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)

This interdisciplinary study explores the philosophical evolution of John Keats' poetics, integrating insights from philosophy, cognitive science, psychology, and literary hermeneutics to unravel the complex interplay between aesthetics and epistemology in Romantic literature. The research traces Keats' intellectual journey from solipsistic idealism to naturalistic humanism, analyzing his conceptualization of truth, beauty, and imagination through the lens of both Continental philosophy and analytical logic.

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)

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)

The main goal of this article is to examine the link between the idea of language, being and nothingness by comparing 16th century Turkish-Azeri poet Fuzûlî’s poetry and 20th century German philosopher Martin Heidegger’s philosophy departing from the latter’s thinking of being. There are similarities between Heidegger and Fuzûlî’s respective thoughts concerning the role of the human being’s relation to finitude which grounds the relationship between being and nothingness. The article consists of three sections. The first section makes sense of (...) Heidegger’s early and late thought in terms of its ontological unity, explaining the ways in which being and nothingness topologically co-determine one another in poetic language. The second section focuses on clarifying the sources that nourish Fuzûlî’s poetry, such as Sufism and the literary style of “Rind” as observed in classical Ottoman poetry, elucidating how these influences underpin the philosophical foundations of Fuzûlî’s poetry. The third section offers a philosophical interpretation of Fuzûlî’s lyric poems by illustrating how and why being and nothingness are not to be thought as mere opposites, pointing out their ontological belonging together. In the concluding section, it is argued that a poetic mode of existence necessitates an authentic experience of human finitude both for Heidegger and Fuzûlî. Although Fuzûlî’s poetry involves onto-theological influences from Sufism, Fuzûli manages to form an original idea of poetic existence, emphasizing that the poetic agent needs to take a step back from the mundane world of multitudes in order to unify with Being itself. As for Heidegger, it is doubtful whether there is such a mystical idea of being. Nonetheless, for both figures the more originary experience of finite human existence lies in the poetic interplay between being and nothingness. The poetic meaning of being comes to manifest itself in the process of one’s existential annihilation, which takes place in the movement of being-towards-death. Accordingly, exploring how the meaning of being requires the poetic experience of nothingness and how such an experience appears through language in Fuzûlî’s lyric poems provides a more comprehensive account of his thinking. (shrink)

Aristotle's Poetics has been the basis for theories of entertainment for over 2,000 years. But the general approach it uses has led to a number of gaps, contradictions, and difficulties in predicting the success of books, plays, movies, and entertainment as a whole, so much so that sayings like "there are no rules, but you break them at your peril," and "in Hollywood, nobody knows anything" have become widespread and accepted. -/- However, it turns out that a model of entertainment (...) that defines literary conventions by the pleasurable feelings they release in the brain, and then equates them with outside experiences that people subconsciously attach to the literary work, in the same way that we can be conditioned to feel love when we view our wedding rings, can actually resolve almost every seeming contradiction in Aristotle's ideas and traditional theories of storytelling when compared to real-world results. -/- Furthermore, this approach can be extended to the other major forms of art, including painting, music and even video games, leading to a "Non-Aristotelian" theory that modifies the fundamental aspects of each of these fields, but in a natural and necessary way, which strengthens both our understanding and our ability to predict the success or failure of art in the future. -/- My work as a vlogger and writer, mostly done via my Youtube channel "StoryBrain," has been viewed over 6 million times, and written about in MovieMaker magazine, Creative Screenwriting magazine, on the front page of major sites like Reddit, Roger Ebert online, and in international newspapers like the Sydney Morning-Herald in Australia and Fotogramas in Spain. My work is also the subject of a chapter of the currently-in-release book "Neuro-Design," by Kogan Page publishing, called "The Neuro Movie Analyst." This paper is a detailed introduction to the theory of Emotional Indiscretion which I have talked about in my work. (shrink)

As one commentator notes, Spinoza’s conception of “the third kind of knowledge”—intuition, has been “regarded as exceptionally obscure. Some writers regard it as a kind of mystic vision; others regard it as simply unintelligible.” For Spinoza, the first kind of knowledge, which he calls “imagination,” is a kind of sense-experience of particulars; the second kind, which he calls “understanding,” involves the rational grasp of universals, and the third, in his words, “proceeds from an adequate idea of the formal essence (...) of some of the attributes of God to an adequate knowledge of the essence of things.” In this essay I will attempt to show, through an explication of Spinoza’s concept of intuition, how a prime example of intuition can be found in the art of poetry. More specifically, I will examine resonances between the work of the poet Gerard Manley Hopkins (1844–1889) and Baruch de Spinoza (1632–1677) by exploring the ways in which Hopkins’ poetry can work as both (1) an exemplar of poetry qua Spinozistic intuition, and (2) an intuition-based access to Spinoza’s thought. The upshot of this essay, then, is that there is a kind of knowledge, and by implication a kind of education (through which to acquire that knowledge) which—even for a philosopher as mathematically rigorous as Spinoza—may require recourse to the art of poetry. (shrink)

Bachelard üzerinden bir Pallasmaa okuması… Mimari imgelemin şiirsel inşası üzerinde duran iki düşünürün çalışmalarına çapraz bir bakış denemesi bu. İmgelemin psikososyal kuruluşunu değil, mutlak kişiselliğini eksen alan güzergahta konumlanıyor. Mimarlığın tırmanan ekonomize edilme serüvenine direnen bir şiirsel damar arayışının iki bağlantılı aktörünün düşüncelerine yaklaşmayı deniyor.

