By Tim Milnes
How have our conceptions of fact been formed by way of romantic literature? this query lies on the middle of this exam of the concept that of fact either in romantic writing and in sleek feedback. The romantic suggestion of fact has lengthy been depicted as aesthetic, ingenious, and perfect. Tim Milnes demanding situations this photograph, demonstrating a realistic pressure within the writing of Keats, Shelley and Coleridge specifically, that bears a detailed resemblance to the theories of recent pragmatist thinkers similar to Donald Davidson and J?rgen Habermas. Romantic pragmatism, Milnes argues, was once in flip prompted via contemporary advancements inside linguistic empiricism. This e-book may be of curiosity to readers of romantic literature, but in addition to philosophers, literary theorists, and highbrow historians.
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Extra resources for The Truth About Romanticism: Pragmatism and Idealism in Keats, Shelley, Coleridge
75 Putnam’s account of truth has important ramifications for reading literature of the romantic period. His work indicates that the perspectival paradoxes encountered by postmodern historicism are alleviated when we recognise the futility of attempting to describe our interlacing framework of truth and value from the ‘outside’, as an ‘ideology’ or a ‘regime of truth’. The attempt to avoid transcendence through metacommentary rests upon the misconception that there is a metaphysically interesting distinction to be made between ‘immanence’ and ‘transcendence’.
73 We can, in short, be both ‘internalists’ and ‘realists’ about truth. While Putnam’s internal realism involves accepting an objectivist view of truth, this objectivism strips away many of the problematic features of traditional realism. Indeed, it seeks to bypass the relativist/realist debate by rejecting the dichotomy of perspectives whereby historical and cultural contingency is pitted against the notion of a transcendent, ahistoricial organon of reason. 74 Putnam’s point is that accepting the Nietzschean claim that factual statements always presuppose value-judgements does not necessarily lead to a radically relativised notion of truth.
28 However, the utopia of ‘a fully socialized Romanticism,’ based on agreement and solidarity rather than ‘objective’ truth, takes no cognisance of the economics of modern subjectivity, of how the personal freedom envisaged by Addison and Wordsworth is 22 The truth about romanticism commodified by capitalism and virtualised by postmodern technologies. 29 Historicism, however, has long since given up on the idea of a Marxist science of society. Lentricchia himself sees Marxism as ‘a kind of rhetoric .