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)

This essay will criticize Peter Lamarque’s claim in The Opacity of Narrative that reading for ‘opacity’ is the way to read literature as literature. I will summarize the idea of ‘opacity’ and consider the plausibility of this claim through an examination of Lamarque’s related comments on translation. The argument for ‘opacity’, although it insists on the importance of attention to a work’s form in the apprehension of its content, involves, at the same time, a certain obliviousness to form, indicated (...) in the first instance by an unpersuasive conflation of lyric poetry and prose fiction. Through a comparison of opposing approaches to the translation of a novel written in verse, and an analysis of why the translation of poetry is generally understood to be more challenging than the translation of prose, I will argue that reading for ‘opacity’ does not adequately capture what it means to read literature as literature. (shrink)

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)

In this paper I discuss the translation of a line in Plato's description of the ‘greatest accusation’ against imitative poetry, Republic 606a3–b5. This line is pivotal in Plato's account of how poetry corrupts its audience and is one of the Republic's most complex and interesting applications of his partite psychology, but it is misconstrued in most recent translations, including the most widely used. I argue that an examination of the text and reflections on Platonic psychology settle the (...) translation decisively. (shrink)

In the wake of modernism studies' global turn, this article considers the role of translation in fostering Iranian modernism. Focusing on the poetic translations of Bijan Elahi (1945-2010), one of Iran's most significant poet-translators, we demonstrate how untranslatability becomes a point of departure for his experimental poetics. Elahi used premodern Sufi hermeneutics to develop his modernist theory of translation, whereby the alien core of the text is recognised at the centre of the original. As he engages the translated (...) text from many angles, Elahi confounds polarities between innovation and imitation, and authorship and translation, that continue to bifurcate translation studies. In contributing to the globalization of modernist studies, this work adds to our understanding of modernism's entanglement within premodern concepts of creation, as well as to modernism's recreation of tradition from a non-European periphery. (shrink)

There are numerous books which seek to interpret Martin Heidegger’s seminal text, Beiträge zur Philosophie (Vom Ereignis), and others which address the question of how to translate his writings. By joining these two tasks, Translation and Interpretation: Learning from Beiträge, stands out from other such books in the field of Heidegger studies. The volume begins with Parvis Emad’s translation of an original essay by Martin Heidegger, “Contributions of Philosophy. The Da-sein and the Be-ing (Enowning).” -/- Through six carefully (...) crafted essays, Emad then takes the reader through a journey which examines the relationship between Heidegger’s being-historical thinking and such key figures—including Friedrich Nietzsche, Rainer Maria Rilke, and Friedrich Hölderlin—who either occupy the forefront at the end of metaphysics or mark the “crossing” to the “other beginning.” -/- This book will be of special interest to scholars and graduate students alike, whether in philosophy or such diverse fields as poetry and linguistics. (shrink)

A report on the pioneering of a new pedagogy designed to challenge students to use and improve their memory, increase their awareness of logical fallacies and tacitly embedded contradiction(s) and sensitize them to the deeply symbolic nature of thought in all its expressions (math, logos, music, picture and motor skills), as created, by the author, from in situ research at a senior level (ESL) course in Storytelling at Hankuk University of Foreign Studies, South Korea’s premier university for foreign languages and (...) translation.in. (shrink)

