The Poetic Character of Human Activity: Collected Essays on the Thought of Michael Oakshott is a collection of nine essays by two Oakeshott scholars, most of which explore the meaning of Oakeshott’s pregnant phrase, “the poetic character of human activity” by comparing and contrasting this central idea with similar and opposing ones, in particular those of the Chinese thinkers, Zhuangzi and Confucius, but also of Western thinkers such as Plato, Leo Strauss and Eric Voegelin. Common themes addressed (...) include the poetic or non-instrumental aspects of philosophizing, teaching and learning, morality and governance. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Poetics of Consent: Collective Decision Making and the Iliad by David F. ElmerWilliam G. ThalmannDavid F. Elmer. The Poetics of Consent: Collective Decision Making and the Iliad. Baltimore, Md.: Johns Hopkins University Press, 2013. x + 313 pp. Cloth, $55.In this book, David Elmer takes a fresh approach to some large questions that have occupied Homeric scholarship: how and under what conditions the epics took shape, the (...) political dynamics and relations of authority in the society they depict, the relation (if any) of that society to historical Greek society, the nature of performances of the poems and the relations between performer and audience, and, within the Iliad, how human action is related to decisions of the gods and the political and social implications of various characters’ conduct, particularly that of Agamemnon and Achilles. Any one of these questions is usually enough for a full-length study. But, drawing on such recent work as that of Gregory Nagy, Johannes Haubold, and Elton Barker, as well as on speech act theory and Indo-European linguistics, Elmer brings these questions together in a fresh and illuminating examination of the Iliad and its performative context.The basis for his study is the observation that, whereas ainein / -os can have various meanings in and outside Homer (“praise,” “[coded] story”), in the Iliad the compound epainein (the noun does not occur in Homer but he uses it for convenience) is limited to contexts of collective deliberation. There it describes the approving response of the community to a proposal by a leader that normally translates the proposal into action. Such a scenario represents the formation of a speech act; one distinctive feature of the book is that it draws attention away from enunciation to its reception by an audience, which is crucial to the completion of a speech act and especially to its effectiveness in shaping reality. This usage of the verb, Elmer argues in an excellent chapter (2), is a vestige of the importance of speech to the creation and maintenance of social order (a prominent theme of the book) in Indo-European societies. It thus refers to socially efficacious and constructive speech. Conversely, the cognate anainesthai and apēnēs are associated with verbal behavior that is socially destructive.The consent signaled by epainos results from consensus, which (following Egon Flaig) Elmer carefully distinguishes from majority rule, and which, he says in connection with the Thersites episode, seems egalitarian but is consistent with social hierarchy. Scholars have often depicted the role of the people (laos) in Homeric assembly scenes as limited to ratifying decisions actually made by their leaders (basilēes), but Elmer makes a strong case that the people’s epainos is necessary for a proposal to become action. The evidence is negative but telling: the many instances in which epainos does not occur and decisions are either [End Page 281] not made or lead to failure. On the other hand, Elmer might have been more explicit about the relation between the authority of the basilēes and the need for consensus. Is a tension between them one of the fault lines of Iliadic society exposed by the narrative? Is the role of a good leader to see that both are somehow accommodated? At any rate, Elmer’s argument that a basileus cannot set aside the opinion of the community, and in particular that Agamemnon’s rebuff of Chryses, despite the people’s support of him at the beginning of the poem, cannot be taken as the norm is persuasive and welcome.Strangely but significantly, an explicit statement of the norm of epainos comes only late in the poem, at Il. 23.539–42, when the Achaeans “express an epainos” at Achilles’ proposal to award the second-prize mare to Eumelos; this response would have been the basis of his doing so if not for Antilochos’s objection. These lines, Elmer argues, show the need for community approval to enact a proposal. The lines also show the power given to individual dissent in a system of consensus. It is a key point in Elmer’s overall argument that in the episode which shows the norm most clearly... (shrink)

Name der Zeitschrift: Klio Jahrgang: 98 Heft: 1 Seiten: 309-313.

The essays collected in this issue offer complementary critical perspectives on the mature lyric work of Derek Walcott, the acclaimed Nobel laureate from the Caribbean island of St. Lucia. The centerpiece of the ensemble is a previously unpublished essay in which Walcott’s reflections on poetics illuminate his project in the masterpiece, _Omeros._ Other contributions by literary scholars in North America and the Caribbean focus on fundamental dimensions of Walcott’s craft and on such thematic preoccupations as the intersection of pictorial and (...) verbal modes of representation, the deployment of nuanced intertextual strategies, the invention of a viable artistic identity in a postcolonial intercultural milieu, and the psychosocial modeling of the process of literary apprenticeship. _Contributors. _Edward Baugh, Peter Burian, Gregson Davis, Carol Dougherty, Joseph Farrell, Judith Harris, Timothy Hofmeister, Derek Walcott. (shrink)

The guiding theme of this collection is the concept of the "poetic imagination." Here the emphasis is on a group of writers and thinkers that have embraced, each in his own way, such a concept only to have been misunderstood or ignored by their later readers and interpreters and thus to have been disregarded or held to be irrelevant in the present academic climate. These essays demonstrate that the community of literature is a living one, in which the (...) present can speak to and even modify the past, as the past can speak to and modify the present and the future. (shrink)

The following text provides a conceptual and theoretical introduction to a collection of essays written by members of the multidisciplinary network of scholars, artists and cultural producers named ‘Poetics of Resistance’, which seeks to analyse and encourage discussion of the relationships between creativity, culture and political resistance, in the context of neoliberal globalization. The introduction also provides a critical glossary of a set of loosely interlinking keywords, following Raymond Williams, that mark points of encounter and departure between the approaches (...) of the various authors (not to be confused with the list of keywords used to index each article). Rather than presenting a completed research project, this issue serves as a basis for continuing collaborative research and dialogue in the field, and invites readers to join in the ongoing debate. The contributors to this issue are Paulina Aroch Fugellie, Burghard Baltrusch, Arturo Casas, María do Cebreiro Rábade Villar, Roberto Echavarren, Marcos Giadas Conde, Cornelia Gräbner, Nathalia Jabur, Thomas Muhr and David Wood. (shrink)

