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

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

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

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

Tracing the interrelationship among play, poetic imitation, and power to the Hellenic world, Mihai I. Spariosu provides a revisionist model of cultural change in Greek antiquity. Challenging the traditional and static distinction made between archaic and later Greek culture, Spariosu's perspective is grounded in a dialectical understanding of values whose dominance depends on cultural emphasis and which shifts through time. Building upon the scholarship of an earlier volume, Dionysus Reborn, Spariosu her continues to draw on Dionysus--the "God of many names," (...) of both poetic play and sacred power--as a mythical embodiment of the two sides of the classical Greek mentality. Combining philosophical reflection with close textual analysis, the author examines the divided nature of the Hellenic mentality in such primary canonic texts as the Iliad, the Odyssey, the Theogony, Works and Days, the most well-known of the Presocratic fragments, Euripides' Bacchae, Aristophanes' The Frogs, Plato's Republic and Laws, and Aristotle's Poetics and Politics. Spariosu's model illuminates the many of the most enduring questions in contemporary humanistic study and addresses modern questions about the nature of the interrelation of poetry, ethics, and politics. (shrink)

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)

This review was first published in Modern Language Quarterly : A Journal of Literary History, in Volume 74, Issue 3 | September 2013. Meredith MARTIN. The Rise and Fall of Meter : Poetry and English National Culture, 1860 – 1930. Princeton, NJ : Princeton University Press, 2012. 274 pp. At the turn of the twentieth century, Robert Bridges made newspaper headlines with Milton's Prosody for attempting to renovate England's increasingly simplified notions of meter by justifying the supposed - Recensions.

At the end of the nineteenth century in France, there arose a literary movement, termed le naturisme by its founder, Saint-Georges de Bouhélier. Anti-symbolist in its conception, le naturisme contained as its tenets a return to clarity and simplicity of expression and a strict avoidance of symbolist hermeticism, characteristic of Mallarmé and others. Bouhélier and his disciples triggered a polemic that raged throughout the final years of the nineteenth century and involved writers such as Emile Zola and André Gide before (...) its demise in the early twentieth century. (shrink)

In this overview of twentieth-century American poetry, Jennifer Ashton examines the relationship between modernist and postmodernist American poetics. Ashton moves between the iconic figures of American modernism - Stein, Williams, Pound - and developments in contemporary American poetry to show how contemporary poetics, specially the school known as language poetry, have attempted to redefine the modernist legacy. She explores the complex currents of poetic and intellectual interest that connect contemporary poets with their modernist forebears. The works..

This volume collects and translates Philippe Lacoue-Labarthe’s studies of Heidegger, written and revised between 1990 and 2002. All deal with Heidegger’s relation to politics, specifically through Heidegger’s interpretations of the poetry of Hölderlin. Lacoue-Labarthe argues that it is through Hölderlin that Heidegger expresses most explicitly his ideas on politics, his nationalism, and the importance of myth in his thinking, all of which point to substantial affinities with National Socialism. Lacoue-Labarthe not only examines the intellectual background--including Romanticism and "German ideology"--of Heidegger's (...) uses and abuses of poetry, he also attempts to reestablish the vexed relationship between poetry and philosophy outside the bounds of the Heideggerian reading. He turns to Walter Benjamin and Theodor Adorno, as well as Paul Celan, arguing for the necessity of poetry as an engagement with history. While Heidegger's readings of Hölderlin attempt to appropriate poetry for mythic and political ends, Lacoue-Labarthe insists that poetry and thought can, and must, converge in another way. Jeff Fort provides a precise translation capturing the spirit and clarity of Lacoue-Labarthe’s writing, as well as an introduction clearly situating the debates addressed in these essays. (shrink)

Like Plato, Protagoras held that young children learn virtue from fine examples in poetry. Unlike Plato, Protagoras taught adults by correcting the diction of poets. In this paper I ask what his standard of correctness might be, and what benefit he intended his students to take from exercises in correction. If his standard of correctness is truth, then he may intend his students to learn by questioning the content of poems; that would be suggestive of Plato’s program in Republic III. (...) But his standard is more likely to be the accurate use of language; in that case he would intend his students to learn to express their thoughts clearly enough that their audience would understand what they were saying. That standard would be independent of the truth of what they are saying; and that would be a precursor to modern techniques by which we try to teach speaking and writing. Truth is not so easy to escape, however, and we shall see that Protagoras’ exercise must assume that the poet is trying to tell the truth. (shrink)

Introduction : music and abstraction -- Music and fantasy -- German romanticism and music -- Negative poetics : on skepticism and the lyric voice -- Rethinking the scale of literary history -- Mozart, Bach, and musical abjection -- Moods at mid-century : Handel and English literature, 1740-1760 -- Passion and love : anacreontic song and the roots of romantic lyric -- Haydn's whimsy : poetry, sexuality, repetition -- Non Giovanni : Mozart with Hegel.

