In the Netherlands, the poet Herman Gorter is mostly known as the author of the neo-romantic poem May and the “sensitivistic” Poems, but internationally he became famous as a propagandist of radical Marxism: the author of influential brochures and of an “open letter” to comrade W.I. Lenin in 1920. During the 1890s, Gorter became increasingly dissatisfied with his poetry, considering it as ego-centric, disinterested and “bourgeois”, unconnected with what was happening in the real world. He wanted to put his (...) poetry on a scientific footing, notably by endorsing a dialectical materialist worldview. In the communist society he envisioned, science would become poetry and poetry would become science. In his opus magnum Pan, two terms are rather prominent, namely heelal and kristal. These signifiers not only reflect important themes, but also two friendships which began around 1900, namely with prominent astronomer and marxist Anton Pannekoek and with Ada Prins, the first woman in the Netherlands who acquired a PhD in chemistry, specialised in liquid crystal research. Whereas Ada Prins is mostly remembered as one of Gorter’s secret lovers, she was first and foremost his educated guide into the complex and enigmatic world of twentieth-century chemistry research. Liquid crystal chemistry became an important source of inspiration for Gorter’s work and the main objective of this paper is to demonstrate her influence on Gorter’s Pan as a scientific poem After presenting the two heroes of this paper, and their work in poetry and chemistry respectively, I will analyse the role of liquid crystals in Herman Gorter’s Pan, highlighting important connections with Ada Prins’ research into liquid crystal chemistry. (shrink)

Herman Gorter (1864-1927) became famous as the author of May (1889) and Poems (1890). His opus magnum Pan, published in 1916, hardly acquired any readership at all, which is remarkable, given the monumental size and scope of this unique achievement, celebrating the imminent proletarian revolution and the advent of the communist era: a visionary work of global proportions. Gorter’s Pan will be assessed as thinking poetry, more precisely: as dialectical materialist poetry, as a work of art which articulates (...) a dialectical materialist worldview, not only concerning political economy and society, but also concerning nature and the universe as such, from the stars and galaxies of modern astrophysics down to the atoms and molecules of modern chemistry and quantum physics. Gorter’s monumental work is ‘thinking poetry’ in the Heideggerian sense of the term, sensitive to an imminent upheaval of Being as such, as well as a dialectical materialist artwork (albeit with a tinge of Spinozism) contributing (via the ‘school of poetry’) to a dialectical understanding of space, time, life and matter. In this article, I will focus on two crucial recurring motives: the motif of the shining crystal and the motif of the beaming galaxy. Via these motifs, so I suggest, Gorter aspires to bridge the gap between his epic-lyrical poetry and twentieth-century science. (shrink)

Poetry evokes mental imagery in its readers. But how is mental imagery precisely related to poetry? This article provides a systematic treatment. It clarifies two roles of mental imagery in relation to poetry—as an effect generated by poetry and as an efficient means for understanding and appreciating poetry. The article also relates mental imagery to the discussion on the ‘heresy of paraphrase’. It argues against the orthodox view that the imagistic effects of poetry cannot (...) be captured by prosaic paraphrase, but points to features of poetry that can shape aspects of mental imagery that are liable to be lost in paraphrase. (shrink)

Manfred Eigen extended Erwin Schroedinger’s concept of “life is physics and chemistry” through the introduction of information theory and cybernetic systems theory into “life is physics and chemistry and information.” Based on this assumption, Eigen developed the concepts of quasispecies and hypercycles, which have been dominant in molecular biology and virology ever since. He insisted that the genetic code is not just used metaphorically: it represents a real natural language.However, the basics of scientific knowledge changed dramatically within the (...) second half of the 20th century.Unfortunately, Eigen ignored the results of the philosophy of science discourse on essential features of natural languages and codes: a natural language or code emerges from populations of living agents that communicate. This contribution will look at some of the highlights of this historical development and the results relevant for biological theories about life. (shrink)

