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)

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)

This is a brief review of the Rasa theory of Indian aesthetics and the works I have done on the same. A major source of the Indian system of classification of emotional states comes from the ‘Natyasastra’, the ancient Indian treatise on the performing arts, which dates back to the 2nd Century AD (or much earlier, pg. LXXXVI: Natyasastra, Ghosh, 1951). The ‘Natyasastra’ speaks about ‘sentiments’ or ‘Rasas’ (pg.102: Natyasastra, Ghosh, 1951) which are produced when certain ‘dominant (...) states’ (sthayi Bhava), ‘transitory states’ (vyabhicari Bhava) and ‘temperamental states’ (sattvika Bhava) of emotions come together (pgs.102, 105: Natyasastra, Ghosh, 1951). This Rasa theory, which is still widely followed in classical Indian performing arts, classifies eight Rasas or sentiments which are: Sringara (erotic), Hasya (comic), Karuna (pathetic), Raudra (furious), Vira (heroic), Bhayanaka (terrible), Bibhatsa (odious) and Adbhuta (marvellous). There was a later addition of the ninth sentiment or Rasa called Santa (peace) in later Sanskrit poetics (pg.102: Natyasastra, Ghosh, 1951). According to ancient Indian aesthetics (especially in the context of Bharatas’ ‘Natyasastra’, Anandavardhana’s ‘Dhvanyaloka’ and Abhinavagupta’s ‘Abhinavabharati’), ‘Rasa’ is the relishable state of elemental human emotions called ‘Bhavas’. Bharata’s ‘Natyasastra’ originally spoke of eight Rasas. The concept of the 9th Rasa was a later interpolation by the Kashmiri Shaivist Abhinavagupta (10th Century AD) and also his predecessor Anandavardhana (9th Century AD). Abhinavagupta extends the eight Rasas by adding the concept of the Santa Rasa which he regards as the essence of all Rasas. It is this 9th Rasa which according to Abhinavagupta lets the Rasika attain the aesthetic detachment and savour the essences of all other Rasas and therefore the true aesthetic delight. The introduction of 9th Rasa integrates the concepts of Bharata’s Rasasutra and Patanjali’s Yoga theory – the detachment necessary to introspect inwards into the inherent state of freedom and bliss (aesthetic consciousness). (shrink)

Comparative religion scholar Thomas Berry’s influential concept of “Earth jurisprudence” has been helpfully elaborated in three principal books. My first section identifies four of their common themes, deriving therefrom an implicit narrative: (1) the basis of ecology is autopoiesis, which (2) originally generated human communities and Indigenous vernacular laws, which were (3) later reasserted by forest defenders who fought to create the Magna Carta’s “Charter of the Forest,” which is (4) now championed globally by the Indian physicist and eco-activist (...) Vandana Shiva’s Earth Democracy movement. My next three sections identify mutually exclusive elements of the three books, deriving the following alternative narrative: self-conscious new dancing rituals (Cullinan) could empower an historically informed reconstruction of private property (Burdon) via commons-based vernacular law (Weston and Bollier). And my conclusion offers one template for such a strategy, namely a new environmental variation on my dancing-poetic conception of legal justice, christened “emerald star-law.”. (shrink)

Guru Gobind Singh was a versatile genius, a unique personality of contrasting qualities of virtue and valour, the spirit of service and sacrifice, solider and scholar. He was not only a great warrior but also a prolific writer and a poet of high calibre. The brief span of forty-two years of his life is vibrant with activity. He wrote in several languages. It is said that fourteen maunds load of manuscripts were lost in Sirsa when the Guru was being pursued (...) from Anandpur to Chamkaur. Fortunately, part of his work survived and they afford a pretty clear view of his aims and ideals. The Guru compiled a variety of poetic compositions, some of which are considered masterpieces of medieval Punjabi poetry and Braj literature. His patronage of poets and scholars at his Darbar contributed a significant addition to the storehouse of Puranic Epics in Indian literature. (shrink)

Symbolism, as a literary device, is widely employed in the scriptures of almost all religions. Understanding the use of symbolism in a scripture enables us to comprehend and appreciate the intended message of the scripture’s author in a better way. The poetic compositions of Sri Guru Granth Sahib (SGGS) are notable for their richness, and various images and symbols used to tell its authors’ mystical and spiritual experiences. These compositions aptly use natural symbolism to describe humanity’s diverse physical and spiritual (...) needs and suggest innovative ways to tackle these issues. As SGGS’s message is addressed to the ordinary person, the symbolism used to depict various facets and aspirations of human life has been taken from nature and Indian culture. This article reports on the usage of natural symbolism in SGGS. (shrink)

