Garrod, Smith and the contributors of the volume envisage the longue durée poetics of an early modern genre. They interpret its poetics alongside its various epistemic agenda and make a case for the literary status of natural history.

In _The Poetics of Political Thinking_ Davide Panagia focuses on the role that aesthetic sensibilities play in theorists’ evaluations of political arguments. Examining works by thinkers from Thomas Hobbes to Jacques Rancière, Panagia shows how each one invokes aesthetic concepts and devices, such as metaphor, mimesis, imagination, beauty, and the sublime. He argues that it is important to recognize and acknowledge these poetic forms of representation because they provide evaluative standards that theorists use in appraising the value of ideas—ideas (...) about justice, politics, and democratic life. An investigation into the intertwined histories of aesthetic and political accounts of representation—such as Panagia presents here—sheds light on how modes of poetic thinking delimit the questions of unity and diversity that continue to animate contemporary political theory. Panagia not only illuminates the structure of much contemporary political theory but also shows why understanding the poetics of political thinking is vital to contemporary society. Drawing on Gilles Deleuze’s critique of negation and his privileging of paradox as the source of political thought, Panagia suggests that a non-teleological concept of difference might generate insight into pressing questions about foreignness and citizenship. Turning to the liberal/poststructural debate that dominates contemporary political theory, he compares John Rawls’s concept of justice to Rancière’s ideas about political disagreement in order to demonstrate how, despite their differences, both thinkers comprehend aesthetic and moral reasoning as part and parcel of political writing. Considering the writings of William Hazlitt and Jürgen Habermas, he describes how the essay has become the exemplary genre of what is considered rational political argument. _The Poetics of Political Thinking_ is a compelling reappraisal of the role of representation within political thought. (shrink)

This book examines Greek engagements with the past as articulations of memory formulated against the contingency of chance associated with temporality. Based on a phenomenological understanding of temporality, it identifies four memorializing strategies: continuity , regularity , development, and acceptance of chance. This framework serves in pursuing a twofold aim: to reconstruct the literary field of memory in fifth-century bce Greece; and to interpret Greek historiography as a memorializing mode. The key contention advanced by this approach is that acts of (...) memory entailed an “idea of history” that was articulated not only in historiography, but also in epinician poetry, elegy, tragedy, and oratory. The book offers a rich account of poetic conventions and contexts through which each of these genres counterbalanced contingency through the use of exemplary and traditional modes of memory. This fine analysis highlights the grip of the present on the past as a significant feature of both historiographical and nonhistoriographical genres.The essay argues that this work fills a disciplinary gap by extending the reflection on memory to a new period, Greek antiquity. The retrospective positioning of this period at the outset of Western historical thought brings Grethlein's investigation to the center of debates about memory, temporality, and the meaning history. In engaging with the book's argument, the essay suggests that historiographical memory emerged in Greece not as a first-order encounter with time, but as a second-order encounter with forgetting. This confrontation marked a certain separation of historiography from other memorializing genres. Whereas poetic and rhetorical memories were posited against contingency, historiography sought to retrieve those aspects of the past that may otherwise have been irretrievably lost and forgotten. In doing so, it formulated the historiographical imperative as a negation of forgetting that problematized the truth-value of memory and the very act of remembering the past. (shrink)

The TGarden is a genre of responsive environment in which actor–spectators shape dense media sensitive to their movements. These dense fields of light, sound, and material also evolve according to their own composed dynamics, so the agency is distributed throughout the multiple media. These TGardens explore open-ended questions like the following: what makes some time-based, responsive environments compelling, and others flat? How can people improvise gestures without words, that are individually or collectively meaningful? When and how is a movement (...) intentional, or collectively intentional? This paper introduces what has been at stake behind the experimental work: subjectivation, moving from technologies of representation to technologies of performance, and the potential for ethico-aesthetic novelty. (shrink)