This paper explores trans poetics as a way of doing trans philosophy. I begin by giving an overview of the current state of trans philosophy. I then give examples of other literatures wherein poetics is taken to be philosophically robust. After giving a brief history of trans poetics, I turn to the poetics statements and poetry of three trans poets—D'Lo, Ching-In Chen, and micha cárdenas—featured in the 2013 anthology Troubling the Line. I show how poetry is often uniquely able to (...) capture the ambiguity of the WTF of trans experience in ways that differ from philosophical argumentation. I conclude by suggesting that poetics might move us away from a potential politics of suffering in trans philosophy to a politics of liberation. (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)

In the present essay, we are going to develop a concept of contemplative walking in light as an aesthetic attitude that can be linked to somaesthetics. My understanding of this type of aesthetic activity is underpinned by the broader framework developed in my PhD thesis, which is based on the poetics of light, to explain how the spectator experiences light installations. So, we are going to analyse what we understand by contemplative walking in light and how it is made possible (...) through a perception based on corporeality and movement. To do this, we are going to analyse two installations – Your Rainbow Panorama (2011) by Olafur Eliasson and YellowBluePink (2015) by Ann Veronica Janssens- to see how they instantiate this type of aesthetic attitude and how it can be related to somaesthetics. (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)

José Blanco White (1775-1841) not only is an active witness of a crucial period in the political life of the Hispanic world on both sides of the Atlantic, but he is also one of the most recognized thinkers and writers of his time. His legacy includes a valuable poetic work. These pages are interested in the theological spirit of one of his most critically admired English sonnets, Night and Death. However, in order to know that own faithful way in (...) which the author expresses in his poem the human questioning for hope in the face of the experience of darkness and death, it is necessary to first penetrate, even if only in a synthetic way, in his understanding and experiencing of the relationship between religion and church, instinct of reason and truth of faith. This leads us to better meet with the background that encourages the poetic expression of his sensitivity towards the beauty of the world and the way in which man can discover in it the call of divine transcendence. (shrink)

"Poetics of Experience" Review of Gaston Bachelard. Kształtowanie się umysłu naukowego. Trans. D. Leszczyński. Gdańsk: Wydawnictwo słowo obraz/terytoria, 2002.

This article explores the concept of sight perception from both cognitive and aesthetic perspectives, by examining the limits of visual attention. It discusses how conscious and unconscious mechanisms can influence what individuals see and may experience aesthetically. It also presents empirical research employing eye-tracking to analyze the visual behavior of visitors of an art exhibition viewing a painting of Japanese artist Isson Tanaka (1908-1977). The study demonstrates that indiscernible aspects of vision interact on the limits of perception, which gives (...) birth to new images. Specifically, the eye-tracking records and uncovers the invisible traces of people's eyes as they are observing the painting, providing opportunities for visual poetics based on sensory input and eye movements. Overall, this interdisciplinary approach contributes to a more thorough understanding of the complexities of visual perception in the arts. (shrink)

COVID-19 infects cities, here grasped as quasi-living functioning systems, and the changes inflicted can poetically open us to certain things. Drawing on ecological psychology, we maintain that this brings people into contact with different realities depending on their overall wellbeing, arguing that the aesthetic experience of cities accordingly varies. We then consider iterations of these ideas in dystopian cinema, which portrays global threats altering human relations with technology, art, and the world.

Gaston Bachelard occupies a unique position in the history of European thinking. As a philosopher of science, he developed a profound interest in genres of the imagination, notably poetry and novels. While emphatically acknowledging the strength, precision and reliability of scientific knowledge compared to every-day experience, he saw literary phantasies as important supplementary sources of insight. Although he significantly influenced authors such as Lacan, Althusser, Foucault and others, while some of his key concepts are still widely used, his oeuvre (...) tends to be overlooked. And yet, as I will argue, Bachelard’s extended series of books opens up an intriguing perspective on contemporary science. First, I will point to a remarkable duality that runs through Bachelard’s oeuvre. His philosophy of science consists of two sub-oeuvres: a psychoanalysis of technoscience, complemented by a poetics of elementary imagination. I will point out how these two branches deal with complementary themes: technoscientific artefacts and literary fictions, two realms of human experience separated by an epistemological rupture. Whereas Bachelard’s work initially entails a panegyric in praise of scientific practice, he becomes increasingly intrigued by the imaginary and its basic images, such as the Mother Earth archetype. (shrink)

This paper develops an aesthetics of crossword puzzles. I present a taxonomy of crosswords in the Anglophone world and argue that there are three distinct sources of aesthetic value in crosswords. First, and in common with other puzzles, crosswords merit aesthetic experiences of our own agency: paradigmatically, the aesthetic experience of struggling for and hitting upon the right solution. In addition to instantiating the aesthetic value of puzzles in general, crosswords in particular can have two other sources of aesthetic (...) value: the visual appeal of grid art and the poetic delight of idiomatic language. Crossword aesthetics takes place at the intersection of the recently popular aesthetics of puzzles and games and the more familiar aesthetics of the visual and literary arts. (shrink)

