Advertisement

Philosophia

, Volume 45, Issue 1, pp 163–183 | Cite as

What Instances of Novels Are

  • Alexey AliyevEmail author
Article
  • 255 Downloads

Abstract

The consensus is that novels can be fully appreciated only through an experiential engagement with their well-formed instances. But what are the entities that serve as such instances? According to the orthodox view, these entities are primarily inscriptions—concrete texts written or printed on something or displayed on the screen of some electronic device. In this paper, I argue that this view is misguided, since (a) well-formed instances of a novel must manifest certain sonic properties, but (b) such properties cannot be manifested by inscriptions. As an alternative, I put forward the view that the entities that serve as well-formed instances of novels are readings and sums of readings and graphic elements.

Keywords

Instances of novels Philosophy of literature Ontology of literature Metaphysics of art 

Notes

Acknowledgments

I am grateful to Jerrold Levinson, Andrew Kania, Lee Walters, David Davies, James Hamilton, Wesley Cray, and two anonymous referees for this journal for the very helpful comments, which have led to a number of substantial improvements in this paper.

References

  1. Aristotle (2010). Rhetoric. New York: Cosimo Inc..Google Scholar
  2. Carroll, N. (1998). A philosophy of mass art. Oxford: Oxford University Press.Google Scholar
  3. Currie, G. (1989). An ontology of art. New York: St. Martin’s Press.CrossRefGoogle Scholar
  4. Danto, A. (1981). The transfiguration of the commonplace. Cambridge, MA: Harvard University Press.Google Scholar
  5. Davies, S. (2003). Ontology of art. In J. Levinson (Ed.), The Oxford handbook of aesthetics (pp. 155–180). Oxford: Oxford University Press.Google Scholar
  6. Davies, D. (2010). Multiple instances and multiple “instances”. British Journal of Aesthetics, 50(4), 411–426.CrossRefGoogle Scholar
  7. Dickens, C. (1902). A tale of two cities. London: James Nisbet & Co..Google Scholar
  8. Dodd, J. (2000). Musical works as eternal types. British Journal of Aesthetics, 40(4), 424–440.CrossRefGoogle Scholar
  9. Eble, K. E. (1985). The Great Gatsby and the great American novel. In M. J. Bruccoli (Ed.), New essays on The Great Gatsby (pp. 79--100). Cambridge: Cambridge University Press.Google Scholar
  10. Eby, C. P. (2013). Literary movements. In D. A. Moddelmog & S. del Gizzo (Eds.), Ernest Hemingway in context (pp. 173–182). New York: Cambridge University Press.Google Scholar
  11. Fisher, J. A. (1995). Is there a problem of indiscernible counterparts? The Journal of Philosophy, 92(9), 467–484.CrossRefGoogle Scholar
  12. Goodman, N. (1968). Languages of art. Indianapolis/Cambridge: Hackett Publishing Company.Google Scholar
  13. Goodman, N., & Elgin, C. (1987). Reconceptions in philosophy and other arts and sciences. Indianapolis/Cambridge: Hackett Publishing Company.Google Scholar
  14. Hicks, J. (2009). “Fire, fire, fire flowing like a river, river, river”: A history and postmodernism in Truman Capote’s Handcarved Coffins. In H. Bloom (Ed.), Truman Capote (pp. 87–97). New York: Infobase Publishing.Google Scholar
  15. Howell, R. (2002). Ontology and the nature of the literary work. The Journal of Aesthetics and Art Criticism, 60(1), 67–79.CrossRefGoogle Scholar
  16. King, S. (2000). On writing. New York: Scribner.Google Scholar
  17. Kivy, P. (2006). The performance of reading: An essay in the philosophy of literature. Oxford: Blackwell Publishing.CrossRefGoogle Scholar
  18. Kowalewski, M. (1993). Deadly musings: Violence and verbal form in American fiction. Princeton: Princeton University Press.CrossRefGoogle Scholar
  19. Lamarque, P. (2009). The philosophy of literature. Oxford: Blackwell Publishing.Google Scholar
  20. Levinson, J. (1980). What a musical work is. Journal of Philosophy, 77(1), 5–28.CrossRefGoogle Scholar
  21. Levinson, J. (2011). Autographic and allographic art revisited. In J. Levinson (Ed.), Music, art, and metaphysics (pp. 89–107). New York: Oxford University Press.Google Scholar
  22. Llosa, M. V. (1987). The perpetual orgy: Flaubert and Madame Bovary. New York: Farrar, Straus and Giroux.Google Scholar
  23. Mag Uidhir, C. (2013). Art and art-attempts. Oxford: Oxford University Press.CrossRefGoogle Scholar
  24. Margolis, J. (1977). The ontological peculiarity of works of art. The Journal of Aesthetics and Art Criticism, 36(1), 45–50.CrossRefGoogle Scholar
  25. Meskin, A., & Robson, J. (2010). Videogames and the moving image. Revue Internationale de Philosophie, 64(254), 547–564.Google Scholar
  26. Nannicelli, T. (2013). A philosophy of the screenplay. New York: Routledge.Google Scholar
  27. Rohrbaugh, G. (2003). Artworks as historical individuals. European Journal of Philosophy, 11(2), 177–205.CrossRefGoogle Scholar
  28. Rowling, J. K. (2004). Harry Potter and the philosopher’s stone. London: Bloomsbury Publishing.Google Scholar
  29. Stevenson, R. L. (2011). The art of writing. Los Angeles, CA: Indo-European Publishing.Google Scholar
  30. Swinnerton, F. (1915). R. L. Stevenson. New York: Mitchell Kennerley.Google Scholar
  31. Urmson, J. O. (2004). Literature. In E. John & D. Lopes (Eds.), Philosophy of literature: Contemporary and classic studies (pp. 88–92). Oxford: Blackwell Publishing.Google Scholar
  32. Walters, L. (2013). Repeatable artworks as created types. British Journal of Aesthetics, 53(4), 461–477.CrossRefGoogle Scholar
  33. Wollheim, R. (1968). Art and its objects. New York: Harper & Row.Google Scholar

Copyright information

© Springer Science+Business Media Dordrecht 2016

Authors and Affiliations

  1. 1.University of MarylandCollege ParkUSA

Personalised recommendations