This short article pairs the realms of “Mathematics”, “Philosophy”, and “Poetry”, presenting some corners of intersection of this type of scientocreativity. Poetry have long been following mathematical patterns expressed by stern formal restrictions, as the strong metrical structure of ancient Greek heroic epic, or the consistent meter with standardized rhyme scheme and a “volta” of Italian sonnets. Poetry was always connected to Philosophy, and further on, notable mathematicians, like the inventor of quaternions, William Rowan Hamilton, or Ion (...) Barbu, the creator of the Barbilian spaces, have written appreciated poems. We will focus here on an avant-garde movement in literature, art, philosophy, and science, called Paradoxism, founded in Romania in 1980 by a mathematician, philosopher and poet, and on the laboured writing exercises of the Oulipo group, founded in Paris in 1960 by mathematicians and poets, both of them still in act. (shrink)

Since the 1980's, the influence of context-based curricula has been growing in curricula and has been taking place in advance of improving the image of chemistry. This article argues that chemical societies should focus on a better understanding of the negative image of chemistry, by supporting historical and philosophical research. Based on that, chemistry curricula should change.

The articles presents my journey with "Live Poetry" a participatory poetry methods created by Luis Enrique Amaya in Perù. This journey is marked by three encounters I had, that convinced me of the depth of the beauty and healing this journey can bring. The first occurs in Cali, Colombia, in a vast set of working-class neighbourhoods called Distrito de Agua Blanca. This area is dominated by drug trafficking and invisible borders between rival gangs. Teenagers experience a daily life (...) of violence and neglect. In this neighbourhood, I meet Luis Enrique Amaya, poet and social activist from Lima, Peru. Today, Luis will lead a poetry workshop with teenagers in the neighbourhood. It is based on a community poetry method he created years before with his collaborators. The workshop today will have two phases. In the first phase, the poet interviews a passer-by, a member of the community, and asks them to talk about someone important to her or him (a family member, a friend, a lover). In the second phase, the poet asks the interviewee to wait for few minutes. Then the poet sits alone for about ten minutes and composes a poem dedicated to the person chosen by the interviewee. When he has finished, the poet gives the poem to the interviewee as a gift saying: “After listening to you, I composed this poem and I give it to you as a gift. But beware: it is not for you. It is to invite you give it as a gift to the person you told me about”. (shrink)

Comic is one of the paradigmatic forms of hybrid media, and coming up with a satisfactory definition for it has been difficult. Sam Cowling and Ley Cray (2022) take a functional approach and offer an Intentional Picture-Reading View which defines comics as something that is “aptly intended to be picture-read.” I show that the view is extensionally inadequate as is because formally ambitious prose and concrete poetry, too, are aptly intended to be picture-read. The way forward, I argue, is (...) to look at more medium-specific non-depictive images (such as speech balloons and panels) to set comics apart from other hybrid media. (shrink)

In this chapter, I will explore the intersection of philosophy and childhood through the intriguing case study of J. S. Mill, who was almost completely denied a childhood—in the nineteenth-century sense of a qualitatively distinct period inclusive of greater play, imaginative freedom, flexibility, and education. For his part, Mill’s lack of such a childhood was the direct result of his father, James Mill (economic theorist and early proponent of Utilitarianism), who in a letter to Jeremy Bentham explicitly formulates a plan (...) to raise his son as an experiment in the Utilitarian “science” of ethics. More specifically, although James Mill’s end was to create a near-superhuman champion of Utilitarianism, his means to that end included denying John access to other children and the Romantic poetry of his contemporaries. Despite this oppressive lack of a childhood, however, J. S. Mill went on to become perhaps the most influential social and political reformer in British history, especially in regard to gender relations through his groundbreaking work for women’s suffrage. This begs the central question of this chapter, namely how could a philosopher’s tyrannized childhood nevertheless lead to his later overturning of such tyranny in the political sphere? (shrink)

Heraclitus and Modern Poetry: Works Cited.