In general, discussions of the poetic process have tended to fall into one of three classes. The first of these, generalizing the process, analyzes the faculties or the activities supposedly involved and arranges these in their logical order, to produce distinct stages or periods of the process. The second kind describes the working habits of an individual poet in terms of characteristic external or internal circumstances or conditions. The third kind gives us, in the same terms, the history of (...) the composition of a particular poem. To illustrate these in reverse order: W. D. Snodgrass' essay The Finding of a Poem tells us how he discovered the meaning—for him—of the elements entering into a particular poem; Paul Valéry's essays on his own poetry—Poésie et pensée abstraite, for example—generally describe his working habits and his experiences while at work; and the following passage gives a typical account of the poetic process as a series of logically ordered stages: "There is, first, a period of hard thinking, during which the mind explores the problems; then a period of relaxation, during which the rational processes of the mind are withdrawn from this particular problem; then the flash of insight which reveals the solution, organizes the symbols, or directs the thinking, during which the formula is tested, the work of art shaped and developed...Graham Wallas calls the four stages Preparation, Incubation, Illumination, and Verification..." [Wilbur L. Schramm, "Imaginative Writing," 1941] Elder Olson, poet and critic, has received numerous awards for his work. He is the author of, among other works, Penny Arcade, a collection of poetry, and of criticism, On Value Judgment in the Arts and Other Essays. His contributions to Critical Inquiry are "On Value Judgments in the Arts" , Part 1 of a "Conspectus of Poetry" , and Part 2 of a "Conspectus of Poetry". (shrink)

continent. 1.2 (2011): 70-75. cartography of ghosts . . . And as a way to talk . . . of temporality the topography of imagination, this body whose dirty entry into the articulation of history as rapturous becoming & unbecoming, greeted with violence, i take permission to extend this grace —Akilah Oliver from “An Arriving Guard of Angels Thusly Coming To Greet” Our disappearance is already here. —Jacques Derrida, 117 I wrestled with death as a threshold, an aporia, a bandit, (...) a part of life. —Akilah Oliver Moraine in geological lingo is that which is left behind. Moraine- a euphemism for the de-stabilizing referent of the writer-ly body as a “troubled and troubling landscape marked by cultural and historical signifiers, the body as flesh memory [...] the body as transitory” (Oliver, Author Statement). Moraine— a geological metaphor of the poet as a holder of memory, as an accumulation of rocks and debris carried along the edge, terminal, dropped at the foot of language (in language). “Flesh Memory” according to Akilah Oliver is "that which my body recalls [...] everything has to do with the task of remembrance and its narrative reinvention [...] I was always translating an idea of the world as it presented itself at any given time. To write was a choice about how to be seen, how to enter the world as translator, actor, participant, in the dialogues that apparently made the real 'real'" (Levitsky). Flesh. Memory. The stuff some poems are made from. The stuff that gets abandoned, gleaned, and picked up by more flesh and memory. "My body, my life has always felt like a kaleidoscopic rip in the dominant fabric [...] has always been a dialogue with the impossible and the apparent” (Levitsky). The impossible-body or poet's body anticipates and performs (through language) an irretrievable death. IN APORIA I realized everything I must have been doing must have been Death. It was Christmas or Labor Day—a holiday—and every time you turned on the radio they said something like ‘four million’ or ‘going to die’.” — Andy Warhol I’m trying on egos, [a justification for the planet’s continuance]. Oh hello transgressor, you’ve come to collect utilitarian debts, humbling narrative space. Give me condition and wheatgrass, I his body disintegrating. I his body is ossification. Death my habit radius, yeah yeah. I his body can’t refuse this summons. I can’t get out this fucking room. Tell me something different about torture dear Trickster. Tell me about the lightness my mother told me to pick the one i love the best how it signals everything I ever wish to believe true just holy on my ship. I jump all over this house. this is it [what I thought is thought only, nothing more deceptive than]: I his body keeps thinking someone will come along, touch me. As like human or lima bean. I’m cradling you to my breast, you are looking out. A little wooden lion you & Peter carve on Bluff Street is quieting across your cheekbone. Not at all like the kind of terror found in sleep, on trembling grounds. It is yesterday now. I have not had a chance to dance in this century. Tonight I shall kill someone, a condition to remember Sunday morning. To think of lives as repetitions [rather than singular serial incarnations]. To understand your death is as exacerbating as trying to figure out why as schoolchildren in mid-nineteen-sixties Southern California we performed reflexive motions: cutting out lace snowflakes, reading Dick and Jane search for their missing mittens, imagining snow. Disintegrat ing . The -ing gerund catapults from the non-finite verb into past, present, future. The -ing as a tail pinned to death, a dog spinning to bite and never fully reaching itself, always shy of the end, circumreferential; a double copulative: deathing. Possessively AO calls it “habit radius” (a virtual fetish attribute) or an inescapable death presence that “confronts us with the paradox of an unattainable object [...] through it’s being unattainable” (Agamben, 27). A flirtation or dialogue with an unknowable thing and aporia utilized as investigative instrument to engage (death) while (in Southern California) we “perform reflexive motions,” cut lace snowflakes, imagine snow, and pay rent like “yeah, yeah” what else is new. And this too, fiction. The book I wish to right. The restored fallen, heroic. Did you expect a different grace from the world? Or upon exit? I’m working on “tough.” They think I am already. All ready. Who is the dead person? Is "I'm sorry" real to a dead person? Browning grass. My hands on this table. A contentious century. A place to pay rent. Redemptive moments. Am I now the dead person? Dead person, dead person, will you partake in my persimmon feast? The body inside the body astounds, confesses sins of the funhouse. I too have admired the people of this planet. Their frilly, orderly intellects. The use they’ve made of cardamom, radiation as well. How they’ve pasteurized milk, loaned surnames to stars, captured tribes, diseases, streets, and ideas too. The living-body as archive: is it possible to experience the living-body as archive without a (kind of) death? Sifting the rubble, rummaging through hoarded debris, skin sheds, memory-napping, and re-awoken (in flesh and) on terrain. “An investigative poetics seeks to unravel staid communities of thought and grasp at what might always be just beyond reach; a poetics of inquiry that lies between language as meaning, and language as rapturous entry into the world of posited ideas and idealism”( Levitsky). Something snaps. Lights blow out prior to embarking upon an investigative poetics. It begins with a question (often a sexy aporia) that leads to openings. "Every politics of memory [...] implies an intervention of the state. It's a state that legislates and acts with regard to the nonfinite mass of materials to be stored, materials which must be collected, preserved” (Derrida & Stiegler, 62). It seems poetic investigation already contains the potentiality of an (invisible) archive if the writer is “always writing” especially when not. Here’s my stupid digital romantic inclination: the living-body (of a poet) is a self-sustaining archive of non-finite memories. But not even I really believe that. AO innovated and sculpted an investigative poetic praxis. In a conversation with poet Rachel Levitsky, poetic-voice is viewed not as a precious identifier, but as a means to think through/about form, concluding that form is linked to framing. While poetic-voice may have tendency to precede form, it also erupts as a result of framing techniques. “They are frames that hold the shape of thinking (which is also to say of imagining) [...].”7 This reminds me of my rabbit who symmetrically chewed the corners of his hutch, which makes me wonder if it’s an expression of the shape of some animal anxiety tick I won’t ever have access to. Beyond the form/frame, death is an unoriginal yet unique limit; death is a damn deathless thing. It functions as a source of poetic investigation; that thing always “just beyond reach.” And how is death not a fetish (in this case an obsessive reverence for something non-material)? “Insofar as it [death] is a presence, a fetish [...] it is in fact something concrete and tangible; but insofar as it is the presence of an absence, it is, at the same time, immaterial and intangible, because it alludes continuously beyond itself to something that can never really be possessed [...] The fetish is [...] a sign of an absence, it is not an unrepeatable unique object; on the contrary, it is something infinitely capable of substitution, without any successive incarnations ever succeeding in exhausting the nullity of which it is the symbol” (Agamben, 33). AO utilized absence (the absent body [catapulted by the death of a beloved]) as an apparatus to investigate. In the process of conversing with absence or that which is absent, the absent body is affectionately objectified, incessantly summonsed back to a place of recognition, of objects, a desire for the absent body to remain intact while exiting the structural limits of grammar and syntax by moving into chant forms “to say what cannot be said” (Levitsky). from AN ARRIVING GUARD OF ANGELS THUSLY COMING TO GREET dear oluchi- the light is blinking rapidly on the black boxy machine. your room seems bigger than before and i am still planning to read some of those robert jordan books of yours. yesterday at the used bookstore where i was browsing the mysteries to “stall reality” (they are really not mysteries at all, they just employ death as the plot mistress but are unable to grasp its mystery at all)—well the point is, things were calm down here for a while and the world was little. i want to be big like you. or i want you not vast, not dead, not gone, but human small and here. i am so selfish. that is what i really want. to see you again. to oil your scalp. to hear you walk in the door, say ma i’m home . give me a chance to say welcome home son. or when leaving, don’t forget your hat . what do you wear out there? i wish you could have taken your new shoes with you. i’m so proud of you. i’m sorry for the way you died. i miss you all the time. even before, i missed you. out there, one time, some different men said: “shake for me girl, i wanna be your backdoor man.” who dat you love. 5/18/03 A letter-poem in sixteen lines “dear oluchi-” is safe-housed in epistolary form. Poetic voice is rendered as internal thought meanderings, a not-so-much confession, private/(pillow?) talk in the desire to be heard/witnessed by the referent and reader with an intent to absolve. The diminutive “i” bears a relation to poet Fanny Howe’s “little g God” in that “One of the (many) things I like about little g God is that you can have a vodka tonic while you talk to little g God, sing along to Bowie’s “I’m Afraid Of Americans,” and hum Coltrane’s “A Love Supreme,” though maybe not all at the same time” (Oliver, 2009). Towards the middle of the poem AO is at a used bookstore and remarks on the funny employment of death as a ‘plot mistress’ that ‘they’ (the dubious employed mystery authors) are ‘unable to grasp’, thereby giving death a mouthpiece, a modeling job, something to do to pass the time. from THE VISIBLE UNSEEN When I first saw graffiti, I recognized in it an ugly aesthetic, a dialectics of violence, a distortion of limbs, a hieroglyph. It was only later when I read the names of the dead that I then saw the path of ghosts charted there; its narrative of loss for the visible unseen whose place in history has been fictionalized and rendered unseen under the totalizing glare of history. Inscriptions, traces, specters. Graffiti begs a public face just as ghosts require non-ghosts (humans) to sense them. The “visible unseen” is a game of hide-and-seek between public viewer and graffiti-inscriber, an ephemeral-violent aesthetic on an ephemeral-policed canvas. Graffiti-inscribers already submit to being forgotten, expect to be washed away; perhaps it’s a holy urban mandala created by gangster-type monks without Buddhism. [...] in its refusal to disappear it forces a discourse in the public imagination we are forced to see what we would rather not, to make sense of an encoded language that we cannot read on the level of meaning. it irritates, forces its agency on us, speaks outside and beyond semiotic reach. An epic font-size pervading the public’s imagination, illegible, I could just close my eyes, remain passive, drive past, abandon it beyond reach, push it further away beyond death walls. In Barcelona I watched a clean up crew wash walls with an awesome water hose but I was more intrigued by their bodies; not a distortion of limbs, not hieroglyph but also not entirely legible; the laboring body permanently erasing specters of the city, and of course they knew it was also an invitation for the ghosts to return. Graffiti is death’s little sister, is also an aporia. [...] Graffiti (fr GK -graph(os), something drawn or written, to diagram or chart) attempts to stage the impossible: to erase the essence of its own subjectivity. Graffiti is a cartography of ghosts, a mapping of elegiac rapture (the transporting of a person from one place to another, as in heaven) and rupture (the state of being broken open.) Dwelling is a fiction stasis. [...] The notion of the past as being something done with, a look-back event, inhibits the possibility of reading graffiti as rapture, as rupture. If graffiti posits history as always in the process of becoming undone. [...] Because what is the body, if not also a complex temple, an unstable site through which to negotiate subjects, materiality, economies, gods, and modes of representations? The site where we are all already belated. Graphein meaning “to write.” “Derrida says every archive makes a law, and the law of genre is its own rupture” (Bloch, 39). However, graffiti is an (non/anti)-archive of erasure due to (the politics of) washing out its subjectivity, which only adds onto (or is symptomatic of) its character. The inhibition of “reading graffiti as rapture, as rupture” is partly due to it being a “look-back” event in that it’s process involves scratching through layers to reveal previous specters underneath. Graffiti (as an ancient genre) has always been a thing of ‘becoming undone’, and therefore ‘belated and always in arrival’ (Levitsky). It’s a Dionysian activity done at night with it’s back turned toward us. "The specter [...] is of the visible, but of the invisible visible, it is the visibility of a body which is not present in flesh and blood [...] appearing for vision, to the brightness of day [...] something becomes almost visible which is visible only insofar as it is not visible in flesh and blood. It is a night visibility. As soon as there is a technology of the image, visibility brings night. It incarnates in a night body, it radiates in a night light" (Derrida & Stiegler, 115). (shrink)

