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.

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)

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)

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)

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)

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.

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)

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)

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)

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.

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)

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)

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.

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.

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

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 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)

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)

The historical avant-gardes showed that it is in the syntactic space where the mutations of art occur, where the creative potentialities in contemporary art are played. Hence the need to accentuate the syntactic creation registers in the works of the Estridentistas. There is no creation of images, rhythms, words, atmospheres, sound orientations, planes or political-literary postures that are valid apart from the syntax effects in which the poems of Manuel Maples Arce, Germán List, Salvador Gallardo and Kyn-Taniya take place, (...) the paintings, engravings and sculptures by Fermín Revueltas, Ramón Alva de la Canal, Germán Cueto and Leopoldo Méndez, the novels and essays by Arqueles Vela, the pieces from the Estridentista period by Silvestre Revueltas, the plays by Salvador Gallardo and Germán Cueto. The syntax is the tracing of indirect paths created in each poem, installation, plastic or musical work, to show life in things; those forces, paths and paths that, when going from life to language, create a work. It is, therefore, a speed. I don't use "speed" as a metaphor. It is the speeds that interdigitate events, images, objects; those that relate and stress semantic, sound, semiotic and social forces, paths and trajectories. Velocity is the gradient of the syntax, the relationship between phenomena, the variation of the elements according to a certain direction, the trajectory medium, the semantic loads and the systems of signs: it is not necessary to think that the syntactic effects are something like general mechanisms that precede poems, plastic and musical works. A new syntactic speed detaches itself as much as it can from what is constituted and seeks to bring poetic, pictorial, musical language to its threshold of meaning, informational or communication, to its referential, rhythmic, constructive threshold. Therefore, it should not be confused with acceleration. Slowness is a speed, as in Handke's writing or in some sections of Tarr's films. (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)

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

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)

This is a supplement to our book "Le tribolazioni del filosofare. Comedia metaphysica ne la quale si tratta de li errori & de le pene de l’Infero". It features an entirely new canto of the poem (originally thought to be lost) along with an extensive commentary. The canto covers the first ring of the circle of the Sullen, which hosts the Adverse to the Possible, and deals with several philosophical questions concerning the metaphysics of modality.

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)

In here, philosophical-literate thinking on the way is mainly tried. On one side, making a philosophical analysis of Heraclitus’ fragment 60 is aimed. The different views on what Heraclitus might have meant in this article which is generally translated as the way up and the way down are one and the same are examined. On the other side, with a reading of Robert Frost’s famous poem of Road Not Taken, it has been tried whether a phenomenological interpretation of the way (...) based on passenger is possible or not. It has been researched if there is a common ground or not where this fragment and poem -which exhibit two different views on the way- have met each other. This fragment and poem has been linked together on the context of essentiality of the passenger for the way. (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)

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)

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

How should we pursue aesthetic value, or incorporate it into our lives, if we want to? Is there an ideal of aesthetic life? Philosophers have proposed numerous answers to the analogous question in moral philosophy, but the aesthetic question has received relatively little attention. There is, in essence, a single view, which is that one should develop a sensibility that would give one sweeping access to aesthetic value. I challenge this view on two grounds. First, it threatens to undermine our (...) "aesthetic love", or the meaningful attachments we form with aesthetic items, e.g., poems, paintings, songs, or items of design and dress. Second, it fails to accommodate the motivational character of our encounter with beauty, which can diminish our desire to pursue the wider world of aesthetic value. I conclude that whatever the aesthetic ideal is, it must reconcile our desire to broaden our access to aesthetic value with our desire to maintain and cultivate our meaningful aesthetic attachments. I motivate the alternative thought that having style is the aesthetic ideal. (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)

A two-fold study, on the one hand of the thought-provoking mimesis by which Plato gives his hearer an occasion for self-knowledge and self-transcendence and of the typical sequential structure, an appropriation of the trajectory of the poem of Parmenides, by which Plato orders the drama of inquiry, and on the other hand a commentary on the Crito that aims to show concretely how these elements — mimesis and Parmenidean structure — work together to give the dialogues their exceptional elicitative power.

