Poetry

There is a novel which presents a general scheme for the development of a poet but this paper presents a problem for it. The problem is: can a believer in the scheme both account for the universality of some poets and the association it makes between poetry and revolutions?

In his 1968 poetry collection „Fadensonnen“, Paul Celan offers a hermetic blend of existentialism and mysticism, which is unusual in two respects. Firstly, the European philosophy of existence, especially with its proponents Jean-Paul Sartre, Albert Camus and Martin Heidegger, had gone to great lengths to criticize and delegitimize the Abrahametic religions, for the concept of god seemed to be an obstacle to humanity in pursuit of its own humanization. Secondly, in the aftermath of the holocaust, the idea of man wanting (...) to merge with a god that had not prevented this cruelty from happening had lost much of its plausibility. Despite these two objections, Celan's poems address the struggle of togetherness in a world that negates the mere possibility of otherness, trying to salvage the unique identity and dignity of the other. With this in mind, the modus operandi of his poems is that of a butcher: Whatever has previously been alive – before the Shoah – now has to be stripped bare of its layers of individual and collective history, has to become less than body and flesh. In this way, the poems' inherent pain and misery transform the reader into a nobody, for only a nobody has got the prerequisites to encounter other people unbiasedly in their unique wholeness. Within this space of encounter, only the reminiscence of body and sexuality exists, commemorating the other, so that radical corporeality seems to be the prerequisite for togetherness. In this ahistorical sphere there is no room for a god that permitted the holocaust, redefining mysticism as the connection between men instead of one between man and god. Celan's poems act as a catalyst, for they exclude god from the spheres of man, making poetry a memorial site to the dead and the ones living in pain. This way, the poems are trying to save Eros (in the sense of creaturely love) from being mutilated by the crimes of European history while at the same time aiming at rehabilitating mankind in a post-holocaust world. (shrink)

Poetry, it is said, can reveal truth. Yet despite the best efforts of philosophers and poets to describe this truth, very few understand what kinds of truth poetry can convey.* One fact seems clear: only a few of the truths of poetry can be captured equally well in prose. Poetry also conveys truths of a different kind — truths that seem to exist on a level entirely different level from that of ordinary, factual truth. Some poems try to teach moral (...) or practical lessons that also could be stated in prose.* But this is not the kind of truth that puzzles philosophers and critics. Poetry also can tell another kind of truth — a truth that may be mystifying to scholars, but that is well known to anyone who becomes acquainted with poetry in an intimate way. This kind of truth cannot be spoken of or contemplated on the same terms as ordinary fact. What is the nature of this strange, yet familiar kind of knowledge that poetry can bring to the human mind? (shrink)

Esta entrevista retoma la experiencia de enseñanza de la profesora María Luisa Roel en función de la producción literaria de España. El objetivo es interiorizar sobre cómo esta se ha transferido en el ámbito de educación universitaria. A partir de la trayectoria de la docente, se brinda un panorama de cómo los estudiantes de la carrera profesional de Literatura acatan el conocimiento y la lectura de autores españoles, como Miguel de Cervantes. De igual forma, se mencionan dos momentos históricos en (...) los que se vería la presencia o la ausencia de esta producción: en la Literatura del Virreinato y la creación literaria contemporánea. (shrink)

Este artículo tiene como propósito corroborar la cosmovisión de Octavio Paz, a partir de la inacción de la sociedad cotidiana, que es notoria en un fragmento del poema “Máscaras del alba” de La estación violenta (1958). Su crítica contra el sistema por la ausencia de compromiso social y político revela dos conceptos que fundamenta Mijaíl Bajtín en Estética de la creación verbal: su intencionalidad como autor y la expresión concomitante en función del género discursivo empleado. Para comprobar estas dos premisas, (...) incluiré como instrumento metodológico los campos figurativos o las provincias figurales que aborda Stefano Arduini, que comprenden los tropos de la metáfora, la metonimia, la sinécdoque, la metonimia, la elipsis, la antítesis y la repetición, además de sus variaciones. (shrink)

The author shares philosophical and biographical reflections, accompanied by photographs, on the lives of his well-known literary parents, poet Elizabeth Bartlett and writer/artist Paul Alexander Bartlett.

