Previous chapter In the second half of the 19th century, the last important artist who contributes to the theory of rhythm is Stéphane Mallarmé. Through a deep reflection on poetry and language, based on a very innovative writing practice, Mallarmé provides new insights on the relation between rhythm, language and subjectivity. In a very famous letter written in 1886, Mallarmé presents rhythm as nothing less than the “essential” part of “human language,” through which poetry expresses “the - Sur le concept (...) de rythme – Nouvel article. (shrink)

Whatever we choose to call Beckett’s series of disjunctive and repetitive paragraphs , Ill Seen Ill Said surely has little in common with the short story or the novella. Yet this is how the editors of the New Yorker, where Beckett’s piece first appeared in English in 1981, evidently thought of it, for like all New Yorker short stories, it is punctuated by cartoons and, what is even more ironic, by a “real” poem, Harold Brodkey’s “Sea Noise” . Notice that (...) the reader immediately knows—or is supposed to know—that Brodkey is a poet and Beckett a fiction writer, not only because “Sea Noise” is designated a poem in the issue’s table of contents, but also because its placement on the page, framed by white space, distinguishes it from Ill Seen Ill Said, which is printed in standard New Yorker columns. Yet if we examine the sound structure of Brodkey’s poem, we find that the rhythm of recurrence is, if anything, less prominent here than in the Beckett “prose.” The four stanzas are of irregular line length ; the stress count ranges from one to five ; rhyme occurs only once, at the end of the poem ; and alliteration and assonance are not marked. Unless we assume that poetry is defined by the sheer decision of its maker to lineate the text, or unless we want to call “Sea Noise” a poem because it is built around a single extended metaphor , there is no rationale for the classification the New Yorker has implicitly adopted.4The meaning of this classification is worth pondering, for it represents, in microcosm, the orthodoxy of every major literature textbook and literary history as well as of most classrooms in the United States and Britain, which that Beckett is a writer who, like the young Joyce or the young Faulkner, wrote in his dim youth some negligible, clotted lyric poems but whose real work belongs to drama and fiction. As such, we don’t teach Beckett in our poetry courses or include him in discussions of contemporary poetry and poetics. The index of any major book on the subject—say, Robert Pinsky’s The Situation of Poetry—will bear this out. And yet the irony is that contemporary poets are increasingly using forms that cannot be properly understood without the example of Beckett’s astonishing “lyrics of fiction”—to use Ryby Cohn’s apt term5—or, as I shall call them, his “associative monologues.” Perhaps, then, it is time to rethink our current procedures of canon making. In what follows, I shall use Ill Seen Ill Said as an example.4. Contemporary prosodists, perhaps because they must account for the difficult case of free verse, generally do equate verse—and hence implicitly the poem—with lineation. For example, Charles O. Hartman, in his recent Free Verse: An Essay in Prosody , observes that, difficult as it is to define the word “poetry” “rigorously and permanently,” verse can be distinguished from prose quite readily:Verse is language in lines. This distinguishes it from prose…. This is not really a satisfying distinction, as it stands, but it is the only one that works absolutely. The fact that we can tell verse from prose on sight, with very few errors…indicates that the basic perceptual difference must be very simple. Only lineation fits the requirements. [P.11]But, as I have just shown in the case of Beckett and Brodkey, what looks like verse may sound like prose and vice versa. The “basic perceptual difference” between the two is surely not as simple as Hartman suggests. I discuss this question from a somewhat different angle in “The Linear Fallacy,” Georgia Review 35 : 855-69.5. See Ruby Cohn, Back to Beckett , chap. 5, “Lyrics of Fiction.”. (shrink)

Russian verse: Its metrics, versification systems, and prosody (Generative synopsis). In the article the general verse metre theory and its application to Russian verse is adressed, allowing us, thereby, to observe not the single details, but only the most general characteristics of verse. The treatment can be summarised in the five following points:1) the basis for the phenomenon of verse is its metrical code: the special feature of verse text is the presence of its metre (this feature is common to (...) every verse type, to the most regular verse, as well as to vers libre);2) the nature of verse metre is extralinguistic, there is no metre within a language, the latter can only induce certain limitations in choosing a metre;3) metre is an abstract chain of translational symmetry, the elementary period of which is called verse foot (i.e. firstly, verse feet are contained in every versification system, incl. syllabic verse and free verse, and, secondly, verse feet can not be defined in terms of natural language, e.g., as the combination of short and long or accented and unaccented syllables).4) in verse text, metre appears through the medium of natural language: verse metre is coded in terms of natural language; the nature of its codification is detennined by the versification system. Hence, every verse metre can be realised in different versification systems, e.g. iambus can occur in syllabic-accentual, syllabic-quantitative, and some other versification systems;5) verse prosody is a consequence of the influence of verse metre on the prosodies of language; the range of transformation of a language system by verse metre extends from the unification of the strength of verse accents in accentual verse to such artificial formations as the origination of long syllables in languages which lack phonological quantity. (shrink)

Muḥkam and mutashābih have developed as two topics that are related to every field of religious studies throughout the historical process. The fact that this has been a topic of controversy in every field of religious studies is due to the fact that verses of the Qur’an were classified as muḥkam and mutashābih by the verses of the Qur’an. Discussions and suggestions regarding muḥkam and mutashābih generally tended to be limited to the studies about the semantic definitions of the terms (...) or were shaped around the narratives about the circumstances of the revelation and thus digression from the actual context was inevitable. In addition, acknowledging muḥkam and mutashābih as semantic qualities of the Qur’an raised doubts over the Qur’an's status as an understandable text. As mutashābih verses were considered by some as ambiguous, this enabled each school of thought to base their opinions on the verses of the Qur'an. The fact that current interpretations of the verses of the Qur’an are not made free from the historical points of view is due to the strength of the historical knowledge. Qur’an demands faith in the previous canons as well as demanding faith in the previous messengers. In this context, muḥkam are the genuine commandments of the Qur’an which did not exist in the previous canons whereas mutashābih are the commandments that resemble the ones in the previous canons. This research employs analysis, comparison and criticism methods for examining its subject matter. Meanings of the verses of the Qur’an are analyzed linguistically and the relations between the terms in this context are attempted to be shown. In interpreting the verses about the topic, arguments of different schools of thought are included. Criticism of the previous interpretations is carried out considering the contextual and semantic integrity of the Qur'an. It is also stated that while forming its muḥkam verses, the Qur’an employed the methods of abrogation, adjournment and conversion. Abrogation is not an annulation of the own verses of the Qur’an but an annulation of a commandment in a previous canon. Adjournment means not to abrogate a commandment of a previous canon but their inclusion in the new canon. The cases that the Qur’an mentions in which the messenger is accused of fabricating are stated to be due to the conversion of the commandments the interlocutors had already known by genuine verses of the Qur’an. To regard muḥkam and mutashābih as genuine and resembling verses would fortify the judgement that the verses of the Qur’an are comprehensible. This paper concludes that the muḥkam verses provide the fundamentals of the system of law which is the Qur’an, and mutashābih are the verses that are in the Qur’an and show resemblance to previous laws that were already present at the time. In relation to this, that those with crooked hearts tracing after the mutashābih is interpreted to mean that they investigated whether the ayats were included in the previous canons and that Allah knows the gloss of the mutashābih ayats is interpreted to mean that He knows in which canon the ayats were first included and finally the attitude of those with deep wisdom towards the muteshâbih ayats is explained as that with their vast knowledge on revelation, they confess that all the resembling ayats were revealed by Allah. (shrink)

In this paper, I attempt to read the poetic principle behind the Tammuzi movement of modern Arabic poetry through the lens of speculative poetics. While speculative-poetic accounts of modern poetry, such as those provided by Allen Grossman, blazed new paths connecting poetry to personhood in modernity, their application to the development of modern poetry outside of Europe remains limited by their self-avowed focus on European history. This paper will outline a critical corrective to speculative poetics which, I argue, can be (...) of value in extending its domain of application to Arabic projects of poetic modernity, particularly the two tendencies of "free verse" and "commitment" poetry that emerged out of the Tammuzi movement. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Parmenides: The Road to Reality A New Verse Translation RICHARD MCKIM introduction i. In the history of Presocratic Greek philosophy, the poetry of Parmenides seems to loom up suddenly out of the blue like a spectral mountain peak. Depicting a vision of ultimate reality that transcends the sensory world, his towering verse manifesto revolutionized both how philosophers thought and what they thought about, with profound repercussions that still reverberate (...) today. Parmenides has not, however, been well served by his English translators. He wrote poetry and yet is almost always translated into prose. His poem describes a divinely inspired revelation and yet is persistently translated as if it were an exercise in deductive logic. His Greek can be strange and difficult but is never unintelligible, which is more than can be said for the Anglo-gibberish his translators too often force him to speak. Too many subscribe to the misguided notion that a “literal” translation, as close as possible to word-forword, best represents the original. In fact, the painful English that results, so far from being faithful to the Greek, actually betrays it, creating the obscurities it purports to reflect. Parmenides ’ reputation for being hard to understand is largely his translators’ fault, not his. I’ve undertaken to make amends by translating his poem as a poem, in a loose English approximation of the same meter. My goal is to capture some of what gets lost in prose—to mirror, however dimly, the vital role of poetic form in shaping Parmenides’ vision. The demands of meter make literal translation impossible—not at all a bad thing— while paradoxically freeing the translator to be more faitharion 27.2 fall 2019 ful. I’ve tried to use this freedom to demonstrate that Parmenides is not the obscurantist would-be logician of so many other translations but a philosopher who thinks in poetry, and whose thought is as clear and accessible as it is astonishing. ii. parmenides was a citizen of Elea, a Greek colonial town on the west coast of the ankle of Italy’s boot. Born around 515 BCE, he was an older contemporary of Socrates, who was born in 470 (according to Plato, the two men met when Parmenides was sixty-five). Several other so-called Presocratics were active even later—Democritus for one was Socrates’ junior by a decade. But the label is still useful: while Socrates reoriented philosophy toward moral values and politics, the later Presocratics maintained their predecessors’ focus on physics and cosmology. Their project was to account for the physical workings of the universe—its origins, its elements, and the forces or laws that govern its behavior— without falling back on the gods of traditional myth. But Parmenides splits their story in two. Before him, Presocratics took the reality of the sensory world for granted— a world of multiplicity and variety, motion and change, becoming and passing away. Parmenides radically rejected this assumption. The sensory world, he declared, is an illusion. What really exists is what he calls “being,” whose true nature can be perceived only by the mind. And by clearly perceiving what being must be like, the mind perceives that it can’t be anything like the world as our senses perceive it. Being is the exact opposite of the sensory world in every respect. It is timeless, motionless, changeless and imperishable, an eternal and indivisible One. After Parmenides, the reality of the sensory world needed defending. Subsequent Presocratics had to explain, at a minimum, how it could circumvent his ban on multiplicity and motion. Most notably, he provoked Leucippus and Democri106 parmenides: the road to reality tus into developing their theory of atomism—that the universe consists entirely of atoms in a void. Atoms are microscopic Parmenidean beings insofar as they’re indivisible, indestructible and immutable, but they can be infinite in number, they can move, collide and combine, thanks to the roominess of the infinite void, defined as the absence of being. Never mind that Parmenides ruled out the existence of such an absence—by inspiring atomism, he became, in his otherworldly way, the unwitting godfather of modern physics. As for metaphysics, it may be debatable whether he arrived at the idea... (shrink)

This essay seeks to understand the nature of both interpersonal and intercultural dialogue from the perspective of Zen Buddhism as it has been interpreted, in dialogue with Western philosophy and religion, by the central figure of the third generation of the Kyoto School: Ueda Shizuteru (1926–2019). It examines how Ueda develops a philosophy of interpersonal dialogue on the basis of Zen teachings and practices. In particular, it reveals how Ueda draws on Huayan and Zen Buddhist notions of “host” and “guest” (...) to unfold the dialogical implications of the tenth of The Ten Oxherding Pictures, kōan interviews, linked verse poetry, and the Japanese greeting of the bow. The final sections of this article then explore the implications for intercultural dialogue of Ueda’s account of human existence as dwelling in a “twofold world” through a circulating process of “exiting language and exiting into language.”. (shrink)

Free verse devotionals or meditations, basically Jnana, and difficult to assess.—P. S.

