In 2009 the Roundtable on Sustainable Palm Oil established a conflict resolution mechanism to help rural communities address their grievances against palm oil companies that are RSPO members. This article presents the broadest ever comprehensive assessment of the use and effectiveness of the RSPO conflict resolution mechanism, providing both overviews and in-depth analysis. Our central question is: to what extent does the RSPO conflict resolution mechanism offer an accessible, fair and effective tool for communities in Indonesia to resolve conflicts with (...) companies? Our aim is not only to provide a ‘reality check’ of this mechanism but also to contribute to the wider debate on how communities can seek access to justice when engaged in intractable conflicts with palm oil companies. For data collection, we took three steps. First, we used our own database of 150 conflicts between communities and companies in Indonesia. We identified 64 conflicts that involved RSPO member companies, of which 17 prompted communities to convey their grievances to the RSPO’s conflict resolution mechanism. Second, we used the database of the RSPO, which handled 85 complaints against companies in Indonesia in the period 2009–2020. Third, we conducted fieldwork, in total, about 6 months of fieldwork and extensive interviews on three conflicts involving RSPO companies to identify mechanisms leading to both failed and successful instances of conflict resolution. For our assessment, we used three criteria to assess the conflict resolution mechanism of the RSPO: accessibility, procedural justice, and the outcomes of the process. We conclude that—on all counts—the conflict resolution mechanism is biased in favor of companies. The result of these biases is that the actual capacity of the RSPO’s mechanism to provide a meaningful remedy for rural communities’ grievances remains very limited. This unequal access to justice sustains conflicts between companies and communities over land. (shrink)

Hastings Center Report, Volume 52, Issue S1, Page S18-S21, March‐April 2022.

Fabi and Goldberg raised important considerations regarding both research and funding priorities in the field of bioethics and, in particular, the field’s misalignment with social justice. W...

We have become estranged from the cosmic movements, according to Bataille. We are confined by the error linked to the representation of ‘the stationary earth’. We have negated the immersive immanence of the whole and made nature into a fixed world of tools and things. How then do we recognise ourselves as part of the ‘rapture of the heavens’? Bataille urges us to consider life as a solar phenomenon, the free play of solar energy on the earth. This paper argues (...) how Bataille’s cosmic vision anticipates both planetary and ecological thinking. This entails a base materialism of difference based on a radical Nietzschean and Heraclitean theory of becoming and flux. This thought is developed along Bataillean concepts such as the movement of the whole, the labyrinthine, and compound beings, ipseity, as well as the concept of a communifying movement. This materialism paired with Vladimir Vernadsky’s biosphere lays the foundation for the laws of the general economy, which also constitutes an economy inclusive of a general ecology: a tragic vision of Gaia and Dionysos. Finally, poetry is considered, as a way we might reconnect with the universe and stimulate ecological imagination. (shrink)

This paper finds its origin in a debate between Georges Bataille (1897-1962) and Octavio Paz (1914-1998) on what is central to the idea of eroticism. Bataille posits that violence and transgression are fundamental to eroticism, and without prohibition, eroticism would cease to exist. Paz, however, views violence and transgression as merely intersecting with, rather than being intrinsic to, eroticism. Paz places focus on imagination, and transforms eroticism from a transgressive, to a ritualistic act. Eroticism thus functions as an intermediary, turning (...) animal sexuality into ceremony and rite. In this paper, I argue that Paz and Bataille are not fundamentally at odds in their conceptualisation of eroticism. Instead, Paz redefines the locus of eroticism by subverting its unsettling aspects. His conception of eroticism gives precedence to the imagination, which in itself is an act of violation. Imagination transgresses normal life, but this transgression – the violation of the habitual world – also introduces a glimpse of the numinous that Paz associates with belongingness. The paper further explores eroticism, as this is perceived today, and argues that it ultimately eliminates the threshold marked by transgression. The rise of the contemporary pornographic society is marked by a loss of imagination and transcendence, which ultimately reduces the subject into a mere automaton that demands instant gratification. (shrink)

