This article proposes a role for aesthetic judgment in our practical thought. The role is related to those moments when practical reason seems to give out, when it fails to yield a judgment about what to do in the face of a choice we cannot avoid. I argue that these impasses require agents to create, but that not any creativity will do. For we cannot regard a response to one of these problems as arbitrary or capricious if we want to (...) act on it. We must instead regard that response as justified by the problem itself. I suggest that this combination of creativity and normativity is characteristic of aesthetic judgment and this makes it a promising candidate for making these very difficult choices. (shrink)

Martin Heidegger defines the world as ‘the ever non-objective to which we are subject as long as the paths of birth and death . . . keep us transported into Being’. He writes that the world is ‘not the mere collection of the countable or uncountable, familiar and unfamiliar things that are at hand . . . The world worlds’. Being able to fully and richly express how the world worlds is the task of the artist, whose artwork is the (...) crystallization of this ‘worlding’. For Heidegger it is especially the poet who is attuned to this ‘worlding’, for the poet’s work is focussed on and happens within language itself. The poet is a ‘world-maker’, but this ‘worlding’ is not directed at creating a fictional world; rather it is aimed at revealing the world itself, drawing to the foreground the ‘ever non-objective’ nature of the world, the world happening and unfolding through and with us. This paper, using T.S. Eliot’s poetry, particularly Four Quartets as an example, will delve into how the language of the poet is able to articulate this seemingly invisible boundary between the everyday world and that same world revealed as a mysterious potential that ‘worlds’. The ‘religious imagination’ is central in how this transformation of reality, through poetic language, can manifest. Paul Ricoeur’s work on the poetic and religious dimensions of imagination, particularly the notion of ‘hope’ provides the theoretical underpinnings to explain this transformation. (shrink)

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)

Machiavelli’s work is a commentary on the power politics that frame Shakespeare’s tragedies and histories, and Shakespeare’s villains bring to life the inherent dangerousness of Machiavelli’s philosophy. Because their writings appear to illuminate each other in this way, because they constantly remind us of each other, several questions arise: what did Shakespeare know about Machiavelli? What did he think of Machiavelli’s philosophy as it’s normally construed, that is, as a kind of completely unscrupulous political realism? To what extent had the (...) figure of the Machiavel already been articulated within the Elizabethan literary world when Shakespeare got a hold of it? Was the Tutor sense of Machiavelli’s thought accurate? If not, what was the pervasive sense of Machiavelli in Shakespeare’s culture? (shrink)

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

From an observation by the poet Paul Valéry, I argue that rhyme schemes, while constraining, also enable the poet to achieve autonomy from various surrounding influences, such as the domestic and the political. The demand to keep to the rhyme scheme takes priority, reducing the likelihood of these dominating.

The affection of the Prophet by the ummah (belivers) contributed to keep his words on the agenda so that various formations had emerged. these formations displayed themselves especially in the field of literature. Specifically, variety in the forty hadith literature can be example of this. New‘î who was the literary man and professor of Ottoman’s in the 16. Century and produced the Works of İslamic Science and literature. In this study, the work of New‘î which is about the forty hadith (...) written in poetic has diffused and it is tried to give information about the index of that work. Also, translations and the classic sources of the hadith which given in the work are shown in tabuler form. In addition to this, the author and his Works have tried to explain with some previously unknown topics. Lastly, it has been tried to correct misplaced issues. (shrink)

"Then to this earthen Bowl did I adjourn My Lip the secret Well of Life to learn: And Lip to Lip it murmur'd-"While you live Drink!-for once dead you never shall return." " [http://philpapers.org/profile/112741] .

Asaf Halet Çelebi, who is a poet interested in Eastern religions. This is due to reach the family atmosphere, the love to know different languages and mysticism. What makes him different aspects of Turkish literature, the history of religions is the masterful use of motifs in his poems. Religions, mythology, mysticism and music information about the poet, his poetry reflects this versatility. Sound in poetry, harmony, knowledge, symbols, and images of compliance on this issue reveals the talent of (...) the poet. He uses motifs in poetry from Ancient Egypt, Buddhism, Judaism, Christianity and Islam traditions. This is particularly highlighted in poems motifs identified with religious traditions. In this context, the Tafnit, Bodhisattva, Sidharta, Mâra, Torah, Abraham, Solomon, the Church of Christ, the Trinity concepts are the motives of the history of religions of the poet's poems aesthetic and depth to you to use. Çelebi focuses more on Buddhism. For this reason, he wrote a work called According to Pali texts Budha Gotama. Here he focuses on the Buddha's life story and some Buddhist texts. This study entrated on the religious motifs of a poet who is a historian of religions. In this context, priority has been given to the poetry found associated with religious motifs. In this article, it is tried to explain what these motifs in his poems mean in terms of the history of religions. -/- . (shrink)