Arthur Rimbaud, a prominent figure in the late 19th-century literary scene, is often celebrated for his groundbreaking contributions to modernist poetry. His work, characterized by its experimental form and vivid imagery, embodies many of the philosophical tenets of modernism. This essay explores how the philosophy of modernism manifests in Rimbaud's poetry, focusing on themes of rebellion against tradition, fragmentation, subjectivity, symbolism, and alienation. -/- 1. Rebellion against Tradition -/- One of the hallmark features of modernist poetry is its defiance of (...) traditional forms and conventions. Rimbaud was a pioneer in this regard, rejecting the rigid structures of classical poetry in favor of free verse and unconventional rhythms. In works such as "A Season in Hell" ("Une Saison en Enfer"), Rimbaud employs a prose-poetic style that eschews the constraints of meter and rhyme, allowing for a more fluid and dynamic expression of thought. This rebellion against tradition reflects a broader modernist impulse to break free from the past and explore new artistic possibilities. -/- Fragmentation and Juxtaposition -/- Modernist poets often use fragmentation and juxtaposition to create complex layers of meaning and challenge readers' perceptions. Rimbaud's poetry is replete with abrupt shifts in imagery and tone, resulting in a disjointed yet evocative narrative. In "The Drunken Boat" ("Le Bateau Ivre"), for example, Rimbaud presents a series of vivid, seemingly unrelated images that collectively convey a sense of disorientation and liberation. This technique mirrors the fragmented nature of modern existence, as well as the modernist desire to capture the multiplicity of human experience. -/- 2. Subjectivity and Inner Experience -/- A key aspect of modernist philosophy is its emphasis on subjectivity and the inner workings of the mind. Rimbaud's poetry delves deeply into the realm of personal experience, exploring themes of identity, perception, and self-discovery. His work often blurs the line between reality and imagination, reflecting the modernist interest in the unconscious and the fluidity of human consciousness. In "A Season in Hell," Rimbaud's introspective journey becomes a vehicle for examining the complexities of the self and the elusive nature of truth. -/- Exploration of Identity and Self-Discovery -/- Rimbaud's poetry is marked by a profound introspection and a quest for self-discovery. In works such as "A Season in Hell" ("Une Saison en Enfer"), Rimbaud embarks on a journey of inner exploration, grappling with questions of identity and the nature of existence. The poem is a confessional and autobiographical narrative that delves into the poet's inner turmoil and existential angst. Through vivid and often surreal imagery, Rimbaud articulates the fragmented and fluid nature of the self, reflecting the modernist emphasis on the subjective experience of the individual. The theme of self-discovery is also evident in Rimbaud's famous assertion, "I is another" ("Je est un autre"), which encapsulates his belief in the multiplicity and fluidity of identity. This notion challenges the conventional understanding of a stable and coherent self, suggesting instead that identity is constantly shifting and evolving. Rimbaud's exploration of identity resonates with the modernist preoccupation with the inner life of the individual and the complexities of human consciousness. -/- Perception and the Unconscious Mind -/- Rimbaud's poetry often blurs the line between reality and imagination, reflecting his interest in the workings of the unconscious mind. His use of rich and evocative imagery invites readers to engage with his work on a deeply emotional and intuitive level. In "Illuminations," Rimbaud's prose poems are filled with dreamlike visions and hallucinatory landscapes that evoke the fluid and elusive nature of perception. The modernist fascination with the unconscious is evident in Rimbaud's exploration of altered states of consciousness. His poetry frequently delves into themes of intoxication, madness, and visionary experience, suggesting a desire to transcend the limitations of ordinary perception and access deeper layers of the mind. This exploration of the unconscious reflects the modernist belief in the power of art to reveal hidden truths and to illuminate the mysteries of the human psyche. -/- 3. Symbolism and Imagery -/- Rimbaud's use of rich, often surreal symbolism and imagery is a defining feature of his modernist sensibility. His poems are filled with metaphors and symbols that invite multiple interpretations and resonate on an emotional level. The imagery in "The Drunken Boat" is particularly striking, as Rimbaud conjures a kaleidoscopic vision of the natural world that transcends ordinary perception. This reliance on symbolism reflects the modernist belief in the power of art to evoke profound, often ineffable experiences. -/- Innovative Use of Imagery -/- Rimbaud's poetry is renowned for its striking and unconventional imagery, which often challenges readers to see the world in new and unexpected ways. In "The Drunken Boat" ("Le Bateau Ivre"), Rimbaud presents a series of vivid and hallucinatory images that evoke the disorienting experience of a boat adrift on the sea. The poem's imagery is rich and evocative, capturing the tumultuous and ever-changing nature of the protagonist's journey. For example, Rimbaud writes: > "I have seen the low-hanging sun spotted with mystic horrors, > Lighting up long violet coagulations > Like performers in very ancient dramas! > Waves rolling back the horizons and breaking forth in light." Through this kaleidoscopic vision, Rimbaud creates a sense of both wonder and disorientation, reflecting the fluid and unstable nature of reality. The imagery in "The Drunken Boat" serves to transport readers into a world of heightened perception, where ordinary experiences are transformed into extraordinary and often surreal visions. -/- Symbolism and Emotional Resonance -/- Rimbaud's use of symbolism is central to his poetic vision, allowing him to convey deep emotional and psychological truths through metaphor and allegory. In "A Season in Hell" ("Une Saison en Enfer"), Rimbaud employs a range of symbols to explore themes of suffering, redemption, and self-discovery. The poem's title itself is symbolic, suggesting a period of intense inner turmoil and transformation. -/- Throughout "A Season in Hell," Rimbaud uses symbolic imagery to represent his emotional state and spiritual journey. For example, the recurring motif of fire serves as a symbol of both destruction and purification. Rimbaud writes: > "I firmly intend to possess the truth and to behold the justice of victory! That will, is a ray of light! – Pride is the flame that devours me." Here, fire symbolizes the intense passion and inner conflict that drive the poet's quest for truth and self-understanding. The symbolic imagery in Rimbaud's poetry resonates on an emotional level, inviting readers to connect with the poet's inner experience and to reflect on their own journey of self-discovery. -/- . (shrink)

"For never are the ways of music moved without the greatest political laws being moved."Whitman's "Song of Myself" and Ginsberg's "Howl" both contain the description of a voluntary self-sacrifice, symbolically committed by the poets themselves. In this article, we propose to study these sacrificial representations, and the mechanism underlying them, in the light of René Girard's scapegoat theory, in order to show the function that these sacrifices play in society. The analysis is also based on formal considerations, especially the use (...) these two poets make of the long free verse, also called "verset."1The theme of sacrifice and the identification of the poets with Christ have already been analyzed, but never... (shrink)

[…] Open the pages of almost any national journal or magazine, and where ten years ago one found only one or another kind of free verse lyric, one now finds well rhymed quatrains, sestinas, villanelles, sonnets, and blank verse dramatic monologues or meditations.1 In a recent issue of the New Criterion, Robert Richman describes this rekindled interest in formal verse among younger poets as a return to the high seriousness, eloquence, and technical fluency that characterized the best achievements of (...) American poetry forty years ago.2 As Mr. Richman numbers me among the younger poets working in form, I ought to be as cheered by these developments as he is. Yet I am anything but cheered. And not because I don’t want to belong to club that would have me as a member, though this may be a part of it; but because I suspect that what Mr. Richman hails as a development may in fact be nothing but a mechanical reaction, and that the new formalists, in rejecting the sins of their experimental fathers may end up merely repeating the sings of their New Critical grandfathers, resuscitating the stodgy, overrefined conventions of the “fifties poem,” conventions which were of course sufficiently narrow and restrictive to provoke rebellion in the first place. Any reform, carried to uncritical extremes by lesser talents who ignore rather than try to assimilate the achievements of their predecessors, will itself require reformation. If James Wright, say, or Robert Bly, produced more than their fair share of imitators, if they even imitate themselves much of the time, they nonetheless have written poems all of us can and ought to learn from. Maybe we have had too much of the “raw” in recent years. But the answer to the raw is not the overcooked. Besides, it’s dangerous to think we have to choose exclusively between free verse and form. The wider the range of styles and forms that we avail ourselves of, the more enriched, more flexible and inclusive our expressive resources will be. It’s as important for those who work in form to be familiar with the experiments and innovatins of the last hundred years as it is for those who work in looser measures to be familiar with traditional verse forms that go back beyond the twentieth century. Alan Shapiro’s most recent book of poems, Happy Hour, was published this year. (shrink)

The Japanese poet-scholar John Solt is perhaps best known in the United States for his excellent biocritical study (Harvard, 1999) of the avant-garde poet Kitasono Katue, who served, from the mid-1930s on, as Ezra Pound's primary conduit to the stylization of Japanese poetics that he so admired. “Kit Kat,” as Pound fondly called the poet he knew only via their extensive correspondence, was Pound's translator, editor, and sometime collaborator; in return, Pound (who did not read Japanese) wrote admiringly of Katue's (...) work in Guide to Kulchur and elsewhere.Solt has now published a beautifully produced volume of his own distinctive poetry—a poetry that fuses the concision of Japanese tanka and haiku with very up-to-date explorations of what Pound called moeurs contemporaines: riddling short lyrics laced with humor and a telling irony that makes the reader smile with a shock of recognition. In the spirit of Kenneth Rexroth, with whom he studied in Santa Barbara, Solt's seemingly “simple” free verse is carefully structured. The minimalist poems are placed, one per page, in different spatial positions, with the Japanese translation en face. The volume contains a sprinkle of elegies and occasional poems, but Solt's signature poems are epigrams or aphorisms in the vein of the Zen koan: i held my tongueas if it werea ticketThe pun on the word held and the ticket metaphor can be read quite variously: I said nothing, saving my “ticket” for future gain. Or I “held” my tongue as one holds on to a precious ticket for some form of entrance, perhaps erotic. Indeed, Solt excels at the erotic poem—one that is never directly confessional or even personally expressive but that gives the reader a strong sense of a particular moment, as inice cubes meltin the crackleof your nakednessyou roll down your lace stockingsexposing the same designin tattoo... where it is the imprint the lace leaves on the skin that produces arousal. We never know who the “you” of these poems is, nor does it matter. We only know—in the case of a neighboring poem—that the lovers have “met again / and again / like spinning tops,” until “with centrifugal force / we easily slipped / outside the windows / of our eyes.” Caught up in the moment of ecstasy, they no longer see one another.In this complex and subtle poetry, comparisons come readily, only to be given an ironic twist: the mind is a kitehe thoughtletting goof both stringsAnd things are never quite what they seem: you toasted“happiness to usand confusionto our enemies”and I laughedsecureuntil a cloud formedin my mindWe have all had this experience of group approval only to wonder—the next minute—whether we really agree. Solt's minimalist lyrics not only make us smile: they also make us think. (shrink)

Previous chapter Rhythm as Regular Beat – Augustine's De musica, 3, 4, 5 Climbing down the ladder, Augustine then differentiates between verse and meter. Some metric lines, he argues, are uneven and do not have a regular pause before their endings. Instead, verse uses meter but possesses regular pauses. For Augustine—who does not mind, here, quoting the “ancients” i.e. the tradition—there cannot be such thing as what will be called much later “free verse”. — Master. Well! You - Sur (...) le concept de rythme – Nouvel article. (shrink)