Why is there a long-standing debate about paraphrase in poetry? Everyone agrees that paraphrase can be useful; everyone agrees that paraphrase is no substitute for the poem itself. What is there to disagree about? Perhaps this: whether paraphrase can specify everything that counts as a contribution to the meaning of a poem. There are, we say, two ways to take the question; on one way of taking it, the answer is that paraphrase cannot. Does this entail that there is meaning (...) mysteriously locked in a poem, meaning that cannot be represented in any way other than via the poem itself? If that were so it would have profound implications for poetry’s capacity to convey insight. We suggest reasons for thinking that the entailment does not hold. Throughout, we connect the traditional debate over paraphrase, which has largely been conducted within the fields of philosophy and literary theory, with recent empirically oriented thinking about the communicability of meaning, represented by work in pragmatics. We end with a suggestion about what is to count as belonging to meaning, and what as merely among the things that determine meaning. (shrink)

Este artículo examina La ciudad y los perros (1963) de Mario Vargas Llosa para fundamentar cómo se logra la estratificación teórica de estilos y técnicas que se emplean para abordar la violencia en el texto. Sobre la epistemología, recurre principalmente a Todorov, Hamburger, Lotman y Genette. Y, para argumentar la manifestación de la violencia, considera las eventualidades que padecen los personajes del Colegio Militar Leoncio Prado; en especial, el Jaguar, el Poeta y el Esclavo. Esas acciones serán justificadas por la (...) instrucción castrense, la evolución humana, la necesidad de una conducta hegemónica idónea y la búsqueda del efecto perlocutivo en el lector. Para sistematizar esas peculiaridades, se opta por una metodología adscrita al cotejo de información teórica para que sea confrontada con el discurso literario. El análisis que se desarrolla es complementado con fragmentos representativos para que las formulaciones sean más directas y convincentes. Como resultado, se confirma esa correspondencia entre las teorías heterogéneas, la novela y la interpretación, por lo que el concepto de violencia adoptaría una multidimensionalidad que evidencia su existencia y su requerimiento esencial en los personajes. Con ello, se sustenta como conclusión que la violencia en ese contexto debería ser permanente e imprescindible para subsistir. (shrink)

En este trabajo, se realizó una entrevista al docente Ángel Misari, quien explica cómo aplica sus conocimientos adquiridos en la Maestría en Escritura Creativa que hizo en la Universidad Nacional Mayor de San Marcos. Su intervención es de utilidad, ya que profundizará en la transferencia oportuna de ese saber en tres ámbitos: en su función como crítico de la producción artística, en su interés ficcional en la parte creativa y en la educación con estudiantes. En suma, la experiencia que manifiesta (...) revela su formación literaria, así como las influencias y los motivos que lo impulsaron a desenvolverse en esta carrera. (shrink)

Este artículo desarrolla el postulado teórico del italiano Stefano Arduini, denominado campo retórico, que se basa en la construcción discursiva de los referentes que sirvieron como contexto para influir directamente en la configuración de la obra de un escritor. Esos vínculos se rigen por la historia, la sociedad, las manifestaciones artísticas y literarias, junto con la intervención coetánea de otros autores con propósitos afines. En esta oportunidad, me enfoco en fundamentar los nexos que permitieron la publicación de La estación violenta (...) (1958) del Premio Nobel de Literatura Octavio Paz. (shrink)

Durante años, el estudio de la retórica ha incluido figuras que permiten el análisis de la poesía, como también, la creación diversificada según los múltiples estilos. Al respecto, en este artículo, se extraerá la propuesta fundamentada por Stefano Arduini, quien establece la noción de campo figurativo, como un ordenador de lineamientos subjetivos, propios del raciocinio, de la que se infieren seis subclasificaciones: la metáfora, la metonimia, la sinécdoque, la elipsis, la antítesis y la redundancia, además de los tropos internos que (...) las componen. Ante ello, se recurrirá a los planteamientos elaborados por los críticos y los teóricos de la Literatura para la confrontación hermenéutica que configuran estos conceptos difundidos por la poesía. Los autores a los que se recurrirán son Aristóteles con Retórica, Marco Fabio Quintiliano con Instituciones oratorias (1887), Pierre Fontanier con Les figures du discours (1977), George Lakoff y Mark Johnson con Metáforas de la vida cotidiana (1995), Jacques Lacan (1998), Stefano Arduini (2000), Oldřich Bĕlič (2000), Tomás Albaladejo (2008) y Camilo Rubén Fernández Cozman (2010). (shrink)

La entrevista al doctor Camilo Fernández Cozman se realizó el 19 de julio de 2021, a 9 días del 28 de julio, fecha en la que se conmemora la Independencia del Perú.

