У дослідженні проаналізовано теоретичні джерела і політичні наслідки статті московського кінокритика М. Блеймана «Архаїсти чи новатори?» (1970), яку вважають обґрунтуванням заборони школи українського поетичного кіно як «безперспективного» напряму. Статтю М. Блеймана вміщено в контекст дискусії про поетичне і прозаїчне кіно, яку систематизовано щодо двох підходів: нормативного, який вважає лише один із напрямів кіно релевантним його природі (йому відповідає сполучник «чи»), і плюралістичного, який розглядає обидва напрями як актуалізації різних кінематографічних потенцій згідно з тими завданнями, що ставлять режисери (йому відповідає сполучник (...) «і»). (shrink)

The purpose of this paper is to re-examine the debate about cinematic motion in terms of the necessity for reception conditions in art. I shall argue that Gregory Currie’s rejection of weak illusionism – the view that cinematic motion is illusory – is sound, because cinematic images really move, albeit in a response-dependent rather than garden-variety manner. In §1 I present Andrew Kania’s rigorous and compelling critique of Currie’s realism. I assess Trevor Ponech’s response to Kania in (...) §2, and show that his focus on the cinematic experience is indicative of the direction the debate should take. §3 demonstrates that the issue is underpinned by the question of the role of reception conditions in the experience of art. In §4 I apply my observations on reception conditions to the problem of cinematic motion and conclude that Kania’s objections are unsuccessful due to his failure to acknowledge the necessary conditions for cinematic experience. (shrink)

A Cinematic Humanist approach to film is committed inter alia to the following tenet: Some fiction films illuminate the human condition thereby enriching our understanding of ourselves, each other and our world. As such, Cinematic Humanism might reasonably be regarded as an example of what one might call ‘Cinematic Cognitivism’. This assumption would, however, be mistaken. For Cinematic Humanism is an alternative, indeed a corrective, to Cinematic Cognitivism. Motivating the need for such a corrective is (...) a genuine scepticism about the very notion of the cognitive. Using historical reconstruction, I reveal how ‘cognitive’ has become a multiply ambiguous, theory-laden term in the wake of, indeed as a consequence of, Noam Chomsky’s original stipulative definition. This generates a constitutive problem for cognitivism as both a research programme and a set of claims, and as such poses a trilemma for philosophers of film, art and beyond. I propose a Cinematic Humanist solution to the problematic commitments of cognitive film theorising and, in so doing, gesture towards a methodology I am calling ‘philosophy of film without theory’. (shrink)

Is cinematicity a virtue in film? Is lack of cinematicity a defect? Berys Gaut thinks so. He claims that cinematicity is a pro tanto virtue in film. I disagree. I argue that the term “cinematic” principally refers to some cluster of characteristics found in films featuring the following: expansive scenery, extreme depth of field, high camera positioning, and elaborate tracking shots. We often use the word as a term of praise. And we are likely right to do so. We (...) are right if we mean that the film does well what movies often do well. We are wrong if we mean that the film is good for doing what is merely distinctive of film. This issue has important implications for understanding the role of the medium in artistic evaluation. I argue that we should reject Gaut’s claim because it entails an implausibly strong medium specificity thesis. (shrink)

