The main purpose of this book is to analyse the philosophical ideas employed by Jean-Paul Sartre in his philosophical fiction titled Nausea (1938). Sartre tries to convey some of his philosophical concerns through this novel. Although the philosophical ideas are conveyed in the novel these are not as vivid as could be in a philosophical texts (The Transcendence of the Ego 1936, Being and Nothingness 1943). The significance of this work, however, lies not on understanding the philosophical concerns in isolation, but in employing the same in the form of a literary work and certain literary technique in pseudonymous plays or names. Sartre engages with pseudonymous play of protagonist and many other characters in his semi-autobiographical novel Nausea as he also says by himself in his later publication of autobiographical work The Words (1946) and first undated sheets of the novel Nausea where he laments his constant confrontation with difficult situations of lived experience.

A collection of essays, grounded in state-of-the-art research that explores contemporary debates at the interface between literature and philosophy. It brings together diverse schools of thought and provides both a useful overview and an examination of one of the most fascinating cross-disciplinary encounters in the humanities today.

What does it mean to consider philosophy as a species of not just literature but world literature? The authors in this collection explore philosophy through the lens of the "worlding" of literature--that is, how philosophy is connected and reconnected through global literary networks that cross borders, mix stories, and speak in translation and dialect. Historically, much of the world's most influential philosophy, from Plato's dialogues and Augustine's confessions to Nietzsche's aphorisms and Sartre's plays, was a form of literature--as well as, by extension, a form of world literature. Philosophy as World Literature offers a variety of accounts of how the worlding of literature problematizes the national categorizing of philosophy and brings new meanings and challenges to the discussion of intersections between philosophy and literature.

The Oxford Handbook of Philosophy and Literature contains twenty-three newly commissioned essays by major philosophers and literary scholars that investigate literature as a form of attention to human life. Various forms of attention are considered under the headings of Genres (from Ancient Epic to the Novel and Contemporary Experimental Writing), Periods (from Realism and Romanticism to Postcolonialism), Devices and Powers (Imagination, Plot, Character, Style, and Emotion), and Contexts and Uses (in relation to inquiry, morality, and politics). In each case, the effort is to track and evaluate how specific modes and works of imaginative literature answer to important needs of human subjects for orientation, the articulation of interest in life, and the working through of emotion, within situations that are both sociohistorical and human. Hence these essays show how and why literature matters in manifold ways in and for human cultural life, and they show how philosophers and imaginative literary writers have continually both engaged with and criticized each other.

Struck by the contrast between the prestige of their literary tradition and their apparent philosophical insignificance, modern writers from Spain have devoted themselves to exploring the relation between literature and philosophy. This Side of Philosophy focuses on four major authors—Miguel de Unamuno, José Ortega y Gasset, Antonio Machado, and María Zambrano—who engage literary resources in order to reach beyond philosophy to the essential sources of life. Connecting their work to that of other European thinkers dedicated to illuminating the fertile interaction of literature and philosophy—especially Plato, Schlegel, Heidegger, and Derrida—Stephen Gingerich makes a case for the relevance of Spanish thought to contemporary efforts to expand the ethical and theoretical powers of thinking through literature. At the same time, Gingerich challenges the conventional view that contemporary Spanish thought fuses or reconciles literature and philosophy, instead discerning a call to appreciate their difference in relation. For these writers, literature and philosophy are repulsed by each other as inexorably as they are drawn together.

New work on women thinkers often makes the point that philosophical conceptual thought is where we find it, examples such as Simone de Beauvoir and the nineteenth century Black American writer Anna Julia Cooper assure us that there is ample room for the development of philosophy in literary works but as yet there has been no single unifying attempt to trace such projects among a variety of women novelists. This book articulates philosophical concerns in the work of five well known twentieth century women writers, including writers of color. Duran traces the development of philosophical themes - ontological, ethical and feminist - in the writings of Margaret Drabble, Virginia Woolf, Simone de Beauvoir, Toni Cade Bambara and Elena Poniatowska presenting both a general overview of the author's work with an emphasis on traditional philosophical questions and a detailed feminist reading of the work.

This volume offers original essays exploring what ‘fictive narrative philosophy’ might mean in the research and teaching of philosophy. The first part of the book presents theoretical essays that examine Boylan’s recent books: Teaching Ethics with Three Philosophical Novels and Fictive Narrative Philosophy: How Literature can Act as Philosophy. The second and third part offer essays on how Boylan executes his theory in the practice within his novels from his two series De Anima and Archē. The book clearly shows the unique aspects of the fictive narrative philosophy approach. First, it makes story-telling accessible to wide audiences. Second, story-telling techniques invoke devices that can set out complicated existential problems to the reader that offer an additional approach to thorny problems through the presentation of lived experience. Third, the discussion of these devices is a way to explore philosophical problems in a way that many can profit from. The book concludes with an essay in which Boylan responds to the critical challenges set out in Part One and the practical criticism set out in Parts Two and Three. Boylan addresses the key claims made by his objectors and defends his position. He engages with the authors in the way his theory is matched against his actual novels. This is useful reading for both philosophers and professors of literature teaching introductory as well as upper-level courses in the fields of philosophy, literature and criticism.

This comprehensive Handbook presents the major perspectives within philosophy and literary studies on the relations, overlaps and tensions between philosophy and literature. Drawing on recent work in philosophy and literature, literary theory, philosophical aesthetics, literature as philosophy and philosophy as literature, its twenty-nine chapters plus substantial Introduction and Afterword examine the ways in which philosophy and literature depend on each other and interact, while also contrasting with each other in that they necessarily exclude or incorporate each other. This book establishes an enduring framework for structuring the broad themes defining the relations between philosophy and literature and organising the main topics in the field. Key Features • Structured in five parts addressing philosophy as literature, philosophy of literature, philosophical aesthetics, literary criticism and theory, and main areas of work within philosophy and literature • An Introduction setting out the main concerns of the field through discussion of the major themes along with the individual topics • An Afterword looking at the interactions between philosophy and literature through itself enacting philosophical and literary writing while examining the question of how they can be brought together The Palgrave Handbook of Philosophy and Literature is an essential resource for scholars, researchers and advanced students in philosophy of literature, philosophy as literature, literary theory, literature as philosophy, and the philosophical aesthetics of literature. It is an ideal volume for researchers, advanced students and scholars in philosophy, literary studies, philosophy and literature, cultural studies, classical studies and other related fields.

The volume unites the three aspects - poetry, philosophy, and science - found in Lucretius' De Rerum Natura. With ten original essays and an analytical introduction, the volume aims not only to combine different approaches within single covers, but to offer responses to the poem by experts from all three scholarly backgrounds.

This book examines the conceptual, existential, and logical conditions under which the philosophical novel can be treated as a literary genre on a par with generally recognized literary genres, such as mystery, romantic, adventure, religious, or historical novel. Michael H. Mitias argues that the philosophical novel meets these conditions. He advances a detailed analysis of the concept of literary genre, and discusses the reasons which justify the claim that philosophical novel is a distinct literary genre. This is based on the assumption that philosophical ideas can be communicated metaphorically. An analysis of this assumption necessarily leads to a detailed discussion of the concept of metaphor and the extent to which it can be the vehicle of communicating philosophical truth.