Inspired by Charles Taylor’s locating of Herder and Rousseau’s “expressivism” in Marx’s understanding of the human as artist, I begin this essay by examining expressivism in Taylor, followed by its counterpart in M. H. Abrams’s work, namely the wind as metaphor in British Romantic poetry. I then further explore this expressivism/wind connection in Percy Bysshe Shelley’s “Ode to the West Wind” and Marx’s The German Ideology. Ultimately I conclude that these expressive winds lead to poetic gesture per se, and thereby, (...) to a kind of poetry at the heart of Marx’s philosophy. (shrink)

Book review of 'Srimad Bhagavata—Condensed in the Poet's Words' by A M Srinivasachariar. In this book, the Sanskrit Bhagavata verses have been condensed without using any words other those of the original. This has been translated into English by V Raghavan. This book enables one to have an idea of the main content of the lengthier original text.

A poet is also a human being. He possesses thirst and hunger. He will have family responsibilities. He/she will have his or her social obligations. One has to take care of all these and then in their midst has to fine tune time to compose poetry. Money is essential to quench his thirst and hunger and discharge family responsibilities. These are not the times when one can make poetry-writing a livelihood. One has to do some other job and then (...) write poetry. Living and being engaged in literary creation are different. Ninety nine per cent of poets do not have the luxury of earning money by taking poetry-writing as a profession. And thus they cannot meet the obligations of taking care of themselves, their family and also discharge other social responsibilities. (shrink)

This is a greatly expanded version of my article "Anarchism and the Beats," which was published in the book, The Philosophy of the Beats, by the University Press of Kentucky in 2012. It is both an historical and a philosophical analysis of the postwar American counterculture. It charts the historical origins of the postwar American counterculture from the anarchists and romantic poets of the early nineteenth century to a complex network of beat poets and pacifist anarchists in the early decades (...) after World War II. The beat poets understood themselves to be religious prophets of a new form of liberated consciousness. Poetry was both a means to achieve this new form of consciousness and a means to express that consciousness once it was achieved by other means including travel, psychedelic drugs, sex or meditation. The transformation of consciousness sought by the beats was therefore primarily religious in nature, not political or ideological. However, that does not mean that the beats believed that the transformation of consciousness they sought had no political or social implications. On the contrary, the beats were almost all anarchists. It merely means that, for them, political ideology follows consciousness, not the reverse. (shrink)

I wrote an essay about why I do philosophy. It would probably not be publishable anywhere, but I think it might be of some interest to others as we reflect on why we do what we do. For those who know me from online I hope in this to provide illustrations of the categories "Sexy Murder Poet" and "Basically Pleasant Bureaucrat", since it so happens that the two tendencies within me can be sorted by these. In any case, I (...) hope the essay helps people think about what they hope to get from philosophy, and whether the tools they adopt are adequate to the tasks they thus set themselves. (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)

The paper charts both the interpersonal connections between historical anarchist figures and the beat poets as well as the philosophical similarities between them. Almost all the beat poets were anarchists, though their politics was secondary to their attempts to transform consciousness. Among the anarchists, the romantic socialist Gustav Landauer, who was especially popular in post-war American anarchist circles, came closest to the political perspective of the beat poets. Like the beats, Landauer was a poet, a pacifist, an anarchist, a (...) communitarian, a romantic, and a mystic. In northern California, the circle of anarchists surrounding Kenneth Rexroth provided support and inspiration to the early beat movement. In New York, the beats had an affinity with anarchists such as David Thoreau Wieck and the publication "Why?" (later "Resistance"), as well as Dwight Macdonald's "politics" and Holley Cantine's "Retort". (shrink)

Gardeners, poets, lovers, and philosophers are all interested in the redness of roses; but only philosophers wonder how it is that two different roses can share the same property. Are red things red because they resemble each other? Or do they resemble each other because they are red? Since the 1970s philosophers have tended to favour the latter view, and held that a satisfactory account of properties must involve the postulation of either universals or tropes. But Gonzalo Rodriguez-Pereyra revives the (...) dormant alternative theory of resemblance nominalism, showing first that it can withstand the attacks of such eminent opponents as Goodman and Armstrong, and then that there are reasons to prefer it to its rival theories. The clarity and rigour of his arguments will challenge metaphysicians to rethink their views on properties. (shrink)