Rabindranath Tagore (1861–1941), one of the greatest contemporary Indian thinkers, discussed the problem of religion and faith on the ground of global pluralism and religious diversity. He presented his views in numerous poetical works (including Gitanjali, a collection of Song offerings translated into English, for which he was awarded with the Noble Prize in literature in 1913), but he also delivered many speeches, mostly addressed to the Western audience (e.g. The religion of Man). In his writing, Tagore often uses (...) the terms “religion” and dharma interchangeably. This article focuses on both key terms and on the question whether they may be seen as equivalent according to him. Does he really equalize both terms? or, How was his understanding of “religion” and dharma influenced by his cultural background? The article opens with the analyse of the dictionary definitions of both key terms. Next, at the basis of dictionary explanation the main question is raised: whether “religion” and dharma could be treated as equivalents in their whole range of meanings or should their understanding be limited to a chosen definition or definitions? In the following section, Tagore’s concept of the so called “Man the Eternal” and “Divinity in Man” is briefly described. Final comments include some remarks on both terms explained in the light of Tagore’s view on comparative methodology. He claims that “religion” and dharma are close in meaning, since they both stand for the rational description of the individual experience of divinity. Therefore, they may ultimately lead to the common end, regardless their different cultural roots and various circumstances in which both concepts developed. Tagore argues for freedom as the preliminary condition for understanding of the phenomenon of transcendence of human nature towards the experience of divinity. He understands freedom as perfect harmony realized in this world but not merely through our response to it in knowing but in being. Only when such an approach is accepted the experience of “Man the Eternal” can be achieved. In this respect all human beings may meet, regardless they come from Western or Eastern culture. Such an exposition of the core of religious experience allows us to use the terms of “religion” and dharma interchangeably, and thus contribute to the comparative methodology in religious studies. (shrink)

Guru Gobind Singh was a many splendoured genius, possessed of extraordinary qualities of virtue and valour, service and sacrifice, solider and scholar. He was not only a great warrior but a prolific writer and a poet of high calibre. The brief span of forty-two years of his life is full of much activity. He wrote in many languages. It is said that fourteen maunds load of manuscripts were lost in Sirsa when the Guru was being pursued from Anandpur to Chamkaur. (...) Fortunately, some of his work survived and from this, we get a pretty clear picture of his aims and ideals. The Guru compiled a variety of poetic compositions, some of which are considered masterpieces of medieval Punjabi poetry and Braj literature. His patronage of poets and scholars at his Darbar contributed a significant addition to the storehouse of Puranic Epics in Indian literature. (shrink)

Guru Gobind Singh, the tenth Sikh Guru, was a divine preceptor and crusader for noble cause of human welfare. He was a great religious leader, a poet and a mystic, a true scholar and philosopher. He was also a fearless warrior and a military commander, who always fought against tyranny and oppression, to establish a just and benign state. In his hymns of 'Bachitar Natak', he proclaimed his mission as 'to protect the righteous, oppressed and downtrodden people and to destroy (...) the evil-doers'. He stressed on the unity between humans, rejected all sorts of discriminations and preached equality and goodwill. Being a prolific writer and a poet of rare sensibility, Guru Gobind Singh greatly enriched the literary heritage of India. His poetic vision depicts the glorious epitome of medieval Indian literary traditions. Through his compositions, he enunciated a doctrine of armed struggle for the protection of truth and justice. The fusion of the devotional and martial, of the spiritual and the heroic ethos is the most important feature of his literary work and his charismatic leadership. With his spiritual dynamism, he attempted to reconcile the transcendent with the immanent through his creation of the Khalsa. The commonwealth of the Khalsa was founded based on all round equality and total dedication to one Supreme Reality. Guru Gobind Singh was a pioneer Indian leader to introduce republican set up and democratic institutions. His teachings have great relevance for the modern man to build a global society with a commitment to peace and goodwill across all sorts of constraints and geographical boundaries. (shrink)

Professor Puran Singh, a unique synthesis of a poet, philosopher and scientist, rose like a celestial star on the firmament of modern Indian literature. The many splendored personality of this great chemist, mystic poet, visionary and interpreter of the Sikh cultural consciousness still beckons scholars to explore the extent of his vision in various fields. After a splendid in-depth study of the Life and Work of Puran Singh, Dr. Hardev Singh Virk has made a successful attempt to unravel the (...) persona of this multi-dimensional genius in his book titled 'Professor Puran Singh - Scientist, Poet and Philosopher.' The book is an anthology of 11 essays - 7 in English and 4 in Punjabi. In the 'Introduction to the book, the author traces a brief history of the kindling of his interest in the 'Life and Works of Puran Singh.' Then he articulates the purpose of the book to elaborate the ideas of this eminent scholar through different mediums to reach a wider audience. Dr. Virk stresses that poetic and other literary works of Puran Singh are of International standards and worth a Nobel Prize in literature. Still, sadly these works have not been adequately projected at the world forum. (shrink)

A rational interpretation is proposed for two ancient Indian logics: the Jaina saptabhaṅgī, and the Mādhyamika catuṣkoṭi. It is argued that the irrationality currently imputed to these logics relies upon some philosophical preconceptions inherited from Aristotelian metaphysics. This misunderstanding can be corrected in two steps: by recalling their assumptions about truth; by reconstructing their ensuing theory of judgment within a common conceptual framework.