Through an analysis of many different examples, Danvers articulates a new way of thinking about mysticism and scepticism, not as opposite poles of the philosophical spectrum, but as two fields of enquiry with overlapping aims and methods. Prompted by a deep sense of wonder at being alive, many mystics and sceptics, like the Buddha, practice disciplines of doubt in order to become free of attachment to fixed appearances, essences and viewpoints, and in doing so they find peace and equanimity. They (...) develop ways of living with impermanence and the unexpected by letting go of adherence to dogmatic beliefs and by suspending judgement. In common with many artists and poets they act as agents of uncertainty, actively disturbing the routines and habits of day-to-day thought and behaviour in order to demonstrate how to maintain a sense of balance and spontaneity in the midst of life s difficulties. Topics explored include: being and self as process; mysticism and language; scepticism and dogmatism; Buddhism, interdependence and emptiness; Daoism and impermanence; dialectics of doubt in art and poetry. Written in a lively and accessible style, accompanied by drawings and photographs by the author, this volume is aimed at scholars, artists, teachers, and anyone interested in philosophy, religion, art, poetry and ways of being.". (shrink)

The editors assembled this book in order to highlight the voices of those who do have an idea—of people who have experienced or witnessed the impact of educational injustice on the lives of marginalized youth and the educators who advocate for them. They set out to collect writing about people’s experiences--their reflections on social justice and injustice, equity and inequity in and out of schools that influence educational access and opportunity. By sharing stories in poetry and prose and photography, telling (...) truths either as people on the margins or as their partners in struggles for educational justice, it is the editors intentions to expand the narrative of the educational policy and practice. (shrink)

In my paper I will focus on Melanchthon’s concept of poetry as a legitimate means of philosophizing. I will show that he regards poetry as philosophy “arranged in verses and narratives” and that this view is grounded on his notion of perennial philosophy. I will explain this notion and emphasize Melanchthon’s specific understanding of it. In order to do so I will first consider Melanchthon’s conception of philosophy which he equates with the liberal arts and delineate the significance of ancient (...) literature for the transmission of logical, ethical and natural-philosophical knowledge. Thereby I will focus on his definition of poetry and its position amidst the liberal arts. Subsequently, I will isolate citations and phrases of ancient literature which are illustratively used to substantiate moral-philosophical or naturalphilosophical arguments in Melanchthon’s theoretical writings. I will show thereafter that the sentences of the poets function as authoritative arguments because Melanchthon’s view of poetry is underpinned by his own interpretation of the theory of perennial philosophy which, however, does not coincide with the Ficinian view on the philosophia perennis. In my conclusions I will summarize Melanchthon’s view on ancient poetry and its relevance for the acquisition of philosophical knowledge. (shrink)

It also follows from what has been said that it is not thc poct’s business to relate actual cvcms, but such things as might or could happen in accordance with probability or necessity. A poet differs from a historian, not bccausc 0nc writes vcrsc and thc othcr prose (thc work of Hcrodotus could bc put imo vcrsc, but it would still remain a history, whcthcr in vcrsc 0r prose), but because thc historian relates what happcncd, thc poet what might happen. (...) That is why poetry is more akin to philosophy and is 21 bcttcr thing than history; poetry deals with general truths, history with specific cvcnts. The latter arc, for example, what Alcibiadcs did or suffered, whilc general truths arc thc kind of thing.. (shrink)

The first study dedicated to the relationship between Alexander Pope and George Berkeley, this book undertakes a comparative reading of their work on the visual environment, economics and providence, challenging current ideas of the relationship between poetry and philosophy in early eighteenth-century Britain. It shows how Berkeley's idea that the phenomenal world is the language of God, learnt through custom and experience, can help to explain some of Pope's conservative sceptical arguments, and also his virtuoso poetic techniques.