A guide for translators, about the translation theory, the translation process, interpreting, subtitling, internationalization and localization and computer-assisted translation. A special section is dedicated to the translator's education and associations. The guide include, as annexes, several independent adaptations of the corresponding European Commission works, freely available via the EU Bookshop as PDF and via SetThings as EPUB, MOBI (Kindle) and PDF. For a “smart”, sensible translation , you should forget not the knowledge acquired at school or (...) university, but the corrective standards. Some people want a translation with the touch of the source version, while another people feel that in a successful version we should not be able to guess the original language. We have to realize that both people have right and wrong, and that their only fault is to present requirement as an absolute truth. Teachers agree at least on this principle: “If a sentence is ambiguous, the translation must also be“. There is another critical, less easy to argue, based on an Italian phrase with particularly strong wording: “Traduttore, traditore“. This critique argues that any translation will betray the author‘s language, spirit, style … because of the choices on all sides. What to sacrifice, clarity or brevity, if the formula in the text is brief and effective, but impossible to translate into so few words with the exact meaning? One could understand this criticism that it encourages us to read “in the text.” It seems obvious that it is impossible to follow this advice into practice. CONTENTS: Translation - Assessment of the amount of translated texts - Translation and interpretation - - Translation documents - Translation theories - - Practical / communicative approach - - Approaches of literary theories - - Sociolinguistic mainstream - - Approaches based on linguistic theories - - Approaches based on philosophical and hermeneutic concepts - - Semiotic approaches - The translation process - Types of translations - - Technical translation - Schools of thought - Difficulties associated with specialized domains - The problem of double translation - Thoughts about translation - European standard for translation services - Beautiful infidels - Self-translation - - Types of self-translation - - Factors that promote self-translation - - Self-translation and not authorial translation - Technical translation - - Terminology - - Translation process - - Translation tools - - The technical translator - - - Status - - - Remuneration - Conference interpreting - - Methods of interpretation - - Skills of the interpreter - - Contexts and working languages - - The interpretation in international institutions - - - UNESCO - - - European Union Internationalization and localization - Example - Internationalization and localization - Challenges - Software localization - - Difficulties - - Composing specifications - - Special tools Computer-assisted translation - Translation memory - - Advantages and disadvantages - - General operation - - Various - - Software - Machine translation - - Translation process - - Prerequisites - - Difficulties - - Approaches - - Development - - Existing products and services - - Prospective - Parallel text Subtitle - Subtitling or dubbing? - Description - Subtitling the movies - - Spotting - - Translation - - Simulation - - Engraving, inlaying or packaging - - The live broadcast - Live captioning - - Velotype - - Touch typing - - Computer-aided stenotype - - Speech recognition - Surtitles - - Comments - - Technical means - - Artistic issues - Quasi instant voice translation - - Difficulties - - Ongoing projects - - Future Translation Studies - Theories of translation - Interpretive theory - Back-translation - - The proper use of back-translation - False friends - - Cognates - - - Complete false friends - - - Partial false friends - - False cognates - Translation process - - The implications of the "inside" language - - Total and not absolute translation - - A single model - Untranslatability - - Hovering - - Translation methods - - - Adaptation - - - Calque - - - Compensation - - - Borrowing - - - Periphrasis - - - Translator's note - - Untranslatability of poetry and puns - - An amazing counterexample Translators - Translator's notes - European Master's in Translation - - European Master's in Translation - - - Organization of EMT - - - Core skills - - The EMT label - - EMT Network - - - Eligibility - - Members - European Council of Literary Translators' Associations - - History - - Objectives - International Translation Day Annexes: Translation in EU - Translation Guide - - Think before you write - - - Who will be reading the document? - - - What are you trying to achieve? - - - What points must the document cover? - - Focus on the reader - - - Be direct and interesting - - Get your document into shape - - - When you start - - - As you write - - - Two common problems at the European Commission: - - KISS - Keep It Short and Simple - - - Short... - - - ... and Simple: - - - Simple, uncluttered style also means: - - Make sense - structure your sentences - - Cut out excess nouns - verb forms are livelier - - Be concrete, not abstract - - Prefer active verbs to passive - - - Name the agent - - Beware of false friends, jargon and abbreviations - - - Avoid false friends - - - Avoid or explain jargon - - - Take care with abbreviations - - Revise and cheque check - Clear English Tips - - English prefers to be simple, concise and concrete. - - - Use simple words where appropriate. - - - Prefer a verb to an abstract noun - - - Prefer a gerund to an abstract noun - - - Prefer participles to relative clauses - - - And eliminate participles entirely if appropriate. - - - Use the passive voice sparingly - - - Consider replacing negatives with positives - - - Consider short forms and pronouns to avoid repeating full names … - - - Express conditions, including hidden ones, with ‘if’ ... - - - In general, cut out extra verbiage. - - English prefers straightforward syntax - - - Keep the subject close to the beginning of the sentence - - - Avoid splitting up subjects, modals, verbs and direct objects - - - If a sentence is too long, pull information out into separate sentences. - - - Use topic-introducing phrases sparingly. - - English may use different number, articles, gender or words from other languages - - - Keep uncountable nouns in the singular. - - - Use ‘a’ rather than ‘the’ for members of a class. - - - Do not use gender pronouns for entities. - - - Consider alternatives to ‘of’. - - - Finally, avoid ‘false friends’ in translation. - English Style Guide - - Introduction - - Writing English - - - GENERAL - - - SPELLING - - - PUNCTUATION - - - NUMBERS - - - ABBREVIATIONS AND SYMBOLS - - - Acronyms and initialisms - - - Contractions and truncations - - - FOREIGN IMPORTS - - - PARTS OF SPEECH - - - LISTS - - - SCIENCE GUIDE - - - FOOTNOTES, CITATIONS AND REFERENCES - - - CORRESPONDENCE - - - PERSONAL NAMES AND TITLES - - - NAMES OF BODIES - - - GENDER-NEUTRAL LANGUAGE - - About the European Union - - - THE EUROPEAN UNION - - - PRIMARY LEGISLATION - - - SECONDARY LEGISLATION - - - THE EU INSTITUTIONS - - - REFERENCES TO OFFICIAL PUBLICATIONS - - - EU FINANCES - - - MEMBER STATES - - - OFFICIAL LANGUAGES AND CURRENCIES - - - EXTERNAL RELATIONS - - TRANSLITERATION - - - TRANSLITERATION TABLE FOR GREEK - - - TRANSLITERATION TABLE FOR CYRILLIC - - FORMS OF ADDRESS - - - Envelop - - - Start - - - Close - - - Envelop - - - Start - - - Close - - - Envelop - - - Start - - - Close - - - Envelop - - - Start - - - Close - - - Envelop - - - Start - - - Close - - - Envelop - - - Start - - - Close - - - Envelop - - - Start - - - Close - - - Envelop - - - Start - - - Close - - - Envelop - - - Start - - - Close - - - Envelop - - - Start - - - Close - - - Envelop - - - Start - - - Close - - - Envelop - - - Start - - - Close - Style Guide for EU Member States - - Austria - - - Geography - - - Judicial bodies - - - Legal instruments - - - Government bodies and administrative divisions - - Belgium - - - Geography - - - Judicial bodies - - - Legal instruments - - - Federal structure - - Bulgaria - - - Geography - - - Judicial bodies - - - Legal instruments - - Croatia - - - Geography - - - Regions - - - Judicial bodies - - - Political and administrative structure - - - Legal instruments - - - Law gazettes, official gazettes and official journals - - - Miscellaneous - - Cyprus - - - Geography - - - Judicial bodies - - - Legal instruments - - Czech Republic - - - Geography - - - Judicial bodies - - - Legal instruments - - Denmark - - - Geography - - - Judicial bodies - - - Legal instruments - - Estonia - - - Geography - - - Judicial bodies - - - Legal instruments - - - Law gazettes, official gazettes and official journals - - Finland - - - Geography - - - Judicial bodies - - - Legal instruments - - - Law gazettes, official gazettes and official journals - - France - - - Geography - - - Judicial bodies - - - Legal instruments - - Germany - - - Geography - - - Judicial bodies - - - Legal instruments - - - Government bodies and administrative divisions - - Greece - - - Geography - - - Judicial bodies - - - Legal instruments - - Hungary - - - Geography - - - Judicial bodies - - - Legal instruments - - Iceland - - - Judicial bodies - - Ireland - - Italy - - - Geography - - - Judicial bodies - - - Legal instruments - - Latvia - - - Geography - - - Judicial bodies - - - Legal instruments - - Lithuania - - - Geography - - - Judicial bodies - - - Legal instruments - - - Law gazettes, official gazettes and official journals - - Luxembourg - - - Geography - - - Judicial bodies - - - Legal instruments - - Malta - - - Geography - - - Judicial bodies - - - Legal instruments - - Netherlands - - - Geography - - - Judicial bodies - - - Legal instruments - - Poland - - - Geography - - - Judicial bodies - - - Legal instruments - - - Law gazettes, official gazettes and official journals - - Portugal - - - Geography - - - Judicial bodies - - - Legal instruments - - Romania - - - Geography - - - Judicial bodies - - - Legal instruments - - Slovakia - - - Geography - - - Judicial bodies - - - Legal instruments - - Spain - - - Geography - - - Judicial bodies - - - Legal instruments - - Sweden - - - Geography - - - Judicial bodies - - - Legal instruments - - Turkey - - - Judicial bodies - - - Legal instruments - - United Kingdom - - - Geography Quotes References About the author - Nicolae Sfetcu . 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This article examines the influence of the Persian mystic poet Hafi z on western poets. Interest in Hafiz started in England in the eighteenth century with the translations of Sir William Jones. In the nineteenth century, the German translation of Baron von HammerPurgstall inspired Goethe to create his masterpiece Westöstliche Divan (West-Eastern Divan). The poetry of Hafiz evoked such passion in Goethe that he referred to him as ‘Saint Hafiz’ and ‘Celestial Friend’. Inspired by Westöstliche Divan, a number (...) of German poets including Rückert and Platen composed volumes of poetry on the model of ghazal, the popular poetic form perfected by Hafi z in Persian literature. Prominent among the German thinkers influenced and fascinated by Hafiz was Friedrich Nietzsche who repeatedly mentioned him in his works. The influence of Hafiz stretched to America in 1838 when Ralph Waldo Emerson read Goethe’s West-Eastern Divan. In Hafiz, Emerson found a man who derived pleasure in the very elements which others found mean. Under the influence of Hafiz’s Saki-nameh or the Book of Wine, he created his finest poem Bacchus which, according to Harold Bloom, set the terms for the dialectic of American poetry. (shrink)