This paper will attempt a methodological configuration to link the natural sciences (evolutionary theory & neurology) to literature (lullabies and poetry, specifically). It uses findings in neuroscience and animal neurology as well as the theories of evolution by natural selection in to examine patterns in lullabies, and then connect these to poetry. As one will never find a ‘metaphor gene’, nor do genes even code for behaviors –coding instead for traits- is it possible to even locate overlaps between (...) the disciplines of natural science and literature? Doing so requires a mixed methods approach. This article seeks to build on the existing philosophical and theoretical ground of current natural science in order to establish a dialogue with current cultural and literary theories. (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)

Chemistry and physics are two sciences that are hard to connect. Yet there is significant overlap in their aims, methods, and theoretical approaches. In this book, the reduction of chemistry to physics is defended from the viewpoint of a naturalised Nagelian reduction, which is based on a close reading of Nagel's original text. This naturalised notion of reduction is capable of characterising the inter-theory relationships between theories of chemistry and theories of physics. The reconsideration of reduction also (...) leads to a new characterisation of chemical theories. This book is primarily aimed at philosophers of chemistry and chemists with an interest in philosophy, but is also of interest to the general philosopher of science. (shrink)

. Computational chemistry grew in a new era of “desktop modeling,” which coincided with a growing demand for modeling software, especially from the pharmaceutical industry. Parameterization of models in computational chemistry is an arduous enterprise, and we argue that this activity leads, in this specific context, to tensions among scientists regarding the epistemic opacity transparency of parameterized methods and the software implementing them. We relate one flame war from the Computational Chemistry mailing List in order to assess (...) in detail the relationships between modeling methods, parameterization, software and the various forms of their enclosure or disclosure. Our claim is that parameterization issues are an important and often neglected source of epistemic opacity and that this opacity is entangled in methods and software alike. Models and software must be addressed together to understand the epistemological tensions at stake. (shrink)

Octavio Paz conceives of authentic philosophical reflection as ‘thinking a la intemperie’. This conception involves his idea that our contemporary historical and philosophical situation is one of intemperie espiritual. Based on the dual sense of the term intemperie for Paz, I propose that ‘thinking a la intemperie’ means: (i) Exposing our beliefs to the weathering effects of our vital, concrete experience; and (ii) apprehending reality in communion with others through poetic experience of the ever-flowing present. That is, authentic philosophical reflection (...) means making our home thinking and living without rigid, stifling ideological systems, in communion with our neighbors and with our places, here and now, in the unity of present place and present time that we create together. This mode of reflection belongs within a broad American tradition of philosophizing and, for Paz, responds to concerns compatible with those of the pragmatists. (shrink)

In the tenth book of the Republic, Plato famously writes: "There is an ancient quarrel between poetry and philosophy." In this essay I reflect upon this "quarrel" through an analysis of a passage from Dante's Inferno. I conclude by suggesting that, when employed well, poetry and philosophy complement each other in helping us reflect upon the deep issues of life. (This paper was originally presented at the 19th Annual Conference of Association for Core Texts and Courses) .

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)

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)

My intention in this paper is to respond to Jean-Luc Nancy’s claim that poetry, along with philosophy, is essentially incapable of what Nancy describes as "thinking love." To do so, I will first try to come to an understanding of Nancy’s thinking regarding love and then of poetry as presented in his essay "Shattered Love." Having thus prepared the way, I will then respond, via Pablo Neruda’s poem "Oda al Limón," to Nancy’s understanding of poetry vis-à-vis "Shattered (...) Love." This response, in acting out Nancy’s thinking regarding love, will suggest a greater plurality within poetry than Nancy acknowledged. (shrink)

