Fletcher seems to be more at home with images than with ideas (p. 165)-or, as he puts it in a
chapter heading, with “allegorical secrecy, gnomic obscurity”(p. 93). Normally, the reader of …

Taking as its starting point what is sometimes called'the prison house of language'-the
widespread feeling that language falls terribly short when it comes to articulating the rich …

There is a strong motivation towards reconciliation and assumption offundamental identity
between things in Burton Raffel's book, whose form is that of lectures given as Chair of …

If—as some of the essays in this collection argue—literature both encourages and refines
practices of mindreading that are fundamentally continuous with everyday mental activity …

Angus Fletcher has long been regarded as one of our great theoretical innovators. The
origins of what Harold Bloom called" transumptive criticism" can be traced to his 1964 …

Approaching the study of literature as a unique form of the philosophy of language and mind—
as a study of how we produce nonsense and imagine it as sense—this is a book about our …

Despite what some theorists wish to say, every book has its beginnings, in Edward Said's
sense. The present collection of conjectures began in 1989, when, as a visiting professor, I …

This paper is inspired by the manuscript of Philip Kitcher's forthcoming book Deaths in
Venice: The Cases of Gustav von Aschenbach, in which he offers a brilliant, philosophically …

Do we find things interesting because of their resemblance to other things, or because they
are individual, uniquely themselves, really unlike anything else? The banal answer is, no …

We usually consider literary thinking to be peripheral and dispensable, an activity for
specialists: poets, prophets, lunatics, and babysitters. Certainly we do not think it is the basis …