Why should poets choose to repeat concrete sounds or abstract structures when conveying their poetic messages? After all, it would seem that repetition tends to slow down comprehension and require greater cognitive effort. The key to understanding the rationale behind these poetic devices is the communicative principle of relevance proposed by Sperber and Wilson: interlocutors communicate on the assumption that what is being said is relevant in the communicative context. But how things are said is also relevant: poets (...) create patterns for pragmatic, communicative reasons. Poetic devices also promote affective states, which cannot be reduced to cognitive ones. (shrink)

This article argues that the defamiliarization caused by extensive repetition, termed ‘semantic satiation’ in psychology, was used by ancient poets for specific effects. Five categories of repetition are identified. First, words undergo auditory deformation through syllable and sound repetition, as commonly in ancient etymologies. Second, a tradition of emphatic proper-name repetition is identified, in which the final instance of the name is given special emphasis; this tradition spans Greek and Latin poetry, and ultimately goes back to the Nireus entry (...) in the Catalogue of Ships. Third, repetition is used for wordplay, where the final instance of the repeated term not only is emphasized but also incurs some change to its meaning or shape. Fourth, the incantatory repetition of divine names in hymns and cultic invocations amplifies a sense of divine presence behind and beyond the repetend. Fifth, repetition of half and full lines by different speakers in Old Comedy serves to undercut and parody the original sense of the repeated words. Extensive repetition in ancient literature was never merely ornamental but was used for a range of specific auditory and semantic effects with distinct and identifiable structures. (shrink)

This paper intends to understand the experience of enlightenment in Zen Buddhism from a perspective of poetics. Enlightenment is understood as an existential breakthrough, which delivers people from the habitual or conventional mind set into new horizon of consciousness. This breakthrough takes place in one’s overall consciousness rather than only in cognitive thought. Therefore, it cannot be adequately described on an abstract level with a conceptual paradigm. The poetic language provides a significant alternative for capturing this leap and revealing (...) the spiritual meaning and the practical wisdom of enlightenment. Enlightenment, as concrete experiences in the “flux” of the mind, can be most directly expressed and effectively transmitted in poetic language. (shrink)

"M. F. Simone Roberts's A Poetics of Being-Two is animated by a lively and engaging voice, drawing readers in with a sense of serious purpose working (delightfully) in tandem with a sense of humor. Roberts's aesthetics and her close readings of Yves Bonnefoy, St-John Perse, and Jorie Graham clearly demonstrate the literary effectiveness of Irigarayan sexual difference as an analytic trope, even as they emphasize the philosophical and political possibilities sexual difference opens up for feminism, environmentalism, and all levels of (...) contemporary cultural critique and activism."—Gail M. Schwab, Hofstra University -/- In An Ethics of Sexual Difference, Irigaray calls for a new poetics in the sense of both art and life. Rather than a critique from within philosophy, A Poetics of Being-Two tests Irigaray's ethics by extending it to other sites of cultural production. Where Irigaray's method finds stirrings and repressions of sexual difference in philosophy, this project explores that tension in poetics. Building from Irigaray's ethics, the book describes a poetics of being-two as concerns gendered subjectivity in literary poetics and then traces the on-going emergence of a poetics of being-two in the post-symbolist poetic tradition. Irigaray scholars will be interested in the sustained interpolation of Irigaray's ethical concepts as principles for a critical aesthetics and in their hermeneutic application in reading a literary tradition. Readers in comparative literature will find the first sustained feminist engagements with the major French poets Bonnefoy and Perse and an elucidation of their influence on the Pulitzer Prize winning poet Jorie Graham. (shrink)

Gaston Bachelard distinguishes the radical novelty and newness of the imagination from pre-existing sensory impressions. In this article, I explore Bachelard's connections between time, the imagined image and poetic form, and I consider their implications for the cinema. Concentrating my analysis on Ildikó Enyedi's Testről és lélekről/ On Body and Soul — a film that alternates between doubled worlds, depictions of human and animal life — I draw out the temporality and the diversity of Bachelard's imagined images. Bringing Bachelard's (...) instant, vertical time and the crystalline to bear on Enyedi's film, I argue that, under the pretext of sleep, rest and dreaming, On Body and Soul engages the temporality and attentiveness of the Bachelardian imagination, together with its poetic effects. (shrink)

Hall (1996) raises the question of the relationship between Aristotle’s Politics and Poetics by claiming that Aristotle had separated drama from its civic origins; various rejoinders to her challenge can be found in Heath (2009) and Jones (2012). In response to this question, I argue that a central connection between these two works is their shared concern about the effects of performance—both in the case of drama and music—either for performers or their audience. Aristotle’s criticisms of “spectacle” (opsis) in (...) tragedy—a problem taken up most recently in Bouchard (2012), Hanink (2011), Konstan (2013), Sifakis (2013), and Wise (2008)—thus parallel his criticisms of slavishness in musical performance in Politics 8. Thus, the problem of Aristotle’s silence about tragedy in his account of education in Politics 8—a problem taken up by Lord (1982) and more recently Ford (2004)—is explainable on the basis of an explicit and central doctrine from the Poetics, namely that a drama can produce the function of tragedy independent of public performance. On my reading, Aristotle’s Politics and Poetics together retain tragedy as a central “cultural” institution for the liberally educated citizen, a view completely consistent with everything Aristotle defends about tragedy in the Poetics. But Politics 8 displaces tragedy as the pre-eminent form of public education and in its place supplies instrumental music—no doubt much to the consternation of Athenian democrats both historically and their kindred spirits in contemporary drama and classics departments. My paper concludes by articulating and speculating about why music eclipses tragedy as the pre-eminent form of liberal arts education in Aristotle’s best regime. (shrink)

Aristotle, in chapter 22 of the Poetics , has some remarks on poetic diction. He lays it down that, while poetry should be clear in meaning, it should avoid meanness of expression, σεμν δ κα ξαλλττουσα τò διωτικòν τος ξενικος κεχρημνη—it becomes dignified and elevated above the commonplace when it employs unusual words; ξενικòν δ λγω γλτταν κα μεταφορν κα πκτασιν κα πν τò παρ τò κριον—and examples of unusual words are rare words, metaphors, lengthened forms, and everything that (...) differs from normal speech. He then gives specimens of poetry, to show how the poetic effect can be spoilt by the substitution of τ κρια for τ ξενικ, and of these the two that follow are taken from the Odyssey. The first is Od. 9. 515. (shrink)

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)

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

This dissertation explores the problematic of "care of the self" in the unpublished later work of Michel Foucault. In his major published works, Foucault studied how subjects are fabricated within relations of power and knowledge. He revealed that modern political power is a "bio-power." Its legitimacy derives from its capacity to nurture individual life. It does this by forging individuals whose bodies, capacities, pleasures, comforts, desires, etc., are intrinsically integrated into the state's productive force. One of the main techniques for (...) bringing about this integration is to incite individuals to talk about their desire, to think of themselves as subjects of desire. This practice of reflecting on oneself in order to acquire and express self-knowledge is "hermeneutic" in nature. It uncovers the hidden truth of the individual. Through this hermeneutic practice individuals fashion their subjectivity around the discovery, expression, liberation and fulfillment of their true desire. Foucault shows that this subject of desire first emerges within the confessional practices and spiritual exercises of Christian ethics. However, his work also revealed that prior to the formation of Christian practices a whole range of possible experiences of ethical subjectivity was to be found in ancient philosophy---relations and practices which were not hermeneutic. ;I argue that Foucault's genealogy seeks to historicize our particular formulation of self-knowledge as a hermeneutic of desire. He finds in ancient philosophy an experience of subjectivity that was "aesthetic" and "poetic" rather than hermeneutic. The foundation of ancient philosophy was the practice of "care of the self" in a philosophical life. This dissertation shows that in his lectures at the College de France from 1982--1984, Foucault develops an ethics of care of the self as a response to modern bio-power and the hermeneutics of desire. His genealogy of philosophy reveals a multiplicity of practices of care of the self and self-knowledge. Rather than being an effect of bio-power, or a true desire, the self of care is a material to be formed and a task to be accomplished. (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)

How to reciprocate a precious gift? In this case the gift was given to us twice. First, in the shape of Paget Henry’s pioneering reinvention of René Ménil’s “Aesthetic Marxism.” Through it, second, we’re led to rediscover the fantastic world of Ménil’s hitherto ignored but crucial contribution to contemporary philosophy: his systematization of the poetics of revolt. Our debt with Ménil and Henry is unpayable. Our humble response in this essay is to offer readers a map to the treasure that (...) is Ménil’s thought. We aim to offer a path across and beyond the sedimentation and pacifying effects of given frames of judgment and the imagination in today’s post-classical public sphere. We call it “fantastic critique,” largely inspired by our wider reading of Ménil’s work and specifically his original concept of the “velocity of the spirit.” It renews the Hegelo-Marxian revolutionary formula. Here. Keep it with you. It’s a precious gift. (shrink)

