Christopher Norris

This Routledge Revival , first published in 1985, gives detailed attention to the bearing of literary theory on questions of truth, meaning and reference. On the one hand, deconstruction brings a vigilant awareness of the figural and narrative tropes that make up the discourse of philosophic reason. On the other it insists that argumentative rigour cannot be divorced from the kind of close reading that has come to characterize literary theory in its more advanced or speculative forms. This present-day ‘contest of faculties’ has large implications for philosophers and critics, many of whom will welcome the reissue of such a clear-headed statement of the impact of deconstruction

In this essay, I offer a critical evaluation of Hilary Putnam's writings on epistemology and philosophy of science, in particular his engagement with interpretative problems in quantum mechanics. I trace the development of his thinking from the late 1960s when he adopted a strong causal-realist position on issues of meaning, reference, and truth, via the "internal realist" approach of his middle-period writings, to the various forms of pragmatist, naturalized, or "commonsense" epistemology proposed in his latest books. My contention is that Putnam's retreat from a full-fledged realist outlook has been prompted in large part by his belief that it cannot possibly be reconciled with the implications of quantum mechanics for our understanding of processes and events in the subatomic domain. However, I suggest, this response should be seen as premature given the range of as-yet unresolved problems with quantum mechanics on the orthodox (Copenhagen) interpretation and also the existence of an alternative account - David Bohm's hidden-variables theory - which perfectly matches the established predictive-observational results while providing a credible realist ontology. I also examine Putnam's case for adopting a nonstandard (three-valued) "quantum logic" in relation to the thinking of other philosophers - Michael Dummett among them - who have espoused a more global or doctrinaire version of anti-realism. I conclude that Putnam's early (causal-realist) position is by no means untenable in light of the various arguments that he now takes as counting decisively against it.

Norris presents a series of closely linked chapters on recent developments in epistemology, philosophy of language, cognitive science, literary theory, musicology and other related fields. While to this extent adopting an interdisciplinary approach, Norris also very forcefully challenges the view that the academic "disciplines" as we know them are so many artificial constructs of recent date and with no further role than to prop up existing divisions of intellectual labour. He makes his case through some exceptionally acute revisionist readings of diverse thinkers such as Derrida, Paul de Man, Wittgenstein, Chomsky, Michael Dummett and John McDowell. In each instance Norris stresses the value of bringing various trans-disciplinary perspectives to bear while none-the-less maintaining adequate standards of area-specific relevance and method. Most importantly he asserts the central role of recent developments in cognitive science as pointing a way beyond certain otherwise intractable problems in philosophy of mind and language.

In What's Wrong with Postmodernism Norris critiques the "postmodern-pragmatist malaise" of Baudrillard, Fish, Rorty, and Lyotard. In contrast he finds a continuing critical impulse--an "enlightened or emancipatory interest"--in thinkers like Derrida, de Man, Bhaskar, and Habermas. Offering a provocative reassessment of Derrida's influence on modern thinking, Norris attempts to sever the tie between deconstruction and American literary critics who, he argues, favor endless, playful, polysemic interpretation at the expense of systematic argument. As he explores leftist attempts to arrive at an accommodation with postmodernism, Norris addresses the politics of deconstruction, the issue of men in feminism, Habermas' quarrel with Derrida, narrative theory as a hermeneutic paradigm, musical aesthetics in relation to literary theory, and various aspects of postmodern debate. A chapter on Stanley Fish brings several of these topics together and offers a generalized statement on the function of current criticism.