Several years ago, the poet & critic Joan Houlihan offered a scathing and hilarious indictment of a lot of postmodern poetry for using words in a way that treats them as meaningless (or, perhaps, renders them meaningless). She suggested that word choice in such poems doesn’t really matter, and that the poet could just as well have substituted in other words without any change in meaning or aesthetic qualities. I argue that she’s wrong about this. I offer an account of (...) how interpretation and meaning function in poems that use words in highly non-standard ways. In such poems, there are associations and implicatures that one can reasonably expect a suitably backgrounded reader to grasp, rescuing interpretation from being a purely subjective and arbitrary activity. (shrink)

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

Born in 1315, Shamseddin Mohammad, known as Hafiz, grew up in the city of Shiraz where he studied the Qur’anic sciences. In his youth he learned the Quran rigorously and assumed the epithet ‘Hafiz’ which means the one who knows the Quran by heart. Also known as the ‘Tongue of the Hidden’ and the ‘Interpreter of Secrets’, Hafiz utilizes grand religious ideas and mingles them with Sufistic teachings, thereby creating a kind of poetry which baffles interpretation. The poetry of Hafiz (...) has intoxicated and continues to intoxicate many in the world. The exhilarating effect of his poetry was also known to the poet himself. In one of his poems, he says that the angels are memorizing his poems in heaven and that Venus is enraptured and that Christ rjoices in his songs: “What marvel that in heaven are sung/ The dulcet words by HAFIZ strung?/Or that, by Venus’s air entranced,/Messiah in his sphere has danced?” As Friedrich Nietzsche has said of Hafiz: “Bist aller Trunkenen Trunkenheit/ wozu, wozu dir-Wein? (the intoxication of all intoication you are/what need do you have to ask for wine?)”. (shrink)

Fragments is a verse and narrative work of phenomenological and existential ontology focusing on mind-world unity and mind-world dislocation in the experience of self through time. Pivotal experiential and historical moments -- moments when normative guardrails and unreflective models of the world may be compromised -- are approached as fundamental markers of how we transact with evolving versions of ourselves and world.

This essay focuses on the attention paid to Prometheus by Goethe and Schlegel. Prometheus serves as an archetypal figure for Goethe, in particular, and as such the Titan can be viewed as a figure whose various appearances represent genuine metamorphoses or transformations of the archetype in much the same manner that Goethe takes the archetypes of leaf or vertebrae to function in the plant and animal kingdoms. Schlegel’s treatment of Prometheus takes the organic analogy even further. In his fragmentary work (...) Lucinde Schlegel exploits the metaphorical possibilities provided by plant life when thinking about not only the sessile structure of the text as a whole but indeed the internal literary devices capable of simulating the environmental impacts required for the flowering of the plot. The fact that Goethe and Schlegel deliberately leave their discussions in a fragmentary form is discussed in the final section of the essay in a manner that ties the open-ended quality of such productions to Gadamer’s discussion of the Vollzug or performative character of poetry and other works of art. (shrink)

This poem metaphorically depicts how a person overcomes his fear and anxiety by inwardly and faithfully relating oneself to the One. The person was seriously scared of water, which is symbolic of his fear of the storm such as failure, death, or perhaps COVID-19.

The 11 experimental, pseudo-avantgarde visual poems (wordless, other than title and date) are an indirect homage to the late-great filmmaker and photographer, Chris Marker (1921-2012), foremost to his penchant for utilizing disintegrating imagery in his film-essays and multimedia installations. All images were captured using a Research in Motion, BlackBerry 8520 cellphone, and subsequently 100-percent de-saturated, and 100-percent contrast-adjusted, using Microsoft Office Picture Manager. The images, as a result, resemble the primitive production values given to the pinhole camera, and the “dogmatic” (...) (uniform) adjustments (as above), applied to the original BB images, reference the early strictures applied to filmmaking by Lars von Trier. The above-mentioned, black-and-white adjustments notwithstanding, all images are used “as captured,” without cropping. The series begins and ends in Botwnnog, Northwest Wales, in May and August of 2013, respectively, with interregnums and brief idylls in Rijeka, Croatia, Trieste and Ancona, Italy, and Igoumenitsa, Ioannina, and Athens, Greece. Tracking the peregrinations of the author of the poems across Europe, and intimately associated with the then-nascent research and exhibition project, “Not-I/Thou: The Other Subject of Art & Architecture,”* the poems are also a compressed form of scholarship, albeit operating in the shadow-lands of knowledge per se, and evoking the non-discursive side of literary-artistic production, a penumbral zone within cultural production that nonetheless references the discursive arts (essay and/or full-blown treatise), but favors the paradox and/or tautology – privileging, then, the much-desired destruction of dialectics. (shrink)