This is a theoretical and methodological statement of what isn’t and what is Cognitive poetics. It is focused on Peter Stockwell’s discussion of deixis; but, I claim, much of what I have to say on Stockwell’s work would apply to some degree to the work of many other critics. I argue that Stockwell translates traditional critical terms into a “cognitive” language, but does not rely on cognitive processes to account for issues related to the texts discussed; and that he uses (...) these terms to label or classify poetic expressions rather than point out their interaction in generating poetic effects. The present paper does not presume to tell what is the “correct” way to handle those terms, but attempts to give examples of how the same terms could be used with reference to cognitive processes, so as to account for poetic effects. (shrink)

ABSTRACT: Hall (1996) raises the question of the relationship between Aristotle’s Politics and Poetics by claiming that Aristotle had separated drama from its civic origins; various rejoinders to her challenge can be found in Heath (2009) and Jones (2012). In response to this question, I argue that a central connection between these two works is their shared concern about the effects of performance—both in the case of drama and music—either for performers or their audience. Aristotle’s criticisms of “spectacle” (opsis) (...) in tragedy—a problem taken up most recently in Bouchard (2012), Hanink (2011), Konstan (2013), Sifakis (2013), and Wise (2008)—thus parallel his criticisms of slavishness in musical performance in Politics 8. Thus, the problem of Aristotle’s silence about tragedy in his account of education in Politics 8—a problem taken up by Lord (1982) and more recently Ford (2004)—is explainable on the basis of an explicit and central doctrine from the Poetics, namely that a drama can produce the function of tragedy independent of public performance. On my reading, Aristotle’s Politics and Poetics together retain tragedy as a central “cultural” institution for the liberally educated citizen, a view completely consistent with everything Aristotle defends about tragedy in the Poetics. But Politics 8 displaces tragedy as the pre-eminent form of public education and in its place supplies instrumental music—no doubt much to the consternation of Athenian democrats both historically and their kindred spirits in contemporary drama and classics departments. My paper concludes by articulating and speculating about why music eclipses tragedy as the pre-eminent form of liberal arts education in Aristotle’s best regime. (shrink)

Predictions during language comprehension are currently discussed from many points of view. One area where predictive processing may play a particular role concerns poetic language that is regularized by meter and rhyme, thus allowing strong predictions regarding the timing and stress of individual syllables. While there is growing evidence that these prosodic regularities influence language processing, less is known about the potential influence of prosodic preferences on neurophysiological processes. To this end, the present electroencephalogram study examined whether the predictability (...) of strong and weak syllables within metered speech would differ as a function of meter. Strong, i.e., accented positions within a foot should be more predictable than weak, i.e., unaccented positions. Our focus was on disyllabic pseudowords that solely differed between trochaic and iambic structure, with trochees providing the preferred foot in German. Methodologically, we focused on the omission Mismatch Negativity that is elicited when an anticipated auditory stimulus is omitted. The resulting electrophysiological brain response is particularly interesting because its elicitation does not depend on a physical stimulus. Omissions in deviant position of a passive oddball paradigm occurred at either first- or second-syllable position of the aforementioned pseudowords, resulting in a 2-by-2 design with the factors foot type and omission position. Analyses focused on the mean oMMN amplitude and latency differences across the four conditions. The result pattern was characterized by an interaction of the effects of foot type and omission position for both amplitudes and latencies. In first position, omissions resulted in larger and earlier oMMNs for trochees than for iambs. In second position, omissions resulted in larger oMMNs for iambs than for trochees, but the oMMN latency did not differ. The results suggest that omissions, particularly in initial position, are modulated by a trochaic preference in German. The preferred strong-weak pattern may have strengthened the prosodic prediction, especially for matching, trochaic stimuli, such that the violation of this prediction led to an earlier and stronger prediction error. Altogether, predictive processing seems to play a particular role in metered speech, especially if the meter is based on the preferred foot type. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aristotle's Poetics and the PaintersGraham ZankerAristotle's Poetics uses the example of painting as an analogy to illustrate certain facts about poetry, specifically epic, tragedy, and comedy. But the use of painting as an analogy, though ancillary to Aristotle's subject, should yield evidence, if properly evaluated, on how the philosopher thought about painting, because the use of a thing as an analogy actually depends on how its user regards the (...) thing. We can legitimately infer Aristotle's opinions about certain aspects of painting from his comments about poetic mimesis, because analogy is by nature reflexive, or symmetrical: if poetry resembles painting in certain respects, then painting must in turn resemble poetry in those respects. And since, as I hope to show, the characteristics in question can be clearly defined from the Poetics, and since the terms denoting them are given consistent meanings throughout the treatise in regard to poetry, it would be all the more inconceivable that Aristotle did not mean the same with these terms when he applied them to painting. In fact, Aristotle's views on painting are important for establishing how painting was perceived in the fourth century B.C., at least in certain respects which I suggest are well worth noting. Here I refer in particular to the question of subject matter, the aspect of morality, and the issue of idealization in classical Greek painting. This short essay, then, is offered as an example of how an ancient treatise on literary aesthetics can benefit the art historian, especially by providing a framework within which the Greeks themselves viewed the art of their time.It is vital, first of all, to establish precisely what Aristotle is referring to when he says that poets represent people in action and that it is necessary that these be (48a1-6). For this I offer the following provisional and unprejudicial translation, the precise points of reference of which will be defined in the course of my argument: "either serious men () or insignificant men ()..., either better () than our level or worse () or of like level () as well, just like the painters, [End Page 225] for Polygnotus depicted superior people (), Pauson inferior, and Dionysius people of like level ()."This passage is often taken to refer to the moral status of the characters in poetry and in the paintings of Polygnotus, Pauson, and Dionysius. This is particularly so in the case of modern art historians. Rouveret, for example, affirms without substantiation that "pour Aristote, toute action est colorée par un ethos, d'autre part, les ethé se regroupent en deux catégories principales, les et les. Ces deux groupes déterminent deux types de mimesis tragique et comique. La tragédie représente donc toujours des " (1989, 132).1 And, having defined and in this way, she tries to show (121-61) how the text illuminates Aristotle's comment that Polygnotus was an while Zeuxis was not (50a25).But there are compelling reasons for believing that the reference here is basically to social class, with a flow-on effect on moral status.2 [End Page 226] In that case, according to Aristotle, tragedians and Polygnotus depict people of superior social status, comedy and Pauson represent people of inferior social status, and an unspecified literary genre (a type of tragedy if the Cleophon of 48a12 is the Athenian tragedian mentioned in the Suda)3 as well as the painter Dionysius (in all likelihood the fifth-century painter mentioned by Pliny at NH 35.113) depict people of an average social status "like you and me" (). That the reference is primarily social is clear in that the, who are the proper province of tragedy according to Aristotle, are described at 53a10-12 as people of high repute and in great prosperity,, the "people of distinction" like Oedipus and Thyestes, who are members of distinguished families.4The social reference of these terms in the Poetics is secured, and the relationship of the concepts denoted by them to moral considerations can be illustrated by reference to 54a19-22. There Aristotle argues that it is a prime requisite of tragedy that its characters be morally good,, in order that the true tragic effect... (shrink)

As an exceptionally long-lived author (1588-1679) whose protracted development, late appearance in print, subsequent muzzling, and profound notoriety raise fascinating questions about how, when, and to what effect his thinking exerted an impact as he sought to transform an entire culture, Hobbes supplies the ideal focus for a study of cultural transmission in early modern England. Ranging from Jonson to Rochester and including several critically neglected figures, select poetic contemporaries variously illuminate the scope of Hobbes’s writing and the reach (...) of his influence, in turn shedding diverse lights on the nature of their own work. (shrink)

Digital games have matured substantially as a narrative medium in the last decade. However, there is still much work to be done to more fully understand the poetics of story-based-games. Game narrative remains an important issue with significant cultural, economic and scholarly implications. In this article, we undertake a critical analysis of the design of narrative within Mass Effect 2: a game whose narrative is highly regarded in both scholarly and vernacular communities. We follow the classic humanities methodology of “close-reading”: (...) the detailed observation, deconstruction, and analysis of a text. Our close-reading employs a critical framework from our previous work to isolate and highlight the central narrative design parameters within digital games. This framework is grounded in the scholarly discourse around games and narrative, and has been tested and revised in the process of close-reading and analyzing contemporary games. The narrative design parameters we examine are character, storyworld, narrativized interface, emotion, and plot coherence. Our analysis uses these parameters to explicate a series of design decisions for the effective creation of narrative experience in Mass Effect 2, and by extension, for game narratives in general. We also expand our previous methodology through a focused “edge-case” strategy for exploring the limits of character, action, and story in the game. Finally, we position our analysis of Mass Effect 2 within contemporary discourses of “bounded agency”, and explore how the game negotiates the tension between player-expression, and narrative inevitability to create opportunities for sophisticated narrative poetics including tragedy and sacrifice. (shrink)

