Drawing on Seamus Heaney and his symbolic reference to a great sea change or tidal wave in epic poem “The Cure at Troy” (1990) – much referred to in these gradually post-pandemic times and indicating that a new chapter is about to begin – and “The City” by Ted Hughes, where a life is read like a poem and in the many depths of the urban space the writer roams “my own darkness”, this paper looks at human resilience in the (...) face of an interrupted COVID reality that has brought a fundamental shift to the way we view the world and our role in society. In our era of a New Normal, the idea that “less is more” is quickly becoming a mantra for our times, a time characterised by a gradual distancing from material hype while we turn to nature for solace and guidance – as importantly advocated by Heaney and Hughes who illuminate our path as we gain a greater understanding of what really matters at the core. We likewise begin to see commonalities between people and cultures, and we open up a space for a greater sense of authenticity. As we are now stepping into the initial stages of 2023, entering a new chapter; have we gained existential insights from the COVID-19 pandemic and will this lead to new beginnings where the written word helps us along the way? (shrink)

Culturally Responsive Teaching (CRT) weaves together rigor and relevance while it improves student achievement and engagement. The Philippine Department of Education implemented Indigenous People’s education to respond to the demands for culturally responsive teaching. Teacher education graduates are expected to articulate the rootedness of education in sociocultural contexts in creating a learning environment that recognizes respect, connectedness, choice, personal relevance, challenges, engagement, authenticity, and effectiveness. Practice teachers need relevant exposure and immersion to fully develop their competence in CRT. This scenario (...) necessitates attention to assessing the competence of 191 practice teachers in CRT, correlating their competence across dimensions, and verifying the role of gender and degree programs in competence development. This investigation provides evidence on the role of gender in competence development toward culturally responsive teaching. Such competence is vital in practice teachers, especially because they are exposed to learners with diverse backgrounds during their teaching internship. This evidence informs supervising instructors in molding practice teachers. (shrink)

COVID-19 virus caused drastic changes in people's lives, especially in terms of employment. Employees were greatly impacted by this pandemic, as there were terminated from their jobs. This study investigated how depression affects terminated workers and how they manage it throughout the pandemic. -/- A qualitative design was employed to perform this study. A structured type of interview was conducted on five samples using an online platform. To establish the number of samples required for the investigation, convenience sampling was used. (...) The data was analyzed in-depth using a narrative technique, which resulted in the study's findings and conclusions. Five (5) terminated employees such as professional photographer, construction worker, hairdresser, driver, and varsity coach were among the participants. -/- The participants in this study were found to experience depression due to family financial issues caused by the loss of a job during the pandemic. Participants reported feelings of sadness and loneliness, as well as inability to think, low self-esteem, insomnia and hypersomnia, a lack of ambition to accomplish anything, and suicidal or negative thoughts. Accordingly, through their families' emotional support, the participants have been able to overcome their depression. (shrink)

The world of entrepreneurship has historically been linked with taking risks and the potential for significant rewards. However, there persists a notable gender imbalance in the entrepreneurial landscape, wherein women entrepreneurs remain a minority. Women navigating the entrepreneurial path encounter distinct challenges, setting their experiences apart from their male counterparts. In Balayan, Batangas, despite strides towards gender equality, women entrepreneurs continue to face challenges in the entrepreneurial landscape. This qualitative study delves into the experiences of 10 successful female entrepreneurs who (...) met specific criteria. Accordingly, semi-structured interviews are conducted, exploring various aspects of participants' experiences and revealing their motivations, achievements, challenges, and strategies. Thematic analysis reveals the connection between familial, community-driven, and personal motivations that drive these entrepreneurs forward. Despite facing obstacles such as financial constraints and gender biases, they prioritize financial gains and personal growth. With resilience, innovation, and dedication, these women overcome challenges and achieve success, utilizing support networks and online marketing strategies to their advantage. Recommendations include empowering women in entrepreneurship, strengthening support networks, introducing tailored financial literacy programs, and advocating against gender biases. Implement skill development initiatives and provide specialized education in online marketing. Engage in policy advocacy, celebrate success stories, and continuously research challenges and successes. Foster collaborative partnerships between businesses, educational institutions, and communities, and advocate for increased funding opportunities for sustainable growth. This research emphasizes the strength and capabilities of women entrepreneurs in Balayan, Batangas, affirming that "pink doesn't mean weak.". (shrink)

