category of text does not cover the diversity of types of literary works, as it is shown by oral works, multiple-texts works, visual literary works and numerical literary works. Second, we reject the idea that the text is sufficient to give the identity conditions of the literary work. The latter argument forces us to include the history of production and, in particular, of the generative actions required for the apprehension and appreciation of the ontology of the literary work. This is the historicist argument. However, before defending an actionalist point of view, various alternatives are considered. Thus, we consider various textualist proposals that claim to be able to accommodate historical aspects of the production of a work. From the weaknesses of these views, we move to other, more historically inclined, positions, in particular Levinson's post-textualist position. However, the latter is based on a theory of types which we find to be incompatible with his historicist inclinations. Moreover, Levison's views do not meet the requirements of an epistemology of performance. Thus, the actional thesis seems to be the only alternative left. Using Davies theory of performance as a springboard, we develop and defend the idea of the work-as-interaction according to which a work consists in a relation between the generative action and the integrative action. We also include an ecological premise. We develop a further criticism of analytic aesthetics and the theory of performance, arguing that the actions composing the environment, the context of reception in which the generative action is integrated, have to be included. Our thesis of work-as-interaction explains, on the side of the generative act, a variety of li

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Holtmeier, Matthew. "ETSU Philosophy Club Lecture Series." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etsu-works/7821.

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Hanscomb, Stuart Roy. "Anxiety's ambiguity : an investigation into the meaning of anxiety in existentialist philosophy and literature." Thesis, Durham University, 1997. http://etheses.dur.ac.uk/4992/.

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The dissertation has two primary aims: 1) To investigate the significance and role of anxiety in the work of existentialist writers; 2) To synthesize a unified account of its meaning within this tradition. There are seven substantial chapters, the first concerning the divergence between clinical anxiety and the existential version using the fear-anxiety distinction as a foil. Existential anxiety is Thai defined in terms of anxiety A (before the world as contingent), anxiety B (before the self as free), and urangst (an unappropriable disquiet caused by the incommensurability of anxieties A and B). Chapter 2 concerns Kierkegaard's The Concept of Anxiety. His emphasis on choice, guilt and ambiguity lay the foundations for existentialism, but the suggestion that anxiety can be overcome in faith distances him from later existentialists. Chapter 3 reads Heidegger as secularizing Kierkegaard's ideas. Here we find the origins of the anxiety A/B structure, but I find that his attempt to define an 'authentic' comportment which embraces these two sources fails. In Chapter 4 Sartre's anxiety before the 'nothingness' of a self responsible for creating values is discussed and found wanting. However, his ideas on bad faith and authenticity seem to be more alive to the ambiguity of existence that anxiety reveals. The relation between anxiety and death is a primary concern of Chapter 5 (on Tillich). I contend that death is important (though not in the way Tillich thinks it is), but that otherwise he underplays urangst and die dynamism required in an authoitic response to anxiety. The complexities of this process are further explored in Chapter 6 with respect to Rorty's version of 'irony'; and in the final chapter where two novels (Conrad's Heart of Darkness and Camus' The Fall) are read as demonstrating the subjective dynamics of authenticity in terms of the anxiety structure that has been developed.

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Morgan-Wynne, John Eifion. "The Holy Spirit and religious experience in Christian literature c.90-200 AD." Thesis, Durham University, 1987. http://etheses.dur.ac.uk/6616/.

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The thesis explores whether religious experience and the Spirit are linked in Christian literature between c90 and 200. Three spheres of religious experience were chosen as illustrations - a sense of being personally encountered/overwhelmed by the divine; of divine illumination/guidance; and of being divinely empowered for ethical conduct. The Introduction reviews previous research: since Weinel. There has not been a comprehensive survey covering both the New Testament and early Patristic evidence, in what is the transition period between the subapostolic church and the emergence of the Catholic Church by the early third century. A brief survey of the evidence before c90 sets the background for the study. Thereafter, the thesis is divided into a further seven parts, surveying the literature on a geographical basis, viz Syria, Asia Minor, Greece, Rome, Southern Gaul, Northern Africa and Egypt. The final part draws together the conclusions of the study. Whether the Spirit was at different moments a part of Christian distinctiveness over against the world, Judaism and internal opponents, whether deemed "heretical" or not, is explored. The evidence for a continuing sense of being overwhelmed by an encounter with the Holy Spirit is patchy, and no uniform type of experience necessarily emerges within any given geographical area. Throughout the period Christians were confronted by the need to test claims to inspiration by the Spirit. None of the various tests proposed really centred on the actual experience itself but all were external ones. Claims to possess the truth took various forms, and again there was no necesary uniformity with any given area. Generally, the ethical demand and the Spirit's help was less held together than was characteristic of Paul. Some writers may mention both aspects but these were not expressed in an integrated way; others came close to moralism. The variegated picture which emerges probably faithfully reflects second century Christianity.

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Vesselova, Natalia. "“The Past is Perfect”: Leonard Cohen’s Philosophy of Time." Thèse, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/31065.

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ABSTRACT This dissertation, “The Past is Perfect”: Leonard Cohen’s Philosophy of Time, analyzes the concept of time and aspects of temporality in Leonard Cohen’s poetry and prose, both published and unpublished. Through imagination and memory, Cohen continuously explores his past as a man, a member of a family, and a representative of a culture. The complex interconnection of individual and collective pasts constitutes the core of Cohen’s philosophy informed by his Jewish heritage, while its artistic expression is indebted to the literary past. The poet/novelist/songwriter was famously designated as “the father of melancholy”; it is his focus on the past that makes his works appear pessimistic. Cohen pays less attention to the other two temporal aspects, present and future, which are seen in a generally negative light until his most recent publication. The study suggests that although Cohen’s attitude to the past has not changed radically from Let Us Compare Mythologies (1956) to Book of Longing (2006), his views have changed from bitterness prompted by time’s destructive force to acceptance of its work and the assertion of the power of poetry/art to withstand it; there is neither discontent with the present nor prediction of a catastrophic future. Time remains a metaphysical category and subject to mythologizing, temporal linearity often being disregarded. Although Cohen’s spiritual search has extended throughout his life, his essential outlook on time and the past is already expressed in the early books; his latest publications combine new pieces and selections from previous books of poetry and prose works, confirming the continuity of ideas and general consistency of his vision.

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Renton, Robert Dougal. "The relationship between philosophy and form in the work of Robert Browning." Thesis, King's College London (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.300286.

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Dissertations / Theses on the topic 'Philosophy in literature'

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