Valmiki , The Sage of 5th century B.C wrote The Ramayana not to narrate the story of Rama in an absorbing style. Though the epic poem presents Rama’s Journey of life in enchanting poetry , the story and the enchanting poetry are sugar coating or honey to the organic medicine called Kundalini Yoga. Maharshi Valmiki wrote the Ramayana to spread / propagate Kundalini Yoga among the masses. Thus the soul of The Ramayana is Kundalini Yoga / Sri Vidya. Valmiki embedded (...) Kundalini Yoga in the Chapter titled “ Sundara Kanda” . Hanuman and Ravana are Kundalini Yogis of Samaya and Kaula Paths. And in Sundara Kanda , he inserted “ Trijata Swapna “ , dream sequence of a demon and in it embedded the Gayathri Mantra. The concepts of Vishnu and Avatar (reincarnation) were nonexistent during the Ramayana Period. Seshendra Sharma , Scholar - Poet in his Magnum Opus of Research “ Shodasi : Secrets of The Ramayana “ reveals these secrets lying hidden for thousands of years . (shrink)

“Three poets in three distant ages born Greece, Italy and England did adorn; The first in loftiness of thought surpassed. The second in majesty; in both the last.” (http://philpapers.org/profile/112741).

American poet Ezra Pound wrote a letter on February 6, 1940, inviting American philosopher George Santayana to join poet T. S. Eliot and himself in writing “a volume . . . on the Ideal University, or The Proper Curriculum, or how it would be possible to educate and/or (mostly or) civilize the university student.” Santayana declined the invitation and claimed to have no ideas on the subject of education. Participation would have been morally impossible, he wrote, because unlike (...) Pound and Eliot, whom he regarded as “reformers, full of prophetic zeal and faith in the Advent of the Lord.” Santayana was “cynically content to let people educate or neglect themselves as they may prefer.”. (shrink)

The advanced division of cognitive labor generates a set of challenges and opportunities for professional philosophers. In this paper, I re-characterize the nature of synthetic philosophy in light of these challenges and opportunities. In part 1, I’ll remind you of the centrality of the division of labor to Plato’s Republic, and why this is especially salient in his banishment of the poets from his Kallipolis. I’ll then focus on the significance of an easily overlooked albeit rather significant character, Damon, mentioned (...) in that dialogue. I’ll argue that if we take the relationship between Socrates and Damon seriously, we’ll notice that in modeling imperfect polities, Plato inscribes Socrates within the advanced division of cognitive labor who defers to Damon as an expert on a key feature of the art of government. In fact, I’ll argue that in Republic, Plato offers us at least two ways to conceptualize philosophy’s relationship to the sciences, and that he alerts us to the social significance of this. In part 2, I’ll re-introduce my conceptualization of synthetic philosophy and restate it. Back in 2019 I published a short paper on it that went viral and was immediately used by others. Reflection on their use instructed me about an ambiguity in my position. Building on the material in parts 1-2, in part 3, I’ll contrast my account with a number of ways that Philip Kitcher has conceptualized synthetic philosophy in order to make more precise the version promoted here. (shrink)

Poet and philosopher Fernando Pessoa (1888-1935) described himself as someone who is an “exile from the country of which he had always considered himself a citizen…” Is it apposite to associate exile with someone who — apart from spending nine years in South Africa during his youth — essentially never stirred out of his native Portugal? This essay examines this question by comparing Pessoa to another famous exile, Albert Camus.

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 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)

Xenophanes was a poet and rhapsode who lived in Greece during the late sixth and early fifth centuries BCE. Surviving fragments of his poetry touch on proper conduct at symposia, the measures of personal excellence, and aspects of his interactions with various notable individuals. Xenophanes also characterized various natural phenomena as products of a set of basic physical substances and processes. In a series of remarks concerning the stories about the gods told by Homer and Hesiod, the true nature (...) of the divine, and the tendency of believers to conceive of the gods as like themselves, Xenophanes explored questions central to the philosophy of religion. This essay addresses four questions: (1) Did Xenophanes espouse monotheism? (2) On what basis did he repudiate anthropomorphism in religion? (3) Why did he reject the possibility of knowledge concerning divine matters? and (4) How did he understand the relationship between god and the cosmos? (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)