As a response to Wang Ning's proposal for world poetics, this paper makes a brief revisit to Earl Miner's work on comparative poetics in connection with his pursuit of literary systems before dwelling on the tenets and principles of Wang's proposed world poetics. Subscribing to Wang's position that all literary theories from different cultures should be given equal access to the theoretical body of world poetics, it takes genre studies as the point of departure and (...) examines Wang's conceptualization of world drama in addition to narrative theory as particular cases to explore the means of constructing world poetics. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Statius’ Thebaid and the Poetics of Civil WarMark MastersonCharles McNelis. Statius’ Thebaid and the Poetics of Civil War. Cambridge: Cambridge University Press, 2007. x + 203 pp. Cloth, $90.In this well-focused study, Charles McNelis gives what is due both to the poetics of Statius’ epic and to what John Henderson has called its “political intelligence” (PCPS 37 [1991]: 52). Regarding the poem as a product (...) of its time both in terms of poetics and politics, McNelis shows that Statius uses the considerable arsenal of the Latin poets’ ability to be intertextual to create a work that addresses [End Page 436] the particular situation of post–civil wars Flavian Rome. McNelis finds that Statius proposes that the epic teleology of the Golden Age’s reestablishment under Augustus that Virgil presents (albeit with some ambiguity) “has been thwarted and/or challenged, thus suggesting the fragile nature of any claim—even claims that define a society—to have brought an end to civil war” (177). Instead, Statius suggests that while it is possible for a particular civil conflict to come to an end, the results of it are ever with us and, further, that resolution comes in the form of clementia which is available to all on an individual basis from an entity that takes no blood sacrifice and is aniconic (163; Theb. 12.487–88, 493–94). A multifaceted challenge to the Virgilian/Augustan narrative of communal imperium sine fine guaranteed by Jove is manifest here.In order to make the case that Augustan/Virgilian teleology does not fit Flavian Rome, Statius’ particular strategy is a resort to Callimachus whose criticism of the epic genre had already made frequent appearances in Latin poetry. McNelis sees Statius restaging over the course of the epic the conflict that Callimachus (in Aetia 1 and elsewhere) presents between finely worked poetry and overdone epic. This conflict then reflects the presence of civil war in the literary-generic contouring of the poem. The presence of this conflict also ensures, in McNelis’ estimation, that the Thebaid is most emphatically not the “one continuous song” (Aetia 1.1.3: ) that Callimachus presents as the undesirable goal of epic composition and instead “replicate[s]” civil war “in the very fibres of the poem” (1).After the introduction, McNelis presents in the first chapter (“Gods, Humans and the Literary Tradition”) a discussion of Thebaid 1 with special attention paid to the story of Coroebus and the particularly malevolent Apollo therein. McNelis underscores in this story (significantly an aetion) the essentially hostile nature of the gods in the poem and the blending of them with chthonic forces, exemplified by Apollo’s killing of Python and his revenge, via a baby-eating monster, for the death of a baby born to a young woman he had raped. This story promises—and it is a promise that the epic delivers—that humans can hardly expect a settled existence with Jove as beneficent ruler.The second chapter (“Beginning”) foregrounds discussion of the necklace made by Vulcan, the Cyclopes, and the Telchines for Harmonia. McNelis sees in the necklace a product from the god of the forge’s workshop that comments on this epic in as serious a manner as the shields of Achilles and Aeneas comment on their respective epics. It is here that McNelis makes a key connection to the Aetia, for it is the Telchines whom Callimachus takes to task at 1.1.1. While at times he overstates the power of the necklace to cause things to happen (e.g., 51), McNelis is right to emphasize its significance. The necklace promises communal dissolution from the hands of the gods just as surely as the shield of Aeneas promises reintegration, likewise overseen by divine forces. Too, it is fitting that the poet of the Silvae would focus on a luxurious item such as this.In the third chapter (“Nemea”), McNelis sees the Callimachean aspects of the plot derail the warlike plan of Vulcan and the Telchines in the famous [End Page 437] digression at Nemea. McNelis draws the reader’s attention to the fact that the great body of water that is epic has been reduced to but... (shrink)

In the final stanza of Odes 3.1, Horace reverts to themes broached in the programmatic opening lines, qualifying them in light of the intervening lyric argument. By means of associations with literary aesthetics in the question cur valle permutem Sabina divitias operosiores (47-48), and by allusions to the proem of Vergil Georgics 3 and to Pindar Olympian 6.1-4 in invidendis postibus et novo sublime ritu moli aratrium (45-46), Horace develops a literary metaphor in order to express his discomfort in treating (...) national and political themes in the lyric genre. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Making Mockery: The Poetics of Ancient SatireCedric LittlewoodRalph M. Rosen. Making Mockery: The Poetics of Ancient Satire. Classical Culture and Society. Oxford: Oxford University Press, 2007. xiii + 294 pp. 4 black-and-white figs. Cloth, $55.This book ranges from pre-literary myths and rituals of abuse to the verse satire of Juvenal in pursuit of a poetics of mockery largely abstracted from the historical contexts of its (...) production. We set the various poetic modes of Greco-Roman mockery more successfully in their historical contexts, Rosen argues, with a synchronic appreciation of the literary phenomenon we recognize broadly as satire. The Roman practitioners of this famously home-grown genre themselves demand that we broaden our horizons: Persius, for example, prefaces his satires with fourteen lines of choliambics, while Horace (mis)represents his satiric predecessor Lucilius as deriving entirely from Old Comedy (Satires 1.4.1–7). Rosen’s study is bounded by the limits of poetry: Lucian’s comic sketches have no place in this book because they lack the “otherness” of poetic speech to demarcate them from the rhetoric of the everyday. This is a distinction with which I think one may valuably take issue—the prose of Petronius’ Satyricon hardly lacks markers of its own fictionality—but it is an important one for Rosen (see below on Callimachus, Iambus 1). Drama provides the fundamental model for the satiric posture: the poet, whether or not he plays a role himself in his comedy, stages a performance of mockery for an audience. Poetic mockery is a ritual act, and the chorus of Aristophanes’ Frogs (368–76) could draw an analogy between the abuse performed in one Dionysiac ceremony (the initiates’ procession to Eleusis) and in another (comic drama). How exactly comic mockery may have evolved from religious ritual is neither Aristophanes’ nor Rosen’s concern: their aim is to invoke the ritual of religious practice as a model for the conventions of art.Comic mockery is an ugly and potentially dangerous art. For his first case study, Rosen discusses the myth of Iambe, etymological kin to the iambus of poetic invective. In the Homeric Hymn to Demeter, Iambe interrupts the grief of her mistress with jests ( 1, 202). Demeter laughs and ends her grieving fast. Rosen argues that Iambe’s comic interlude was abuse directed against the goddess who, with her laughing response, recognized the performance of mockery as something different from an act of hostility. Whether Demeter was the target of abuse or simply the audience of a breach of decorum is hard to determine from the text, but N. J. Richardson (The Homeric Hymn to Demeter [Oxford: Oxford University Press, 1974], 215) usefully records the parallel Alexandrian myth of Ascalabus, whom Demeter turned into a gecko because he laughed at her in the same circumstances. The fate of the obscenely joking Cercopes who are released [End Page 433] by a laughing Hercules rather than killed in anger provides another model not just for the restorative power of laughter but for the appropriate reaction to comic mockery. What, then, are we to make of Homer’s Thersites? Gregory Nagy argued (The Best of the Achaeans: Concepts of the Hero in Archaic Greek Poetry [Baltimore: Johns Hopkins University Press, 1979], 260–62) that the base and ugly Thersites personifies the poetry of blame. His depiction and his fate show this genre’s inferiority to the epic poetry of praise. For Rosen, although many poetic characters engage in the practice of blame, “there can only be one playing the role of blame poet... and the criterion for identifying him as such is the level of “righteousness” he can persuade an audience he has on his side” (76). This, in my view, is a very difficult argument to sustain. Rosen acknowledges that an inscribed audience (here the Achaeans) does not offer a secure guide to the righteousness of the speaker, that the high moral stance of a poetic mocker is typically compromised by irony and by comedy, and that the terminology of mocker and mocked is “labile and unstable” (116). Nevertheless, a satirist whose righteousness is only intermittently convincing (as is often the case) is to be seen... (shrink)

