In his contribution to The Stone last week, Alex Rosenberg posed a defense of naturalism — “the philosophical theory that treats science as our most reliable source of knowledge and scientific method as the most effective route to knowledge” — at the expense of other theoretical endeavors such as, notably, literary theory. To the question of “whether disciplines like literary theory provide real understanding,” Professor Rosenberg’s answer is as unequivocal as it is withering: just like fiction, literary theory can be “fun,” but neither one qualifies as “knowledge.”
Literature has played a profound role in creating the very idea of reality that naturalism seeks to describe.
Though the works of authors like Sophocles, Dante or Shakespeare certainly provide us with enjoyment, can we really classify what they have produced as “fun”? Are we not giving the Bard and others short shrift when we treat their work merely as entertainment? Does their fictional art not offer insights into human nature as illuminating as many of those the physical sciences have produced?
As a literary theorist, I suppose I could take umbrage at the claim that my own discipline, while fun, doesn’t rise to the level of knowledge. But what I’d actually like to argue goes a little further. Not only can literary theory (along with art criticism, sociology, and yes, non-naturalistic philosophy) produce knowledge of an important and even fundamental nature, but fiction itself, so breezily dismissed in Professor Rosenberg’s assertions, has played a profound role in creating the very idea of reality that naturalism seeks to describe.
http://opinionator.blogs.nytimes.com/2011/09/25/quixote-colbert-and-the-reality-of-fiction/?hp