Against caricatures of the poet-philosopher Friedrich Schiller as an unoriginal popularizer of Kant, or a forerunner of totalitarianism, Frederick Beiser reinterprets him as an innovative, classical republican, broadening his analysis to include Schiller’s poetry, plays, and essays not widely available in English translation, such as the remarkable essay, “On Grace and Dignity.” In that spirit, the present article argues that the latter text, misperceived by Anglophone critics as self-contradictory, is better understood as centering on gender and dance. In brief, (...) grace is a virtuous power of beautiful gestures associated with women, while dignity is a power of sublime gestures associated with men, and the improvised combination thereof is a divinely androgynous power of gesture that I term “stateliness,” in a three-step choreography of aesthetic education. (shrink)

Many philosophers and scientists have claimed that time has an arrow that points in a special direction. The Roman poet Ovid may have referred to this one-way property of time when he said, “Time itself glides on with constant motion, ever as a flowing river.” However, understanding this arrow is not … Continue reading The Arrow of Time →.

In Plato’s dialogues we often find Socrates talking at length about poetry. Sometimes he proposes censorship of certain works because what they say is false or harmful. Other times we find him interpreting the poets or rejecting potential interpretations of them. This raises the question of whether there is any consistent account to be given of Socrates’ practice as a literary critic. One might think that Plato himself in the Ion answers the question that I have raised. Rhapsody, at least (...) in the Ion , is portrayed as the activity of interpreting and evaluating the works of the poets. At first glance at least, Plato seems to conclude that this activity cannot meet the standards of a τέχνη. Rhapsodes are divine madmen. Thus, there cannot be a systematic Platonic account of literary criticism because this activity is inherently irrational and, subsequently, not something that one could engage in in a systematic way, guided by a theory of any sort. In the first part of the paper I argue that the Ion does not simply consign the Interpretation of poetry to the irrational and, as a result, does not pose an obstacle to the possibility of a Platonic literary criticism. In the second part of the paper I turn to the task of finding an account of the purpose of reading poetry and strategies for fulfilling this purpose that make systematic sense of Socrates’ multifarious remarks about poetry. (shrink)

Using hokku poet Basho’s aesthetics of wandering, as defined by Thomas Heyd, I argue that, by detailing the excruciating pointlessness of work undertaken according to commands that take little or no account of their feasibility, Richard Flanagan’s novel, The Narrow Road to the Deep North (which takes its title from Basho's work) transforms the features of this aesthetics into the lived experience of prisoners of war on the ‘line’. In doing so, Flanagan transfers Basho’s aesthetics into a represented actuality (...) through the privileging of subjectivity over identity and the dissolution of the body on the line. The three prongs to Basho’s aesthetics are found in Flanagan’s novel. In this, Flanagan is identifying the complexity of meanings evident in the terminology of such aesthetics, rendering what appears positive in the context of Basho’s poetry negative in its practical application as this is articulated through the prisoners’ wartime experiences. Rather than being formative, Flanagan’s novel suggests wartime experience has a complexly ‘opposite’ effect. This is apparent in the complications of identity represented in post-war terms as a disunity (rather than a coherent unity), as articulated through the use of spatial metaphors that reverse the formative intensities of subjectivity and body through symbolic acts of dispersal and dissolution. (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)

In “Topology of Balasaguni’s Kutadgu Bilig: Thinking the Between,” Onur Karamercan focuses on the philosophical dimension of Kutadgu Bilig, a poetic work of Yūsuf Balasaguni, an 11th century Central Asian thinker, poet, and statesman. Karamercan pays special attention to the meaning of betweenness and, in the first step of his argument, discusses the hermeneutic and topological implications of the between, distingushing the dynamic sense of betweenness from a static sense of in-betweenness. He then moves on to analyze Balasaguni’s notion (...) of language, which he interprets as an early critique of the instrumental account of language and, by examining several selected fragments from Kutadgu Bilig, illustrates Balasaguni’s designation of language as an inexhaustible phenomenon. In the process, he also points to the possible parallels between Balasaguni’s and Heidegger’s ideas of language. In the final section of the article, building on his argument, Karamercan thematizes the margins of Turkic languages and of Islamic philosophy, suggesting that they need to be reexamined. He problematizes the very meaning of Asia itself by decentering what he calls “its internal East–West antagonism” and puts forth instead a framework based on in-betweenness reinterpreted from a topological perspective, proposing it as an alternative view which might help us make sense of the hermeneutic neighborhoods of Asian philosophies. (shrink)