This article seeks to explore the different strategies the Bard uses in order to evoke sympathy in the reader for Macbeth who is so persistent in the path of evil. What strategy does Shakespeare use in order to provoke such a deep emotional response from his readers? By using paradoxes in the play, the Bard creates a world of illusion, fear and wild imagination. The paradoxical world in Macbeth startles us into marvel and fear, challenges our commonly held opinions, and (...) reshapes our thought in the process (Platt 8). As the text involves the reader in the formation of illusion and the simultaneous formation of the means whereby the illusion is punctured, “reading reflects the process by which we gain experience. Once the reader is entangled, his own preconceptions are continually overtaken so that the text becomes his present while his own ideas fade into the past. As soon as it happens, he is open to the immediate experience of the text” (Iser, The Implied Reader 290). Mesmerised by Macbeth’s powerful imagination and poetic language, the reader engages in a dialogical interaction with the play and eventually finds light in the murky world of the text. Regardless of Macbeth’s diabolical world, the reader ventures into it, shares it with him and ultimately wakes up from its dizzying stupor. In reading Macbeth, the reader leaves behind the familiar world of his experience in order to participate in the adventure the text offers him. The edifying effect of the tragedy in the end is the reward the reader reaps after eventually waking up from the nightmarish dream of the text. (shrink)

“Black Star” music video was released two days before Bowie’s death. It bears various implications of dying and the notion of mortality is both literal and metaphorical. It is highly autobiographical and serves as a theatrical stage for Bowie to act both as a music performer and as a self-conscious human being. In this paper, we discuss the signs of mortality in Bowie’s “Black Star” music video-clip. We focus on video’s cinematic techniques and codes, on its motivic elements and on (...) its narrative in relation with music, lyrics, characters, and gestures. We also discuss the video’s intertextual references and the broader signification of the black star figure. We adopt a quasi-semiotic approach considering “Black Star” music video-clip as a text which can be investigated through its signs, codes, and conventions of the musical, visual, and cinematic languages as well. Our interdisciplinary tools derive from visual semiotics and audiovisual analysis models, without leaving outside Bowie’s musical-artistic and personal history. As it turns out, Bowie created a video clip that is philosophical in nature and poetic in structure, preserving the role of protagonist. With the visuals creating a psychedelic atmosphere, the lyrics often are heard as a personal confession. They both generate cognitive and emotional responses that influence the way the viewers-listeners may experience, decompose, and interpret Bowie’s artistic endeavor bridging life and death. (shrink)

Philosophical reflection on the conditions of knowledge did not begin in a cultural vacuum. Several centuries before the Ionian thinkers began their investigations, the Homeric bards had identified various factors that militate against a secure grasp of the truth. In the words of the ‘second invocation of the Muses’ in Iliad II: “you, goddesses, are present and know all things, whereas we mortals hear only a rumor and know nothing.” Similarly Archilochus: “Of such a sort, Glaucus, son of Leptines, is (...) the mind of mortal man, whatever Zeus may bring him for the day, for he thinks such things as he meets with.” When one adds the truism that the scope of human experience pales in comparison with the synoptic view of events enjoyed by the gods, it follows that for most matters it is for the gods to know and mortals merely to conjecture. Traces of the older ‘poetic pessimism’ can be seen in the teachings of many of the first philosophers. Alcmaeon reaffirms that “while the gods enjoy clear and certain knowledge of all things, mortals must conjecture from signs” (B 1). Although Xenophanes encourages inquiry into a wide range of phenomena, he concludes that “No man has known nor will there be anyone who knows the clear and sure truth concerning the gods and what I say about all things” (B 34). And when philosophers begin to affirm a more optimistic view they often do so in terms that invite comparison with the older outlook. The chief truth Heraclitus claims to have discovered is the logos or ‘basic formula’ which holds everywhere and forever (B 1, 30, 80, and 90). Parmenides provides reason to think that human beings can discover the truth even about things located “far off” (B 4). And both Empedocles and Democritus contrast the inferior awareness of those “who think in terms of what they have met with” with the wisdom available to those who have heard and ponder their teachings (B 131). For these thinkers, separation in space and time—the old ‘locality problem’—no longer posed an impediment to knowledge. -/- . (shrink)

Beyond the eras a dialogue seems to have been established between Bruegel the Elder (1525-1569) and Antonin Artaud (1896-1948). The poet’s wonder at the « painting of the North », both realistic and emblematic, reveals his deepest ideal as an artist : painting, a « magical » operation, deploys a power of expression based on signs and no longer on words, which the theatre is also called upon to seize. The juxtaposition of Bruegel’s Triumph of Death and a famous drawing (...) by Artaud, Le Théâtre de la cruauté [The Theatre of Cruelty], highlights the striking convergences between the two artists. Through their pictorial works, both of them renew over the centuries the funerary and mythical symbolism of death, inherited from the macabre scenes of medieval paintings, but also from ancient times. Studying the references to theatrical iconography in Bruegel’s painting, where carnival and crudity of death reinforce each other, allows us to deepen the meaning of these resonances. For the two artists, form and poetic momentum meet so that representation, as a structure common to painting and theatre, fixes a moment of the world, while animating that moment to infinity, thanks to signs conceived as « true hieroglyphs » (Artaud), a problem that Michel Foucault associated with the strongest truth that the experience of madness carries. (shrink)