French theorists have recently proposed a theory which describes all literature in terms of the probable, the vraisemblable.6 This poetics of the probable commences with a purely relativistic claim. What is probable not only changes in accordance with the audience’s concept of reality but also changes in accordance with the needs of the story and with the narrative possibilities open to various genres. It includes all of the norms and models making a given text understandable to the reader, however (...) outlandish and eccentric it may be. Various levels of the vraisemblable are distinguished from each other, and the vraisemblable based upon models of the world or the world view prevalent in a given culture is scrupulously separated from types of the vraisemblable that are based upon literary, generic models. However, as Tzvetan Todorov gladly admits, “the two notions tend to melt into each other.”7 He and other theorists see the literary genre itself as one of the models “probabilizing” a given text, at times in direct contradiction with “natural” models of the world. Still others see the world, or the prevalent world view, as the universal text which probabilizes other texts.[…]Rather than how this new concept of the vraisemblable, of probability, fares in relation to farce in films, theater, and literature, I prefer to ask how farce fares in relation to it. I think that it doesn’t do well. Farce shows that it is a mistake to unify the possibilities for understanding a text and the possibilities for understanding its fictional world within a single integrated concept. It is a further mistake to term such a concept “probability.” When dealing with the fantastic or the marvelous, for instance, probabilizing the text and probabilizing the work’s fictional world may legitimately be unified under a single principle or concept. If we agree to change or suspend a fundamental belief about the world, we will be able to perceive as logical and probable not only the texts but also the fictional worlds of such works. Coleridge’s “willing suspension of disbelief” excellently fits works that are written in these genres. Such works require that we temporarily forget a certain general belief about the world. After we’ve agreed, as a result of this suspension, to include certain elements in the world , we may then rebuild the fictional world while using the rest of our beliefs along with this new assumption. Farce’s incredibility creates a different situation. Before we have even begun to recover from an attack upon one probability principle, another is undermined. In farce the rules of probability are not neutralized in one specific realm of reality; their inversion operates constantly on all of reality’s realms. The image of a seemingly real world, reminding us of our own world and of our own set of probabilities, is all we need to be constantly astonished by farce’s persistently novel deviations from predictable probability. Here, in direct opposition to the marvelous, the new deviations must keep on coming from unexpected directions, because farce won’t allow its incredibilities to consolidate and become new rules of probability. The fictional world of overt farce lacks a specific factor, the one that would have probabilized all of the other factors of this world. Such an Archimedean center might seem to be located in the genre’s definition—this genre, however, does not probabilize the incredible. Farce’s definition does not make farce’s world more intelligible in any sense of that word. At the very most, farce allows us to forgo such intelligibility without transgressing the established boundaries of art.6. For an excellent presentation of their views, see Jonathan Culler, Structuralist Poetics: Structuralism, Linguistics, and the Study of Literature , pp. 131-60.7. Tzvetan Todorov, The Poetics of Prose, trans. Richard Howard , p. 83. See also his introduction to Communications 11 : 2. (shrink)

While the traditional boulevard novel of Eugène Sue wants to entertain and sell, Umberto Eco's boulevard novel wants to entertain and educate the contemporary reader in Italian history and in a form of modern semiotic theory. However, Eco's educational mission does not transform the low genre of the boulevard novel but remains bound by its limitations of “rhetoric and ideology.” Eco's reader is left with a representation of history as pastiche and a populist misconception about the potential of semiotics (...) to relativise the perception of reality. Both history and semiotics are ultimately used by Eco not as heuristic devices but as instruments of seduction directed at a modern middle-class reading public with intellectual aspirations. (shrink)

Like many North African, Francophone, and world writers whose lives span the historic divide of independence from colonialism, Abdelkébir Khatibi’s work focuses in large part upon the idea of encounter, or, in French, “rencontre.” In this paper I focus upon the figure of the orphan in La mémoire tatouée and Le lutteur de classe à la manière taoïste, two of his earliest texts. By focusing upon the orphan as a multivalent term, and by following Khatibi’s emphasis upon language, literature, and (...) even life itself as a game or experiment, we can see how Khatibi creates an ethics of encounter that derives its meaning from recuperating a negatively connotated word and transforming it into a term of positive value. With the term “orphan,” he shows how through encountering the Other, by extending beyond into the unknown, by exceeding the circumscriptions of ancestry, identity, and national culture, the individual rises into a new status of free living. Moreover, it is equally through the practice of writing that life redounds with life; writing for Khatibi is never a mimetic representation of life per se but a space for experimenting, for discovery, and for exceeding the parochial nature of an individual’s physical placement in the world. In this sense, the orphan status of his writing shows itself through his aggressively restless, polyphonic, and ageneric writing that uses the localization of genre only as a hinge to push against in the quest to articulate a new relation to the world. (shrink)