This essay centers on a storyteller's performance of ritual in stories to draw associations between the life of the Biblical Mary with her son Jesus and the subjectivities and dispositions of people living in impoverished conditions. The storyteller explores these subjectivities and dispositions, characterizing the exploration as a journey. She also defines an ethical position where the self meets otherness—both sacred and cultural—to engender positive human relations. The essay combines the storyteller's performance with the author's to reproduce the effects, (...) advance the ethics, mitigate the politics of representation, and provide an understanding of the journey's end—a place called home. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Dante’s Poetics Of The Sacred WordSteven BotterillI hope to make a case that, until recently, would probably have seemed self-evident, or at least uncontroversial: namely, that a positive valuation of the power of human language to express and to represent informs the textual practice of Dante’s Commedia—or, to put it more bluntly, that Dante believes in words.1The language of poetry was, for Dante, the supremely demanding and supremely rewarding (...) form of human eloquence. This much is made clear in his significantly titled treatise De vulgari eloquentia (On Eloquence in the Vernacular), which, having set out—and failed—to identify a truly noble form of the Italian vernacular, takes it as axiomatic that if (or rather when) such a language is brought into being, it will primarily be used by poets in the composition of their poetry. Despite the many subsequent developments in his thought, and despite, above all, the drastic and often underestimated effects of his shift after 1300 from lyric to narrative-dramatic forms and techniques, nothing in Dante’s later works gives us any reason to think that he ever modified this view.Within the narrative of the Commedia, the overriding importance of eloquence is amply demonstrated by the fact that, without it, Dante-character’s journey would never have taken place. It is to poetic eloquence that Dante owes both his visionary experience and his eventual salvation. Confirmation of this initially startling proposition occurs in canto II of Inferno, where Virgil describes his commission from Beatrice to come to the aid of her errant admirer, and explains that he is charged to do so through the use of his “parola ornata” (“ornamented [End Page 154] word”: Inf., II. 67)—not merely a word plucked from the dictionary, however potently charged with salvific meaning, but a word (or, by synecdoche, a language) that is perceptibly embellished with the technical and rhetorical devices recognized by its hearers as constituting eloquence. Virgil, then, is not just to speak the saving word but to pay attention, as both his historical identity and his creator’s agenda require, to the aesthetic and intellectual implications of its usage; and the efficacy of his speech is manifestly dependent on the elegance and persuasiveness of its formulation.Dante-character’s initial recognition of his mysterious interlocutor in Inferno I as “quella fonte / che spandi di parlar sì largo fiume” (“that spring / that pours forth so rich a stream of speech”: Inf., I. 79–80) is thus retrospectively justified: this is the immediately relevant aspect of Virgil’s historical personality, the one that best equips him to become Dante-character’s guide and mentor in Hell and (most of) Purgatory. Likewise, it is under the auspices of another renowned possessor of eloquence, Bernard of Clairvaux, that Dante’s journey reaches its appointed end. The narrative movement through the Commedia is, among much else, a movement from one “parola ornata” to another, from Virgil’s eloquence to Bernard’s, from the pagan word that offers worldly renown to the Christian word that both transfigures the believer in this life and promises bliss in the life to come. The former, however, grounds the process that leads to the latter; and at both ends of the journey the functional significance of the word and its usage remains paramount.We need, however, to be careful at this point, lest we begin too quickly to entertain the notion that the centrality of eloquence in Dante’s thought immediately justifies the conclusion that he accepted the intrinsic validity of poetic language, or, more controversial still, its supremacy over other forms of eloquent discourse. Firstly, Virgil’s is not the only word in the poem distinguished as “ornata.” The epithet recurs in the bolgia of the seducers, as part of the tale of Jason, who “con segni e con parole ornate” (“with signs and with ornamented words”: Inf., XVIII. 91) led Hypsipyle astray and earned himself damnation. Clearly, Jason’s “parole ornate” are morally quite different from Virgil’s: instead of saving they betray, instead of embodying the truth they act as a vehicle of deceit. Their ornamental quality is specious, employed to conceal their... (shrink)

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)

This paper offers a critique of the instrumental logic of thought found in the middle period of Dewey’s philosophy. His instrumentalism requires that thought serves to effect a physical alteration in the conditions of experience through an experimental act, the results of which retrospectively determine the legitimacy of thought. But missing from his account, I argue, is an explanation of the significant alteration of experience brought about by more aesthetic forms of philosophical thinking, which do not aim to effect any (...) kind of physical alteration. I therefore propose that “poetic thinking” be invoked as a necessary supplement to instrumental thinking. (shrink)

_Vortex/t _undertakes a hermeneutical exploration of symbolic turbulence in many canonical works of literature and philosophy. Charles Minahen's approach is diachronic to the degree that manifestations of the symbol are addressed chronologically, but his aim is not to establish a historical linking of cause and effect, even if such connections do appear. Rather, a synchrony of the symbol is reconstructed that places each discrete example of it in a vibrant intertext of patent and latent meanings. Symbolic turbulence first emerges in (...) ancient "whirls" that display a spiral, spiro-helical, or vertical configuration and usually have cosmic or religious significance. The first significant textual examples of vertical symbolism occur in the Boulak Papyrus, the Bible, and _The Odyssey_, where the destructive connotations of the symbol stand out. For the philosophers and poets of the ancient classical period, including certain Pre-Socrates, Plato, Epicurus, and Lucretius, the vortex is a universal structuring principle, although the underlying causes vary. For Dante, the emphasis is no longer on the dynamic cosmogonic role of the whirl, but on the gradations inherent in the vertical structure itself. Descartes and Blake associated the symbol with the transcendence of a mystical vision, which involves, for the latter, an epiphanal breakthrough. In Poe, the maelstrom excites conflicting feelings of horror in the face of death and curiosity about the "novel" beyond. Rimbaud develops Blake's and Poe's fascination with a transcendent vision, but for Mallarme, the vortex-symbol is Poesque in the more negative way. Not only is it a threatening destructive force, it is the specter of death itself, relentlessly drawing the shipwrecked mariner to ultimate extinction and nonentity. By analyzing, comparing, and contrasting these salient examples of vertical symbolism, _Vortex/t _attempts to uncover and explore the dynamics of emerging and receding meanings that constitute the paradigm's complexity. (shrink)

And in general it is a sign of the man who knows and of the man who does not know that the former can teach, and therefore we think art more truly knowledge than experience is; for the artist can teach, and men of experience cannot. When pragmatism first gained favor in the early twentieth century, some British philosophers like Russell regarded it as evidencing their perception of America’s crude and enterprising spirit.1 The Imperial jab lay in this: that just (...) as business indicates the exchange of products and services to meet basic needs as well as others, for the pragmatist, knowledge is tied to social practices and instrumentality (that is, being able to effect changes in the world). The slight lies .. (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)

In this paper we examine the effect of two cognitive variables, Semantic Neighborhood Density and Interpretive Diversity, in first, distinguishing between literary (poetic) and nonliterary metaphor, and second, in determining what makes for a good metaphor. Analyses of items taken from a widely used set ofmetaphor norms indicated that while literary and nonliterary metaphor did not differ in many ways, the poetic items tended to 1) contain concepts that came from a more dense semantic space, 2) contain topic (...) and vehicles that came from equally dense semantic space, 3) suggest a greater number of possible interpretations as the topic and vehicle became more semantically dissimilar, and 4) evoke more emergent interpretations (i.e., less likely to be a characteristic of the topic or vehicle when considered separately). In addition, we found one way that the two variables were related to metaphor goodness: better metaphors were those with vehicles that came from increasingly less dense semantic space. This correlation was only reliable for literary, poetic items, presumably because these items were taken from a richer semantic environment suggesting many more alternative possibilities. (shrink)

This paper delves into the deconstruction of the notion of responsibility, drawing a correlation with the process of decomposition of the concept of sovereignty as discussed by Derrida in his last research works. We explore Derrida’s consideration of absolute responsibility as no longer passing through the figure of the sovereign. Derrida’s thought takes its distance from the philosophical and hegemonic determination of the notion of responsibility, for the conceptual system of its axiomatic defines responsibility based on the sovereign individual’s freedom (...) and makes responsibility the effect of his power. Yet, this definition condemns ethics to failure, since it does not account for the other supposed in the idea of response. Derrida incorporates absolute singularity, and consequently secrecy, into the structure of responsibility, enabling thought to encounter the absolute other. The text outlines the influence of Nietzsche and Celan in Derrida’s thought and develops an approach that sees in his work the effort to create a poetic revolution in the history of philosophy and knowledge by opening thought to radical alterity. (shrink)