In Latin America Cardenal is generally regarded as an enduring poet. He brought a recognizably Latin American material into his poetry, and he introduced to Spanish-language poetry in general such poetic techniques as textual collage, free verse lines shaped in Poundian fashion, and, especially, a diction that is concrete and detailed, textured with proper names and the names of things in preference to the accepted poetic language, which was more abstract, general, and vaguely symbolic. But what is notable in (...) Spanish-language poetry is not only Cardenal’s “craft,” in the sense given this word by Seamus Heaney to mean manipulation of poetic resources; there is also this poet’s “technique,” which in Heaney’s sense means a “definition of his stance toward life.”2 Cardenal’s characteristic poetic stance has been admired because he addresses the political and social pressures that shape—and often distort, damage, or destroy—life and feeling. This is apparent even in the earliest poems Cardenal has chosen to preserve. “Raleigh,” for example, is a dramatic meditation from 19493 in which the treasure-hunting explorer marvels at the expanse and wealth of the American continents and out of sheer pleasure recounts some of the triumphs and hardships of his travels. Although his alertness and wonder make him sympathetic, this Raleigh’s vision of the New World as a limitless source of wealth is forerunner to the economic exploitation of the land and people.One might ask, What are the political and social circumstances which, rather than distorting and damaging life and feeling, nurture and preserve them? Perhaps one might answer that, paradoxically, destructive conditions of life have many times proven insufficiently powerful to prevent the creation of poetry. And some poetry has even arisen in reaction to the destructive: such conditions produce resistance, which, if it cannot heal the spirit, can lend it strength. One might answer further that it is not Cardenal’s or any artist’s responsibility to establish what circumstance will form a fruitful matrix for art, but only to work as honestly and as hard as political, social, and artistic circumstances will permit. 2. Seamus Heaney, Preoccupations: Selected Prose, 1969-1978 , p. 47.3. The date is from Joaquín Martin Sosa, “Breve guía de lectores,” preface to Poesía de uso, p. 9. Reginald Gibbons is the editor of TriQuarterly magazine and teaches at Northwestern University. His most recent books are his third volume of poems, Saints, one of the winning books in the National Poetry Series , and two edited collections of essays—The Writer in Our World and, with Gerald Graff, Criticism in the University. He is at work on a critical study of modern and contemporary poetry, as well as new poems and fiction. His previous contributions to Critical Inquiry, “Poetic Form and the Translator,” appeared in the June 1985 issue. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Form and Discontent*Rosmarie Waldrop (bio)1. Composition as ExplanationIn the beginning there is Gertrude Stein, who says in “Composition as Explanation”: “Everything is the same except composition and as the composition is different and always going to be different everything is not the same” [520].I could also say, in the beginning is Aristotle: “the fable is simply this, the combination of the incidents” [1460].2. A Look AroundThe forms that have (...) been striking me as “wild” have tended to be Steinian in this sense of stressing the horizontal, the axis of composition. I’m most struck by 3 tendencies: one is literally spatial composition, e.g. Susan Howe’s work; another, an emphasis on discontinuity, leaps on the level of syntax, of logic, of grammar. Breaks that do not immediately fold back into a smooth unity and may occur in mid-sentence:I was on my way from Carthage, it was night. It is not wax I am scorching was dead about her with knots.—Norma Cole, MarsI hide behind a category by misbehaving.—Carla Harryman, Under the BridgeLoop conceived in a line, the spine with its regions, reasons. On another, sweaters hang by the wrist to dry. The list is sweet. You lie. The eye is met by the season.—Ron Silliman, ParadiseYou took my temperature which I had meant to save for a more difficult day.—Rosmarie Waldrop, The Reproduction of ProfilesWent out so I’d take the car and a whole system of banking and money is based on a hierarchy.—Leslie Scalapino, Considering How Exaggerated the Music IsROAST POTATOESRoast Potatoes for.—Gertrude Stein, “Tender Buttons”Or, a subtler example, Mei-mei Berssenbrugge’s almost unnoticeable shifts from one grammatical structure into another: [End Page 54]Never mind if he calls, the places you get through inwardness take time, and to drift down to the shore of the island, you know by the sand moving, even the coarse sand here It’s hard to say if you can even stand up, there....[13]The third tendency is mathematical. There is a lot of counting. Not stresses, not even syllables—I’m not considering that most unimaginative bunch, the new formalists—but words per line, sentences per paragraph. You all know about Ron Silliman’s love for the Fibonacci number series, or Lyn Hejinian’s My Life, which began with 37 sections of 37 sentences each. When she published a second edition at age 45, she added 8 sentences to each section plus 8 new sections.Jacques Roubaud: “No ideas but in numbers” [291].Then, in a somewhat more remote way, a number of people use ideas of permutation. For example, Jackson Mac Low’s 4 Trains, of which I will quote the first two stanzas:Train rule atom intricate nitrogen. Rule unusual leotard entropy. Atom train ostrich might. Intricate nitrogen train rule intricate casual atom train entropy. Nitrogen intricate train rule ostrich genealogy entropy nitrogen.Rule unusual leotard entropy. Unusual nitrogen unusual social unusual atom leotard. Leotard entropy ostrich train atom rule dies. Entropy nitrogen train rule ostrich pope yearly.[7]As Zukofsky puts it: “[Thus] poetry may be defined as an order of words that as movement and tone (rhythm and pitch) approaches in varying degrees the wordless art of music as a kind of mathematical limit” [27].All these examples draw attention to arrangement, composition. They all listen to language. I once wrote:I don’t even have thoughts, I say, I have methods that make language think, take over and me by the hand. Into sense or offense, syntax stretched across rules, relations of force, fluid the dip of the plumb line, the pull of eyes.... No beginnings. All unrepentant middle.[A Form / of Taking / It All 74]And none of these forms are “organic form.” None relies primarily on metaphor, though from the Romantics on poetry has been more or less identified with it.3. Frameworka. HistoricalLet me step back for a moment to the beginnings of the concept of organic form, what it reacted against.When Goethe started to make a splash writing free verse, around 1770, the dominant aesthetic... (shrink)

This article maintains that African philosophy should consider those discourses that function as channels of important ideas in African cultures, without prejudice against their language and, especially, their genre. What are such philosophical discourses? This article starts from a case study, Swahili culture, and interrogates the communicative resources available to it to serve as vehicles of philosophical thought. The survey includes language itself, proverbs, musical performance (sung lyrics), metric and free-verse poetry, novelistic prose, theoretical writings, and translations. Based on (...) this spectrum of genres, the article ventures some general observations about the relationship of African philosophy to language and genre. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Alcaics In Exile: W. H. Auden’s “In Memory Of Sigmund Freud”Rosanna WarrenOn September 23, 1939, Sigmund Freud died in exile in London, a refugee from Nazi Austria. Within a month, Auden, who had been living in the United States since January of that year, wrote a friend in England that he was working on an elegy for Freud. 1 The poem appeared in The Kenyon Review early in 1940. (...) A stately public ode, the poem mourns not only the death of a publicly significant individual, but the collapse of a world. Hitler had overrun Austria, Czechoslovakia, Poland; assaults on Jews had intensified; England and France had just declared war on Germany. There would be, indeed, many who would have to be mourned:When there are so many we shall have to mourn, when grief has been made so public, and exposed to the critique of whole epoch the frailty of our conscience and anguish,of whom shall we speak?...Someone encountering this poem for the first time, on the page or in the ear, might be pardoned for puzzling over its form. It sounds prosy. It seems to have some recognizable English cadences, pentameters (“[inline-graphic 01]”), tetrameters (“ ”), and even trimeters (“ ”). But the pattern seems unruly, with some [End Page 111] lines stretching out beyond five traditional beats, and ignoring any iambic order: “turned elsewhere with their disappointment as he.” Groping for a more satisfactory principle of organization, a reader with some knowledge of versification may be moved to count syllables. Such a reader will discover that the poem is indeed organized syllabically in lines of 11, 11, 9, and 10 syllables. “Aha,” says the reader, alert to Auden’s intimacy with Classical civilization: “A Horatian ode. Not inappropriate for a formal elegy.” Reflecting further, and leafing through the pages of Horace, that reader will find, or remember, that two thirds of Horace’s odes are in these quatrains, the alcaic stanza. Auden, it appears, has composed his elegy in some version of the meter of Alcaeus, the 7th century b.c.e. Greek poet whose stanza became second nature to Horace. And we cannot enter the world of Auden’s poem without asking, why alcaics? And how do they work here?“In Memory of Sigmund Freud” is sometimes said to be Auden’s first syllabic poem. 2 Others demur, proposing both earlier and later examples. 3 Whatever the spats about dating Auden’s early syllabic practice, scholars conventionally agree that his turn toward syllabic composition reflects his evolving interest in a discursive poetry; in the poet as a private intelligence with a public voice; and in the work, respectively, of Horace and Marianne Moore. Having identified the poem as syllabic, many critics move on to heftier topics like psychoanalysis versus Marxism, Auden more than most poets having laid himself open to an overridingly thematic criticism of Big Ideas. But if, having acknowledged the influence of Horace and Moore in Auden’s refusal of English iambic lyricism here, we stay with the question of meter, we are led back to the older progenitor, Alcaeus, a great poet of exile, whose stanza Auden adopts and adapts. I shall ask how it affects our reading to observe that the stanza itself has a genealogy, and brings its expressive burden to bear on Auden’s poem.“In Memory of Sigmund Freud” relies on a counterpoint of two metrical systems, the largely iambic accentual/syllabic system, traditional in English since Wyatt, and a flattened version of Greek quantitative meter, which was a musical notation of syllable length. For Auden, whose great prosodic facility was almost a handicap, the problem was, “not how to write in iambics but how not to write in them from automatic habit.” 4 Throughout his poetic life, he reached for cadences to interrupt the “natural” iambics, sometimes recalling the Old English alliterative beat, and often turning to ballads and popular tunes for rhythmical variation. By the late thirties, he was not only disillusioned [End Page 112] with the Spanish Civil War and his role as quasi-Socialist bard, but was seeking new compositional principles as well. Free verse was not an alternative: his ear required an evident... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.1 (2001) 142-154 [Access article in PDF] Critical Discussions The Fortunes of Avant-Garde Poetry Mary Anne O'Neil Invisible Fences. Prose Poetry as a Genre in French and American Literature, by Steven Monte; xii & 298 pp. Lincoln: University of Nebraska Press, 2000, $50.00. Modern Visual Poetry, by Willard Bohn; 321 pp. Newark: University of Delaware Press, 2000, $47.00. The situation of French poetry at the turn (...) of the twenty-first century is far different from what it was during the last fin de siècle. In 1900, poetry was a booming art, and France was home to numerous poets of varied inspiration and expression. The religious verse of Claudel and Péguy shared the attention of the reading public with the philosophical poetry of Valéry and the futuristic celebrations of Paris and modern life found in Apollinaire's Alcools and Calligrammes. Long poems, short poems, poems written in standard verse, free verse, prose, and even published as drawings, suggested that the golden age of poetry begun in the early nineteenth century by the Romantics and continued after 1850 by Baudelaire, Verlaine, Rimbaud, and Mallarmé, would not soon come to an end. This indeed proved to be the case, for the heirs of the Symbolist tradition of the first decade of the twentieth century were soon followed by the Surrealist revolutionaries of the 1920s and 1930s, many of whom directed their talents to the composition of political verse at the time of the Second World War. Political poetry by and large disappeared from France after 1950, only to be [End Page 142] succeeded over the next two decades by two very different types of verse. On the one hand, writers like St. John Perse and Pierre Jean Jouve produced difficult works whose appeal was limited to a sophisticated audience, while lyricists, such as Jacques Prévert and even the songwriter Georges Brassens, made poetry more accessible to the general public, often through popular songs. The fact that, during the days of May 1968, students scrawled verses of the Surrealist-Communist poet Paul Eluard on the walls of the Sorbonne to encourage efforts to bring down the social order attests to the power exerted by poetry on the intellectual life of France well into the second half of the twentieth century. Such, however, is no longer the case today. There are only two well-known living French poets, Francis Ponge and Yves Bonnefoy. While reviews dedicated to original poetry do still exist, especially in the south of France where the poetic arm of the French Resistance was most active in the 1940s, poetry attracts many fewer readers--and fewer writers--than it did even fifty years ago.Such a radical change merits some reflection. What has happened to French poetry since the mid-twentieth century? In a sense, all good things must come to an end sometime, and a century and a half of inventiveness and poetic energy may simply have run its natural course. French publishing houses, well aware that prose sells better than verse, have done little to encourage young poets. However, certain trends in the subject matter and form of contemporary French poetry have probably contributed to the current lack of interest. Since the end of the Second World War, French poets have concerned themselves almost uniquely with everyday life--common objects, geographical locales, and ordinary people. This obsession with the ordinary has produced some excellent poetry, especially René Char's evocations of Provençal landscapes and Yves Bonnefoy's treatments of childhood. Yet, this concentration on everyday life has severed poetry from the traditional subjects that have sustained it ever since classical antiquity, such as the celebration of heroic figures and heroic deeds, philosophical and religious inquiry, love, loss, prophetic vision. This very narrow range of subject risks consigning poetry to the status of a minor art. At the turn of the twenty-first century, French poetry also finds itself at the end of a very long period of formal experimentation that began in the second half of the nineteenth century and which includes... (shrink)

ABSTRACT“Time-consciousness” constitutes the core of Edmund Husserl’s phenomenology. Extending from a project of reviving the comparative method, we develop Husserl’s phenomenological analysis of time as a method of literary comparison. Three views of time set the stage: the quatrain “Luán’s Fall” by the eighth-century Chinese poet Wang Wei, a stanza from the poem “Etched off‌” by Paul Celan, the quintessential post-war poet in German language, and the haiku “Walking, on and on” by the Japanese itinerant monk and free-verse haiku (...) pioneer Santoka Taneda. What makes these poems relevant is not merely their superficially shared theme of time, but an intrinsic affinity, manifested in different poetic “time-objects”, to the very notion of time-consciousness. Through poetic analysis in the context of Husserl’s philosophy of time-consciousness, these poetic experiences, embodied in a phenomenological concept of “walking,” emphasize time as being. (shrink)

Dance is an 1100-line dialogic drama rambic pentameter free verse between one Nisus, a philosophical seeker, and Amanda, a Beatrice-like embodiment of divine wisdom. The author uses the drama to argue three theses: The inherent identity of thought and reality and the validity of speculative idealism as an approach to knowledge of the world; the necessity for positing an Absolute Spirit as the ultimate standard of truth; and the concrete actuality of this absolute. In thirty long footnotes at the (...) end of the poem Beach indicates how the ideas pursued in the poem can be traced through Hegel’s philosophy of absolute idealism. (shrink)

