In this late modern era within which the basic values of life have been reordered (driven by globalisation, the corporate agenda and mass communication technologies), the individual has effectively been reduced to a mere abstraction. It might be argued that the rational, moral and humanistic concept of freedom has, to a great extent, been compromised by a consequent crisis within the intelligentsia. These groups, in particular the gatekeepers of a classical liberal approach to legal scholarship, are caught between the twin (...) evils of increased unreflective populism and pragmatism evident within many law schools and modern legal institutions. Although a contested term, defenders of the ‘socio-legal’ tradition, who place the humanities at the heart of legal research and education, are obliged to restate with increased determination the utility of the liberal arts and literature to the law profession and wider legal community. In a normative environment, law and narrative are inextricably linked and narrative poetry is not only invaluable to explaining the origins and location of the legal tradition, but also elicits a mode of understanding which transcends the boundaries of narrowlydefined legal hermeneutics—which often only addresses issues of an operational nature. French novelist Flaubert claimed “chaque notaire porte en soi les débris d’un poète” (Flaubert in Madame bovary (trans: Wall, G.), Penguin Classics, London, 1960: 269), paraphrased by American civil rights lawyer, Clarence Darrow, as “inside every lawyer is the wreck of a poet” (Lukas in Big trouble: a murder in a small western town sets off a struggle for the soul of America, Simon & Schuster, New York, 1997: 323). In an age of disenchantment, this paper explores the poetic form as an important medium within which to understand the nature and function of law in a society of differentiated individuals. (shrink)

The book is an attempt to explore the affinities between contemporary critical theories and modernist and postmodernist American poetry. The analysis focuses on poststructuralist theories, notorious for their tendency to destabilize generic boundaries between literary, philosophical and critical discourses. The main argument and the structure of the book derive from Jacques Derrida’s essay “Che cos’è la poesia” [What is poetry?] in which the philosopher postulates the impossibility of defining poetry by comparing a poem to a hedgehog – prickly, solitary, untamed, (...) fragile and protective, rolling itself up into a ball at the first sign of danger or when in the hands of the reader-intruder. The metaphor captures thus the fragility of the relationship between poetry and the world. The book examines this relationship as exemplified by the erinaceous poetics of high modernists and their postmodernist followers In the study I employ also other oststructuralist theories, such as the notion of the text and the pleasure of the text formulated by Roland Barthes, the heories of metaphor as seen by Paul Ricoeur or Paul de Man, and gender-sensitive theories of Helene Cixous and Luce Irigaray. (shrink)