This paper attempts to delve into the heart of Zen Buddhism by discussing the four Zen mottos, which provide the philosophical and spiritual pillars of Zen. The four Zen mottos, “special transmission outside doctrine,” “not to establish language,” “direct point to the mind,” and “seeing into one’s nature and attaining the Buddhahood,” address the fundamental questions about language in its role of the expression and transmission of the spirituality. The mottos indicate that enlightenment is nothing but breakthroughs in an individual’s (...) searching for meanings and a new level of consciousness in their life practice. The experiences of enlightenment as new horizons of consciousness cannot be fixed in conceptual language and reduced to doctrinal principles. Enlightenment, as concrete experiences in the “flux” of the mind, can be most directly expressed and effectively transmitted in poetic language. Poetry can metaphorically capture, articulate, and evoke the spiritual experiences that are often viewed as mystical or ineffable in an abstract paradigm. Poetry can capture the living experiences of life without making judgments and fixation based on doctrines and conceptual frameworks; therefore it is “a special transmission outside the doctrine.” Poetry can deliver spiritual messages without directly asserting and delimiting them; therefore, it “does not establish language.” Poetry can “directly point to the mind” by freeing the speaker from any fixed positions, frameworks, and logical rules, so it can directly appeal to people’s minds and respond to concrete situations. The poetics of Zen renders a contrast to the traditional approach to Buddhism that seeks the abstract representation of enlightenment based on exegeses and interpretations of the established words given by the founders and predecessors. (shrink)

Digital games have matured substantially as a narrative medium in the last decade. However, there is still much work to be done to more fully understand the poetics of story-based-games. Game narrative remains an important issue with significant cultural, economic and scholarly implications. In this article, we undertake a critical analysis of the design of narrative within Mass Effect 2: a game whose narrative is highly regarded in both scholarly and vernacular communities. We follow the classic humanities methodology of “close-reading”: (...) the detailed observation, deconstruction, and analysis of a text. Our close-reading employs a critical framework from our previous work to isolate and highlight the central narrative design parameters within digital games. This framework is grounded in the scholarly discourse around games and narrative, and has been tested and revised in the process of close-reading and analyzing contemporary games. The narrative design parameters we examine are character, storyworld, narrativized interface, emotion, and plot coherence. Our analysis uses these parameters to explicate a series of design decisions for the effective creation of narrative experience in Mass Effect 2, and by extension, for game narratives in general. We also expand our previous methodology through a focused “edge-case” strategy for exploring the limits of character, action, and story in the game. Finally, we position our analysis of Mass Effect 2 within contemporary discourses of “bounded agency”, and explore how the game negotiates the tension between player-expression, and narrative inevitability to create opportunities for sophisticated narrative poetics including tragedy and sacrifice. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:"MURTHER, BY A SPECIOUS NAME": ABSALOMAND ACHITOPHEVS POETICS OF SACRIFICIAL SURROGACY Gary Ernst Roger's State University d;,uring the late 1670's and early '80s, English political satirists 'participated in the endeavors of the rival factions, Dissenter or Whig and Royalist or Tory, to effect judicial violence. While juries condemned and the hangman executed Catholics as traitors during the Popish Plot persecution, John Oldham suggests in the "Prologue' to his Satires (...) upon the Jesuits that he writes to stoke the mass hatred fueling the slayings (2: 19-22). Such animosity powered this initial Dissenter effort to exclude Charles II's Catholic brother, James Stuart, Duke ofYork, from the throne, and left more than two hundred dead.' And Dryden's vituperative response to the striking of a medal to celebrate the grand jury's dismissal of high treason charges against Anthony Ashley Cooper, Earl of Shaftesbury, The Medall (pointedly subtitledA Satire againstSedition) seems to have a clear purpose of inciting Royalists to redouble their efforts to dispatch the opposition leadertothe gallows.2 Judicial slayings ofthis kind are perhaps not surprising in these years ofcrisis and fear. Dissenters like Oldham believed that English Catholics plotted to assassinate Charles, put James on the throne, martyr Protestants with the help of foreign Catholic armies, and destroy both the Protestantfaith and English culture itself; Royalists, on the other hand, saw as ever-looming Dissenter insurrection and another catastrophic civil war to take away their property, power, and perhaps the ' For studies ofthe Plot in this political context, see Miller 169-82; Jones 197-217; Greaves 5-32, and Kenyon's complete volume. 2 Harth studies The Medall as an example of Tory propaganda against the Whigs and supportive of Royal efforts to deliver the earl to the gallows (161-9). 62Gary Ernst life ofthe king.3 Duringthe bloodshed ushering in the two party system, the fatal goals ofsatirists seem quite realistic—and indeed may have been so. Thejudicial persecution ofCatholics consumed victims until the fervorthat Oldham labors to feed burnt out; and, in November 1682, eight months after The Medall found its first audience, Shaftesbury, accused by the crown of new treasons, went into hiding soon to flee England in mortal terror of successful Royalist prosecution. The greatest political satire of this turbulent period, Absalom and Achitophel, responds directly to the recent efforts of Charles's beloved, eldest natural son, the Protestant James Scott, Duke of Monmouth—now "Fir'd with near possession of a Crown " (684)—to displace York in the line of succession. The satire revolves around a depiction ofMonmouth's "War in Masquerade," his recenttour through the west ofEngland to gauge and gain support (682-725). Despite the factthatthe satire clearly posits the threat of national catastrophe, it hardly seems at first as intent upon the death ofthis target as either The Medall or Oldham's Satires seem oftheirs. But, to be sure, it is, although Dryden—committed firstly to York and secondly to king4—carefully conceals both his methods and his intentions against Charles's son. For the purpose ofleading his audience to imitate his attack and carry it from the printed page into the world of action and the courts, he conceives apoetics ofsacrifice that screens his hostilities toward Monmouth from the eyes ofthe very persons he undertakes to mobilized. By appropriating for his satire the cultural phenomenon defined by René Girard as the "scapegoat" or "sacrificial mechanism,"5 Dryden arouses and 3 According to Kenyon, in late 1678, the Commons' inflammatory speeches and addresses to the king gave the impression in the House of Lords that the members of the Commons "seemed intent on fighting the Civil Wars all over again" (129) 4 For a fuller discussion ofDryden's commitmentto York, see McFadden 91, 111 -202; Winn 243-75, and Erskine-Hill 22-5. Daly argues that Mac Flecknoe, written some three years before the beginning ofthe Exclusion Crisis of 1679-81, is an oblique but sustained attack upon Monmouth, a result ofthe laureate's concerns about the king's bestowals ofpower upon Monmouth and the possibility ofthe bastard's eventual succession (655-76). For another discussion that focuses upon Dryden's targeting ofMonmouth m Absalom and Achitophel... (shrink)

In this paper I focus on features of Aristotle's work (discussed in the Poetics) that can enhance our appreciation of Classical Greek tragedies and some of Shakespeare's works. Most important of these features is the production of the tragic effect, which consists of two parts: (1) the arousal of pity and fear to their maximum and (2) the katharsis or purgation of these emotions. The concept of katharsis has been interpreted in many ways and I will seek the most appropriate (...) interpretation. I argue that the maximisation of fear and pity that leads to the katharsis of these emotions can only be achieved by the unfolding of a well structured tragic plot and the revelation of character qualities in the tragic play. The successful tragedies from Classical Greece and the Shakespearean era possess the plots that were structured in a manner so as to produce the tragic effect to its maximum. I pay particular attention to Oedipus Rex of Sophocles and King Lear of Shakespeare to illustrate my point. (shrink)

Both Aristotle and Tolkien are authors of short works seemingly concentrated on one form of literary art. Both works contain references which seem to extend further than that single art and offer insights into the worth and purpose of art more generally. Both men understand the relevant processes of mind of the artist in a similar way, and both distinguish the value of works of art based on their effect on the audience. But Tolkien figures the natural human artistic bent (...) as an elvish strain in us, and in his legends the elves are passing away to make way for the new—human beings. The legendary tales are an image of the natural pagan man giving place to the new man coming to be after Christ. This implies that what Aristotle called the mimetic nature of man—the source of all artistic play and work—is being given a new shape and orientation. Further, the master of those who know, in explicating catharsis, must have been reaching for something that exceeded his grasp and he did not know it. The aim of this essay is to explore the agreements (seeming and real) and disagreements (seeming and real) between what can be built up as each author’s general literary and aesthetic ideas—so, the relation between pagan and Tolkien’s Christian poetics. This will include evaluating where each is more or less adequate to the task of a general aesthetic, ending in an exploration of the purpose of art for the “new man.”. (shrink)