Poems are not the only things we sometimes call poetic. We experience as poetic also prose passages, as well as films, music, visual art, and even occurrences in daily life. But what is it exactly for something to be poetic in this wider sense? Discussion of the poetic in this sense is virtually nonexistent in the extant analytic literature. The aim of this article is to get a start on trying to come to grips with this phenomenon—the poetic as an (...) aesthetic category that outruns poetry as an art form. It proposes an initial sketch of an account in terms of the fittingness of certain affective reactions to artworks and other things, reactions featuring notably elements of tenderness and elevation. (shrink)

This book sheds new light on the fascinating - at times dark and at times hopeful - reception of classical Yoga philosophies in Germany during the nineteenth century. Written for non-specialists, Indian Philosophy and Yoga in Germany will be of interest to students and scholars working on 19th-century philosophy, Indian philosophy, comparative philosophy, Hindu studies, intellectual history, and religious history.

In this article I develop Heidegger's phenomenology of poetry, showing that it may provide grounds for rejecting claims that he lapses into linguistic idealism. Proceeding via an analysis of the three concepts of language operative in the philosopher's work, I demonstrate how poetic language challenges language's designative and world-disclosive functions. The experience with poetic language, which disrupts Dasein's absorption by emerging out of equipmentality in the mode of the broken tool, brings Dasein to wonder at the world's existence in such (...) a way that doubt about its reality cannot enter the picture. (shrink)

Contemporary Indian Philosophy is related to contemporary Indian thinkers and contains the proceedings of First Session of Society for Positive Philosophy and Interdisciplinary Studies (SPPIS) Haryana. It is neither easy nor impossible to translate into action all noble goals set forth by the eminent thinkers and scholars, but we might try to discuss and propagate their ideas. In this session all papers submitted electronically and selected abstracts have been published on a website especially develop for this session. In (...) this volume we included some papers from this session and also from open sources and contributors include teachers, research scholars and students etc. This volume is divided into two parts. First part contains papers on Swami Vivekananda and second part contains papers of B. G. Tilak, Sri Aurobindo, Mahatma Gandhi, Jawaharlal Nehru, Saheed Bhagat Singh and Dr. B.R. Ambedkar etc. It is the general intention of the Centre to produce informative as well as positive literature to inspire and motivate the students and the general readers. (shrink)

This paper is an attempt at developing a poetic ontology of the senses through an understanding of poetry, or more importantly the poetic as such, i.e., the movement, temporality, and various antinomies within poetic gesturing which interrupt the logic of closed meaning and totalization. Through a range of philosophers such as Nietzsche, Heidegger, Derrida, and Jean-Luc Nancy, amongst others, and primarily the poetry of Pessoa and Rilke, the paper investigates how poetry (poetics) may not only show us a path (...) toward a poetic ontology (thus an ontology in correlation with the senses and movements of natural and material existence), but furthermore point us toward the possibility of an ethical becoming which mirrors the movements of poetry, in contrast to following the rigid structures of absolute and fixed meaning. The overall intention in this analysis is not to find a clear, complete, or overarching thought which may point us toward the ethical or the good. The attempt here is to show that ethics is an activity, a continuous becoming (analogous to poetics) that can be sensed through a way of being in the world, and "being-with" the world, as compared to simply understood through cognitive forms of abstract knowledge. (shrink)

B.K.Matilal, and earlier J.F.Staal, have suggested a reading of the `Nyaya five limb schema' (also sometimes referred to as the Indian Schema or Hindu Syllogism) from Gotama's Nyaya-Sutra in terms of a binary occurrence relation. In this paper we provide a rational justification of a version of this reading as Analogical Reasoning within the framework of Polyadic Pure Inductive Logic.

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)