El poemario Trilce (1922), caracterizado por su vanguardismo, innovó por medio de transgresiones de lo tradicional, propicias por significaciones irracionales y formalismos poco comunes. Desde allí, la literatura se ha desarrollado exponencialmente y la exégesis literaria ha obtenido propuestas teóricas que garantizan la calidad de sus interpretaciones discursivas. Al respecto, he efectuado una clasificación bibliográfica de los temas frecuentes del estado de la cuestión. Opto por el análisis semántico, junto con la hermenéutica y la teoría consolidadas en el texto. El (...) propósito de este artículo es corroborar los diversos postulados en torno a esta obra literaria, para la construcción de vertientes temáticas que permitan configurar la cosmovisión del poeta. (shrink)

Philosophers ask just whose expression, if anyone’s, we hear in lyric poetry. Walton provides a novel possibility: it’s the reader who “uses” the poem (just as a speech giver uses a speech) who makes the language expressive. But worries arise once we consider poems in particular social or political settings, those which require a strong self-other distinction, or those with expressions that should not be disassociated from the subjects whose experience they draw from. One way to meet this challenge is (...) to consider the poem expressive of a plural subject, which frees us from looking for a particular individual whose voice we hear in the work, whether she be fictional or actual. Some lyrics give voice to a group whose experience is attended to in the work. This may be done through a posited fictional speaker, but the ontology of the speaker is shown to be less important. Attending to a group whose concerns are voiced allows us to explain how poems can manage to address our-worldly concerns even when lacking actual persons whose expressions we encounter in the poems. (shrink)

Against the apparent casting away of poetry from contemporary philosophy of language and aesthetics which has left poetry forceless, I argue that poetry has a linguistic, philosophical, and even political force. Against the idea that literature (as novel) can teach us facts about the world, I argue that the force of literature (as poetry) resides in its capacity to change our ways of seeing. First, I contest views which consider poetry forceless by discussing Austin’s and Sartre’s views. Second, I explore (...) the concept of force in the realm of art—focusing on Nietzsche’s philosophy and Menke’s Kraft der Kunst—and the relations between linguistic, artistic, and political forces. Third, I consider how the transformative force of poetry can be considered political by turning to Kristeva’s Revolution in Poetic Language and Meschonnic’s conception of poetry according to which the poem does something to language and the subject. To illustrate this transformative force of poetry, I analyse Caroline Zekri’s poem ‘Un pur rapport grammatical’. I therefore think of poetry not only as doing something with language, but also as doing something to language. To rephrase Austin’s famous title, and thus reverse his evaluation of poetry, poetry might reveal to us not only How to Do Things with Words, but how to do things to words and, through this doing, how to transform and affect the world. (shrink)

Performance is increasingly important to the poet, which is evidenced by the growing numbers of videos and audio recordings online including YouTube, the National Poetry library, and Poetry Archive. As a result, there are greater opportunities to engage with poets reading their own work and consequently, there is a need to move away from thinking of poetry as primary something that takes shape on the page. Furthermore, by refocusing attention to poetry as an oral artform, in particular to poetry performance, (...) different ways of understanding the value of poetry come to the fore. The live poetry performance, I argue, offers an attempt to reclaim the personal individual expression of language in contemporary society and demands attention by the audience because of the role of voice and body in the performance. Through awareness of ‘uniqueness of voice,’ the performed poem becomes a site of collective meaning making with individual identity intact as a shared endeavour between performer and audience, and necessarily resists appropriation (in the sense that the words experienced cannot be divorced from the performer or the performance space to serve as a proxy for meaning elsewhere). This chapter therefore makes an argument for the need to engage with spoken word and performance poetry in the live performance space. (shrink)

Agamben is slowly entering the English academy. This review shows how Agamben's understanding of poetry can and should inform the eschatological nature of the lyric. The review does its cultural work by rethinking poetry and the poetic impulse. The book under review by Claire Colebrook and Jason Maxwell, prepare us for messianic times and shows how Agamben critiques the Spinozist-Marxist project. This book's weaknesses lie in Agamben's hubris in glibly going on to write on Hinduism. & Colebrook and Mason have (...) been excused for not bothering with the religion of a poorer nation than theirs. After all, this reviewer never said that Hinduism is India's state religion. Leave it to others to state that. LOL. Agamben's onto-theology is brought out in this review as has been by Colebrook and Maxwell. (shrink)