Kenneth Patton, a Unitarian minister, presents us with a celebration of the world in rambling free verse. Unfortunately, the reader wearies of the highly self-conscious, epigrammatic, and didactic approach. As poetry the book fails. It fares better if approached as a testimony to Mr. Patton's powerful convictions of the oneness of men with each other and the cosmos, of the essentially creative, joyful, and wondrous nature of human life. "Creator" deserves special mention for its rare, anti-Nietzschean insight into the (...) way in which a creator is necessarily both male and female.—S. A. S. (shrink)

La confrontation de l’Open Access avec la propriété intellectuelle demeure mesurée dès lors que l’exercice du droit d’auteur n’est nullement antinomique avec un modèle de gratuité pour l’utilisateur final. L’existence de prérogatives morales fortes présente les garanties mêmes que la communauté scientifique appelle de ses vœux, à savoir l’identification de la source et la traçabilité de la version originale de la publication. Le constat est sans doute moins angélique s’agissant du mouvement du Public Access, lequel ne se soucie plus guère (...) des intérêts des auteurs, mais est tout entier tourné vers la diffusion des savoirs comme remboursement des tributs versés par les contribuables dans le financement de la recherche. La logique suivie devrait à terme nier l’existence même de droits d’auteurs de la part des chercheurs lesquels verraient la diffusion de leurs travaux leur échapper en totalité. Il n’est cependant pas certain que l’alternative proposée conduise à des résultats souhaitables car le chercheur doit pouvoir bénéficier d’une certaine liberté dans sa recherche et dans sa parole pour être incité à produire des travaux de qualité ; court-circuiter son contrôle intellectuel sur le destin de ses recherches risque, au contraire de le brider. La rencontre des deux aspirations est sans doute possible. Il n’est pas nécessaire pour atteindre le libre accès de détruire la libre recherche.The incipient clash between open access and intellectual property need not come to a head as long as the exercise of authorship rights does not contradict free access for end users. The existence of strong moral prerogatives offers the very guarantees that the scientific community is pressing for: identification of sources and traceability of the original version of a publication. The picture is not so well-tempered in the case of the Public Access movement, which has little concern for authorship and is entirely geared to knowledge dissemination as compensation for the taxpayers’ money spent on research. Taken to its logical conclusion, this would deny the very existence of authorship rights for researchers, who would lose all control over the dissemination of their work. However, the alternative solution proposed may not necessarily produce the desired results, since researchers need to have a certain amount of freedom in their work and in their communication to motivate high-quality output. Short-circuiting their intellectual control over the fate of their research is more likely to inhibit them than otherwise. But the clash between these two aspirations may yet be resolved: achieving free access does not necessarily mean destroying freedom for research. (shrink)

Many factors like the structure of the society, political conditions, and social structure of a country are useful in determining pedagogical approaches. One of them is culture, which is influential on the way of life of the individual, as well as thinking and learning styles. This requires the examination of the relationship between culture and pedagogy. It is possible to discuss cultural, multicultural, and intercultural pedagogical approaches regarding the relationship between pedagogy and culture. The socio-political agenda of a country is (...) the thing that defines the pedagogy-culture association and acts as a mediator for this association and its reflections on the applied educational systems. In this regard, the interpretation of the cultural-pedagogical concerning the educational philosophies of countries becomes more necessary. Since culture affects general pedagogy, naturally, it also affects religious pedagogy. Besides, the importance of the phenomenon of cultural-religious pedagogy becomes visible when considering the inseparable integrity of culture and religion. This study aims to make a start to develop a more effective religious pedagogy by interpreting the association between culture and religious pedagogy in Turkey. For this purpose, it introduces the cultural pedagogy and cultural-religious pedagogy concepts, and then, addresses the main issues in developing cultural-religious pedagogy in Turkey.Summary: Currently, it is seen that many societies are changing and becoming open societies. Education in free societies is not an indoctrination activity. This situation requires that appropriate pedagogies are developed in education by considering all ideas, beliefs, and cultures related. When the fact that the multicultural structure is seen in many societies with the effect of globalization is found, the reflections of ethnic, religious, and cultural diversity on education have been considered, which have given birth to the need for cultural pedagogy.When the integrity of religion and culture is considered, it is possible to argue that the effect of culture should be regarded as in religious pedagogy. However, when a cultural-religious pedagogy is a matter, there are questions awaiting answers as follows: (a) whether the religion that exists in the definition of religious pedagogy is to be considered as a phenomenon or any religion is mentioned, which issues are to be considered in studies followed after one of these is preferred, (b) if a pedagogy is to be developed based on the interaction of religion with culture, and (c) whether it is to be dealt with in the context of one single religion with culture or with an intercultural approach. This current study aims to introduce the concept of cultural-religious pedagogy by explaining the effect of the questions mentioned above on cultural-religious pedagogy studies and to determine the issues that must be considered in cultural-religious pedagogy studies. This study, which was conducted with the Literature Review Method was limited by examining the concept of cultural-religious pedagogy in terms of some paradigms; and excluded any suggestions in terms of developing cultural-religious pedagogy in practice. It is considered that discussing the meaning of the concept for Turkey with its opportunities and limitations will augment this field to draw attention to the principles of developing cultural-religious pedagogy.Since pedagogy covers many subjects and phenomena in the scope of education, it is possible to argue that it constitutes a general and universal structure about the human existence and nature. Although the individual has common characteristics in terms of being human, s/he is a part of the culture to which they are attached in terms of the social aspect, and individuals that have different cultures -in other words, communities or congregations- differ from each other. These characteristics, which are called cultural differences, are essential in terms of education because they affect and individuate learning. Continuing the educational activities in a setting where different behavioral types that have specific features in a multicultural and open societal structure in a way that will protect this diversity, and the necessity to think about the pedagogical principles in facilitating the learning of the individual attaching to his/her cultural features constitute the fundamental goal of cultural pedagogy studies.In countries that have diversity in terms of ethnicity, structure, religion, and culture, although a pedagogical approach is seen, which provides the opportunity for the agreement that is based on cultural and religious partnerships with the intercultural pedagogical approach, differences are also considered over the explanations that are brought about by the members of the religion or culture at the points where culture and religion separate from each other.In Turkey, on the other hand, since a cultural pedagogy is also necessary together with the intercultural approach due to the social structure, the necessity of constructing the relationship between religious pedagogy and culture must be fictionalized different from the one that is adopted in the Western world. When considered from the perspective of Turkey, it is possible to mention an Islamic religious pedagogy in which Islamic theology takes a central place. However, it must not be considered as an obligation. Recognizing religion as a phenomenon in the academic and literary field, or admitting it as the Islamic religion will vary according to the nature of the study in question.When the issue is considered for the Islamic religion in particular, although a pedagogy in which the primary sources of Islamic religion, the Qur’an and hadiths are the centers will be formed, the differences in the interpretation of the verses and hadiths and the cultural influence in these interpretations cause that an Islamic cultural pedagogy is developed. As a particular religious pedagogy field, it is possible to mention the Islamic religious pedagogy by considering the rituals that are formed with cultural influences like forms of covering the head, Mevlit (Islamic memorial ceremony), etc., which are considered to be religious by people. It is possible to argue that culture has a significant impact on the preferences of the Sects in terms of differences in the parts of religion that are open to interpretation. In this respect, it is also possible to argue that the Sects that have different methodologies and that make conclusions with varying ways of thinking will create different pedagogies. Accordingly, it is possible to say that the Islamic pedagogy may be formed in two ways without considering the Sect issue; firstly, with a general methodology, and secondly, with more specific methodological approaches in terms of sects.When the fact that sects have effects on the multicultural structure of Turkey, if the purpose is to form a multicultural religious pedagogy, it must be based on the differences of the Sects instead of religions as it is the case in Europe. However, when the fact that the discrepancies between the Sects are not an element of disintegration, but constitute a wealth of interpretation is considered, it must not be regarded as incorrect to emphasize these differences. From this point of view, it is possible to mention a cultural Islamic religious pedagogy. When talking about grounding the cultural or intercultural religious pedagogy, explaining this issue only by grounding it on the Sects will limit the scope of it. Because it is possible to establish pedagogy over each of the differences like geographical regions and traditional or modern approaches. Determining and working on each of these differences will contribute to a more effective religious education. Taken together, when considering the true nature of cultural diversity as well as the structure of the religions that exist in the society, there is a need to talk about a cultural-religious pedagogy in Turkey and to establish the relation between cultural pedagogy. (shrink)

William Bartram would accompany his botanizing father, John, into the wilderness and he would famously memorialize his own explorations with an account that mixed romantic conventions with natural history and Quaker theology. William’s interior life corresponds to the spirit of Virgil’s Eclogues with its promise of the resto­ration of a Golden Age, replete with bucolic scenes of shepherds tending their flocks and singing nature’s praises. This paper addresses some of the political interpretations that Bartram’s work has received and argues that (...) William was focused on a distant past which he was introduced to through the classical curriculum at the newly founded Academy of Philadelphia. William’s curriculum guaranteed an introduction to the conventions of the sublime and the picturesque, since Addison’s Spectator was also required reading and he was well-versed in Linnaean nomenclature, but wherever William botanized his observations of the natural world were framed by classical literature. His tour of ancient Indian ruins where he imagined an Areopagus and a space free of strife and bloodshed is a dramatic example of William’s habit of importing a place defined by classical literature into his natural history. (shrink)

One of the essential features of the history of Islam and Muslim religious spirituality is the cult of knowledge. Islam has developed a completely different model of the relationship between faith and knowledge, knowledge of God and knowledge of the universe, religion, and science than that which was characteristic of Christianity. For centuries, this difference will be startling: we will see the European civilization, where the church authorities brutally destroyed the germs of free thought and scientific thought and Muslim (...) civilization, where the cult of knowledge acquired a sacred dimension. The widespread development of medieval Muslim culture, science and art, which has made a significant contribution to the development of world scientific thought, has been posited as the embodiment of Muslims in the life of one of the main religious duties - the acquisition of knowledge, since the path to knowledge is interpreted in Islam as a way to comprehend power and the mercy of the Almighty. "There is no better worship for Allah than gaining knowledge" - it will be written on Maktabas and madrasah. Teachers and students will quote the verses of the Qur'an: "O Lord! Increase my knowledge "! Each new Muslim ruler - from the Caliph to his advisers and ministers - had to build a mosque, his own mausoleum and... a library. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Princess and the Philosopher: Letters of Elisabeth of the Palatine to Rene DescartesRichard A. WatsonAndrea Nye. The Princess and the Philosopher: Letters of Elisabeth of the Palatine to Rene Descartes. Lanham, MD: Rowman & Littlefield, 1999. Pp. xiii + 187. Cloth, $57.95. Paper, $18.95.Princess Elisabeth was an acute, persistent critic of Descartes's philosophy. Because he liked her and she was a princess, Descartes did not dismiss her (...) criticisms as he did those of Gassendi and Hobbes. How can an immaterial mind interact with a material body? How can God determine all our actions and yet give us free will? Elisabeth was dissatisfied with Descartes's answer that an all-powerful God can do anything even if we cannot understand how.Andrea Nye analyzes the correspondence between Elisabeth and Descartes to support the thesis that Elisabeth developed and defended a worldly philosophy of life in opposition to the unworldly rules Descartes offered for living a tranquil and happy life. Descartes said she should focus on the separation of the mind from the body to avoid disturbing the intellect with sensory matters. Think positively about such nice things as birds and flowers and not of bad things that happen to one. Descartes told Elisabeth that "there are no events so dreadful, nor so absolutely bad in the judgments of people, that a person of spirit cannot look on them with a bias that makes them appear favorable" (48). If we do our best to find out the right course of action and act accordingly, then even if the results are bad, we have no reason for remorse or recrimination, but can be happy that we have done the best we can. Descartes even says that a person who follows his rules can view everything that happens to him, even the worst, as though these events were taking place in a theatre, for in the end they do not impinge upon the ultimate happiness of one's immortal soul.Elisabeth, earnestly. sardonically, and sometimes with annoyance responds that this is perhaps possible for a single man of independent means with few civil and personal relationships, but for someone engaged in family affairs, royal politics, and social interaction with other human beings, Descartes's philosophy of life is both impossible and wrong. One never knows what is best; even if one did know, it is difficult to carry it out; and finally, if the results are bad, then one is after all responsible. One would be inhuman to deny fault, monstrous to deny moral responsibility. Above all, Elisabeth says, one should not view one's own life as theatre. One must be responsible for oneself and others.Nye casts this as a difference between Descartes's abstract and Elisabeth's particularist approaches to life, but also as a contrast between those who can live a disengaged life and those who cannot. Some of the amusement in Nye's perceptive discussions comes from her showing how Descartes's passions often run away with him, and how Elisabeth gently turns his own rules back onto him. [End Page 277]Nye's analyses of the correspondence are excellent, but she makes some mistakes about the lives of Descartes and Elisabeth. Nye explains Descartes's coolness by his having suffered from a "motherless infancy" (129), even speaking of "the mother's milk denied him as a child" and calling him an "orphan" (156), which he was not. His mother died thirteen months after his birth, but he had a wet nurse. Descartes may never have tasted his own mother's milk, but he was never deprived of nursing. Children were often sent to live with wet nurses for as long as four years, although Descartes is traditionally said to have been raised by his grandmother. In any event, such psychoanalyzing is off the mark.Nye also says that Descartes was asked by Queen Christina to write a ballet. She cites the wrong ballet and attributes a verse from the right ballet incorrectly, but beyond that, there is no evidence either that Descartes wrote verses for a ballet or that Christina asked him to.Then Nye speaks of Descartes's daughter Francine... (shrink)