American History X (hereafter AHX) has been accused by numerous critics of a morally dangerous cinematic seduction: using stylish cinematography, editing, and sound, the film manipulates the viewer through glamorizing an immoral and hate-filled neo-nazi protagonist. In addition, there’s the disturbing fact that the film seems to accomplish this manipulation through methods commonly grouped under the category of “fascist aesthetics.” More specifically, AHX promotes its neo-nazi hero through the use of several filmic techniques made famous by Nazi propagandist Leni (...) Riefenstahl. Now most critics admit that, in the end, the film claims to denounce racism and attempts to show us the conversion of the protagonist to the path of righteousness, but they complain that nonetheless the film (perhaps unintentionally) ends up implicitly promoting the immoral worldview it rather superficially professes to reject in its final act. This charge of hypocrisy is connected to another worry: the moral conversion in the film is said to fall flat because the intellectual resources on display to support the character’s racism are not counterbalanced by equally explicit (but superior) arguments for the anti-racist position ultimately embraced by the character. In other words, just as the devil is said to get all the good lines in Milton’s Paradise Lost, in AHX the racists get all the arguments. This has been taken to be a morally problematic flaw of the film. Critics lament that Derek’s conversion seems to result not from relevant logical inferences and valid rational argumentation but from overly simplistic and arguably egoistic insights (e.g., “has anything you've done made your life better?”) combined, perhaps, with a hackneyed cliché (in prison, one of his best friends is a black person!) In this paper I’ll attempt to rebut these charges and defend the film as a powerful, and powerfully moral, work of art. I’ll be suggesting that the seductive techniques employed allow for many viewers a degree of sympathy towards the protagonist that is crucial, both for making that character’s more horrific actions especially unsettling, and also for making his eventual conversion plausible and ultimately compelling. I’ll also argue that the manner in which his conversion is presented is in fact subtler than many critics have allowed: Derek’s transformation is not artificial or implausible but is depicted as resulting from a cumulative series of emotionally powerful life events and personal engagements. It is certainly true that it is not represented in the way some would seemingly have preferred, i.e. as straightforwardly resulting from a process of gradual intellectual improvement in Derek’s reasoning on questions of race and politics. However, I’ll argue that the decidedly emotional basis of his moral evolution is both refreshingly realistic and no hindrance to accepting his conversion as rational. Finally, properly understanding the legitimacy of the emotional foundations of much moral thought will also allow us to appreciate the ways in which our initial worries about this film’s (not insignificant) ability to persuade viewers through the engagement of emotions need not, in itself, be seen as a barrier to endorsing the film as a morally praiseworthy work. (shrink)

The “scarred villain” trope, where facial differences like scars signify moral corruption, is ubiquitous in film (e.g., Batman’s The Joker). Strides by advocacy groups to undermine the trope, however, suggest cinematic representations of facial differences could be improving with time. This preregistered study characterized facial differences in film across cultures (US vs. India) and time (US: 1980-2019, India: 2000-2019). Top-grossing films by country and decade were screened for characters with facial differences. We found that the scarred villain trope has (...) actually worsened with time, although in tandem with progress in also representing non-villainous characters with facial anomalies. Country of origin did not predict the presence of facial differences in villains or heroes. “Action” and “fantasy” movies were the most likely genres to depict villains with facial differences. Finally, villains’ facial differences crossed more facial subunits and were more likely to involve lips, chin, and mandible than when present in heroes. Our findings underscore the need for critical reflection on the role of cultural practices—even when seemingly innocuous—in shaping and maintaining negative biases against already stigmatized groups. (shrink)

As artforms, film and street art seem incompatible. Contra this incompatibility, I investigate their combination: cinematic street art. Two promising cases are the artworks MUTO and Repopulate, but I argue neither is suitable. MUTO only counts if I accept the transparency thesis, the claim that photographs allow us to literally see their depicta. Repopulate only counts if we reject Noel Carroll’s requirement that a cinematic performance token isn’t itself an artwork. However, these imperfect cases demonstrate what is required (...) in order to have cinematic street art: the artwork is a 1) aconsensual artwork that 2) does not merely use street art as imagery or 3) merely use the street as a performance space. I introduce two hypothetical artworks inspired by this approach and discuss their merits, as well as their pitfalls relevant to my own desiderata. As such, this article serves as the foment for broader discussion within the philosophy of street art. (shrink)

Detailed exploration of the Allegory of the Cave, utilizing notions from film studies, may provide us with insight regarding the identity of the puppet masters in Plato's allegory.

Might fiction films have cognitive value, and if so, how might such value interact with films’ artistic and aesthetic values? Philosophical consideration of this question tends to consist in either ceteris paribus extensions of claims relating to prose fiction and literature; meta-philosophical inquiries into the capacity of films to be or do philosophy; or generalised investigations into the cognitive value of any, and thereby all, artworks. I first establish that fiction films can be works of art, then address this lacuna (...) and identify three hitherto unrecognised values relevant to the issue of learning from fiction films. These values are (i) a film’s stance-based cinematic value, which is neither an artistic nor an aesthetic value, but which pertains to the integration of a film’s content, its form, and its themes and/or theses; (ii) a film’s dramatic value, which recognises the use of dramatic argumentation to enable us to make sense of agents’ intentional actions; and (iii) a film’s humanistic value which acknowledges a film’s power to provide illuminating insights into the human condition. In tandem with a series of sceptical arguments that question the very notion of cognitive value, I demonstrate how stance-based cinematic value, dramatic value, and humanistic value can provide fresh ways with which to understand and appreciate that we learn from films, what we learn from films, and how we learn from films. Grouping these values together under the rubric of cinematic humanism offers new resources for a paradigm shift capable of staying true to the spirit that informs both sides of the cognitivist/non-cognitivist debate whilst cutting through the Gordian knot it has become. (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)