What do we mean when we describe the history of the Caribbean as traumatic? Is it possible to use the term ‘trauma’ here in a more technical sense, or should we give it the less strict connotation of an extreme form of an event in which the past no longer stays just in the past and the future never ceases to demand something from the present? In this paper I analyze the image of the abyss, used by Édouard Glissant to (...) evoke poetically one of the beginnings of the Caribbean, as leading to a paradox on the attitude toward history: Caribbean communities have been burdened with a non-history that feels, at the same time, like too much history. I show that this image resembles the paradoxical structure of trauma developed in the works of Cathy Caruth, according to whom trauma is a paradoxical structure of experience in which the subject (or a community) is painfully possessed by an image that they have barely perceived and that is so minimal that it cannot be controlled. However, I argue, there are limits to this resemblance. I focus on the question whether the (traumatic) paradox is escapable in this region of the world, that is, whether Caribbean communities can be de-traumatized, and what are the connections of this possibility with the question, central to Glissant, of decolonization. In order to answer these questions, I analyze a central feature of the Caribbean history according to Glissant, transversality, to show in what way the paradox of history can be loosened. (shrink)

As presented in the early work, 'Revolution in Poetic Language,' Julia Kristeva’s 'subject-in-process' can be interpreted as a semiotic alternative to older conceptions of the philosophical subject.This discussion of Kristeva’s early work will attempt to demonstrate that new interpretations of Fregean logic and Freudian psychoanalysis radically displace the traditional subject. This act of displacement allows Kristeva to employ Hegelian dialectics to introduce a “textual” conception of meaning of experience. As a consequence, the Kristevan semiotexte offers a basis for (...) both understanding and misunderstanding in which language mediates between semiotic meaning and cultural practices. The conclusion of the paper maintains that Kristeva's unique formulation of the semiotexte re-defines human subjectivity in relation to the existing world. (shrink)

The purpose of this essay is to provide a diffractive reading of the concept of ressentiment through decolonial theory. I would like to see what sort of light this sheds on the psychological undercurrents that impose barriers on colonial and decolonial thought, as well as on the conceptual dynamism of ressentiment. This essay is split into two different experiments in thought. The first will be to diffract ressentiment through the works of Gloria Anzaldúa, Édouard Glissant, and Gilles Deleuze. To this (...) end, I will begin by providing an analysis of ressentiment as developed by Nietzsche in On the Genealogy of Morals and then supplement this with Deleuze’s analysis of ressentiment in Nietzsche & Philosophy. I will create a bridge with decolonial thought by interpreting Anzaldúa’s concept of the nopal de castilla and mestiza consciousness through the interpretive lens of ressentiment to show the affinity that exists between the work of Anzaldúa and Nietzsche. I will finish the first experiment by looking at ressentiment through some of the concepts Glissant offers us in the Poetics of Relation. In particular, I will argue that ressentiment resists the creolization of identity and culture, and that Glissant’s demand for the right to opacity for all is the sign of a thinking that has overcome ressentiment. The second experiment is to diffract ressentiment through Eduardo Viveiros de Castro’s Cannibal Metaphysics, beginning with an analysis of the most relevant points of that text for our discussion then putting our diffracted version of ressentiment in conversation with Amerindian perspectivism. However, this does not mean that I am aiming at a synthesis of ressentiment with Amerindian perspectivism. Rather, in the spirit of the Brazilian author’s post-structural anthropology, this essay sees only a disjunctive synthesis of the two: a ressentiment becoming-Amerindian perspectivism and an Amerindian perspectivism-becoming-ressentiment (we will focus on developing the former). I hope that, by the end of this experiment, we may have a richer conceptual understanding of ressentiment by offering this concept an image of itself that only our decolonial thinkers and an Amerindian perspective can offer. (shrink)

Symbolism, as a literary device, is widely employed in the scriptures of almost all religions. Understanding the use of symbolism in a scripture enables us to comprehend and appreciate the intended message of the scripture’s author in a better way. The poetic compositions of Sri Guru Granth Sahib (SGGS) are notable for their richness, and various images and symbols used to tell its authors’ mystical and spiritual experiences. These compositions aptly use natural symbolism to describe humanity’s diverse physical and (...) spiritual needs and suggest innovative ways to tackle these issues. As SGGS’s message is addressed to the ordinary person, the symbolism used to depict various facets and aspirations of human life has been taken from nature and Indian culture. This article reports on the usage of natural symbolism in SGGS. (shrink)

That there is a connection between Romanticism and the sublime seems obvious, and it is indeed evident in the poetic, artistic, and musical production of European Romanticism as a whole. The sublime, as tension toward infinity, as elevation of the soul, and as experience of the absolute in nature, constitutes undoubtedly one of the characterizing features of the poetics of Romanticism. Much less known, however, is the theoretical reflection on the concept of the sublime, and in fact scholarship (...) on the modern sublime tends to neglect its theoretical development after Kant and Schiller, moving directly to Nietzsche and the postmodern. The theoretical definition of the sublime, on the contrary, plays a far from secondary role in the aesthetic of German idealism, where it was not conceptualized in opposition to the beautiful, but rather as one of its constitutive moments. While no longer approached in relation to the aesthetic experience of nature, the sublime has been included in art theory, ostensibly losing its theoretical centrality, but in reality contributing to modify radically the characteristics of the idea of the beautiful. That of philosophers is a form of crypto-sublime that is parallel but distinct from the sublime of poets and artists, and that operates underground to influence the definition of the forms of beauty. The present volume aims to outline the development of the philosophical conception of the sublime from Schiller, who formulated a theory of tragedy based on Kant’s philosophy and thereby laid the foundation of Romanticism, to the philosophers of the Hegelian school, who placed the sublime, together with the comic, the ugly, and the grotesque, at the center of aesthetic reflection. (shrink)