If phenomenal consciousness is illusory and reduces to a perceptual interface between a belief-driven ego system and a lattice platform of both singular and hybrid connectionally-constructed concepts where phenomena themselves are sensation- induced constructs of complexes of things in the world then in order to communicate in terms of true meanings we would require a translation system between the complexes of things that have importance for creatures of different biologies whether evolved or synthetic. In this paper I investigate and (...) propose an ontological scheme that can act in some way to bridge this gap and potentially allow humans to talk with robots about themselves and the world. (shrink)

I will begin this comparative analysis with Quine, focusing on the front matter and first chapter of Word and Object (alongside From a Logical Point of View and two other short pieces), attempting to illuminate there a (1) basis of excessive, yet familiar, chaos, (2) method of improvised, dramatic distortion, and (3) consequent neo-Pragmatist metaphysics. Having elaborated this Quinian basis, method and metaphysics, I will then show that they can be productively translated into James Mercer’s poetic lyrics for The Shins, (...) with an emphasis on the first song, entitled “Caring is Creepy,” from their debut studio album, Oh, Inverted World! Finally, I will explain why Quine and Mercer are particularly suited to this translation (in contrast to other philosophically-rich pop lyricists such as Bob Dylan, and other pragmatist philosophers like Robert Brandom), in the course of which important implications will emerge for our globalized world today. (shrink)

A brief account of the first Russian translation of The Cantos of Ezra Pound is presented. The problems encountered during translation are considered, and the translator’s and editorial decisions are discussed. An overview of the references used during the work on the translation and commentaries is presented. The central problem of translating The Cantos is identified as a lack of poetic language and techniques in Russian literature that are comparable with those of Anglo-American modernism. The methods of (...) creating the modernist epic in Russian poetry are discussed and examples of similar attempts made by predecessors are mentioned. In particular, the translations made by N.I. Gnedich, M.L. Lozinsky, A.Ya. Sergeev, S.S. Khoruzhi and V.A. Hinkis, as well as translations of ancient Greek and Chinese literature are mentioned. Among all the various factors influencing the transition of the text from one literature to the other, authenticity, persuasiveness and laconism are stressed as the major reference points not only for translating the text, but also for commenting on the translation and writing the biographical notes. Every effort was made to ensure that the book would look and feel like an artifact of Pound’s lifetime. This is perfectly in line with the concept of Fortleben of the original text, as was suggested by Walter Benjamin. In this way, the translation is seen not only as an interpretation of the text, but as the renewal, survival and prolongation of the text’s life. (shrink)

“Christianity is a μίμησις of the divine nature.” This definition of what it means to be a Christian, given by St Gregory of Nyssa in his letter De pro- fessione Christiana, employs a term commonly translated as “imitation” or “representation.” Even a brief study of some of the seminal sources of classical Greek thought, however, will show that the concept of mimesis surpasses any of these translations and effortlessly crosses the boundaries of the sphere of aesthetics, towards the fundamental questions (...) of epistemology, metaphysics, ontology, and ethics. An analysis of Gregory’s letter, together with the related treatise De perfectione, will then show his nuanced familiarity with the subtleties of mimesis, which he consciously employs to arrive at his definition of Christianity. With this in hand, I will argue that even some of Gregory’s most perplexing scriptural exegesis in his homilies on the Song of Songs grows out of his coherent concept of mimesis, which ultimately is of fundamental importance to Gregory’s anthropology, cosmology, and Christology. (shrink)

Background: Critically ill patients often require complex clinical care by highly trained staff within a specialized intensive care unit (ICU) with advanced equipment. There are currently limited data on the costs of critical care in low-and middle-income countries (LMICs). This study aims to investigate the direct-medical costs of key infectious disease (tetanus, sepsis, and dengue) patients admitted to ICU in a hospital in Ho Chi Minh City (HCMC), Vietnam, and explores how the costs and cost drivers can vary between the (...) different diseases. -/- Methods: We calculated the direct medical costs for patients requiring critical care for tetanus, dengue and sepsis. Costing data (stratified into different cost categories) were extracted from the bills of patients hospitalized to the adult ICU with a dengue, sepsis and tetanus diagnosis that were enrolled in three studies conducted at the Hospital for Tropical Diseases in HCMC from January 2017 to December 2019. The costs were considered from the health sector perspective. The total sample size in this study was 342 patients. -/- Results: ICU care was associated with significant direct medical costs. For patients that did not require mechanical ventilation, the median total ICU cost per patient varied between US$64.40 and US$675 for the different diseases. The costs were higher for patients that required mechanical ventilation, with the median total ICU cost per patient for the different diseases varying between US$2,590 and US$4,250. The main cost drivers varied according to disease and associated severity. -/- Conclusion: This study demonstrates the notable cost of ICU care in Vietnam and in similar LMIC settings. Future studies are needed to further evaluate the costs and economic burden incurred by ICU patients. The data also highlight the importance of evaluating novel critical care interventions that could reduce the costs of ICU care. (shrink)

