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.

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.

Philosophical Writing helps students to think clearly and analytically, improve their essay-writing skills, and present their knowledge and thoughts in a precise and coherent manner. Acclaimed for its accessible, highly practical approach, this bestselling textbook emphasizes what students should do in crafting a philosophical essay, as well as other types of essays that analyze concepts across a variety of disciplines. Tracing the evolution of a good philosophical essay from the draft stage to completion, the book's eleven chapters are purpose-built to serve the needs of a wide range of students, with levels ranging from elementary to moderately advanced. Philosophical Writing includes numerous essay examples, techniques for outlining and composing, guidance on evaluating philosophical essays, useful appendices, a glossary, a full-featured companion website, and more. Now in its fifth edition, Philosophical Writing is fully updated with enhanced language and improved explanations throughout. Two entirely new chapters delve into the intricacies of belief networks and explore the properties of sound interpretations, supported by a wealth of new exercises and discussion questions. Written with clarity and humor by a leading analytic philosopher, Philosophical Writing: Helps students organize their beliefs, assess their interpretations, and critically evaluate the ideas of others Explains the basic concepts of logic and rhetoric, the structure of a philosophical essay, and the criterion of good philosophical writing Describes key tactics for analytic writing, such as definitions, analysis, counterexamples, and dialectical reasoning Discusses the concepts of author and audience as they apply to a student's philosophical writing Offers advice on common problems that students encounter when writing a philosophical essay Philosophical Writing: An Introduction, Fifth Edition, remains an ideal textbook for lower- and upper-division courses in philosophy, particularly introductory philosophy classes, as well as courses with significant writing components that cover logic, rhetoric, and analysis.