Darko Suvin’s Metamorphoses of Science Fiction, first published by Yale University Press in 1979, has been the single most influential work in the history of academic science-fiction studies. As Veronica Hollinger observed: “Metamorphoses is the significant forerunner of all the major examinations of the genre”. Mark Bould and Sherryl Vint make more or less the same point: “Disagreeing with him [Suvin] is a considerable part of SF scholarship—he... set... the terms by which SF has subsequently been studied”. Perhaps not (...) quite so significant for utopian studies, Metamorphoses was nonetheless a crucially important text here too. For the fundamental novelty of its argument lies in the... (shrink)

Doris Lessing is a writer for all times; she is a historiographer and a transnational translational mediator between the East and the West. This volume provides a collection of articles analysing Doris Lessing's literature. The first part, entitled "Lessing's World of Words", offers a broad vision of the writer's novels; it introduces her many genres and sheds light on her literary affiliations. This is followed by "Lessing's Other Spaces", which dives into the novelist's imaginary and spiritual universes. The final part, (...) "Intersections: Lessing and Other Writers" establishes an analogy between Lessing's texts and Ahlem Mustaghanemi's Memory in the Flesh, Atiq Rahimi's Earth and Ashes and Salman Rushdie's Shame. (shrink)

A critical study of the concept of form in Adorno’s writings on art and literature. Adorno’s Poetics of Form is the first book-length examination of the elusive deployment of the concept of form in Adorno’s writings on art and literature, and the first monograph to offer a comprehensive account of the relation of these writings to his broader philosophical project. It examines form within the constellation of concepts that exist around it, considering how it appears when seen in conjunction (...) with and in opposition to content, expression, genre, and material. Illuminated from these angles, form is revealed as the site of a complex web of dynamic conceptual interactions. The book thus offers a resolution to a problem in Adorno’s work that has remained unsolved for several decades, and in doing so sets out the consequences of Adorno’s poetics for literary and critical theory today. (shrink)

Biography is an ancient literary genre. First of all—chronologically and logically it is a part of historiography. Whether we think of biography as more like history or more like fiction, what we want from it is a vivid sense of the person. The cover illustration of the fortieth anniversary edition of E. H. Carr’s What is History?1 is a close-up of an eye with fluffy white clouds against a blue iris and a dramatic black pupil in the center. Magritte (...) called this painting The False Mirror, an apt image for the untrustworthy nature of our perceptions of the world and, in its use here, for the uncertainties surrounding definitions of history in the past half century. Confusion has often accompanied.. (shrink)

There is something quite deceptive about Bilhaṇa’s Vikramāṅkadevacarita , one of the most popular and oft-quoted works of the Sanskrit canon. The poem conforms perfectly to the stipulations of the mahākāvya genre: it is replete with descriptions of bravery in battle and amorous plays with beautiful women; its language is intensified by a powerful arsenal of ornaments and images; and it portrays its main hero, King Vikramāṅka VI of the Cāḷukya dynasty (r. 1076–1126), as an equal of Rāma. At (...) the same time, the poem subverts these very aspects of Sanskrit literary culture: the poetic language is thinned down at a series of crucial junctions; the Rāmaness of the hero is repeatedly undermined; and the poet consistently airs his ambivalence toward, if not utter resentment for his immediate cultural milieu, his own patron and subject matter, and the very task of a court poet. The article argues that Bilhaṇa’s ambivalence and alienation are the hallmark of his work, and that the poet constantly and consciously struggles with and comments on what he sees as the utter incompatibility between poetry and political reality. It also demonstrates that Bilhaṇa’s unique, personal voice resonates in his many afterlives and in several collections of poems attributed to him posthumously. I argue that it may well be a sign of recognition of what was truly innovative in his poetry that the tradition has credited Bilhaṇa with such additional lives and corpora. (shrink)

In ancient times, authors such as Plutarch and Proclus questioned Parmenides’ abilities as a poet considering his Poem to be ‘prose in disguise’. Harsh judgments concerning Parmenides’ style are pervasive even in modern scholarship (Diels 1897, Wilamowitz 1912, Tarán 1977, Kirk & Raven 1977). This paper focuses on specific metrical and rhythmic devices used consistently in the composition of the Poem, that I will refer to, collectively, as ‘poetic dislocation’. This term encompasses the blurring and cancellation of the central caesura, (...) the tendency to break Hermann’s bridge with varying degrees of intensity, the accumulation of enjambment in groups of verses, the use of non-traditional lexicon of the epic genre and the placement of Homeric lexicon in non-Homeric hexameter collocations. My attempt is to prove that these procedures are an integral part of Parmenides’ poetic style. I will also present an analysis of Parmenides’ versification focusing on the rhythmic patterns and the organization of caesura, especially in fr. B8. (shrink)

The text of Ezekiel continues to present some challenges to students studying it. This is in view of what one school of thought identify in the Ezekiel text as extensive redactions and revisions, whilst another school of thought is hesitant to subject the Masoretic Text to such critical analysis. Amidst these differing viewpoints, I have discussed by means of literary analysis, the possibility that chapter 6 of Ezekiel may have been intended as a prophetic poetic message, or was later edited (...) to conform to the genre of prophetic poetry. This is in the light of the so-called repetitions or 'additions' reflected in the MT if compared against the LXX, as well as the general problems associated with the Hebrew text of Ezekiel. The findings indicate that the text of Ezekiel 6 probably already had a complete theological corpus when it left the hand of the prophet Ezekiel or those who penned his words down. However, scribes saw it necessary to restructure, organise and colour the prophetic oracle in a literary form and structure they thought was necessary. This finding could be vital for solving literary and text critical problems in Ezekiel. (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)

