I try to read Aristotle's Poetics and Rhetoric as if they were an integral part of the Organon instead of separate works as they were sorted by Andronicus of Rhodes. The results are quite surprising. First, poetics and rhetoric, considered as sciences of speech, were much more intimately related to Aristotle's analytical logic than it is generally acknowledged by prominent interpreters. I maintain that Dialectics (the Topics) operated as a bridge leading from these two sciences to analytical logic; that the (...) types of speech encompassed by the four respective sciences did not only form a ladder, ascending from the more loose forms of persuasion to the more rigorous ones, but that there was between them a whole net of cross-currents and implications that were too much obvious for Aristotle to remain unaware of them, notwithstanding the fact that he doesn’t describe them anywhere. I maintain, in short, there was an unified science of persuasive speech, whose principles were implicitly intertwined in the fabric of Aristotle's Organon. By means of a comparative study of the works consecrated by Aristotle to poetics, rhetoric, dialectics and analytics, these principles could be unearthed and accurately expressed. I called them the theory of the four discourses. (shrink)

Although Heidegger’s explicit account of “poetic dwelling” belongs to his later philosophy, there are important indications that he was already engaging with the core matter of the notion in his early thought. Contrary to the idea that in Being and Time, “dwelling” amounts to mere practical coping with the environment, we would like to demonstrate that the notion is already a poetic issue in his early thought, as it requires the appropriation of our relation to the world via (...) an authentic experience of finitude. Following a topological mode of thinking, the paper thematizes the connections between Heidegger’s early and later thought, and elucidates the following three points: First, “freeing” and “letting” appears as the appropriate ethos of a poetic experience of finitude, one that maintains the “clearing” of meaningfulness. Second, a topological reading of Being and Time can explicate the notions of authenticity and inauthenticity as different disclosures of the clearing where human being-world correlation occurs. Third, the notion of “keeping-still” (Schweigen) can be interpreted as an authentic disposition that frees space for the disclosure of existence. The paper concludes that an authentic experience of finitude through “stillness” appears to reorient human ethos by releasing “discourse” from absorption in “idle-talk” and that such an act of existential re-orientation of one’s disposition towards the world is the essence of “authenticity,” and Heidegger’s early “poetic dwelling”. (shrink)

During the 19th century, Emily Dickinson likely grappled with the intricate philosophical and theological responses to the metaphysical quandary of the body-soul duality. Philosophers constructed their arguments on empirical reasoning, contending that our bodies' existence equates to our existence. The soul, however, presented a challenge in terms of empirical evidence. Conversely, theologians championed the concept of the soul as an explanatory framework for the intricacies of the human mind. Their stance emphasized that just because the soul remains imperceptible does not (...) negate its existence; faith in both the soul and God was paramount. These two camps, philosophers and theologians, engaged in a spirited discourse. Theologians disapproved of what they perceived as the philosophers' reliance on mere intellectual speculation, while philosophers were disheartened by what they saw as fervent religious zealotry. Within this intellectual landscape, thinkers like Charles Peirce and William James engaged in lively debates at nearby Harvard University during Emily Dickinson's lifetime. In this paper, I argue that, in "I am Afraid to Own a Body," Emily Dickinson takes her speaker and readers on a transcendent journey, surpassing the limits of even the most eloquent philosophical discourse or theological teachings. (shrink)

Usually technological innovation and artistic work are seen as very distinctive practices, and innovation of technologies is understood in terms of design and human intention. Moreover, thinking about technological innovation is usually categorized as “technical” and disconnected from thinking about culture and the social. Drawing on work by Dewey, Heidegger, Latour, and Wittgenstein and responding to academic discourses about craft and design, ethics and responsible innovation, transdisciplinarity, and participation, this essay questions these assumptions and examines what kind of knowledge and (...) practices are involved in art and technological innovation. It argues that technological innovation is indeed “technical”, but, if conceptualized as techne, can be understood as art and performance. It is argued that in practice, innovative techne is not only connected to episteme as theoretical knowledge but also has the mode of poiesis: it is not just the outcome of human design and intention but rather involves a performative process in which there is a “dialogue” between form and matter and between creator and environment in which humans and non-humans participate. Moreover, this art is embedded in broader cultural patterns and grammars—ultimately a ‘form of life’—that shape and make possible the innovation. In that sense, there is no gap between science and society—a gap that is often assumed in STS and in, for instance, discourse on responsible innovation. It is concluded that technology and art were only relatively recently and unfortunately divorced, conceptually, but that in practices and performances they were always linked. If we understand technological innovation as a poetic, participative, and performative process, then bringing together technological innovation and artistic practices should not be seen as a marginal or luxury project but instead as one that is central, necessary, and vital for cultural-technological change. This conceptualization supports not only a different approach to innovation but has also social-transformative potential and has implications for ethics of technology and responsible innovation. (shrink)

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

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

This paper aims to investigate the possibility to define Ricoeur’s dialectic between explanation and understanding within the horizon of Heidegger and Gadamer’s hermeneutics of “parallel discourse” as proposed by Furia Valori. The paper is focused on the possibility to understand the alternative between explanation and understanding as a mediation which leaves the two terms in an alternative but parallel course of meaning which lies undisclosed under the tensions of language. In this sense, this contribution aims to show a deep (...) connection of the whole investigation proposed by Ricoeur starting from his analysis of poetic language until his investigation on alterity. (shrink)