In this paper I outline how Poetic Inquiry can serve to help learners develop a closer relationship with the places that they live. An eco-hermeneutic investigation of language helps writers to develop a closer relationship with the places that they live by finding language to describe the plants and animals that grow there. I consider how a deep analysis of language can inspire learners to pay closer attention to local environments and seasonal shifts. A close analysis of being part (...) of the process of collecting and growing food becomes a place where the sharing of intergenerational knowledge is fostered. The sharing of stories also contributes to a deepening of awareness of climate change. By investigating and expanding language to describe experiences within the nearby nature of local places, learners consider how stories of place can also help them uncover and expand their understandings about the Earth. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Poetic Garlands: Hellenistic Epigrams in ContextPeter E. KnoxKathryn J. Gutzwiller. Poetic Garlands: Hellenistic Epigrams in Context. Berkeley and Los Angeles: University of California Press, 1998. 358 pp.Cloth, $45.The publication of Alan Camerons The Greek Anthology from Meleager to Planudes in 1993 set a coronis upon one stage in the efforts of modern scholars to sort out the untidy garden that we know as ancient Greek epigram. (...) We now know as much about the history of this corpus as we are likely to discover without the introduction of new evidence, and scholarly attention might logically be expected to return to the interpretation and criticism of these poems. Transmitted for the most part in the socalled Palatine Anthology and filtered through the agency of anthologists ancient and medieval, the epigrams of the ancient practitioners of this minor genre have tended to be studied individually, [End Page 628] like gemstones dislodged from their original settings. The luster of each piece may be easily admired, but what has been lost is the color and clarity that is imparted by the contrast with its neighbors. The ambitious task that Kathryn Gutzwiller has set herself in this closely argued and learned book is no less than to recover from the collecta membra of the Palatine Anthology the contours of the epigram books of nine poets from the early Hellenistic period to Meleager in the first century B.C.E.The opening chapter provides an introduction, which, taken together with the following chapter ("Hellenistic Epigram Books"), lays the foundation for the remainder of the work and establishes its basic premise, that all the Hellenistic epigrammatists composed their work for "publication" in carefully constructed books, arranged on principles which Gutzwiller can recover. This is the basis for what she terms "a new interpretative strategy" in the criticism of Hellenistic epigrams, "to read them as if"—her emphasis—"we knew their place in historical collections" (7). The remainder of the book is occupied by her reconstructions of the epigram books of Anyte, Nossis, Leonidas of Tarentum, Asclepiades, Posidippus, Hedylus, Callimachus, Antipater of Sidon, and Meleager. Readers who are convinced by her arguments in these opening chapters will be swept along by her hypothetical arrangements, which she supports with close readings of individual poems set in their new contexts. Others, myself included, will remain suspicious of the solidity of the foundations of this edifice, while still finding much to admire in her sophisticated interpretations of individual poems.Much of Gutzwiller's theoretical underpinning depends upon rather strict adherence to the orthodox view of what she characterizes as the "Callimachean aesthetic preference for the miniature, the intricate, and the fragmented" (4). The Hellenistic epigram books that she posits correspond neatly with Callimachean aesthetics so described. She rejects out of hand Cameron's arguments for the social role of epigram in a sympotic setting, in favor of the bookish background described by (e.g.) Peter Bing. The hypothesis of a neat and well– ordered world of Hellenistic poetry books, as outlined by some modern scholars, is not undisputed, but readers will not hear much about that here. Gutzwiller sweeps aside skeptical challenges to this picture, and the possibility, for example, that Callimachus produced a collected edition of his poetry, advanced only as a hypothesis by Rudolf Pfeiffer, is here (19) represented as "the probability... that Callimachus published his complete oeuvre, ordered and divided into books." Her summary of the papyrus evidence paints a far more stable picture of the situation of books in the manuscript culture of the Hellenistic world than the evidence safely allows. For Gutzwiller, any references to the of a poet "indicate an authorially compiled epigram book" (20). This naïve extension of Pfeiffer's theory of the composition of a "Collected Works" of Callimachus, and unswerving allegiance to the communis opinio of Callimachean aesthetics, are recurring themes in Gutzwiller's reconstructions of ancient epigram books. Having settled upon the essential aesthetic that determines the [End Page 629] configuration of the book, it remains only to attach the surviving poems to this framework. Not surprisingly, the reconstructed books then offer further confirmation of the underlying assumptions. On this shaky foundation, for example, Gutzwiller... (shrink)