This review shows how during COVID 19, poetry and theology both can soothe us. The collection of essays in this anthology is wide ranging engaging with Dante; right up to Wallace Stevens and Denise Levertov. The reviewer thanks the Ramakrishna Mission for providing him with a hard copy of this book. In passing; in the spirit of IndianLivesMatter, one notes that Prabuddha Bharata has never missed an issue from 1896 till date. In his long stint as reviewer for the Ramakrishna (...) Mission's mouthpiece; this reviewer had to perforce castigate authors. In this review which draws to an end his decade long pro bono career as a reviewer at Prabuddha Bharata; the reviewers bids his constant reader adieu. (shrink)

Trilce (1922) se ha caracterizado por contar con múltiples filiaciones artísticas propias de la vanguardia europea. Los estudios de la crítica literaria han permitido clasificar cuál es la procedencia de cada recurso estilístico que se usa para los poemas. Esta labor se ha realizado de forma independiente. Sin embargo, ha quedado inconcluso cuál es el soporte temático que rige la universalidad de su composición. En ese sentido, el objetivo de mi trabajo es orientar esos elementos externos hacia una lógica patrocinada (...) por la cosmovisión esperanzadora del autor. Ese optimismo sería esencial para entender la configuración de sus versos. Para demostrar eso, consideraré la biografía del escritor peruano, su contexto, la vanguardia, sus tópicos frecuentes y las investigaciones de la exégesis. Esos abordajes serán de utilidad para concatenar esa propuesta implícita que suscita la comprensión de la volición autónoma e innovadora de César Vallejo. (shrink)

Poetry is the most complex and intricate of human language used across all languages and cultures. Its relation to the worlds of human experience has perplexed writers and readers for centuries, as has the question of evaluation and judgment: what makes a poem "work" and endure. The Poem as Icon focuses on the art of poetry to explore its nature and function: not interpretation but experience; not what poetry means but what it does. Using both historic and contemporary approaches of (...) embodied cognition from various disciplines, Margaret Freeman argues that a poem's success lies in its ability to become an icon of the felt "being" of reality. Freeman explains how the features of semblance, metaphor, schema, and affect work to make a poem an icon, with detailed examples from various poets. By analyzing the ways poetry provides insights into the workings of human cognition, Freeman claims that taste, beauty, and pleasure in the arts are simply products of the aesthetic faculty, and not the aesthetic faculty itself. The aesthetic faculty, she argues, should be understood as the science of human perception, and therefore constitutive of the cognitive processes of attention, imagination, memory, discrimination, expertise, and judgment. (shrink)

In this article, I argue that Dante's philosophical goal is what I term "self-angelizing," an ennobling philosophical education granting one the knowledge and power of an angel, which the medieval scholastics conceived as celestial intelligences. Dante's own path to self-angelizing begins in his early New Life, which approaches a living Beatrice as exemplar of terrestrial angels. Next, Dante's middle-period Banquet discusses following Beatrice into self-angelizing through an education in philosophi-cal virtue. Finally, in his climactic Paradise, Dante performs his own self-angelizing. (...) The upshot of this journey is Dante's prophecy of an egalitarian transhumanism. (shrink)

Roland Greene and Stephen Cushman have revived the 1950s' edition of this book. & it is worth reading even by philosophers for in the final analysis, from Plato to Blanchot to Jean-Luc Marion are all poets. Where does poetry end and philosophy begin!!??

This is a review of this indispensable handbook and the review shows how the singularity of literature is reinstated by the editors.

Giacomo Leopardi, a major Italian poet of the nineteenth century, was also an expert in evil to whom Schopenhauer referred as a “spiritual brother.” Leopardi wrote: “Everything is evil. That is to say, everything that is, is evil; that each thing exists is an evil; each thing exists only for an evil end; existence is an evil.” These and other thoughts are collected in the Zibaldone, a massive collage of heterogeneous writings published posthumously. Leopardi’s pessimism assumes a polished form in (...) his literary writings, such as Dialogue between Nature and an Islander (1824)—an invective against nature and the suffering of creatures within it. In his last lyric, Broom, or the flower of the desert (1836), Leopardi points to the redeeming power of poetry and to human solidarity as placing at least temporary limits on the scope of evil. (shrink)