This paper reads Republic 583b-608b as a single, continuous line of argument. First, Socrates distinguishes real from apparent pleasure and argues that justice is more pleasant than injustice. Next, he describes how pleasures nourish the soul. This line of argument continues into the second discussion of poetry: tragic pleasures are mixed pleasures in the soul that seem greater than they are; indulging them nourishes appetite and corrupts the soul. The paper argues that Plato has a novel account of the (...) ‘paradox of tragedy’, and that the Republic and Philebus contain complementary discussions of tragic and comic pleasure. (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 essay will criticize Peter Lamarque’s claim in The Opacity of Narrative that reading for ‘opacity’ is the way to read literature as literature. I will summarize the idea of ‘opacity’ and consider the plausibility of this claim through an examination of Lamarque’s related comments on translation. The argument for ‘opacity’, although it insists on the importance of attention to a work’s form in the apprehension of its content, involves, at the same time, a certain obliviousness to form, indicated in (...) the first instance by an unpersuasive conflation of lyric poetry and prose fiction. Through a comparison of opposing approaches to the translation of a novel written in verse, and an analysis of why the translation of poetry is generally understood to be more challenging than the translation of prose, I will argue that reading for ‘opacity’ does not adequately capture what it means to read literature as literature. (shrink)

Consonant with the ongoing “aesthetic turn” in legal scholarship, this article pursues a new conception of law as poetry. Gestures in this law-as-poetry direction appear in all three main schools in the philosophy of law’s history, as follows. First, natural law sees law as divinely-inspired prophetic poetry. Second, positive law sees the law as a creative human positing (from poetry’s poesis). And third, critical legal theory sees these posited laws as calcified prose prisons, vulnerable to poetic (...) liberation. My first two sections interpret two texts at the intersections among these three theories, namely Percy Bysshe Shelley’s “A Defense of Poetry” and Alexis de Tocqueville’s Democracy in America. Shelley identifies a poetic rebirth in the ruins of natural law, suggesting a philosophy of law as “natural poesis.” And Tocqueville names several figurative aristocracies capable of redeploying aristocratic law against democratic despotism, suggesting a philosophy of law as “aristo-poetic counterforce.” Finally, I propose a new theory of law as poetry bridging these two theories, “natural aristo-poetic counterforce.”. (shrink)

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)

Chemical visualizations and models are special kinds of situated, inductive arguments. In this paper, I examine several historical case studies—an archive of images from museums, special collections, and popular magazines—as examples of emergent practices of physical modeling as theoretical play which became the basis for molecular biology and structural chemistry. Specifically, I trace a legacy of visualization tools that starts with Archibald Scott Cooper and Friedrich Kekulé in the late 1800s, crystallizes as material manipulatives in Kekulé’s student Jacobus Henricus (...) Van’t Hoff and his folded paper “toys,” is legitimized in the California lab of Linus Pauling, and is glorified in the popular imaginary with James Watson and Francis Crick’s model of DNA. My tracing then follows several threads into contemporary modeling practices. I ultimately argue that modeling play, originally outside of the boundary of deductive, positivist science, is now an accepted mode of inductive reasoning in these related chemical fields. (shrink)

Invited review of the anthology of new papers _Philosophy of Chemistry: Growth of a New Discipline_.

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 “Flourish,” the psychologist Martin Seligman proposed that psychological well-being consists of “PERMA: positive emotion, engagement, relationships, meaning, and accomplishment.” Although the question of what constitutes flourishing or psychological well-being has been long debated among scholars, the recent literature has suggested that a paradigmatic or prototypical case of psychological well-being would manifest most or all of the aforementioned PERMA factors. The recent literature on poetry therapy has also suggested that poetry practice may be utilized as “an effective therapeutic (...) tool” for patients suffering from a variety of ailments so it seems plausible that practicing poetry can positively contribute to one flourishing with greater psychological well-being. However, recent studies on poetry therapy have not yet been reviewed and integrated under the PERMA framework from positive psychology to further explore and explicate this possibility. This article therefore contributes to extant work by reviewing recent research on poetry therapy and psychological well-being and offering support for the claim that practicing poetry can positively contribute to one flourishing with greater psychological well-being by positively influencing their emotions, engagement or “flow” experiences, social relationships, sense of meaning or purpose in life, and personal accomplishments. (shrink)