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

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

This paper examines Bohdan Boichuk’s poetry by looking into the role his childhood memories played in forming his poetic imagination. Displaced by World War II, the poet displays a unique capacity to transcend his traumatic experiences by engaging in creative writing. Eyewitnessing war atrocities perpetrated by the Nazis does not destroy his belief in the healing power of poetry; on the contrary, it makes him appreciate poetry as the only existentially worthy enterprise. Invoking Gaston Bachelard’s classic work The Poetics (...) of Reveries: Childhood, Language, and the Cosmos, I argue that Boichuk’s vivid childhood memories, however painful they might be, helped him poetically recreate and reimagine fateful moments of his migrant life. (shrink)

One widely discussed feature of Paradiso 33 is Dante’s emphasis on his failure to represent in words and memory his pilgrim’s exalted vision of the Trinity. Against other interpretations of this canto, I will discuss why, despite the fact that the language of failure seeks to reinforce the poetic illusion that revelation’s authority is grounded in an unmediated access to divine truth, the theophantic moment “represented” in Paradiso 33 instead shows that revelatory experience is nothing but a product (...) of the impulse of natural reason to exceed its own legitimate scope—that is, the theophantic moment illustrates natural reason’s inherent tendency to overstep its own limits. Consequently, I shall argue, the poema sacro’s carefully constructed representations of the pilgrim’s revelatory insight are in fact grounded in Dante’s proto-humanist understanding of the authoritative role of natural reason in representing to ourselves the possibilities of our own spiritual and earthly beatitudes. (shrink)

Abstract: For art to be art it has to present the viewer with a distinctly out-of-the-ordinary perspective on everyday reality. Art is to be clearly differentiated from all forms of decorative craft, which are essentially concerned only with aesthetic experiences. Art is essentially about finding ways, through the manipulation and orchestration of presentational media – such as painting, sculpture, literature, film, and performance – to bring to life strange and unusual perceptions. All these media are quasi-theatrical and poetic in (...) nature, in that they are essentially gestural, referential, and symbolic, and they present material in a condensed and allusive form. Andy Warhol’s work is an example of the theatrical manipulation of presentational media to create a strange and unusual universe. (shrink)

Praised for its reliance on observation rather than myth, the Milesian school signals the dawn of science in the West. Whereas Hesiod appeals to the long ago and far away to explain the here and now, Thales and his cohorts do the reverse. In this reversal, we are their thankful, even faithful heirs. But with Hesiod not everything is myth and hearsay. Indeed, Hesiod singles himself out by name as the bearer of a powerfully poetic and distinctly human wisdom (...) that he consistently contrasts with Zeus’ divine wisdom. In this article, the author argues that the Milesians attempt to gain access to divine wisdom, and thus disregard the ambiguities characteristic of human wisdom. One sees this especially in a tension between Thales’ political wisdom and natural philosophy, and later between Anaximander’s cosmology and cosmogony. The author concludes that Heraclitus appears to have been the first thinker to confront the Hesiodic worldview on its own terms, inasmuch as his attempt to bridge the divide between divine and human wisdom always keeps one eye on the ambiguities that pervade human experience. (shrink)

Although Chan, or Zen, Buddhism traditionally claimed itself as a special transmission outside doctrinal teachings that eschews the written word, it has long been praised for its improvisational, atypical, intriguing, and intricate use of words. Prominent Chan masters are characteristically skillful in employing paradoxical and aporetic phrases, figurative and poetic expressions, negations, questions, repetitions, and so forth, to express their thoughts, indicate their awakened states of mind, cut off the interlocutor’s habitual dualistic thinking, or evoke in him or her (...) an experience of awakening. This fact, among others, has led some contemporary scholars to claim that the Chan experience of awakening does not... (shrink)

This text presents actions from the “live” moment of the ritual performance My Colour (Is) Red in which a political, ideological and ritualistic body seeks to understand the social dramas experienced by people who live and demark spaces in Amazon through performatic experiments that create connections with the social and anthropological life of Amazon. They act as resistance elements, poetical struggles and crossings, because it is a matter of (re)existing to exist in some places of this cartography.