There is an inevitable interaction between Arabic and Turkish as word transitions occur in every language. One of the common examples of this exchange between Arabic and Turkish is the word ikhtilāf (conflict).However, it is not possible to say that the bilingual partnership about this word is meaningful. Because this word expresses the meaning of opposition, contradiction, diversity, separation of opinion between two persons or groups, opposing attitude and contradictory attitude in Arabic, all of these meanings are not transferred into (...) Turkish.In other words, the word ikhtilāf’s meaning is narrowed during its transition into Turkish. In fact, the word is almost fixed in Turkish as “the separation of opinion between two persons or groups”. This difference in the meaning of the language between the two languages ​​of the contradiction must not be construed and interpreted as “controversy” or “disagreeing” at every passing moment of the word. Because in some verses this situation can be a wrong choice.Differences in interpretation in tafsir and translation errors are the most obvious indication of this possibility. Therefore, it should be considered that the use and meaning of the word may be changed according to the text. SummaryWords and concepts are the most important tools for people to share with their interlocutors both in oral communication and in writing. Because the meaning of the preferred word and concept directly affects the increase or decrease of the power of the message to be given. So, the choice of word and concept are important in the spoken word and the used word. However, despite this importance, people are not entirely free in word selection. This is because there is no vocabulary to express everything separately. So, the words are limited, and the objects named through them are unlimited. This led people use some words that have more than one meaning, which also explains the emergence of the concept of polysemy.Polysemy is a phenomenon seen in Arabic as well as in many languages. Since the Qur'ān, which contains the messages of Allah to humanity, is in Arabic, there are many words that have two or more meanings. This situation should be taken into account to understand the Qur'ān and its context when determining the meaning of such words. Revealing all potential meanings of qur’ānic expressions is important to convey the intended meaning. In other words, the inability to detect the correct meaning of the word or to ignore the fact that it is very meaningful makes some comprehension problems inevitable.One of the words in this context that have the problem of understanding is the concept ikhtilāf(Conflict). This concept, which is used 51 times in 45 verses in different ways, does not mean the same meaning wherever it is used. It is used in more than one meaning depending on the context in which it is located. The change and diversity that points to the power of Allah, the conflict, the separation of thought and behaviour between the two groups, and the unilateral opposition attitude of a person or group are the meanings of this concept. There is no significant difference in the tafsirs of these meanings regarding the meanings of change, diversity, and contradiction. The differences seen in the exegesis (tafsīr) are in the way that the same meaning is mostly stated in a different way. This situation in the tafsirs was reflected to Turkish translations of the Qur'ān on the meaning of the concept and it was translated correctly in general. This shows that the context of determining the meaning of the concept is taken into account and that the polysemy of the concept is not an important problem in the meaning of “change,” “diversity” and “contradiction.”One of the most important meanings of the concept of ikhtilāf(Conflict) is the difference of thought and behaviour between two people or groups. In this sense, the concept has two subjects and refers to the situation of these two subjects against each other. This meaning, which we see more in the use of the concept as verb, refers to the conflict and contradiction of the different thoughts and attitudes that people have to against others they face because of their personal characteristics and ideology. In this sense, ikhtilāf(Conflict) among the sides reflects a negative situation without the possibility of finding the ground and the middle way. In the verses where the concept is used in this sense, there are also elements that indicate the difference of opinion between the two subjects, such as bayna(between) preposition, the believing-disbeliever comparison. The concept has been translated into Turkish with this sense in the Qur'ān. Its meanings of conflict, conflict and conflict are also used in Turkish. Therefore, it is possible to say that this meaning has a common meaning between Arabic and Turkish. Therefore, meanings of the concept such as conflict, disagreement, etc. in Turkish translations of the Qur'an are enough to reflect the meaning of the verses in this context. So, it is possible to say that in meaning of the concept does not have a problem of understanding and interpreting in general.The concept of ikhtilāf(Conflict) is also used to counter and oppose to a thought or belief in the Qur’an except for the general meaning of the above. With this meaning we encounter in the usage of ikhtalafaand mukhtalifin this sense, it is not only the mutual attitude of the two sides but the dissident, against and opposing attitude of one side towards the other. As such, the concept reflects an action of "one subject". As in the case of conflict between the two sides, there is a negative and undesirable situation in this usage. Because in the verses where the concept is used in this sense, the contradictions, and attitudes of the unbelievers about the faith revealed by Allah, religion, the book, and the prophet are generally explained. However, this meaning of the concept has not been translated into Turkish. In other words, there is no meaning in the word ikhtilāf(Conflict) used in Turkish. Therefore, there is no exact equivalence between Turkish and Arabic regarding this meaning of the word. For this reason, translations in the form of “conflict,” “dispute” for use in this sense are insufficient to reflect the meaning of it. Because, in these translations, the contraction of the concept which was experienced in the transition from Arabic to Turkish was not observed. This causes the misunderstandings of the verses in which this concept exists.The concept of ikhtilāf(Conflict) refers to the differences of tafsir in the verses that express the opposing attitude of a person or group as with other polysemy concepts, this concept also points to the need to be careful. Instead of giving the same meaning in every passage of such polysemy concepts, it is necessary to determine the correct meaning according to the context of the unity of the verse and its context. The same sensitivity should be taken into consideration in translating the concept into Turkish. So, while translating the concept passed in Turkish by narrowing, that accepting it is true in both languages and transferring to Turkish according to it is insufficient to reflect the meaning referred in the verse. (shrink)

In World War II, however, that lonely masculine authority of experience—the bitter authority derived from direct exposure to violence, injury, and mechanized terror—was rapidly dispersing among generally populations. Graves, notes, with some discomfort, that the Second World War soldier “cannot even feel that his rendezvous with death is more certain than that of his Aunt Fanny, the firewatcher.”5 American culture was, obviously, characterized by far greater disjunctions between male and female “experience” of war than the British blitz society Graves describes, (...) and the modern tradition of soldier poetry, with its ironic emphasis on unmendable gaps between the soldier author and the civilian reader, retained its strong influence. Still, public discussions of war and literature in the United States dwell frequently on the new conjunctions between civilians and soldiers, front and home front, and men and women, focusing on their shared morale or effort as well as on their common deprivation and vulnerability.In a war newly perceived as “total,” [Marianne] Moore’s work could exemplify the power of a representative civilian voice. It could also represent modernism provisionally embracing realist and didactic functions, coming round to correcting earlier trends toward self-referentiality. Thus Richard Eberhart, arguing in his introduction to a well-known anthology of war poetry that “the spectator, the contemplator, the opposer of war have their hours with the enemy no less than uniformed combatants,” praises Moore for abandoning the “complacencies of the peignoir” to write “In Distrust of Merits.”6 His phrasing links Moore with another civilian war poet, Wallace Stevens; by dressing Moore in Stevens’ Peignoir in order to show her doffing it, he represents her as a formerly feminine object of desire who has emerged from the coquetries of her sex into a new, superior, gender-free authority Now, Eberhart argues, “the bloodshed of which she writes has caused her to break through the decorative surface of her verse” to a “different kind of utterance.” For Eberhart, the poem’s value lies in its violation of Moore’s usual mannered aestheticism. She “breaks through” a feminine surface, as if puncturing skin, but the result is not a wound but a mouth: a “different kind of utterance,” in which “the meaning has dictated the sincerity.”7 Oscar Williams, in the preface to a comparable anthology, also reads the poem as a model of transparent earnestness, offering it as a solution to the problem of Edna St. Vincent Millay, the “bad” woman war poet who is excoriated in these discussions as often as Moore is extolled. Describing one of Millay’s war poems as “a sentimental piece of verse written by an American civilian, designed to be read by … people themselves out of danger because they are protected by a wall of living young flesh, much of which will be mangled,” Williams contrasts Moore’s “In Distrust of Merits”: But with true poets the poetry is in the pity …I ask the reader to study closely a war poem peculiarly fitted to illustrate my present thesis. It is also written by a woman, a civilian. “In Distrust of Merits,” by Marianne Moore, is the direct communication of honest feeling by one ready to search her own hear to discover the causes of war and accept her full share of responsibility for its effects.8 5. Graves, “The Poets of World War II,” p. 310.6. Richard Eberhart, “Preface: Attitudes to War,” in War and the Poet: An Anthology of Poetry Expressing Man’s Attitudes to War from Ancient Times to the Present, ed. Eberhart and Selden Rodman , pp. xv, xiii.7. Ibid., p. xiii.8. Oscar Williams, ed., The War Poets: An Anthology of the War Poetry of the Twentieth Century , p. 6. Susan Schweik is assistant professor of English at the University of California, Berkeley. She is at work on a book manuscript entitled A Word No Man Can Say for Us: American Women Poets and the Second World War. (shrink)

As a farmer from Ayrshire, Robert Burns's subsistence depended on successful interactions with farmed animals. This close contact with nonhumans conditions his poetry on animals. Even the free-living beings he documents are mediated by his agrarian experience. If his background as a farmer allows Burns to study animals on a daily basis, his poet persona permits him to document their activities with fidelity. The ethical dilemma, though, this dual position created in Burns's poems, foregrounds difficulty in negating the imbalance (...) of power between humans and other species. This disparity is nowhere more evident than in his verse “To a Mouse.”. (shrink)

Traveler, come with us! Do not be afraid. You will see sublime and melancholy, gay and beautiful scenes. Poet! Down there you will find poetic themes worthy of your most inspired verses. Artist! For you there are pictures of admirable freshness, painted by the hand of God. Writer! There you will encounter legends not yet written, legends of love and hate, of gratitude and vengeance, of hypocrisy and abnegation, of noble virtues and repugnant crimes; legends of fragrant romanticism and rich (...) in truth. Let us go there, plowing the dark and agitated waves of the restless Atlantic, through the islands of the Antilles, to the shores of Anáhuac.In the strictest sense, the Occident, (that prestigious union of nations, ideologies of progress, and export and import companies) discovered Mexico in the 19th century. Only at the end of Spanish domination—that never understood that “there are various kinds of excellence”—did other countries and Mexico itself begin to learn of the scope of the Conquest and regions affected by it, partially replacing Spanish mythology with another, more varied but equally remote. The greatness of the ancient Indians and their happy age was praised, while the living natives were reviled; the idealization of the pre-Columbian, which had been suspended by priests and encomenderos, was continued (Hernández wrote in 1577, “In this new world signs of avarice had never penetrated, nor had ambition been born until our compatriots arrived, carried by ships and the wind”); the possibilities of the new country were greedily examined; scornful notes were taken on the successive and simultaneous failures in the attempt to create a republic; the vices and virtues of those who were suddenly free were enumerated; a climate favorable to invasions and the amputation of territories was created; customs were observed with joy or alarm. (shrink)

This article examines the philosophy of Gilles Deleuze and the poetry of Arthur Rimbaud in terms of the intersection between corporeality, temporality, and the political. The first part analyzes the deconstruction of lyrical subjectivity in Rimbaud’s verse in relation to the breakdown of the “sensory-motor link” described in the first volume of Deleuze’s Cinema; it discusses these homologous movements as a release of free-floating bodily potentiality. The second part shows how the shift from the first to the second volume (...) of Deleuze’s Cinema and the shift from verse to prose poetry in Rimbaud constitute the formal dimensions of a shared political project based on the transformation of bodily life, or a biopolitical transformation. This project can be understood as communist insofar as it attempts to liberate time from capital for the body and to produce a social form based on sharing the common. (shrink)