Friedrich Schlegel’s remarks about poetry and reality are notoriously baffling. They are often regarded as outlandish, or “poetically exaggerated” statements, since they are taken to suggest that there is no difference between poetry and reality or to express the view that there is no way out of linguistic and poetic constructions (Bowie). I take all these responses to be mistaken, and argue that Schlegel’s remarks are philosophical observations about a genuine confusion in theoretical approaches to the distinction between (...) fiction and reality. The confusion at stake involves the assumption that this distinction is and must be fixed independently of the ordinary practices of using these terms to mean certain things in specific situations. And this assumption itself is grounded fundamentally in a confused picture about the way language works. I argue that this confused understanding of the distinction between fiction and reality is not an object of the past, but a picture that is still shaping a central strand in the contemporary debate in philosophical aesthetics about our emotional responses to fiction. And while I do not use Schlegel’s approach to argue against this contemporary view directly, I suggest that his philosophical method includes the resources for unraveling a central confusion in this contemporary debate. (shrink)

In this essay, I analyze Romare Bearden’s art, methodology, and thinking about art, as well as his attempt to harmonize his personal aesthetic goals with his sociopolitical concerns. I then turn to Hans-Georg Gadamer’s reflections on art and our experience (Erfahrung) of art. I show how Bearden’s approach to art and the artworks themselves resonate with Gadamer’s critique of aesthetic consciousness and his contention that artworks address us, make claims upon us, and even reveal truth. Lastly, I discuss Gadamer’s emphasis (...) on the spectator’s active yet non-mastering role in the event of art’s address—an event that implicates the spectator and has the potential to transform him or her. This leads to a discussion of Gadamer’s notion of the type of self-(and world) understanding that occurs through aesthetic experience. I close by returning to Bearden in order to discuss how his art unearths a crucial feature of our being-in-the-world. I call this feature “world-unmasking” and show how it expands and enriches Gadamer’s account. (shrink)

This chapter explores the cognitive and moral significance of the kind of imaginative experience poetry offers. It identifies two forms of imaginative experience that are especially important to poetry: ‘experiencing-as’ and ‘experience-taking’. Experiencing-as is ‘inherently first-personal, embodied, and phenomenologically characterized’ while in experience-taking one ‘takes the perspective of another, simulating some aspect or aspects of his psychology as if they were his own’. Through a sensitive and probing reading of Paul Celan’s Psalm, the chapter shows the role these (...) two forms of experience play in producing the unique form of ethical and epistemic value poetry can bear. The chapter’s argument for this has important implications for our understanding of the poetic imagination and nature of our experience of meaning in poetic contexts. (shrink)

Philosophical reflection on the conditions of knowledge did not begin in a cultural vacuum. Several centuries before the Ionian thinkers began their investigations, the Homeric bards had identified various factors that militate against a secure grasp of the truth. In the words of the ‘second invocation of the Muses’ in Iliad II: “you, goddesses, are present and know all things, whereas we mortals hear only a rumor and know nothing.” Similarly Archilochus: “Of such a sort, Glaucus, son of Leptines, is (...) the mind of mortal man, whatever Zeus may bring him for the day, for he thinks such things as he meets with.” When one adds the truism that the scope of human experience pales in comparison with the synoptic view of events enjoyed by the gods, it follows that for most matters it is for the gods to know and mortals merely to conjecture. Traces of the older ‘poetic pessimism’ can be seen in the teachings of many of the first philosophers. Alcmaeon reaffirms that “while the gods enjoy clear and certain knowledge of all things, mortals must conjecture from signs” (B 1). Although Xenophanes encourages inquiry into a wide range of phenomena, he concludes that “No man has known nor will there be anyone who knows the clear and sure truth concerning the gods and what I say about all things” (B 34). And when philosophers begin to affirm a more optimistic view they often do so in terms that invite comparison with the older outlook. The chief truth Heraclitus claims to have discovered is the logos or ‘basic formula’ which holds everywhere and forever (B 1, 30, 80, and 90). Parmenides provides reason to think that human beings can discover the truth even about things located “far off” (B 4). And both Empedocles and Democritus contrast the inferior awareness of those “who think in terms of what they have met with” with the wisdom available to those who have heard and ponder their teachings (B 131). For these thinkers, separation in space and time—the old ‘locality problem’—no longer posed an impediment to knowledge. -/- . (shrink)