[español] En primer lugar, el texto ofrece un acercamiento al papel que amor y nostalgia cumplen en la poesía de Emilio Prados, así como a su íntimo nexo con la muerte como aniquilación mística. Como herramienta interpetativa, recurriré a la razón poética de María Zambrano, autora profundamente emparentada, vital y teóricamente, con la poesía pradiana. Este enfoque permitirá una visión de conjunto sobre la obra del poeta español y en segundo lugar, trazar una comparativa con el saudosismo de Teixeira de (...) Pascoaes. Así, indicaré las numerosas coincidencias que existen entre ambos y me detendré en la cuestión de la muerte mística, ámbito más problemático, donde sin embargo, puede apreciarse una comunión de espíritu entre el español y el portugués. ****************** [english] Firstly, the text offers an approach to the function of love and nostalgia in the poetry of Emilio Prados, as much as its intimate connection with death as mystical annihilation. As interpretive tool, I will use the poetic reason of María Zambrano, an author deeply linked, vital and theoretically, with pradian poetry. This focus will provide an overall view of Prado's work and the possibility of a comparison with Teixeira de Pascoaes's saudosism. Thus, I will point same coincidences between them and I will consider the question of mystical death. This sphere, although it is problematic, can show some kind of community of spirit between both. (shrink)

[First paragraph]: This article is part of a larger project in which I suggest a historically informed philosophy of dance, called “figuration,” consisting of new interpretations of canonical philosophers. Figuration consists of two major parts, comprising (a) four basic concepts, or “moves”—namely, “positure,” “gesture,” “grace,” and “resilience”—and (b) seven types, or “families” of dance—namely, “concert,” “folk,” “societal,” “agonistic,” “animal,” “astronomical,” and “discursive.” This article is devoted to the first of these four moves, as illustrated by both its importance for Aristotle (...) and also its applicability to these seven families of dance. One goal of figuration as a whole, and the central goal of this excerpt from that larger project, is to model and justify a dancing aesthetic education pursuant to psychological and political flourishing. (shrink)

The poem is about my PhD experience. The title and parts of the themes are derived from an incident in the Bible (Acts 19:13-20). In order to provide a deeper meaning to my story, I have deployed a biblical allusion which connects with the story of the sons of Sceva, who made unsuccessful attempts to exorcise a man from Ephesus. They failed primarily because they operated not in the spirit but in the flesh.

In this bioethical poem, the narrator reflects on the experience of their father's degenerative illness, and decisions that must be made about whether to continue life support technologies such as ventilation and nutrition/hydration. What is it that is owed to family and patient at the end of life? What must no one who loves anyone ever do to the one they love?

Статтю присвячено сакральним мотивам у поезії М. Вінграновського. Розглянуто правопис слова «Бог» у ранніх і пізніших поезіях автора, вказано на тексти з релігійною образністю і тематикою (зокрема проаналізовано неопубліковані рукописи). Наведено свідчення сучасників поета про його стосунки з Богом. Зроблено спробу показати, що засвідчена заангажованість М. Вінграновського в релігійний дискурс дає підстави розгортати інтерпретацію його поезій також і в межах цього дискурсу, зокрема – в аспекті поєднання однини і множини на мовному рівні, а також в аспекті відчуття загальної всеєдності як (...) складника переживання всеприсутності Бога, яку засвідчують різні релігійні традиції. (shrink)

У статті наведено результати дослідження функційного призначення топоніма Москва в українському поетичному дискурсі від давньої доби до сьогодні. Визначено, що найважливіша його функція – ідеологічна, вона є різновекторною та безпосередньо пов’язана з авторською оцінкою. Конотації власної назви Москва детерміновані інтерлінгвальними чинниками та мають великий діапазон – від максимально меліоративних до максимально пейоративних.

My observations here are meant to address a current lacuna in discussions of Kant's aesthetics, namely the beauty of poetry. There are, I admit, numerous treatments of poetry considered in the light of Kant's aesthetic theory, but what may not be noticed is that in discussions of poetry and Kant's aesthetics, the topic of poetic beauty only rarely comes up. This virtual silence on the beauty of poetry is surprising, given that the beautiful is obviously one of the two foundational (...) aesthetic categories in Kant's aesthetics. This silence stands out all the more given that Kant himself explicitly mentions that poems can be beautiful and furthermore declares poetry to be the highest form of fine art. Why, then, is the beauty of poetry almost never discussed in relation to Kant's aesthetics? Ultimately, I will be arguing that this silence on the beauty of poetry is a motivated one, albeit an unintentionally motivated one, namely because Kant's conception of free beauty militates against its being applied to poetry. In other words, this lacuna in discussions of Kant's aesthetics rests on a lacuna in the field of products of fine art to which the Kantian conception of free beauty can be applied. It seems that this lacuna has been overlooked in the literature principally because Kant himself overlooks it; in addition, interpreters of Kant may well independently overlook it for the same reasons that Kant apparently did. Johann Gottfried Karl Christian Kiesewetter's book, Immanuel Kant's Critik der Urtheilskraft für Uneingeweihte (1804), serves to bring the discussion into higher focus. (shrink)