On the History and Transmission of Lacanian Psychoanalysis addresses key questions about the history and transmission of Lacan's work in North America through discussions with experienced psychoanalysts (who are also trained psychiatrists, psychologists, and psychotherapists). Chris Vanderwees presents conversations with clinicians about their psychoanalytic formation and about the development of Lacanian psychoanalysis in North America over the past several decades. With oral narrative brought out through the technique of free association, then transcribed and annotated, each discussion is a trace (...) of Vanderwees' encounter with each clinician and the result of collaborative efforts involving speech, writing, translation, and transmission. The conversational tone makes these discussions accessible not only for those already well-versed in Lacan's thinking, but also for anyone discovering his work for the first time. The range of contributions spans both French and English-speaking Canada, the United States, and Mexico. Complemented by On the Theory and Clinic of Lacanian Psychoanalysis, this book of conversations conveys the diversity of historical and pedagogical perspectives on theory and practice as inspired by Lacan's system of thought. It will be of great interest to all psychoanalytic practitioners as well as academics and scholars of psychoanalysis. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Black Deconstruction: Russell Atkins and the Reconstruction of African-American CriticismAldon Lynn Nielsen (bio)“What does that signify?” “It don’t signify nothin’ Mr. Warner.”—Russell Atkins, MaleficiumThere are, everywhere unheard (as one might see deep in an electron microscope) rigidities violently breaking—Russell Atkins, WhicheverCritical debates about the applicability of recent literary theories to the reading of African-American writing have often been marked by curious lacunae. Despite the rapid proliferation of critical texts (...) addressing themselves to black writing, it remains the case that many critics come to black writing with methodologies and agendas already in hand, while few critics have taken upon themselves the task of rereading the critical history of African-American work in theory. This has often resulted in a sort of critical shortsightedness, with the field of black literary theory presented as a foreshortened, if now more level, playing field. While some have engaged in arguments about the question of whether or not African-American writing should be engaged by poststructuralist theorists (a question that seems to begin with the assumption that poststructuralism is a particularly white mode of mythology), the fact is that a form of deconstruction had been theorized by an African-American poet long before deconstruction had entered the American academy. That this fact is largely unknown among contemporary critics is the result of a continuing practice of not reading the theoretical work of black poets who have published outside the established circuit of the academic press. With the prominent exceptions of poets like Amiri Baraka, June Jordan, Larry Neal, and Haki Madhabuti, the critical writings of recent African-American poets have seldom been collected and circulated in any very effective way. Characteristically, Neal’s essays were gathered into a book posthumously, and Madhabuti’s have been published and distributed primarily through his own publishing house. Even Baraka’s collections have been allowed to pass out of print in most instances, only the books on music remaining readily available throughout his career. This may change for black poets who write in more mainstream modes in the near future. Now that Rita Dove has served a term as Poet Laureate of the United States and Derek Walcott has won the Nobel Prize, we might expect a modest increase in interest by publishers and readers in critical works by poets whose forms are less troubling than their content. And black poets who attain academic credentials and write scholarly/critical essays, such as Nathaniel Mackey and Harryette Mullen, may succeed in getting their works published by the university presses. However, surveys of shelves in bookstores and [End Page 86] libraries will confirm that there has been little concern among even university and small presses to collect and preserve the critical legacy of black experimentalists in the way that the essays of Charles Olson, Ed Dorn, or Robert Creeley have been maintained before a public.Russell Atkins has been one of the most prolific and demanding of black poets writing criticism and theory in the last four decades, but like Percy Johnston, central figure of the Dasein group of poets centered at Howard University in the 1950s, he has had to publish most of this work through his own magazine and workshop press, and there has never been a published collection of his critical work. The special Russell Atkins number of the Free Lance, a journal with which Atkins was associated for two decades, included a section surveying his work in critical prose, but little of that work has found its way into the broader critical discourse of literary scholars (it has fared a little better with musicologists), and Atkins’s prose is infrequently cited. As eccentric as Atkins’s prose can sometimes be, these works are important early signs of a break with the “rigidities” of traditional humanist discourse among African-American writers. Atkins’s statements on music, literature, politics, and education parallel the works by Baraka leading into and out of the Black Arts Movement, but Atkins, as he does in his verse, travels an independent and often disturbing path.Speaking of Anthony Braxton’s experimentalism, Ronald Radano observes that it “emerged from the changing landscape of urban American life, from... (shrink)

It is frequently noted that a “crisis in language” accompanied the profound changes in human consciousness everywhere evident near the turn of the century. As the nature of reality itself became problematic—or at least suspect, distrusted for its imposition of limits upon individual imagination—so, necessarily, did the relationship of language to reality. Thus in the later nineteenth century, the adequacy of an essentially standardized form of “classical” writing was increasingly questioned as an effective vehicle for artistic expression: even though often (...) in “elevated” form, such writing bore too close a connection to ordinary discourse. Indeed, it was precisely the mutually shared, conventional aspects of language that came to be most deeply distrusted for their failure to mirror the more subjective, obscure, and improbable manifestations of a transcendent reality or, rather, realities—the plural reflecting an insistence upon the optional and provisional nature of human experience. Language in its normal manifestations—with its conventionalized vocabulary and standardized rules for syntactical combination—proved inadequate for an artistic sensibility demanding, in Friedrich Nietzsche’s words, “a world of abnormally drawn perspectives.”This dissatisfaction with “normal” language received its classic statement through Hugo von Hofmannsthal’s Lord Chandos. Writing in 1902, Hofmannsthal conveys through the figure of the aristocratic Chandos the loss of an encompassing framework within which the various objects of external reality are connected with one another and integrated with the internal reality of human feelings. Chandos’ world has become one of disparate, disconnected fragments, resistant to the abstractions of ordinary language. It is a world characterized by “a sort of feverish thought, but thought in a material that is more immediate, more fluid, and more intense than that of language.” Chandos longs for a new language in which not a single word is known to me, a language in which mute objects speak to me and in which perhaps one day, in the grave, I will give account of myself before an unknown judge.”2 The content and forms of art thus shifted away from exterior reality, which no longer provided a stable, “given” material, toward language itself—to “pure” language in a sense closely related to the symbolists’ “pure” poetry. “No artist tolerates reality,” Nietzsche proclaimed.3 And Gustave Flaubert’s farsighted advice to himself was that he should write “a book about nothing, a book dependent on nothing external, which would be held together by the internal strength of its style.”4 2. Hugo von Hofmannsthal, “Ein Brief,” Gesammelte Werke, ed. Bernd Schoeller with Rudolf Hirsch, 10 vols. , 7:471-72; my translation. All further translations are my own unless otherwise indicated.3. Friedrich Nitzsche, Complete Works, ed. Oscar Levy, 18 vols. , vol. 15, The Will to Power, trans. Anthony M. Ludovici, p. 74.4. Gustave Flaubert, Flaubert to Louise Colet, 16 Jan. 1852, The Letters of Gustave Flaubert 1830-1857, ed. and trans. Francis Steegmuller , p. 154. Other passages in this letter are equally remarkable for their “modernist” tone. Flaubert argues that from the standpoint of l’Art pur, “one might almost establish the axiom that there is no such thing as subject—style in itself being an absolute manner of seeing things” . Further:The finest works are those that contain the least matter; the closer expression comes to thought, the closer language comes to coinciding and merging with it, the finer the result. I believe the future of Art lies in this direction. I see it, as it has developed from its beginnings, growing progressively more ethereal …. Form, in becoming more skillful, becomes attenuated, it leaves behind all liturgy, rule, measure; the epic is discarded in favor of the novel, verse in favor of prose; there is no longer any orthodoxy, and form is as free as the will of its creator. This progressive shedding of the burden of tradition can be observed everywhere: governments have gone through similar evolution, from oriental despotisms to the socialisms of the future. [P. 154] Robert P. Morgan, professor of music at the University of Chicago, is currently writing a history of twentieth-century music and working on a study of form in nineteenth-century music. His previous contributions to Critical Inquiry are “On the Analysis of Recent Music” and “Musical Time/Musical Space”. (shrink)

There are statements in the Qur'an that Satan has an influence on human will. In many verses, it is recalled that the devil and his followers are the greatest enemy of mankind, and they set up traps to mislead humans. The expressions that are related to these satans from humans and demons make people think that they are desperate against their traps and cause some questions about whether human beings have full freedom in their actions. As a matter of fact, (...) there are some interpretations in opposition to the freedom of will in the commentary sources regarding these verses. In some passages in the Qur'an it is emphasized that the traps set up by the devil are weak and can be overcome. This situation makes it necessary to evaluate the issue in terms of theology. As a matter of fact, the attempts of the devils to divert human freedom were handled along with the subjects of human freedom and responsibility in their actions in Kalam sources; and discussed in the light of human actions, the role of will in actions and freedom of will. In this study, how misguided actions of the devil and his followers affect the human will and whether this influence brings a limitation to the free will; will be discussed together with the relevant theological discussions. (shrink)

Polygyny, the marriage of a man with more than one woman at the same time is a well-known practiced in human history. Islamic law accepts the institution of polygyny as a substitute provision if it fulfills the certain conditions and reasons, -and limited the maximum number of wives to four. Although polygyny is mubah (permissible) in Islamic law, it is not an absolute right that every man can use arbitrarily. Thus in Islamic law, the legitimacy of polygyny has been attributed (...) to the presence of two basic conditions: the observance of justice among co-wives and providing maintnance. However, the observance of these conditions that is left to the mercy of men leads to the exploitation of the right for practicing to polygyny and victimization of the first spouse. Therefore, inserting some restrictions for using this right has come to the agenda from time to time in Islamic legal history. The first legal arrangements concerning the restriction of the polygyny (taaddud al-zawjāt) in the history of Islamic law were indirectly made with the Family Law Decree of 1917 which was prepared in the last periods of the Ottoman Empire. Among the late Islamic jurists, the issue of the limitation of polygyny by public authority in Islamic law continues to be discussed. The civil laws of contemporary Muslim countries contain different regulations on the issue. In this article, the restriction of polygyny by the public authority in Islamic family law will be focused on.Summary: Polygyny, the marriage of a man with more than one woman at the same time is a well-known practiced in human history. Islamic law accepts the institution of polygyny as a substitute provision if it fulfills the certain conditions and reasons, and limited the maximum number of wives to four. Thus, relevant verses in the Qur’an (al-Nisa 4/3, 129) and the Prophet’s own practice (al-Ahzab 33/50, 51, 59 al-Tahrim 66 / 3-5) show that it is legitimate for a man to marry more than one woman (up to four) at the same time in Islamic law. Although polygyny is legally permissible (mubah) in Islamic law it is not an absolute right that every man can arbitrarily use. Thus in Islamic law, the legitimacy of polygyny has been attributed to the presence of two basic conditions: the observance of justice among co-wives and providing maintenance. On the other hand, there may be some exceptional circumstances permitting polygyny in Islamic law. For example, when female population is much more than male in the society and when a, woman is can not fulfill her family duties due to her cureless illness, polygyny is permitted in Islamic law.As it can be understood from the explanations above, polygyny in Islamic law is not a general and mandatory provision that should be applied by every man who has legal capacity to marry. On the contrary, it is an exceptional provision that is justified if there are certain conditions and justifications. According to this; polygyny is a moral and legal institution that is made up of mutual consent based on individual and social conditions and needs in Islamic law. Therefore, men do not have to marry a second woman on their current wives, as well as women have the right to say “no” to marry a married man as a second wife.When the conditions and rationales indicated in the relevant verses and doctrine are evaluated together, it can be said that in order to be able to legitimize the polygyny in Islamic law, there must be three basic conditions:(1) Observing justice among spouses, (2) Having sufficient financial power to provide maintenance for spouses, (3) Existence of individual or social need or necessity.Therefore, in order to prevent the exploitation of polygyny, which is justified under certain conditions and justifications in Islamic law, the above-mentioned conditions must be fulfilled. Otherwise, polygyny can cause some problems, unrest and injustice for individual, family and society. Hence, in the presence of certain conditions and justifications, polygyny accepted in Islamic law as a moral and legal institution aiming the elimination of individual and social arbitration.Although the legitimacy of polygyny in Islamic law depends on the existence of certain conditions and special circumstances, it is a known fact that they are not always observed in practice. It can be said that the right of polygyny is a subject of abuse in practice. Therefore, the limitation of polygyny by the public authority has come to the fore in Islamic legal history. Today, control of the public authority and inserting some restrictions of polygyny continue to be discussed among the Islamic jurists. In the past, it is possible to say that the control of the exercising of this right has been done relatively by society (social environment). However, nowadays, since the society cannot perform the control mechanism, it is brought up by the state (public authority) on behalf of the society.Among the contemporary Islamic jurists regarding the supervision or limitation of polygyny by the public authority; there are two approaches: “those who accept” and “those who do not accept” such restrictions.Islamic jurists, who accept that public authority is allowed to intervene in polygyny, grounded their views on two perspectives: The first is that the polygyny is legally permissible and the public authority has the authority to limit the permissible (mubah) in Islamic law. The second is that polygyny is restricted with the conditions in the Qur’anic verses such as “husband’s observation supervision of justice among his wives” and “having the power for ensuring the livelihood (nafaqa) of his wives” and it is more appropriate for the benefit of society and the purpose of the legislator (Shari’) to be subject to the control of the public authority whether these conditions are present or not. Islamic jurists, who do not agree that the public authority has the right to intervene in polygyny grounded their views on two perspectives as well: First, polygyny is a legitimate right mentioned in the verses in Islamic law and there is no definite proof that this can be prohibited or restricted by the public authority. Secondly, it is contrary to the verses to prohibit or limit the right that the Qur’an makes legitimate (free).Thus, it is possible to say that the opinion which accepts that the public authority has to limit polygyny is more accurate in terms today’s social conditions. Namely, polygyny is linked to two basic conditions: ”husband’s observance of justice among his wives and having the power to provide maintenance for his wives. Therefore, supervision of the public authority on checking the existence of these conditions is more appropriate for the purpose of the legislator (Shari legitimizing polygyny and social benefit.In fact, the Ottoman Family Law Decree of 1917 indirectly limited the right of the husband to marry more than one woman, giving the woman right to stipulate a condition in her marriage contract that her husband not to marry a second woman. In the 1924 Draft of Family Law Decree, which was prepared after the repeal of the Family Law Decree of 1917, but not enacted, it was proposed that the application of polygyny should be presented to the approval judge.In today’-s Muslim countries, there are three different practices: namely “completely prohibiting polygyny”, ”releasing polygyny” and “giving the court the right to monitor the existence of necessary conditions “. In countries such as Morocco, Algeria, Iraq, Syria, Indonesia, Malaysia (and Pakistan), the validity of polygyny depends on the permission and supervision of the judiciary. Some of these countries which have accepted judicial review have given the judicial control for the requirement of justice, some of them the conditions of justice and maintenance some of them for the conditions of justice, maintenance and a legitimate justification.In sum, in accordance with the provisions of the relevant verses, polygyny in Islamic law is legitimately permissible (mubah). However, the public authority has the right and authority to limit the mubah in Islamic law in the case of the elimination of damage and the necessity of the public interest. On the other hand, the public authority has the right and authority to enact the law in Islamic law by preferring one of the existing ijtihads that meet the needs of the society and conforms to the conditions of the age.According to this, when the public authority made a statutory regulation that links the use of right of polygyny to the permission of the judge, this regulation is binding on society.Therefore, in the event of such a legal arrangement, it is possible for the public authority to allow the men who comply with the conditions and not to allow the ones who are not to comply with the conditions after conducting the necessary investigation. As a matter of fact, now Family Laws of many Muslim countries now include such legal arrangements. It is also worth mentioning here that there may be a necessity for a man to marry more than one woman (up to four) at the same time in terms of social benefits, when the population of male and female in a society is excessively disproportionate. In such circumstances, it is also possible that the public authority encourages, or even mandates, the marriage of men who have fulfilled the conditions to more than one woman. (shrink)