In the autumn of 430 BCE, the city of Athens was devastated by a plague, one chronicled by both the Athenian historian Thucydides and the Roman poet Lucretius. Albert Camus’ notebooks and novel The Plague (La peste) clearly show his interest in the plague of Athens and several scholars have detected comparisons between its narrator, Dr. Rieux, and the historian Thucydides. But a careful examination of what Rieux actually says about the plague of Athens complicates matters and suggests that (...) Camus in some sense rejects accounts of the plague of Athens as a model for his novel. Such a rejection seems confirmed by the novel’s identification of Joseph Grand as its hero, an example of decidedly non-Periclean virtue. I argue that although one can find comparisons within the Plague between Athens and Oran, more pronounced are their contrasts. (shrink)

Hegel reads the poet Novalis as an expression of terminal irony, a pathological case of Gemüt, where the conscious mind is alienated from reality and turns its negativity inwards on the contents of its own natural soul. The condition of self-feeling, presented in Hegel’s “Anthropology”, is a self-consumption that manifests itself somatically in the physical disease (consumption) from which Novalis dies. The poet’s literary production represents a pathological fixation that impedes the dynamic organicity of Hegelian Science. As such, (...) Novalis’s mental illness and death constitute an expression of romantic irony and an ongoing threat to Hegel’s philosophy. (shrink)

Sikhism is the world's fifth-largest religion. It was founded during the late 15th century in the Punjab region of the Indian subcontinent. Its adherents are known as Sikhs. Currently, there are about 30 million Sikhs worldwide. Most of them live in the Indian state of Punjab. As per Sikh tradition, Sikhism was established by Guru Nanak (1469–1539) and subsequently led by a succession of nine other Gurus. Before his death, the tenth Sikh Guru, Guru Gobind Singh (1666–1708), bestowed the status (...) of Guru to the sacred scripture of Sikhs, Adi Granth, which is presently known as Sri Guru Granth Sahib (SGGS) [1]. The Adi Granth was first compiled by Guru Arjan Dev, the fifth Sikh Guru, in 1604. Its second and final version has been the handiwork of Guru Gobind Singh, who added the hymns of his father, Guru Teg Bahadur, the ninth Sikh Guru [2], at Damdama Sahib, Talwandi Sabo, Punjab, in 1705. The holy Sikh scripture, SGGS, contains 1430 pages of text in poetry form. In addition to the hymns of the six Sikh Gurus and four Sikhs, it includes hymns composed by fifteen saints (Bhagats) and eleven poet laureates (Bhats) of the Guru's court. Muslims and Hindus, Brahmins, and "untouchables" all come together in one congregation to create a universal scripture. It is a compendium of mystic, metaphysical and religious poetry written or recited between the 12th and 17th centuries in the Indian sub-continent [3]. Sri Guru Granth Sahib, through its comprehensive worldview, offers a perfect set of values and an applicable code of conduct. Its cardinal message addresses the welfare of all humans irrespective of their caste, colour, creed, culture, and religion. SGGS emphasizes love, respect, empathy, and acceptance of others' existence. It prohibits us from infringing on the freedom and rights of others. The life and works of the Sikh Gurus exemplify the practicability of these ideas. Their inter-faith dialogues highlighted that human unity and oneness could be achieved through tolerance, communication, and respect for others [4]. Besides a matchless elaboration of spirituality, Sri Guru Granth Sahib enshrines a powerful expression of the message of revolutionary ideals of social welfare, human rights, multicultural distinctness, and religious freedom. In the present era, when the threats and fear of interfaith conflicts, military aggression, terrorism, etc., have overpowered human sentiments, the teachings of Sri Guru Granth Sahib are even more relevant to resolving all these problems. (shrink)