This study aims at assessing the meaning and the extent of the possible relationship between philosophy and literature in and from two significant contemporary thinkers, Maurice Blanchot and Paul Ricoeur. -/- Based on the assumption that both represent the human effort of touching and configuring an essential bottom which seems to escape an immediate seizure – although it is generally considered that philosophy does it through the conceptual/critical discourse and literature through the metaphorical/poetic discourse – the key (...) problem we wish to answer is to know, in that attempt, whether the mentioned activities can or must come close, especially the first in relation to the second. Such problem inevitably disseminates itself in a set of questions which we propose ourselves to think by having the mentioned authors as a starting point: can literature, in its specificity, open new possibilities of expression or mediation of a being or a neuter which precedes us and, therefore, assume itself as a privileged locus for (the calling for) philosophical reflection? Is it philosophically desirable, or even inevitable, a proximity to literature? Or, more radically, is the defense of a clear separation between philosophy and literature sustainable? In that sense, the essay is divided in three moments: in the first, we clarify the conceptions of the language, of the written text and of the relation author-work-reader from which the authors go from; in the second, we intend to think about how the poetic text opens new possibilities of expression or mediation due to its own world and devices; lastly, we will assess more thoruoghly the meaning and the extent that the relation philosophy-literature acquires in each of the proposals. -/- Although they share a few assumptions, our authors’ perspectives will display different concerns or impulses – one we shall call retrospective and another we shall call prospective – which will lead us to different answers. (shrink)

The article introduces the problematics of the classical two-valued logic on which Western thought is generally based, outlining that under the conditions of its logical assumptions the subject I is situated in a world that it cannot address. In this context, the article outlines a short history of cybernetics and the shift from first- to second-order cybernetics. The basic principles of Gordon Pask’s 1976 Conversation Theory are introduced. It is argued that this second-order theory grants agency to others through a (...) re-conception of living beings as You logically transcending the I. The key principles of Conversation Theory are set in relation to the poetic forms of discourse that played a key role in art as well as philosophical thinking in China in the past. Second-order thinking, the article argues, is essentially poetic. It foregoes prediction in favour of the potentiality of encountering tomorrow’s delights. (shrink)

As one tries to grasp love and its images within José Leonilson's production, a multiplicity of aspects and meanings are seen that also relate to Louise Bourgeois's oeuvre in regard to the interest in human relations. Through a comparative approach to both artists' poetics, an understanding is created that love is not a simplistic action and all the words read in or applied to their visual discourse must be considered within a wide range of love in visual and literary (...) images. Keywords: literature and visual arts / love / creativity / Bourgeois, Louise / Leonilson, José / word and image. (shrink)

У статті наведено результати дослідження функційного призначення топоніма Москва в українському поетичному дискурсі від давньої доби до сьогодні. Визначено, що найважливіша його функція – ідеологічна, вона є різновекторною та безпосередньо пов’язана з авторською оцінкою. Конотації власної назви Москва детерміновані інтерлінгвальними чинниками та мають великий діапазон – від максимально меліоративних до максимально пейоративних.

This article discusses Margaret Cavendish's position on reality and fiction in dreams and her role within the moderate skepticism of her philosophy. While Cavendish argues that there is no distinction between dream-like and waking depictions, she does not consider the difference between fact and fiction to be sharp or relevant. We will argue that, although Cavendish promotes a philosophical discourse that articulates reason –that seeks to know reality— and fancy —which constructs fictions—, considers that only "elevated" poetic fantasies (...) are competent for the construction of this discourse. (shrink)

Purpose – The purpose of this paper is to discuss the relevance of second-order cybernetics for a theory of architectural design and related discourse. -/- Design/methodology/approach – First, the relation of architectural design to the concept of “poiesis” is clarified. Subsequently, selected findings of Gotthard Günther are revisited and related to an architectural poetics. The last part of the paper consists of revisiting ideas mentioned previously, however, on the level of a discourse that has incorporated the ideas and (...) offers a poetic way of understanding them. (shrink)

Like human existence itself, our enduring legacies—whether poetic, ethical, political, or philosophical—continually unfold and require recurrent communal engagement and (re)enactment. In other words, an ongoing performance of significant works must occur, and this task requires the collective human activity of re-membering or gathering-together-again. In the Symposium, Diotima provides an account of human pursuits of immortality through the creation of artifacts, including laws, poems, and philosophical discourses that resonates with Gadamer’s account of our engagement with artworks and texts. This essay (...) explores common places among Gadamer and Plato; however, it does so through the complex character of Diotima the philosopher-priestess. Diotima’s teaching on the processive character of human existence and her understanding of knowledge as dynamic has been largely ignored. Given Gadamer’s historically oriented philosophical hermeneutics, not to mention his creative and critical engagement with Platonic themes such as beauty, recollection, and art, Diotima makes for an especially fruitful dialogue partner. (shrink)

The history of the relationship between Christian theology and the natural sciences has been conditioned by the initial decision of the masters of the "first scientific revolution" to disregard any necessary explanatory premiss to account for the constituting organization and the framing of naturally occurring entities. Not paying any attention to hierarchical control, they ended-up disseminating a vision and understanding in which it was no longer possible for a theology of nature to send questions in the direction of the experimental (...) sciences, as was done in the past between theology and many philosophically-based thought-systems. Presenting the history of some hinge-periods in the development of the Western-world sciences, this book first sets out to consider the conceptual revolution which has, in the 20th Century, related consciousness, physical laws and levels of organization, in order to show that a new chance existed then for theology. This discourse was invited to revise its language to open it up to the quest for meaning which we find on the periphery of the project of the experimental sciences. The Century-old reflection on the foundations of probability had prepared the ground for the introduction of the concept of information, at first linked to an effort aimed at maximizing the efficiency of electromagnetic communications. Taking the full measure of the questions that information theory poses to the biological sciences, this work attempts to identify the areas of convergence setting the stage for general systems theory, while it also tries to identify the insufficiencies of this recent vision and to highlight the questions left unanswered. Re-reading some of the traditional proofs of God's existence from the order of the world, relying on some pioneering insights of Ludwig von Bertalanffy and Norbert Wiener, the author brings those proofs and insights in contact with the fascinating initial project of cybernetics and the elements of a "mythical" nature which, from its inception, it could never entirely eliminate. This book ends with the confrontation between the conceptually most extended regulation factors in the history of Western thought. It articulates the poetic utopia concerned with an immediate grasp of the world in its "deictic" character with the concurrent one aimed at the domination over matter and energy expressed by technology's driving rational utopia. (shrink)