I argue for a perfectionist reading of Mill’s account of the good life, by using the failures of development recorded in his Autobiography as a way to understand his official account of happiness in Utilitarianism. This work offers both a new perspective on Mill’s thought, and a distinctive account of the role of aesthetic and emotional capacities in the most choiceworthy human life. I consider the philosophical purposes of autobiography, Mill’s disagreements with Bentham, and the nature of competent judges and (...) the pleasure they take in higher culture. I conclude that Millian perfectionism is an attractive and underappreciated option for contemporary value theory. (shrink)

In this paper, I will explore how the work of Wallace Stevens constitutes a phenomenology that resonates strongly with that of William James. I will, first, explore two explicit references to James in the essays of Stevens that constitute a misrepresentation of a rather duplicitous quote from James’ personal letters. Second, I will consider Stevens’ little known lecture-turned-essay, “A Collect of Philosophy,” and the poem, “Large Red Man Reading,” as texts that are both about a conception of poetryphilosophy as well (...) as being performances of poetry-philosophy. Finally, I will compare James’ and Stevens’ thought on the imagination, highlighting both form and content and the poetic-philosophical union or blend that makes possible those similarities. (shrink)

Mikhail Bakhtin has gained a reputation of a thinker and literary theorist somehow hostile to poetry, and more specifically to the epic. This view is based on texts, in which Bakhtin creates and develops a conceptual contrast between poetry and the novel (in "Discourse in the Novel") or between epic and the novel (in "Epic and Novel"). However, as I will show, such perceptions of Bakhtin's position are grounded in a misunderstanding of Bakhtin's writing strategy and philosophical approach. (...) Bakhtin often draws such conceptual contrasts as the ones between epic and novel, but does so not in order to characterize pre-given phenomena (in this case, the epic and the novel as two groups of literary works), but to construct a conceptual space which he in turn uses to explicate elements of his philosophy. (shrink)

This special issue of Journal of Poetry Therapy focuses on the use of poetry and other forms of expressive writing to explore the transformative experiences of military veterans, and so in this article I discuss how the use of poetry, hip-hop, and philosophy positively influenced my life while I was serving in the United States Air Force (USAF) from 2000 through 2004. This article briefly reviews my reasons for enlisting and discusses the importance that poetry, hip-hop, (...) and philosophy had for me during four different phases of my military history: (i) Basic Military Training, (ii) Aircraft Qualification, Combat Survival, and Water Survival Training, (iii) serving in the post 9/11 operations Operation Enduring Freedom and Operation Iraqi Freedom, and (iv) the period after fulfilling my time of service for the USAF. In discussing each phase, I explain the unique challenges that I encountered, how I used poetry, hip-hop, and philosophy to successfully overcome these challenges, point out relevant examples of poetry, hip-hop, and philosophy that were particularly influential, and include pictures of my experiences throughout. (shrink)