Intense debates about who will lead the Muslims after the death of the Prophet Muḥammad (PBUH) occurred among the Aṣḥāb (companions of the Prophet Muhammad). A group of Aṣḥāb claimed that the caliphate was the right of Ḥaḍrat ʿAlī and his descendants. This movement, which emerged as political advocacy supporting Ḥaḍrat ʿAlī (d. 40/661) and his children, took on a sectarian identity called Shīʿa by time, was divided into groups, and then spread to different places in the Islamic World. One (...) of these groups is the Ismāʿīliyya which took its name from Ismāʿīl b. Ḏj̲aʿfar al-Ṣādiḳ (d. 138/755). Ismāʿīliyya had believed that the Umayyads and the ʿAbbāsids usurped the right of Ḥaḍrat ʿAlī and his descendants; therefore, they struggled against these dynasties secretly under the leadership of ʿUbayd Allāh al-Mahdī (d. 322/934) and by means of callers. After establishing their first state Fāṭimids in the North Africa with the Berbers, the Ismāʿīlīs carried out their activities openly and seized a region from Barqa to the Atlantic Ocean. The Fāṭimid State based on sectarianism aimed to follow the Shīʿa belief rather than controlling an area since its establishment. In this respect, the Fāṭimids, who differed from the ʿAbbāsid and Umayyad states, made great efforts to capture Egypt and Andalus by increasing their propagandas through callers (dāī) from the end of the third century. Because of this effort and successful policy of al-Muʿizz li-Din Allah the third, they conquered Egypt. The callers played a key role in the Egypt. As the Sunni-Maliki sect had taken root in Andalusia, Ismāʿīlīs could not achieve the same success, and a limited number of people embraced their doctrine. However, they managed to direct some famous intellectual and literary men to their side. Undoubtedly, one of the most important achievements was Ibn Hāniʾ al-Andalusi (d. 362/973). Ibn Hāniʾ, who had to leave Andalusia, as he was a Shiite, went to Maghrib and came under the patronage of the governors of Masila, which depended on Fāṭimid. His poems about governors spread his fame and made him known until al-Qayrawan, the capital of Fāṭimid. One of the methods used by many of the caliphs and amīrs (ruler) to consolidate their rule within the borders of the state and to spread their influence abroad since the Jahiliyya (pre-Islamic period) is that they included poets who praised themselves and the state policies, in other words, made their advertisements in the palace. Ibn Hāniʾ was one of the poets Caliph Muʿizz invited to his palace in al-Mansuriyya as soon as he heard of the poet’s fame. Ibn Hāniʾ came to the presence of Caliph in 350/962 and named as al-Mutanabbī of Maghreb as he became famous than poets such as Abu'l-Qasim al-Fazari and ʿAlī b. Muḥammad al-Iyadi. In time, Ibn Hāniʾ who became one of the sincerest friends of Muʿizz, used all his creative potential to defend the Caliph and deliver the views of Ismāʿīliyya in return for the value and generosity he received from the Caliph. Thus, the poet, who became the most powerful defender and propagandist of the Fāṭimids who pursued an expansionist policy in the East and the West, introduced an innovation to his style of praise contrary to his classical style. Accordingly, he gained great reputation thanks to his poems that praised the Fāṭimid Imāms, especially Muʿizz using expressions attributing him superhuman properties. Naturally, the successful politics followed by Muizz and the doctrine and terms of the Shiite-Ismāʿīliyya party, which the poet advocated, had a distinct reflection on his odes. Moreover, the issue of Ahl al-Bayt (the family of the Prophet Muḥammad) and injustices they suffered, affected the poet’s feelings deeply, and he did not hesitated to express these injustices in his poems without worrying about any danger. These odes reported to be the first written documents including information about the Fāṭimid creed and the traits, which Fāṭimid Imāms were supposed to have, are important resources for researchers. Fāṭimids believed that the imām was innocent, knew everything, and he would intercede his friends on Judgment Day. They even saw him as superhuman and attributed holiness and glory to him that would make him the spirit of God. Furthermore, they regarded that the imām was the reason of life. Similar themes were very common in Ibn Hāniʾ’s poetry. His poems went beyond the borders of the states in the North Africa, spread to a large region extending from Andalusia to Baghdad, and provided recognition of the doctrine of Ismāʿīliyya. This study consists of an introduction and two parts. The introduction part includes brief information about the history of the Shīʿa-Ismāʿīliyya and Ibn Hāniʾ’s life and poetry. The other parts discuss reflections of the Shīʿa-Ismāʿīliyya belief in the poet’s odes and analyses of these poems. Finally, poems having historical and political value related to Karbala, which has profound effects on Shiite literature, are analyzed. (shrink)