Wittgenstein once wrote, “a wheel that can be turned though nothing else moves with it, is not part of the mechanism,” and Nyberg’s explanation as to why Hilary Putnam’s answer to the question of whether we might intelligibly suppose ourselves to be “brains in a vat” is wrong takes us, by way of Wittgenstein’s statement, to the intersection of metaphysics and epistemology, i.e., to the very cornerstone of western philosophy, where we find, waiting for us, the absolute I of solipsism. (...) Yet, it is the solipsistic I which in its articulation most obviously violates the private language argument’s stricture against criterionless reference, though the solipsist has available a reply of sorts – the reply of silence, a complete silence which shrouds equally the blank slates of absolute solipsism and pure realism. Through silence, the I of solipsism becomes the eye of realism and, no longer visible even to itself, vanishes from the realm of analytic discourse, only to be reborn at the correspondent point of each successive incarnation of the paradigm. Other methods of philosophy must, thus, be adopted if we are ever to escape the analytic paradigm’s cyclic limits. It is here, at the point where analysis alone can carry us no further, that “Zen” transitions from an unusually-structured but still traditional philosophic essay into something else entirely, with the incorporation into its closing pages of 15 poetic pieces, each drawn from Nyberg’s 100, a longer text of philosophical poetry which takes up where “Zen” leaves off. [email protected] Iowa City, Iowa/Palo Alto, California/New York, New York/Los Angeles, California/Rapid City, South Dakota June 1982-January 2020 . (shrink)

What happens to critical and aesthetic discourse when a painter promises that he will not paint anymore? What goes on when a famous artist says that all the paintings are just junk or dust, and all the institutional sites of the art-world – actually, the White cube of Clement Greemberg’s Modernism – are just wasted spaces? What’s the matter or the reason of the prestige of a similar no-working man, and what’s the perceptible quality of the value of a (...) so-called art without any artefact at all? In the late '50sand early'60s in Paris, Andy Warhol and Yves Klein claimin different butvery similar ways the end of painting and the disappearing of the work of art from the exposition site and its becoming immaterial or environmental art, indiscernible within its surrounding living space and, finally, with the atmosphere of glamour and snobbish artist’s life. What kind of phenomenology, pragmatic, rhetoric, poetics, economy and ontology is possible when nospectatorialmode of visual consumption is any longer possible? What type of aesthetic relationship actually happens under these planned and produced conditions of non-perceptual and ‘artialized’ living experience? After more than fifty years, the statements of The philosophy of Andy Warhol and the Exposition of void of Yves Klein have not yet stopped to pose questions as such to aesthetics, theory of literature and critics, and to the history of art. (shrink)

In this paper, we intend to explore the possible influences of legislative prose in the Anaximander’s cosmological prose construction, who would have been, according to Themistius, “the first Greek who dared to expose a written discourse about nature” (ἐθάρρησε πρῶτος ὧν ἴσμεν Ἑλλήνων λόγον ἐξενεγκεῖν περὶ φύσεως συγγεγραμμένον, Or. 26 p. 383 = DK12A7). Our aim is to clarify which notions of nature and justice are assumed in its emergent cosmology, considering that, at least from the lexical point of (...) view, it seems strongly suggestive to be undefined the barriers between the legal and cosmic order, between the Human and the Natural. Indeed, this is what the peripatetic tradition seems to suggest by judging Anaximander’s language extremely poetic (ποιητικωτέροις οὕτως ὀνόμασιν αὐτὰ λέγων), since he would use legal terms (διδόναι αὐτὰ δίκην καὶ τίσιν ἀλλήλοις τῆς ἀδικίας) to explain the natural processes of generation and corruption (ἡ γένεσίς ἐστι τοῖς οὖσι, καὶ τὴν φθορὰν εἰς ταῦτα γίνεσθαι, Simpl. in Phys. 24. 13–25 = DK12B1). ——— Objetivamos neste artigo explorar as possíveis influências da prosa legislativa na constituição da prosa cosmológica de Anaximandro de Mileto, que teria sido, segundo Temístio, “o primeiro grego que ousou expor um discurso escrito sobre a natureza” (ἐθάρρησε πρῶτος ὧν ἴσμεν Ἑλλήνων λόγον ἐξενεγκεῖν περὶ φύσεως συγγεγραμμένον, Or. 26 p.383 = DK12A7). Visamos aclarar que noções de natureza e de justiça estão sendo pressupostas nessa cosmologia então emergente, considerando que, ao menos do ponto de vista lexical, parece fortemente sugestivo serem indefinidas as barreiras entre a ordem jurídica e a cósmica, entre o âmbito humano e o natural. Com efeito, é o que parece já sugerir a tradição peripatética ao julgar o linguajar de Anaximandro extremamente poético (ποιητικωτέροις οὕτως ὀνόμασιν αὐτὰ λέγων) por o milésio empregar termos considerados do âmbito jurídico (διδόναι αὐτὰ δίκην καὶ τίσιν ἀλλήλοις τῆς ἀδικίας) para explicar os processos ditos naturais de geração e corrupção (ἡ γένεσίς ἐστι τοῖς οὖσι, καὶ τὴν φθορὰν εἰς ταῦτα γίνεσθαι, Simpl. in Phys. 24.13–25 = DK12B1). (shrink)

