The features of J. Brodsky’s lyricism, which are caused by intellectual dominant of his consciousness, are explored in the article. Intellect here is understood as ‘directed thinking‘ ; in artistic version it is described as project-reflexive thinking. The article gives basic characteristics of the poet’s consciousness, which caused maximum closeness between biographic and poetic ‘Me‘, striving for alienation from the world and self-discipline in spiritual development. The connection between attitude towards the world and its’ artistic realization is observed. Brodsky’s way (...) of thinking is noted for its abstractness of goal, for its insight of integrity of existence and non-existence. But this way of thinking is realized as decoding of material signs of manifestation of holism. (shrink)

In multiple essays, CLR James lays out what a theory of subjectivity must account for to resolve issues stemming from reducing subjectivity to a singular identity. Most proposals for a theory of subjectivity do so by making the subject the object of another’s propositions or claims about the world. I argue that this is an identity claim. The converse of this process is also true, that the subject who claims another as the object of their proposition must also be the (...) object of a proposition themselves, leaving the capacity to form these expressions untouched. In Black Cultural studies, there has been a lot of attention paid to the capacity for one to become the object of their own propositions due to the conception that Black identity overdetermines Black subjects’ expressions prior to their articulation. Our reorientation to the study of subjectivity posits an entity whose operation functions to mobilise as well as implement identity claims. Subjectivity is a capacity while identity becomes the object of that capacity, an object shared between subjects that are known by becoming the object of propositions regarding the world, including their own. This essay attempts to resolve the conflicts that arise once the mistake of conflating subjectivity with identity claims is made and proposes a model whereby the concept of Black subjectivity can be explained. (shrink)

The problem of self-knowledge, originally ethnic, and then national, always excited and continues to worry humanity. At different times, she was sharper, then she calmed down, then stepped forward, then she became one in line with other issues of political, economic and social life. But this problem was inevitable. It was one of the sources of the spirit and activities of the people.

Freedom to Believe is a powerful collection of philosophical and religious essays by a modern poet of distinction. It introduces a highly original and controversial thinker to the Western reader. Olga Sedakova's central philosophical thought lies in the notion of existential freedom in its association with the liberating power of the arts, especially poetry. These convictions place her firmly in the Russian and European classical cultural traditions, which, in turn, have deep roots in Christianity. Devoutly Orthodox yet fiercely independent in (...) her thinking, Sedakova's ecumenical humanism places her in opposition to both the "new left" and modern fundamentalism. Indeed, Sedakova's "conservatism" is more genuinely new than the so-called radicalism of the postmodernists, as she castigates "old totalitarianism" and new commercialism alike, in the name of a new cultural poetics and politics. (shrink)

This article argues that the literary contexts of Horace's Odes 3.13, especially archaic Greek poetry, have been relatively neglected by scholars, who have focussed on identifying the location of the fons Bandusiae and on understanding the significance of the sustained description of the kid sacrifice. This study presents a more holistic interpretation of the ode by exploring Horace's interactions with previously unnoticed (Alcaeus, frr. 45 and 347) and underappreciated (Hes. Op. 582–96) archaic Greek poetic intertexts, which also offer a fresh (...) perspective on earlier debates. Horace's use of Alcaeus’ fr. 45, a key intertext, firmly places the fons Bandusiae within the literary landscape of Horace's Sabine estate, and offers a structural and argumentative model for Odes 3.13; further, Alcaean and Hesiodic allusions also suggest that the kid is sacrificed as a surrogate for Horace for keeping him safe. These conclusions are used to offer a new interpretation of the ode on metapoetic, political and philosophical levels, and to explore how these different aspects of the ode interact with Horace's other odes. (shrink)

In book X of the Republic, Plato famously reports “a quarrel between poetry and philosophy.” The present essay examines this quarrel in book X, along with other relevant parts of the Republic, by understanding “philosophy” and “poetry” as rival ways of life and rival ways of discourse. The essay first explains why, in Plato’s view, poetic discourse weakens one’s power to reason and is at odds with philosophic discourse. Then it shows how poetic discourse is bound up with a way (...) of life that champions the value of freedom. Such a life forms a contrast with the philosophic life, which is marked more by stability and unity than by freedom. The quarrel, however, is not a simple antagonism. The essay hence concludes by discussing why, despite the opposition between the two, philosophy cannot do without poetry. (shrink)

Research papers on Vaiśeṣika philosophy, Sanskrit grammar and Poetics.