[Alistair Elliot:] Inside the margins of a bookthrough the screen doors of inkyou find yourself among explained peoplewhom you imagine from one clue, or two,people you cannot bore or smell,who will not love you or seduce your friend.They have names out of telephone books—Baggish and Schreiber—but of course they are not real. [Richard Stern:] Dear Mr. Elliot. Or—for these lines anyway—Dear Alistair .I wish I were as fictional as BaggishAnd could answer with impalpable visibility,but here I am, beside a Dutch (...) canal,two hundred clumsy poundsand one American election older than you.Your poem is on the bed beside my socks. Alistair Elliot is the author of Air in the Wrong Place, a collection of his poetry, and has translated Euripides' Alcestis and Aristophanes' Peace. He is presently compiling a new collection of his verse entitled Contentions. In addition to the novel which generated this poetic exchange, Richard Stern's works include the fictions Golk, In Any Case, and Other Men's Daughters, and an "orderly miscellany," The Books in Fred Hampton's Apartment. (shrink)

Poetic Fragments is the second collection of writings by the neglected German poet, dramatist and philosopher Karoline von Günderrode (1780–1806), which she published in 1805. This bilingual English-German edition is the first volume of Günderrode’s work to appear with an English translation. An introduction and three essays argue for the philosophical significance and originality of the pieces included in Poetic Fragments and relate Günderrode’s thought to its Romantic and German Idealist context. This critical material argues that in (...) Poetic Fragments Günderrode presents a radical and unique consideration of the nature of the universe, death, religion, agency, power, and gender roles, which deserves to be included in the academic study of German Romanticism and post-Kantian Idealism. (shrink)

This collection of papers is the fourth in a series of volumes on the work of the Comparative Austronesian Project. Each paper describes a specific Austronesian locality and offers an ethnographic account of the way in which social knowledge is vested, maintained and transformed in a particular landscape. The intention of the volume is to consider common patterns in the representation of place among Austronesian-speaking populations.

Intentional, ‘commonsense,’ or ‘folk’ psychology is, as Jerry Fodor has remarked, ubiquitous. Explanations of what we say and do in terms of our reasons for acting are the stock in trade of intentional psychology. But there is a question whether explanations in terms of reasons are properly explanatory. Donald Davidson and Daniel Dennett, to name two, have defended intentional psychology and its reason‐explanations. Still, many philosophers – including Fodor, Davidson and Dennett – fail to pay due attention to the narrative (...) basis of such agent‐centered accounts of action. In this paper, I argue that psychological explanation is an agent‐centered, narrative‐based interpretive practice. To make my case, I present a poetics of psychological explanation: seven elements which collectively describe what makes psychological explanations work. Narrative form allows us to represent the temporal arc of agents’ actions – as well as the temporal arc of their reasoning about their actions, both prospective and retrospective. It allows us to negotiate between the canonical and the exceptional in human experience, and thus to account for actions that strike us as puzzling or unusual – whether the puzzle originates in our suboptimal understanding or the agent's suboptimal reasoning. And it allows us to juxtapose different perspectives on any action. Such juxtapositioning gives us a mechanism for coming to see how an action that strikes us as misguided might have been construed by the agent as reasonable given her understanding of her circumstances. After establishing the seven elements of the poetics, I address the objection that narrative‐based accounts of intentional action are not properly explanatory. (shrink)

The essays collected in this issue offer complementary critical perspectives on the mature lyric work of Derek Walcott, the acclaimed Nobel laureate from the Caribbean island of St. Lucia. The centerpiece of the ensemble is a previously unpublished essay in which Walcott’s reflections on poetics illuminate his project in the masterpiece, _Omeros._ Other contributions by literary scholars in North America and the Caribbean focus on fundamental dimensions of Walcott’s craft and on such thematic preoccupations as the intersection of pictorial and (...) verbal modes of representation, the deployment of nuanced intertextual strategies (especially in relation to the Greco-Roman canon), the invention of a viable artistic identity in a postcolonial intercultural milieu, and the psychosocial modeling of the process of literary apprenticeship. _Contributors. _Edward Baugh, Peter Burian, Gregson Davis, Carol Dougherty, Joseph Farrell, Judith Harris, Timothy Hofmeister, Derek Walcott. (shrink)

This essay studies some of the poetic devices employed by Osundare to project social commitment and vision in Songs of the Marketplace. It examines how the poet’s deployment of style makes his poetry more accessible to a larger audience than that of his predecessors. Like the oral traditional performance, his poetry employs rich Yoruba oral literary devices in a way that is unique and glaringly innovative. Osundare’s radical poetic style has a clearly defined concept and role. It is (...) also central to the resolution of the polemics of governance and politics in society. The pervasive theme of the collections remains a serious concern for hope out of the decadent situation that has eaten deep into the fabric of our social existence. (shrink)

Aimed at deepening our understanding of the Poetics, this collection places Aristotle's analysis of tragedy in its larger philosophical context.