춘래 불사춘이라 ‘봄이 왔지만 봄 같지 않다’라는 선현들의 말씀이 남의 일이 아닌 요즘 세상이다. 혼탁한 정치와 메말라가는 인간들로 우리 사회는 양들의 침묵 같이 감성이 메말라 버리고 우리의 사회 생활은 사하라 사막 같이 황량하고 무미 건조하게 되어 가고 있다. 과학 기술의 발전으로 페북이라는 작은 표현의 장을 얻어 남기고 싶은 느낌들을 시로 긁적거리기 수년이 지났다. 페북의 빈 페이지는 마치 사막의 오아시스처럼 잠시나마 생각을 표현하고 이를 지인들과 공유할 수 있게 한다. 본 시선 1집은 2020년 경 페북 시들을 모아 본 것이다. 시라고 하지만 무엇이 (...) 시인지 아직도 감을 못잡고 있는 가운데 그저 진솔한 느낌을 글로 전해 보려는 작은 마음으로 아직도 페북에 시 형식으로 글을 쓰고 있다. 제 2집 제 3집처럼 씨리즈로 출간해 볼 요량이다. 무엇보다도 걱정되는 것은 직접적인 서정적 표현이 아닌 비유와 풍자적 표현이 많아 시를 통하여 감성적 만족을 얻으려는 독자의 기대에 모자라지 않을까 걱정된다. 다만 풍자와 해학으로 이해하면서 감상하면 망외의 즐거움이 아닐까 한다. 본 시선 모음은 독자의 지루함을 덜기 위하여 중간 중간에 사진을 삽입하였다. 시의 감상과 함께 자연과 가족이 가져다 주는 오붓한 느낌을 공유할 수 있었으면 하는 바램이다. 2023년 여름이 짙어져 가고 있다. 예년보다 더한 폭염이 온다는 예보 속에 독자들의 건강과 행복을 기원한다. (shrink)

여름은 가을의 풍성한 수확을 위하여 땀 흘리는 계절이다. 김기영 시모음 제 1권에 이어 여름의 풍성함-내맘대로 세상이라는 제목으로 제 2권을 펴내게 되었다. 모쪼록 더위에 행운과 건강이 함께 하길 기원하면서 엉터리 사마천 같은 우리의 시간 기록과 함께 삭막한 세상의 반려가 되었으면 하는 바램이다.

버리고 비우는 일은 결코 소극적인 삶이 아니라 지혜로운 삶의 선택이라는 법정 스님의 말씀이 새삼 가슴에 사무치는 가을입니다. 우리는 버리고 비우지 않고는 새것이 들어설 수 없다는 지혜를 알고 있습니다. 가을은 나눔의 계절입니다. 오늘은 나눔의 날입니다. 내 마음에 가득 고인 고마운 마음을 이웃과 나누고 싶습니다. 보잘 것 없는 생각의 편린들이지만 나도 나눌 수 있다는 것이 고맙습니다. 가을의 풍성함과 쓸쓸함은 인생의 진리인 듯 합니다. 들판의 곡식이 다 내 것이 아니고 나무의 열매가 다 내 것이 아니지만 추수의 계절은 우리에게 감사한 마음을 가져다 주고 모든 (...) 수고로운 사람들과 만물에 감사하는 계절임에 분명합니다. 모두에게 고마운 마음을 전하고 싶은 소박한 마음에 김기영 시모음 제 1권, 제 2권에 이어 『가을이 보내온 편지-우거에서』 라는 제목으로 제 3권을 펴내게 되었읍니다. 모쪼록 풍성한 가을을 맞아 행운과 건강이 함께 하길 기원하면서 엉터리 사마천 같은 우리의 시간 기록과 함께 삭막한 세상 살이에 위로가 될 수 있었으면 좋겠습니다. (shrink)

Concordance of the poetic works of Giorgos Seferis which presents all the principal “words” of the texts in an alphabetical list, stating how often each word occurs, giving a precise location and a relevant piece of text for each occurrence. We found ca. 9500 different Greek words in 39000 different occurrences, so our concordance has 50.000 lines of text. The technical procedure required four main steps: text entry and tagging, production of the concordance, correction of the contexts, formatting for print.