The main aim of this essay is to show that, for Stevens, the concept of reality is very fluctuating. The essay begins with addressing the relationship between poetry and philosophy. I argue, contra Critchley, that Stevens’ poetic work can elucidate, or at least help us to understand better, the ideas of philosophers that are usually considered obscure. The main “obscure” philosophical work introduced in and discussed throughout the essay is Schelling’s System of Transcendental Idealism. Both a (shellingian) philosopher and a (...) (stevensian) poet search for reality. In order to understand Stevens’ poetry better, I distingush several concepts of reality: initial reality (the external world of the common sense), imagined reality (a fiction, a product of one’s mind), final reality (the object of a philosopher’s and a poet’s search) and total reality (the sum of all realities, Being). These determinations are fixed by reason (in the present essay), whereas in Stevens’ poetic works, they are made fluid by the imagination. This fluidity leads the concept of reality from its initial stage through the imagined stage to its final stage. Throughout this process, imagined reality must be distinguished from both a mere fancy and its products. Final reality is, however, nothing transcendent. It is rather a general transpersonal order of reality created by poetry/the imagination. The main peculiarity of final reality is that it is a dynamic order. It is provisional at each moment. Stevens (and Schelling too) characterizes this order as that of a work of art which is a finite object, but has an infinite meaning. Stevens calls this order “the central poem” or the “endlessly elaborating poem”. If ultimate reality is a poem created by the imagination, one may ask who is the imagining subject. I argue that this agent is best to be thought as total reality, that is, as Being. Stevens, however, maintains that if there were such an agency, it would be an inhuman agency, “an inhuman meditation”. The essay concludes, in a Derridian manner, with the claim that this agency cannot have any name; it is the “unnamed creator of an unknown sphere, / Unknown as yet, unknowable, / Uncertain certainty” (OP: 127). It is best thought as an X, as an unknown variable. Being has no name. (shrink)

Mimesis and the portrayal of reflective life in action : Aristotle's Poetics and Sophocles' Oedipus the King -- The portrayal of reflective life in action in poetry : Shakespeare's dramatization of the poet in Sonnets 1-126 -- The portrayal of reflective life in action in music : Bach's Prelude and Fugue in B flat minor (The Well-Tempered Clavier, Book 1) and Beethoven's String Quartet in A minor, opus 132 -- The portrayal of reflective life in action in painting : (...) discovery of the inner life of sensory perception in watercolours by Turner and oil paintings by Cézanne. (shrink)

The impact of Persian literature on world culture and literature is undeniable. Persian poets such as Firdowsi, Sa’di, Hafiz, Rumi and Khayyam who deal with universal themes beyond a particular place and time are among the most widely-known literary figures of the world; their works are translated into different languages. Despite the fact that there are different translations of Persian literature in English, it is still not clear whether Persian literature has gained its appropriate place in the world. We study (...) the reception of Persian literature in general and classical Persian poetry in particular in Britain and The United States to see whether it is rightly introduced to these countries or not. A close study of the reception of Persian poetry in Anglophone world in general and in Britain and The United States in particular reveals that while Persian literature is introduced and taught in these countries, it is still far from being truly known there. Those who have been familiar with Persian literature have mainly known it through translations by western scholars, and this has led to problems and misconceptions. As Edward Said argues in Orientalism, the orient is never truly depicted by the west. The best way would be to have Persian scholars of English literature translate Persian works into English. (shrink)

Aristotle’s claim that poetry is ‘a more philosophic and better thing’ than history (Poet 9.1451b5-6) and his description of the ‘poetic universal’ have been the source of much scholarly discussion. Although many scholars have mined Poetics 9 as a source for Aristotle’s views towards history, in my contribution I caution against doing so. Critics of Aristotle’s remarks have often failed to appreciate the expository principle which governs Poetics 6-12, which begins with a definition of tragedy and then elucidates the (...) terms of that definition by means of a series of juxtapositions. The juxtaposition between poetry and history is one such instance which seeks to elucidate what sort of plot exemplifies a causal unity such that the events of a play unfold with likelihood or necessity. Within that context, Aristotle compares history and poetry in order to elucidate the object of poetic mimesis rather than criticize history as a discipline. Viewing Aristotle as antagonistic towards history fails to appreciate the expository structure of the Poetics and obscures the resource which history provides to the poet, a point which I explore by considering what Aristotle would have thought of an ‘historical’ tragedy like Aeschylus’ Persians. (shrink)

The artist-poet William Blake claims that “Jesus & his Apostles & Disciples were all Artists.” Blake committed his artistic career to religious writing, and gave rise to a new Christianity, which better encapsulated the realities of the existential human condition. In what follows, I will explore Blake’s philosophy of religion and of imagination. Through an explication of Blake’s meta-poetry, I aim to illuminate Blake’s depictions of the connection between the imagination and religion. In devising a Blakean philosophy of imagination, (...) I consider the connection between metaphor and Blake’s imaginative poetics, as well as the poetry of Wallace Stevens, which further corroborates that the Blakean notion of the imagination are indispensable and eternally necessary. (shrink)