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 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)

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)

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)

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)

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)

Over the last thirty years, once staunchly film history scholars such as Thomas Elsaesser, Jane Gaines, Siegfried Zielinski, André Gaudreault and Benoît Turquety (to name just a few) have abandoned history for historiography and film studies for media archaeology. Considering the heightened attention given to kulturtechnik (Siegert), the database as a dominant symbolic metaphor,1 and the decentered networked tenants of the postmodern global present, cinema is taking on the characteristics of new media, existing in increasingly intertextual space. Thus, the term (...) “post-cinema” has been co-opted as a viable intermediary that accounts for new media conditions, as cinema is no longer emblematic of our cultural climate. It was once presaged in 1992 that “[t]he end of the cinema truly sounds the death knell of the ultimate metaphysical adventure of Dasein. In the twilight of post-cinema, of which we are seeing the beginning, human quasi-existence, now stripped of any metaphysical hypostasis and deprived of any theological model, will have to seek its proper generic consistency elsewhere.” Accordingly, we are no longer “moviegoing animals” who seek images of ourselves among a collective in the dark but, rather, users interfacing within a network of moving images. By locating post-cinema within the semblance of social media, we are allocated a newfound series of theoretical interventions, the most marked of which is that of media archeology vis-à-vis dialectical materialism. This is a lens through which Brian Winston has recently deftly decried Virtual Reality’s “empathy machine” utopic illusionism, bolstered by Chris Milk and a slew of neurohumanities researchers, steadily maintaining that the fundamental myth of “technologies of seeing” is in disguising “their artifice, their cultural formation and their ideological import.” However, this approach, which illuminates the bifurcation between Max Horkheimer/Theodor Adorno and Walter Benjamin, neglects what Benjamin identified as occurring to the work of art in the age of its technological reproducibility—a shift from a technology’s “cult value,” associated with the unique work, to its “exhibition value,” associated with the social act of viewing as part of a mass. Speaking to this divarication, Benjamin Barber, in Strong Democracy, foresaw new media’s two-fold potential—as they are organized and networked, new media and communications technologies possess the possibility to both energize citizen information and political participation but, simultaneously, to supplement the deterioration of public debate. As evinced by Mark Adrejevic’s concept of Infoglut, this two-pronged possibility has only been exacerbated by the interlocking relationship between the advent of a “glut” of information, post-truth politics, the demise of symbolic efficiency, and a renewed focus on the role of affect and emotion as “alternative modalities for thinking about the role of communication in a post-referential era.” Manuel Castells qualifies Barber’s pessimism, noting that the Internet can “be an appropriate platform for informed, interactive politics, stimulating political participation.. […] beyond the closed doors of political institutions,” but that the Internet, like any technology, “is shaped by its uses and users.” Thus, if there exists a positive correlation between exposure to post-cinema media artifacts and political participation, then I seek to explore the revelatory political possibilities of “exhibition value” by way of a particular “post-cinema” case study: the Marxist-Leninist Turkish hacktivist group Redhack’s YouTube-circulated documentary RED! (2013), a project that demanded—by way of the moving-image—to galvanize cyberprotest and democratize a “hacktivist commons. (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)

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)

Octavio Paz conceives of authentic philosophical reflection as ‘thinking a la intemperie’. This conception involves his idea that our contemporary historical and philosophical situation is one of intemperie espiritual. Based on the dual sense of the term intemperie for Paz, I propose that ‘thinking a la intemperie’ means: (i) Exposing our beliefs to the weathering effects of our vital, concrete experience; and (ii) apprehending reality in communion with others through poetic experience of the ever-flowing present. That is, authentic philosophical reflection (...) means making our home thinking and living without rigid, stifling ideological systems, in communion with our neighbors and with our places, here and now, in the unity of present place and present time that we create together. This mode of reflection belongs within a broad American tradition of philosophizing and, for Paz, responds to concerns compatible with those of the pragmatists. (shrink)

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

There is a novel which presents a general scheme for the development of a poet but this paper presents a problem for it. The problem is: can a believer in the scheme both account for the universality of some poets and the association it makes between poetry and revolutions?