American Indian Thought is a contemporary collection of twenty-two essays written by Indigenous persons with Western philosophical training, all attempting to formulate, and/or contribute to a sub-discipline of, a Native American Philosophy. The contributors come from diverse tribal, educational, philosophical, methodological, etc., backgrounds, and there is some tension among aspects of the collection, but what is more striking is the harmony and the singularity of the collection’s intent. Part of this singularity may derive from the solidarity among its authors. In (...) addition to the fact that all belong to Indigenous tribes, there is also a striking sensitivity to the interconnection between distinct Western disciplines—particularly between philosophy and poetry. I take the latter to be a thread which can be strategically woven into the center of the anthology’s weave. In this book discussion, I aim to draw out the poetic aspects of five of the anthology’s essays, which deal with philosophy, metaphysics, epistemology, ethics and aesthetics, respectively. In this way, I hope to illuminate a poetic quality at the heart of the collection, and thus also of the burgeoning field of Native American or Indigenous philosophy in general. In the process, I will also consider ways in which Indigenous philosophy resonates with the Western philosophical traditions of phenomenology and American pragmatism. With the latter tradition in particular this connection has become more fully appreciated, especially through the work of Bruce Wilshire and Scott Pratt. (shrink)

Many strategies for incorporating poetry into non-poetry classes, especially outside of English and associated disciplines, appear to make poetry subservient and secondary in relation to the prose content of the course. The poet under consideration becomes a kind of involuntary servant to one or more prose authors, forced to “speak only when spoken to,” and effectively prevented from challenging the ideas of the course’s prose writers, and thereby the instructor. Fortunately, this is not the only strategy for incorporating poetry into (...) prose-dominated courses. In this chapter, I will suggest an alternate approach which recognizes and facilitates the agency of poets and poetry per se, which I term “empowering poetic defiance.” In brief, this approach consists of the following four steps: (1) challenge one’s own poetic self-loathing (2) position the course’s poetry’s content to challenge the course’s non-poetic contents (3) position the course’s poetry’s forms to challenge your class’s non-poetic forms (4) comport oneself as interlocutor toward the poets featured in the course as the intellectual equals of oneself and the course’s prose writers. My first section will elaborate on these four steps, and my second section will flesh out the method further with a new reading of one of the most powerfully defiant poets in the Western canon, the nineteenth-century French Symbolist poet Charles Baudelaire, in dialogue with one of the most formidable challengers to the power of poetry, the eighteenth-century Prussian philosopher Immanuel Kant. (shrink)

My first section considers Walter J. Ong’s influential analyses of the logical method of Peter Ramus, on whose system Milton based his Art of Logic. The upshot of Ong’s work is that philosophical logic has become a kind monarch over all other discourses, the allegedly timeless and universal method of mapping and diagramming all concepts. To show how Milton nevertheless resists this tyrannical result in his non-Logic writings, my second section offers new readings of Milton’s poems Il Penseroso and Sonnet (...) 16: “On His Blindness”, along with his prose epilogue to his elegies (and thereby the entire collection entitled Poems). These readings attempt to show (1) the original admixing of philosophy and poetry (under the heading of “thoughtfulness”), (2) the shadow-hidden superiority of poetry in connection to the effeminising disability of blindness, and (3) the potential irony of an apology that arguably suggests poetry’s superiority to philosophy. Finally, I rest my case for Milton’s rebellion by offering an interpretation of Paradise Lost which affirms the character of Satan qua dark, queer, poetic figure of classical republicanism. (shrink)

Richard Wright gave a series of lectures in Europe from 1950 to 1956, collected in the following year in the volume, White Man, Listen! One dominant theme in all four essays is that expanding the moral imagination is centrally important in repairing our racism-benighted globe. What makes Wright’s version of this claim unique is his forthright admission that expanding the moral imagination necessarily involves pain and suffering. The best place to hear Wright in regard to the necessary pain of expanding (...) the moral imagination, I would argue, is his poetry collection, This Other World: Projections in the Haiku Manner. To wit, for Wright the necessary pain of expanding one’s moral imagination is the loneliness that results from delegating to others—in the etymological sense of “deputizing or committing”—one’s whiteness qua privilege or social capital. In conclusion, lonely delegation constitutes an imperative template from Wright regarding the painful expansion of our own moral imagination, in the service of social justice for economically oppressed communities of color across the globe. (shrink)