Stanisław Ignacy Witkiewicz and Franciszka and Stefan Themerson constitute a rare constellation of outstanding artists of the 20th century avant-garde. Their best known contributions were a concept of Pure Form and an idea of Semantic Poetry respectively. They all shared multiplicity and diversity of interests and areas of not only artistic activities. Philosophy and science influenced to large extent form and content of their works. Despite their mutual interest in each other’s work they had never met personally and no (...) correspondence between them was found. However similarities in attitudes resulted then in intertwining of their paths of artistic development. One of early Stefan Themerson’s novels featured strong influence of Witkacy works but all his later writings were fully original and individual. However the author believes one can still find some flavours, tones and traces leading to the oeuvre of the author of Insatiability. After leaving Poland in 1938 Themersons had still maintained their interest in Witkiewicz works what finally led to translation and preparation for publishing by Gaberbocchus Press of his two plays – Gyubal Wahazar and Mother featuring Franciszka’s drawings. A brief review of Gaberbocchus Press achievements and resources of the Themersons Archive, established by Jasia Reichardt after their death, constitute a background for an analysis of relationships between Witkacy and Themersons. The fact National Library in Warsaw acquired Themersons heritage alleviated very much access to many very interesting source documents. The author focused on a part of the Archive related to the all aspects of Witkacy’s works. Typescripts of publication ready translated and adapted plays, Vahazar and Mother, which finally remained not published by the Gaberbocchus Press triggered an idea to take up the challenge of publishing a “bestlooker” today. A draft of a bibliophilic bilingual edition of the Gyubal Wahazar drama illustrated with Franciszka Themerson’s drawings (samples are included in the paper) is proposed as a final thought. (shrink)

This paper attempts to acquaint Polish readers with the Russian Orthodox philosopher Pavel Florensky’s (1882–1937) thinking on the category of space‑ness, which together with the categories of symbolism and light is one of the key‑words in his theory of aesthetics. The concept of space is, according to Florensky, a criterion for distinguishing art types, although for him it is only a model, which can be used to help form judgments about the world. It is also the basis of being for (...) the artwork itself. Painting and printmaking, among other arts types mentioned by Florensky (poetry, music, theatre, and architecture), have their own particularities in their organization of space. Painting and printmaking are, for Florensky, the truest art forms — art par excellence. The presentation of a threefold interpretation of the category of space‑ness, together with the description and justification of the divisions which are made in art based on these spatial categories by the philosopher is the leitmotiv of this paper. The aim of the paper is to present and discuss the opinions and arguments of the Orthodox thinker from his work Анализ пространственности (и времени) в художественно‑изобразительных произведениях, which has not yet been translated into Polish or English. (shrink)

In the "Republic," Plato has Socrates attack poetry’s use of mimēsis, often translated as ‘imitation’ or ‘representation.’ Various scholars (e.g. Blondell 2002; Frank 2018; Halliwell 2009; K. Morgan 2004) have noticed the tension between Socrates’ theory critical of mimēsis and Plato’s literary practice of speaking through various characters in his dialogues. However, none of these scholars have addressed that it is not only Plato the writer who uses mimēsis but also his own character, Socrates. At crucial moments in several (...) dialogues, Socrates takes on a role and speaks as someone else. I call these moments “Socratic mimēsis.” While previous commentators have noticed some of these moments, they have either overstated their rarity or they have not studied them collectively. My dissertation is the first in-depth investigation of this phenomenon in the dialogues. Socrates’ dramatic imitation of others is way of teaching in a voice separate from his own, and it is also a way for Plato to speak to, and to educate, different kinds of audiences. Although “Socratic mimēsis” occurs throughout the Platonic corpus, I focus on three passages from three different dialogues, which are paradigm instances: [1] in the "Crito" Socrates plays the part of ‘the Laws’ (50a-54c); [2] in the "Theaetetus" he acts the part of ‘Protagoras’ (166a-168c); and [3] in the "Menexenus" he recites a funeral speech learned from ‘Aspasia’ (236d-249c). Instead of one-sidedly reading the dialogues as either only literary works of art or as only a series of philosophical arguments, this study gleans philosophic insights from the literary and dramatic details of the dialogues. In chapter one I argue that in the "Crito" Socrates tries to convince Crito of a universal and absolute ethics based on never committing injustice, but Crito is not able to understand. In order to make Crito more just—but not yet at the level of Socratic ethics—Socrates creates ‘the Laws’ to persuade Crito to expand his personal notion of justice. Socrates instills a political obedience in place of Crito’s existing lawlessness as a second-best recourse. Plato expects the astute listener or reader to see the contrast between Socrates’ earlier ethical principles, said in his own voice, with what he says in the voice of ‘the Laws.’ In chapter two I argue that in the part of the "Theaetetus" where Socrates defends Protagoras (often called ‘the Defense’), Socrates, by imitating ‘Protagoras,’ is actually criticizing Protagorean relativism. The Protagorean theory cannot account for mimēsis and Socrates’ mimetic act performatively contradicts the identity of appearance and reality, which the theory presupposes. Finally, in chapter three I argue that in the Menexenus the funeral oration that Socrates recounts for Menexenus that he heard from ‘Aspasia’ is actually a disguised criticism of political rhetoric and of Athenian imperialism. Although the speech is never interrogated within the dialogue, Plato provokes the listener or reader outside the dialogue to question its message and to see how it conflicts with many of Socrates’ positions in other dialogues. Beyond reconsidering the long-standing and persistent view that Plato was against poetry and mimetic performance, I re-examine the role that performance and role-playing can have in philosophy and pedagogy more generally. Actors, by taking on other personas, and audience members, in observing actors and their actions, are both involved in acts of imagination that can expand their horizon of thinking and feeling. (shrink)

In this article, I offer a new philosophical interpretation of Virgil’s Aeneid, dually centered on the queens of Olympus and Carthage. More specifically, I show how the philosopher-poet Virgil deploys Dido’s Junonian furor as the Aristotelian matter of the unjust Roman imperium, the feminist counterforce to the patriarchal force disguised as peaceful order. The first section explores Virgil’s political and biographical background for the raw materials for a feminist, anti-imperial political philosophy. The second section, following Marilynn Desmond, situates the continuing (...) misogynist condemnation of Virgil’s two goddess-queens in the context of their honored centrality in Roman and Carthaginian culture. The third section reinterprets Virgil’s goddess-queens as agents of furor as (apparently mad) feminist counterforce to the (actually mad) unjust force of the Roman empire and its agents Jupiter and Aeneas. The fourth section translates these poetic philosophical interpretations into prose, arguing that Dido’s Junonian furor is the Aristotelian matter constituting the unjust forms of Roman imperium. And the conclusion applies the latter analysis to Hardt and Negri’s Empire, suggesting Dido as a model for the “multitude” in the fight against the imperial injustice of today’s globalized empire. (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 Third Being" presents texts by A.V. Bronnikov, written from 2011–2019 and is devoted to issues regarding the philosophy of art, creativity and language. If the first being is the being of the eternal and divine and the second being is that of the temporary and human, then the new, third, being appears as the intersection and continuation of the first two. The third being is seen and anticipated in art—in the timeless and indestructible reality created by man, in the (...) reality of a poetic word that raises the world and its things to the level of form, image and idea. The book compares approaches to the philosophy of art and the theory of language by H.-G. Gadamer, M. Heidegger, G. Frege, R. Ingarden, R. Bart, L. Wittgenstein and J. Derrida. An important place is given to Russian religious philosophy, presented by P. A. Florensky, S. N. Bulgakov, N. A. Berdyaev and others. The publication contains essays on the life and work of poets R. M. Rilke, E. Pound and T. S. Eliot, as well as the first Russian translation of J. Derrida's “Advances,” known as the postmodern commentary on Plato's “Timaeus.” -/- Contents: Russia in Rilke / Plato's ideality of text / Word and world / Art as reality / Sacrality of art / Cosmists / Florensky space / Serial music of "Four Quartets" / Philosophy of "The Cantos" / Ezra Pound and his "Cantos" / Poetry: a breakthrough to reality / At the origin of the world / J. Derrida's "Advances". (shrink)