The short experimental film Shifting Perspectives stems from a collaborative research project initiated in 2019 in Sydney, Australia, during the 'Choreographic Hack Lab-a week-long laboratory co-presented by Critical Path and Sydney Festival in partnership with the Museum of Applied Arts and Sciences (MAAS), which asked artists and academics to rethink and respond to the idea of the Anthropocene (Pini & George, 2019). The film was later developed in 2020 during a Responsive Residency at Critical Path, Sydney, awarded to anthropologist and (...) choreographer Sarah Pini in collaboration with Jestin George, biotechnologist and visual artist, and Melissa Ramos, visual artist and filmmaker. This work aims to open a multivocal interdisciplinary dialogue across screendance, performance and synthetic biology. Inspired by a recent conversation between two leaders in the field of synthetic biology (Sarah Richardson and Tom Knight) and their divergent approaches to working with microbial life (Agapakis, 2019), the film invites to consider how collaborating with microorganisms can reshape our future in a more-than-human world. (shrink)

Consonant with the ongoing “aesthetic turn” in legal scholarship, this article pursues a new conception of law as poetry. Gestures in this law-as-poetry direction appear in all three main schools in the philosophy of law’s history, as follows. First, natural law sees law as divinely-inspired prophetic poetry. Second, positive law sees the law as a creative human positing (from poetry’s poesis). And third, critical legal theory sees these posited laws as calcified prose prisons, vulnerable to poetic (...) liberation. My first two sections interpret two texts at the intersections among these three theories, namely Percy Bysshe Shelley’s “A Defense of Poetry” and Alexis de Tocqueville’s Democracy in America. Shelley identifies a poetic rebirth in the ruins of natural law, suggesting a philosophy of law as “natural poesis.” And Tocqueville names several figurative aristocracies capable of redeploying aristocratic law against democratic despotism, suggesting a philosophy of law as “aristo-poetic counterforce.” Finally, I propose a new theory of law as poetry bridging these two theories, “natural aristo-poetic counterforce.”. (shrink)

In “Flourish,” the psychologist Martin Seligman proposed that psychological well-being consists of “PERMA: positive emotion, engagement, relationships, meaning, and accomplishment.” Although the question of what constitutes flourishing or psychological well-being has been long debated among scholars, the recent literature has suggested that a paradigmatic or prototypical case of psychological well-being would manifest most or all of the aforementioned PERMA factors. The recent literature on poetry therapy has also suggested that poetry practice may be utilized as “an effective therapeutic (...) tool” for patients suffering from a variety of ailments so it seems plausible that practicing poetry can positively contribute to one flourishing with greater psychological well-being. However, recent studies on poetry therapy have not yet been reviewed and integrated under the PERMA framework from positive psychology to further explore and explicate this possibility. This article therefore contributes to extant work by reviewing recent research on poetry therapy and psychological well-being and offering support for the claim that practicing poetry can positively contribute to one flourishing with greater psychological well-being by positively influencing their emotions, engagement or “flow” experiences, social relationships, sense of meaning or purpose in life, and personal accomplishments. (shrink)

I argue for a perfectionist reading of Mill’s account of the good life, by using the failures of development recorded in his Autobiography as a way to understand his official account of happiness in Utilitarianism. This work offers both a new perspective on Mill’s thought, and a distinctive account of the role of aesthetic and emotional capacities in the most choiceworthy human life. I consider the philosophical purposes of autobiography, Mill’s disagreements with Bentham, and the nature of competent judges and (...) the pleasure they take in higher culture. I conclude that Millian perfectionism is an attractive and underappreciated option for contemporary value theory. (shrink)

My chapter aims to advance the debate on a problem often raised by philosophers who are skeptical of implied narrators in movies. This is the concern that positing such elusive narrators gives rise to absurd imaginings (Gaut 2004: 242; Carroll 2006: 179-180). -/- Friends of the implied cinematic narrator reply that the questions critics raise about the workings of the implied cinematic narrator are "silly ones" to ask. -/- I examine how the "absurd imaginings" problem arises for all (...) the central arguments for the elusive cinematic narrator and discuss why the questions critics pose about this narrator are legitimate ones to ask. (shrink)