This thesis articulates the resonances between J. M. Coetzee's lifelong engagement with mathematics and his practice as a novelist, critic, and poet. Though the critical discourse surrounding Coetzee's literary work continues to flourish, and though the basic details of his background in mathematics are now widely acknowledged, his inheritance from that background has not yet been the subject of a comprehensive and mathematically- literate account. In providing such an account, I propose that these two strands of his intellectual trajectory (...) not only developed in parallel, but together engendered several of the characteristic qualities of his finest work. The structure of the thesis is essentially thematic, but is also broadly chronological. Chapter 1 focuses on Coetzee's poetry, charting the increasing involvement of mathematical concepts and methods in his practice and poetics between 1958 and 1979. Chapter 2 situates his master's thesis alongside archival materials from the early stages of his academic career, and thus traces the development of his philosophical interest in the migration of quantificatory metaphors into other conceptual domains. Concentrating on his doctoral thesis and a series of contemporaneous reviews, essays, and lecture notes, Chapter 3 details the calculated ambivalence with which he therein articulates, adopts, and challenges various statistical methods designed to disclose objective truth. Chapter 4 explores the thematisation of several mathematical concepts in Dusklands and In the Heart of the Country. Chapter Five considers Waiting for the Barbarians and Foe in the context provided by Coetzee's interest in the attempts of Isaac Newton to bridge the gap between natural language and the supposedly transparent language of mathematics. Finally, Chapter 6 locates in Elizabeth Costello and Diary of a Bad Year a cognitive approach to the use of mathematical concepts in ethics, politics, and aesthetics, and, by analogy, a central aspect of the challenge Coetzee's late fiction poses to the contemporary literary landscape. (shrink)

A new book by Timothy Morton, Being Ecological, is reviewed. Being Ecological is a project into the ethics and discourse that emerge between speculative realism and ecological politics. This book is intended to build on the object-oriented ontology that Morton has espoused in previous volumes, however with a greater emphasis on the current state and future of ecological discussions. The book's core methodology is to outline the failures of the current modes of discussion environmental and ecological concerns and provide (...) ways of entering into a more authentic philosophical discussion. The book differs from Morton's usual verbose and highly poetic form in favor of a more grounded and accessible entry into his large project. (shrink)

This thesis is concerned with the ways in which meaning is generically mediated in the novel. In particular it addresses the productive diversity of meanings generated by critical interpretation and asks how, given this diversity, comprehension and consensus might be possible. I argue that the construction of subject, object, space and time is achieved in the novel through different manifestations of four key metaphors: voice, view, setting and event. These metaphors supply meanings that rely on a common experience of embodiment. (...) Embodiment supplies the basis for an intersubjectively established consensus which identifies subjects and objects in terms that correspond to the semiotic, syntagmatic and semantic uses of metaphor. I begin by surveying and reviewing certain constructionist accounts of language and meaning in order to establish the importance of metaphor in conveying meaning in rhetorical, rather than linguistic, terms. I then discuss two examples of continental philosophy on speech: Derrida on voice and Foucault on discourse. I demonstrate how meaning is rhetorically constructed according to the use to which metaphors are put—whether they denote formal, semantic, or functional aspects of meaning—through an explication of Foucault’s theory, reserving Derrida’s grammatology for my analysis of the stabilisation of meaning in the theory of certain narratologists (Gérard Genette and Marie-Laure Ryan). Voice and view are key terms in literary theory, and I examine refinements to these metaphors in Genette and Ryan. The insistence of these narratologists on restricting the rhetorical dimension of meaning undermines the value of the literary work, prompting me to argue for a relaxing of such constraints. I read Peter Carey’s True History of the Kelly Gang for its uses of voice and point of view, many of which expose the limitations of the narratological approach. This is a theoretical thesis, which engages a wide range of perspectives—constructionist, deconstructionist, sociological and structuralist—together with their various accounts of language, metaphor, speech and meaning. In terms of sociological approaches to genre and discourse, I employ the chronotope as a critical tool, examining it in the context of the theme of the country house to demonstrate the role of two of my key metaphors, setting and event, which are important for the construction of space and time in abstract terms. Focusing on novels by Jane Austen, Virginia Woolf, and Kazuo Ishiguro, in which the country house defines the space and the temporality through which thematic and “material” elements are mediated, I reveal how the chronotope supplies an overarching coherence that unites thought and event in narrative. My readings of these novels describe a theory that is concerned with the rhetorical capacities of genre rather than with taxonomic constructions of form. To this end I argue that the metaphorical dimensions of narrative—voice, view, setting and event—be loosely drawn, according to the acknowledged mutability of genre. I also emphasise the constructive effect of metaphor whilst according it a rhetorical versatility consistent with the mutability and instability of genre as a semiotic tool, concluding that consensus is achieved in our readings of novels through the form’s reliance on these four key metaphors of embodiment. These metaphors have ordinary, everyday, widespread usage beyond narrative theory; in appreciating their rhetorical value, it must be noted nonetheless that any confusion that ensues is productive, for it results in the diversities of meaning and form celebrated in the literary work. (shrink)

This paper is an attempt at developing a poetic ontology of the senses through an understanding of poetry, or more importantly the poetic as such, i.e., the movement, temporality, and various antinomies within poetic gesturing which interrupt the logic of closed meaning and totalization. Through a range of philosophers such as Nietzsche, Heidegger, Derrida, and Jean-Luc Nancy, amongst others, and primarily the poetry of Pessoa and Rilke, the paper investigates how poetry (poetics) may not only show us (...) a path toward a poetic ontology (thus an ontology in correlation with the senses and movements of natural and material existence), but furthermore point us toward the possibility of an ethical becoming which mirrors the movements of poetry, in contrast to following the rigid structures of absolute and fixed meaning. The overall intention in this analysis is not to find a clear, complete, or overarching thought which may point us toward the ethical or the good. The attempt here is to show that ethics is an activity, a continuous becoming (analogous to poetics) that can be sensed through a way of being in the world, and "being-with" the world, as compared to simply understood through cognitive forms of abstract knowledge. (shrink)