Poetry is sometimes used in a logical argument sense of the five major arguments, and the meaning behind it is the argument and expression that its common element is imagination. In fact, the distinguishing feature of poetry from other arguments is the poetic nature of the language. Poetry is sometimes used in an artistic sense and can be considered one of the seven arts. The definition of artistic poetry can be understood as a speech that is firstly rhythmic, secondly rhyming, (...) and thirdly imaginative. In this article, poetry is used in the second sense, as poetry in the artistic sense can have a sublime aspect. In fact, poetry in the first sense has an industrial and organic aspect, while poetry in the second sense has an authentic aspect. Mulla Sadra, in addition to writing in prose in rational knowledge, has also expressed many of his sublime philosophical ideas in poetic language. What Sadr al-Muta'allihin has written in poetic form is poetry in the second sense because it has both the three conditions of being rhythmic, rhyming, and imaginative, as well as expressing sublime wisdom in poetic and sublime art language. (shrink)

This study was a Persian-English comparative translation investigation on the selected poems of Forough- Farrokhzad, an influential contemporary Iranian poet. Two English translations were analyzed: one by a native Persian speaker, Sholeh Wolpé, an Iranian poet and translator, and the other by a non-native Persian speaker, Jascha Kessler, an American poet, writer and translator. The translations were reviewed according to Vinay and Darbelnet’s(1995) model which identifies two general translation strategies: direct and oblique, resembling literal versus free classifications, respectively, along with (...) their supplementary proce- dures in order to investigate the frequency of the application of each procedure by the two translators. After situating every line of the poems in the related categories, the number of times each procedure was em- ployed was examined. The findings indicated that both translators used the oblique strategy more than the direct one. The non-native translator, however, used the oblique strategy considerably more frequently com- pared to the native translator. Finally, new procedures called complementary procedures were proposed by the researchers to be added to Vinay and Darbelnet’s (1995) model in order to fill the gaps in the application of strategies and procedures to the poems of Forough Farrokhzad and probably other poems. (shrink)

The article focuses on the cartographic enactment of the topos of Ukraine as a lost homeland in contemporary German literary discourse on migration, and in particular in the body of work that conveys the voices of the “second generation” — children of the German (post-)war migration. The article analyses by way of an illustrative example Hans-Ulrich Treichel’s poem “Flight into Kyiv,” in which we find reflected the autobiographical theme of the (re)construction of the lost homeland of his father, a (...) Volyn German who fled to Germany during the Second World War to escape reprisals of the Soviet army. The main object of research are the mental maps of Ukrainian space, which largely define the way Ukraine is represented both in contemporary German social discourse and in modern German literature. A textual analysis of the poem allows us to discern how the resource of the Western European construct of Eastern Europe is instrumentalized and aesthetically arranged by German (post)migration perception to institutionalize the image of Ukraine as a “lost homeland.”. (shrink)

The book is written on purpose of Indian Academy for higher classes on English and British Literature. As personally found being a teacher that majority of students are incapable on setting and developing an answer on context of the chapter. It is hurt to say the sweetness of Classic Literature is exactly not teaching properly at Indian Academy on English and British Stories. Students , concerning at my place on context of the aforesaid book, only are gulping in India the (...) matter rather to understand the history on Literature. (shrink)

Michael Ryan's Literary Theory: A Practical Introduction, Second Edition introduces students to the full range of contemporary approaches to the study of literature and culture, from Formalism, Structuralism, and Historicism to Ethnic Studies, Gender Studies, and Global English. Introduces readings from a variety of theoretical perspectives, on classic literary texts. Demonstrates how the varying perspectives on texts can lead to different interpretations of the same work. Contains an accessible account of different theoretical approaches An ideal resource for use in introductory (...) courses on literary theory and criticism. Designed to function both as a stand-alone text and a companion to Rivkin and Ryan’s Literary Theory: An Anthology, Second Edition. (shrink)

