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"Drawing on interdisciplinary work in the field of ethics and literature by a diverse range of thinkers, including Martha Nussbaum, Emmanuel Levinas and Paul Ricoeur, Jil Larson offers new readings of late Victorian and turn-of-the-century British fiction, she shows how ethical concepts can transform our understanding of narratives, just as narratives make possible a valuable, contextualised moral deliberation. Focusing on novels by Thomas Hardy, Sarah Grand, Olive Schreiner, Oscar Wilde, and Henry James, Larson explores the conjunction of ethics and fin-de-siècle history and culture through a consideration of what narratives from this period tell us about emotion, reason, and gender, aestheticism, and such speech acts as promising and lying. This book will be of interest to scholars of nineteenth century and modernism, and all interested in the conjunction between narrative, ethics and literary theory."

"Drawing on interdisciplinary work in the field of ethics by a diverse range of thinkers, including Martha Nussbaum, Richard Rorty, Emmanuel Levinas and Paul Ricoeur, Jil Larson offers new readings of late-Victorian and turn-of-the-century British fiction. Focusing on novels by Thomas Hardy, Sarah Grand, Olive Schreiner, Oscar Wilde, Henry James, and Joseph Conrad, Larson explores the conjunction of ethics and fin-de-siècle history and culture through a consideration of what narratives from this period tell us about emotion, reason, and gender, aestheticism, and such speech acts as promising and lying."

"In this groundbreaking study, Jonathan Greenberg locates a satiric sensibility at the heart of the modern. By promoting an antisentimental education, modernism denied the authority of emotion to guarantee moral and literary value. Instead, it fostered sophisticated, detached and apparently cruel attitudes toward pain and suffering. This sensibility challenged the novel's humanistic tradition, set ethics and aesthetics into conflict and fundamentally altered the ways that we know and feel. Through lively and original readings of works by Evelyn Waugh, Stella Gibbons, Nathanael West, Djuna Barnes, Samuel Beckett and others, this book analyzes a body of literature - late modernist satire - that can appear by turns aloof, sadistic, hilarious, ironic and poignant, but which continually questions inherited modes of feeling. By recognizing the centrality of satire to modernist aesthetics, Greenberg offers not only a new chapter in the history of satire but a persuasive new idea of what made modernism modern."

"Skripsi ini membahas mengenai perilaku bunuh diri yang ada di dalam novel Naneun Nareul Pagoehal Gwolliga Itta karya Kim Young-ha. Tujuannya adalah untuk menjelaskan bagaimana perilaku bunuh diri digambarkan dalam novel tersebut dan bagaimana penggambaran yang ada di dalam novel merefleksikan permasalahan sosial serta bunuh diri yang ada di masyarakat modern Korea Selatan. Penelitian ini merupakan penelitian kualitatif dengan metode studi kepustakaan. Dari penelitian ini diperoleh pandangan pengarang novel mengenai perilaku bunuh diri yang ada di dalam cerita melalui berbagai aspek, yaitu; sosiologis, eksistensialisme dan nihilisme. Kemudian, dari penelitian ini juga diperoleh jenis-jenis bunuh diri yang dilakukan oleh masyarakat Korea Selatan sesuai dengan pengelompokan yang dilakukan oleh Emile Durkheim. Kesimpulan dari analisis ini adalah bunuh diri yang terjadi di dalam novel, yang juga menggambarkan fenomena bunuh diri di negara Korea Selatan, disebabkan oleh kurangnya integrasi sosial dan norma yang berlaku di masyarakat.

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This undergraduate thesis analyzes about suicidal behavior in a novel titled Naneun Nareul Pagoehal Gwolliga Itta by Kim Young-ha. The purpose of this research is to describe how suicide is depicted in the novel, and how the depiction of suicide in the novel reflects the social issues and suicide phenomenon in modern South Korean society. This research is qualitative research with literature review method. This research shows how the author of the novel sees suicide through three approaches; sociological, existentialism and nihilism. This research also shows types of suicide committed by South Korean people based on Emile Durkheim?s theory on suicide. This analysis has come up with a conclusion that the suicidal behavior in the novel, which also depicted the suicide phenomenon in modern South Korean society, was caused by the lack of social integration and norms that are supposed to rule the society."

"This timely book argues that the institutionalisation of literary theory, particularly within American and British academic circles, has led to a sterility of thought which ignores the special character of literary art. Mark Edmundson traces the origins of this tendency to the ancient quarrel between philosophy and poetry, in which Plato took the side of philosophy; and he shows how the work of modern theorists - Foucault, Derrida, de Man and Bloom - exhibits similar drives to subsume poetic art into some 'higher' kind of thought. Challenging and controversial, this book should be read by all teachers of literature and of theory, and by anyone concerned about the future of institutionalised literary studies."

"The language theory of Mikhail Bakhtin does not fall neatly under any single rubric - 'dialogism,' 'marxism,' 'prosaics,' 'authorship' - because the philosophic foundation of his writing rests ambivalently between phenomenology and Marxism. The theoretical tension of these positions creates philosophical impasses in Bakhtin's work, which have been neglected or ignored partly because these impasses are themselves mirrored by the problems of antifoundationalist and materialist tendencies in literary scholarship. In Mikhail Bakhtin: Between Phenomenology and Marxism Michael Bernard-Donals examines various incarnations of phenomenological and materialist theory - including the work of Jauss, Fish, Rorty, Althusser, and Pecheux - and places them beside Bakhtin's work, providing a contextualised study of Bakhtin, a critique of the problems of contemporary critics, and an original contribution to literary theory"

"This book has been shaped in discussion with many friends and colleagues. It owes much to the following: John Barnes, Michael Black, Richard Campbell, John Casey, Axel Clark, Cora Diamond, Frances Dixon, Paul Eggert, Richard Eldridge, John Finnis, Marie Finnis, Richard Freadman, Jennifer Gribble, Robin Grove, Simon Haines, Dirk den Hartog, Michael Holquist, Rob Jackson, Nicholas Jose, Ann Loftus, Kevin Magarey, Michael Meehan, and John Wiltshire.The research for the book and much of the writing were done while on study leave from the Australian National University, to which I am grateful.I am grateful too to the Institute for Advanced Study of Indiana University, where as a Visiting Scholar in late 1991 I wrote nearly half the book. The Director, Henry Remak, was an unfailing stimulus during this period and the Assistant Director, Ivona Hedin, was always there when needed. Among the many members of faculty at Indiana University who helped to make my stay there so productive, I wish to thank John Eakin and Albert Wertheim especially.I am much indebted to the work of the late Sam Goldberg. As a reader and editor he was the most searching of critics as well as a supporter of my work over many years. Chapters 1, 6, 7, 9 and 10, are based on articles published in numbers 31, 26, 27, 30, and 20 respectively of The Critical Review. Chapter 8 began as an article published in Meridian in 1988.This book owes a great deal to Jane Adamson, who has been generous as a friend and collaborator over many years. I am also grateful to Iain Wright, who made many fruitful suggestions; and to Fred Langman, who read the whole manuscript at a late stage and gave me invaluable advice and encouragement. Sue Fraser and Christine Carroll helped in important ways at the eleventh hour.My debt to Helen and our children is all-pervasive."