In this article I develop Heidegger's phenomenology of poetry, showing that it may provide grounds for rejecting claims that he lapses into linguistic idealism. Proceeding via an analysis of the three concepts of language operative in the philosopher's work, I demonstrate how poetic language challenges language's designative and world-disclosive functions. The experience with poetic language, which disrupts Dasein's absorption by emerging out of equipmentality in the mode of the broken tool, brings Dasein to wonder at the world's existence (...) in such a way that doubt about its reality cannot enter the picture. (shrink)

Poems are not the only things we sometimes call poetic. We experience as poetic also prose passages, as well as films, music, visual art, and even occurrences in daily life. But what is it exactly for something to be poetic in this wider sense? Discussion of the poetic in this sense is virtually nonexistent in the extant analytic literature. The aim of this article is to get a start on trying to come to grips with this (...) phenomenon—the poetic as an aesthetic category that outruns poetry as an art form. It proposes an initial sketch of an account in terms of the fittingness of certain affective reactions to artworks and other things, reactions featuring notably elements of tenderness and elevation. (shrink)

This study forms a part of a larger investigation of the influence of the philosophy of Heraclitus of Ephesus on modern poetry. T. S. Eliot, to mention the best known of the many poets inspired by Heraclitus, selected two Heraclitus fragments (B 2 and B 60) as epigraphs for his “Burnt Norton”, the first of his Four Quartets. Eliot explained that he was drawn to the fragments because of their ‘ambiguity’ and ‘extraordinary poetic suggestiveness’. Similarly, in ‘This Solitude of (...) Cataracts’, Wallace Stevens spoke of ‘the flecked river which kept flowing and never the same way twice’ and elsewhere noted the ‘inherently poetic quality’ of many Heraclitean sayings. To gain some sense of the nature and magnitude of Heraclitus’ legacy for modern poetry we must first explore his vision of ‘a fiery cosmos being kindled in measures and extinguished in measures’ and a river into which one cannot step twice. -/- . (shrink)

The chapter provides an overview on what it means to be in a world that is uncertain, e.g., how under conditions of limited understanding any activity is an activity that designs and constructs, and how designing objects, spaces, and situations relates to the (designed) meta-world of second-order cybernetics. Designers require a framework that is open, but one that supplies ethical guidance when ‘constructing’ something new. Relating second-order design thinking to insights in philosophy and aesthetics, the chapter argues that second-order cybernetics (...) provides a response to this ethical challenge and essentially it entails a poetics of designing. //// 'A Poetics of Designing' is part of the first book-length collection of texts in Design Cybernetics. It introduces the subject from the point of view of aesthetics. Importantly, the chapter argues that second-order cybernetics circumvents the necessity for a muse inspired artist or genius as a mediator between higher spirits and life, in favour of artists and designers who have true agency. //// Cybernetics is often associated with AI, which is, however, only one of the branches that developed on the basis of the interdisciplinary research begun in the 1940s and entitled cybernetics. I hope the chapter contributes to a better understanding of the second-order cybernetics that has been conceived in close relationship with art and design from the late 60s onwards. (shrink)

Eristic has been studied more and more intensively in recent years in philosophy, law, communication theory, logic, proof theory, and A.I. Nevertheless, the modern origins of eristic, which almost all current researchers see in the philosopher Arthur Schopenhauer, are considered to be a theory of the illegitimate use of logical and rhetorical devices. Thus, eristic seems to violate the norms of discourse ethics. In this paper, I argue that this interpretation of eristic is based on prejudices that contradict the (...) original intention of modern eristic. Eristic is not an art of being right or winning an argument, but an art of protecting oneself from the one who deliberately violates norms of discourse ethics to gain argumentative acceptance. For this reason, eristic must be seen as a discipline of Enlightenment philosophy and a correlate of discourse ethics. Especially in the age of alternative facts and post-factual politics, this makes eristic a valuable discipline. (shrink)

In the thick of the global plague, Richard, Justin and Valery agreed to hold a conversation on the topic of poetics, self-understanding, and health. An analysis and discussion of this trinity requires love of poetry and philosophy. Both supreme human practices take common root in mythology and religion, and also share a notorious categorical divide, that of reason against affect. Is this Platonic divide indeed categorical, given both practices rely on language and creativity to compose their meaning? Interestingly, the practice (...) of poetics does not have the reputation for boosting one's health, in the mainstream understanding of that concept. If anything, poetic practice gained notoriety for corrupting one's mind and, possibly, life. Like philosophy? We touched on these and other classical aporia, on the political struggles in American and Australian poetry. Here is a written record of this encounter, countries and miles apart, three persons simply getting to know one another. (shrink)

It is widely held within contemporary metaethics that there is a lack of linguistic support for evaluative expressivism. On the contrary, it seems that the predictions that expressivists make about evaluative discourse are not borne out. An instance of this is the so-called problem of missing Moorean infelicity. Expressivists maintain that evaluative statements express non-cognitive states of mind in a similar manner to how ordinary descriptive language expresses beliefs. Conjoining an ordinary assertion that p with the denial of being (...) in the corresponding belief state famously gives rise to Moorean infelicity:?? It’s raining but I don’t believe that it’s raining. If expressivists are right, then conjoining evaluative statements with the denial of being in the relevant non-cognitive state of mind should give rise to similar infelicity. However, as several theorists have pointed out, this does not seem to be the case. Statements like the following are not infelicitous: Murder is wrong but I don’t disapprove of it. In this paper, I argue that evaluative statements express the kind of states that are attributed by ‘find’-constructions in English and that these states are non-cognitive in nature. This addresses the problem of missing Moorean infelicity and, more generally, goes to show that there are linguistic facts which support expressivism about evaluative discourse. (shrink)