Concordance of the poetic works of Giorgos Seferis which presents all the principal “words” of the texts in an alphabetical list, stating how often each word occurs, giving a precise location and a relevant piece of text for each occurrence. We found ca. 9500 different Greek words in 39000 different occurrences, so our concordance has 50.000 lines of text. The technical procedure required four main steps: text entry and tagging, production of the concordance, correction of the contexts, formatting for print.

Why philosophize about comedy? What is the use of investigating the comical from philosophical and psychoanalytic perspectives? In The Odd One In, Alenka Zupancic [haceks over both cs] considers how philosophy and psychoanalysis can help us understand the movement and the logic involved in the practice of comedy, and how comedy can help philosophy and psychoanalysis recognize some of the crucial mechanisms and vicissitudes of what is called humanity. Comedy by its nature is difficult to pin down with concepts and (...) definitions, but as artistic form and social practice comedy is a mode of tarrying with a foreign object--of including the exception. Philosophy's relationship to comedy, Zupancic [haceks over both cs] writes, is not exactly a simple story. It could begin with the lost book of Aristotle's Poetics, which discussed comedy and laughter. But Zupancic [haceks over both cs] draws on a whole range of philosophers and exemplars of comedy, from Aristophanes, Molière, Hegel, Freud, and Lacan to George W. Bush and Borat. She distinguishes incisively between comedy and ideologically imposed, "naturalized" cheerfulness. Real, subversive comedy thrives on the short circuits that establish an immediate connection between heterogeneous orders. Zupancic [haceks over both cs] examines the mechanisms and processes by which comedy lets the odd one in. Alenka Zupancic [haceks over both cs] is Senior Research Fellow at the Institute of Philosophy, Slovene Academy of Sciences, Ljubljana. She is the author of The Shortest Shadow: Nietzsche's Philosophy of the Two. (shrink)

While the idea of art as self-expression can sound old-fashioned, it remains widespread—especially if the relevant ‘selves’ can be social collectives, not just individual artists. But self-expression can collapse into individualistic or anthropocentric self-involvement. And compelling successor ideals for artists are not obvious. In this light, I develop a counter-ideal of creative receptivity to basic features of the external world, or artistic objectivity. Objective artists are not trying to express themselves or reach collective self-knowledge. However, they are also not disinterested (...) or emotionless. They can be unmoved by personal feelings and human concerns, but they are still receptive—just attuned to the more elemental forces that creatively inspire them. I elaborate this ideal in dialogue with John Ruskin’s influential critique of the pathetic fallacy. By contextualizing Ruskin’s view vis-à-vis Romantic and Modernist poetics, post-Kantian aesthetics, modern environmental art, and contemporary theories of expressiveness, I show how it indirectly motivates my account. (shrink)

Throughout its existence, the Ukrainian people have created a treasure trove of knowledge that has, through different historical periods, brought up growing generations in a spirit of love for man, the environment, a willingness to overcome evil and the ugliness of life. Oral and poetic folklore among the various segments of the population of Ukraine contained tips for children and adults.

In this article I develop Heidegger's phenomenology of poetry, showing that it may provide grounds for rejecting claims that he lapses into linguistic idealism. Proceeding via an analysis of the three concepts of language operative in the philosopher's work, I demonstrate how poetic language challenges language's designative and world-disclosive functions. The experience with poetic language, which disrupts Dasein's absorption by emerging out of equipmentality in the mode of the broken tool, brings Dasein to wonder at the world's existence in such (...) a way that doubt about its reality cannot enter the picture. (shrink)

