Many of today's most prominent critics and teachers of literature insist on the endless deferral of textual meaning and on the social construction of meaning and thought. Against these markers of current critical theory, James L. Battersby argues for the authorial construction of determinate textual meaning, insisting that to think about anything at all we must be able to refer to it, and that such references are, necessarily, the semantic consequences of an author's deliberate, intentional acts. Propelling Battersby's argument is his use of principles and arguments drawn from current philosophical literature on language and mind. Battersby reveals the philosophical shortcomings and argumentative weaknesses of some of the most prominent and influential doctrines in critical theory today—especially, and principally, those that inform and define postmodernism in both its linguistic and historicist/materialist modes. As he argues for a fresh conception of our understanding of language, mind, and meaning, Battersby probes the critical positions of, among others, Stanley Fish, Mikhail Bakhtin, Paul de Man, and Jacques Derrida. Making room for an alternative and, Battersby asserts, more intellectually appealing framework requires a skeptical dissection of the linguistic and historicist tenets that form the foundation of poststructuralism. The striking outcome of his effort is a book as lively, erudite, theoretically informed—and provocative—as his earlier Paradigms Regained.

Against the dominant view of reductive naturalism, John McDowell argues that human life should be seen as transformed by reason so that human minds, while not supernatural, are sui generis. This collection assembles eleven critical essays that highlight the enduring significance and wide ramifications of McDowell’s unorthodox position.

In a series of essays nine philosophers and two psychologists address three main themes: the status of norms of rationality; the precise form taken by them; and the role of norms in belief and actions.

George Orwell set out ‘to make political writing into an art’, and to a wide extent this aim shaped the future of English literature – his descriptions of authoritarian regimes helped to form a new vocabulary that is fundamental to understanding totalitarianism. While 1984 and Animal Farm are amongst the most popular classic novels in the English language, this new series of Orwell’s essays seeks to bring a wider selection of his writing on politics and literature to a new readership. In Why I Write, the first in the Orwell’s Essays series, Orwell describes his journey to becoming a writer, and his movement from writing poems to short stories to the essays, fiction and non-fiction we remember him for. He also discusses what he sees as the ‘four great motives for writing’ – ‘sheer egoism’, ‘aesthetic enthusiasm’, ‘historical impulse’ and ‘political purpose’ – and considers the importance of keeping these in balance. Why I Write is a unique opportunity to look into Orwell’s mind, and it grants the reader an entirely different vantage point from which to consider the rest of the great writer’s oeuvre. 'A writer who can – and must – be rediscovered with every age.' — Irish Times

This text describes each lesson nature taught man and explains how each is distinctly present in language, writing strategies, literature, poetics, and literary theories. Together, these modes compose the epistemology man has used over the millennia.

This 1992 book explains how people acquire political information from elites and the mass media and convert it into political preferences.

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.