Ideophony is a neglected aspect of investigations of world poetic traditions. This article looks at the use of ideophony in a variety of Navajo poetic genres. Examples are given from Navajo place-names, narratives, and songs. A final example involves the use of ideophony in contemporary written Navajo poetry. Using the work of Woodbury, Friedrich, and Becker it is argued that ideophones are an example of form-dependent expression, poetic indeterminacy, and the inherent exuberances and deficiencies of translation and thus strongly resists (...) translation. This fact becomes more relevant when understood in light of the current language shift from Navajo to English. (shrink)

This article inquires into the shaping force that competition at musical contests exercised on ancient perceptions of literary genres, particularly for the non-choral and non-dramatic kinds of the Classical Period. Three musical contests of the fourth century BCE, the Panathenaia, the Amphiaraia, and the Artemisia, are taken as case studies. After a reconstruction of their programs, principles of categorization that spectators might have inferred from the contests are deduced, and modes in which categories of competition and literary genres interacted are (...) put forward. The article concludes by suggesting that, by enacting taxonomies, either strengthening or weakening the specificity of traditional types, institutionalized poetic and musical competitions contributed to the ancient conceptualization of literary genres. (shrink)

Myron's bronze sculpture of a cow proved an extraordinarily popular subject for Greek and Latin epigram over an exceptionally long time-span (Palatine Anthology 9.713-42, 793-98, Posidippus 66 A-B, Ausonius 63-71, Epigrammata Bobiensia 10-13). But why the fascination? This article reads the image as an icon for the poetic simulations of ecphrastic epigram. First, it emphasises the ambivalence with which the poems celebrates the statue's verisimilitude: Myron's bronze cow at once convinces and fails to convince. Second, it relates the mimetic make-believe (...) of the statue to the illusionism of literary epigram, especially epigrams on artworks: the virtually real cow figures the various pretences of the genre, fluctuating between material image, epigraphic inscription, and anthologised text. The more poems added to the series, the more pressing the replicative agenda: Myron's reproduction of a cow keeps on reproducing itself, in ever more playful (and playfully contrived) ways. (shrink)