The chapter provides an overview on what it means to be in a world that is uncertain, e.g., how under conditions of limited understanding any activity is an activity that designs and constructs, and how designing objects, spaces, and situations relates to the (designed) meta-world of second-order cybernetics. Designers require a framework that is open, but one that supplies ethical guidance when ‘constructing’ something new. Relating second-order design thinking to insights in philosophy and aesthetics, the chapter argues that second-order cybernetics (...) provides a response to this ethical challenge and essentially it entails a poetics of designing. //// 'A Poetics of Designing' is part of the first book-length collection of texts in Design Cybernetics. It introduces the subject from the point of view of aesthetics. Importantly, the chapter argues that second-order cybernetics circumvents the necessity for a muse inspired artist or genius as a mediator between higher spirits and life, in favour of artists and designers who have true agency. //// Cybernetics is often associated with AI, which is, however, only one of the branches that developed on the basis of the interdisciplinary research begun in the 1940s and entitled cybernetics. I hope the chapter contributes to a better understanding of the second-order cybernetics that has been conceived in close relationship with art and design from the late 60s onwards. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 207-215 [Access article in PDF] Notes and Fragments Poetics of Sentimentality Rick Anthony Furtak IN HIS MAJOR WORK, The Passions, Robert Solomon argues that emotions are judgments. 1 Through a series of persuasive examples, he shows that emotions are best understood as mental states which involve certain beliefs about the world. This means that every emotion has an object: if I am angry (...) at John for stealing my car, the object of my anger is the fact (or what I take to be a fact) that my car has been stolen by John. If I find out that this is not the case, that my car has not even left the garage, then my anger should vanish along with its justification. 2 The key point here is that anger, like any other emotion, may be reasonable or inappropriate depending on the situation. If there is nothing to be angry about, then it would be irrational for me to cultivate anger simply because I enjoy having this particular emotion. In general, emotional responses are cognitively flawed whenever they are at odds with the properties of their objects. If we want our judgments to be realistic and not delusional, then we must avoid this kind of error.It is curious, then, that Solomon has written an essay in which he categorically declares that "there is nothing wrong with sentimentality." 3 For it would appear that his theory of emotion provides precisely the terms needed in order to specify what is wrong with it. If emotions are judgments, then "sentimentality" ought to be an important critical term to designate the habit of having emotions that involve either impaired or mistaken judgment. Nevertheless, Solomon is willing to defend any and every episode of tender emotion, of the kind associated with the [End Page 207] death of Little Nell in The Old Curiosity Shop (S, p. 240). He suggests that the more we can muster up this sort of response to literature or life, the better. What he seeks to encourage, in other words, is what Hume would call "delicacy" of (aesthetic) taste and of (ethical) passion. 4 But while Hume acknowledges that sensitivity to beauty and to ugliness are two sides of the same coin, such that anyone who is susceptible to lively enjoyments is also liable to undergo pungent sorrows, Solomon wants to promote only the tender aspect of emotion.On the principle of passionate maximization, it is good if I can be tenderly affected by a poem—any poem! The problem with such crass emotion-stoking is that it precludes the possibility of distinguishing between, for instance, the two stanzas below. Both are by Wilfred Owen: the first was written in 1914 and the second in 1918. 5 I O meet it is and passing sweet To live in peace with others, But sweeter still and far more meet To die in war for brothers. II Bent double, like old beggars under sacks, Knock-kneed, coughing like hags, we cursed through sludge, Till on the haunting flares we turned our backs And towards our distant rest began to trudge. Men marched asleep. Many had lost their boots But limped on, blood-shod. All went lame; all blind; Drunk with fatigue; deaf even to the hoots Of tired, outstripped Five-Nines that dropped behind. Only if emotions did not involve rational judgment could a person's passionate response to these two stanzas be a matter of indifference. But it seems that, on the contrary, an essential component of understanding them is recognizing that they express irreconcilable cognitive attitudes. The tone of the 1918 stanza is strikingly different from that of the earlier one, even though they share roughly the same topic. The latter stanza is stark and ominous, and filled with vivid detail; the one from 1914 is sweet and vague. Clearly, we might describe the earlier of the two as "sentimental"—the question is, what kind of judgment does [End Page 208] it involve? I suggest that its insipid jingles endorse the view that war is a delightful opportunity to nurture brotherhood and gain... (shrink)

This study forms a part of a larger investigation of the influence of the philosophy of Heraclitus of Ephesus on modern poetry. T. S. Eliot, to mention the best known of the many poets inspired by Heraclitus, selected two Heraclitus fragments (B 2 and B 60) as epigraphs for his “Burnt Norton”, the first of his Four Quartets. Eliot explained that he was drawn to the fragments because of their ‘ambiguity’ and ‘extraordinary poetic suggestiveness’. Similarly, in ‘This Solitude of Cataracts’, (...) Wallace Stevens spoke of ‘the flecked river which kept flowing and never the same way twice’ and elsewhere noted the ‘inherently poetic quality’ of many Heraclitean sayings. To gain some sense of the nature and magnitude of Heraclitus’ legacy for modern poetry we must first explore his vision of ‘a fiery cosmos being kindled in measures and extinguished in measures’ and a river into which one cannot step twice. -/- . (shrink)

Rasa, the aesthetic experience, stands as the highest purpose of art according to Indian Aesthetics. In this paper we explore the concept of non-representational dance or nṛtta with the aim of integrating an answerability to rasa into the structure of Bharatanāṭyam, a present-day classical dance of India. Drawing from sage Bharata’s Nāṭyaśāstra and supplemented by insights from Anandavardhana's Dhvanyālōka, the study provides a śāstric (analytical and philosophical) framework for non-representational dance (nṛtta) using three overarching canons of Indian Aesthetics (...) – Rasa, Aucitya, and Dhvani. We present a significant advancement in the field of Indian dance aesthetics by offering a refined definition of non-representational dance or nṛtta by aligning it within the framework of the rasa sūtra (dictum on rasa). The definition is substantiated by a nuanced analysis and interpretation of Bharata’s delineation of nṛtta, and cross-examination with related concepts in the Nāṭyaśāstra. Furthermore, we explore non-representational dance within the frameworks of aucitya and dhvani, enhancing fundamental concepts established by this definition. (shrink)

