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Many of today's most prominent critics and teachers of literature insist on the endless deferral of textual meaning and on the social construction of meaning and thought. Against these markers of current critical theory, James L. Battersby argues for the authorial construction of determinate textual meaning, insisting that to think about anything at all we must be able to refer to it, and that such references are, necessarily, the semantic consequences of an author's deliberate, intentional acts. Propelling Battersby's argument is his use of principles and arguments drawn from current philosophical literature on language and mind. Battersby reveals the philosophical shortcomings and argumentative weaknesses of some of the most prominent and influential doctrines in critical theory today—especially, and principally, those that inform and define postmodernism in both its linguistic and historicist/materialist modes. As he argues for a fresh conception of our understanding of language, mind, and meaning, Battersby probes the critical positions of, among others, Stanley Fish, Mikhail Bakhtin, Paul de Man, and Jacques Derrida. Making room for an alternative and, Battersby asserts, more intellectually appealing framework requires a skeptical dissection of the linguistic and historicist tenets that form the foundation of poststructuralism. The striking outcome of his effort is a book as lively, erudite, theoretically informed—and provocative—as his earlier Paradigms Regained.
George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Why I Write, the first in the Orwell’s Essays series, Orwell describes his journey to becoming a writer, and his movement from writing poems to short stories to the essays, fiction and non-fiction we remember him for. He also discusses what he sees as the ‘four great motives for writing’ – ‘sheer egoism’, ‘aesthetic enthusiasm’, ‘historical impulse’ and ‘political purpose’ – and considers the importance of keeping these in balance. Why I Write is a unique opportunity to look into Orwell’s mind, and it grants the reader an entirely different vantage point from which to consider the rest of the great writer’s oeuvre. 'A writer who can – and must – be rediscovered with every age.' — Irish Times
Piers Plowman and the Books of Nature explores the relationship of divine creativity, poetry, and ethics in William Langland's fourteenth-century dream vision. These concerns converge in the poem's rich vocabulary of kynde, the familiar Middle English word for nature, broadly construed. But in a remarkable coinage, Langland also uses kynde to name nature's creator, who appears as a character in Piers Plowman. The stakes of this representation could not be greater: by depicting God as Kynde, that is, under the guise of creation itself, Langland explores the capacity of nature and of language to bear the plenitude of the divine. In doing so, he advances a daring claim for the spiritual value of literary art, including his own searching form of theological poetry. This claim challenges recent critical attention to the poem's discourses of disability and failure and reveals the poem's place in a long and diverse tradition of medieval humanism that originates in the twelfth century and, indeed, points forward to celebrations of nature and natural capacity in later periods. By contextualizing Langland's poetics of kynde within contemporary literary, philosophical, legal, and theological discourses, Rebecca Davis offers a new literary history for Piers Plowman that opens up many of the poem's most perplexing interpretative problems.
This book explores the new performativity in art theory and practice, examining ways of rethinking interpretive processes in visual culture. Since the 1960s, visual art practices - from body art to minimalism - have taken contemporary art outside the museum and gallery; by embracing theatricality and performance and exploding the boundaries set by traditional art criticism. The contributors argue that interpretation needs to be recognised as much more dynamic and contingent. Offering its own performance script, and embracing both canonical fine artists such as Manet, De Kooning and Jasper Johns, and performance artists such as Vito Acconci and Gunter Brus, this book offers radical re-readings of art works and points confidently towards new models for understanding art.
In this compelling and timely treatise, cultural theorist and educator Peter Trifonas puts forth the first book-length study of Jacques Derrida's 'educational texts: ' that is, those writings most explicitly concerned with the ethics and politics of the historico-philosophical structures constituting the scene of teaching. The text examines how deconstruction allows us to re-think the socio-historical and ethico-philosophical aspects of pedagogical practices and policies, including pedagogical theories that have had direct bearing on the ethical and cultural ideals forming the reason of Western educational systems and the exclusion of its 'Others.
Knowing the Natural Law traces the thought of Aquinas from an understanding of human nature to a knowledge of the human good, from there to an account of ought-statements, and finally to choice, which issues in human actions. The much discussed article on the precepts of the natural law (I-II, 94, 2) provides the framework for a natural law rooted in human nature and in speculative knowledge. Practical knowledge is itself threefold: potentially practical knowledge, virtually practical knowledge, and fully practical knowledge.
An anthology of 13 original essays clustering around two notions: that scientific experience is laden with an emotive content of the beautiful that is manifest both in the conceptualization and presentation of specific data and in the broader theoretical formulations that bind details into unitary wholes; and that science and aesthetics may share a deep philosophical foundation, but if so it has become increasingly difficult to discern in the 20th century. The topics include the aesthetic construction of Darwin's theory, form and function in the molecularization of biology, Kant's aesthetic-expressive vision of mathematics, and the art of displaying science in museum exhibitions. No subject index. Annotation copyright by Book News, Inc., Portland, OR
Kant's Critique of Judgment seems not to be an obviously unified work. Unlike other attempts to comprehend it as a unity, which treat it as serving either practical or theoretical interests, Kristi Sweet's book posits it as examining a genuinely independent sphere of human life. In her in-depth account of Kant's Critical philosophical system, Sweet argues that the Critique addresses the question: for what may I hope? The answer is given in Kant's account of 'territory,' a region of experience that both underlies and mediates between freedom and nature. Territory forms the context in which purposiveness without a purpose, the Ideal of Beauty, the sensus communis, genius and aesthetic ideas, and Kant's conception of life and proof of God are best interpreted. Encounters in this sphere are shown to refer us to a larger, more cosmic sense of a whole to which both freedom and nature belong.
This collection demonstrates the range of approaches that some of the leading scholars of our day take to basic questions at the intersection of the natural and human worlds. The essays focus on three interlocking categories: Reason stakes a bigger territory than the enclosed yard of universal rules. Nature expands over a far larger region than an eternal category of the natural. And history refuses to be confined to claims of an unencumbered truth of how things happened.
The book in overview is historical and instructional in content, with the focus being on the Biblical text in terms of its original form and language and in consideration of its full and proper context linguistically, textually, historically, culturally, and literarily. It stresses the importance of moving from a knowledge of the Bible to an understanding of its life-giving instructions, being studied in its entirety as a gift to mankind from a loving creator, Elohim. The thrust of the book is accordingly threefold: An indictment of two of mans religious systems (Judaism and Christianity) for syncretism, corruption of Elohims written Word of truth, and abuses of religious authority, plus promulgation of religious traditions not aligned with the whole truth of Elohims Word. A call to return to the one source of truththe written Word of Elohim understood in its originally written form and in its full and proper context. Providing the equipping and study tools necessary to move from a mere knowledge of the Word to an understanding of its life-giving instructionshow to live a redeemed life as Elohim intended for all mankind.