continent. 1.2 (2011): 70-75. cartography of ghosts . . . And as a way to talk . . . of temporality the topography of imagination, this body whose dirty entry into the articulation of history as rapturous becoming & unbecoming, greeted with violence, i take permission to extend this grace —Akilah Oliver from “An Arriving Guard of Angels Thusly Coming To Greet” Our disappearance is already here. —Jacques Derrida, 117 I wrestled with death as a threshold, an aporia, a bandit, (...) a part of life. —Akilah Oliver Moraine in geological lingo is that which is left behind. Moraine- a euphemism for the de-stabilizing referent of the writer-ly body as a “troubled and troubling landscape marked by cultural and historical signifiers, the body as flesh memory [...] the body as transitory” (Oliver, Author Statement). Moraine— a geological metaphor of the poet as a holder of memory, as an accumulation of rocks and debris carried along the edge, terminal, dropped at the foot of language (in language). “Flesh Memory” according to Akilah Oliver is "that which my body recalls [...] everything has to do with the task of remembrance and its narrative reinvention [...] I was always translating an idea of the world as it presented itself at any given time. To write was a choice about how to be seen, how to enter the world as translator, actor, participant, in the dialogues that apparently made the real 'real'" (Levitsky). Flesh. Memory. The stuff some poems are made from. The stuff that gets abandoned, gleaned, and picked up by more flesh and memory. "My body, my life has always felt like a kaleidoscopic rip in the dominant fabric [...] has always been a dialogue with the impossible and the apparent” (Levitsky). The impossible-body or poet's body anticipates and performs (through language) an irretrievable death. IN APORIA I realized everything I must have been doing must have been Death. It was Christmas or Labor Day—a holiday—and every time you turned on the radio they said something like ‘four million’ or ‘going to die’.” — Andy Warhol I’m trying on egos, [a justification for the planet’s continuance]. Oh hello transgressor, you’ve come to collect utilitarian debts, humbling narrative space. Give me condition and wheatgrass, I his body disintegrating. I his body is ossification. Death my habit radius, yeah yeah. I his body can’t refuse this summons. I can’t get out this fucking room. Tell me something different about torture dear Trickster. Tell me about the lightness my mother told me to pick the one i love the best how it signals everything I ever wish to believe true just holy on my ship. I jump all over this house. this is it [what I thought is thought only, nothing more deceptive than]: I his body keeps thinking someone will come along, touch me. As like human or lima bean. I’m cradling you to my breast, you are looking out. A little wooden lion you & Peter carve on Bluff Street is quieting across your cheekbone. Not at all like the kind of terror found in sleep, on trembling grounds. It is yesterday now. I have not had a chance to dance in this century. Tonight I shall kill someone, a condition to remember Sunday morning. To think of lives as repetitions [rather than singular serial incarnations]. To understand your death is as exacerbating as trying to figure out why as schoolchildren in mid-nineteen-sixties Southern California we performed reflexive motions: cutting out lace snowflakes, reading Dick and Jane search for their missing mittens, imagining snow. Disintegrat ing . The -ing gerund catapults from the non-finite verb into past, present, future. The -ing as a tail pinned to death, a dog spinning to bite and never fully reaching itself, always shy of the end, circumreferential; a double copulative: deathing. Possessively AO calls it “habit radius” (a virtual fetish attribute) or an inescapable death presence that “confronts us with the paradox of an unattainable object [...] through it’s being unattainable” (Agamben, 27). A flirtation or dialogue with an unknowable thing and aporia utilized as investigative instrument to engage (death) while (in Southern California) we “perform reflexive motions,” cut lace snowflakes, imagine snow, and pay rent like “yeah, yeah” what else is new. And this too, fiction. The book I wish to right. The restored fallen, heroic. Did you expect a different grace from the world? Or upon exit? I’m working on “tough.” They think I am already. All ready. Who is the dead person? Is "I'm sorry" real to a dead person? Browning grass. My hands on this table. A contentious century. A place to pay rent. Redemptive moments. Am I now the dead person? Dead person, dead person, will you partake in my persimmon feast? The body inside the body astounds, confesses sins of the funhouse. I too have admired the people of this planet. Their frilly, orderly intellects. The use they’ve made of cardamom, radiation as well. How they’ve pasteurized milk, loaned surnames to stars, captured tribes, diseases, streets, and ideas too. The living-body as archive: is it possible to experience the living-body as archive without a (kind of) death? Sifting the rubble, rummaging through hoarded debris, skin sheds, memory-napping, and re-awoken (in flesh and) on terrain. “An investigative poetics seeks to unravel staid communities of thought and grasp at what might always be just beyond reach; a poetics of inquiry that lies between language as meaning, and language as rapturous entry into the world of posited ideas and idealism”( Levitsky). Something snaps. Lights blow out prior to embarking upon an investigative poetics. It begins with a question (often a sexy aporia) that leads to openings. "Every politics of memory [...] implies an intervention of the state. It's a state that legislates and acts with regard to the nonfinite mass of materials to be stored, materials which must be collected, preserved” (Derrida & Stiegler, 62). It seems poetic investigation already contains the potentiality of an (invisible) archive if the writer is “always writing” especially when not. Here’s my stupid digital romantic inclination: the living-body (of a poet) is a self-sustaining archive of non-finite memories. But not even I really believe that. AO innovated and sculpted an investigative poetic praxis. In a conversation with poet Rachel Levitsky, poetic-voice is viewed not as a precious identifier, but as a means to think through/about form, concluding that form is linked to framing. While poetic-voice may have tendency to precede form, it also erupts as a result of framing techniques. “They are frames that hold the shape of thinking (which is also to say of imagining) [...].”7 This reminds me of my rabbit who symmetrically chewed the corners of his hutch, which makes me wonder if it’s an expression of the shape of some animal anxiety tick I won’t ever have access to. Beyond the form/frame, death is an unoriginal yet unique limit; death is a damn deathless thing. It functions as a source of poetic investigation; that thing always “just beyond reach.” And how is death not a fetish (in this case an obsessive reverence for something non-material)? “Insofar as it [death] is a presence, a fetish [...] it is in fact something concrete and tangible; but insofar as it is the presence of an absence, it is, at the same time, immaterial and intangible, because it alludes continuously beyond itself to something that can never really be possessed [...] The fetish is [...] a sign of an absence, it is not an unrepeatable unique object; on the contrary, it is something infinitely capable of substitution, without any successive incarnations ever succeeding in exhausting the nullity of which it is the symbol” (Agamben, 33). AO utilized absence (the absent body [catapulted by the death of a beloved]) as an apparatus to investigate. In the process of conversing with absence or that which is absent, the absent body is affectionately objectified, incessantly summonsed back to a place of recognition, of objects, a desire for the absent body to remain intact while exiting the structural limits of grammar and syntax by moving into chant forms “to say what cannot be said” (Levitsky). from AN ARRIVING GUARD OF ANGELS THUSLY COMING TO GREET dear oluchi- the light is blinking rapidly on the black boxy machine. your room seems bigger than before and i am still planning to read some of those robert jordan books of yours. yesterday at the used bookstore where i was browsing the mysteries to “stall reality” (they are really not mysteries at all, they just employ death as the plot mistress but are unable to grasp its mystery at all)—well the point is, things were calm down here for a while and the world was little. i want to be big like you. or i want you not vast, not dead, not gone, but human small and here. i am so selfish. that is what i really want. to see you again. to oil your scalp. to hear you walk in the door, say ma i’m home . give me a chance to say welcome home son. or when leaving, don’t forget your hat . what do you wear out there? i wish you could have taken your new shoes with you. i’m so proud of you. i’m sorry for the way you died. i miss you all the time. even before, i missed you. out there, one time, some different men said: “shake for me girl, i wanna be your backdoor man.” who dat you love. 5/18/03 A letter-poem in sixteen lines “dear oluchi-” is safe-housed in epistolary form. Poetic voice is rendered as internal thought meanderings, a not-so-much confession, private/(pillow?) talk in the desire to be heard/witnessed by the referent and reader with an intent to absolve. The diminutive “i” bears a relation to poet Fanny Howe’s “little g God” in that “One of the (many) things I like about little g God is that you can have a vodka tonic while you talk to little g God, sing along to Bowie’s “I’m Afraid Of Americans,” and hum Coltrane’s “A Love Supreme,” though maybe not all at the same time” (Oliver, 2009). Towards the middle of the poem AO is at a used bookstore and remarks on the funny employment of death as a ‘plot mistress’ that ‘they’ (the dubious employed mystery authors) are ‘unable to grasp’, thereby giving death a mouthpiece, a modeling job, something to do to pass the time. from THE VISIBLE UNSEEN When I first saw graffiti, I recognized in it an ugly aesthetic, a dialectics of violence, a distortion of limbs, a hieroglyph. It was only later when I read the names of the dead that I then saw the path of ghosts charted there; its narrative of loss for the visible unseen whose place in history has been fictionalized and rendered unseen under the totalizing glare of history. Inscriptions, traces, specters. Graffiti begs a public face just as ghosts require non-ghosts (humans) to sense them. The “visible unseen” is a game of hide-and-seek between public viewer and graffiti-inscriber, an ephemeral-violent aesthetic on an ephemeral-policed canvas. Graffiti-inscribers already submit to being forgotten, expect to be washed away; perhaps it’s a holy urban mandala created by gangster-type monks without Buddhism. [...] in its refusal to disappear it forces a discourse in the public imagination we are forced to see what we would rather not, to make sense of an encoded language that we cannot read on the level of meaning. it irritates, forces its agency on us, speaks outside and beyond semiotic reach. An epic font-size pervading the public’s imagination, illegible, I could just close my eyes, remain passive, drive past, abandon it beyond reach, push it further away beyond death walls. In Barcelona I watched a clean up crew wash walls with an awesome water hose but I was more intrigued by their bodies; not a distortion of limbs, not hieroglyph but also not entirely legible; the laboring body permanently erasing specters of the city, and of course they knew it was also an invitation for the ghosts to return. Graffiti is death’s little sister, is also an aporia. [...] Graffiti (fr GK -graph(os), something drawn or written, to diagram or chart) attempts to stage the impossible: to erase the essence of its own subjectivity. Graffiti is a cartography of ghosts, a mapping of elegiac rapture (the transporting of a person from one place to another, as in heaven) and rupture (the state of being broken open.) Dwelling is a fiction stasis. [...] The notion of the past as being something done with, a look-back event, inhibits the possibility of reading graffiti as rapture, as rupture. If graffiti posits history as always in the process of becoming undone. [...] Because what is the body, if not also a complex temple, an unstable site through which to negotiate subjects, materiality, economies, gods, and modes of representations? The site where we are all already belated. Graphein meaning “to write.” “Derrida says every archive makes a law, and the law of genre is its own rupture” (Bloch, 39). However, graffiti is an (non/anti)-archive of erasure due to (the politics of) washing out its subjectivity, which only adds onto (or is symptomatic of) its character. The inhibition of “reading graffiti as rapture, as rupture” is partly due to it being a “look-back” event in that it’s process involves scratching through layers to reveal previous specters underneath. Graffiti (as an ancient genre) has always been a thing of ‘becoming undone’, and therefore ‘belated and always in arrival’ (Levitsky). It’s a Dionysian activity done at night with it’s back turned toward us. "The specter [...] is of the visible, but of the invisible visible, it is the visibility of a body which is not present in flesh and blood [...] appearing for vision, to the brightness of day [...] something becomes almost visible which is visible only insofar as it is not visible in flesh and blood. It is a night visibility. As soon as there is a technology of the image, visibility brings night. It incarnates in a night body, it radiates in a night light" (Derrida & Stiegler, 115). (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)