The first poems about the Prophet Muḥammad appeared while he was alive. These first examples, which are panegyrics (madīḥ, i‛tiẕār, fakhr and ris̱ā), largely reflect the characteristics of the pre-Islamic qaṣīda poetry. Due to the developments in the following centuries, the number of poems about the Prophet increased. And thus, a separate literary genre was formed under the name al-madīḥ al-nabawī. Especially the fact that sufi leaning poets contributed to the literary richness in this field. Another factor is the beginning (...) of the tradition of writing mawlid poems in memory of the birth of the Prophet Muḥammad. The thirteenth century was an important period for poems praising the Prophet Muḥammad. Two important poets emerged in this century. One of them is Egyptian poet al-Būṣīrī and the other is Baghdad's famous poet, Yaḥyā al-Ṣarṣarī. Even after his death, Ṣarṣarî’s works with high literary value were read and memorized in the circles of science, literature and Sufism. Due to his competence in the field, al-Ṣarṣarī was known as the poet of the Prophet and Ḥassān b. Thābit of his time. However, it is understood that his poems, which lost their importance in literary circles over time, were not studied as much as they deserved in the modern period. In this article, his life and works are introduced and basic language and stylistic features of his poems are examined. Also, the image of the Prophet in his poems was determined within the framework of the political conditions of the period.Summary: In the field of madīh nabawī, which first appeared in the ‘Asr al-Sa’āda and has continued to the present day, especially two names stand out in the 7th/13th century, when famous poets such as Macduddīn al-Vitrī (d. 662/1264), Ibn al-Muraḥḥal (d. 699/1300) and Ṣafiyyuddīn al-Ḥillī (d. 749/1348) were also raised. One of them is the Egyptian poet al-Būṣīrī (d. 695/1296), who left his mark on the field of madīh nabawī with his many poems, especially Qaṣīda Burda, and the other is the Iraqi poet Yahya al-Ṣarṣarī (d. 656/1258), who was named Shā‘iru Rasūlillāh (The poet of the Prophet) and Ḥassānu Vaḳtihī (Ḥassān of that period) because of the quality of his poems in this field.al-Ṣarṣarī, was born in the village of al-Ṣarṣar, near Baghdad, spent most of his life in the shadow of Baghdad’s political instability and the social collapse that developed in parallel. He was killed in 656/1258 by the Mongolian forces that invaded Baghdad. al-Ṣarṣarī was extremely knowledgeable in fiqh, hadith, language, and ‘ilm al-qirāa. Our poet adopted the views of the Hanbalī law school. In addition, he turned to Sufism and became a murīd (disciple) of Ali ibn Idrīs al-Ya‘kūbī, a student of Abdalqadīr al-Gīlanī who was accepted as the founder of Qādiriyya. He was closely attached to the Sunnah of the Prophet and was fond of reading the Quran. He was chaste and patient and was content with what he had himself. All his works are poetic and they all concern the madīh nabawī or fiqh.Since his poems, almost all of which are about the praise of the Prophet, have a high literary value, they were read, memorized and narrated for a long time in the circles of science, literature and Sufism. In terms of its structure, his poems are based on the traditional forms of Arab qasīda. In the introductory sections of his poems, he often expresses his longing for Madina. The main subject in poems is usually the Prophet and his superior features. In the last part, he usually says salāt for the Prophet and seeks help from him. It can be said that he used simple language in his poems. The vocabulary reflects the characteristics of the urban life in which he lived. The source of inspiration for his poems are the Qur’an and especially the hadith of the Prophet. He uses the potential of literary arts as much as possible while conveying his feelings. But he does not allow the correct information to be lost due to these arts on a serious subject such as depicting the Prophet. We can see a lot of badī‘ (creative) art in some of his poems. But we can immediately understand that these arts do not spoil the beauty of his expression. The poet provides rhythm and harmony in his poetry with the meter and rhyme in accordance with the classical Arabic qasida rules. In addition, he strengthens the musicality in poetry with puns (jinās) and repetition.The influence of the instability of the region where al-Ṣarṣarī lived on his poems is obvious. According to him, the main reason for the terrible situation that Muslims were in was that they were away from the way of the Prophet. He thought that it would be possible to go back to the old peaceful days by following the way of the Prophet. Perhaps as a result of this opinion, he allocated his qasīda to the narration of the Prophet and his Companions. In his poems, he describes the Prophet with his names, superior qualities, physical and moral characteristics. He says that the sentences describing the Prophet are the ornament of poems and believes that praising him is a mean of salvation in the next world. He also hoped that the poems he said in order to achieve spiritual ascension would protect himself against the troubled events of the period.In his poems, especially on the occasion of mawlīd, al-Ṣarṣarī mentions the Prophet’s physical characteristics and likens his smiling face to a bright full moon, his brows to the letter nûn, his teeth to pearls. He describes the Prophet as a man with black eyes, broad shoulders, born with kohl-lined eyes, and who emanates a beautiful scent as a requirement of his creation. The poet, who also touches on the Prophet’s powerful address, states that his speech is more effective than Luqman’s wise words by virtue of his jawami‘ al-kalim (comprehensive speech) and faṣl al-khiṭab (clear speech), and that his soft address, which states nothing other than the truth, is a blessing from Allah. He additionally describes the Prophet’s plain words, easy to understand by all, as more valuable than jewels. al-Ṣarṣarī, who praises the Prophet in terms of morality with basic human virtues such as bashfulness, justice, modesty, and courage, emphasizes that he is, a paragon of patience, perseverance, kindness, and compassion through analogies such as, “his clothes are peace and perseverance”, his “cover is kindness and forgiveness”. In his world of imagery, the Prophet’s benevolence is so abundant like the rain that the clouds cannot compete with him. Also, he does not shame anybody for what he gives. He bestows the most valuable possessions like gold and camels. Even the respectable personalities of the tribe benefit from his grace. He is so generous that he is giving even when the clouds are stingy about giving rain during times of drought. He welcomes with a smile those who approach him with requests. The donations he makes privately are entirely satisfying.The image of prophethood in al-Ṣarṣarī’s poems, is centralized around the thought of nūr Muhammadī (prophetic light) and the miracles of the Prophet. He reminds that the Prophet never gave up despite the calamities he encountered and that he was supported with extraordinary events in various stages of his life since he was born, and reflects the understanding that the prophet is spiritually supporting the community with his nūr, and in the case the community follow his sunnah, overcoming the Mongolian attacks, which seems like a miracle, is possible. The mention of Qattāl (warrior), Māḥī (eliminator of disbelief), Ẓāhir, Ẓāfir, Manṣūr and Muẓaffar (victorious) among the Prophet’s names, especially those that evoke the superiority he gained in his fight against the disbelievers, giving greater prominence to his courage and valor among his virtues are also related to the political and social conditions of the period. The couplets about the Companions of the Prophet following the couplets that describe the Prophet’s valor, the emphasis of their aid to the Prophet, and the particular mention of their fighter spirit may be considered in the same context. Perhaps, in this way, the poet aims to boost the courage of the Muslims who are exposed to Mongolian attacks with respect to protecting their spiritual and holy values against the enemy. (shrink)