The Gathas, a corpus of seventeen poems in Old Avestan composed by the ancient Iranian poet-priest Zarathushtra (Zoroaster) ca. 1200 B.C.E., is the foundation document of Zoroastrian religion. Even though the dualistic axiology of the Gathas has been widely noted, it has proved very difficult to understand the meaning and genre of the corpus or the position of Zarathushtra’s ideas with regard to other religious philosophies. Relying on recent advances in translation and decryptions of Gathic poetry, I shall (...) here develop a philosophical interpretation of the Gathas, including, as shall be discussed here in detail, explication of the revelation he reports in the poem known as Yasna 30. I argue that, similarly to Marx, Henry, and Schutz, Zarathushtra connects social criticism with an original philosophy of (inter)subjectivity and existential reflection, placing his account in the context of a fully developed metaphysics which includes the human-divine sharing of mental properties. I show that in order to accommodate this complicated problematic, Zarathushtra uses the vehicle of multiple realities. Reflecting the spontaneity of life, the dynamics of various ontological modes in the text create a reference to subjectivity. A description of the dream in Yasna 30 is sufficiently within the limits of possibility for a dream experience, and thereby delivers three original phenomenological reductions. The reductions initiate a genetic account of the phenomenalization of invisible impulses which give rise to moral choices, and define the human-divine relationship. The opposing moral choices open into a reverse axiological intentionality in the sphere of intersubjectivity, and are said to plot life for the rightful and lifelessness for the wrongful. It can be concluded that Zarathushtra’s theism and views of the social world are “the first philosophy”, with a unique and original phenomenological ontology of intersubjectivity at its core. (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)

Hegel's reading of Hafez as part of his Berlin aesthetics lectures. The jargon of the prosaic world -/- This essay deals with Hegel's reading (Georg Wilhelm Friedrich Hegel, 1770 - 1831) of Hafez' poetry (Moḥammad Schams ad-Din Hafez Schirazi, around 1315 - 1390) during his lectures on the Aesthetics or Philosophy of Art at the University of Berlin (1820/21; 1823; 1826; 1828/29). Hegel's writings, Lectures on Aesthetics, were published from his remains by Heinrich Gustav Hotho (1802 - 1873) in (...) three volumes (1835 - 1838) and in a second edition from 1842 onwards. The posthumously published writings of Hegel are, considering the preserved archive material and the unreliable editing work by Hotho, a thoroughly complex research topic. Therefore, this problem area also forms the starting point of the present analysis of Hegel's reading of Hafez. -/- Within the framework of this essay, Hegel's categories of historical frameworks (Symbolic, Classical, and Romantic Art), especially that of the "Symbolic Art", are examined in his lectures on Aesthetics . This will do in three steps: starting with the current state of research, problematizing of Hegelian concepts in his Lectures on Aesthetics like "oriental Pantheism" or Vorkunst, ("the threshold of art" or "praeambula": T. M. Knox' translation, 1975, part I); extending the discussion by focusing on similarities and differences between Hegel's reading of Goethe (part II) and Hegel's reading of Hafez (part III) in his Berlin Aesthetics Lectures of the 1820's. For this purpose, material from Goethe's literary remains (II), as well as a masterpiece of Dutch painters van Eyck analyzed by Hegel (Ghent Altarpiece) during his lectures (III), will be included in the analysis and explored from an interdisciplinary and intercultural perspective. In doing so, Goethe's “Space of Experience and Horizon of Expectation” (Koselleck) in imitating Arabic script and calligraphy (II) is linked to Hegel's reading of Hafez during his Berlin lectures on aesthetics (III). Thus, a dialogue of cultures unfolds between poetry and philosophy. The main questions are: How does the German philosopher Hegel interpret and receive Hafiz's poetry in the context of German idealist philosophy as a topic of his lectures on aesthetics? What epistemological aspects can be gained from Hegel's reading of Hafez for a cultural studies analysis, especially regarding the history of the ideas? In addition to analyzing the historical aspects, the aim is also to uncover new perspectives in order to look with Hafez and Rumi at Hegel's problem child of ‘history’. Of particular interest are epistemological aspects and problems of reception and translation studies in sense of interdisciplinary and intercultural research (e. g. connected/entangled histories; boundary objects). Interculturality is understood in the context of the present essay as a cross-disciplinary theoretical framework in the sense of entangled histories research work interwoven with communication, aesthetic and cultural techniques approaches or resilience studies in a historical perspective. (shrink)

In fragment B 12 Anaxagoras asserted: ‘And [Mind] has every gnômê concerning everything and is strong to the greatest degree.’ The definitions of gnômê given in the standard Greek lexicon cover a wide range: ‘mark’, ‘token’, ‘intelligence’, ‘thought’, ‘judgment’, ‘understanding’, ‘attention’, ‘conscience’, ‘reason’, ‘will’, ‘disposition’, ‘inclination’, ‘purpose’, ‘initiative’, ‘opinion’, ‘verdict’, ‘decision’, ‘proposition’, ‘resolution’, ‘advice’, and ‘maxim’. Taking a clue from the assonance of ischei (has) with ischuei (is strong), it would be natural to take both parts of the assertion to (...) be concerned with the extent of Mind’s strength, and this would suggest the translation: ‘for it holds every decision concerning everything and (thereby) has the greatest strength’. So understood, both parts of the assertion would be reinforcing Anaxagoras’ basic claim that Mind ‘rules over’ (kratein) everything. Thus, what Anaxagoras’ cosmic nous does is provide just the kind of intelligent oversight nous typically provides in early Greek poetry and philosophy. (shrink)