This thesis is concerned with the ways in which meaning is generically mediated in the novel. In particular it addresses the productive diversity of meanings generated by critical interpretation and asks how, given this diversity, comprehension and consensus might be possible. I argue that the construction of subject, object, space and time is achieved in the novel through different manifestations of four key metaphors: voice, view, setting and event. These metaphors supply meanings that rely on a common experience of embodiment. (...) Embodiment supplies the basis for an intersubjectively established consensus which identifies subjects and objects in terms that correspond to the semiotic, syntagmatic and semantic uses of metaphor. I begin by surveying and reviewing certain constructionist accounts of language and meaning in order to establish the importance of metaphor in conveying meaning in rhetorical, rather than linguistic, terms. I then discuss two examples of continental philosophy on speech: Derrida on voice and Foucault on discourse. I demonstrate how meaning is rhetorically constructed according to the use to which metaphors are put—whether they denote formal, semantic, or functional aspects of meaning—through an explication of Foucault’s theory, reserving Derrida’s grammatology for my analysis of the stabilisation of meaning in the theory of certain narratologists (Gérard Genette and Marie-Laure Ryan). Voice and view are key terms in literary theory, and I examine refinements to these metaphors in Genette and Ryan. The insistence of these narratologists on restricting the rhetorical dimension of meaning undermines the value of the literary work, prompting me to argue for a relaxing of such constraints. I read Peter Carey’s True History of the Kelly Gang for its uses of voice and point of view, many of which expose the limitations of the narratological approach. This is a theoretical thesis, which engages a wide range of perspectives—constructionist, deconstructionist, sociological and structuralist—together with their various accounts of language, metaphor, speech and meaning. In terms of sociological approaches to genre and discourse, I employ the chronotope as a critical tool, examining it in the context of the theme of the country house to demonstrate the role of two of my key metaphors, setting and event, which are important for the construction of space and time in abstract terms. Focusing on novels by Jane Austen, Virginia Woolf, and Kazuo Ishiguro, in which the country house defines the space and the temporality through which thematic and “material” elements are mediated, I reveal how the chronotope supplies an overarching coherence that unites thought and event in narrative. My readings of these novels describe a theory that is concerned with the rhetorical capacities of genre rather than with taxonomic constructions of form. To this end I argue that the metaphorical dimensions of narrative—voice, view, setting and event—be loosely drawn, according to the acknowledged mutability of genre. I also emphasise the constructive effect of metaphor whilst according it a rhetorical versatility consistent with the mutability and instability of genre as a semiotic tool, concluding that consensus is achieved in our readings of novels through the form’s reliance on these four key metaphors of embodiment. These metaphors have ordinary, everyday, widespread usage beyond narrative theory; in appreciating their rhetorical value, it must be noted nonetheless that any confusion that ensues is productive, for it results in the diversities of meaning and form celebrated in the literary work. (shrink)