Kristell Trego | Résumé : Qui agit quand j’agis ? Cet article s’intéresse à la réception philosophique de deux versets scripturaires, Jn 15,5 et Ph 2,13, qui, l’un comme l’autre, énoncent une certaine intervention de Dieu dans les actes que l’homme effectue. On prend en premier lieu en considération l’occasionnalisme malebranchiste. On envisage ensuite, au sein du kalâm, le courant asharite, souvent présenté comme « occasionnaliste », et sa réfutation par le philosophe chrétien de l’école de Baghdad Yaḥyâ ibn ‘Adî. (...) On regarde enfin comment la tradition médiévale a, à la suite d’Augustin, concilié nos deux versets avec l’affirmation de la libre volonté humaine. |: Who acts when I act ? The present essay is concerned with the philosophical reception of two scriptural verses, John 15, 5 and Philippians 2, 13, which both set forth a certain intervention of God in the acts performed by man. We first take into consideration Malebranche’s occasionalism. We then consider, within the kalâm, the ashrahit current, often presented as “occasionalist,” and its refutation by the Christian philosopher from the Baghdad school Yaḥyâ ibn ‘Adî. We finally take into account how the medieaval tradition has, in the wake of Augustine, conciliated our two verses with the affirmation of the free human will. (shrink)

In Islam, there is a belief that Allah has a ‘throne’ [al-ʿArsh, the highest level of the heavens] in the sky and that Allah sent the Qurʾān directly from that throne or through an angel. According to this belief, the Qurʾān descended from the seventh level of the heavens to the first level and then completed its descent to the earth in pieces over 23 years. Accordingly, the Qurʾān descended from a certain place with determined borders, namely from the throne (...) [al-ʿArsh] of Allah. However, theological books [the literature and sources of ʿılm al-Kalām] contend that Allah is free from space and time and that a specific space cannot be attributed to Allah. The verses of the Qurʾān even suggest that Allah is not only above in the heavens but everywhere. Therefore, the main question of our article is why Allah wanted to send the Qurʾān specifically from the heavens if Allah is free from space. We show that the descent of the Qurʾān from the heavens to the earth is not realistic but is a symbolic and metaphorical narrative. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Some Sources for Hume's Opening Remarks to Treatise LIVJII Graham Solomon Hume opens Book I, Part IV, Section III of the Treatise with these remarks: Several moralists have recommended it as an excellent method ofbecoming acquainted with our own hearts, and knowing our progress in virtue, to recollect our dreams in a morning, and examine them with the same rigour, that we wou'd our most serious and deliberate actions. (...) Our character is the same throughout, say they, and appears best where artifice, fear, and policy have no place, and men can neither be hypocrites with themselves nor others. The generosity, or baseness of our temper, our meekness or cruelty, our courage or pusilanimity, influence the fictions of the imagination with the most unbounded liberty, and discover themselves in the mostglaring colours. Who were these moralists? One looks in vain in the work of Malebranche, Locke, Shaftesbury and Hutcheson for such a recommendation. Did anyone make that recommendation? One moralist who did was "John Shadow," in a letter to Joseph Addison published in The Spectator, no. 586, 27 August 1714. Addison introduces Shadow's letter with the remark that it "is built upon a thought that is new, and very well carried on; for which Reasons I shall give it to the Publick without Alteration, Addition, or Amendment." I quote at length, for easy comparison with Hume: Sir, It was a good Piece of Advice which Pythagoras gave to his Scholars. That every Night before they slept they should examine what theyhad been a doing that Day, and so discover what Actions were worthy of Pursuit to Morrow, and what little Vices were to be prevented from slipping unawares into a Habit. If I might second the Philosopher's Advice, it should be mine, That in a morning before my Scholar rose, he should consider what he had been about that Night, and with the Volume XVI Number 1 57 GRAHAM SOLOMON same Strictness, as if the Condition, he has believed himself to be in, was real. Such a Scrutiny into the Actions ofhis Fancy must be of considerable Advantage, for this Reason, Because the Circumstances which a Man imagines himself in during Sleep, are generally such as entirely favour his Inclinations good or bad, and give him imaginary Opportunities of pursuingthem to the utmost; so thathis Temper will lye fairly open to his View, while he considers howitis moved when free from those Constraints which the Accidents ofreal Life put it under. Dreams are certainly the Result of our waking Thoughts, and our daily Hopes and Fears are what give the mind such nimble Relishes of Pleasure, and such severe Touches ofPain, in its Midnight Rambles. AMan that murders his Enemy, or deserts his Friend in a Dream, had need to guard his Temper against Revenge and Ingratitude, and take heed that he be not tempted to do a vile thing in Pursuit of false, or the Neglect of true Honour... I think it has been observed in the Course of your Papers, how much one's Happiness or Misery may depend upon the Imagination: ofwhich Truth those strange Workings ofFancy in Sleep are no inconsiderable Instances; so that not only the Advantage a Man has ofmaking Discoveries ofhimself, but a Regard to his own Ease or Disquiet, may induce him to accept ofmy Advice... Shadow has been identified as the poet John Byrom by various of the later editors of The Spectator? Of these, D. F. Bond footnotes Byrom's reference to Pythagoras, noting the publication in English of André Dacier's The Life ofPythagoras, with his Symbolism and Golden Verses; together with the Life ofHierocles, and his Commentaries upon the Verses. Bond notes Hierodes' comments on the following Verses: Never suffer Sleep to close thy Eye-lids, after thy going to Bed, Till thou hast examin'd by thy Reason all thy Actions of the Day Wherein have I done amiss? What have I done? What have I omitted that I ought to have done? If in this Examination, thou find that thou hast done amiss, reprimand thy self severely for it: And if thou has done any Good, rejoice. Dacier cites Porphyry and Marcus Aurelius... (shrink)