There are many treatises concerning the soul. Plato was not the first to write on the subject. From Greek philosophy and religion the soul wandered over to Christianity. According to this religion, the soul accompanies the body, which it inhabits for a short while in order to then return to its primary homeland embodied in areas of primary existence and truth. There are many treatises concerning the soul. Plato was not the first to write on the subject. Wisława Szymborska, in (...) her collection of poems published in 2002 and titled A Moment, poses the most essential questions: Why does man exist? Why isn’t there nothingness? She also asks: What is the soul? Does man really possess a soul? What is the relationship between man and soul – to whom does the soul really belong? This is a treatise in the form of a poem which appears to be plain and modest, yet the questions it asks are fundamental. This interpretation aims to develop and translate from the language of poetry the religious and philosophical questions embraced by Szymborska’s poem. (shrink)

Fragment B 1 of Parmenides describes a youth’s journey to the house of a goddess who enlightens him as to the nature of all things. The task of translating Parmenides’ Greek text is beset with many difficulties, most notably the phrase kata pant’ atê at B 1.3. There, the neuter accusative plural panta (‘all things’) combines with the feminine nominative singular atê (‘heaven sent blindness’) to render translation impossible. Some have proposed emending the text to read astê (‘down to (...) all cities’), understood in connection with the pathway of divine inspiration. Others reject the emendation in so far as the youth is said at B 1.27 to travel ‘far from the beaten path of men.’ I argue in defense of the reading kata pant’ a<s>tê in so far as references to pathways of inspiration and poetic journeys to the cities of men occur frequently in the poetry of Parmenides’ era. (shrink)

Fragment B 1 of Parmenides describes a youth's journey to the house of a goddess who enlightens him as to the nature of all things. The task of translating Parmenides' Greek text is beset with many difficulties, most notably the phrase kata pant' atê at B 1.3. There, the neuter accusative plural panta ('all things') combines with the feminine nominative singular atê (heavenly sent blindness') to render translation impossible. Some have proposed emending the text to read a<s>tê ('down to (...) all cities'), understood in connection with the pathway of divine inspiration. Others reject the emendation in so far as the youth is said at B 1.27 to travel 'far from the beaten path of men.' I argue in defense of the reading kata pant' a<s>tê in so far as references to pathways of inspiration and poetic journeys to the cities of men occur frequently in the poetry of Parmenides' era. (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)

Ramayan Through Kundalini Yoga Shodasi is an ideal read for Sanskrit-literate readers who are open to eclectic yogarthas and connotative meanings -------- So you thought Vyasa was before Valmiki, Mahabharat was before Ramayan, Rama a Vishnu avatar, and tantrism distinct from vedism? Think again. In Shodasi: Secrets of the Ramayana, Telugu poet Seshendra Sharma re-reads the Ramayan to come up with a number of new conclusions. Much of the book sets out to prove that Ramayan was written before the Mahabharat. (...) Sharma discusses how Indra is cited more often than Vishnu, thus placing the context of the Ramayan closer to Vedic than Puranic thought. He quotes from the Mahabharat to show how it follows descriptions of hills, rivers from the Ramayan. The Mahabharat has some prose, and therefore, it must have been composed after Ramayan, which is entirely in poetry. These are only some of the numerous reasons that Sharma offers to suggest a new sequence of our itihasas. Sharma’s book is also an experimental reading of the Ramayan through the interpretive lens of what he calls Kundalini yoga. Hanuman’s flight to Sri Lanka gets a new interpretation. “Charana Charite Pathi” is interpreted as the path of Kundalini, and the first verse of the Sundara Kanda “Tatho Ravana Nithayah” is interpreted by Sharma to refer to Hanuman traversing the sushumna nadi of the Kundalini. Trijata’s dream becomes the Gayatri mantra through an imaginative recasting of words as numbers. Gaja (elephant) means eight, danta (teeth) means thirty-two, and maha-gaja-chaturdantam somehow also adds up to 32 syllables, which is the number of syllables in the Gayatri mantra. That Trijata’s dream is halfway through the Ramayan also becomes significant for Sharma, he calls it the ‘central bead’ in the Ramayan garland of 24,000 beads. Identifying 32-syllables as the Gayatri follows a convention, for mantras are referenced by the number of syllables; however, it is the “secret” yogartha—or mystical, anagogical translations—derived by Sharma that becomes problematic, unless he is considered an authority in his own right. conclude that the name Sundarakand is unrelated to any descriptions of beauty of any of the main characters in the Ramayan. However, Soundarya and Tripura-Sundari are well-known conventions in the tantric tradition and hence, Sharma concludes that Sundarakand derives its name from Shakti’s beauty, and “Sundara-Hanuman” means “Hanuman who is a devotee of Devi” (117). A coda in this book is about the benedictory verse in Kalidasa’s Sakuntalam which has traditionally been understood to refer to Ishwara. Sharma re-interprets this verse highlighting the “eight forms” of the last line as the eight forms of Devi that please Ishwara. This book is suitable for a reader who is Sanskrit-literate and open to eclectic yogarthas and connotative meanings. Sharma cites substantially from the Ramayan in roman but without diacritics, this is difficult to follow; and he does not always include translation. Sharma often cites commentators without citing names and sources. It is not clear why the book is called Shodasi—readers may note, this book is not about the Srividya tradition. Even if the reader is unconvinced by Sharma’s reasoning or methodology, the free flow of references may prove absorbing for a reader interested in the subject. This could also be an eclectic reference for a scholar researching tantric elements in the Ramayan. - Mani Rao The Sunday Standard Magazine The New Indian Express 29th November 2015 . (shrink)