The so-called “conciliatory” norm in epistemology and meta-ethics requires that an agent, upon encountering peer disagreement with her judgment, lower her confidence about that judgment. But whether agents actually abide by this norm is unclear. Although confidence is excessively researched in the empirical sciences, possible effects of disagreement on confidence have been understudied. Here, we target this lacuna, reporting a study that measured confidence about moral beliefs before and after exposure to moral discourse about a controversial issue. Our findings (...) indicate that participants do not abide by the conciliatory norm. Neither do they conform to a rival “steadfast” norm that demands their confidence to remain the same. Instead, moral discourse seems to boost confidence. Interestingly, we also find a confidence boost for factual beliefs, and a correlation between the extremity of moral views and confidence. One possible explanation of our findings is that when engaging in moral discourse participants become more extreme in their opinions, which leads them to become more confident about them, or vice versa: they become more confident and in turn more extreme. Although our work provides initial evidence for the former mechanism, further research is needed for a better understanding of confidence and moral discourse. (shrink)

Imaginative resistance (IR) is rejecting a claim that is true within a fictional world. Accounts that describe IR hold that readers exit a fiction at points of resistance. But if resistance entails exiting a fiction, then learning morality from fiction doesn’t occur. But moral learning from fiction does occur; some such cases are instances of accepting a norm one first denied. I amend current solutions to IR with poetic license. The more poetic license granted a work, the more (...) flexible one is regarding perceived falsehoods. Instead of exiting the fiction, one has the chance to stay engaged and possibly learn norms she previously denied. (shrink)

On the basis of a revision of the real dynamics of Greek poiesis and autopoiesis as evolutionary processes of meaning and knowledge-of-the-World evaluative-construction, Cognitive Poetics proposes key philological, ontological and cultural adjustments to improve our understanding of thought, conceptual activity, and the origins and social nature of language. It searches for an integrated theory of social problems in general Cognitive Science: from Linguistics or Psychology, through Anthropology, Neurophilosophy or Literary Studies, to Neurobiology or Artificial Life Sciences. From an essential turn (...) to the real thing, cognition as (social) action, it provides new unforeseen accounts of the complex dynamics of human essentially creative understanding studying and analyzing all form of texts as active fossils as mentils (Guerra 2009). (shrink)

Philosophical theories of various sorts rely on there being robust boundaries between kinds of content. One way of drawing such boundaries is to place them between subject matters, like physics and aesthetics, and the domains of sentences falling within them. Yet contemporary literature exploring the nature of discourse domains is relatively sparse. The goal of this paper is to articulate the core features of discourse domains for them to provide the sought-after explanatory utility of establishing robust boundaries between (...) discursive contents. Analyzing the role that discourse domains have under alethic theories yields valuable information about the ways in which domains subject themselves to being defined and how alethic theories can explain the variability of truth-aptness or truth across sentences from distinct domains. The concluding argument is that because of certain issues with defining domains as unambiguous classes of sentences when individuated on the grounds of topical subject matters, philosophers should consider a commitment to indeterminism about the extensions of fundamental domains. According to this view, although domains can be defined as relatively well-individuated classes of sentences based on topical distinctions, the temporal development of our conceptual frameworks and the phenomenon of mixed content compromise our ability to definitively account for the domain membership of all truth-apt sentences. Such an indeterminacy argument is relevant for all who rely on there being robust boundaries between topically individuated discursive contents. (shrink)

In this paper, I will focus on the nature of the Situationist concept of everyday life, in order to highlight not only its objective content but also its ambiguity. Moreover, I will demonstrate that there is, from the perspective of a poetics of everyday life, and in spite of the diversity of development stages of the Situationist International, an undeniable unity of its revolutionary program.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 207-215 [Access article in PDF] Notes and Fragments Poetics of Sentimentality Rick Anthony Furtak IN HIS MAJOR WORK, The Passions, Robert Solomon argues that emotions are judgments. 1 Through a series of persuasive examples, he shows that emotions are best understood as mental states which involve certain beliefs about the world. This means that every emotion has an object: if I am angry at (...) John for stealing my car, the object of my anger is the fact (or what I take to be a fact) that my car has been stolen by John. If I find out that this is not the case, that my car has not even left the garage, then my anger should vanish along with its justification. 2 The key point here is that anger, like any other emotion, may be reasonable or inappropriate depending on the situation. If there is nothing to be angry about, then it would be irrational for me to cultivate anger simply because I enjoy having this particular emotion. In general, emotional responses are cognitively flawed whenever they are at odds with the properties of their objects. If we want our judgments to be realistic and not delusional, then we must avoid this kind of error.It is curious, then, that Solomon has written an essay in which he categorically declares that "there is nothing wrong with sentimentality." 3 For it would appear that his theory of emotion provides precisely the terms needed in order to specify what is wrong with it. If emotions are judgments, then "sentimentality" ought to be an important critical term to designate the habit of having emotions that involve either impaired or mistaken judgment. Nevertheless, Solomon is willing to defend any and every episode of tender emotion, of the kind associated with the [End Page 207] death of Little Nell in The Old Curiosity Shop (S, p. 240). He suggests that the more we can muster up this sort of response to literature or life, the better. What he seeks to encourage, in other words, is what Hume would call "delicacy" of (aesthetic) taste and of (ethical) passion. 4 But while Hume acknowledges that sensitivity to beauty and to ugliness are two sides of the same coin, such that anyone who is susceptible to lively enjoyments is also liable to undergo pungent sorrows, Solomon wants to promote only the tender aspect of emotion.On the principle of passionate maximization, it is good if I can be tenderly affected by a poem—any poem! The problem with such crass emotion-stoking is that it precludes the possibility of distinguishing between, for instance, the two stanzas below. Both are by Wilfred Owen: the first was written in 1914 and the second in 1918. 5 I O meet it is and passing sweet To live in peace with others, But sweeter still and far more meet To die in war for brothers. II Bent double, like old beggars under sacks, Knock-kneed, coughing like hags, we cursed through sludge, Till on the haunting flares we turned our backs And towards our distant rest began to trudge. Men marched asleep. Many had lost their boots But limped on, blood-shod. All went lame; all blind; Drunk with fatigue; deaf even to the hoots Of tired, outstripped Five-Nines that dropped behind. Only if emotions did not involve rational judgment could a person's passionate response to these two stanzas be a matter of indifference. But it seems that, on the contrary, an essential component of understanding them is recognizing that they express irreconcilable cognitive attitudes. The tone of the 1918 stanza is strikingly different from that of the earlier one, even though they share roughly the same topic. The latter stanza is stark and ominous, and filled with vivid detail; the one from 1914 is sweet and vague. Clearly, we might describe the earlier of the two as "sentimental"—the question is, what kind of judgment does [End Page 208] it involve? I suggest that its insipid jingles endorse the view that war is a delightful opportunity to nurture brotherhood and gain... (shrink)