The figure of the tracée is significant for Ménil’s understanding of spatio-temporality, an understanding upon which rest, so this essay argues, his concepts of critique, poetic knowledge, and literary form. The argument takes as its starting point the work Ménil did to conceptualize history as the poesis of recuperation. In doing so, the essay argues for a renewed understanding of Ménil’s contribution to Caribbean philosophy as a whole. One of the most important components of this contribution, the essay claims, is (...) the manner in which Ménil shifts the focus from how linguistic and cultural identity forms in the Antilles to how history appears. What this means is that Ménil works to displace the centrality of folklore and orality to the construction of Antillean identity in order to imagine how Antillean culture comes also to be expressed non-discursively. In Ménil’s work, this displacement occurs primarily by his re-thinking the relationship of architecture to literature. Re-thinking this relationship entails for Ménil recuperating the traces of an Antillean “past passed over,” which unexpectedly appear in both architectural structures and literary works. Paying attention to this particular and peculiar intellectual focus in Ménil’s work, this essay ultimately reconsiders the roles played by both discursive and non-discursive arts in the constitution of a decolonized aesthetics in the Antilles. (shrink)

Prethodno, u izlaganju »Petrić i Acastos«, održanom na simpoziju Petrić i renesansne filozofske tradicije 2008. godine, ustanovili smo da je Petrić najbliži platonovsko-novoplatonovsko- pitagorovskom izvorniku, ali je pridonio raščinjavanju klasične etičke vrline , da je vrlo blizak drugom modelu za uspoređivanje, Acastosu I i donekle se približava Acastosu II .S istim trima modelima sada prelazimo na usporedbu u odnosu na pjesničko umijeće, kako je izloženo u petnaest izabranih Petrićevih tekstova u knjizi Ljerke Schiffler Frane Petrić o pjesničkom umijeću . Pitat (...) ćemo se koliko se u navedenoj usporedbi otkrilo, manje ili više, bliskosti s prethodnim zaključcima.Dakako, usput će se pokušati ustanoviti je li Petrićeva poetika samo obrana Platonove linije ili sadržava i neke elemente aristotelizma, što ga ne bi povezalo samo s barokom i manirizmom nego i s modernom estetikom.The author established on the occasion of the previous presentation “Petrić and Acastos” given at the symposium Petrić and Renaissance Philosophical Traditions, held in 2008, that Petrić was closest to the Platonist-Neoplatonist-Pythagorean original, but also that he contributed to the disintegration of classical ethical virtue and that there were two more comparative models he came close to – that of Acastos I and to some extent that of Acastos II .Retaining the three models, the author now deals with the comparison in relation to poetic art as it is outlined in the fifteen selected Petrić’s texts in the book by Ljerka Schiffler entitled Frane Petrić o pjesničkom umijeću . The author will look into the degree to which the mentioned comparison revealed connections with previous conclusions.Needless to say, the author will along the way try to determine whether Petrić’s poetics presents merely a defence of Plato’s attitude or it contains some elements of Aristotelianism, which would connect Petrić with not only Baroque and Mannerism but also modernist aesthetics. (shrink)

v. 1. Nicomachean ethics. Politics. The Athenian Constitution. Rhetoric. On Poetics.--v. 2. Logic.--v. 3. Physics. Metaphysics. On the soul. Short physical treaties.--v. 4. On the heavens. On generation and corruption. Meteorology. Biological treatises.

