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

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

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

Early twentieth-century Italian poetry experiences a crisis in confidence concerning the expressibility of rhythm. Dino Campana's writings exemplify the processes the poet goes through in order to write rhythm. Rhythm is difficult to deal with because it is both sacred and tired. These two incarnations of rhythm lead Campana to different modes of expression; from more traditional definitions through to more fluid definitions. Two strands of analysis reveal themselves as central to understanding Campana's theoretical stance, namely fluidity and movement. (...) These point to a careful veiling of rhythm which opens up new spaces for the articulation of something that, whilst difficult, remains the essence of poetry. (shrink)

The assent of man, Michael Berube -- Getting rid of the appearance-reality distinction -- Universalist grandeur and analytic philosophy -- Romanticism, narrative philosophy, and human finitude.

In this paper I discuss Øyvind Dahl’s argument for the conclusion that Malagasy people conceive of the future as coming from behind them and not as being before them as most worldviews do. I argue that we have good reason not to attribute this view to Malagasy people. First, it would mark an inefficient and anomalous way of keeping track of the past and future. Second, the linguistic and testimonial evidence presented by Dahl doesn’t support the conclusion. Even (...) though this specific argument fails, Dahl has many enlightening things to say about Malagasy time conceptions, such as the various time-conceptions that figure more predominantly in their worldview as opposed to the general modern Western worldview. Dahl is right that successful communication for Westerners in Madagascar requires understanding that the Malagasy worldview is structured more by an event-related conception of time than the general modern Western worldview. I also show in this paper that the three time conceptions Dahl outlines are relevant to living a good life. (shrink)

This essay explores various ethical dimensions of the important concept of fihavanana and its role in Malagasy ethics. As a first pass, we can say that fihavanana is a state of peace or harmony that people can achieve with others within their communities; it is modeled on the peace, harmony, solidarity, love, and closeness that is often seen in family ties. Understanding the role that fihavanana plays in the traditional ethics of the people of Madagascar does not come close (...) to providing a complete picture of Malagasy ethics, but fihavanana is arguably the most crucial ethical concept for Malagasy. After using Malagasy proverbs (ohabolana) to sketch various ethical dimensions of fihavanana, these dimensions are compared to certain themes from Western ethics. The essay also comments on the state of fihavanana today in Madagascar and draws some lessons to be learned from this important ethical ideal. Directions for further research are sketched throughout the essay. (shrink)

Lyric poetry, often regarded as the epitome of subjectivity in the realm of artistic expression, emerges from the depths of the poet’s personal emotions. Hence, in the aesthetic landscape of the nineteenth-century Germany, it was excluded from the inventory of genuine art forms, all of which were deemed to be objective and disinterested. Associating lyric poetry with music in its origin and essence, Nietzsche extends his Schopenhauerian metaphysics of music to the lyric, making it a highly objective art (...) reverberating from the abyss of existence, the Ur-Eine, expressing its intrinsic self-contradictory and agonizing nature. A similar understanding of the creative process of poetic composition in the lyric, which this article aims to elucidate, can also be found in some of Rūmī’s ghazals and observations. These include a metaphysics of the unseen, a reunion through ecstasy and rapture, and a reflection and mirroring, initially through music and then through the lyric. (shrink)

Ana Ilce Gómez Ortega es a todas luces la poeta lírica mayor de Nicaragua. Su poesía no es el naufragio, sino que es el velero donde se entrecruzan la soledad y la cotidianeidad de la vida femenina. Una muestra de la poesía de Gómez Ortega, autora de Las ceremonias del silencio (dos ediciones: 1975 y 1989) y Poemas de lo humano cotidiano (2004), es compilada de manera breve para presentarlo a un público centroamericano. Su obra es la manifestación de una (...) vida sosegada alejada de los devenires nacionales demostrando la sobriedad de su quehacer y su compromiso con la poesía. Sus advocaciones entre costumbres y el misterio penden del hilo donde la autora se construye en un silencio autoexigido de donde la imagen de la poeta alcanza la dimensión plena. ¡He aquí: Ana Ilce Gómez Ortega! (shrink)

This paper analyzes the early poetry of Nikolai Klyuev—its social and political motives are studied in the context of the poet’s biography and in terms of the essay Modern Slavery, written by Hugues-Félicité Robert de Lamennais, the French Catholic philosopher and forerunner of social Christianity. This paper identifies two stages in Klyuev’s assimilation of the philosophy of social Christianity. Klyuev’s poetry initially reproduced the main message of Lamennais’s essay—the rejection of “slavery” as a “heritage” by recognizing the human (...) dignity of “today’s slave” and rebelling against the existing socio-historical tradition. In the second stage, the most important categories of Lamennais’s works—brotherhood, cooperation and sacrifice—find their full meaning in Klyuev’s poems. Work “for brethren’s sake” becomes a form of co-operation with God, while experiencing severities and hardships on the revolutionary path is a form of spiritual co-crucifixion with Christ. (shrink)