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

al-Zuhd, one of the most prominent themes in the Arab poetry in the Abbasid period, came to the summit by the poets like Abū l-ʻAtāhiyya and Abū Nuwās. Another important poem known with his poems on al-Zuhd is Mahmud al-Warraq. Warrak, after a youth life in pleasure, understood the s of life and apply himself to poetry on zuhd. Warrak produced a number of different works in verse form. He was distinguished by the sincerity in his statements and the (...) simple language he used. He had thought that he was deceived by worldly gifts and pleasures in his youth and thus tried in his poems to guide young people with a sense of responsibility not to fall in same mistakes. This paper will examine Warraq emphasis on “youth un in his Diwan. Poems will be discussed in the context of the nature and the fate of youth. In the introduction, the development of poetry tradition on al-zuhd in the period of Umayyads and Abbasids will be mentioned briefly. Afterwards, poems About youth in his diwan will be researched. (shrink)

This collection of poetry named The Book of Lips, which is in Persian and some in Arabic, is a small subset of the complete set of my quatrain poems and it includes poetry about the lips and kiss of the loved one. In the future, I will publish my complete set of quatrain poems in a separate book or within my collection of all poems. One can have two different perspectives toward this collection. The first perspective is the mystical point (...) of view which considers the loved one, the lips, and the kiss as God, metaphor for His grace, and moving toward Him, respectively. The second point of view is a romantic one in which the loved one, the lips, and the kiss are a beautiful girl, her lips, and kissing her, respectively. Furthermore, one can read this collection of poetry having both perspectives in mind. (shrink)

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

Although the Greek language of the archaic period lacked nominative expressions equivalent to the English “knowledge”, Greek speakers and writers employed a number of verbs in speaking of those who fail or succeed in knowing some fact, truth, state of affairs, or area of expertise—most commonly eidenai, gignôskein, epistamai, sunienai, and noein (in its aorist forms). In the Homeric poems, knowledge can be attained either through direct observation, through a revelatory trial or testing procedure, or from the reliable testimony of (...) others (each of these approaches figures in the discovery of Odysseus’ identity). Three broad ‘epistemic sentiments’ pervade early Greek poetry: the inability of mortals to grasp the nature of things lying beyond their immediate experience; the inability of mortals to grasp the larger course of events or ‘conceiving of what lies ahead and behind’ (prossô kai opissô); and the ability of ‘gifted’ poets and seers to overcome these limitations by drawing upon divine sources of truth and wisdom. (shrink)

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)

The poem is my image of the traditional Chinese understanding of “there is nothing new under the sun.” It was written originally in Chinese during a launch time at the South Hill School in Vancouver, where I was taking English Foundation courses in 2014. I only spent a few minutes completing the poem. The words came out of my mind naturally and smoothly. The moment for me was sacredly silent even though I was sitting in a noisy environment (...) at Dairy Queen; as if time suddenly stopped, as if I was not a part of this world, and as if I was not who I was. It has been said that everything has its season; a time to be born, and a time to die. If everything has its time and place in which I still have the ultimate freedom to choose, I will prefer to stay where I am, letting myself be out of the circle of birth, death and rebirth, not be obsessed with either the beauty of bygones or the hope of hereafter. (shrink)

The poem, has also highlighted the theme of isolation. The Darkling Thrush is the symbol of perseverance. Men at times is all by himself. There is none around. The frail, gaunt, aged , weather-beaten bird has stood against all odds. There is an air of self doubt and the poet is in a dilemma how to welcome the advent of a new era. It has endured all the odds of time and is happy today singing its joyful song.

The poem gives a voice to many refugees who died crossing borders and many more asylum seekers who will lose their lives crossing international borders.

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)

Heron Heart is a poem born out of reflecting on the nature of existence during long stretches of isolation, where the boundary of what is and is not a living being was challenged—the nonhuman more alive than the human. It evokes the absurdity of the banal out of the confusion and beauty of sensory experience, with hints of nostalgia for a mythological world that never existed but is ever-present.