ASHÉ: Ritual Poetics in African Diasporic is a collection of interdisciplinary essays contributed by international scholars and practitioners. Having distinguished themselves across such disciplines as Anthropology, Art, Music, Literature, Dance, Philosophy, Religion, and Theology and conjoined to construct a defining approach to the study of Aesthetics throughout the African Diaspora with the Humanities at the core, this collection of essays will break new ground in the study of Black Aesthetics. This book will be of great interest to scholars, (...) practitioners, and students interested in tracing African heritage identities throughout the African Diaspora through close examination of a variety of discourses directly connected to expressive elements of cultural production and religious rituals. (shrink)

This volume offers a state-of-the-art collection of studies in the rapidly growing interdisciplinary field of cognitive poetics. In coupling cognitive linguistics and poetics, cognitive poeticians aim to offer cognitive readings of literary texts. By bringing together key players and critics in a setting of interdisciplinary dialogue, this volume captures the goals, gains and gaps of this emerging field.

I argue that Simone de Beauvoir’s only play Les bouches inutiles reveals the centrality of failure in Beauvoir’s feminist account of political freedom. In recent years, political theorists have mobilized failure to capture the diverse ways of being and doing that stand outside of hegemonic models of political life, with some conceiving of failure as a form of negativity. Negativity, on these accounts, captures an “antisocial” form of resistance by which subjects refuse configurations of sociality in order to achieve freedom. (...) I argue, however, that this form of negativity runs counter to the collective conception of freedom in Beauvoir’s political thought. To make this case, I interpret the play as a performance manqué and demonstrate that the failures that the women encounter in Les bouches inutiles are conditional on responses from the men. This allows me to recover a conception of failure as a form of positive negativity. What Beauvoir does in her literary theory is to conceptualize that same place of negativity, to which men have consigned women, as a place from which women might disclose themselves and their unique situations. Read in this way, failure is both the foreclosure of the space of intersubjectivity between women’s appeals and men’s responses, and at the same time opens ways for women to resist those failures. I then leverage Eve Sedgwick’s theory of the periperformative to show how, by engaging in poetic practices, women re-signify the political meanings of their bodies and become free with and through others. I conclude by stepping outside of the frame of the play to evaluate its recent resignification by contemporary readers. Doing so underscores the point that resisting failure requires ongoing practices of contestation and disclosure by subjects and audiences across time to affirm the collective dimension of freedom in feminist political theory. (shrink)

Two recent French poets, Henri Meschonnic and Jacques Roubaud, have found in Wittgenstein's philosophy an alternative to post-structuralist poetics. Meschonnic's poetry and his theoretical writings show a sustained critical engagement with Wittgenstein, whom he reads in conjunction with Emile Benveniste. The writers inform his theory of poetic rhythm and his practice of biblical translation. Roubaud's use of Wittgenstein, by contrast, here examined in the collection Quelque chose noir, is linked partly with the poet's grief following the death of (...) his wife Alix Cléo Roubaud, a photographer and an avid reader of Wittgenstein. In Roubaud, Wittgenstein opens up the space for a meditation on disappearance and absence. Roubaud reformulates passages from Wittgenstein's On Certainty in poems evoking Alix's memory. (shrink)

Bilingual English-German edition of second collection published by the German poet, dramatist, and philosopher Karoline von Günderrode (1780–1806). The second collection of writings by the German poet, dramatist, and philosopher Karoline von Günderrode (1780–1806), Poetic Fragments was published in 1805 under the pseudonym “Tian.” Günderrode’s work is an unmined source of insight into German Romanticism and Idealism, as well as into the reception of Indian, Persian, and Islamic thought in Europe. Anna C. Ezekiel’s introductions highlight the philosophical (...) significance of the texts, demonstrating their radical and original consideration of the nature of the universe, death, religion, power, and gender roles. The dramas “Hildgund” and “Muhammad, the Prophet of Mecca” are two of Günderrode’s most important works for her accounts of agency, recognition, and the status of women. The three poems included in the collection, “Piedro,” “The Pilgrims,” and “The Kiss in the Dream,” represent the wide range of forms in which Günderrode wrote. They reflect themes of erotic longing and union with the divine, and point to her radical reimagining of death. This bilingual English-German edition is the first volume of Günderrode’s work to appear in English, and will help unearth this rich, complex, and innovative writer for English readers. Anna C. Ezekiel is an independent scholar living in Singapore. (shrink)

Lévinas believed that Blanchot identified artistic inspiration with his understanding of the il y a, that is, an inauthentic attitude toward life and the Other. Lévinas, who tried to overcome the neutrality of the il y a, criticised Blanchot’s desire to establish ethics as a prima philosophia. Lévinas asked himself in what way the artwork could give access to the ethical, which is why he explored the relationship between expression and responsibility. He concluded that poetic speaking was excluded from (...) his understanding of ethical language. Therefore, Lévinas was against poetic activity, in ethical terms, because poetic activity (dis)possessed the subject/artist in such a way that the creator was not able to control his writing, which converted art into the worst kind of irresponsibility. This paper will focus on Lévinas’ first aesthetic period, and on the ideas collected in the essay La Réalité et son ombre, published in 1948. (shrink)

Collecting goes beyond art collecting and seems to meet a more general need. Although it originally aided survival and has predecessors in the animal world, the gesture of collecting has complex motivations. After exploring the collector’s psychology and the behavioural differences between collectors and spectators, this paper analyses the logic of collecting and its principles: order, variation, attractive and meaningful display, the control of contingency, processuality and growth, seriality, and limitation. Finally, the paradoxical attempt to collect non-collectibles, such as gods, (...) clouds or human relations will be shown to illustrate a para-aesthetics of collecting which ranges from the poetics of everyday life to aestheticism. (shrink)

A collection of ten previously published or delivered essays by Taminiaux. Among the topics are the attitudes of philosophers to politics and fine art, the nostalgia for Greece at the dawn of classical Germany, and the Hegelian legacy in Heidegger's overcoming of aesthetics. Paper edition, $19.95. Annotation copyright by Book News, Inc., Portland, OR.