Rabindranath Tagore (1861–1941), one of the greatest contemporary Indian thinkers, discussed the problem of religion and faith on the ground of global pluralism and religious diversity. He presented his views in numerous poetical works (including Gitanjali, a collection of Song offerings translated into English, for which he was awarded with the Noble Prize in literature in 1913), but he also delivered many speeches, mostly addressed to the Western audience (e.g. The religion of Man). In his writing, Tagore often uses the (...) terms “religion” and dharma interchangeably. This article focuses on both key terms and on the question whether they may be seen as equivalent according to him. Does he really equalize both terms? or, How was his understanding of “religion” and dharma influenced by his cultural background? The article opens with the analyse of the dictionary definitions of both key terms. Next, at the basis of dictionary explanation the main question is raised: whether “religion” and dharma could be treated as equivalents in their whole range of meanings or should their understanding be limited to a chosen definition or definitions? In the following section, Tagore’s concept of the so called “Man the Eternal” and “Divinity in Man” is briefly described. Final comments include some remarks on both terms explained in the light of Tagore’s view on comparative methodology. He claims that “religion” and dharma are close in meaning, since they both stand for the rational description of the individual experience of divinity. Therefore, they may ultimately lead to the common end, regardless their different cultural roots and various circumstances in which both concepts developed. Tagore argues for freedom as the preliminary condition for understanding of the phenomenon of transcendence of human nature towards the experience of divinity. He understands freedom as perfect harmony realized in this world but not merely through our response to it in knowing but in being. Only when such an approach is accepted the experience of “Man the Eternal” can be achieved. In this respect all human beings may meet, regardless they come from Western or Eastern culture. Such an exposition of the core of religious experience allows us to use the terms of “religion” and dharma interchangeably, and thus contribute to the comparative methodology in religious studies. (shrink)

In Germany, between the last decades of the 18th and the first decades of the 19th centuries, four fundamental figures of German and European culture emerged: Lessing the great playwright, Herder the promoter of the epistemological foundations of modern linguistics and of the emerging historical-social sciences, Goethe the supreme poet and novelist, and Fichte the eminent philosopher. They were all Freemasons and basic authors of Masonic thought. The most significant works of these authors have been chosen, which summarize the interpretative (...) modalities of the complex Masonic reality of the 18th century. The book analyses Lessing's five Dialogues for Freemasons, highlighting his austere vision in the search for the essence of Freemasonry. Of Herder's two Masonic Dialogues, the connotation in the sense of Humanity of a Freemasonry that leaves the Enlightenment to set out towards new goals of pure and spiritual thought is noted. Among Goethe's poetic works, two in particular highlight the depth of a Masonic thought pervaded by a sophisticated and modern hermeticism. Fichte's Lessons on Freemasonry are framed in his complex philosophical thought and in his complicated experience of Masonic life. ========== Nella Germania tra gli ultimi decenni del XVIII e i primi del XIX secolo emergono quattro figure fondamentali della cultura tedesca ed europea: Lessing il grande drammaturgo, Herder promotore delle basi epistemologiche della moderna linguistica e delle nascenti scienze storico-sociali, Goethe il sommo poeta e romanziere, Fichte l’eminente filosofo. Erano tutti Massoni e autori basilari del pensiero massonico. Di questi Autori sono state scelte le opere più significative che sintetizzano le modalità interpretative della complessa realtà massonica del ‘700. Nel libro si analizzano i cinque Dialoghi per Massoni di Lessing evidenziando la sua visione austera nella ricerca dell’essenza della Massoneria. Dei due Dialoghi massonici di Herder è rilevata la connotazione nel senso dell’Humanität di una Massoneria che esce dall’Illuminismo per avviarsi a nuove mete di pensiero puro e spirituale. Tra le opere poetiche di Goethe due in particolare evidenziano la profondità di un pensiero massonico pervaso di un sofisticato e moderno ermetismo. Le Lezioni sulla Massoneria di Fichte sono inquadrate nel suo complesso pensiero filosofico e nella sua complicata esperienza di vita massonica. (shrink)

This article proposes that oral performance could be a philosophical activity in early China. The focus is on the Huainanzi, a densely rhymed philosophical treatise compiled by Liu An in the second century b.c.e. I show that the tome contains various sound-correlated poetic forms that are intended not only to enable textual performance but also, by means of aural mimesis, to encourage the intuitive understanding of its philosophical messages. Thus scholars of ancient poetry, philosophy, or intellectual history, despite being (...) habituated to reading silently and observing disciplinary boundaries, should be attentive to these sonic patterns in order to do justice to the poetic-cum-philosophical richness and originality of this text. More importantly, I argue that these poetic forms enable readers and audiences to experience, embody, and, above all, enact the Way through textual performance. Thanks to the sound patterns of the Huainanzi, the somatic processes of aural reading and philosophical praxis can occur simultaneously. Vocalization becomes an actionable and repeatable spiritual exercise, which facilitates the intuitive understanding and internalization of philosophical values. In other words, the perennial knowing–doing gap is heroically closed by the Huainanzi. / 淮南子的文本聲景：早期中國的詩歌、表演、哲學與實踐 / 王棕琦 / 本文論證早期中國的文本表演可以是一種具創造性的哲學活動，而非只是以聲音演繹書寫文本的朗讀活動。文中首先指出《淮南子》裏跟聲音有關的詩歌形式不但有助朗誦表演，更能讓讀者直觀感悟書中哲學思想而不落言筌。而 且，這些詩歌形式更讓讀者通過朗讀而實踐、內化書中所述之大道。可以說，《淮南子》對中國哲學的一大貢獻在於它將「知道」、「傳道」和「行道」三者合而為一。. (shrink)