This study investigates Phillipe Lacoue-Labarthe's claim in "The Caesura of the Speculative" that Hölderlin is a "modern" writer. Its aim is to establish what is at stake in this claim and to evaluate whether it can be substantiated. In Chapter One I discuss the relationship between tragedy and philosophy. I show that the uneasy relationship between philosophy and the arts is premised upon Plato's understanding and judgement of mimesis. I contrast Plato and Aristotle's treatment of poetry by examining how (...) they understand the mimetic process. In Chapter Two I focus on Hölderlin's understanding of the relationship between Ancient Greece and 18th Century Germany. After discussing the background to Hölderlin's work I provide detailed readings of two texts, The Perspective from which We Have to Look at Antiquity, (1799) and the first letter to Böhlendorff, dating from 1801. I argue that in these texts Hölderlin, through his acknowledgement of the divided nature of Greek culture, offers a unique understanding of the relationship between Greece and Germany which isolates him from his contemporaries. In Chapters Three and Four, I examine Hölderlin's understanding of tragedy. After establishing the centrality of the aesthetic presentation for Hölderlin's project I examine the "poetological" writings which date from 1798-1800. I give a close analysis of the implications of Hölderlin's statement that the tragic "is the metaphor of an intellectual intuition" which occurs in the text On the Difference of the Poetic Modes, (1800), showing why the tragic form is central to Hölderlin's poetological project. To illustrate the problems inherent in this project, in Chapter Four I examine Hölderlin's attempts to write a tragic drama which corresponds to his theoretical beliefs. I discuss the two theoretical texts - The Ground to Empedocles and Becoming in Dissolution - which accompany Hölderlin's drama Empedocles. In analysing these texts I argue that there is an inherent tension between the presuppositions of the theory and the way they can be realised in the drama. In Chapter Five, I turn to Hölderlin's final work, his project to translate Sophocles' tragedies. Through close analysis of the theoretical Remarks which accompany the translations, I show how Hölderlin's theoretical and poetological interests in Greece and Tragedy are brought together through this project. I argue that these texts give an insight into the problems which confront Hölderlin's poetological project. However, simultaneously, these texts provide an alternative way of understanding the function of the tragic form. In this discussion I show how the questions concerning the status of dramatic mimesis and the "mimetic" relation between Greece and Germany coincide in the analysis of Sophocles' dramas. In conclusion I return briefly to the questions that I raised in the introduction concerning the status of tragedy in the present time, and assess the accuracy of the claim that Hölderlin is a "modern" thinker. (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 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)

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)

This chapter explores the cognitive and moral significance of the kind of imaginative experience poetry offers. It identifies two forms of imaginative experience that are especially important to poetry: ‘experiencing-as’ and ‘experience-taking’. Experiencing-as is ‘inherently first-personal, embodied, and phenomenologically characterized’ while in experience-taking one ‘takes the perspective of another, simulating some aspect or aspects of his psychology as if they were his own’. Through a sensitive and probing reading of Paul Celan’s Psalm, the chapter shows the role these (...) two forms of experience play in producing the unique form of ethical and epistemic value poetry can bear. The chapter’s argument for this has important implications for our understanding of the poetic imagination and nature of our experience of meaning in poetic contexts. (shrink)

This paper reads Republic 583b-608b as a single, continuous line of argument. First, Socrates distinguishes real from apparent pleasure and argues that justice is more pleasant than injustice. Next, he describes how pleasures nourish the soul. This line of argument continues into the second discussion of poetry: tragic pleasures are mixed pleasures in the soul that seem greater than they are; indulging them nourishes appetite and corrupts the soul. The paper argues that Plato has a novel account of the (...) ‘paradox of tragedy’, and that the Republic and Philebus contain complementary discussions of tragic and comic pleasure. (shrink)

Poetry evokes mental imagery in its readers. But how is mental imagery precisely related to poetry? This article provides a systematic treatment. It clarifies two roles of mental imagery in relation to poetry—as an effect generated by poetry and as an efficient means for understanding and appreciating poetry. The article also relates mental imagery to the discussion on the ‘heresy of paraphrase’. It argues against the orthodox view that the imagistic effects of poetry cannot (...) be captured by prosaic paraphrase, but points to features of poetry that can shape aspects of mental imagery that are liable to be lost in paraphrase. (shrink)

In the tenth book of the Republic, Plato famously writes: "There is an ancient quarrel between poetry and philosophy." In this essay I reflect upon this "quarrel" through an analysis of a passage from Dante's Inferno. I conclude by suggesting that, when employed well, poetry and philosophy complement each other in helping us reflect upon the deep issues of life. (This paper was originally presented at the 19th Annual Conference of Association for Core Texts and Courses) .

This book on the topic of ethics and poetry consists of contributions from different continents on the subject of applied ethics related to poetry. It should gather a favourable reception from philosophers, ethicists, theologians and anthropologists from Africa, Asia, Europe and Latin America and allows for a comparison of the healing power of words from various religious, spiritual and philosophical traditions. The first part of this book presents original poems that express ethical emotions and aphorism related to a (...) philosophical questioning of the grounding of our values for life. The poems are written by twelve authors coming from four continents, for whom poetic emotions are sources of artistic inspiration and that can be used for conflict resolution. In the second part, which features short essays, nine authors tackle how poems, symbolic representations, metaphorical narratives and lies impact the space of possibilities, in which we are moved to action, knowledge formation, and how we imagine the world together. (shrink)

The main objective o f this descriptive paper is to present the general notion of translation between logical systems as studied by the GTAL research group, as well as its main results, questions, problems and indagations. Logical systems here are defined in the most general sense, as sets endowed with consequence relations; translations between logical systems are characterized as maps which preserve consequence relations (that is, as continuous functions between those sets). In this sense, logics together with translations form (...) a bicomplete category of which topological spaces with topological continuous functions constitute a full subcategory. We also describe other uses of translations in providing new semantics for non-classical logics and in investigating duality between them. An important subclass of translations, the conservative translations, which strongly preserve consequence relations, is introduced and studied. Some specific new examples of translations involving modal logics, many-valued logics, para- consistent logics, intuitionistic and classical logics are also described. (shrink)

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

Herman Gorter (1864-1927) became famous as the author of May (1889) and Poems (1890). His opus magnum Pan, published in 1916, hardly acquired any readership at all, which is remarkable, given the monumental size and scope of this unique achievement, celebrating the imminent proletarian revolution and the advent of the communist era: a visionary work of global proportions. Gorter’s Pan will be assessed as thinking poetry, more precisely: as dialectical materialist poetry, as a work of art which articulates (...) a dialectical materialist worldview, not only concerning political economy and society, but also concerning nature and the universe as such, from the stars and galaxies of modern astrophysics down to the atoms and molecules of modern chemistry and quantum physics. Gorter’s monumental work is ‘thinking poetry’ in the Heideggerian sense of the term, sensitive to an imminent upheaval of Being as such, as well as a dialectical materialist artwork (albeit with a tinge of Spinozism) contributing (via the ‘school of poetry’) to a dialectical understanding of space, time, life and matter. In this article, I will focus on two crucial recurring motives: the motif of the shining crystal and the motif of the beaming galaxy. Via these motifs, so I suggest, Gorter aspires to bridge the gap between his epic-lyrical poetry and twentieth-century science. (shrink)