One of the central assumptions of the present study is that mystic or religious poetry not just formulates mystic or religious ideas: it somehow converts theological ideas into religious experience, by verbal means. It somehow seems to reach the less rational layers of the mind by some drastic interference with the smooth functioning of the cognitive system, or by a quite smooth regression from ‘ordinary consciousness’ to some ‘altered state of consciousness’. In this way, the experience is affected not (...) only by its contents, but also by the perceived quality of the structure of the underlying mental process. This brings us to recognize that mystic or religious poetry is sometimes of vastly different styles. In my book I distinguish between two prototypes of such styles, those that are based on drastic and on smooth interference, respectively. The present article will examine poems based on a very special kind of drastic disruption, of which George Herbert was the grand master. This prototype uses typographic schemes for disruptions in orientation, activating mechanisms of prelinguistic babbling, delaying connection of signifiers with the signified, and transcending distinctions to go to unity. Also looked at will be psychological and social defenses against these disruptions as well as ways to overcome those defenses. In this article I will consider the relationship between mystic poetry and what Willie van Peer calls ‘typographic foregrounding’. In this relationship, I will suggest, both mystic and aesthetic principles are involved. (shrink)

How Plato and Confucius formulate their views on poetry in light of their overriding concerns with harmony is examined here. Both acknowledge the educational value of poetry in similar terms and set up similar moral-aesthetic standards. Both rank poetry lower than other objects of learning because they find poetic harmony to be less significant than intellectual or moral harmonies. But both take note of the transforming aesthetic experience afforded by poetry in certain circumstances, and identify this (...) experience of the attainment of blessed harmony with the ultimate reality--Truth or the will of Heaven. Despite all these similarities, their embrace of opposing schemes (vertical versus horizontal) of harmony leads to a fundamental difference between their views on the nature of poetry, which for Plato is an epistemological process and for Confucius largely an existential process. (shrink)

At the center of_ In Dark Again in Wonder_ are readings of René Char and George Oppen. Both of these poets achieved recognition at a young age, Char among the French surrealists in the 1930s, Oppen among the American objectivists in the same decade. Both were independent individuals who, having found their way to communities of inventive writers, stepped back and shaped their own idiosyncratic paths. Both responded decisively to the social upheavals of the 1930s and ‘40s. Oppen committed himself (...) to radical politics in the ‘30s, a decision that, as it turned out, led to his not writing poetry for nearly twenty-five years. Char fought in the Resistance in the '40s. Both, in their mature work, developed a kind of poetry that is at once a love poetry, a meditative poetry, and a poetry of encounter. The concluding chapter of the book places the questions raised by Char’s and Oppen’s work in a larger context, tracing the cultural history that shapes our modern experience of inhabiting a tension between an historical and a metaphysical horizon of experience, or, as this appears in a different but related light, a tension between a sociological and an existential understanding of our lives. Char and Oppen are both poets concerned with the old philosophical questions that are still with us—the nature of spiritual freedom, the gathering of the self in relation to death, the meditation on the whole, the turn to Nature as the open space of the whole under the conditions of modernity, the clarification of the ground of vision in eros and love, and the search for the good life—while at the same time they fully engage the social predicaments and promises of their world. "A brilliant, philosophical, and aesthetic approach to twentieth-century poetry that casts important light on the great poetic works of René Char and George Oppen. Revealing the ongoing role of wonder in the post-Romantic tradition, it points to two remarkable poets whose work embodies imagination in the knowledge of inevitable loss, renewal in the awareness of despair. This is a book worth reading for its insight into two poets and the larger literary and philosophical currents in which they lived and worked." _—Sandra L. Bermann, Princeton University_ "This is a brilliant, erudite, beautifully written, and compelling book, one that makes an important contribution to our understanding not only of the two poets on whom it focuses but of the period they inhabit and that we, as their inheritors, continue to inhabit. Robert Baker wears his considerable learning lightly, but he has deep knowledge both of the history of European and American poetry and of the history of philosophy. He has thought deeply and passionately about poetry, philosophy, history, and the ways in which they intertwine." —_Henry Weinfield, University of Notre Dame_ "Robert Baker has written a fine and unusual book: a study of two remarkable poets, one French and the other American, and a concluding reflection of considerable literary and intellectual reach on the gap between history and metaphysics in which both poets found themselves and in which we still subsist. Bake'rs style is synthetic, magisterial, drawing on a capacious knowledge of literature and the history of ideas." —_Kevin Hart, University of Virginia_. (shrink)