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)

This paper reflects on affect and emotion as they relate to poetics — her/histories — in twenty-first century museums. Using specific examples, it considers the ways in which collections of material culture hold diverse meanings and how ideas are communicated to audiences over time and space but might also be challenged through imaginative activity. Key objects, exhibitions and activities discussed highlight masculinities at work in museums and include the temporary art installations by Yinka Shonibare and Fred Wilson in the Victoria (...) and Albert Museum's (V&A) Norfolk House Music Room in 2007; the portrait in oils of the Jamaican scholar Francis Williams, painted by an anonymous artist around 1745; and a contemporary oral commentary by Benjamin Zephaniah in the V&A British Galleries, which are considered through a feminist lens of poetics. (shrink)

Digitised collections and born digital items, such as photos or video, exist beyond the scale of human viewing. New methods are required to read, understand and work with the data, resulting in computation becoming increasingly central to both creation of a cultural reality and as the interpretative tool and practice. If artists’ look, then how might a machine see as a critical tool? Developing work on computational culture and the Next Rembrandt project as unstable digital object, this paper considers how (...) the medium affects computational critical practice. Drawing on Heidegger’s view of causality and Derrida’s grammatology, this paper explores how the medium acts a locus between the human and machine readings and the remediations that occur within the reading. This is developed as through a reading of how the interface translates the signs and symbols and how this affects the reading. By reconsidering the critical assemblage and using it to think with, the human and the machine are seen as critical partners. Attending to the materialities of the reading through a playful approach that decentres potential meaning encourages us to glimpse beneath the surface and gestures towards a critical practice as understanding both computation and its materiality. (shrink)

This article surveys the Far East prisoner of war novel from its inception in English public school narratives and racially inflected character profiles to the more critically engaged publications of the last two decades. During the latter period, linear reconstructions of imprisonment, analogous institutional paradigms, and authors' own memories of captivity have gradually declined in influence. Although not wholly absent, their place has been taken by an emphasis on intergenerational trauma, international relations, and real or imagined meetings between surviving prisoners (...) and their former torturers or interrogators. Through a close reading of journalist Jim Lehrer's novel The Special Prisoner, this essay examines the ways in which international relations inflect an imagined encounter between a surviving prisoner and his former torturer. The novelist's sensitivity to contending notions of collective guilt and collective victimhood serve to illustrate the complications that arise at the individual level when forgiveness is freely offered by a trauma survivor and roundly rejected by the agent of that trauma. (shrink)

A collection of ten previously published or delivered essays by Taminiaux (philosophy, Boston College and the Universite de Louvain).

There is something quite deceptive about Bilhaṇa’s Vikramāṅkadevacarita , one of the most popular and oft-quoted works of the Sanskrit canon. The poem conforms perfectly to the stipulations of the mahākāvya genre: it is replete with descriptions of bravery in battle and amorous plays with beautiful women; its language is intensified by a powerful arsenal of ornaments and images; and it portrays its main hero, King Vikramāṅka VI of the Cāḷukya dynasty (r. 1076–1126), as an equal of Rāma. At the (...) same time, the poem subverts these very aspects of Sanskrit literary culture: the poetic language is thinned down at a series of crucial junctions; the Rāmaness of the hero is repeatedly undermined; and the poet consistently airs his ambivalence toward, if not utter resentment for his immediate cultural milieu, his own patron and subject matter, and the very task of a court poet. The article argues that Bilhaṇa’s ambivalence and alienation are the hallmark of his work, and that the poet constantly and consciously struggles with and comments on what he sees as the utter incompatibility between poetry and political reality. It also demonstrates that Bilhaṇa’s unique, personal voice resonates in his many afterlives and in several collections of poems attributed to him posthumously. I argue that it may well be a sign of recognition of what was truly innovative in his poetry that the tradition has credited Bilhaṇa with such additional lives and corpora. (shrink)

The crux of feminist ideological alignments is the struggle for the woman’s liberation from patriarchal subjectivities. This study investigates the utilization of poetry by Patricia Jabbeh Wesley to challenge patriarchal dominance and expose the gimmicks of female devaluation by hegemonic imperialism. Wesley’s poems: “Inequality in Hell” and “My Auntie’s Woman-Lappa Husband” which sufficiently explore feminist consciousness from Wesley’s poetry collection, Where the Road Turns, were purposively selected and subjected to close reading and qualitative analysis. The poems were critically analyzed (...) through the lens of postcolonial feminist literary criticism which examines issues of phallocentric structures, especially in formerly colonized states. The selected poems show the itchy pains of masculinity and devaluation of womanhood in canonical text. Wesley’s poetry invites her readers to a philosophical introspection of patriarchal order with respect to the unbalanced treatment of women in postcolonial Liberia. The poet, through her art, exposes the unfair imaging of women globally. (shrink)

This collection offers new perspectives on the interdisciplinary scope of the historic avant-garde and highlights the interconnectedness of its artists from a variety of national and disciplinary perspectives.

Rhythm is a poetic necessity for constructing a poem, which in turn gives us other rhythms and other phonemes in the background of the meter, and behind the words, and hence the meter does not constitute a major value in constructing a poem unless it is linked to other artistic elements of writing poetry. In this section, we address the rhythmic phenomenon in the introductions to poetry collections in various forms of Arabic poetry: classical, free metrical, and prose poetry, (...) by reading a number of diverse poetic models, starting from the fact that poetry is not poetry, and that poetic meters do not form a poem except to the extent that the poet invests in other elements of poetry, in the image, style, density and depth of language, and rhetorical diversification in performing the poem, and also departing from the pattern by renewing and developing and striving to create advanced innovations in the broad rhythmic horizon, and in the formative and linguistic horizon of poetic introductions, and in this section we have monitored a group of rhythmic phenomena such as: repetition, phonemes of language, the rhythm of the visual space of writing, and the relationship between effect and reception. In light of this awareness, poetic introductions may come in a multi-rhythmic form that does not necessarily stop at the inherited poetic form, but rather varies in its performance and in the methods of delivery, investing the space of the poetic page in conveying the poet’s semantic vision. (shrink)

The TGarden is a genre of responsive environment in which actor–spectators shape dense media sensitive to their movements. These dense fields of light, sound, and material also evolve according to their own composed dynamics, so the agency is distributed throughout the multiple media. These TGardens explore open-ended questions like the following: what makes some time-based, responsive environments compelling, and others flat? How can people improvise gestures without words, that are individually or collectively meaningful? When and how is a movement intentional, (...) or collectively intentional? This paper introduces what has been at stake behind the experimental work: subjectivation, moving from technologies of representation to technologies of performance, and the potential for ethico-aesthetic novelty. (shrink)

This volume examines the poetics of bird mimicry: the way birds mimic humans, and the way humans mimic birds. Drawing from 18th-century studies, romantic studies, American studies, 20th-century studies, and postcolonial studies, the collection offers new models for combining comparative and global studies of literature and culture.