In this article, I build on my recent conceptions of law as poetry and of justice as dance by articulating three new conceptions of the relationship between law and justice. In the first, “poetry-based justice”, justice consists of a rigid choreography to a kind of musical recitation of the law’s poetry. In the second, “dancing-based law”, justice consists of spontaneous, freely improvised movement patterns that the poetry of the law tries to capture in a kind of (...) musical notation. And in the third, “reciprocal-legal justice”, justice and law consist of a reciprocally determining artistic collaboration between the democratic dancing masses and the aristocratic poetising elites. Given that each of these predominates in one of three types of community, I then present a reclassification of right-leaning, centrist and leftist societies as dominated by “literalist”, “kinetic” and “mutualist” communities (respectively), and offer suggestions for legislators and activists working in each type. In conclusion, law and justice, qua poetry and dance, become more flexible, inclusive and open to creative improvising and collaboration, a new form that I name, after Astraea, Greek goddess of divine justice, “astral legal justice”. (shrink)

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

In Poetics chapter 9, Aristotle famously claims that poetry is more philosophical than history. What does this mean? I argue that he is talking about the metaphysics of events. Poets seek causal coherence among the events in their stories. Historians must report what happened whether or not the events of history exhibit causal coherence. This makes the poet's job more philosophical than the historian's, for the poet is seeking a unified plot -- an action-type -- that serves as the (...) backbone of the story he is trying to tell. The poet's final script is a token of an Aristotelian universal, the universal being an action-type that could have been fleshed out in many different ways, although with similar characters. Hence, the poet shows us what he thinks it is likely or necessary for agents of different types to do in the circumstances that confront them. Aristotelian mimesis, on this account, is the poetic representation of "one action," that is, of one action-type. (shrink)

The concept of trauma has recently expanded its reach to include what otherwise might be understood as intimate experience. This overextension represents a threat to our ability to conceptualize intimate experiences, hence to use concepts to engage in intimate communication. An analysis of Wallace Stevens’s poem “The Auroras of Autumn”, demonstrates how poetry provides a supplemental vehicle for the communication of intimate experiences. Poetry is therefore characterized as an essential element in ethical life.

The articles presents my journey with "Live Poetry" a participatory poetry methods created by Luis Enrique Amaya in Perù. This journey is marked by three encounters I had, that convinced me of the depth of the beauty and healing this journey can bring. The first occurs in Cali, Colombia, in a vast set of working-class neighbourhoods called Distrito de Agua Blanca. This area is dominated by drug trafficking and invisible borders between rival gangs. Teenagers experience a daily life (...) of violence and neglect. In this neighbourhood, I meet Luis Enrique Amaya, poet and social activist from Lima, Peru. Today, Luis will lead a poetry workshop with teenagers in the neighbourhood. It is based on a community poetry method he created years before with his collaborators. The workshop today will have two phases. In the first phase, the poet interviews a passer-by, a member of the community, and asks them to talk about someone important to her or him (a family member, a friend, a lover). In the second phase, the poet asks the interviewee to wait for few minutes. Then the poet sits alone for about ten minutes and composes a poem dedicated to the person chosen by the interviewee. When he has finished, the poet gives the poem to the interviewee as a gift saying: “After listening to you, I composed this poem and I give it to you as a gift. But beware: it is not for you. It is to invite you give it as a gift to the person you told me about”. (shrink)

For Diderot, the man who discovers significant truths not through the experimental method but through global intuition is a genius, a kind of visionary poet.