Turkish-Islamic literature contains numerous religious literar writings. In the existing literature, it can be seen that many kinds such as tawhīd, munājāt, nʿat, mawlid, hilya, hijrah-nāma, shafāʿat-nāma, miʿrāj, qisas al-anbiya, ramaḍāniyya, and al-asmā al-ḥusnā were written. Al-Asmā al-ḥusnā, written in the form of poetry and prose, were mostly sharḥ or their khawaṣṣ were explained. Çihil-nām al-Manẓūm, which is mentioned in the study, was written as khawaṣṣ al-asmā al-ḥusnā. The work is a poet entitled as Fażāyī. Manuscript was written in the (...) last quarter of the fifteenth century, and thus, it is presumed that the poet lived in the same century. This work has been identified in a manuscript. In addition, the poet’s Hadiyyat al-aḥbāb, der-Bayān al-maqāmāt al-darwīshān, Kitāb al-sharʿiyyat al-arbāb, and Ghazaliyyāt al-Darwīsh Fażāyī four other works have been identified. In the writings of the asmā al-ḥusnās, the names of ninety-nine were emphasized. In this study, the forty names of God are expressed. The text presented is a continuation of the tradition of writing some prose works written in Arabic and Persian. Çihil-nām al-Manẓūm, written in Arabic prose and known as Asmā al-Idrīsiyya it can be seen as a free stsyle translation of the prophet Idrīs. Forty names in the content of the work, their proper-ties, when, how much and how to read is explained. In this study, firstly the information about the subject of Qurʾān, hadith, Arabic, Persian and Turkish literature in the beautiful names of God is provided. Then, the information about the poet Fażāyī was given. Çihil-nām al-Manẓūm was introduced and the transcriptional form of the text was given.SummaryOne of the reasons that deeply affect a nation is the change of religion. This change did not only affect the individual but also influenced the society in which he was born and grew. One of the nations with strong influence is the Turks. Turks, after Islamization, have estab-lished a new civilization. One of the areas where this Islamic civilization reflects is the literary aspect of society. In this literature, which has begun to be formed, religious genres such as tawhīd, munājāt, nʿat, mawlid, hilya, hijrah-nāma, shafāʿat-nāma, miʿrāj, qisas al-anbiya, ramaḍāniyya, have been revealed. One of them is about God. Religious literary writings about God were written in the form of tawhīd and munājāts, which consist of one or more prophets found at the head of the dīwāns, or as the annotations of asmā al-ḥusnā or as khawaṣṣ asmā al-ḥusnā.In time, the need for some Turkish literary and scientific works to be translated into a different language were born. It can be seen that with some changes such as subtraction and addition, texts are rewritten or poetic works are translated into prose. The original of our research subject Çihil-nām al- Manẓūm’s is written in Arabic and prose. Çihil-nām al-Manẓūm, it is a munājāt of the work known as Asmā al-Idrīsiyya, which describes the call of prophet Idrīs.Asmā al-ḥusnā is a religious term used mostly to describe the attributes and names of God. In the Qurʾān, there is no information about the number of asmā al-ḥusnā mentioned as a concept. However, the number of the names of God in the Qurʾān is 155. This number is differ-ent in ḥadīths. It is widely accepted that the number of asmā al-ḥusnā is 99. Some Islamic schol-ars have argued against such restricting statements, arguing that ninety-nine names, such as the hiding of the Night of Qadr, were hidden in all Divine names during the month of ramaḍān, while others suggested that the number of ninety-nine was large number of asmās (names).The first examples of asmā al-ḥusnā were written in Arabic literature. Some of them are not detached: Abū Manṣūr al-Māturidī (d. 333/944) Kitāb al-Tawḥīd, Abū ʿAbdullāh al-Ḥalīmī (d. 403/1012) al-Minhāj fī shuʿabiʾl īmān, Taḳī al-Dīn Ibn Taymiyya (d. 728/1328) al-Īmān. A part of asmā al-ḥusnās is also a single work: Abū Isḥāq al-Zajjaj (d. 311/923) Tafsīr al-asmāi’llāh al-ḥusnā, Aḥmad b. Husayin al-Bayhaḳī (d. 458/1066) al-Asmā al-ṣifāt and ʿAbd al-karīm b. Havāzin al-Quşayrī (d. 465/1072) Sharḥ al-asmāi’llāh. In addition to Arabic, it is useful to talk about some of the asmā al-ḥusnās which is written in Persian. Muḥammed al-Shrāzī al-Nishāburī (d. 904/1498) al-Risāla der-asmā al-ḥusnā, Çarkhī Yaʿḳūb b. ʿOthmān (d. 851/1447) Sharḥ al-asmāi’llāh and ʿAbd al-Raḥmān Aḥmad al-Jāmī (d. 898/1492) Muʿammā al-Jāmī.Islamic nations have created an enormous collection of literature about God. Among them, asmā al-ḥusnās has a special importance. Many asmā al-ḥusnā were written in Turkish literature. The most famous among the verses of Ibn Isa b. Majduddīn ʿĪsā Saruḥanī (d. 967/559) is Sharḥ al-asmā al-ḥusnā. Other than that, Ḥusayin b. Aḥmad Sirozī (d. 1000/1401) Sharḥ asmā al-ḥusnā, Aḥmad Shākir Pasha (d. 1234/1818) Rawḍ-ı Ward, Ibrahim Mahdī (d. 1345/1926) al-Kanz al-asmā fī sharḥ al-asmā al-ḥusnā and Bijaqji-zāda Ismā‘īl Haqqi b. ʿOthmān (ö.1352/1933) Asmā al-ḥusnā’s naẓman tafsīr this work is shown among the major works written in this field. Again, the works of the late Sheykh-oghlu Muṣṭafā (d. 817/1414) Khawaṣṣ al-asmā al-ḥusnā, Ṣubḥī al-Bursawī (n.d.) Sharḥ al-manẓūm al-asmā al-ḥusnā, Ḥākim Sayyid Maḥmad Afandi (d. 1184/1770) Sharḥ manẓūm al-asmā al-ḥusnā, Lāmiʿ Jelebi (d. 938/1532) Sharḥ al-muʿammayāt ʿalā asmā al-ḥusnā, Ḥamdī Afandi (n.d.) Sharḥ al-manẓūm al-asmā al-ḥusnā, Naḥīfī (d. 1151/1738) Manẓūm al-asmā al-ḥusnā, ʿAbd al-Majīd b. Naṣūḥ Ṭosyavī (d. 996/1588) Sharḥ al-asmā al-ḥusnā can be listed among other notable works.In this study, a khawaṣṣ al-asmā al-ḥusnā is examined. Khawaṣṣ; khāṣṣ and khāṣṣa are the plural of the words khawaṣṣ al-wukalā, khawaṣṣa al-balda, the properties of some drugs, khawaṣṣa al-Qurʾān al-karīm, khawaṣṣa al-ism al-aʿẓam; a force that is found in something and not from others means special case. The verses of the Qurʾān, the rings, the hours of the days, some prayers, the names of God have some of the accents. It is believed that the desire of the person who reads them in certain conditions, in a certain amount, or in any manner, in specific hours, will occur. The fact that the concept of khawaṣṣ met these meanings allowed him to acquire scientific knowledge and to call it “khawaṣṣ science” characteristic in the literature.The works that deal with the Qurʾān and the asmā al-ḥuṣnā are written. Some of these works written in Arabic and Turkish literature are: Risāle fī khawaṣṣ al-asmā al-ḥusnā: Zunnūn al-Miṣrī, Khawaṣṣ al-Qurʾān: Ghazālī, ʿIḳdu al-manẓūm fī khawaṣṣ al-ḥurūf: Muḥyī al-Dīn al-ʿArabī, Asmā al-Idrīsiyya: Shāb al-Dīn al-Suhrawardī, Khawaṣṣ al-asmā al-ḥusnā: Shakh-oghlu Muṣṭafā, Sharḥ al-manẓūm al-asmā al-ḥusnā: Ṣubḥī al-Bursawī, Sharḥ al-asmā al-ḥusnā: Ibn ʿIsā b. Majd al-Dīn Ṣaruhanī, Manẓūm al-asmā al-ḥusnā sharḥ: Ḥākim Sayyid Maḥmad Afandi, Manẓūm al-asmā al-ḥusnā: Naḥīfī, Sharḥ al-asmā al-ḥusnā and khawaṣṣuhā: Imām Shabrāwī.One of the works in which asmā al-ḥusnā was described is attributed to prophet Idrīs. Among the miracles of prophet Idrīs, there have been intresting miracoulus performances such as possessing the knowledge of astronomy, fortune, mathematics, plants, writing, sew-ing, using the scales and strange art. The mysterious secrets were revaled to him in 30 ṣuḥuf. His major miracles are governing spiritual beings, knowing the properties of the beings and possessing the knowledge of various unknown things. Again, he wrote a book about the char-acteristics of letters. Aristotle later wrote a commentary using the majority of the information found in this book. Some of the works are written to narrate the Prophet Idrīs’s praising God with forty names:Muḥammad al-Tunisian, al-Ravḍatu al-Sundusiyya fī asmā al-ḥusnā al-Idrīsiyya al-Suhrawardiyya; Shāb al-Dīn Yaḥya b. Ḥabash al-Suhrawardī, Çihil-nām. Among these, the most famous is the work called Asmā al-Idrīsiyyā, written by Suhrawardī. Here, in addition to the asmā al-ḥusnā (forty names), prayers, prayers, conquests, their meanings, and the merits of reading them are explained. The book is written in Arabic. Many copies of this work have been identi-fied. Here are a few of these: Sulaymāniyya Hagia Sophia, K. 1870; Sulaymāniyya, Hagia Sophia, 377; Bāyazıd State Library 1314; National Library A005133-03 23b-33a; Adana Public Library 140; National Library, 06 Mil Yz A 9084/6.The works describing Asmā al-Idrīsiyya were written as prose. The work examined in this study was written as a manuscript. Çihil-nām-ı Manẓūm is distinguished from the others in this respect. Another point that makes the study important is the fact that Çihil-nām-ı Manẓūm has a very old period, this is written in the fifteenth century. (shrink)

Machine generated contents note: CHAPTER 1 HEALTH CARE PROFESSIONALS AND HIV: The Duty To WarnI -- CHAPTER 2 EMERGENCY CARE AND HIV: Treatment Policy and -- Pracice17 -- CHAPTER 3 A REVOLUTIONARY POLICY? Mandatory Disclosure of HIV -- Serostaus29 -- CHAPTER 4 MINORS AND HEALTH CARE: The Limits of Consent and -- Confidentiality39 -- CHAPTER 5 THE RIGHTS TO REFUSE AND DEMAND MEDICAL -- TREATMENT: The Bounds ofAutonomy andFutli{y47 -- CHAPTER 6 RELIGIOUS FREEDOM AND THE RIGHT TO REFUSE CARE: -- (...) What Are The Limits?65 -- CHAPTER 7 ASSISTED REPRODUCTIVE TECHNOLOGY: The Business of -- Making Babies 89 -- CHAPTER 8 TWINS AND TRANSPLANTS: Choosing Who Lives 113 -- CHAPTER 9 FREE ABORTION SERVICES AND FETAL TISSUE RESEARCH: -- Freedom of Choice and Coercion123 -- CHAPTER 10 PROPERTY RIGHTS, BODY PARTS, AND REPRODUCTION: -- Who Owns the Human Body? - 139 -- CHAPTER 11 OUTBREAK IN AMERICA: The Policy of Public Verses Private -- Interests 153 -- APPENDIX A CONFIDENTIALITY OF HIV TEST RESULTS: California Health -- and Safety Code Sections 120975 Through 121020169 -- APPENDIX B HEALTH CARE PROFESSIONALS AND HIV: Texas Health and -- Safety Code Section 58.204 175 -- APPENDIX C TARASOFF v, THE REGENTS OF THE UNIVERSITY OF -- CALIFORNIA: Supreme Court of California177 -- APPENDIX D THE RIGHTS OF MINORS TO CONSENT TO HEALTH CARE: -- California Family Code Sections 6903 Through 6929183 -- APPENDIX E FEDERAL DRUG AND ALCOHOL ABUSE CONFIDENTIALITY -- REGULATIONS: Title 42 Code of Federal Regulations Part 2 187 -- APPENDIX F CHILD ABUSE REPORTING LAWS: Caitfornia Penal Code -- Sections 11164 Through 11166 193. (shrink)

ABSTRACT The focus of this essay is Kant's argument in the Groundwork for the Metaphysics of Morals III that regarding oneself as rational implies regarding oneself as free. After setting out an interpretation of how the argument is meant to go, I argue that Kant fails to show that regarding oneself as free is incompatible with accepting universal causal determinism. However, I suggest that the argument succeeds in showing that regarding oneself as rational is inconsistent with accepting universal (...) causal determinism if one accepts a certain, plausible view of the explanation of events. RESUMEN El ensayo se enfoca en el argumento de Kant en la Fundamentación de la metafísica de las costumbres III según el cual considerarse racional implica verse a uno mismo como libre. Se interpreta la forma en que debe entenderse el argumento y se afirma que Kant no logra demostrar que considerarse libre es incompatible con la aceptación del determinismo casual universal. No obstante, se sugiere que el argumento sí logra demostrar que considerarse a uno mismo como racional es incompatible con la aceptación del determinismo casual universal, si se acepta una cierta versión plausible de la explicación de los eventos. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Complete Poems of Tibullus: An En Face Bilingual Edition by Rodney G. DennisRobert J. BallRodney G. Dennis and Michael C. J. Putnam, trans. The Complete Poems of Tibullus: An En Face Bilingual Edition. With intro. by J. Haig Gaisser. Berkeley: University of California Press, 2012. x + 159 pp. Hardcover, $52.95, Paperback, $20.95.This welcome edition of Tibullus’ elegies contains a two-page preface, a twenty-eight-page introduction, an en (...) face bilingual text and translation of the elegies of Tibullus, Lygdamus, and Sulpicia, a seven-page section of notes, a ten-page glossary, an appendix containing a text and translation of Ovid Amores 3.9 (Ovid’s memorial to Tibullus), a select bibliography, and a general index.As related in the preface, after the death of Rodney Dennis, Curator of Manuscripts for twenty-five years at Harvard University’s Houghton Library, Michael Putnam and Julia Gaisser agreed to bring to fruition the Tibullus translation Dennis had worked on, which Dennis had wanted Gaisser to help him perfect and for which he had wanted Putnam to write the introduction. Putnam and Gaisser decided to reverse the roles that had been envisioned for them by Dennis, with the revision of the translation (and the addition of the poetry of Lygdamus and Sulpicia) diligently executed by Putnam, Professor Emeritus of Classics at Brown University, and the introduction insightfully authored by Gaisser, Professor Emerita of Latin at Bryn Mawr College.Gaisser’s introduction examines 1) the world of the Roman elegists, especially how, in an era of brilliant poets, the elegists defined their genre; 2) the themes and characters in Tibullus’ elegies and how the characters help shape the [End Page 295] arrangement of his poems; and 3) what the elegies of Lygdamus and Sulpicia have and do not have in common with those of the other elegists. Gaisser’s fine comment, “His [Tibullus’] poems glide easily, some would say dreamily, from theme to theme, moving almost like a slide show through apparently random images and musings” (1), recalls statements of some of the poet’s admirers at the dawn of the twentieth century, such as Johannes Vahlen, who likened the movement of the elegies to the tide of a summer sea. Gaisser takes the middle ground, as appropriate, in seeing Tibullus as a poet who speaks through a persona, yet who has “some (perhaps many) points in common with his creator” (7)—as he very likely does—since even within the context of his alternate universe, he touches on the contemporary world, where he refers to people and events outside the poem’s web of self-reference. Yet one may question Gaisser’s unqualified comment that “Tibullus’ poetic techniques are Alexandrian at almost every level” (17)—a thesis developed by Francis Cairns based on Hellenistic evidence of a fragmentary nature, substantiated by Alexandrian elements in some of Tibullus’ verses but with little relevance to those elegies governed by non-Alexandrian literary sources.The bilingual text and translation include the sixteen elegies written by Tibullus (1.1–10 and 2.1–6), the six by Lygdamus (3.1–6), and the six by Sulpicia (3.13–18 = 4.7–12); not included are the Panegyric of Messalla (3.7 = 4.1), the Garland of Sulpicia (3.8–12 = 4.2–6), and the elegy and epigram of debatable authorship appearing at the end of the corpus (3.19–20 = 4.13–14). In preparing this edition of the elegies, Putnam has followed, appropriately, Georg Luck’s Teubner text (Stuttgart 1988, rev. in 1998)—a text containing the most complete list of Tibullus’ manuscripts ever assembled and the most extensive citation of variants and conjectures for the poems, which Putnam supplements with his own variants. Verse form presents a serious challenge for anyone attempting to translate classical poetry into English, inasmuch as classical meters are quantitative whereas English verse is accentual; although translations of classical verses into the original meters may well result in a metrical tour de force, they tend to have a jingly sound, which can obscure and overshadow the poet’s artistry. Philip Dunlop translated some of Tibullus’ elegies into free... (shrink)