The contemporary revival, in parts of the humanities, of a strong interest in the question of ‘‘ethics and literature’’ has recently celebrated its twentieth birthday. Two decades after ‘‘ethics and literature’’ went public—with NewLiterary History’s pioneering special issue ‘‘Literature and/asMoral Philosophy’’ (1983)—we can look back on what has unquestionably consolidated into a burgeoning subdiscipline, an academic venture yielding everincreasing intellectual dividends on the shares initially supplied by Martha Nussbaum’s ‘‘Flawed Crystals’’ (1983), J. Hillis Miller’s The Ethics of Reading (1987),Wayne C. Booth’s The Company We Keep (1988), and Tobin Siebers’s The Ethics of Criticism (1988), among others.1 Such authors as Richard Rorty (1989), Simon Critchley (1992), Samuel Goldberg (1993), Dawne McCance (1996), Robert Eaglestone (1997), Colin McGinn (1997), Jill Robbins (1999), WilliamWaters (2003), and Derek Attridge (2004)—to name only a few— have all bought, in one way or another, into the erstwhile start-up company. Their combined efforts have signaled what has come to be perceived and referred to as a ‘‘turn to ethics’’ in literary studies and, conversely, a ‘‘turn to literature’’ in (moral) philosophy. 2

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Introduction: The Double “Turn” to Ethics and Literature?

.................................................................................................................................. iv ACKNOLEDGEMENTS ............................................................................................................... vi CHAPTER ONE—Introduction.................................................................................................. 1 Definition and Treatment of the Concept of Prejudice ......................................................... 3 The Inevitability of Prejudice ................................................................................................ 12 Rhetoric and Prejudice ........................................................................................................... 18 Prejudice and Dialogic Communication Ethics ................................................................... 23 Preview of Chapters ................................................................................................................ 34 Significance of Work to the Discipline of Communication ................................................. 37 Summary .................................................................................................................................. 38 CHAPTER TWO—Dialogic Judgment: Subjective Universality .......................................... 39 Judgment and Enthymematic Dialogism .............................................................................. 41 Judgment in Episteme Endoxa .............................................................................................. 48 Judgement in Technê and Phronesis ..................................................................................... 51 Implications ............................................................................................................................. 59 CHAPTER THREE—Universal Singularity: Dialogue and Particularities ......................... 63 Subtractive Universalism ....................................................................................................... 65 Provinciality and Universal Singularity................................................................................ 73 Dialogic Universal Singularity ............................................................................................... 76 Universal singularity, a Derivative Ethical Competence ..................................................... 81 CHAPTER FOUR—Embodied-Situated Suspicion: The Dialogic of Difference ................. 85 Foundations of Shakespeare’s Epistemological Suspicion .................................................. 86 Shakespeare’s Existential—Ethical Paradigm ..................................................................... 93 Hermeneutics of Suspicion and Human Imperfectibility .................................................... 99 The Embodiment of Suspicion ............................................................................................. 105 CHAPTER FIVE—Dialogic Irony: The Ethical Single Individual ..................................... 110 Kierkegaard’s Legacy ........................................................................................................... 111 Leveling, the Individual as “Mass Public” ......................................................................... 117 Irony and Subjective Individuality...................................................................................... 123 Dialogic Relevance ................................................................................................................ 127 CHAPTER SIX— The Derivative “I” for the Other: Dialogic Ethical Responsibility ...... 131

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"Prejudice": The Impact on Dialogic Communication Ethics

Rhetorical literary ethics are part and parcel of the larger rhetorical inter- change between authors and audiences offered by literary texts; in this respect, ethics are an intrinsic part of (rhetorical) form More specifically, this rhetorical ethics attends to the interactions among the ethical dimensions of the telling and those of the told as well as to the ethical positions the author invites the audience to adopt and those the audience brings with them Demonstrating the usefulness of this approach to Robert Frost's wrenching lyric narrative ''Home Burial'' provides a response to Charles Altieri's challenge that the dominant approaches to literary ethics are limited because they privilege texts, especially narratives, ultimately committed to judicious rationality The response offers an account of the rhetorical dynamics of lyric nar- rative in general and of the rhetorical and ethical dynamics of ''Home Burial'' in particular

Rhetorical Literary Ethics and Lyric Narrative: Robert Frost's ''Home Burial''

This is an original reading of Mikhail Bakhtin in the context of Western philosophical traditions and counter-traditions. The book portrays Bakhtin as a Modernist thinker torn between an ideological secularity and a profound religious sensibility, invariably concerned with questions of ethics and impelled to turn from philosophy to literature as another way of knowing. Most major studies of Bakhtin highlight the fragmented and apparently discontinuous nature of his work. Erdinast-Vulcan emphasizes, instead, the underlying coherence of the Bakhtinian project, reading its inherent ambivalences as an intersection of philosophical, literary, and psychological insights into the dynamics of embodied subjectivity. Bakhtin's turn to literature and poetry, as well as the dissatisfactions that motivated it, align him with three other "exilic" Continental philosophers who were his contemporaries: Bergson, Merleau-Ponty, and Levinas. Adopting Bakhtin's own open-ended approach to the human sciences, the book stages a series of philosophical encounters between these thinkers, highlighting their respective itineraries and impasses, and generating a Bakhtinian synergy of ideas.

Between Philosophy and Literature: Bakhtin and the Question of the Subject

Electricity is a tool used by people and the basis for life in a technologically advanced world. From production to consumption, electricity is an important part of, and has a great impact on, everyday life; and yet despite its prevalence, electricity remains a largely unseen phenomenon of both nature and nurture. This thesis is situated in the social sciences' conceptual context and will explore to what extent electricity is not only a part of our lives, but also how and what it changes in relation to our perceptions of the world. The particular focus of this research is on the images of electricity as created by individuals but circulated in and interpreted by communities and societies.
	As electricity is unseen, all communication regarding energy and electricity (just like any other abstract idea) is achieved primarily through the use of images (including visual, narrative and performative types of images). There is a great variety of theoretical models that can enable in-depth analysis of these images and reveal human perceptions of electricity as well as the influence these perceptions can have on human decision-making processes, behaviors, and social interactions. Images produced in times of turmoil due to a catalyst event are particularly poignant at excavating the unseen and unconsidered and provide opportunities for study, which cannot be conducted at other times. In this, thesis two case studies are presented and analyzed, namely Hurricane Sandy (2012) and Bulgarian Energy Protests (2013). Specifically, the emphasis is on interpreting images from these two cases as signs - iconic signs and/or symbols - and on the consequent transformations of their elements when created and used in different social contexts. The analysis of the empirical data is twofold: first thematic and content analyses followed by second, a semiotic analysis. 
	The semiotic approach to studying images of electricity has not been attempted so far as extensively as it could – or indeed, should - be and it is used in this thesis to offer an alternative way of approaching electricity research and a different understanding of how electricity can shape or influence our views, values, and actions. In other words, the major focus of the study is on images of electricity produced in times of turmoil, which are further analyzed as signs that are integrated into communication between individuals, within communities, and in a society and understood through the use of shared codes and contextual knowledge/experience.

Images of electricity: perceptions of loss and semiotic communication of risk

Ethics and Dialogue in the Works of Levinas, Bakhtin, Mandel'shtam and Celan

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Ethics and Dialogue in the Works of Levinas, Bakhtin, Mandel'shtam and Celan