Giacomo Leopardi, a major Italian poet of the nineteenth century, was also an expert in evil to whom Schopenhauer referred as a “spiritual brother.” Leopardi wrote: “Everything is evil. That is to say, everything that is, is evil; that each thing exists is an evil; each thing exists only for an evil end; existence is an evil.” These and other thoughts are collected in the Zibaldone, a massive collage of heterogeneous writings published posthumously. Leopardi’s pessimism assumes a polished form (...) in his literary writings, such as Dialogue between Nature and an Islander (1824)—an invective against nature and the suffering of creatures within it. In his last lyric, Broom, or the flower of the desert (1836), Leopardi points to the redeeming power of poetry and to human solidarity as placing at least temporary limits on the scope of evil. (shrink)

This essay reads acclaimed poet James Galvin’s 1992 semi-autobiographical novel through the lenses of Martin Heidegger’s notion of authenticity and Patrick Wolfe’s discussion of settler-colonialism. I argue that Lyle, arguably the novel’s main character, is portrayed as living “authentically” in contrast to the deep inauthenticity of Ferris. I connect Western authentic dwelling with settler-colonial logic, centering my account on the figures of the “lazy” and “magical” “Indian.” Ultimately, I find that far from rejecting settler-colonial logic Galvin’s text plays out (...) of a return of the repressed of the present absence of indigenous persons in the land and the text. (shrink)

As with so many mystics, Alexis karpouzos intuitively know the oneness of cosmic creation and historic humanity as part of all that is and all there isn't. So, the originality of Alexis Karpouzos thought is that it crosses the most diverse fields, the most opposing philosophies, to unite them into an often contradictory and broken whole. Marx and Heidegger, Nietzsche, Freud and Heraclitus, poets and political theorists all come together in the same distance and the same unusual proximity. Alexis karpouzos (...) use Pre-Socratics philosophy and generally the ancient Greek philosophy, as well as the pre-philosophical thinking of The Upanishads, the Vedas and Buddhism in India, of Lao Tzu, of Zen Buddhism and the Taoist tradition in China, of the Arab mystics and poets, with their metaphysical religiosity as the metaphysical basis for the interpretation and understanding of the world and existence. At the same time the ancient metaphysics is connect with Hegel’s dialectical ontology and with the modern thinking of Marx, Nietzsche, Freud, Heidegger, and others as the interpretive context for understanding the central problems of the technical and scientific world during his time. Novalis, Hölderlin, Rimbaud, Whitman, Eliot and others show the dreamy nature of existence, the transcendence of the Cosmos, welcome the infinity. For Alexis karpouzos the combination of ancient and modern thought creates the holistic experience of universal space-time and the consciousness of the unity. The poetic thought of Alexis karpouzos is a expressions of soul's inner experiences, expression of universality. The inspiring visual images and the symbolic use of language offer a description of elevating experiences of consciousness, a glimpse of higher worlds. The philosophy of Alexis karpouzos speak to the human experience from a universal perspective, transcending all religions, cultural and national boundaries. Using vivid images and a direct language that speaks to the heart, his philosophy evokes a sense of deep communication with the collective unconscious, a sense of connection to all the creatures of the world, compassion for others, admiration for the beauty of nature, reverence for all life, and an abiding faith in the invisible touch of world. Alexis karpouzos thoughts are often terse and paradoxical, challenging us to to break out of the box of limiting beliefs and see things from a new perspective. Above all, Alexis karpouzos continually calls to us to wake up and explore the mysteries within our own selves, i.e the mysteries of universe. (shrink)

This volume of collected essays brings together conversations, papers, and debates from the Third Annual North American Anarchist Studies Network Conference in San Juan, Puerto Rico. Nathan Jun and Jorell A. Meléndez aspire to go beyond a simple collection of papers and instead aim to maintain a dialogue among different academic fields with the sole task of comprehending and re-thinking anarchist studies. With over twenty-one chapters written by a diverse range of activists, organizers, musicians, artists, poets, and academics, this book (...) transgresses the apparent simplicity of the study of anarchism with a dynamic and interdisciplinary approach that crystallizes and emulates the heterogeneous nature of the anarchist ideal. From theory and philosophy to historical analyses, methodologies, and perspectives, from different manifestations in the arts, media, and culture to religion, ethics, and spirituality, from the intersectionality of animal liberation and queer struggles to contemporary praxis and organizing, the authors explore different topics from a critical perspective that is often lacking in their respective academic fields. This book is a must-buy for critical teachers, students, and activists interested in studying anarchism and the different ways in which we can transform our reality. (shrink)