Since antiquity, Empedocles has been considered as an example of both successful and unsuccessful communication. Aristotle credits him with vividness of images, but blames him for failure of clarity, and eventually compares his obscureness to that of oracles. Therefore, scholars in the past came to the conclusion that Empedocles deliberately employs an opaque style, like Heraclitus and his "studied ambiguity", as means for initiation. This paper challenges this assumption and asks whether and how ambiguity can work within a didactic poem. (...) By showing how Empedocles' and Heraclitus' communicative strategies differ from one another, I shall point to the poet's role as a charismatic and spiritual guide, displaying at times a Sibyl-like attitude. Being a mediator between two separate dimensions puts Empedocles in an ambiguous position, because he delivers what the Muse and the gods made available for him to share, and so his opaqueness does not come directly from him. Ultimately, this style analysis also says something about who the ideal audience must have been. (shrink)

A major part of Ordinary Aesthetics has been to include the traditionally marginalized aesthetic categories excluded when studying beauty, truth, and goodness. These “negative aesthetics” are implicated in the construction, presentation, and sustenance of marginalized identities. For the purposes of my article, I will be focusing on the effort to incorporate the aforementioned in the study of aesthetics, essentially arguing for them to be inherently valuable and not for the sake of producing a “positive.” To this end and keeping up (...) with the thrust to include other traditions within aesthetics, my article will explore certain strands of Sufi poetry, namely the tradition of Qalandariyat, which present marginalized social identities to our awareness and not for the sake of changing or improving them. I will present some samples from the Persian poetry of Hafez and Rumi, as well as Punjabi couplets of Bulleh Shah and Shah Hussain, for a hermeneutic study that grounds the aesthetics of their Qalandari-themed literature in the usage of “negative” aesthetic categories. This exercise contains the promise of expanding the horizons for our field of sensibilities, by engaging with those social identities that have remained outside them and that too on their own terms. (shrink)

Poetry is language at its most distilled and most powerfulRita Dove(David Streitfeld, Washington Post, “Laureate for a New Age,” March 19, 1993).The genesis for this special issue arose in a rethin...

James articulates and defends a Spinozist view of the interplay between poetry and philosophy: philosophy has an ineliminably poetic content, and poetry is an aid and support to philosophy. In this piece, I juxtapose James’s Spinozist schema with another schema available within Spinoza’s historical milieu. In Ibn Tufayl’s view, rather than poetry being an aid to philosophy, poetry opens to a world of experience that even the best philosophy cannot grasp. For flat-footed philosophers who think that (...) philosophy can in principle have the last word on everything, poetics might give an approximate indication of a kind of experience that lies beyond it. (shrink)

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

This essay focuses on Günther Anders’s engagement with (political) poetry. I draw on published material and unpublished source texts from the Anders Nachlass to track how Anders arrives at his own writing style and mode of address through his sustained engagement with poetry. Anders’s philosophical prose and exoteric use of language is shaped by multifaceted reflections on (political) poetry and by the tension between ‘political poetry’ and ‘lyrical action’. I first elaborate on Anders's reading of Brecht (...) in the early 1930s, and then turn to the poetry and reflections on poetics that were written during his long exile in the US (1936–50). It is from this basis that I consider Anders’s categorical and programmatic turn away from poetry from the mid-1940s onwards. What emerges from my discussion is that engagements with literature, and with poetry in particular, were not a marginal activity for Anders but reflect a broad, life-long interest in (predominantly) classical and contemporary poetry, resulting in reflections on poetics and his own extensive poetic praxis. (shrink)

"Collects Martin Heidegger's pivotal writings on art, its role in human life and culture, and its relationship to thinking and truth"--Publisher description.