One of the central features of Western existence is the objectification and use of other beings in creating the subjectification of human beings. My argument is for a Christian veganism that rejects the dependence of the subject on the object status of other beings. The roadblocks to recognizing the necessity for Christian veganism I call the pedagogy of the oppressor. I propose that one way to change the subject-object relationship is a poetics of Christian engagement. Christian veganism may seem (...) a radical position theoretically and pragmatically, but I will offer suggestions for expanding Christian engagement with other animals and for the food and environmental justice movements of which veganism is a part. (shrink)

A long tradition of research including classical rhetoric, esthetics and poetics theory, formalism and structuralism, as well as current perspectives in (neuro)cognitive poetics has investigated structural and functional aspects of literature reception. Despite a wealth of literature published in specialized journals like Poetics, however, still little is known about how the brain processes and creates literary and poetic texts. Still, such stimulus material might be suited better than other genres for demonstrating the complexities with which our brain (...) constructs the world in and around us, because it unifies thought and language, music and imagery in a clear, manageable way, most often with play, pleasure, and emotion (Schrott and Jacobs, 2011 ). In this paper, I discuss methods and models for investigating the neuronal and cognitive-affective bases of literary reading together with pertinent results from studies on poetics, text processing, emotion, or neuroaesthetics, and outline current challenges and future perspectives. (shrink)