Imaginative resistance (IR) is rejecting a claim that is true within a fictional world. Accounts that describe IR hold that readers exit a fiction at points of resistance. But if resistance entails exiting a fiction, then learning morality from fiction doesn’t occur. But moral learning from fiction does occur; some such cases are instances of accepting a norm one first denied. I amend current solutions to IR with poetic license. The more poetic license granted a work, the more flexible one (...) is regarding perceived falsehoods. Instead of exiting the fiction, one has the chance to stay engaged and possibly learn norms she previously denied. (shrink)

On the basis of a revision of the real dynamics of Greek poiesis and autopoiesis as evolutionary processes of meaning and knowledge-of-the-World evaluative-construction, Cognitive Poetics proposes key philological, ontological and cultural adjustments to improve our understanding of thought, conceptual activity, and the origins and social nature of language. It searches for an integrated theory of social problems in general Cognitive Science: from Linguistics or Psychology, through Anthropology, Neurophilosophy or Literary Studies, to Neurobiology or Artificial Life Sciences. From an essential (...) turn to the real thing, cognition as (social) action, it provides new unforeseen accounts of the complex dynamics of human essentially creative understanding studying and analyzing all form of texts as active fossils as mentils (Guerra 2009). (shrink)

'ā no bhadrāḥ kratavo yantu viśvato ' Let good thoughts come from all around; inspired by this timeless epic of Rigveda. India has presented an excellent model of Multiculturalism to the world. The multiculturalist model of the West, as established by contemporary thinkers like Wilkymalika, is based on the separate political existence of different cultural classes. been made for thousands of years. India has maintained Multiculturalism not only at the socio-cultural level but also at the political level. Through federal structure, (...) universal suffrage, constitutionally guaranteed civil rights, with other constitutional institutions and provisions, multiculturalism is being addressed at the political level for a population of 13 million people .Thus in India , multiculturalism is not only is not only a political tool for diversity but also a socio-political concept. Therefore, Indian multiculturalism presents a comprehensive, effective, and more sustainable model which have to be discussed. (shrink)

In this paper, I will focus on the nature of the Situationist concept of everyday life, in order to highlight not only its objective content but also its ambiguity. Moreover, I will demonstrate that there is, from the perspective of a poetics of everyday life, and in spite of the diversity of development stages of the Situationist International, an undeniable unity of its revolutionary program.

I try to read Aristotle's Poetics and Rhetoric as if they were an integral part of the Organon instead of separate works as they were sorted by Andronicus of Rhodes. The results are quite surprising. First, poetics and rhetoric, considered as sciences of speech, were much more intimately related to Aristotle's analytical logic than it is generally acknowledged by prominent interpreters. I maintain that Dialectics (the Topics) operated as a bridge leading from these two sciences to analytical logic; (...) that the types of speech encompassed by the four respective sciences did not only form a ladder, ascending from the more loose forms of persuasion to the more rigorous ones, but that there was between them a whole net of cross-currents and implications that were too much obvious for Aristotle to remain unaware of them, notwithstanding the fact that he doesn’t describe them anywhere. I maintain, in short, there was an unified science of persuasive speech, whose principles were implicitly intertwined in the fabric of Aristotle's Organon. By means of a comparative study of the works consecrated by Aristotle to poetics, rhetoric, dialectics and analytics, these principles could be unearthed and accurately expressed. I called them the theory of the four discourses. (shrink)

Although Heidegger’s explicit account of “poetic dwelling” belongs to his later philosophy, there are important indications that he was already engaging with the core matter of the notion in his early thought. Contrary to the idea that in Being and Time, “dwelling” amounts to mere practical coping with the environment, we would like to demonstrate that the notion is already a poetic issue in his early thought, as it requires the appropriation of our relation to the world via an authentic (...) experience of finitude. Following a topological mode of thinking, the paper thematizes the connections between Heidegger’s early and later thought, and elucidates the following three points: First, “freeing” and “letting” appears as the appropriate ethos of a poetic experience of finitude, one that maintains the “clearing” of meaningfulness. Second, a topological reading of Being and Time can explicate the notions of authenticity and inauthenticity as different disclosures of the clearing where human being-world correlation occurs. Third, the notion of “keeping-still” (Schweigen) can be interpreted as an authentic disposition that frees space for the disclosure of existence. The paper concludes that an authentic experience of finitude through “stillness” appears to reorient human ethos by releasing “discourse” from absorption in “idle-talk” and that such an act of existential re-orientation of one’s disposition towards the world is the essence of “authenticity,” and Heidegger’s early “poetic dwelling”. (shrink)

In the thick of the global plague, Richard, Justin and Valery agreed to hold a conversation on the topic of poetics, self-understanding, and health. An analysis and discussion of this trinity requires love of poetry and philosophy. Both supreme human practices take common root in mythology and religion, and also share a notorious categorical divide, that of reason against affect. Is this Platonic divide indeed categorical, given both practices rely on language and creativity to compose their meaning? Interestingly, the (...) practice of poetics does not have the reputation for boosting one's health, in the mainstream understanding of that concept. If anything, poetic practice gained notoriety for corrupting one's mind and, possibly, life. Like philosophy? We touched on these and other classical aporia, on the political struggles in American and Australian poetry. Here is a written record of this encounter, countries and miles apart, three persons simply getting to know one another. (shrink)