Many of the poems of Louis MacNeice display a knowledge of the philosophical theories he studied during his undergraduate years in Oxford. In his ‘Variation on Heraclitus’ and in several other poems, MacNeice alludes to the ‘doctrine of flux’ Plato attributed to the Greek thinker Heraclitus of Ephesus. In ‘Plurality’, his most extended exploration of the conflict between the life-affirming doctrine of flux and a life-suppressing monism, MacNeice embraces the reality of change and rejects the monism he credits to the (...) philosopher Parmenides of Elea: ‘World is not like that, world is full of blind/ Gulfs across the flat, jags against the mind/ Swollen or diminished according to the dice/ Foaming, never finished, never the same twice.’ Although his understanding of the teachings of Heraclitus and Parmenides was controversial, it provided MacNeice with a framework within which to reflect on the conditions essential to living a free and productive life. (shrink)

In an early poem, "Year's End", Jorge Luis Borges takes the turning of the year as an occasion to consider how "something in us" endures, despite the fact that we are products of "infinite random possibilities" and "droplets in the stream of Heraclitus": It is not the emblematic detail of replacing a two with a three, nor that barren metaphor that brings together a time that dies and another coming up nor yet the rounding out of some astronomical process (...) that stuns and undermines the altiplano1 of this night, and compels us to keep listening for those twelve irreparable tollings of a bell. The true cause is a vague, pervasive apprehension of Time's enigma; a certain awe before the miracle that in spite of... (shrink)

A contemplative prose-poem on the meaning of the Cross of Christ.

Abstract: In his poem, ‘Ambassadors of Poverty’, Philip Umeh satirises the sins of corruption by the State agents against the state and the populace. Ambassadors of poverty are those leaders and their subjects, the elites and the masses, that pervert all kinds of ill-acts that erode the State unceasingly. The impoverished masses are forced by circumstances to indulge in corruption. The Nigerian (African) leaders also promote neo-colonialism, which under-develops the State. All ill-acts are sins, here, sins against the State (...) – Nigeria. All hands must be on deck to achieve the transformation envisaged by the poet, now and later. Crimes against the State constitute the poet’s burden in numerous ways. Besides Umeh’s poem, several other secondary sources were employed for a qualitative-based content-analysis and review. (shrink)

‘Cataracts’ in Stevens’ poems are falling waters—here a river flowing near a mountain. The ‘apostrophe that was not spoken’ may be an address that was not made, perhaps an unspoken affirmation of nature’s beauty. And the river that ‘is never the same twice’ can only be the flowing river Plato claimed Heraclitus used as a simile for all existing things: ‘Heraclitus says somewhere that everything gives way and nothing remains, and likening existing things to the flow of a river, he (...) says that you cannot step twice into the same river’ (Cratylus, 402a). There are five respects in which ‘This Solitude of Cataracts’ displays affinities with Heraclitean ideas: its use of a river as a simile for human experience, the poet’s desire to express the real nature of things, rivers and mountains as polar opposites, the exploitation of ambiguities, and the use of particulars as emblematic of general truths. (shrink)

In the poem "Reuben Bright," the speaker initially harbors a prejudiced view of Reuben, a butcher, but this prejudice transforms into awe as the speaker observes Reuben's profound change following the death of his wife. The poem delves into the theme of loss experienced by a wife and the ensuing pain endured by her husband, resulting in a profound and shattering event that triggers significant personal growth. The central focus of the poem lies in the consequential changes (...) that Reuben undergoes as a result of this tragic event. Despite the dramatic context, the reader is guided through the poem by a distanced speaker who consistently refers to Reuben in the third person. This distancing creates two layers of separation between the reader and Reuben: one between the speaker and Reuben and another between the reader and the speaker. This sense of detachment is evident in the poem's sestet, part of an Italian sonnet, and contains symbolic imagery in the form of chopped-up cedar boughs, alluding to Reuben's spiritual transformation. Additionally, the communal change in perception of Reuben is highlighted in the only two instances where the lyric "I" of the speaker appears in the poem, emphasizing the shift in the speaker's viewpoint from prejudice towards Reuben to a profound sense of awe. (shrink)