This article studies the cognitive and communicative effects of typographical iconicity in poetry from the perspective of relevance theory. It argues that the visual aspect pertaining to an instance of typographical iconicity conveys a sensory impression, which perceptually resembles elements of the semantic material represented via the typographical iconicity’s lexical aspect. It is suggested that the non-propositional information relating to this impression can trigger the derivation of a wide array of weak implicatures which can combine to form an impressionistic (...) and indeterminate cognitive state described within relevance theory as a poetic effect. Furthermore, since the added effort, which the typographical iconicity requires to be perceived and processed, is offset by the derived implicatures, the use of typographical iconicity may be said to produce an optimally relevant level of processing. (shrink)

When "Aristotle on Emotion" was first published it showed how discussion within Plato's Academy led to a better understanding of emotional response, and how that understanding influenced Aristotle's work in rhetoric, poetics, politics and ethics. The subject has been much discussed since then: there are numerous articles, anthologies and large portions of books on emotion and related topics. In a new epilogue to this second edition, W.W. Fortenbaugh takes account of points raised by other scholars and clarifies some of his (...) earlier thoughts, focusing on the central issue: how Aristotle conceived of emotional response. Among other matters, he considers laughter, emotion in relation to belief and appearance, the effect of emotion on judgement, and the involvement of pain and pleasure in emotional response. (shrink)

