Publisher Description

An engaging introduction to contemporary debates in literary theory In the late twentieth century, the common sense approach to literature was deemed naïve. Roland Barthes proclaimed the death of the author, and Hillis Miller declared that all interpretation is theoretical. In many a literature department, graduate students spent far more time on Derrida and Foucault than on Shakespeare and Milton. Despite this, common sense approaches to literature—including the belief that literature represents reality and authorial intentions matter—have resisted theory with tenacity. As a result, argues Antoine Compagnon, theorists have gone to extremes, boxed themselves into paradoxes, and distanced others from their ideas. Eloquently assessing the accomplishments and failings of literary theory, Compagnon ultimately defends the methods and goals of a theoretical commitment tempered by the wisdom of common sense. The book is organized not by school of thought but around seven central questions: literariness, the author, the world, the reader, style, history, and value. What makes a work literature? Does fiction imitate reality? Is the reader present in the text? What constitutes style? Is the context in which a work is written important to its apprehension? Are literary values universal? As he examines how theory has wrestled these themes, Compagnon establishes not a simple middle-ground but a state of productive tension between high theory and common sense. The result is a book that will be met with both controversy and sighs of relief.

Gregoric investigates the Aristolian concept of the common sense, which was introduced to explain complex perceptual operations that can't be explained in terms of the five senses taken individually. Such operations include perceiving that the same object is white and sweet, or knowing that one's senses are inactive.

Can we know anything for certain? Dogmatists think we can, sceptics think we cannot, and epistemology is the great debate between them. Some dogmatists seek certainty in the deliverances of the senses. Sceptics object that the senses are not an adequate basis for certain knowledge. Other dogmatists seek certainty in the deliverances of pure reason. Sceptics object that rational self-evidence is no guarantee of truth. This book is an introductory and historically-based survey of the debate, siding for the most part with scepticism to show that the desire to vanquish it has often led to doctrines of idealism or anti-realism. Scepticism, science and common sense produce another view, fallibilism or critical rationalism: although we can have little or no certain knowledge, as the sceptics maintain, we can and do have plenty of conjectural knowledge. Fallibilism incorporates an uncompromising realism about perception, science, and the nature of truth.

A distinguished lifelong thanatologist--expert on death--reviews his life, a previous prize-winning book of thirty five years ago, and his own impending death in this extraordinary volume of life's most ubiquitous event.

The Catcher in the Rye," written by J.D. Salinger and published in 1951, is a classic American novel that explores the themes of adolescence, alienation, and identity through the eyes of its protagonist, Holden Caulfield. The novel is set in the 1950s and follows Holden, a 16-year-old who has just been expelled from his prep school, Pencey Prep. Disillusioned with the world around him, Holden decides to leave Pencey early and spend a few days alone in New York City before returning home. Over the course of these days, Holden interacts with various people, including old friends, a former teacher, and strangers, all the while grappling with his feelings of loneliness and dissatisfaction. Holden is deeply troubled by the "phoniness" of the adult world and is haunted by the death of his younger brother, Allie, which has left a lasting impact on him. He fantasizes about being "the catcher in the rye," a guardian who saves children from losing their innocence by catching them before they fall off a cliff into adulthooda. The novel ends with Holden in a mental institution, where he is being treated for a nervous breakdown. He expresses some hope for the future, indicating a possible path to recovery..

While the popular talk of English common sense in the eighteenth century might seem a by-product of familiar Enlightenment discourses of rationalism and empiricism, this book argues that terms such as 'common sense' or 'good sense' are not simply synonyms of applied reason. On the contrary, the discourse of common sense is shaped by a defensive impulse against the totalizing intellectual regimes of the Enlightenment and the cultural climate of change they promote, in order to contain the unbounded discursive proliferation of modern learning. Hence, common sense discourse has a vital regulatory function in cultural negotiations of political and intellectual change in eighteenth-century Britain against the backdrop of patriotic national self-concepts. This study discusses early eighteenth-century common sense in four broad complexes, as to its discursive functions that are ethical (which at that time implies aesthetic as well), transgressive (as a corrective), political (in patriotic constructs of the nation), and repressive (of otherness). The selection of texts in this study strikes a balance between dominant literary culture - Swift, Pope, Defoe, Fielding, Johnson - and the periphery, such as pamphlets and magazine essays, satiric poems and patriotic songs.