Many strategies for incorporating poetry into non-poetry classes, especially outside of English and associated disciplines, appear to make poetry subservient and secondary in relation to the prose content of the course. The poet under consideration becomes a kind of involuntary servant to one or more prose authors, forced to “speak only when spoken to,” and effectively prevented from challenging the ideas of the course’s prose writers, and thereby the instructor. Fortunately, this is not the only strategy for incorporating poetry into (...) prose-dominated courses. In this chapter, I will suggest an alternate approach which recognizes and facilitates the agency of poets and poetry per se, which I term “empowering poetic defiance.” In brief, this approach consists of the following four steps: (1) challenge one’s own poetic self-loathing (2) position the course’s poetry’s content to challenge the course’s non-poetic contents (3) position the course’s poetry’s forms to challenge your class’s non-poetic forms (4) comport oneself as interlocutor toward the poets featured in the course as the intellectual equals of oneself and the course’s prose writers. My first section will elaborate on these four steps, and my second section will flesh out the method further with a new reading of one of the most powerfully defiant poets in the Western canon, the nineteenth-century French Symbolist poet Charles Baudelaire, in dialogue with one of the most formidable challengers to the power of poetry, the eighteenth-century Prussian philosopher Immanuel Kant. (shrink)

What is it to be clear? And will that question have the same answer in science, poetry, and philosophy? This paper offers a taxonomy of clarity, before focusing on two notions that are pertinent to the notions of clarity in science, poetry, and, in particular, philosophy. It argues that “scientific clarity,” which is marked by its reliance on technical terms, is, though often appropriate, not the only way in which something can be clear. In particular, poetry entirely eschews technical terms—but (...) can nonetheless be crystal clear. Poetry achieves this clarity by sensitivity to the richness of language: rhythm, ambiguity, and so on. The paper argues that some philosophy uses language in this same way to achieve its philosophical ends. Accordingly, we should allow that this is a legitimate philosophical method and should not judge the clarity of such philosophy by the standards of scientific clarity. (shrink)

Stojnić et al. (2013, 2017) argue that the reference of demonstratives is fixed without any contribution from the extra-linguistic context. On their `prominence/coherence' theory, the reference of a demonstrative expression depends only on its context-independent linguistic meaning. Here, we argue that Stojnić et al.’s striking claims can be maintained in only the thinnest technical sense. Instead of eliminating appeals to the extra-linguistic context, we show how the prominence/coherence theory merely suppresses them. Then we ask why one might be tempted to (...) try and offer such a view. Since we are rather sympathetic to the motivations we find, we close by sketching a more plausible alternative. (shrink)

Public discourse is often caustic and conflict-filled. This trend seems to be particularly evident when the content of such discourse is around moral issues (broadly defined) and when the discourse occurs on social media. Several explanatory mechanisms for such conflict have been explored in recent psychological and social-science literatures. The present work sought to examine a potentially novel explanatory mechanism defined in philosophical literature: Moral Grandstanding. According to philosophical accounts, Moral Grandstanding is the use of moral talk (...) to seek social status. For the present work, we conducted six studies, using two undergraduate samples (Study 1, N = 361; Study 2, N = 356); a sample matched to U.S. norms for age, gender, race, income, Census region (Study 3, N = 1,063); a YouGov sample matched to U.S. demographic norms (Study 4, N = 2,000); and a brief, one-month longitudinal study of Mechanical Turk workers in the U.S. (Study 5, Baseline N = 499, follow-up n = 296), and a large, one-week YouGov sample matched to U.S. demographic norms (Baseline N = 2,519, follow-up n = 1,776). Across studies, we found initial support for the validity of Moral Grandstanding as a construct. Specifically, moral grandstanding motivation was associated with status-seeking personality traits, as well as greater political and moral conflict in daily life. (shrink)

1971. Discourse Grammars and the Structure of Mathematical Reasoning II: The Nature of a Correct Theory of Proof and Its Value, Journal of Structural Learning 3, #2, 1–16. REPRINTED 1976. Structural Learning II Issues and Approaches, ed. J. Scandura, Gordon & Breach Science Publishers, New York, MR56#15263. -/- This is the second of a series of three articles dealing with application of linguistics and logic to the study of mathematical reasoning, especially in the setting of a concern for improvement (...) of mathematical education. The present article presupposes the previous one. Herein we develop our ideas of the purposes of a theory of proof and the criterion of success to be applied to such theories. In addition we speculate at length concerning the specific kinds of uses to which a successful theory of proof may be put vis-a-vis improvement of various aspects of mathematical education. The final article will deal with the construction of such a theory. The 1st is the 1971. Discourse Grammars and the Structure of Mathematical Reasoning I: Mathematical Reasoning and Stratification of Language, Journal of Structural Learning 3, #1, 55–74. https://www.academia.edu/s/fb081b1886?source=link . (shrink)