In this paper, we focus on Berkeley's reasons for accepting the ‘resemblance thesis’ which entails that for one thing to represent another those two things must resemble one another. The resemblance thesis is a crucial premise in Berkeley's argument from the ‘likeness principle’ in §8 of the Principles. Yet, like the ‘likeness principle’, the resemblance thesis remains unargued for and is never explicitly defended. This has led several commentators to provide explanations as to why Berkeley accepts the resemblance thesis and (...) why he also takes his opponents to do so too. We provide a contextual answer to this question, focusing on epistemological discussions concerning resemblance and representation in Early Modern Irish Philosophy. We argue that the resemblance thesis is implicit in early responses to William Molyneux's famous example of the ‘man born blind made to see’ and trace the ‘Molyneux man’ thought experiment as it is employed by Irish thinkers such as William King and Berkeley himself. Ultimately, we conclude that Berkeley's acceptance of the resemblance thesis can be explained by the Irish intellectual climate in which he was writing. (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)

William Molyneux was born in Dublin, studied in Trinity College Dublin, and was a founding member of the Dublin Philosophical Society (DPS), Ireland’s counterpart to the Royal Society in London. He was a central figure in the Irish intellectual milieu during the Early Modern period and – along with George Berkeley and Edmund Burke – is one of the best-known thinkers to have come out of that context and out of Irish thought more generally. In 1688, when Molyneux (...) wrote the letter to Locke in which he posed the now famous question about a man born blind made to see, he was an active member of the DPS and was on familiar terms with several other key figures in Irish philosophy at the time. For the most part, Irish thinkers in the seventeenth and eighteenth centuries answered “no” to Molyneux’s question of whether a blind man made to see could distinguish, by sight alone, between a cube and a sphere. (shrink)

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)

This paper explores Spinoza’s relationship to poetry by considering two prominent allusions to classical literature in Spinoza’s political treatises. Susan James illuminates Spinoza’s worries about the dangers of poetic address. At the same time, Spinoza relies on poetic language and citation to press some central claims. References to Seneca and Tacitus, I suggest, aim to transform the popular imagination with respect to the relationship between government, violence, and domination. Poetic language reinforces his challenge to false solutions to the problems (...) of violence, rebellion, and the precarity of political authority, which preoccupied early-modern political thinkers. (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)

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) .

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)

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)

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)

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)

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)

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

In this essay I argue that Berkeley is proto-phenomenologist. The term phenomenology will chiefly be understood in terms of the approach of Edmund Husserl. Berkeley is attentive to the correct use of significations in philosophical exposition, the subjective character of experience, the motility of the perceiver and the transcendence of things. Like the phenomenologists he rejects materialism, naturalism and scepticism. He seeks to preserve the evidences of ordinary perception, setting out an account of scientific theory that can cohere with them. (...) In the first part of this essay I go through some of the more clear-cut ways in which Berkeley anticipates Husserl and some of the latter’s successors. In the second part I lay out their criticisms of Berkeley, also indicating what they hold in common. In the third and final part I consider some of the ways in which Berkeley can meet these criticisms, either readily or through certain qualifications, and I bring out his most significant contributions as a proto-phenomenologist. My aim is to show there are more than traces of the phenomenological attitude in Berkeley. In his efforts to save the appearances, he goes back to that world in which we live and breathe, if not quite have our being. (shrink)

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?

