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Fictions of Fact and Value looks at logical positivism's major influence on the development of postwar American fiction, charting a literary and philosophical genealogy that has been absent from criticism on the American novel since 1945.
Fictions of Fact and Value argues that the philosophy of logical positivism, considered the antithesis of literary postmodernism, exerts a determining influence on the development of American fiction in the three decades following 1945, in what amounts to a constitutive encounter between literature and philosophy at mid-century: after the end of modernism, as it was traditionally conceived, but prior to the rise of postmodernism, as it came to be known. Two particular postwar literary preoccupations derive from logical positivist philosophy: the fact/value problem and the correlative distinction between sense and nonsense. Even as postwar writers responded to logical positivism as a threat to the imagination, their works often manifest its influence, specifically with regard to "emotive" or "meaningless" terms. Far from a straightforward history of ideas, Fictions of Fact and Value charts a genealogy that is often erased in the very texts where it registers and disowned by the very authors that it includes. LeMahieu complicates a predominant narrative of intellectual history in which a liberating postmodernism triumphs over a reactionary positivism by historicizing the literary response to positivism in works by John Barth, Saul Bellow, Don DeLillo, Iris Murdoch, Flannery O'Connor, Thomas Pynchon, and Ludwig Wittgenstein. As LeMahieu compelling demonstrates, the centrality of the fact/value problem to both positivism and postmodernism demands a rethinking of postwar literary history. A trenchantly argued study that unearths an important part of postwar literary history, Fictions of Fact and Value will interest anyone concerned with postmodernism, modernist studies, analytic philosophy, or the history of ideas.
Only Imagine offers a new theory of fictional content. Kathleen Stock argues for a controversial view known as 'extreme intentionalism'; the idea that the content of a particular work of fiction is equivalent to exactly what the author of the work intended the reader to imagine.
Politics and media are constantly dealing with the shifting definitions of facts, truth, reality, and fiction. Yet this is something the field of documentary art has been addressing for much longer. The contributions in this volume are from and about artists who explore the boundaries between fact and fiction by playing with the notion of the ?documentary?. The book draws from a wide range of documentary art practices, such as working with archival materials or scrutinising one?s own subjective stance as an artist. It observes how artists deploy the fine line between fact and fiction as a means to imagine versions of the future, and how it can still have an impact in the world of today.
Winner of the 2003 Trillium Book Award "Stories are wondrous things," award-winning author and scholar Thomas King declares in his 2003 CBC Massey Lectures. "And they are dangerous." Beginning with a traditional Native oral story, King weaves his way through literature and history, religion and politics, popular culture and social protest, gracefully elucidating North America's relationship with its Native peoples. Native culture has deep ties to storytelling, and yet no other North American culture has been the subject of more erroneous stories. The Indian of fact, as King says, bears little resemblance to the literary Indian, the dying Indian, the construct so powerfully and often destructively projected by White North America. With keen perception and wit, King illustrates that stories are the key to, and only hope for, human understanding. He compels us to listen well.
Here, in a new edition, is Nelson Goodman’s provocative philosophical classic—a book that, according to Science, “raised a storm of controversy” when it was first published in 1954, and one that remains on the front lines of philosophical debate. How is it that we feel confident in generalizing from experience in some ways but not in others? How are generalizations that are warranted to be distinguished from those that are not? Goodman shows that these questions resist formal solution and his demonstration has been taken by nativists like Chomsky and Fodor as proof that neither scientific induction nor ordinary learning can proceed without an a priori, or innate, ordering of hypotheses. In his new foreword to this edition, Hilary Putnam forcefully rejects these nativist claims. The controversy surrounding these unsolved problems is as relevant to the psychology of cognitive development as it is to the philosophy of science. No serious student of either discipline can afford to misunderstand Goodman’s classic argument.
The Value of Literature provides an original and compelling argument for the historical and contemporary significance of literature to humanity.
"Nowadays, most readers take the intersection between fiction and fact for granted. We've developed a faculty for pretending that even the most bizarre literary inventions are, for the nonce, real. . . . The value of Davis's book is that it explores the h
"Nowadays, most readers take the intersection between fiction and fact for granted. We've developed a faculty for pretending that even the most bizarre literary inventions are, for the nonce, real. . . . The value of Davis's book is that it explores the h
Richard Gaskin offers an original defence of literary humanism, according to which works of imaginative literature have an objective meaning which is fixed at the time of production and not subject to individual readers' responses. He shows that the appreciation of literature is a cognitive activity fully on a par with scientific investigation.