Ṣūfī poetry or dīvān poetry, both of our poems have a universal appeal and a classical value just as the poetry of many nations’. Poets of both groups enhanced the consciousness level of every people one by one and created a virtuous society by taking power from the potential that existed in Turkish society already. If it is needed to mention a difference between those two poetries, it could be that dīvān poetry is a static one and sūfī poetry is (...) more dynamic than the dīvān poetry. While dīvān poetry has a unique World of poetry, sūfī poetry has a feeling of universe shaped by different meanings and concepts. Although dīvān poetry is based on intelligence and pleasure, there is intuitive inspiration and wāridāt in ṣūfī poetry. These become poetic sometimes thanks to similes (tashbīḥ), metaphors (majāz) and allusions (talmīḥ), become verse and gradually turns into a poetic theme (mażmūn). Until today, since the first that comes to mind, when it is said poetic themes (mażmūn), is dīvān poetry, poetic themes of ṣūfī poetry were overshadowed. However, ṣūfī poetry is quite interesting and rich in terms of its poetic themes. Although they are called as just terms, each of the terms of ṣūfī literature is a mystical state (ḥāl), mystical station (maqām) or experience. For this reason, many concepts of ṣūfī poetry, which we call term, could be a poetic theme by taking part in a reference (talmīḥ), simile (tashbīḥ) and metaphor (majāz). The aim of this article, which we can sample under three titles and with the couplets of our three ṣūfī poets, is to draw attention to the existence of a rich mażmūn staff independent of the dīvān poetry of Turkish ṣūfī poetry. The subject of mażmūns belonging to Turkish ṣūfī poetry should be considered important since it has not been mentioned much until today. Summary: The poet designs and presents it to his readers on behalf of his readers that he cannot even express what he has imagined but sometimes cannot imagine. Each poem has a specific interlocutor and addresses the emotions of its interlocutor. Each poem is adorned with thought and imagination; yet poems can be understood by annotation accompanied by rhetoric. Ṣūfī poetry and dīvān poetry, both poems have universal appeal and classical value like many poems of many nations. Ṣūfī poet and dīvān poet are the architects of an indestructible art existence that ruled for centuries and their works are masterpieces of their own fields. Both types of poetry, along with literary heritage, are a guide ship that leads the whole cultural heritage to the next generations, leading art branches. Both poets of both groups have strengthened from the potential that existed in Turkish society and raised the level of consciousness of each individual separately and created a virtuous society.Dīvān poetry is as beautiful as the aesthetics of genius; ṣūfī poetry is so beautiful with the sincere sincerity of heathat born to the heart. Without making use of the rich mażmūn staff of the lodge poetry, it would be an exclusivism and a status quo to make the mażmūn exclusive only to dīvān poetry or to search for the mażmūns of dīvān poetry in the lodge poetry and to interpret these mażmūns with the interpretation habits of dīvān poetry.The most obvious difference between ṣūfī poetry and dīvān poetry corresponds to the fact that the terms of Sufism are composed of similes (tashbīḥ), metaphors (majāz); sūfī poetry is a composition of poet’s personally experienced feelings or situations such as waḥdat, ḥalvet, manifest and observant concepts. While the depictions of the dīvān poet, spring and winter depictions, arouse enthusiasm for the reader for a while, the indifference of the ṣūfī poet to this world, the constant heartbeat of Jamāl and the heart beating with the excitement of vuslat (meeting) infiltrates the reader to the eternal world.If there is a difference between the two poems, it is that the poetry of the dīvān is static and the ṣūfī poetry is more dynamic than the poetry of the dīvān. As well as dīvān poetry has a unique world of poetry; ṣūfī poetry has a universe of emotions shaped by different meanings and notions. Even if the beauty they depict is materially and morally different, the poet of both groups wishes to go beyond the beauty that they mean and find themselves there. They do this sometimes with similes (tashbīḥ) and metaphors (majāz) and istiʿāre, succeed with various kinds of poetic themes. In dīvān poetry, there is pleasure and imagination based on intelligence, and inspiration and success based on intuition in ṣūfī poetry. These become poetic sometimes thanks to similes (tashbīḥ), metaphors (majāz) and allusions (talmīḥ), become verse and gradually turns into a poetic theme. Dīvān poetry is an endless effort of abstract imagination, while ṣūfī poetry is an inexhaustible enthusiasm for concrete ecstasy. Although both have found what they are looking for outside of daily life, dīvān poet finds pleasure, yet sūfī poet finds inspire.When it comes to mażmūn, the first thing that comes to mind is Divan literature and it’s figure of beautiful woman’s length (cypress), hair (zulf), eye (daffodil), eyebrow (bow), eyelash (arrow) and skin (silver) and these mażmūns are stereotyped and widespread though each of them is known only to artisans. On the other hand, ṣūfī poetry has many other poetic themes such as Jamāl (grace), Jalāl (distress), ār and nāmūs (mālāmat), gūy (rıza), chevgān (ḳażā) and istignā (reluctant).To date, the first thing that comes to mind when it is said to be mażmūn is dīvān poetry, it has left behind the maẓmūns specific to ṣūfī poetry. However, ṣūfī poetry is also quite rich in terms of its mażmūns. Although they are called as just terms, each of the terms of ṣūfī literature is a mystical state (ḥāl), mystical station (maqām) or experience. For this reason, many concepts of ṣūfī poetry, which we call term, could be a poetic theme by taking part in a reference (talmīḥ), simile (tashbīḥ) and metaphor (majāz).The fact that the dīvān poets used the mażmūn as a word and the use of the term started with the Tanzimat made it inevitable that different definitions of the mażmūn emerged in time. For this reason, many researchers now understand and define the term of mażmūn differently. However, all the academics who researched or wrote about the mażmūn brought to mind only the poem of the dīvān poem, and they selected the examples of the mażmūn from the couplets of the poem of the dīvān poem. In our opinion, the missing part of the subject of mażmūn is here. Nevertheless, our main aim in this article is not to discuss what is or is not a mażmūn, but to try to express that the ṣūfī poem is as rich as the dīvān poem. Whereas the mażmūn has no single generally accepted definition; if so, we can say that ṣūfī poetry may have its own unique mażmūn, we can exemplify it with couplets of ṣūfī poetry. (shrink)

Drawing on Spinoza’s insights and responding to James’s analysis, I argue that the possibility of a more equal and productive partnership between poetry and philosophy may only be realizable when the resources of each are brought to bear on a common problem external to both. I support this contention by considering how, in Kim Stanley Robinson’s climate fiction novel, The Ministry for the Future, philosophical reasoning about the causes of the current climate crisis is combined with the poetic imagination of (...) a possible climate future for the purposes of motivating readers to put their understanding of what it is rational to do into practice. Finally, I suggest that the formal flexibility of the literary genre grants it a certain privilege over philosophical modes of communication insofar as it allows it to stage the relation between the poetic and the philosophical within its own boundaries. (shrink)