What is it to be clear? And will that question have the same answer in science, poetry, and philosophy? This paper offers a taxonomy of clarity, before focusing on two notions that are pertinent to the notions of clarity in science, poetry, and, in particular, philosophy. It argues that “scientific clarity,” which is marked by its reliance on technical terms, is, though often appropriate, not the only way in which something can be clear. In particular, poetry entirely eschews technical terms—but (...) can nonetheless be crystal clear. Poetry achieves this clarity by sensitivity to the richness of language: rhythm, ambiguity, and so on. The paper argues that some philosophy uses language in this same way to achieve its philosophical ends. Accordingly, we should allow that this is a legitimate philosophical method and should not judge the clarity of such philosophy by the standards of scientific clarity. (shrink)

The present work is an attempt to show that ‘important and original philosophy was written in English, in India, by Indians’ from the late 19th c through the middle of 20th c. (xiv). In fact, it tells us that these works ‘sustained the Indian philosophical tradition and were creators of its modern avatar.’ (xiv) The authors of these works ‘pursued Indian philosophy in a language and format that could render it both accessible and acceptable to the Anglophone world (...) abroad.’ (xiv). (shrink)

The Milestone Education Society (Regd.) Pehowa (Kurukshetra) working since 2005 in the field of school education, social work and higher education through its research initiatives. It started Center for Positive Philosophy and Interdisciplinary Studies (CPPIS) in 2010 and contributing continuously in the field of higher education through research journals, various programmes, and published books. -/- The present initiative Centre for Studies in Educational, Social and Cultural Development (CSESCD) will work on the issues related to downtrodden people though its various activity (...) like discussions, programmes and publications etc. It also promotes the ideology of the educational thinkers who positively contributed in the society. -/- The present book, “Ideological Crisis in Indian Society “is the first initiative of the Centre. It includes six essays of the students who participated in the essay competition organized by the Centre for Positive Philosophy and Interdisciplinary Studies (CPPIS) and the Department of Philosophy, P.G.Govt College for Girls, Sector-11, Chandigarh to celebrate World Philosophy Day with the theme “Indian Society and Ideological Crisis” on 21st November, 2013. These essays highlight writers’ thinking and need further improvement on the basis of ideas. -/- On the occasion of Death Anniversary of Dr. B.R.Ambedkar, we dedicated this volume to this great personality who is the real motivation for us. His vision of social democracy and equality was closely related to good society, rationality and the scientific outlook. -/- I must congratulate all the members of Milestone Education Society (Regd.) Pehowa (Kurukshetra) for this new initiatives and submit my humble gratitude towards their positive efforts and kind-cooperation. -/- Dr. Desh Raj Sirswal -/- December 06,2013 -/- Download the book from: http://msesaim.wordpress.com/2013/12/06/ideological-crisis-in-indian-society-a-tribute-to-dr-b-r-ambedkar-on-his-death-anniversary/. (shrink)

In Difference and Repetition, Deleuze evokes dramatization when he suggests that intensities must dramatize the Ideas to condition their actualization. This allusion to an artistic category, in the midst of his metaphysical inquiry, has remained obscure, and despite its cruciality, it is not clear why he appeals to dramatization to explain any actualization and not solely the artistic actualization. This essay attempts to elucidate this ambiguity, by foregrounding a zone of torsional continuity, wherein intensity encounters the Idea and expresses it (...) through dramatization. This process is at play in the actualization of the organic field, social field, and aesthetic field, where an intensive larval subject—embryo, disentangled individual, artist—encounters the biological, social, or artistic Idea. While referring to the artistic encounter, it is shown how dramatization is indispensable to actualize every Idea. Finally, through Tarkovsky and Blanchot, the notion of poeticization is formulated that, while complementing dramatization, unveils certain tacit nuances of the Deleuzian actualization. (shrink)

This paper in an elementary level expresses the inevitable relation between the word and meaning from the prominent Indian philosophical trends by giving stress on Vyakti-śakti-vāda and Jāti-śakti-vāda, the two contender doctrines. The first one puts emphasis on the semantic value of a predicate whereas the latter draws attention to the generic uses of nouns. The second part of the writing underpins Navya Nyāya and Kumārila’s positions on the word-meaning reliance and the debate initiate when we look back to (...) the question whether the word-meaning relation sounds conventional or eternal. I propose a position (śabda-vivarta-vāda) on these issues derived from the works of Patan᷈jali and Bhartṛharị, two grammarians of classical Indian tradition. They defend eternal verbum as the material cause of the word and objects. This doctrine advocates uniforism by giving up bifurcation between the word and the world. (shrink)