In a 1995 interview, contemporary American composer John Zorn stated: ‘I got involved in music because of fi lm […] There’s a lot of fi lm elements in my music’ (Duckworth, 1995, p. 451). Scholars and critics have since widely noted these cinematic elements, with emphasis being placed on Zorn’s genre of so-called ‘fi le card compositions’. Whilst these studies have primarily concentrated on how the arrangement of sound blocks – the disjointed segments of Zorn’s compositions – can be (...) compared to cinematic montage, this article instead focusses on how sound blocks suggest the visual aspects of cinema. To delve deeper into the visuo-cinematic qualities of Zorn’s fi le card compositions, an idealised cinematic listener will be constructed, aided by various psychological, semiotic, philosophical and fi lm theories. I will suggest that a listener occupying a hypnogogic state projects moving images, akin to those of cinema, onto what Bernard Lewin fi rst called a ‘dream screen’. These projections occur due to intertextual associations made between fi le card compositions and the artistic fi gures to whom they are dedicated. These images combine with the sounds that brought them into being to form an audio-visual diegesis, which can be considered a type of half-imagined fi lm. The cinematic listener then actively draws out of this diegesis a narrative, via the semi-conscious process Boris Eikhenbaum called ‘inner speech’. I will conclude by giving some broader justifi cation for the methodology that brought this cinematic listener into being and suggest how the cinematic listener may be further utilised to provide musical analyses for fi le card works. (shrink)

In this essay, I analyze Romare Bearden’s art, methodology, and thinking about art, as well as his attempt to harmonize his personal aesthetic goals with his sociopolitical concerns. I then turn to Hans-Georg Gadamer’s reflections on art and our experience (Erfahrung) of art. I show how Bearden’s approach to art and the artworks themselves resonate with Gadamer’s critique of aesthetic consciousness and his contention that artworks address us, make claims upon us, and even reveal truth. Lastly, I discuss Gadamer’s emphasis (...) on the spectator’s active yet non-mastering role in the event of art’s address—an event that implicates the spectator and has the potential to transform him or her. This leads to a discussion of Gadamer’s notion of the type of self-(and world) understanding that occurs through aesthetic experience. I close by returning to Bearden in order to discuss how his art unearths a crucial feature of our being-in-the-world. I call this feature “world-unmasking” and show how it expands and enriches Gadamer’s account. (shrink)

Three important 20th-century American films prominently feature a hotel as the site for morally ambiguous and sexually charged events depicted in the plot: Orson Welles's Touch of Evil (1958), Alfred Hitchcock's Psycho (1960), and Joel and Ethan Coen's Barton Fink (1991). While all three films have a multiplicity of elements that present how hotel spaces open horizons displaying human behaviors both normal and abnormal, moral and immoral, secret and public, sane and insane, the paper presents an extended argument for seeing (...) these particular cinematic efforts as being built around the same theme: that transgression (of a violent, misogynous nature) is the path to transcendence. (shrink)

This special issue of Journal of Poetry Therapy focuses on the use of poetry and other forms of expressive writing to explore the transformative experiences of military veterans, and so in this article I discuss how the use of poetry, hip-hop, and philosophy positively influenced my life while I was serving in the United States Air Force (USAF) from 2000 through 2004. This article briefly reviews my reasons for enlisting and discusses the importance that poetry, hip-hop, (...) and philosophy had for me during four different phases of my military history: (i) Basic Military Training, (ii) Aircraft Qualification, Combat Survival, and Water Survival Training, (iii) serving in the post 9/11 operations Operation Enduring Freedom and Operation Iraqi Freedom, and (iv) the period after fulfilling my time of service for the USAF. In discussing each phase, I explain the unique challenges that I encountered, how I used poetry, hip-hop, and philosophy to successfully overcome these challenges, point out relevant examples of poetry, hip-hop, and philosophy that were particularly influential, and include pictures of my experiences throughout. (shrink)

Mikhail Bakhtin has gained a reputation of a thinker and literary theorist somehow hostile to poetry, and more specifically to the epic. This view is based on texts, in which Bakhtin creates and develops a conceptual contrast between poetry and the novel (in "Discourse in the Novel") or between epic and the novel (in "Epic and Novel"). However, as I will show, such perceptions of Bakhtin's position are grounded in a misunderstanding of Bakhtin's writing strategy and philosophical approach. (...) Bakhtin often draws such conceptual contrasts as the ones between epic and novel, but does so not in order to characterize pre-given phenomena (in this case, the epic and the novel as two groups of literary works), but to construct a conceptual space which he in turn uses to explicate elements of his philosophy. (shrink)

