During the 1990—1991 academic year, he was the Garfield Weston Visiting Professor at the University of Ulster at Coleraine where he collaborated with the Language Development and Hypermedia Research Group. My aim is to show that literary works should be considered utterances in a conversational approach which aims at examining the illocutionary actions conveyed through the work. The British taste for biography has no real equivalent here in France, for example. Madison: The University of Wisconsin Press, 149-74. In Realism and Representation, ed. London: British Film Institute Press, 102-111.
In Oxford Handbook of Aesthetics. The dangers of treating literary meaning as a homogeneous phenomenon are then illustrated by considering the standpoints of two theorists: Jonathan Culler, who describes literary meaning as indeterminate, and Robert Stecker, who portrays it as determinate. University Park: Pennsylvania State University Press, 257-85. In Text a dílo: p? Oxford: Oxford University Press, 275-290. Stepping back from the details of this minor difference of nuance, it seems clear that Empson and Richards were indeed part of a single and a relatively unified tradition. All this may sound parenthetical, but one emerges from these accounts with a sharp grasp of the atmosphere and enthusiasm of Cambridge in the 20s.
Stanford French Review, 7: 207-20. Pettersson The Literary Work as Pragmatist Experience; E. Rather, there is in fact a group of people who, for various reasons, have lost interest in defining literature in any technical way. Will Corrall and Daphne Patai. This seems a minor thing to quibble about when compared to the absolutely fascinating pages linking Empson's interest in Buddhism to the fundamental spirit and principles of his Seven Types of Ambiguity 317ff.
In the second part of Verbal Art he systematically examines the cognitive, affective, and formal aspects of the literary work and explores their interrelations. In The Cambridge Encyclopedia of Language Science. The Journal of Aesthetics and Art Criticism, 69:2: 217-220. Garry Hagberg and Walter Jost. Hans-Olof Boström, Stockholm: Carlssons, 2000, 199-219. Revista Portuguesa de Filosofia, 69: 3-4, 419-430.
His current research activities include the phenomenon of metaphor and figurative speech and the theories that have been put forward to explain this phenomenon, as well as a project on the Origin of Academic Literary Criticism. Cambridge: Cambridge University Press, 172-3, 173, 223-5, 228, 182-3. How many of our students today are writing plays and poems, joining salons or debating societies, listening in their spare time to private lectures given by Virginia Woolf or Bertrand Russell or their current day equivalents, if such do indeed exist? Adopting an analytic approach, the articles attempt to clarify how these concepts govern our thinking about the phenomenon of literature in various ways, exploring the issues which arise when these concepts are employed as theoretical instruments for describing and analyzing the phenomenon of literature. Other prominent theorists define narrative by the impact that an utterance or text has on an audience: narratives are said to induce an emotional or intellectual arc of some kind. Detroit: Wayne State University Press, 73-95. Professor Olsen attacks many of the orthodoxies of modern literary theory, in particular the enterprise to build a comprehensive systematic literary theory.
In Emotion and the Arts. This handsome first volume of the definitive biography of William Empson comes complete with an efficient system of abbreviations, a detailed and intelligent chronology, and a useful table of illustrations though one hopes there will be a greater number of pictures in Volume Two. Art and Intention: A Philosophical Study. In From Text to Literature: New Analytic and Pragmatic Approaches. Torsten Pettersson provides the pluralism that will make many a reader happy.
That is, perhaps, the essence of Empson, and it may also be an apt comment on this biography itself, since it manages to combine in a magisterial way seemingly incompatible interests. To be fair, Livingston spends much time intelligently working out all of the concepts implied in this statement such as that of intrinsic value. Mette Hjort and Scott MacKenzie. . In A Companion to Epistemology. A warning though: Don't read these passages before going to your own classes — they may prove depressing.
The British Journal of Aesthetics, 39: 14-23. Before this, he was Chair Professor of Philosophy and Head of the Department of Philosophy, Lingnan University, Hong Kong. In this way readers establish and evaluate comparisons between literature and extra-textual reality, and the focusing, comparing, and evaluating, taken together, make up what I refer to as application. But then they should go on to say that such theorists were thus not interested in defining literature. One of the odd features of the collection is thus that there seems to be quite a difference between the positions of the two editors, Olsen being convinced of the possibility of formulating a useful definition of literature, and Anders Pettersson concluding that such a definition would be of no use to theory. Journal of Aesthetics and Art Criticism, 61: 233-245.
Stanford French Review, 15: 207-33. Noël Carroll and John Gibson. The Search for a New Alphabet: Literary Studies in a Changing World. His own work is informed by a consistent perspective: the assumption that literature is a social institution governed by conventions, and that answers to problems of interpretation and appreciation can be found only through an analysis of these conventions. In Encyclopedia of Literature and Science. One doesn't see volumes narrating the lives and loves of similar French figures, except perhaps for those such as Foucault and Derrida who have been taken up by the international star system.