In the beginning of the paper, the author analyses Hofmannsthal’s development against the newest archaeological discoveries regarding ancient Greece and the spiritual and artistic tendencies of the era when Hofmannsthal worked. In “Electra” Hofmannsthal abandons his artistic concept of l’art pour l’art. In the mythological experience, which derives from non-rational and non-linguistic forms of existence, Hofmannsthal sees the existence of an ecstatic unity that binds us with the nature. In the archaic offering and archaic dance there is a magic (...) power which should create the essence of the poetic symbol. (shrink)

It is commonly believed that considering nature different from us, human beings (qua rational, cultural, religious and social actors), is detrimental to our engagement for the preservation of nature. An obvious example is animal rights, a deep concern for all living beings, including non-human living creatures, which is understandable only if we approach nature, without fearing it, as something which should remain outside of our true home. “Walking with the earth” aims at questioning any similar preconceptions in the wide sense, (...) including allegoric-poetic contributions. We invited 14 authors from 4 continents to express all sorts of ways of saying why caring is so important, why togetherness, being-with each others, as a spiritual but also embodied ethics is important in a divided world. (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)

This paper concerns the theory of triple mimesis formulated by the contemporary French philosopher, Paul Ricoeur, in his three-volume book Time and Narrative. It is a hermeneutical interpretation of the classical Aristotle’s definition of mimesis from his Poetics. Ricoeur’s argument is aimed at proving, that the way an imitative transformation of the reality in narrative operates, presupposes a circular relation between living experience and a narrative, which mutually determine each other. The main aim of this paper is to answer (...) the question, how the communication between an author, a work and a reader should be viewed in the context of triple mimesis and what factors determine understanding of a mimetic work of art. (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)

༄༅ REVIEWS ༄༅ -/- « An exhilarating and lucid introduction to Buddhist thought. Sativihari begins with a sophisticated reading of the Four Noble Truths as a sacred poem and ends with a plea for more compassionate culture and politics. In between there is wisdom spiked on every page. »【Mark Kingwell, Department of Philosophy, University of Toronto】 -/- « I am deeply grateful for Rishi Sativihari's achievement in ‘Unlearning The Basics.’ Often, attempts to help Westerners understand Buddhism rely too heavily on (...) idealist philosophies, leading to a kind of mystification of the four noble truths. Because Dr. Sativihari appeals consistently to experience and is sophisticated in his understanding of Western philosophy and theology, he can present the four noble truths with profound spiritual realism. The work is very reader-friendly, showing the fruits of extensive reflection on pedagogical practice. There is genuine spiritual maturity at work in this text. »【Gilles Mongeau S.J., Regis College, University of Toronto】 -/- « ‘Unlearning The Basics’ might be understood as a sequel to the classic ‘Zen Mind, Beginner's Mind’ : gently nudging us back to what we thought we knew and helping us to discover something fresh and real — something suddenly self-evident. A rare and precious achievement. »【Kurt Spellmeyer, Department of English, Rutgers University】 -/- ༄༅༅༅༅ FROM THE FOREWORD BY MU SEONG ༄༅༅༅༅༅ « It is axiomatic that the teachings of the Buddha have found their integrity and authenticity in each generation in the lives as well as interpretative efforts of a handful of practitioners and thinkers. Rishi Sativihari’s is one of these new voices and it’s a pleasure to sit back and listen to it. Sativihari’s argument that — “the four truths were given in a certain order, not only for the sake of creating a logical system of thought, but because experientially they emerged in that way in the Buddha’s life, building progressively on one another” — never rang more true. » « If there is any “system” at all in the Buddha’s teachings, the Four Noble Truths are that system. These truths (or reflections, if you will) are secular, etiological, and universally human. They are free of the ontological promiscuities and speculative metaphysics in which so many religious systems get bogged down. Unlearning the Basics remains impeccably faithful to these orientations of the Four Noble Truths and this orientation is what makes his book an exciting read. » « This book is in many ways a model for how the teachings of the Buddha could and should be talked about in a psychologically mature and sophisticated manner, in a way congruent with recent findings in brain research and cognitive science. Sativihari touches upon these researches and findings to supplement his own innovative insights into what the Buddha was trying to convey to his audience in his explication of the Four Noble Truths. Sativihari’s commitment to using Pali and Sanskrit words as his primary frame of reference, rather than their often garbled and confusing English translations, lends a much-appreciated gravitas to his presentation. » « This is an important book… It adds much to the current discourses and also brings us much closer to a more nuanced understanding of the Buddha’s own thought processes. »【Mu Soeng, Scholar in Residence, Barre Center for Buddhist Studies】 . (shrink)

For Hans-Georg Gadamer and philosophical hermeneutics, Paul Celan’s poetry and prose have always been decisive in thinking through the possibilities and limitations of language and interpretation. Recently, important hermeneutic research has begun to point to an unavoidable liminal encounter between the body and language in Celan’s texts, which approaches an often-neglected theme in hermeneutic thought: the body and embodied experience. Yet in order for hermeneutics to engage Celan on matters concerning the body, language, and interpretation, it is necessary to (...) understand the profound role that the body and embodied experience plays in Celan’s works. In this essay, I offer three prominent instances of embodiment in Celan’s texts that contribute to such an account. I turn first to his preliminary notes from his 1960 Meridian speech in which he discusses the poem as ‘pneumatic.’ Second, I read Celan’s letter to Hans Bender in 1960 in which poetry is both a tactile Handwerk and a handshake. Third, I engage Celan’s reading notes from two physiology textbooks from 1967 and his poem, “Seelenblind.” While the first two instances affirm the possibility of an embodied encounter with the singularity of the poet, the third instance considers the body as a site of interpretive breakdown. (shrink)