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

Can poetry be Diasporic? Can poetry free itself from the shackles of conformism? Can it be independent and divergent, and not seek a home? Is it capable of mustering its inner strengths and living without being enlisted by a collective that accords it power? This article argues that poetry is essentially dialectic. It has little vitality without the presence of the Other, without interaction with him. However, it also contains independent, personal elements and reaches its peak through (...) the individual’s anti-conformist activity and expression. Poetry, like language, enables us to view ourselves from outside, thereby fulfilling an important role, similar to language itself, and it is created by the individual’s alienation even from himself. Poetry may provide one of the most creative potential tools of Diasporic philosophy, love and creativity being its cornerstones, but it can also be a destructive factor seeking to imprison the creative soul within a home with the solid walls of a rigid community. (shrink)

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)

Heraclitus and Modern Poetry: Works Cited.

How to be being to be being/ next to the united and firm/ and trembling/ mouth of the poem?”, “How to say what is clearer than clarity [...]?” or “How to unite a light design and an obscure gesture?” These questions, as well as many others that emerge from the poetic and essay writing of António Ramos Rosa (1924-2013), represent different modulations of the same angular question: that of the relation between poem and reality, or, more radically, between poem and (...) being. And if such a question spreads into so many formulations it is because, in António Ramos Rosa, its scope is total, simultaneously aesthetic and ontological, metaphysical and spiritual. It is, therefore, this question that we will try to answer by looking into one of its possible faces: how can poetic creation be at the same time the most intimate gesture and the one that touches most deeply the undomesticated matter of the real, that absolute and unapprehensible Other? (shrink)

My intention in this paper is to respond to Jean-Luc Nancy’s claim that poetry, along with philosophy, is essentially incapable of what Nancy describes as "thinking love." To do so, I will first try to come to an understanding of Nancy’s thinking regarding love and then of poetry as presented in his essay "Shattered Love." Having thus prepared the way, I will then respond, via Pablo Neruda’s poem "Oda al Limón," to Nancy’s understanding of poetry vis-à-vis "Shattered (...) Love." This response, in acting out Nancy’s thinking regarding love, will suggest a greater plurality within poetry than Nancy acknowledged. (shrink)