I make a proposal for how one can continue to teach poetry through official channels in a liberal society, conceived as a set of rules for citizens who disagree on a lot of things, including the value of poetry. The proposal is to quote inspiring or relevant poems in textbooks for other disciplines.

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)

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

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)

This essay concerns Heidegger’s assertion that the biography of the poet is unimportant when interpreting great works of poetry. I approach the question in three ways. First, I consider its merits as a principle of literary interpretation and contrast Heidegger’s view with those of other Trakl interpreters. This allows me to clarify his view as a unique variety of non-formalistic interpretation and raise some potential worries about his approach. Second, I consider Heidegger’s view in the context of his broader (...) philosophical project. Viewed this way, Heidegger’s decision to neglect the poet’s biography seems quite reasonable and consistent with his inquiry into the being of language. Finally, I consider Heidegger’s suggestion that Trakl is a kind of mad genius. I recast this paradigmatic figure in terms of what I call the ‘wretched prophet’ and consider some ways in which its appeal sheds light on the crisis of modernity and the aestheticization of politics. (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)

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)

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)

Heraclitus and Modern Poetry: Works Cited.

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)

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)

The central aim of this article is to explore the power politics of perception between English and Irish representations within selected canonised Irish texts. The focal point of this article orbits around the relationship between the observer and the observed with an essential emphasis on the roles of defining and defined subjects. Focusing on the metaphorical framework of Father England as the authority of gaze and Mother Ireland as the object of gaze, this article introduces Ireland’s post-independence era (...) as the inception of a transformative journey that is characterised by a promise of self-definition after liberation from English dominion. In navigating the power dynamics of perception between Father England and Mother Ireland, this article takes a focused approach by analysing key literary works. Specifically, James Joyce’s “The Dead” (1914), Máirtín Ó Cadhain’s The Key (1949), and John Banville’s The Book of Evidence (1989) serve as illustrative examples. With these texts, this article aims to depict the trajectory of Ireland’s evolution from a position of being defined to a self-defining position. (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)

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 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)

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)

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)

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

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)

J. L. Austin showed that performative speech acts can fail in various ways, and that the ways in which they fail can often be revealing, but he was not concerned with understanding performative failures that occur in the context of poetry. Geoffrey Hill suggests, in both his poetry and his prose writings, that these failures are more interesting than Austin realized. This article corrects Maximilian de Gaynesford’s misunderstanding of Hill’s treatment of this point. It then explains the way (...) in which Hill’s understanding of the performative restrictions on poetry relate to his conception of poetry’s role, analogous to that of the Saturnalian misruler, in establishing the authority of ordinary language. (shrink)

The following is one of two short essays leading up to my final for "Topics In Ancient Philosophy." This brief but entrancing essay discusses the power that poetry and its subsequent interpretation have over the quality of our souls. Socrates and Protagoras really have it out for each other in this one broh.

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

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)

A major part of Ordinary Aesthetics has been to include the traditionally marginalized aesthetic categories excluded when studying beauty, truth, and goodness. These “negative aesthetics” are implicated in the construction, presentation, and sustenance of marginalized identities. For the purposes of my article, I will be focusing on the effort to incorporate the aforementioned in the study of aesthetics, essentially arguing for them to be inherently valuable and not for the sake of producing a “positive.” To this end and keeping up (...) with the thrust to include other traditions within aesthetics, my article will explore certain strands of Sufi poetry, namely the tradition of Qalandariyat, which present marginalized social identities to our awareness and not for the sake of changing or improving them. I will present some samples from the Persian poetry of Hafez and Rumi, as well as Punjabi couplets of Bulleh Shah and Shah Hussain, for a hermeneutic study that grounds the aesthetics of their Qalandari-themed literature in the usage of “negative” aesthetic categories. This exercise contains the promise of expanding the horizons for our field of sensibilities, by engaging with those social identities that have remained outside them and that too on their own terms. (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)

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)

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)