This book discusses Gadamer's theory of context-dependence. Analytical and partly critical, the book also shows exegetical accuracy in the rendering of Gadamer's position. It explores the following questions that Gadamer's theory of context-dependence tries to answer: in what way is thought influenced by and thus dependent on its historical context? To what extent and in what way is the individual able to become reflectively aware of and emancipate himself from this dependence? The book takes Gadamer's wide interests into account, e.g. issues relating to the history of historiography and the nature of art and aesthetic experience. The problem of the context-dependence of thought is prominent in contemporary philosophy, including the fields of structuralism, post structuralism, deconstruction, certain forms of feminist philosophy and the philosophy of science. In this sense, the book discusses an issue with wide repercussions.
This book discusses Gadamer's theory of context-dependence. Analytical and partly critical, the book also shows exegetical accuracy in the rendering of Gadamer's position. It explores the following questions that Gadamer's theory of context-dependence tries to answer: in what way is thought influenced by and thus dependent on its historical context? To what extent and in what way is the individual able to become reflectively aware of and emancipate himself from this dependence? The book takes Gadamer's wide interests into account, e.g. issues relating to the history of historiography and the nature of art and aesthetic experience. The problem of the context-dependence of thought is prominent in contemporary philosophy, including the fields of structuralism, post structuralism, deconstruction, certain forms of feminist philosophy and the philosophy of science. In this sense, the book discusses an issue with wide repercussions.
Anders Pettersson presents a comprehensive account of the foundations of literature, grounded in an original analysis of the interactions between author and reader. Drawing on post-Gricean pragmatics and Nicholas Wolterstorff's notion of presentationality, Pettersson develops the idea of the verbal text and conveys an integrated and nuanced understanding of literary experience, its conditions, and the values it affords. In the second part of Verbal Art he systematically examines the cognitive, affective, and formal aspects of the literary work and explores their interrelations.Pettersson demonstrates the implications and applications of the theory through a series of detailed studies of literary works, taking care to show that his theory is compatible with a broad variety of perspectives. Combining an intimate knowledge of modern literary theory and the aesthetics of literature with innovative applications of linguistics and cognitive psychology to the literary work, he provides a thorough treatment of fundamental problems in the area, including the concept of a text or work, the concept of form, and the distinctiveness of the literary use of language.
In his account of text and textual meaning, Pettersson demonstrates that a text as commonly conceived is not only a verbal structure but also a physical entity, two kinds of phenomena which do not in fact add up to a unitary object. He describes this current notion of text as convenient enough for many practical purposes, but inadequate in discussions of a theoretically more demanding nature. Having clearly demonstrated its intellectual drawbacks, he develops an alternative, boldly revisionary way of thinking about text and textual meaning. His careful argument is in challenging dialogue with assumptions about language-in-use to be found in a wide range of present-day literary theory, linguistics, philosophical aesthetics, and philosophy of language.
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.