The present article utilizes the Nietzschean “poetics” distilled from Nietzsche’s Gay Science as an interpretive strategy for considering Deleuze’s essay “Literature and Life” in Essays Critical and Clinical. The first section considers Deleuze’s overarching project in that essay, and then repositions his thought from literature in general to “poetry” in particular, indicating both resonances between Deleuze’s understanding of “literature” and Nietzsche’s understanding of “poetry” as well as their dissonances. The second section focuses on the places in Deleuze’s analyses where he (...) excludes poetry, and suggests that this exclusion is related to Nietzsche’s claim that lyric poetry is the birthplace of philosophy. Put differently, the being of lyric poetry threatens to disrupt Deleuze’s distinction between the respective roles and powers of philosophy and art, and thereby to disclose poets as, at least potentially, philosophers, and vice versa. And the final section offers one of Rainer Maria Rilke’s Sonnets to Orpheus as an exemplar of poetry’s philosophical potential, before concluding that a Nietzschean conception of poetry constitutes the “dark precursor” of “Literature in Life,” Essays Critical and Clinical, and Deleuze’s work in general. (shrink)

This book on the topic of ethics and poetry consists of contributions from different continents on the subject of applied ethics related to poetry. It should gather a favourable reception from philosophers, ethicists, theologians and anthropologists from Africa, Asia, Europe and Latin America and allows for a comparison of the healing power of words from various religious, spiritual and philosophical traditions. The first part of this book presents original poems that express ethical emotions and aphorism related to a philosophical questioning (...) of the grounding of our values for life. The poems are written by twelve authors coming from four continents, for whom poetic emotions are sources of artistic inspiration and that can be used for conflict resolution. In the second part, which features short essays, nine authors tackle how poems, symbolic representations, metaphorical narratives and lies impact the space of possibilities, in which we are moved to action, knowledge formation, and how we imagine the world together. (shrink)

Aristotle and the classical rhetoricians conceived of metaphor as a figure of speech in which one thing is given a name or an attribute of another thing on the basis of some resemblance that exists between the two things. Wallace Stevens conceived of metaphor not as the production of pre-existing resemblances observed in nature but the “creation of resemblance by the imagination” (NA: 72). Resemblance, and not identity, according to Stevens, is the fundamental relation between the two terms of metaphor. (...) This is akin to contemporary accounts of metaphor in terms of the phenomenological or experiential seeing of one thing as another thing (Yoos 1971; Davidson 1979; Camp 2006a,b; Semino 2008; Ritchie 2013). Seeing one thing as another thing on the basis of resemblance or similarity implies that the one thing is not the other. I do two main things in this paper: one, I appraise the theoretical value of Wallace Stevens’ conception of metaphor as the creation of resemblance by the imagination; and two, I pose a challenge to the view that takes resemblance as fundamental to metaphor, arguing that in the cases I present, thinking of the relation as identity and not resemblance, concurs with our ontological commitments to the things compared in the metaphor. In the final analysis, I suggest that Stevens conception of metaphor as metamorphosis can meet the challenge: rather than thinking of the ‘is’ (identity) of metaphor as an ‘as’ (resemblance), for Stevens, the ‘as’ (resemblance) of metaphor metamorphosize into an ‘is’ (identity). (shrink)

During the last ten years of his life, Antonin Artaud shows more and more intensively a multi-faceted and caustic refusal for traditional literature and the ordinary practice of writing. But above all, he shows a stylistic impatience for the alphabetic use of the word and the language. By the intention of creating an inhuman language, which could be understood also by the illiterate people, Artaud wants to undermine the significant use of the word, so that he can achieve a non-representative (...) language, a language that could make real. In this perspective, the aim of our work consists in an inquiry of the expressive forms through which Artaud’s last literary production shows the refusal of canonical literature: especially, we attempt to work about the use of glossolalias, drawings and pictograms included in several Cahiers which Artaud draws up during his confinement in the Rodez’s madhouse, as well as in some of the letters that he writes since 1943. (shrink)

У статті вперше здійснено інтерпретацію поетичних текстів Олега Лишеги шляхом звернення до концепції барокового коду. Проаналізовані таким чином, зокрема, «пісня 822», «Півень», «Шовковиця», «Ворон», «Пацюк» і «пісня 3». Саме крізь призму барокового коду варто розглядати ці поезії, оскільки головні світоглядні риси бароко здатні пояснити ті чи ті образи або ситуації, які читач знаходить у текстах. Варто також наголосити на непересічності образу Григорія Сковороди у творчості Олега Лишеги, адже у поезіях «Великого мосту» можна неодноразово знайти чи то сковородинські образи/символи, чи то (...) його концепти, що були близькі для поета ХХ століття. (shrink)

A close reading of Mary Robinson’s late-eighteenth-century poem “London’s Summer Morning,” which captures all the noises and smells of a busy London street, is not enough to convince the reader that it isn’t all a dream. But whose dream? René Descartes and Wallace Stevens suggest that it may not matter.