At least since Aristotle, phronesis (practical wisdom) and poetics (making or creating) have been understood as essentially different activities, one moral the other (in itself) non-moral. Today, if anything, this distinction is sharpened by a Romantic association of poetics with inner subjective expression. Recent revivals of Aristotelian ethics sometimes allow for poetic dimensions of ethics, but these are still separated from practical wisdom per se. Through a fresh reading of phronesis in the French hermeneutical phenomenologist Paul Ricoeur, I (...) argue that phronesis should be viewed as at least in part poetic at its very core. That is, phronesis deals with the fundamentally tragic human situation of moral incommensurability, and it responds to this by making or creating new moral meaning. Such a poetics of practical wisdom helps phronesis stand up to significant and important critiques made of it by a range of modernists and post-modernists, pointing a way forward for some important contemporary moral debates. (shrink)

The purpose of this article is to demonstrate that the experience of a poem qua poem is an experience of poetic thickness , i.e. an experience in which poetic form and poetic content are inseparable. I present a critical analysis of A. C. Bradley’s ‘Poetry for Poetry’s Sake’ lecture in Section 1, indicating both the strengths and weaknesses of his conception of resonant meaning. Section 2 draws on subsequent work by I. A. Richards and Peter Lamarque to advance my account (...) of the relationship in question, poetic thickness, understood as a demand made of a poem rather than a property discovered therein. In Sections 3–6 I discuss four objections to form-content unity from Peter Kivy: perfect circularity, ubiquitous unity, the sugar-coated pill tradition, and the defence from tradition. I show that all these objections fail against poetic thickness. I conclude that the experience of a poem qua poem is indeed an experience of thickness, and that poetic thickness is therefore a necessary condition of poetry. (shrink)

The entering of poetics into the field of anthropology, intimated by Nietzsche, introduced by Bachelard and Bataille and continued in the framework of poststructuralism has influenced the scope and the models of knowledge traditionally related to anthropology, by reexamining and changing them. This influence is researched through the analysis of several authors, discussing the political aspects of their writings at the same time. Their notions of polarity, discontinuity, suspension, transgression and dissemination make visible possible directions of transformation of anthropology. (...) Uvodjenje poetike u polje antropologije, koje se najavljuje kod Nietzschea, a ostvaruje kroz radove Bachelarda i Bataillea i nastavlja unutar post-strukturalizma, vodilo je preispitivanju granica te discipline, kao i primerenosti samih modela znanja koji se unutar nje podrazumevaju i na kojima je konstituisana. U tekstu je kroz pristupe vise autora pokazano kako se moze uspostaviti ili porusiti most izmedju racionalnog i iracionalnog u antropologiji i sa kakvim teorijskim i politickim implikacijama. (shrink)

It is commonly thought that authors can make anything whatsoever true in their fictions by artistic fiat. Harry Deutsch originally called this position the Principle of Poetic License. If true, PPL sets an important constraint on accounts of fictional truth: they must be such as to allow that, for any x, one can write a story in which it is true that x. I argue that PPL is far too strong: it requires us to abandon the law of non-contradiction and (...) entails a radical revision of otherwise ordinary commitments about truth in fiction. (shrink)

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

Hackles have been raised in biosemiotic circles by T. L. Short’s assertion that semiosis, as defined by Peirce, entails “acting for purposes” and therefore is not found below the level of the organism (2007a:174–177). This paper examines Short’s teleology and theory of purposeful behavior and offers a remedy to the disagreement. Remediation becomes possible when the issue is reframed in the terms of the complexity sciences, which allows intentionality to be understood as the interplay between local and global aspects of (...) a system within a system. What is called “acting for purposes” is not itself a type of behavior so much as a relationship between a dynamic system that “exists for a purpose” and its microprocesses that “serve purposes.” The “intentional object” of philosophy is recast here as the holistic self-organized dynamics of a system, which exists for the purpose of self-maintenance, and that constrains the parts’ behaviors, which serve the purpose of forming the system. (A “system” can be any emergent, e.g. an abiotic form, an adapted species, a self, a conditioned response, thought, or a set of ideas.) The self-organized whole, which is represented to the parts in their own constrained behaviors, assumes the guiding function so long attributed to the mysterious “intentional object.” If emergent self-causation is not disallowed, creative originality, as well as directionality, becomes part of the definition of purposeful behavior. Thus, key tools used here, required for understanding emergence, come from poetics rather than semoitics. In the microprocesses of self-organization, I find what I call “accidental” indices and icons — which are poetic in the sense that they involve mere metonymic contiguity and metaphoric similarity — and which are preferentially selected under constrained conditions allowing radically new connections to habituate into an “intentional” self-organized system that, not coincidentally, has some of the emergent characteristics of a conventional symbolic system. (shrink)