Statements such as “X is beautiful but I don’t like how it looks” or “I like how X looks but it is not beautiful” sound contradictory. How contradictory they sound might however depend on the object X and on the aesthetic adjective being used (“beautiful”, “elegant”, “dynamic”, etc.). In our study, the first sentence was estimated to be more contradictory than the latter: If we describe something as beautiful, we often intend to evaluate its appearance, whereas it is less counterintuitive (...) to appreciate an appearance without finding it beautiful. Furthermore, statements including “beautiful” appeared more contradictory than those including “elegant” and “dynamic”, pointing to its greater evaluative component. When related to artworks, sentences could appear less contradictory due to readers’ consideration of the divergence between conventional beauty and art-related sensory pleasures that can even include negative valence. Such ambivalence might be more frequent in art-objects than in other artefacts. Indeed, in our study, sentences referring to artworks were estimated to be less contradictory compared to sentences referring to other artefacts. Meanwhile, an additional small group of graphic design students showed a less clear difference between art-related and non-art-related sentences. We discuss the potential influence of art experience and interest as well as theoretical and methodological challenges like the conceptualization of beauty. (shrink)

Although personal relevance is key to sustaining an audience’s interest in any given narrative, it has received little systematic attention in scholarship to date. Across centuries and media, adaptations have been used extensively to bring temporally or geographically distant narratives “closer” to the recipient under the assumption that their impact will increase. In this review article, we review experimental and other empirical evidence on narrative processing in order to unravel which types of personal relevance are more likely to be impactful (...) than others, which types of impact (e.g. aesthetic, therapeutic, persuasive) they have been found to generate, and where their power may become excessive or outright detrimental to reader experience. (shrink)

This essay characterizes the perception of the visual hybrid as nonconceptual, introducing the terminology of nonconceptual content theory to aesthetics. The visual hybrid possesses a radical but nonetheless exemplary aesthetic composition and is well established in culture, art, and even design. The essay supplies a philosophical analysis of the results of cross-cultural experiments, showing that while categorization or conceptual hierarchization kicks in when the visual hybrids are juxtaposed with linguistic descriptions, no conceptual scheme takes effect when participants are presented with (...) mere visual hybrids. In isolation, the hybrids do not lend themselves to classification. I draw four conclusions from these experimental outcomes: 1. The perception of visual hybrids follows the structure of a nonconceptual mental content, because the original categories or concepts of the hybrids’ components are not combined into one, and their properties are not applied to one another, therefore none of the components reconstructs the other such that it is introduced to a new category. 2. Language freezes the hybridity of the visual hybrid into conceptuality. 3. Given that language has a freezing effect in the case of an extreme visual phenomenon such as the hybrid, it is all the more restraining in moderate artistic compositions, such as visual metaphors, in which properties of one component (the source) are applied to the other (the target). In those, nonconceptuality emerges from relatively organized compositions, forms, and relations, and from the dependence of objects and their properties on perceptual context. 4. Thus, the nonconceptualist terminology is suitable for the analysis of aesthetic perception in general and aesthetic perception’s relation to language. Keywords aesthetics, perception, nonconceptual content, hybrids, visual metaphors. (shrink)

Literary studies are living a nomadic existence on the margins of the neoliberal university, forced to adapt to the needs of more profitable disciplines and the insidious marketization of higher education to find an intellectual home. By drawing on Rosi Braidotti’s nomadic theory, this article situates the current state of literary studies in the wider networks of power relations that differentially distribute nomadic experiences in the contemporary world. The article begins with an examination of the contradictions of nomadic mobility in (...) the era of globalized capitalism and how these contradictions interrelate with the study of world literature. The second half of the article focuses on the transformation of labor under neoliberalism, charting the rise of cognitive capitalism and its relationship to the university. While the future of literary studies might look precarious in the era of cognitive capitalism, the increasing casualization of intellectual labor creates the conditions for unstructured, unrestrained, and deterritorialized flows of thought that escape the constraints placed on those in the institution. By harnessing literature’s subversive potential, literary studies can use these nomadic flows of thought to resist the operating principles of the neoliberal university and help combat the conditions that create precarious nomadic experiences across the globe. (shrink)

I argue that any account of perceptual experience should satisfy the following two desiderata. First, it should account for the particularity of perceptual experience, that is, it should account for the mind-independent object of an experience making a difference to individuating the experience. Second, it should explain the possibility that perceptual relations to distinct environments could yield subjectively indistinguishable experiences. Relational views of perceptual experience can easily satisfy the first but not the second desideratum. Representational (...) views can easily satisfy the second but not the first desideratum. I argue that to satisfy both desiderata perceptual experience is best conceived of as fundamentally both relational and representational. I develop a view of perceptual experience that synthesizes the virtues of relationalism and representationalism, by arguing that perceptual content is constituted by potentially gappy de re modes of presentation. (shrink)