continent. 2.1 (2012): 29–35. Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "Politieke Poëzie: Enige aantekeningen, Poëtica bij N30 (versie 2006)." In Weerstandbeleid: Nieuwe kritiek . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. L’égalité veut d’autres lois . —Eugène Pottier The modern poem does not have form but consistency (that is sensed), no content but a problem (that is developed). Consistency + problem = composition. The problem of modern poetry is capitalism. Capitalism—which has no (...) image: the unrepresentable Idea of “everything.” The problem is that a poem cannot be justified. There is no excuse for it. Political poetry— pure poetry—has to be problematic, though not in a mannerist way. Yes, its problem is first its own problem—poetry’s existence in the same world as the newspaper—but therefore also always everybody’s problem (the problem of any world at all). The cult of the sublime points at a suspect desire for transcendence, nostalgia for paradise lost (the womb?). Melancholia of the post-. But a problem neither sorrows nor mourns, it is alive, and the fact that it is alive is the problem—the problem for death (rigidity, the status quo). Our symbols and ideologies do not hide any god: symbolic = state; imaginary = human; real = money. Problem: the possibility of communal speech (poetry) in the absence of a “we.” Or: what is a “we” that is not a collective subject (or in any case is not a volonté générale )? What is a universal history that is not a History? This work was started in the shade of the anti-globalization protests at the end of November 1999. I considered N30 to be the closure of the nineties, of my adolescence, and of the a seemingly total extinction of social desire. From the beginning I was skeptical about the alterglobalization movement as the avant-garde of a new politics, but something was happening . Maybe this event did not show that, as the slogan would have it, “another world” is possible, but for me it indicated that such possibility was at least still possible. That naked possibility is carrying forward. And if the fundamental tone of this work sounds more desperate than utopian, this is not caused by the catastrophic sequence that since 1999 has plunged us ever deeper into the right-wing nightmare—a nightmare that this work also gives an account for—but because my hope as yet remains empty. Composition . Composition is no design, but the production of an autonomous block of affects (i.e. a POEM), rhythmically subtracted from the language of a community. A poem does something. Is something. New Sentence . Choosing the non sequitur as compositional unit has the advantage that an abstract composition is subjected to the stress of concrete, social references. Where there is a sentence, there is always a world. (This does not hold necessarily for words on their own.) And where sentences collide, something akin to a textual civil war takes place. It is not about “undermining” whatever, or de-scribing the raging global civil war, but about writing social (or even: ontological) antagonism -- including all its catastrophic and utopian possibilities. Minor resistance. Why would poetry be the no protest zone par excellence? It is nothing but protest, not simply qua “content,” but in its most fundamental essence: rhythm. Rhythm is resistance against language, time, and space, and the basis of (what we will continue to call) autonomy. Rhythm starts with the anti-rhythmic caesura as Hölderlin remarked about Sophocles, a disruption of the quotidian drone. The destruction of everything that is dead inside of us. The noise of the avant-garde has never been the representation of the noise of (post)modernity (from the television or shopping mall), but the sober noise of the systematic exchange of an unbearable worldview. The poet does not describe, but looks for a way out: There is a Grain of Sand in Lambeth that Satan cannot find Nor can his Watch Fiends find it, tis translucent & has many Angles But he who finds it will find Oothoons palace, for within Opening into Beulah every angle is a lovely heaven William Blake was not mad. And there has always been only one poetry: the poetry of paradise. The principle is that there is something in art (the essentially creative element) that is disgusted by that which, unlike art, does not aim for the supreme. Wonder is not supreme, tranquility is not supreme, beauty is not supreme. Even amusement is not supreme! The supreme is supremely open, “das Einfache,/ Das Schwer zu machen ist” 1 : paradise. That is abstract. Literally. For me it is not about a concrete imagination, an idyll or utopia. There is no doubt a need for that, but it is not so much the supposed lack of imagination or ideals (human rights are ideals), but a fundamental lack of desire (human rights are no desires) that we suffer from, and from which we do not need to remove Nietzsche’s label of “nihilism.” “We.” George Oppen: “ Of Being Numerous asks the question whether or not we can deal with humanity as something which actually exists.” What is less actual than humanity? Nowadays it appears as a lifeless ideology of cynical power politics. Or as what makes one think. It is a shame to be human. The event is the caesura that defines rhythm. Writing toward the event is not the description of the event, but marking an abstract and intense space in which the event may unfold and keep itself. It is a task. “Remember that thou blesseth the day on which I seized thee, because such is thy obligation.” The event is a contraction (or a series of contractions) with its own rhythm and unique qualities. It is more than an explosion or demonstration. But at the same time less. The endless repetition of images and stories in the media points to a fear for the indeterminate and indeterminable void of the event. In the end there is nothing to see. We do not live in disaster’s shade or miracle’s light, but rather in the rhythm, which is contracted time, having little to do with omnipresent representations. For this book I did not intend a rhythm of evental representations (a narrative rhythm), but a rhythm which would be an event itself , because it draws the border between artwork and history. My desire for a direct engagement with the “extra-textual reality” has nothing to do with the representation of “rumor in the streets.” (What has less street cred than representation?) Naturally, a poem is no historical event and does not change anything. But a poem is a part of history that wants to be repeated forever, constructed in such a way that it is worthy of repetition. It is a part of desire (composition) made consistent (durable). The “historical event” flares up and burns down, and has to burn down to be effective. The leftovers are images and stories (representations), History—no event. The artwork—that is the ambition— remains event (though monumental and inefficient/inoperable). (No wonder that a historical singularity, a revolution, reminds us of a work of art; the resurrection yearns for a judgment, an affirmation; everything depends on it.) Hence the title does not summarize the book, let alone contract its “content” into a quasi-transcendental signifier. The title is juxtaposed to the book, like everything else inside the book, and in that relation it precisely forms a part of it. The ideal work is an open whole, lacking nothing but to which everything may be added. I have been interested in this “everything,” the world, or as I said above: capitalism. “Everything” is not the space for “wonder”—a code word, a shibboleth for petty bourgeois imagination (I recognize myself in the strangest things, a speaking dog, a canal, a pond standing straight—oh my god). No. The world is a social world, not YOUR world, poet. Power is number one. I will call “Dutch,” or “shitty,” whatever denies this power. That hurts, but this pain is an expression of the desire in the world to write another world, or as Blanchot says, “the other of all worlds” 2 : the world. Not as what “is there,” but rather as that which urges for an escape from what “is.” This is a testament of how radical reality has become, for me—or rather, a writing body—in a having-been-written. I am not interested in the problem of “meaning” as misunderstood by literary scholarsi: “order” in “chaos,” “symbolization.” Bullshit. What is there, hop, hope, now: the meaning of the taste in my mouth. Bullshit. I am not interested in the frustration of interpretation; I am writing for readers who do not want to interpret. I do not know how many “professional readers” will hear the music of a paragraph like: Sun. Sushi. Volvo. I hope more than I would think. There is a suggestion (or rather, an actual production) of speed and infinitive owing to the absence of plosives, i.e. articulations such as /k/, /t/, or /p/. Can you hear the slick suaveness? Driving car dark, vocal chiaroscuro of the word “sushi.” The unstressed /i/ stands in the middle of dark vowels and thus acquires its own special out of focus , like a momentary flash or brilliance—an obscure light. It is not about recognizing a story, but about avoiding any story whatsoever: the car disappears in the glow, cars and raw fish have nothing in common except their articulation in a language that brings them together, blurring them. A world appears in its disappearance. For a moment, light is a metaphor for language, though it cannot be reduced to tenor. It is not necessary to be a linguist or philosopher to hear this—a “difficult” poem all too often becomes an allegory of its own impenetrable being-language. The only demand: leave your hermeneutical fetish at home. This was no interpretation. Most shit has been stolen etcetera. That is no longer interesting. You cannot shoot the body with information and let your lawyers reclaim the bullets. So every sentence has been stolen. Also the ones “out” “of” “my” “head.” Why would I be allowed to steal from myself and not from others? Man takes what he needs to move forward. Whatever he encounters, finds in front of him, “occurs” to him. The writer as text editor, or singing pirate. Nothing new here. Important difference with for example Sybren Polet’s 4 montage technique: anti-thematicism. Most of the time ferocious citation from whatever I was reading, listening to, ended up in, and so on. I wrote chapter 12 on my laptop while watching CNN. On the air instead of en plein air . I often employed search engines to generate material. Chapter 20 offers the purest example of this. Often I stop recognizing a particular citation after some time. It is not uncommon for a stolen sentence to conform itself to the paragraph in which it finds itself. Sometimes I nearly arbitrarily replace words. Arbitrariness as a guarantee for absolute democracy. It is a poetics of the non sequitur : a conclusion that does not follow from the premises, the strange element in the discourse. A discourse of strangers. No logical, narrative, thematic unity. There is unity in speed/flight. It has to be read linearly, but not necessarily (not preferably) from beginning to end. The shortest distance between two points is a straight line, but this line precedes every point. The middle, the acceleration, comes first. A point occurs where two lines cross. It has been written from up close, at the level of the tension between sentences. Nothing to be seen from a distance: no form except the exchange of form, no geometrical or mythical meaning. You have to get in, “groping toward a continuous present, a using everything a beginning again and again” (Stein). 5 In Dutch, experimental poetry has been mainly dense: a small rectangular form filled with a maximum amount of poetic possibility. But at the moment the poem starts to relax, the anecdotical content seems to increase. This is what is called “epic”: long, narrative. I believe that an epic is more than that, in fact something completely different. An epic is “a poem including history,” 6 a long poem tied up with the life of community, that as a whole does not need to be narrative. The American poets of the twentieth century (Pound, Williams, Zukofsky, Oppen, Olson, Silliman) have put the epic back on the map by interpreting the poem itself as a map, and writing it as navigation. They have invented the experimental epic, a genre that has generated little original following in “our” poetry. N30 is the middle part—“always start in the middle”—of a trilogy, the contours of which remain as of yet unclear, although each episode investigates one of the three “ecstasies of time”—past, present, future—concerning society X. N30 concerns itself with the PRESENT: not with the description of actual facts but of the rhythm and the intense depth in which facts appear to us. Where are we? We are camping in the desert. Sometimes we are looking at the stars. As opposed to maximum density and minimal tension (a characteristic of most (post-)experimental lyricism), I have sought a minimal density and maximum tension in this book, considered as a long non-narrative prose poem. On the one hand, the minimal density is obtained by the inherent formlessness of prose, on the other hand by the conscious refusal of any active (formal, non-rhythmic) synthesis: the poem tells nothing, shows nothing, has no theme. I did not seek maximum tension either by loading the quotidian with epiphanic radioactivity (“wonder,” confirmation from above), or by means of the intensity of the linguistic structure. I want an abstract tension, but social in its abstraction, in other words, not neutralized by and subjected to Form. Instead of form (transcendent): composition (immanent). The concept is series. Ideal: every unit is necessary for the efficacy of the others and the whole, their relation is purely linear, i.e. non-hierarchic, non-syllogistic, non-discursive, non-narrative. Sentence related to sentence like paragraph to paragraph and chapter to chapter; the whole means nothing and represents nothing. Inside the sentence: syntax (Chomsky’s tree, a type of parallel circuit), outside: parataxis (coordination, an asyntactic line through language and world). I consider duration—the energy of duration (rhythm)—to be the fundament of a poem, the temporal inclination to delimit a “space.” Being as consistency, its consistency. A spatial part of time is not merely a metaphor for an inevitable trajectory, an inescapable time, something like “our time.” Not merely—because rhythm comes from language and is not projected onto it; the poem derives from the world like a scent and a color and a life from a flower. A series, a sequence: nothing potential, but truly infinite—the movement of an infinitude. The infinite series = everything minus totality. That means that there is no container—no Form, no Self, no Image, no Structure, not even a Fragment—just “the prose of the world.” No representation, but also no staging of the impossibility of representation (the postmodern sublime). These are no fragments, no image of a fragmented world or personality, no cautious incantations around the Void. It does not exist. It is a movement. Buying bread, a flock of birds, a bomb falling—they do not depict or represent anything, not literally, not metaphorically. There is an Idea, which is however nothing more than a rhythm, in the same way that capitalism is nothing more than a pure function. Parataxis: the white space between two sentences stresses, which is nevertheless always there, also between words, even between letters: the out of focus of idle talk, the gutter, the irreducible Mallarméan mist which renders even the seemingly most transparent text legible. The white space suggests a neutral medium for free signification, a substance of language. A non sequitur is an element from a foreign discourse, which stresses the white space as space, and problematizes freedom for supra-sentential signification. I start by withdrawing material, leaving the initiative to the sentences. In general a word presupposes less often a discourse than a sentence. What discourse is presupposed by “dog”? We could think of several, but why would we? It is more probable that, when faced with the naked word, we think of its naked (dictionary) meaning, of its denotative signified. By means of two simple interventions we may also write the word as sentence: Dog. In no way this suggests the discourse from which this sentence originates, but in any case we’re presupposing one. This is shown by questions like: “Whose dog? Who’s a dog? What kind of dog?” Etc. (Sentences are question marks.) A sentence implies/is a microcosm—a subject, a verb, an object, and so on. Even an incomplete or ungrammatical sentence does so. My main fascination while writing this book is the worldly and social aspect of language, an aspect that often becomes invisible, or rather, transparent in narrativity—the stretching of sentences into stories. Narrativity organizes a new discourse and a new world, and places a sometimes all too dispersing relation of transparence in between. The conventional novel is the brothel of being. I do not intend to prohibit brothels, and I have certainly not intended to write an anti-novel (THIS IS A POEM), but I do consider narrativity (in general, in poetry, in the news, in daily life) to be ontologically secondary with regard to an immediate being in the world through sentences, also if the latter have been withdrawn from a narrative or otherwise externally structured discourse (which in that case would therefore be chronologically primary ). Naturally, two or more sentences are always in danger of telling stories or arguing, just like the world is always in danger of becoming an objective representation, facing us, strangers. That is why need to wage war—against representation and against the interface, against interaction. AGAINST THE “READER.” To the extent that a sentence is worldly, writing is a condensed global war, and in so far as there is ultimately only one world and one open continuum of languages, it is a global civil war. Nice subject for an epic. The elaboration of a singular problem—prose as the outside of poetry, the form of the novel as purely prosodic composition scheme—“expresses” the universal problem: capitalism as Idea of the world vs. poetry as language of an (im)possible community. The paragraphs are blocks of rhythmically contracted social material. By choosing the sentence as the basic compositional component, an abstract whole may contain social sounds, without telling a story or showing an image. Composition is subrepresentative —a rhythmic, passive synthesis, or rather: a synthesis of syntheses. I never write large blocks of prose in one sitting, because there is no obvious organizational vector —plot, theme, conscience—outside the inherent qualities of the material itself. Usually I write down one sentence, sometimes two, but rarely more than three. Those sentences are usually placed in the text which I am editing at the time. In fact, there is no original composition, new chapters split off from chapters which became too long during the editing process. (Revision mainly consists of adding and inserting, displacing and dividing; only during the last phase, when the text has gained enough consistency, there may be subtraction to tighten the composition; each chapter requires a season of daily revision). This constant revision, accompanied by a continuous influx of collective background noise (to speak with Van Bastelaere), 7 makes every chapter a block condensed (“historical” and “personal”) time. The block itself is a-personal and a-historic; it is ontologically autonomous. If there is such a thing as a spirit of the times, I do not try to offer an image of it, but rather to cancel something of it by erecting a monument of its own excrement within its own boundaries. Tuning and dis-tuning , “in de taal der neerslachtigen een eigen geluid doen klinken,” 8 in other words, desiring in an Elysian way. In this sense I have intended to be able to write a political poetry. The ultimate political poem is the epic, “the tale of the tribe.” I consider N30 to be a prolegomenon to a future epic (of which it in the end will form a part a structural moment, as introduction-in-the-middle), an extended pile on top of an epic as narrative, a question of the tribe and question of its history. I was burdened by too much satire, too much bullshit. But: satire willy-nilly = the only justifiable satire. Against the abstract universalism of the market (“globalism”): concrete disgust, a positive way of saying “No.” Moreover, disgust is a specifically total attitude, which ultimately concerns the world as a whole. I hate this or that, but I am disgusted by EVERYTHING (when I am disgusted), and so it appears that satire is in fact related to the epic, in so far as it concerns society, the cosmos, history. Maybe it is no coincidence that the Dutch literary canon knows no great poet of disgust; what could be more fearful to us than society, the cosmos, and history? The T-tendency (T from Tollens 9 ) clearly points into the direction of the small, friendly, ironic, melancholic, acquiescent, wondrous, and so on. The anti-political, anti-cosmic, anti-historical. (Why am I so philosophical? To scare away the Dutchies.) And most of all: the “poetical” (the pseudo-mysticism from the backyard). Yes, the N in N30 also stands for the Netherlands (just like 30 indicates the number of chapters). I was not in Seattle, I do not live in Iraq. But is not the whole world bleeding to death on Dutch paving stones? Let’s hope that we mowed away something with this total satire, also “in myself.” The arrogant stupidity that definitely thinks to know the essence of freedom (the free development of esthetic needs inside the void), that cannot take anything serious, only believes in the disciplined bestiality of the individual (“norms and values”) and the mere functioning of a social factory which finds no justification whatsoever outside its functioning (“get to work”)… Who knows. A certain aimed destruction leaves grooves and craters, mapping out a next adventure. Pound’s periplum : sailing while mapping the coasts. Immanent orientation. The terrain changes with the map, history changes with the poem. Maps never merely organize the chaos, transcendent schemes imposed on a formless Ding-an-sich . They organize from within, surfing. But they are most of all routes back into the chaos or forward to paradise (final identity of chaos and paradise; Schlegel: “ Nur diejenige Verworrenheit ist ein Chaos aus der eine Welt entspringen kann ”10). A poem is not only a piece of history, it is also a flight from history. Maps give chaos to the form of reality , open escape routes, break through representations, make us shivery and dazed. Paradise is immanent to a fleeting desire. History is the history of labor—this is Adam’s curse—and the poet works too: For to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, school masters, and clergymen The martyrs call the world 11 But: the poet works in paradise. The paradox of the artwork, the work that is no work, the piece of history that cannot be reduced to History—this is explained by The Space of Literature , a virtual space, an autonomous rhythm, not outside, but in the midst of the noise, a piece of paradise in hell, a postcard from the vale of tears addressed to paradise, to X. Political poetry means: a poetry that dares to think about itself, about its language and about its world and about the problematic relation between both, which is this relation as problem. A poetry that thinks at all, articulates its problem. It has nothing to do with journalism or morality or debate, let alone the law or the state. It has nothing to do with “criticism” if this means the replacement of incorrect representations by other, more correct representations. It has something to do with ethics in the sense of learning to live. It has something to do with the community and the language of the community (whichever that may be) and the role of the poet regarding the community. It concerns justice without judgement or measure. In the end the just word is just a word , to paraphrase Godard: it is from a future that is unimaginable. It Is no rational engagement, but an aversion against everything that obstructs life, and love for everything what is worthy of having been loved. The world is engaged with me, not the other way round. First Exodus, then Sinai. A desire does not start with an agenda. To answer the question whether I am really so naive as to want to change the world: “We only want the world.” Justice is the world appealing to us to liberate it from all possible chains, from each organization and inequality, to be it, smooth, equal, under a clear sky—a desert and a people in a desert. That moment between Egypt and the Law. It is not a revolution, but the sky above the revolution. Poetry = the science of escape. There is no art that we already know. The weakness of modernistic epic poetry seems to me to be the unwillingness to completely abandon narrative as a structural principle, in favor of a composition “around” or from an event. The China Cantos and Adams Cantos are the low point, and the Pisan Cantos the high point of Pound’s poetry. Two types of research: archival representation of the past vs. ontology of the present (which virtually presupposes the entire history). Presupposing an event means that it is impossible for the poet to stage his own absence, but in no way makes the work personal. An event is the unknown, the new invading into the business as usual, so also the personal. The question heading this research is not: “Who am I?” but “What is happening?” The book is as little illegible as Mondrian’s work is invisible. Form is of interest only to the extent that it empowers liberation. Ron Silliman So no formalism, but what it means to live in this world and to have a future in it. I want something that holds together that’s not smooth. Bruce Andrews The past above, the future below and the present pouring down: the roar, the roar of the present, a speech— William Carlos Williams If my confreres wanted to write a work with all history in its maw, I wished, from the beginning to start all over again, attempting to know nothing but a will to create, and matter at hand. Ronald Johnson NOTES 1) “The easy thing/ that is difficult to make.” Bertold Brecht, Lob des Kommunismus . (All footnotes are the translator’s) 2) Maurice Blanchot, The Space of Literature , trans. Ann Smock. Lincoln/London: University of Nebraska Press (1989), 75. 3) Mettes uses the word “Neerlandicus,” which refers to scholars of Dutch language and literature. 4) Dutch poet. 5) Gertrude Stein. “Composition as Explanation.” A Stein Reader . Ed. Ulla E. Dydo. Evanston, IL: Northwestern University Press (1993), 495-503. 6) Ezra Pound. 7) Flemish poet. 8) “Resounding an original sound in the language of the despondent.” A. Roland Holst, De afspraak . 9) Dutch poet. 10) “Only such a confusion is a chaos which can give rise to a world.” 11) W.B. Yeats, “Adam’s Curse.&rdquo. (shrink)