The main goal of this article is to examine the link between the idea of language, being and nothingness by comparing 16th century Turkish-Azeri poet Fuzûlî’s poetry and 20th century German philosopher Martin Heidegger’s philosophy departing from the latter’s thinking of being. There are similarities between Heidegger and Fuzûlî’s respective thoughts concerning the role of the human being’s relation to finitude which grounds the relationship between being and nothingness. The article consists of three sections. The first section makes sense of (...) Heidegger’s early and late thought in terms of its ontological unity, explaining the ways in which being and nothingness topologically co-determine one another in poetic language. The second section focuses on clarifying the sources that nourish Fuzûlî’s poetry, such as Sufism and the literary style of “Rind” as observed in classical Ottoman poetry, elucidating how these influences underpin the philosophical foundations of Fuzûlî’s poetry. The third section offers a philosophical interpretation of Fuzûlî’s lyric poems by illustrating how and why being and nothingness are not to be thought as mere opposites, pointing out their ontological belonging together. In the concluding section, it is argued that a poetic mode of existence necessitates an authentic experience of human finitude both for Heidegger and Fuzûlî. Although Fuzûlî’s poetry involves onto-theological influences from Sufism, Fuzûli manages to form an original idea of poetic existence, emphasizing that the poetic agent needs to take a step back from the mundane world of multitudes in order to unify with Being itself. As for Heidegger, it is doubtful whether there is such a mystical idea of being. Nonetheless, for both figures the more originary experience of finite human existence lies in the poetic interplay between being and nothingness. The poetic meaning of being comes to manifest itself in the process of one’s existential annihilation, which takes place in the movement of being-towards-death. Accordingly, exploring how the meaning of being requires the poetic experience of nothingness and how such an experience appears through language in Fuzûlî’s lyric poems provides a more comprehensive account of his thinking. (shrink)

My aim in this paper is to explicate the diversity of Indian Symbolism and to show the changing patterns of symbols. The first part is mostly descriptive and interpretative and tries to bring out the different forms of Indian Symbolism. The second part tries to bring out the different kinds of changes that are possible with regard to symbols.

JOTIRAO GOVINDRAO PHULE occupies a unique position among the social reformers of Maharashtra in the nineteenth century. While other reformers concentrated more on reforming the social institutions of family and marriage with special emphasis on the status and right of women, Jotirao Phule revolted against the unjust caste system under which millions of people had suffered for centuries and developed a critique of Indian social order and Hinduism. During this period, number of social and political thinkers started movement against (...) such systems and methods. These thinkers aimed at upliftment of the status of women socially, economically, educationally and politically. Of these socio-political thinkers Mahatma Phule, Mahatma Gandhi, Dr. B.R. Ambedkar, Raja Ram Mohan Roy, Ishwar Chandra Vidyasagar, and such other have organized movement for striving equality for dalits, backward classes and women. As such, Mahatma Phule was an earliest leader, who strongly opposed gender inequality. He was in the real sense a great thinker finder of truth. He was of the view that every individual should search for the truth and mould accordingly, only then the human society can remain happy. He said that British rule provided an opportunity for the masses to get themselves liberated from the slavery of the Brahmins. But at the same time, he also criticized the British bureaucracy for its policy of supporting higher education and for its tendency to rely upon Brahmin subordinates. Interestingly, Mahatma Phule nurtured a favourable perspective of the British Rule in India because he thought it at least introduced the modern notions of justice and equality into the Indian society. He also criticized the economic policy of the British rule in many respects it was unfavorable to the poor peasants. He suggested a number of solutions to improve the conditions of the agriculture sector. In place of exploitative Indian social order, Phule wanted to establish a society founded on principles of individual liberty and equality and in place of Hinduism he would have liked to put universal religion. In this paper my attempt is to give an analysis of ideas of Mahatma Phule with his core philosophical outlook. (shrink)

This is an excerpt from a report on the workshop on mind and attention in Indian philosophy at Harvard University, on September 21st and 22nd, 2013, written by Kevin Connolly, Jennifer Corns, Nilanjan Das, Zachary Irving, and Lu Teng, and available at http://networksensoryresearch.utoronto.ca/Events_%26_Discussion.html This portion of the report explores the question: Are there cross-cultural philosophical themes?

The development of Christian mysticism is deeply bound to poetics. This examination first considers Platonic poetry, Hebrew creation, and Christian kenosis as sources of poetic mysticism, before turning to an elaboration of the role of rhythm, language, and the poetic imagination. The appraisal then considers the historical development of mystical poetry, beginning with early Christian reflection on the figurative and lyrical use of scriptural language to express a deep personal relationship with God. The development of vernacular mysticism, and its (...) adoption of this scriptural model, is then explored through a detailed consideration of four mystical poets (Dante, Jacopone, Hadewijch, and Angelus Silesius). The interaction of poetic form and spiritual content is elaborated throughout, with the aim of demonstrating how poetics allows the mystical writer to achieve a result for the reader otherwise not possible in discursive forms of communication. (shrink)