This paper explores trans poetics as a way of doing trans philosophy. I begin by giving an overview of the current state of trans philosophy. I then give examples of other literatures wherein poetics is taken to be philosophically robust. After giving a brief history of trans poetics, I turn to the poetics statements and poetry of three trans poets—D'Lo, Ching-In Chen, and micha cárdenas—featured in the 2013 anthology Troubling the Line. I show how poetry is (...) often uniquely able to capture the ambiguity of the WTF of trans experience in ways that differ from philosophical argumentation. I conclude by suggesting that poetics might move us away from a potential politics of suffering in trans philosophy to a politics of liberation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Dante's Inferno as Poetic Revelation of Prophetic TruthWilliam FrankeIDante's Inferno demands to be understood as the culmination of a series of visits to the underworld in ancient epic tradition. Dante's most direct precedent is Aeneas's journey to meet his father in Hades, as told by Virgil in Book VI of the Aeneid. Aeneas's voyage is modeled in turn on Odysseus's encounter with shades of Hades in Book XI of (...) the Odyssey. The epic quest in each of these models pivots, in various ways, on a visit to the world of the dead, a discensus ad inferas, as a climactic episode at its center. However, Dante makes this episode the general framework of the whole poem: from beginning to end, Dante's poem represents a voyage through the world beyond the grave. In this respect, Dante's Inferno, and indeed the whole Divine Comedy, is conceived primarily as an expansion of the ancient epic motif of the katabasis or "going down" of the protagonist to the underworld for a revelation of his destiny from beyond the threshold of death. Like Virgil, Dante interprets history prophetically, finding in it the essential pattern of things to come. But this projection now reaches to an eschatological future beyond history altogether—to an uncannily dynamic realization of eternity.The other world that is visited by Dante asserts itself unequivocally as ultimate reality. It is not just some shadowy world of bloodless phantasms like the shades that approach Odysseus, nor is it vacuous and inane, as are Virgil's "houses void and empty realms of Dis" ("domos Ditis vacuas et inania regna," Aeneid VI.269). This "other" world shows up as even more vivid than the world of ordinary sense-perception by virtue of a strikingly realistic, indeed surrealistic imagery. Dante heightens the [End Page 252] mythological topos of the visit to the underworld that he inherited from Virgil and Homer to a level where it represents the true essence of life on this earth transposed into a transcendent dimension. The world of the dead is not just one in a series of episodes befalling the protagonist but rather the final and definitive experience that reveals the true meaning of all possible experiences and thereby the meaning of the world as a whole. This is perhaps implicit and incipient in Homer and Virgil, since the journey to the underworld in each case encloses a revelation that illuminates the meaning of everything else and orients the protagonist's subsequent life in the world up to his death. But Dante's other world is more than the place for a miraculous glimpse into the true meaning of life: it is itself the vera vita, the "true life."Of course, Virgil had interpreted the whole of Roman history through the optics of prophecy, but his prophetic history was directly disclosed only in privileged moments within his poem. Dante's entire poetic narrative transpires in an eschatological dimension of existence; it thereby aspires to reveal beyond the limits of history a full-blown vision of eternity—that is, history as projected into the eternal worlds that it prefigures. While at the level of content Dante expands the theme of a visit to the underworld into an entire poem of epic proportions, more deeply, at the level of genre and in terms of its mode, Dante's whole poem is prophetic in character. History and narrative become in themselves prophetic rather than only forming a background for prophecy and framing it.The descent to the world of the dead—a symbol for the place of revelation of the meaning of life—is a thematic issue that runs as a thread through each of the epic works that have been mentioned so far. But in Dante it becomes the central axis of a poem that emerges in its entirety as religious revelation, and Dante greatly intensifies the self-conscious grasp of this function of poetry. His work represents an unprecedentedly powerful reflection on poetry as revelation in the mode of prophecy, for the customary literary means of poetic expression are now revealed in their intrinsically prophetic potency. From the Aeneid Dante could learn... (shrink)

Jacques Derrida argues that the feminist and intellectual Hélène Cixous is the most important writer working within the French idiom today. To prove this, he elucidates the epistemological and historical interconnectedness of four terms: genesis, genealogy, genre, and genius, and how they pertain to or are implicated in Cixous's work. Derrida explores Cixous's genius (a masculine term in French, he is quick to point out) and the inspiration that guides and informs her writing. He marvels at her skillful working (...) within multiple genres. He focuses on a number of her works, including her extraordinary novel _Manhattan_ and her lyrical and evocative _Dream I Tell You_, a book addressed to Derrida himself and one in which Cixous presents a series of her dreams. Derrida also delves into the nature of the literary archive, the production of literature, and the importance of the poetic and sexual difference to the entirety of his own work. For forty years, Derrida had a close personal and intellectual relationship with Hélène Cixous. Clever, playful, and eloquent, _Geneses, Genealogies, Genres, and Genius_ charts the influence these two critical giants had on each other and is the most vital work to address Cixous's contribution to French thought. (shrink)

In this engagingly complex discussion of Pliny Books 1–9, Marchesi, like her Pliny, shows a facility in manipulating a multifarious network of allusions and readerly expectations. In the process she delivers one of those rarities, the academic page-turner. Marchesi finds, in Pliny, an acutely self-conscious and highly literary subject and sets out her agenda clearly in two opening sections ; we should expect to find that "Pliny's epistolary corpus emerges as a carefully organised work that experiments with the boundaries of (...) its own genre by allusively evoking and interacting with a variety of its literary antecedents". (shrink)