This article explores Triphiodorus’ use of Cassandra in his brief epic Sack of Troy. An examination of the placing of the prophetess within the poem's plot and a comparison with previous literary attestations demonstrate that Triphiodorus makes extended use of the previously supplementary character. The reader is particularly invited to read Cassandra against the Cassandras of Euripides’ Trojan Women and Quintus Smyrnaeus’ Posthomerica, thus identifying ties with both epic and tragedy. Cassandra's speech alludes to the proem of the epic. At (...) the same time, Cassandra's prophecy constitutes the key for understanding the connection between imagery deployed prior and subsequent to her presence, thus ensuring the thematic congruity of the poem. Triphiodorus’ Cassandra constitutes a doublet of the poet, depicted as imitating his poetic voice and effectively summarizing the entire epic in her speech; entwined in Triphiodorus’ poetic agenda, she also becomes its intradiegetic mouthpiece. (shrink)

Two main goals of the emerging field of neurocognitive poetics are the use of more natural and ecologically valid stimuli, tasks and contexts and providing methods and models allowing to quantify distinctive features of verbal materials used in such tasks and contexts and their effects on readers responses. A natural key element of poetic language, metaphor, still is understudied insofar as relatively little empirical research looked at literary or poetic metaphors. An exception is Katz et al.’s corpus (...) of 204 literary metaphors by authors such as Shakespeare or Dylan Thomas, for which various rating data are available. We reanalyzed their corpus using a combination of quantitative narrative analysis, latent semantic analysis, and machine learning in order to identify relevant features of the metaphors that influenced the ratings. The combined application of computational tools sheds light on surface and affective-semantic features that co-determine the reception of poetic metaphors and successfully predicted the period of origin, authorship and goodness ratings of the metaphors. The present results can be used for generating quantitative hypotheses or selecting and matching verbal stimuli in empirical studies of literature and neurocognitive poetics. (shrink)

Digital media presents an array of interesting challenges adapting new modes of collaborative, online communication to traditional writing and literary practices at the practical and theoretical levels. For centuries, popular concepts of the modern author, regardless of genre, have emphasized writing as a solo exercise in human communication, while the act of reading remains associated with solitude and individual privacy. "The Community and the Algorithm: A Digital Interactive Poetics" explores important cultural changes in these relationships thanks to the rapid development (...) of digital internet technologies allowing near-instantaneous, synchronous, multimedia interaction across the globe. The radical shift in how we author and consume media as an online, electronic transmission effectively resituates the writing process across the liberal arts as less a solitary act of individual enquiry and reflection, and more an ongoing, collaborative process of creative interaction within a multimedia environment or network. Contributions in this anthology demonstrate a robust history and equally diverse contemporary approach to multimedia interaction for literary and artistic ends. Central to all media formats, computation is explored throughout this volume to critically examine how algorithmic procedures in writing help bring forward many key concepts to building creative communities in a digital environment. Each chapter in this book accordingly introduces readers to various new collaborative experiments using a broad range of different digital media formats, including VR, Natural Language Generation (NLG), and metagaming tools. This book will appeal broadly to students, instructors, and independent artists working in the digital arts, while its emphasis on social interactivity will interest theorists and teachers working in theatre, social media, and cyberpsychology. Its secondary focus on computation and media programming as a site of artistic experimentation will also interest programmers and web designers at various professional levels. (shrink)

