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"As nineteenth-century realism became more and more intrepid in its pursuit of describing and depicting everyday life, it blurred irrevocably into the caustic and severe mode of literature better named satire. Realism's task of portraying the human became indistinguishable from satire's directive to castigate the human. Introducing an entirely new way of thinking about realism and the Victorian novel, Aaron Matz refers to the fusion of realism and satire as 'satirical realism': it is a mode in which our shared folly and error are so entrenched in everyday life, and so unchanging, that they need no embellishment when rendered in fiction. Focusing on the novels of Eliot, Hardy, Gissing, and Conrad, and the theater of Ibsen, Matz argues that it was the transformation of Victorian realism into satire that granted it immense moral authority, but that led ultimately to its demise."

"In Modernism, Narrative and Humanism, Paul Sheehan attempts to redefine modernist narrative for the twenty-first century. For Sheehan modernism presents a major form of critique of the fundamental presumptions of humanism. By pairing key modernist writers with philosophical critics of the humanist tradition, he shows how modernistssought to discover humanism’s inhuman potential.Heexamines the development of narrative during the modernist period and sets it against, among others, the nineteenth-century philosophicalwritings of Schopenhauer, Darwin and Nietzsche. Focusing on the major novels and poetics of Conrad, Lawrence,Woolf and Beckett, Sheehan investigates these writers’ mistrust of humanist orthodoxyand their consequent transformations and disfigurations of narrative order. He reveals the crucial link between the modernist novel’snarrative concerns and its philosophical orientation in a book that will be of compelling interest to scholars of modernism and literarytheory."

"The relation between logic and knowledge has been at the heart of a lively debate since the 1960s. On the one hand, the epistemic approaches based their formal arguments in the mathematics of Brouwer and intuitionistic logic. Following Michael Dummett, they started to call themselves `antirealists'. Others persisted with the formal background of the Frege-Tarski tradition, where Cantorian set theory is linked via model theory to classical logic. Jaakko Hintikka tried to unify both traditions by means of what is now known as `explicit epistemic logic'. The editors of the present volume believe that in the age of Alternative Logics, where manifold developments in logic happen at a breathtaking pace, this debate should be revisited. Contributors to this volume happily took on this challenge and responded with new approaches to the debate from both the explicit and the implicit epistemic point of view."

"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."

"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."

"The Literature of Satire is an accessible but sophisticated and widerangingstudy of satire from the classics to the present in plays, novels, and the press aswell as in verse. In it Charles Knight analyses the rhetorical problems created by satire’s complex relations to its community, and examines how it exploits the genres it borrows. He argues that satire derives froman awareness of the differences between appearance, ideas, and discourse. Knight provides illuminating readings of such satirists familiar and unfamiliar as Horace, Lucian, Jonson, Moli`ere, Swift, Pope, Byron, Flaubert, Ostrovsky, Kundera, and Rushdie. This broad-ranging examination sheds new light on the nature and functions of satire as a mode of writing, as well as on theoretical approaches to it. "