ABSTRACT: 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 one of East Asia’s premiere second languages university, and from teaching children (...) in several university summer programs. -/- As a Visiting Professor of Foreign Languages, I recently had a glorious opportunity to innovate curriculum and teaching techniques in an East Asian university classroom. Under the auspices of teaching senior level thematic courses in English as a Foreign Language, or more specifically, “storytelling,” I was blessed with the opportunity to innovate both on the level of curriculum and pedagogy. -/- But let me backtrack to set up my story from the start. All of this began in a children’s ESL class at a private language institute where I was given some newly formed intermediate level English classes for middle school students on a new campus that had yet to form a library. While waiting for my standard textbooks to arrive I began innovating with one of my own childrens’ stories titled The Tale of the Purple People Eater (a three page mythic story written in the late 90s. Please see appendix). In working with this story, because I envisioned presenting it orally (from memory) at first as a way to introduce students to memory arts exercises, I was compelled to read it over many times, which, to my surprise revealed a troubling feature: it was riddled with contradictions in every paragraph. At any rate, with the middle school aged students I only touched on this feature very briefly and focused more on language acquisition exercises. The tale nevertheless impressed upon me this bizarre aspect of language where a story can appear naturally cogent on the surface, but can also come apart at the seems if taken “literally.” Hence, later while teaching Storytelling in university with a rather dry textbook, I was invited to supplement the class with exercises of my own. Here I was curious to try work shopping the ‘Tale of The Purple People Eater’ with young adults. This involved three stages: 1) Memory work — or engaging with the unpublished story orally; 2) Exploring the contradictory nature of language and thought; 3) Probing the “deeply-symbolic” nature of meaning. -/- Of course, all of these levels have a long history of precedence in our civilization. Memory arts — though defunct now — had been highly developed in the ancient world, not least among bards who performed oral recitations from memory of the entire Illiad and Odyssey. Dialectics — now transmuted into the debate for show and prizes — had a deeper epistemological mission to discover truth and achieve enlightenment (i.e. Socrates, Boethius and St-Augustine). And if it could not be done via contradictory-prone rationality, it would do it by re-attaching or re-membering broken meanings via the sym-bol (“throwing together”), as per our lineage of platonic poets who created a world compelling enough to make us ask where Jesus went during his (underworld journey) three days in the crypt? Or, and, on what terrain did Dante travel? -/- Lets look at all three: Memory work can be very simple: it amounts to an oral recitation of the story in class followed by a homework assignment wherein the students are asked to reproduce the story (in writing) from memory. They can then compare ‘notes’ in class and by working in groups attempt to produce one version per group of the story in question. In this way we invite them to engage with ‘live’ stories as did our oral-history ancestors. Likewise, by writing it down (“for the first time”) they are re-living the act of our first bardic writer(s) who wove together a collection of competing versions of a popular legend to produce a standard. Very primal work! If Plato thought that writing meant the end of memory in his time, imagine what smart phones are doing to memory now. Contradictions too are easy to work with. It suffices to project a written version of the teacher’s story on the classroom screen — no note taking! — and let students have ample time to read it over and over, at first to check with their own memorized version, and later to seek out logical contradictions in the prose. Any way to ‘repair’ the story? Does it lose credibility because of contradictions? Can it be real without being true? Can it be true without being real? Do reality (L. res = matter) and truth (Gk. a-leithea = un-forgetting) etymologically speaking, share the same domain? -/- Further, if below the surface-meaning the story falls apart, its apparent mythical meaning immediately is called into question. This is a good time to ask the students to propose a (deeper) interpretation. On the surface, the obvious meaning of the Tale of the Purple People Eater, a world in which a purple ogre predatorily feasted on the purple race of the United Peoples of Benetton (a multi-racial nation representing every “skin colour of the rainbow”), revolves around racism, and indeed everyone save for one, thought the story was about racism. -/- I, the author, had the challenge of discovering the deeper meaning of my own story. Because it was written inspirationally one morning, the way we might record the memory of a dream from the night before in a journal, I also was ignorant of the story’s meaning. As luck would have it, a few days before I was to give my class feedback on their interpretations, a meditation on the color “purple” led to the book “The Color Purple” which I first heard of from a friend who, in my reply to a question about the book she was reading (in 1985), summarized it succinctly in one sentence about a black woman’s sexual awakening and liberation. I quickly got the book from the university library as well as the film which I viewed several times before my next class. -/- To my utter amazement, after reading the Tale of the Purple People Eater in light of the Color Purple and adjusting the meaning of color in the tale from the color of people’s complexion to the “color of people’s souls” (to commensurate with the film) as depicted in their clothing and other accoutrements (e.g. automobiles) as reflective of the “health of their souls” (white for revolt, purple for majesty, etc…) where the enslaved Celie is surrounded by drab lifeless colors in the beginning of the film in contrast to the liberated woman she has become in the end of the story symbolized by the extraordinary intensity of the purple shawl that bedecks her like an African queen, the tale can be considered, in part, as a kind of back story of the inner evolution of the book’s and film’s protagonist. -/- Many other cross-polenised metaphors come to the fore: Hippocrates in the tale is the mail man in the film; St-Yves anti-ageing gel is a metaphor for remaining in “childhood (sexual) slavery”; the Ex-Thrax vaccine is the spiritual laxative in the form of letters from Africa (from Ex-Lax and Thrace, a “wild place”) that eases Celie out of her yoke; the egg-shaped conference table with the pointy end in the tale is the kitchen table in the last meeting where Celie threatens her husband with the pointy end of the knife in the film… -/- Of course, the students could not be expected to decode the meaning of a story of this nature whose collective unconscious connotations the author himself had to go to great lengths to excavate almost like a detective of the subconscious. What was important here was the shared engagement between mind and narrative and how it acted as a vehicle for 1) re-membering, 2) becoming aware that all language is a metaphorical cover and 3) that the deep symbol and fused metaphor are divided not by external time and space but by external reality (in the Latin sense, res) and internal truth (in the Greek sense, aleithea). Myth then, in its highest meaning is a hybrid form (of these two) of narrative. Hence both parts real and true. (shrink)