Literature finds the best expression when literary aesthetics and philosophy run side by side. The former offers the external charm, while the latter inculcates the more profound implication with the aim of providing it with a superior stature and permanence. Jayadeva’s Gitagovindam, being a colossal work in the field of Vaishnava literature, does contain the brilliant juxtaposition of both. This article attempts to show how Jayadeva’s Gitagovindam, a colossal work in the field of Vaishnava literature, does contain the brilliant juxtaposition (...) of both. On the one hand, like a typical lyrical poem, its melodic nature does have a soothing effect and on the other, the use of philosophy instils in it a greater depth and seriousness to uplift itself as a book of devotion and religious inspiration. Moreover, the importance of this Holy Scripture lies in the fact that it not only played a significant role in paving the way to form a new sect in the Vaishnava religion, known as ‘Gaudiya Vaishnavism’, but also showed the later Vaishnava lyricists the art of portraying in words the amorous love of Lord Krishna and Radha with compassion and tears. (shrink)

In the course of the twentieth century natural sciences became an integral part not only of the industrial production but also of the semiotics of audio-visual and literary cultures. In the absence of legitimating traditions the techno-scientific models and relations appear to be a readily available habitual source of creative dynamics. Yet this domination contains a paradox. The application of analogy in, for example, visual culture does not work the same way as in mathematics. In the latter when a relation (...) between two points is known it is always possible to assign to a third point its counterpart exactly. In the former it is only the potentiality of the fourth point that analogy can offer. To make the analogy work an onto-poetic step is needed. Repeated applications of such steps detach the model from the original source. The model re-emerges as pata-physics, in its new re-coded art form and territory of application. Models of, for example, atoms, rainbows, meteors, automatons, radiation, entropy, quantum effects, astro-catastrophic singularity, fractals, etc. find their way into literature and arts. This results in new divisions of space and time that in turn determine the shape of archetypal icons through which contemporary meanings are communicated and actualized. (shrink)

_With Nature_ provides new ways to think about our relationship with nature in today’s technologically mediated culture. Warwick Mules makes original connections with German critical philosophy and French poststructuralism in order to examine the effects of technology on our interactions with the natural world. In so doing, the author proposes a new way of thinking about the eco-self in terms of a careful sharing of the world with both human and non human beings. _With Nature_ ultimately argues for a (...) poetics of everyday life that affirms the place of the human-nature relation as a creative and productive site for ecological self-renewal and redirection. (shrink)

An original study of late Enlightenment aesthetics, poetics, and environmental medicine as overlapping ways of comprehending the dislocations of historical existence lodged in the movements of bodies and minds This book studies later eighteenth-century medicine, aesthetics, and poetics as overlapping forms of knowledge increasingly concerned about the relationship between the geographical movements of persons displaced from home and the physiological or nervous "motions" within their bodies and minds. Looking beyond familiar narratives about medicine and art's shared therapeutic and harmonizing ideals, (...) this book explores Enlightenment and Romantic-era aesthetics and poetics in relation to a central but less well known area of eighteenth-century environmental medicine: pathology. No mere system of diagnosis or classification, philosophical pathology was an art of interpretation, offering sophisticated ways of reading the multiple conditions and causes of disease, however absent from perception, in their palpable, embodied effects. For medical, anthropological, environmental, and literary authors alike, it helped to locate the dislocations of modern mobility when a full view of their causes and conditions remained imperfectly understood or still unfolding. Goodman traces the surprising afterlife of the period's exemplary but unexplained pathology of motion, medical nostalgia, within aesthetic theory and poetics, arguing that nostalgia persisted there not as a named condition but as a set of formal principles and practices, perturbing claims about the harmony, freedom, and free play of the mind. (shrink)

This article examines a school district conference panel discussion to illustrate how `culture' is interactionally emergent and how `identity' is performatively achieved through struggles to position the self and other in socially meaningful ways. Analyzing an interaction between a panel of Asian American teens and an audience of teachers, advisors and administrators, the author traces how the term `culture' emerges as two constructs: `culture as historical transmission' and `culture as emblem of ethnic differentiation'. This is accomplished, in part, through emergent (...) poetic and indexical patterning which shape categories and trajectories of personae to which speech event participants are recruited. It is argued that these two schemas of culture are not merely static essences, but dynamically linked to distinct participation frameworks which achieve particular performative effects. These schemas, which are brought into circulation, reveal how metalevel constructs, such as `identity politics' and `multiculturalism', are played out rather vividly in microlevel interaction. (shrink)

The vast majority of studies on affective processes in reading focus on single words. The most robust finding is a processing advantage for positively valenced words, which has been replicated in the rare studies investigating effects of affective features of words during sentence or story comprehension. Here we were interested in how the different valences of words in a sentence influence its processing and supralexical affective evaluation. Using a sentence verification task we investigated how comprehension of simple declarative sentences (...) containing a noun and an adjective depends on the valences of both words. The results are in line with the assumed general processing advantage for positive words. We also observed a clear interaction effect, as can be expected from the affective priming literature: sentences with emotionally congruent words (e.g., The grandpa is clever) were verified faster than sentences containing emotionally incongruent words (e.g., The grandpa is lonely). The priming effect was most prominent for sentences with positive words suggesting that both, early processing as well as later meaning integration and situation model construction, is modulated by affective processing. In a second rating task we investigated how the emotion potential of supralexical units depends on word valence. The simplest hypothesis predicts that the supralexical affective structure is a linear combination of the valences of the nouns and adjectives (Bestgen, 1994 ). Overall, our results do not support this: The observed clear interaction effect on ratings indicate that especially negative adjectives dominated supralexical evaluation, i.e., a sort of negativity bias in sentence evaluation. Future models of sentence processing thus should take interactive affective effects into account. (shrink)

ArgumentWhen Copernicus pointed out that the apparent movement of the sun was in fact the effect of the rotation of the earth, he explained his view by referring to a passage in Virgil's Aeneid. Thus he established the link between science and literature. This topic recurred frequently in both science and literature whenever the question of the relativity of motion arose. In this article, I will focus above all on two authors who took up this question: Ernst Mach and Hugo (...) von Hofmannsthal. Moreover I will try to show the different roles of scientific and literary prose in the works of Mach and in Hofmannsthal's Das Glück am Weg. (shrink)

본고의 목표는 『시학』의 비극 정의에서 정의항의 두 부분, 즉 ‘완결성’과 ‘감정 효과’에 초점을 맞춰, “극 바깥(exō tou dramatos)”이 이 둘과 직결되는 용어임을 밝히는 것이다. 이를 위해 본고는 다음의 순서를 취한다. 먼저 “극 바깥”이란 배우의 간략한 말을 통해 관객에게 전달될 뿐 현재형의 행동으로 연출되지는 않는 과거사나 미래사가 놓이는 곳으로서, 표현은 공간이지만 실제 의미는 시간에 관련됨을 서술한다. 다음으로, “묶기”란 주인공의 운의 전환에 필요한 사건들을 설계하는 작업인데, 여기서 비중 있게 사용되는 것은 극 안의 현재사보다는 극 바깥의 과거사임을 보인다. 마지막으로, 비극 정의에 언급된 ‘행위의 (...) 완결성’은 ‘극의 통일성’을 뜻함을 설명하고, 극이 통일성을 갖추게 하기 위해서는 ‘플롯의 통일성’부터 마련해야 함을 짚은 후, 다음을 보인다. 첫째, 극 바깥의 과거사는 극 안의 현재사가 일어날 만한 이유를 제공하여 사건들을 인과적으로 밀착시켜 주기 때문에 통일적 플롯 구성에 필요하고, 특히 알아보기가 포함된 플롯 제작에서는 그 적극적 사용이 필수적이다. 둘째, 극 바깥의 과거사는 관객에게 인과적 정보를 제공하긴 하지만 이 정보를 덜 생생하고 덜 상세하게 제공하여 관객 인지 상태의 명료한 정도를 낮추기 때문에, 극 안의 중대 사건의 예기치 않은 발생을 준비하는 데 효과적이고, 특정 과거사의 불합리한 요소가 관객의 의식에 포착되지 않도록 감추는 데에도 활용될 수 있다. 이상의 논의를 통해 본고는 “극 바깥”이 플롯의 통일성 마련에 필요하다는 점에서 ‘완결성’과 직결되고, 놀라움의 규모 확대에 기여한다는 점에서 ‘감정 효과’와 직결됨을 밝히고자 한다. (shrink)

If the words of natural human language possess a universal positivity bias, as assumed by Boucher and Osgood’s (1969) famous Pollyanna hypothesis and computationally confirmed for large text corpora in several languages (Dodds et al., 2015), then children and youth literature (CYL) should also show a Pollyanna effect. Here we tested this prediction applying a vector space model- based sentiment analysis tool called SentiArt (Jacobs, 2019) to two CYL corpora, one in English (372 books) and one in German (500 books). (...) Pitching our analysis at the sentence level, and assessing semantic as well as lexico-grammatical information, bBoth corpora show the Pollyanna effect and thus add further evidence to the universality hypothesis. The results of our multivariate sentiment analyses provide interesting testable predictions for future scientific studies of literature. (shrink)