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

The present article utilizes the Nietzschean “poetics” distilled from Nietzsche’s Gay Science as an interpretive strategy for considering Deleuze’s essay “Literature and Life” in Essays Critical and Clinical. The first section considers Deleuze’s overarching project in that essay, and then repositions his thought from literature in general to “poetry” in particular, indicating both resonances between Deleuze’s understanding of “literature” and Nietzsche’s understanding of “poetry” as well as their dissonances. The second section focuses on the places in Deleuze’s analyses (...) where he excludes poetry, and suggests that this exclusion is related to Nietzsche’s claim that lyric poetry is the birthplace of philosophy. Put differently, the being of lyric poetry threatens to disrupt Deleuze’s distinction between the respective roles and powers of philosophy and art, and thereby to disclose poets as, at least potentially, philosophers, and vice versa. And the final section offers one of Rainer Maria Rilke’s Sonnets to Orpheus as an exemplar of poetry’s philosophical potential, before concluding that a Nietzschean conception of poetry constitutes the “dark precursor” of “Literature in Life,” Essays Critical and Clinical, and Deleuze’s work in general. (shrink)

This paper addresses the issue of how it is possible to understand the language of an incommensurable theory. The aim is to defend the idea of translation failure against the objection that it incoherently precludes understanding.

Friedrich Schlegel’s remarks about poetry and reality are notoriously baffling. They are often regarded as outlandish, or “poetically exaggerated” statements, since they are taken to suggest that there is no difference between poetry and reality or to express the view that there is no way out of linguistic and poetic constructions (Bowie). I take all these responses to be mistaken, and argue that Schlegel’s remarks are philosophical observations about a genuine confusion in theoretical approaches to the distinction between (...) fiction and reality. The confusion at stake involves the assumption that this distinction is and must be fixed independently of the ordinary practices of using these terms to mean certain things in specific situations. And this assumption itself is grounded fundamentally in a confused picture about the way language works. I argue that this confused understanding of the distinction between fiction and reality is not an object of the past, but a picture that is still shaping a central strand in the contemporary debate in philosophical aesthetics about our emotional responses to fiction. And while I do not use Schlegel’s approach to argue against this contemporary view directly, I suggest that his philosophical method includes the resources for unraveling a central confusion in this contemporary debate. (shrink)

Interpretations are generally regarded as the formal representation of the concept of translation.We do not subscribe to this view. A translation method must indeed establish relative consistency or have some uniformity. These are requirements of a translation. Yet, one can both be more strict or more flexible than interpretations are. In this article, we will define a general scheme translation. It should incorporate interpretations but also be compatible with more flexible methods. By doing so, we want (...) to account for methods that seem to imply a sense of translation but are not reducible to interpretations. The main example will be the relative consistent proof between ZF and NBG given by Novak (1950). Further, we will explore a way of combining interpretations. This should account for truth conditions discarded by interpretations in translated theories. (shrink)

The present text is the revised and corrected English translation of the book published in German by the Lang Verlag, Bern 2008. Unfortunately the text still has some minor flaws (especially in the Index Locorum) but they do not concern the main thesis or the arguments. It will still be the final version, especially considering my age. It is among the most widespread and the least questioned convictions that in Metaphysics Lambda Aristotle presents a theology which has its basis (...) in a metaphysics of substance. Doubts about theological interpretation are beginning to stir in a growing number of publications, but nevertheless the majority of research literature, compendiums and histories of philosophy argues within this frame. A closer look at the facts reveals that this conviction has no basis in the text. Quite the contrary it is based on a reception with theological interests. It arised over centuries, starting from Patristic times and the Middle Ages; it was influenced by Neoplatonic texts as the Liber de Causis or the Theologia Aristotelis, texts for a long time considered as original Aristotelian books. And, if you read not translations but the Greek text, you see that the word 'god' occurs much less than in a theological book should be. In some translations we find more occurences of that word, and especially in French, Italian, English translations some words as le Bien, l'Intelligence etc. are written with capitals to inticate that it is about god. To make it even more clear, we read often the term 'First Mover' or 'Unmoved Mover' as an other name for god, but this expression is never used by Aristotle. So the reader has the impression that Aristotle speaks continuously about god. In addition, in the present book you will find arguments which clean up with the outdated concept of substance in the Aristotelian text, a concept which was developed for quite other problems than Aristotle had, namely theolgical ones. And, if there is no substance, there is no corresponding metaphysics of substance and no theology or onto-theology. If substance, metyphysics, theology play no role in Metaphysics Lambda, what else is its content and aim? That is not so difficult to say because Aristotle says it sufficiently clear in his first sentence, περὶ οὐσίας ἡ θεωρία: our inquiry is about being; its aim is to develop the Frage nach dem Sein and to state a speculative answer: being is noesis, Sein ist Gewahren. (shrink)

This paper presents a simple pair of first-order theories that are not definitionally (nor Morita) equivalent, yet are mutually conservatively translatable and mutually 'surjectively' translatable. We use these results to clarify the overall geography of standards of equivalence and to show that the structural commitments that theories make behave in a more subtle manner than has been recognized.

The entry of resonance into chemistry, or the reception of the theory of resonance in the chemical community, has drawn considerable attention from historians of science. In particular, they have noted Pauling's ¯amboyant yet effective style of exposition, which became a factor in the early popularity of the resonance theory in comparison to the molecular orbital theory, another way of applying quantum mechanics to chemical problems.$ To be sure, the non-mathematical presentation of the resonance theory by Pauling and his collaborator, (...) George Wheland, helped to facilitate the reception ; but this presentation was vulnerable to the confusion that arose among chemists owing to the similarity between resonance and tautomerism, or between foreign and indigenous concepts. The reception occurred at the expense of serious misunderstandings about resonance. This paper investigates the ways in which Pauling and Wheland taught, and taught about, the theory of resonance, especially their ways of coping with the difficulties of translating a quantum-mechanical concept into chemical language. Their different strategies for teaching resonance theory deserve a thorough examination, not only because the strategies had to do with their solutions of the philosophical question whether resonance is a real phenomenon or not, and whether the theory of resonance is a chemical theory or a mathematical method of approximation, but also because this examination will illuminate the role of chemical translators in the transmission of knowledge across disciplinary boundaries. (shrink)