Bashabi Fraser is a poet in her own right. She is also a creative translator. This is a review of her edited volume on the Partition of Bengal. The review highlights our need to read the partition event as a warning for future and ongoing genocides. The review also shows the superiority of literature over history. And finally it has something to say about translation and separately, on P Lal. For instance, this reviewer in many other reviews too insists (...) on the superiority of Fr Mignon SJ over Prof Lal's understanding of translation. (shrink)

In the Phaedrus, Plato speaks of various forms of madness having a divine origin, and bestowing virtue on mankind. A similar, though not equivalent elevation of madness over sanity is found in the Pauline epistles, where Christians are described as fools. Diogenes of Sinope and a number of other Cynics, as well as Christian ascetics, adopted a way of life that could reasonably be described as mad. This challenged received ideas about sanity, and in so doing, emphasized its social aspect. (...) The prophet and the poet were seen in antiquity to disclosed truth, in enigmatic sayings and in odd turns of phrase that stretch everyday usage. This overstepping of reason (logos) links both inspired madness and simulated madness to the lexis of mysticism. They are, in other words, a stance, in relation to knowing, that is shared by philosophy. To use Heidegger’s idiom, the latter is nothing other than a rambling path through the forest, one which often leads nowhere. But sometimes comes to a clearing in which Being itself is made manifest as ek-stasis. -/- . (shrink)

I argue that miscarriage, referred to by poet Susan Stewart as “the event that was nothing,” is a liminal event along four distinct and inter-related dimensions: parenthood, procreation, death, and induced abortion. It is because of this liminality that miscarriage has been both poorly addressed in our society, and enrolled in larger debates over women's reproduction and responsibility for reproduction, both conceptually and legally. If miscarriage’s liminality were better understood, if miscarriage itself were better theorized, perhaps it would not (...) so easily be enrolled in these other debates to the detriment of women who miscarry, and their families. However, its very liminality and the fact that it is enrolled in these debates sheds light on the complicated network of concepts within which miscarriage lies. (OPEN ACCESS AT URL). (shrink)

The concept of expression in the arts is Janus-faced. On the one hand expression is an author-centered notion: many Romantic poets, painters, and musicians thought of themselves as pouring our or ex-pressing their own emotions in their artworks. And on the other hand, expression is an audience-centered notion, the communication of what is expressed by an author to members of an audience. Typically the word “expression” is used for the author-centered aspect of expression as a whole, and the word “expressiveness” (...) is used for the audience-centered aspect, and I shall keep to this usage. In this paper I shall argue that although expression is closely related to expressiveness, the two concepts are distinct and, in particular, expressiveness cannot be analyzed in terms of expression, as has been recently suggested by Stephen Davies and Jerrold Levinson. Nonetheless, the richest examples of expression in the arts involve both expression and expressiveness. (shrink)

Van Rensselaer Potter (1911-2001), le biologiste à l’origine du terme « bioéthique » dans les écrits nord-américains, considère que « real bioethics falls in the context of the ideals of […] Aldo Leopold », un forestier, philosophe et poète ayant marqué le XXe siècle. Associer Leopold à Potter a pour effet de placer la bioéthique dans la famille des éthiques de l’environnement, ce qui la différencie du sens conventionnel retenu en médecine et en recherche depuis le Rapport Belmont (1979), une (...) déclaration ayant propulsé l’institutionnalisation de la bioéthique en Amérique du Nord. Cependant, diviser la bioéthique entre le médical et l’environnemental est réducteur. Potter propose au contraire une bioéthique globale s’intéressant aux enjeux situés à leur interface, dont ceux concernant la terre, la vie sauvage, la surpopulation, la consommation, etc. Cet article vise à amorcer un nouveau chantier d’analyse de la pensée de Potter en s’appuyant sur l’héritage de Leopold en biologie. Une synthèse de cette vision potterienne est proposée de manière à considérer son œuvre comme un tout cohérent s’intégrant aux grands débats qui transcendent les XXe et XXIe siècles. Sa vision apparaît comme une sagesse collective et prospective sous la forme d’une science de la survie et d’un code de bioéthique. Dépassant l’éthique de l’environnement, son association avec Leopold offre un modèle de la complexité s’imposant comme cas indissociable du contexte qui l’englobe, en améliorant nos façons d’intervenir en pratique dans un monde en constante transformation, à titre de gouvernance adaptative et de sagesse de la responsabilité. (shrink)