Ernst Jünger is known for his war writings, but is largely ignored by contemporary phenomenologists. In this essay, I explore his e Adventurous Heart which has recently been made available in English. is work consists of a set of fragments which, when related, disclose a coherent ow of philosophical thinking. Speci cally, I show that, beneath a highly poetic and obscure prose, Jünger posits how subjective experience and poetry allow individuals to realize truth. I relate parts of Jünger’s insights to (...) contributions by Husserl, Heidegger and Merleau-Ponty, arguing that Jünger o ers a unique and valuable contribution to the phenomenological discipline. (shrink)

In this chapter, I approach the subject of peace by way of Andrew Fiala’s pioneering, synthetic work on “practical pacifism.” One of Fiala’s articles on the subject of peace is entitled “Radical Forgiveness and Human Justice”—and if one were to replace “Radical Forgiveness” with “Peace,” this would be a fair title for my chapter. In fact, Fiala himself explicitly makes a connection in the article between radical forgiveness and peace. Also in support of my project, Fiala’s article names four of (...) the six historical figures who are central to my chapter, namely Marcus Aurelius, King, Arendt, and Nietzsche. Moreover, Fiala also insists there “forgiveness must be held in creative tension with justice,” and it is this very tension that forms the basis of my new conception of socially-just peace. To wit, I propose that socially-just peace is lovingly generous reimagining (peace) through intuitively self-overcoming tension (social justice). (shrink)

Heidegger’s engagement with the poet Friedrich Hölderlin often dwells on the issue of temporality. For Heidegger, Hölderlin is the most futural thinker (zukünftigster Denker) whose poetry is necessary for us now and must be wrested from being buried in the past. Heidegger frames his reading of Hölderlin in terms of past, present, and future and, more importantly, describes him as being able to poetize time. This paper examines what it means to poetize time and why Hölderlin’s poetry in particular allows (...) us to understand temporality as the interplay of presence and non-presence. (shrink)

Poems are treated by translators as hierarchical multilevel systems. Here we propose the notion of “multilevel poetry translation” to characterize such cases of poetry translation in terms of selection and rebuilding of a multilevel system of constraints across languages. Different levels of a poem correspond to different sets of components that asymmetrically constrain each other (e. g., grammar, lexicon, syntactic construction, prosody, rhythm, typography, etc.). This perspective allows a poem to be approached as a thinking-tool: an “experimental lab” which submits (...) language to unusual conditions and provides a scenario to observe the emergence of new patterns of semiotic behaviour as a result. We describe this operation as a problem-solving task, and exemplify with Augusto de Campos’ Portuguese translation of John Donne’s poem “The Expiration.”. (shrink)

The influence of surrealism and Philippe Soupault on William Carlos Williams' poetry.

Bashabi Fraser is known the world over as a Scottish-Bengali aka diasporic writer. Further she has also been slotted as a feminist scholar with a huge corpus on Tagore. This essay proves the fallacy of such pigeon-holeing of Fraser and shows that she is as mainstream as Yeats and even before that, like unto Blake. The essay also makes a point for rejecting every other mode of poetry except the Romantic mode. It established the Vedantic nature of the poetic genius. (...) The endnotes are copious and comment on how/why/(what of) Fraser should compulsory reading at which age. The essay speaks at length on the nature of poetry. It stresses the value of Vedanta in assessing true poetry written even in English. This essay is also valuable since it has within it acute observations on Fraser as a Tagore scholar. (shrink)

This essay derives its focus on poetry from the subtitle of Die Fröhliche Wissenschaft: “la gaya scienza.” Nietzsche appropriated this phrase from the phrase “gai saber” used by the Provençal knight-poets (or troubadours) of the eleventh through thirteenth centuries — the first lyric poets of the European languages — to designate their Ars Poetica or “art of poetry.” I will begin with an exploration of Nietzsche’s treatment of poets and poetry as a subject matter, closely analyzing his six aphorisms which (...) deal explicitly with poets and poetry. Having considered The Gay Science as a text about poetry, I will then briefly explore three further ways in which The Gay Science can be thought of as itself a kind of poetry. The result of these analyses is an understanding of Nietzsche’s own understanding of philosophy (and of the best way to live) as also a form of poetry. (shrink)