There is a wealth of resources— ideas, insights, discoveries, inventions, traditions, cultures, languages, arts, religions, sciences, narratives, stories, poems, customs and norms, music and songs, games and personal experiences, and advertisements—that we produce, curate, consume, transmit, and inherit as humans. This wealth, which I define as semantic capital, gives meaning to, and makes sense of, our own existence and the world surrounding us. It defines who we are and enables humans to develop an individual and social life. This paper discusses (...) the shift from analog to digital semantic capital, and the extent to which this might affect the semanticisation of our identities, our lives and our realities. -/- . (shrink)

A theory of aesthetic value should explain what makes aesthetic value good. Current views about what makes aesthetic value good privilege the individual’s encounter with aesthetic value—listening to music, reading a novel, writing a poem, or viewing a painting. What makes aesthetic value good is its benefit to the individual appreciator. But engagement with aesthetic value is often a social, participatory matter: sharing and discussing aesthetic goods, imitating aesthetic agents, dancing, cooking, dining, or making music together. This article argues (...) that we should understand aesthetic value in a way that centers these social forms of aesthetic engagement. To this end, the article argues that there is a social practice of aesthetic valuing, characterized as a participatory practice governed by the value of aesthetic community, which engages us in the social development of our capacities for discretionary valuing and volitional openness. Current theories of aesthetic value have trouble capturing the character of the practice of aesthetic valuing, and this motivates a novel communitarian theory of aesthetic value: aesthetic value is what is worthy of engagement in the social practice of aesthetic valuing. (shrink)

a collection of poems as companion to a collection of philosophical études.

De-anthropocentrism is the leitmotif of philosophy in the twenty-first century, encouraging diverse and competing thoughts as to how this goal may be achieved. This article argues that the method by which we may achieve de-anthropocentrism is ethical rather than metaphysical – it must involve a creation of the self, rather than an interpretation of the given human conditions. Through engagements with the thought of Nietzsche, Levinas, and Foucault, and a close reading of Baudelaire’s poem “La Beauté,” I will illustrate (...) three ethical commitments essential to de-anthropocentrism: to abandon the claim to knowledge associated with human reason, to remain in perpetual quest of an object, and to transgress the given perceptual structure through aesthetic experience. In contrast to Kantian philosophy built upon universal human reason, art is the ethical arena where each artist creates their own way to relate to the object, while de-anthropocentrism occurs – this article argues – when the artist includes the self as the field of creation. Object-Oriented Ontology in my assessment is the only branch of philosophy that truly achieves de-anthropocentrism. (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)

In this paper, I try to expatiate on the poetic function of language on the basis of considerations by Jakobson and Waugh. I try to bring in the consideration that pragmatics plays an important role in elucidating the poetic function of language. Contextualism allows us to interpret a poem: referents must be fixed or need not be fixed due to the requirements of the discourse; citations are brought in through pragmatic ways; polyphony is achieved by taking into account the (...) context of previous analyses of a poetic text; the vicinity of a certain word, or concept or line is likely to affect the interpretation of a certain expression; the poetic text can take different forms, from graffiti to discourse at the market place, to discourse between lovers. All these forms of poetic text would not exist if the notion of poetry did not include the idea of semantic/pragmatic compression which is matched, in interpretation, by expansions. (shrink)

(Translation of the Vietnamese poem “Ong Do”, written by Vu Dinh Lien (1913-1996), published in 1936.).

In recent literature, it has been suggested that Lange’s social and political philosophy is separate from his neo-Kantian program. Prima facie, this interpretation makes sense given that Lange argues for an account of social norms that builds on Darwin and Smith rather than on Kant. Still, this paper argues that elements of psychophysiological transcendentalism can be found in Lange’s social and political philosophy. A detailed examination of the second edition of the History of Materialism, Schiller’s Poems, and the second edition (...) of The Worker’s Question reveals that Lange sought to develop a systematic foundation of psychophysiological transcendentalism that is presupposed in his social and political philosophy. This allows for a more detailed understanding of Lange’s practical philosophy and assures him a position in the tradition of neo-Kantian socialism. (shrink)

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

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

An effort to track the movement of thought in the proem of the poem in order to discover in it the context for the disclosure of the "is" in fr. s 2 and 8. Close attention to symbolic imagery and historical allusions, and to the philosophical power of the unthinkable "nothing". (For a renewed and expanded effort, see the author's "Ambiguity and Transport: Reflections on the Proem to Parmenides' Poem," Oxford Studies in Ancient Philosophy xxx [2006], 1-47.).