This article draws on the interrelated concepts of reverie and repose in Gaston Bachelard's philosophy to approach Claire Denis' poetic foregrounding of objects in 35 Shots of Rum (35 Rhums, 2008). Connecting Bachelard's work on time to his later studies of the imagination, I demonstrate how the poetic time of reverie and repose are essential to Bachelard's thinking. Focusing on three especially charged objects (trains, rice cookers and lanterns), I argue for reverie and repose as being embedded into the rhythmic (...) structure, affective organisation and form of Denis' film. Contextualising Bachelard's later thinking in relation to Eugène Minkowski, I maintain that Denis' objects reverberate (both formally and sensuously). In 35 Shots of Rum, Denis' poetic objects and her evocation of different in-between states parallels Bachelard's own materialist thinking on the imagination, reverie and repose. (shrink)

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

In this paper, I develop a pragmatic view of the poetic function of language by resorting to the ideas of contextualism, inferential pragmatics, and pragmemes (Mey, 2001, Capone, 2005), developing considerations on the poetic function of language on the basis of considerations by Jakobson (1960) and Waugh (1980). I argue that pragmatics plays an important role in elucidating the poetic function of language and that even in everyday language (not only in anthologies) we find cases of texts where the poetic (...) function coexists with (or aids) other functions. Contextualism allows us to interpret a poem: referents must be fixed or need not be fixed due to the requirements of the discourse; citations are brought in through pragmatic ways; polyphony is achieved via sedimentation of citations in a current text; the vicinity of a certain word, or concept, or line is likely to affect the interpretation of a certain expression. Polyphony is what allows the text to live on in a dimension that transcends the limits of the subjective experience of the poet but allows the text to be inserted in a tradition in which each verse reverberates with memories of other verses. The poetic text can take different forms, from graffiti to discourse at the market-place, to discourse between lovers. All these forms of poetic text would not exist if the notion of poetry did not include the idea of semantic/pragmatic compression which is matched, in interpretation, by expansions. In this paper, I also try to tackle the issue of the universal appeal of some poems, even if I am aware that this topic is as mysterious as fascinating. Paradoxically, a contextual approach to poetry seems to be at odds with the claim that the most acclaimed examples of poems have a universal appeal and touch a universal chord in the readers’ hearts. What is genuinely puzzling is the contrast between the need to fully contextualize a text and the fact that such a text can have a universal appeal across cultures. (shrink)

In The Poetic Axis of Ethics, Kelly Oliver argues that in Derrida's The Beast and the Sovereign Volume II, a line of poetry from Celan becomes the axis around which Derrida's analysis of world, death, and ethics revolves: ‘Die Welt ist fort, ich muß dich tragen’ [The world is far away, I must carry you]. Oliver maintains that the Celan fragment, which is repeated in nearly every session, is not only the axis around which Derrida binds the unlikely duo Robinson-Heidegger, (...) but also it is a performance of a certain poetic world making that Derrida proposes as a counterbalance to sovereign world building. (shrink)

This article proposes a reading of philosopher Gillian Rose's works as predominated by the question of literary style. In contrast to Rose's professed antipathy for the linguistic and structuralist turns in 20th-century philosophy, this article contends that her thought makes recourse to distinctions of literary form (i.e. poetics) to resolve problems of philosophical expression. The contours of this poetics are traced from Rose's first works on the respectively ‘ironic’ and ‘severe’ styles of Adorno and Hegel, through to her (...) final published work and its experimentations with the formal limitations of philosophical writing. Following Hegel's theorisation of the ‘speculative proposition’ as a statement of formal difference belying a conceptual unity, Rose's poetic thought is designated as a speculative poetics, which seeks a stylistic unity that does not efface the non-identity of its terms. (shrink)

When J.R. Cash (Johnny Cash) sings that he shot a man in Reno just to watch him die, audiences impressed by the singer's skillful creation and depiction of a nihilistic lyrical subject clap and cheer. When Terrell Doyley (Skengdo) and Joshua Malinga (A.M.) sang broadly similar lyrics at a concert in 2018, London's Metropolitan Police and the Crown Prosecution Service took them to be describing violent acts they had participated in and violent intentions they harbored, and the lyrics were used (...) as the basis for legal proceedings against the singers that resulted in convictions. In this paper, I will argue that Doyley and Malinga's case illustrates a distinctive and important form that epistemic injustice can take. By failing to see their lyrics as speech that involves the exercise of their capacity for imagination, the police and prosecutors treat them as an impoverished sort of epistemic agent. I will call the wrong involved in cases like this one poetic injustice. (shrink)