The development of Christian mysticism is deeply bound to poetics. This examination first considers Platonic poetry, Hebrew creation, and Christian kenosis as sources of poetic mysticism, before turning to an elaboration of the role of rhythm, language, and the poetic imagination. The appraisal then considers the historical development of mystical poetry, beginning with early Christian reflection on the figurative and lyrical use of scriptural language to express a deep personal relationship with God. The development of vernacular mysticism, and (...) its adoption of this scriptural model, is then explored through a detailed consideration of four mystical poets (Dante, Jacopone, Hadewijch, and Angelus Silesius). The interaction of poetic form and spiritual content is elaborated throughout, with the aim of demonstrating how poetics allows the mystical writer to achieve a result for the reader otherwise not possible in discursive forms of communication. (shrink)

Traditionally, pronouns are treated as ambiguous between bound and demonstrative uses. Bound uses are non-referential and function as bound variables, and demonstrative uses are referential and take as a semantic value their referent, an object picked out jointly by linguistic meaning and a further cue—an accompanying demonstration, an appropriate and adequately transparent speaker’s intention, or both. In this paper, we challenge tradition and argue that both demonstrative and bound pronouns are dependent on, and co-vary with, antecedent expressions. Moreover, the semantic (...) value of a pronoun is never determined, even partly, by extra-linguistic cues; it is fixed, invariably and unambiguously, by features of its context of use governed entirely by linguistic rules. We exploit the mechanisms of Centering and Coherence theories to develop a precise and general meta-semantics for pronouns, according to which the semantic value of a pronoun is determined by what is at the center of attention in a coherent discourse. Since the notions of attention and coherence are, we argue, governed by linguistic rules, we can give a uniform analysis of pronoun resolution that covers bound, demonstrative, and even discourse bound readings. Just as the semantic value of the first-person pronoun ‘I’ is conventionally set by a particular feature of its context of use—namely, the speaker—so too, we will argue, the semantic values of other pronouns, including ‘he’, are conventionally set by particular features of the context of use. (shrink)

In Difference and Repetition, Deleuze evokes dramatization when he suggests that intensities must dramatize the Ideas to condition their actualization. This allusion to an artistic category, in the midst of his metaphysical inquiry, has remained obscure, and despite its cruciality, it is not clear why he appeals to dramatization to explain any actualization and not solely the artistic actualization. This essay attempts to elucidate this ambiguity, by foregrounding a zone of torsional continuity, wherein intensity encounters the Idea and expresses it (...) through dramatization. This process is at play in the actualization of the organic field, social field, and aesthetic field, where an intensive larval subject—embryo, disentangled individual, artist—encounters the biological, social, or artistic Idea. While referring to the artistic encounter, it is shown how dramatization is indispensable to actualize every Idea. Finally, through Tarkovsky and Blanchot, the notion of poeticization is formulated that, while complementing dramatization, unveils certain tacit nuances of the Deleuzian actualization. (shrink)

In the light of Halliday's Ideational Grammatical Metaphor, Rhetoric and Critical Discourse Analysis, the major objectives of this study are to investigate and analyze Barack Obama's 2012 five speeches, which amount to 19383 words, from the point of frequency and functions of Nominalization, Rhetorical strategies, Passivization and Modality, in which we can grasp the effective and dominant principles and tropes utilized in political discourse. Fairclough’s Critical Discourse Analysis frameworks based on a Hallidayan perspective are used to depict (...) the orator’s deft and clever use of these strategies in the speeches which are bound up with his overall political purposes. The results represent that nominalization, parallelism, unification strategies and modality have dominated in his speeches. There are some antithesis, expletive devices as well as passive voices in these texts. Accordingly, in terms of nominalization, some implications are drawn for political writing and reading, for translators and instructors entailed in reading and writing pedagogy. (shrink)

In Poetics 13, Aristotle claims that the protagonist in the most beautiful tragedies comes to ruin through some kind of ‘failure’—in Greek, hamartia. There has been notorious disagreement among scholars about the moral responsibility involved in hamartia. This article defends the old reading of hamartia as a character flaw, but with an important modification: rather than explaining the hero's weakness as general weakness of will (akrasia), it argues that the tragic hero is blinded by temper (thumos) or by a pursuit (...) for fine, good and desirable things—that is, by what may be labelled ‘qualified’ weakness of will. The upshot is that hamartia ends up as being less blameworthy than ‘proper’ akrasia, but still explains why morally outstanding people are unsuitable for the most beautiful tragedies. (shrink)

Aristotle’s Poetics is the first philosophical account of an art form and is the foundational text in the history of aesthetics. The Routledge Philosophy Guidebook to Aristotle and the Poetics is an accessible guide to this often dense and cryptic work. Angela Curran introduces and assesses: Aristotle’s life and the background to the Poetics the ideas and text of the Poetics , including mimēsis ; poetic technē; the definition of tragedy; the elements of poetic composition; the Poetics’ recommendations (...) for tragic plot patterns; catharsis ; epic and comedy; the nature of our emotional response to drama; the proper pleasure of tragedy; and the role that art plays in a human life the relevance of Aristotle’s work in metaphysics, epistemology, ethics and philosophical psychology to the Poetics a comparison of Plato and Aristotle on the value of mimetic art the continuing importance of Aristotle’s Poetics to contemporary philosophy, aesthetics, and philosophy of film. (shrink)

Epistemic terms of various syntactic categories can uniformly be used to do the same thing: to hedge. This essay clarifies hedging as a phenomenon and explains how hedging happens by advancing the positional theory. The guiding idea is that, in uttering declaratives, speakers signal what their epistemic position is towards the content put into play by the declarative. The default signal is that the speaker knows. But when an epistemic term hedges, the term overrides the default. The non-default signal sent (...) is that the speaker or someone else occupies the position indicated by the term. To make that idea precise, the positional theory treats hedging as a discourse function. Terms hedge because of how a declarative containing an epistemic term is situated within a discourse. (shrink)