This article explores how the notion ofordinary aestheticscan stem, as well as the one ofordinary ethics, from thatrevolution of the ordinarystarted by Wittgenstein and further developed by philosophers like Cavell and Diamond. The idea ofordinary ethicsemphasizes the importance of everyday life and the particular details of our experiences. This concept can be extended to aesthetics, forming the basis of a modality of aesthetic appreciation that recognize values and importance in the details and nuances of everyday experience. One example of suchordinary (...) aestheticscan be found in thehaikupoetry of Bashō. Bashō’s poetry often focuses on the ordinary and mundane aspects of life, such as the changing of seasons, the sound of rain, or the sight of a bird in flight, but also on that lower world made of insects, rotten foliage, and excrements. Bashō conveys in poetry the core ofZenphilosophy, emphasizing the interconnectedness of all things and the value of living in the present moment. This approach to aesthetics offers an alternative to more traditional modes of aesthetic appreciation, which tend to prioritize grandeur, spectacle, and formal perfection. Ultimately, the concept of ordinary aesthetics invites us to find the intrinsic importance in the simple things that surround us and to cultivate a deeper appreciation for the richness of our everyday lives. (shrink)

Can poetry be Diasporic? Can poetry free itself from the shackles of conformism? Can it be independent and divergent, and not seek a home? Is it capable of mustering its inner strengths and living without being enlisted by a collective that accords it power? This article argues that poetry is essentially dialectic. It has little vitality without the presence of the Other, without interaction with him. However, it also contains independent, personal elements and reaches its peak through (...) the individual’s anti-conformist activity and expression. Poetry, like language, enables us to view ourselves from outside, thereby fulfilling an important role, similar to language itself, and it is created by the individual’s alienation even from himself. Poetry may provide one of the most creative potential tools of Diasporic philosophy, love and creativity being its cornerstones, but it can also be a destructive factor seeking to imprison the creative soul within a home with the solid walls of a rigid community. (shrink)

In this paper, I defend the agent/patient distinction against critics who argue that causal interactions are symmetrical. Specifically, I argue that there is a widespread type of causal interaction between distinct entities, resulting in a type of ontological asymmetry that provides principled grounds for distinguishing agents from patients. The type of interaction where the asymmetry is found is when one of the entities undergoes a change in kind, structure, powers, or intrinsic properties as a result of the interaction while the (...) other does not. Interactions of this type are widespread in molecular biology and chemistry. I focus specifically on (i) the actions of enzymes on substrates and (ii) water molecules breaking the bonds of polarized molecules. Finally, I respond to objections by laying out and to a limited extent defending three commitments of my account: emergent entities and powers, realism about chemical kinds or structures, and the assumption of the agent/patient distinction in functional attributions in biology. (shrink)

Three-dimensional material models of molecules were used throughout the 19th century, either functioning as a mere representation or opening new epistemic horizons. In this paper, two case studies are examined: the 1875 models of van ‘t Hoff and the 1890 models of Sachse. What is unique in these two case studies is that both models were not only folded, but were also conceptualized mathematically. When viewed in light of the chemical research of that period not only were both of these (...) aspects, considered in their singularity, exceptional, but also taken together may be thought of as a subversion of the way molecules were chemically investigated in the 19th century. Concentrating on this unique shared characteristic in the models of van ‘t Hoff and the models of Sachse, this paper deals with the shifts and displacements between their operational methods and existence: between their technical and epistemological aspects and the fact that they were folded, which was forgotten or simply ignored in the subsequent development of chemistry. (shrink)

During the twentieth century, the mechanistic worldview came under attack mainly because of the rise of quantum mechanics but some of its basic characteristics survived and are still evident within current science in some form or other. Many scholars have produced interesting studies of such significant mechanistic trends within current physics and biology but very few have bothered to explore the effects of this worldview on current chemistry. This paper makes a contribution to fill this gap. It presents first (...) a brief historical overview of the mechanistic worldview and then examines the present situation within chemistry by referring to current studies in the philosophy of chemistry and determining which trends are still mechanistic in spirit and which are not. (shrink)