This paper attempts to articulate certain inadequacies that are involved in the traditional way of categorizing Indian philosophy and explores alternative approaches, some of which otherwise are not explicitly seen in the treatises of the history of Indian Philosophies. By categorization, I mean, classifying Indian philosophy into two streams, which are traditionally called as astica and nastica or orthodox and heterodox systems. Further, these different schools in the astica Darsanas and nastica Darsanas are usually numbered into six (...) and three respectively. Nyaya - Vaisesika, Sankhya -Yoga and Purva & Uttara Mimamsa are identified as astica darsanas and Carvaka, Buddhism and Jainism are identified as nastica darsanas (6+3). It is my endeavor to critically analyze the usual astica-nastica distinction of 6+3 classification of Indian philosophy so as to find out the meaning of such a rationale in this categorization. This general consensus is contested in this paper. What I am intended to support and strengthen such a critical analysis and exploration is to discuss these systems of India’s philosophy within the general intellectual milieu of Indian cultural traditions, its orientations, presuppositions and preferences. In order to carry out such a task, I shall be taking recourse to the theories of different scholars, both traditional and modern, in approaching and appropriating Indian Philosophy from different perspectives and their critical-creative approaches shall be scrutinized. (shrink)

Indian spiritual and philosophical systems are essentially cognitive scientific in nature. Having origin in the Upanishads all Indian philosophical systems supplemented and complemented one another to develop a comprehensive source book of cognitive science. The nature and form of consciousness, mind and its functions are extensively dealt with and discussed from Upanishads through Buddhism, Jainism, Viseshaka, Nyaya, Yoga, Samkhya, Poorva Meemamsa,and Uttara Meemaams, Sabdabrahma Siddhanta contributing to many concepts which have relevance to cognitive science and language acquisition and (...) communication. In this paper all these will be reviewed and especially the concept of guṇa as envisaged in various Indian philosophical systems will be presented and correlated. The evolution of concept of guṇa through Shaddrarsanas will be specifically looked at. A correlation with Sabdabrahma Siddhānta of Indian grammarians initiated by Patanjali and developed through Bhartruhari will also be presented. (shrink)

Although there is such a thing as Indian thought, it seems to play no role in the way social sciences and philosophy are practiced in India or elsewhere. The problem is not only that we no longer employ terms such as atman, avidya, dharma to reflect on our experience; the terms that we do indeed use—sovereignty, secularism, rights, civil society and political society, corruption—seem to insulate our experience from our reflection. This paper will outline Gandhi’s framing of our predicament (...) in Hind Swaraj. It will then discuss three very different examples taken from our peculiar life with concepts that will also serve to clarify and illustrate the framework I am outlining. It will then very briefly discuss how Gandhi saw the Gita as showing him a way out of the predicament. (shrink)

This paper undertakes textual exegesis and rational reconstruction of Mukula Bhaṭṭa’s Abhidhā-vṛttta-mātṛkā, or “The Fundamentals of the Communicative Function.” The treatise was written to refute Ānandavardhana’s claim, made in the Dhvanyāloka, that there is a third “power” of words, vyañjanā (suggestion), beyond the two already accepted by traditional Indian philosophy: abhidhā (denotation) and lakṣaṇā(indication).1 I argue that the explanation of lakṣaṇā as presented in his text contains internal tensions, although it may still be a compelling response to Ānandavardhana.

In Poetics 13, Aristotle claims that the protagonist in the most beautiful tragedies comes to ruin through some kind of ‘failure’—in Greek, hamartia. There has been notorious disagreement among scholars about the moral responsibility involved in hamartia. This article defends the old reading of hamartia as a character flaw, but with an important modification: rather than explaining the hero's weakness as general weakness of will (akrasia), it argues that the tragic hero is blinded by temper (thumos) or by a (...) pursuit for fine, good and desirable things—that is, by what may be labelled ‘qualified’ weakness of will. The upshot is that hamartia ends up as being less blameworthy than ‘proper’ akrasia, but still explains why morally outstanding people are unsuitable for the most beautiful tragedies. (shrink)

Aristotle’s Poetics is the first philosophical account of an art form and is the foundational text in the history of aesthetics. The Routledge Philosophy Guidebook to Aristotle and the Poetics is an accessible guide to this often dense and cryptic work. Angela Curran introduces and assesses: Aristotle’s life and the background to the Poetics the ideas and text of the Poetics , including mimēsis ; poetic technē; the definition of tragedy; the elements of poetic composition; the (...) Poetics’ recommendations for tragic plot patterns; catharsis ; epic and comedy; the nature of our emotional response to drama; the proper pleasure of tragedy; and the role that art plays in a human life the relevance of Aristotle’s work in metaphysics, epistemology, ethics and philosophical psychology to the Poetics a comparison of Plato and Aristotle on the value of mimetic art the continuing importance of Aristotle’s Poetics to contemporary philosophy, aesthetics, and philosophy of film. (shrink)

This introduction concerns the place that Indian philosophical literature should occupy in the history of philosophy, and the challenge of championing pre-modern modes of inquiry in an era when philosophy, at least in the anglophone world and its satellites, has in large measure become a highly specialized and technical discipline conceived on the model of the sciences. This challenge is particularly acute when philosophical figures and texts that are historically and culturally distant from us are engaged not only exegetically (...) but also with a view to recruiting their topics and arguments for contemporary philosophical debates. (shrink)