The increasing standardization, specialisation and monetarization of academic publishing is designed to foster quality in research and expression. But these tendencies also pose serious challenges to the expression of cultural difference, particularly with regard to philosophy and religious studies. Scholars from various cultural backgrounds outside of mainstream universities often find themselves marginalised when the quality of their work is judged through the metrics of mainstream academic publishing. Smaller journals which give a forum to local research are gradually disappearing or becoming (...) irrelevant. The corporate control of publishing limits the access and distribution of information making it difficult for smaller regional universities to access and conduct research. But these challenges to the expression of cultural difference also reflect the deeper tendencies of the information age. To approach this problem, we need to consider the conflict between culture and spirit on the one hand, with the flows of information and capital on the other. I will introduce this problem through an idea of hermeneutics presented by George McLean. I will then discuss the approaches to this problem by such writers as Michel Serres, Jean Francois Lyotard, Giorgio Agamben and Jacques Derrida. I will show that these latter writers devise strategies to reach something outside of the cybernetic flows of information in the media age, but that their solutions are incomplete because they rely on intellectual concepts of redemption and ignore the concrete practices of spiritual redemption. The issue that cross-cultural journals must consider is how to emphasize something beyond the merely intellectual; how to amplify practice within its expression. I will address this issue in the spirit of a poem by Emily Dickinson entitled “Publication – is the Auction” which supplies the title of this essay. (shrink)

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

ACTION-THEORETICALLY EXPLANATORY INTERPRETATIONS AS A MEANS OF SEMANTIC MEANING ANALYSIS The article first develops a general procedure for semantic meaning analysis in difficult cases where the meaning is very uncertain. The procedure consists of searching for one or more possible hypothetical causal explanations of the text, these explanations containing, among other things, the semantic intention of the author, his subjective reasons for this meaning and for the writing down of the text, but also the path of transmission of the text (...) from the writing down to the respective present text version. These hypothetical explanations (interpretations) are deductive-nomological or probabilistic, therefore presuppose corresponding general law hypotheses. If there is only one possible (hypothetical) explanation of the text at hand, this hypothetical explanation is also true. Very often, however, there are several possible explanations. In this case, the probabilities of these possible explanations must be determined; these probabilities then carry over to the individual hypotheses in the explanation (according to Bayes' law). This general procedure of meaning analysis is used in the second part of the article to reconstruct two famous interpretations (by Wapnewski and Hahn) of a poem by Walther von der Vogelweide ("Nemt, frowe, disen kranz"). -/- GERMAN ABSTRACT In dem Artikel wird zunächst ein allgemeines Verfahren zur semantischen Bedeutungsanalyse in schwierigen Fällen entwickelt, in denen die Bedeutung sehr unsicher ist. Das Verfahren besteht darin, daß eine oder mehrere mögliche hypothetische kausale Erklärungen des Textes gesucht werden, wobei diese Erklärungen u.a. die semantische Intention des Autors enthalten, seine subjektiven Gründe für diese Bedeutung und für die Niederschrift des Textes, aber auch den Weg der Tradierung des Textes von der Niederschrift bis zur jeweils vorliegenden Textversion. Diese hypothetischen Erklärungen (Deutungen) sind deduktiv-nomologisch oder probabilistisch, setzen deshalb entsprechende allgemeine Gesetzeshypothesen voraus. Wenn es nur eine mögliche (hypothetische) Erklärung des vorliegenden Textes gibt, ist diese hypothetische Erklärung auch wahr. Sehr häufig gibt es aber mehrere mögliche Erklärungen. In diesem Fall müssen die Wahrscheinlichkeiten dieser möglichen Erklärungen bestimmt werden; diese Wahrscheinlichkeiten übertragen sich dann auch auf die einzelnen Hypothesen in der Erklärung (nach dem Bayesschen Gesetz). Dieses allgemeine Verfahren der Bedeutungsanalyse wird im zweiten Teil des Artikels zur Rekonstruktion zweier berühmter Interpretationen (von Wapnewski und Hahn) eines Gedichts von Walther von der Vogelweide („Nemt, frowe, disen kranz“) verwendet. (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)

Judging works of art is one thing. Loving a work of art is something else. When you visit a museum like the Louvre you make hundreds of judgements in the space of just a couple of hours. But you may grow to love only one or a handful of works over the course of your entire life. Depending on the art form you are most aligned with, this can be a painting, a novel, a poem, a song, a work of (...) architecture, or some other art object or performance. As it happens, however, we have fallen in love with a series of films: Before Sunrise, Before Sunset, and Before Midnight. But what does it mean to love a film? What’s the difference between liking a film, loving a film, and being a film lover? How rational or irrational is it to fall in love with a film? What are the constitutive elements of such a love? These are the questions we seek to address in this paper. -/- . (shrink)