In this text, which employs the analytic-comparative method, we read the Poetics of Aristotle in a new way to take an example of translation as an artistic creation. We can present the result of the essay as a metaphor called “the art of translation”, and then we refer to four evidences which can support our metaphor: reading the text as seeing the world, understanding the meaning as perceiving the main action, representing the text as recreating an image, and word making (...) as the art of poetic. If we want to explain the useful dimension of our research, it can be said: every translation has a moral dimension which depends on its imitation of the author’s line and reader’s culture, and also has an artistic dimension that attends to the beauty of text and new vision of culture. According to Moderation theory of Aristotle, an ideal intercultural translation sees the right of author and reader by the equal criterion. Then it shows a production that is combined with “representation”, a term which can embrace the beauty and ethic in the art of translation. Keywords: poetics, representation, artistic creation, art of translation, cultural relationship 1. Mimesis in art and translation As Aristotle has said about art and poetry, they are based on Mimesis or imitation. It means that he believes art is Mimesis. But his theory about this issue is totally different to Plato’s thought. He thinks that Mimesis is not imitation of Ideas as Plato thought. Mimesis in his thought is imitation from the existence, aspect or form of things in this world. So he emphasizes that Mimesis is imitation of something or maybe happenings outside of man. After collecting all of Aristotle’s thoughts, especially about poetry, it seems clear that the imitation or Mimesis is a representation of the subject of imitation in which sometimes the subject of imitation has been represented better than its fact, like tragedy, and sometimes worse, like Comedy. It seems that we can see translation as imitation, understanding the latter as in Aristotle’s conception of art mentioned above. Indeed, a translator at the beginning of is translation process looks at the text deeply and tries to understand it as well as possible. After that, he thinks about the value of translations. In this step, if the text has repeatability in other languages and cultures, the translator starts the imitation from an original text to create another text. It seems that this process is like what an artist does to create artworks. 2. resemblances between art and translation On the basis of Aristotle’s Poetics, we want to explain some resemblances between art and translation to describe our conception of translation as an art. We think those resemblances can convince us to see translation as an art. The first resemblance between creation of artworks and translation is at the first step of them. The first resemblance between the artistic creation and translation is in their first step. Viewing the environment and finding something for imitation is the first step of artistic creation, which is like confronting and reading a text for translation. It is clear that viewing the environment deeply and reading a text carefully are necessary for artistic creation and translation because a surface of them cannot be suitable and helpful for Mimesis or imitation. The second step of artistic creation and translation is the accurate understanding of the subject of imitation. In Fact, deep and accurate understanding is necessary for exact imitation. Without comprehensive understanding, imitation of things is not possible. Both artist and translator in the process of imitation should take this step. In the other words, it seems that by deep and exact understanding they can find the direction of similarity between subject of imitation and artwork or translated text. Rewriting text in a new language like representing an image is the third step of imitation that is visible in the process of artistic creation and translation. In this step, combining their understanding and viewing the environment, translator and artist try to create the subject of imitation in a new style and a new form. The last step of imitation in artistic creation and translation is that of choosing colors in art and words and other literary elegances in translation, and using them. In this step, paying attention to details of their work, artist and translator try to create a new thing that is similar to the subject of imitation, although it is a new thing and there may be some differences between them. As was stated, the understanding of the subject of imitation by artist and translator is a very important step, in which, however, their thought of the subject of imitation is not totally the same as it, and so, during creating the new thing their understanding and thought can affect the form and the style of the new thing. 3. conclusion In conclusion, it seems that, because of the similarity between art and translation based on Aristotle’s conception of art, we can move from ethical and aesthetic functions of art, and artist’s moral duty in creating art, to the same aspects in translation and translator. In other words, based on Aristotle conception, while translator makes a faithful imitation and a creative presentation of the source, after the ethical decision to translate and promote the original text, he should pay attention to linguistic and cultural details of his translation. In this regard, while observing his audience in the target language, he also refreshes his insights and attitudes because this two-sided view, the center of gravity of moderation, will take into account the aspects of beauty and ethics in the cultural interactions of societies. References - Aristotle,, Ethics of Nicomachus, translation of Mohammad Hasan Lotfi, Tehran, New Design. - Aristotle,, About the Art of Poetry, Translated by Soheil Mohsen Afnan, Tehran, Hekmat. - Aristotle,, Fan al-Sha’r, Abdul Rahman Badawi’s research, Beirut, Dar al-Safat. - Aristotle, Sermon, Translation by Ismail Sa’adat, Tehran, Hermes. - Aristotle,, Metaphysics, Sharaf al-Din Khorasani Translation, Fourth Edition, Tehran, Wisdom. - Plato,, Period of works, translation by Hasan Lotfi, Tehran, Kharazmi. - Bermann, Sandra and Wood,, Michael, Nation, language, and the ethics of translation, Princeton University Press. - Koskinen, Kaisa,, Beyond Ambivalence; Postmodernity and the Ethics of Translation, University of Tampere. - Meschonnic, Henri,, Ethics and Politics of Translating, Translated and edited by Pier-Pascale Boulanger, Benjamins Translation Library. - Venuti, Lawrence,,The Translation Studies Reader, Routledge. (shrink)