This dissertation addresses the ontological significance of poetry in the thought of Martin Heidegger. It gives an account of both his earlier and later thinking. The central argument of the dissertation is that poetry, as conceptualised by Heidegger, is beneficial and necessary for the living of an authentic life. The poetry of T. S Eliot features as a sustaining voice throughout the dissertation to validate Heidegger's ideas and also to demonstrate some interesting similarities in their ideas. Chapter (...) one demonstrates how effectively certain concepts from Heidegger's 'Being and Time' can be applied in an analysis of T.S. Eliots celebrated poem 'The Love Song of J. Alfred Prufrock'. The reading involves concepts such as angst, authenticity, inauthenticity, the they and idle talk as they appear in 'Being and Time' and then relates these to aspects of T.S Eliot's poem. Chapter two is an exegesis of Heideggers essay 'The Origin of the Work of Art' in order to understand the meaning of poetry as he describes it. The essay centres on the interpretation of a painting by Vincent van Gogh, and what the experience of the painting reveals to someone authentically engaging with the artwork. Heidegger attempts to establish what the essence of a thing is (the artwork as thing), for the 'origin' of the artwork resides in its 'thingliness'. He creates an important distinction between equipment and the artwork, as well as earth and the world in order to justify the unique, originary position that the artwork occupies. This leads Heidegger to create a new understanding of poetry (which is expanded to encompass all art forms) and to emphasise the importance of the human agent in both the creation and preservation of the artwork. Chapter three is an exploration of language in both the Heidegger of 'Being and Time' and the later Heidegger's thought. The aim is to explore the ontological effect that Heidegger's conception of language has for our existence. He places language within a primordial role arguing that it is not us who speak language, but language that speaks us. This conception has important consequences for our relationship with Being, and the way in which we understand our existence. The final chapter unifies the various themes of the dissertation into a cohesive argument. The chapter begins with a discussion on the meaning of our existence following the later Heidegger. This is nothing less than the guardianship of Being which can only be understood in its relation to our dwelling within the fourfold. In conclusion it is through the measure of the language of poetry that we can realise the possibility of authentic dwelling. (shrink)

In this article, I build on my recent conceptions of law as poetry and of justice as dance by articulating three new conceptions of the relationship between law and justice. In the first, “poetry-based justice”, justice consists of a rigid choreography to a kind of musical recitation of the law’s poetry. In the second, “dancing-based law”, justice consists of spontaneous, freely improvised movement patterns that the poetry of the law tries to capture in a kind of (...) musical notation. And in the third, “reciprocal-legal justice”, justice and law consist of a reciprocally determining artistic collaboration between the democratic dancing masses and the aristocratic poetising elites. Given that each of these predominates in one of three types of community, I then present a reclassification of right-leaning, centrist and leftist societies as dominated by “literalist”, “kinetic” and “mutualist” communities (respectively), and offer suggestions for legislators and activists working in each type. In conclusion, law and justice, qua poetry and dance, become more flexible, inclusive and open to creative improvising and collaboration, a new form that I name, after Astraea, Greek goddess of divine justice, “astral legal justice”. (shrink)

A report on the pioneering of a new pedagogy designed to challenge students to use and improve their memory, increase their awareness of logical fallacies and tacitly embedded contradiction(s) and sensitize them to the deeply symbolic nature of thought in all its expressions (math, logos, music, picture and motor skills), as created, by the author, from in situ research at a senior level (ESL) course in Storytelling at Hankuk University of Foreign Studies, South Korea’s premier university for foreign languages and (...) translation.in. (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)

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)

In general, visual experiences represent determinately. And visual experiences, generally, represent properties of distal objects like their colour, shape, and size, but they do not, generally, represent properties of proximal states like that of incoming light or the retina. By making perceptual constancies central to perceptual representation, Peter Schulte extends Karen Neander’s Causal-Informational Teleosemantic theory in order to accommodate these facts. However, by appealing to the psychophysics and chemistry of how light-related properties interact to produce stimulation to the visual (...) system and how the visual system processes such input to produce experiences, I argue that Schulte’s theory fails to accommodate the facts of distality and determinacy. (shrink)