What is it about the nature of "soul" that makes it so difficult to adequately capture its complexity in a strictly discursive account? Why do some of the most profound human experiences elude our attempts to theorize them? How can a written document do justice to the dynamic activity of thinking, as opposed to merely presenting a collection of thoughts-as-artifacts? Finally, what can we learn about the activity of philosophizing, and about the human soul, by reflecting on the possibilities (...) and limitations of writing? These concerns, in various forms and in different registers, have preoccupied Michael Davis throughout his distinguished career. This volume is in honor of, and in dialogue with, Davis's work, which spans ancient philosophy and literature, continental philosophy and political philosophy. It includes original essays by numerous distinguished scholars in the fields of philosophy and political science. The remarkable range and caliber of the contributions attest to the breadth and depth of Davis's influence. The essays in Part I of the volume explore the nature of soul through the lens of tragedy. Part II consists of three essays that explore the human longing for perfect knowledge and completion--and the obstacles to the fulfilment of that longing--in relation to the divine. In Part III, the essays address the distinctive challenges of the political sphere and philosophy's relation to it. And while the relationship between philosophy and poetry is an implicit theme throughout the volume, the essays in Part IV focus directly on philosophy's aestheticizing tendencies. Many different philosophical and literary works are discussed throughout these chapters, including ancient works such as Plato's Republic, Euthydemus and Laws, Homer's Iliad, and Euripides' Trojan Women, as well as works by modern philosophers such as Rousseau, Kant, Hegel, Kierkegaard and Nietzsche. In addition, three essays analyze some of Shakespeare's plays in relation to the thought of Plato and Machiavelli. All of the essays are thematically linked by a common thread as they attend to the poetic dimension of philosophical thinking. Michael Davis is Professor of Philosophy at Sarah Lawrence College, where he has taught since 1977 and has been the Sarah Yates Exley Chair in Teaching Excellence (2003-2005). He has also taught on the graduate faculty at Fordham University and the New School for Social Research. He is the author of numerous articles and books, which include: Ancient Tragedy and the Origins of Modern Science; The Poetry of Philosophy: On Aristotle's Poetics; The Politics of Philosophy: A Commentary on Aristotle's Politics; The Autobiography of Philosophy; Rousseau's The Reveries of the Solitary Walker; Wonderlust: Ruminations on Liberal Education; and The Soul of the Greeks: An Inquiry. He is also co-translator (with Seth Benardete) of Aristotle's On Poetics. Contributors include: Abraham Anderson, Jonathan Badger, Robert Berman, Ronna Burger, Kenneth DeLuca, Gwenda-lin Grewal, Scott Hemmenway, Paul Kirkland, Mary Nichols, Denise Schaeffer, Paul Stern, Richard Velkley, Lisa Pace Vetter, Ann Ward, Lee Ward, Catherine Zuckert and Michael Zuckert. About the Editor: Denise Schaeffer is Professor of Political Science at the College of the Holy Cross. She is the author of Rousseau on Education, Freedom and Judgment and contributing co-editor (with Christopher Dustin) of Socratic Philosophy and Its Others. She is co-editor (with Gregory McBrayer and Mary P. Nichols) of the Focus Philosophical Library edition of Plato's Euthydemus, for which she authored the Introduction and co-authored the Interpretive Essay. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.2 (2003) 284-303 [Access article in PDF] Accidental Art:Tolstoy's Poetics of Unintentionality Michael A. Denner I ART'S ABILITY TO INFECT another with an emotion, the concept that has come to be probably the most readily identified catchphrase in What Is Art? (though it crops up in his earlier writings on art), derives from L. N. Tolstoy's dynamic identity claim about art: we know an artist has (...) created a genuine work of art when he "hands on to others feelings he has lived through, and that others are infected by these feelings and also experience them." 1 "What is art?" is then a taxonomical question, and, according to Tolstoy, art is identifiable from non-art not by some set of external characteristics—the way, say, Aristotle categorized animals in his natural history—rather art is recognizable by its function, by what it does. In this sense art is like a tool: A given thing is art because it performs a certain task, much as one might claim a screwdriver is anything that sets and removes screws, regardless of its external characteristics. Tolstoy, in fact, repeatedly refers to art as "orudie," "a tool," or even "a weapon."It is worth noting from the outset that this metaphor of contagiousness is one of sublimated violence. For its passive "perceiver" (Tolstoy's characteristic term for the consumer of art), art amounts to irresistible, surreptitious emotional manipulation by an external entity. Tolstoy is ever attentive to the underlying meanings of the words he chooses, and I think he means to emphasize the latent, etymological meaning of the zarazit', to infect, the root of which is razit', to strike, a military term that likely resonated with Tolstoy, a war veteran. 2 Etymological arguments aside, Tolstoy makes explicit the psychological violation that goes hand-in-hand [End Page 284] with the experience of a work of art in a diary entry from a period of work on an earlier variant of What Is Art?: "One must hone the artistic work so that it penetrates. To hone a work means to make it perfect artistically, in which case it will pierce through the indifference...." 3 In an earlier version of the essay, Tolstoy offers "hypnotism" as a synonym for infection (p. 53).With its ability to "penetrate" through indifference and colonize, willy-nilly, the other, art accomplishes directly and immediately what no amount of rational argument could accomplish: "Art is differentiated from the activity of rational activity, which demands preparation and a certain sequence of knowledge (so that one cannot learn trigonometry before knowing geometry), by the fact that it acts on people independently of their state of development and education, that the charm of a picture, of sounds, or of forms, infects any man whatever his plane of development" (p. 178).The effect of art does not depend on some graduated, sequential process as it does for rational activity: art's infectiousness is immediate and irresistible. According to What Is Art?, the summum bonum of art's infectiousness, its best use, but notably not its only, is bringing about the Kingdom of God by effecting a change in the psychology of all the individuals who experience it. "Religious art," Tolstoy's supreme category of art, surmounts the (ultimately illusory for Tolstoy) individuality of the perceiver by inducing in him or her an emotional union with the artist and all others who have experienced the work of art, thereby inducting all perceivers into the universal collective of humankind: "In this freeing of our personality from its separation from other people, from its isolation, in this uniting of personality with others, lies the chief characteristic and the great attractive force of art" (p. 228). Art is a sacrament and the artist a priest of sorts.It is often said, even by those who have read the work, that Tolstoy "rejected" art in the last decades of his life, and What Is Art? is often cited as evidence. Granted, much of the book excoriates much of the art of the ages, but one must not... (shrink)

Lived experience can be viewed as the unfolding of “poetic space.” This is neither “just” matter nor experience, but the collective exploration of felt embodied meanings by individuals, ….

This paper discusses an important phase in Ludwig Wittgenstein’s analytic philosophy through a comparative examination of the profound correspondences that exist between his concept of silence and the poetics of another crucial authorial figure of the 20th century: James Joyce. Based on the hypothesis that there are striking resemblances between their early works, that is, between Joyce’s realistic short-story collection Dubliners and Wittgenstein’s Tractatus Logico-Philosophicus, the article employs mostly close-reading, analytical-interpretative and comparative methods. It argues that silence was an (...) intentional intellectual, aesthetic and ethical choice of both these authors, their way to preserve the autonomy of metaphysics and to honour the beauty of the unspoken. Starting from their common critical treatment of the habitual and largely alienated speech, the discussion connects Wittgenstein’s philosophical attitudes regarding the imprecision and inadequacy of every-day language and Joyce’s notion of ‘spiritual paralysis’ of the city-life, which he saw as the main motive for writing his collection about fin-desiècle Dublin. On the grounds of their shared views about the limits of words, behind which there are worlds that cannot be properly uttered, the idea of silence – or the highly significant narrative absence – grows to permeate the work of both. In the case of Wittgenstein, it is a call for a new philosophy, or anti-philosophy, which in negating metaphysics in effect preserves its independence from a discursive speech which cannot express it, whereas in the case of Joyce, correspondingly (and almost simultaneously), it is a quest for a new literary mode that will foreground a particular Modernist allusiveness, rhetoric of omission and deliberately incomplete, gnomonical narrative structures. (shrink)

Time is of increasing concern in Black studies, with scholars studying the ways in which standardized narratives of time are historically imposed on racialized populations. This essay reads Safiya Sinclair’s 2016 poetry collection Cannibal as offering a fugitive temporality that ruptures the stability of the racializing present. In Cannibal, Sinclair’s speaker does not attempt to release herself from the racializing condemnation of the past. Rather, she summons a fugitive social past in the present, antagonizing the homogeneity of the present (...) by exposing it to the repressed and relegated wounds that haunt the foundations of modernity’s racializing program. In Cannibal, this summoning is occasioned through a practice of faith. Following J. Kameron Carter and Fred Moten, among others, this essay studies the ways in which this fugitive poetic temporality of faith builds on contemporary developments in the critique of time, religion, and whiteness in Black studies. (shrink)

"Novels, movies, and lies - these are all fictions that provoke with their as ifs and what ifs. In response to the idea that fiction has somehow become an unfashionable topic in contemporary criticism, this volume argues that the question of fiction needs to be updated in the absence of a widely accepted theory of truth. This collection, dedicated to the noted scholar and literary critic Lubomir Dolezel, covers an extensive number of theoretical and historical issues relevant to our (...) understanding of the status of fictions - literary or not." "Fiction Updated offers approaches to fiction and poetics that, in an imaginary topography of contemporary humanities, dwell at a distance from both the mimetic theory of literature and deconstruction. The contributors introduce new perspectives to the problem of fictionality, or broaden the scope of its applications, by examining the works of such authors as Homer, Casanova, Aristotle, Woolf, Vaihinger, Borges, Kundera, Coetzee, and Bakhtin."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved. (shrink)