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)

La percepción del Otro desde una perspectiva hegemónica es recurrente en las literaturas heterogéneas, entendidas a grandes rasgos como un tipo de literatura fruto del encuentro entre culturas. Mi objetivo es presentar a la poesía negrista como un evidente caso de literatura heterogénea, aunque con una diferencia: en lugar de perpetuar el punto de vista hegemónico, la poesía negrista latinoamericana, en particular la de Nicolás Guillén, logra una visión de los negros desde la búsqueda de una identidad propia. Teniendo como (...) fundamento la dialéctica nietzscheana dionisíaco-apolíneo, sostengo que la literatura heterogénea en general evidencia una insuficiencia del lenguaje -elemento característicamente apolíneo- en su búsqueda de la representación del Otro, mientras que la poesía de Guillén muestra un mayor grado de cercanía con el Otro, a través de la adopción de un elemento distintivamente dionisíaco: la musicalidad. The perception of the Other from a hegemonic perspective is recurrent in heterogeneous literatures, broadly understood as a kind of literature resulted from the encounter between cultures. The aim of this work is to present "negrista" poetry as an evident case of heterogeneous literature, though different in a way: instead of perpetuating the hegemonic point of view, Latinamerican "negrista" poetry, particularly Nicolás Guillén's, achieves a vision of black people in search of their own identity. Based on Nietzschean Apollonian-Dyonisian dialectic, I maintain that heterogeneous literature in general shows an insufficiency of language -typically Apollonian- in its search for the representation of the Other, whereas Guillén's poetry shows a greater degree of closeness to the Other by adopting an element which is distinctively Dyonisian: musicality. (shrink)

Machine generated contents note: Introduction: love after Aristotle; 1. Enjoyment: a medieval history; 2. Narcissus after Aristotle: love and ethics in Le Roman de la Rose; 3. Metamorphoses of pleasure in the fourteenth century Dit Amoureux; 4. Love's knowledge: fabliau, allegory, and fourteenth-century anti-intellectualism; 5. On human happiness: Dante, Chaucer, and the felicity of friendship; Coda: Chaucer's philosophical women.

In chapter 9 of the Poetics Aristotle states that poetry is concerned with the universal . In this paper I shall consider three questions arising out of this statement. First, what does it mean? Secondly, what constraints does it impose on the construction of tragic plots ? I shall consider this question with special reference to the possible role of chance in tragedy. Thirdly, why is poetry concerned with the universal – that is, why is poetry such that these constraints (...) are appropriate ? (shrink)

This article discusses the ways in which the practical benefit of poetry, as a source of healing power to reduce distress, is enhanced through incorporating a detailed analysis of literary texts and their sources that relate to the author's depiction of the human predicament and suggestions for liberation from it. This article focuses on two Romantic poems as case studies, Percy Bysshe Shelley's “Mutability” (1816) and John Keats's “Ode on Melancholy” (1820), to highlight an effective way of inspiring students to (...) recognize the poets’ representations of anxiety and their poems’ therapeutic effects. By pointing out the limitations of recent studies promoting the curative power of poetry, the article examines precise literary aspects of the two works, which facilitate the relief from inner affliction for readers as they discuss in detail the concept of affliction in its association with the realities of instability and depression. It suggests a method of providing poetry education that reveals the paradox of suffering and self-remedy and thereby reinforces comprehension. (shrink)

A 1995 study of two important late medieval poems and their philosophical and psychological contexts.

In the course of his dispute with Conington on the comparative merits of Catullus and Horace, Munro taxed the Augustans with having made the lyric of the heart impossible in Latin by their virtual exclusion of diminutives from the language of poetry; and, whether that is the result or no, the general fact that diminutives are rare in the serious poetry of the Augustan age is well known. The details, however, are less easy to come by. Stolz and Stolz-Schmalz devote (...) a few unilluminating lines to the Stilistik of diminutives: otherwise the grammars and the treatises on diminutives known to me concern themselves only with forms and meanings. Except for a note by Professor Housman which, at 4. 927, sets out Manilius's diminutives, I know of no collections for any Augustan poet, and it is perhaps worth while therefore to state the facts. I have not indeed read through Augustan poetry for the purpose, but for some time past I have been in the habit of noting such diminutives as I have come across in the course of reading, and these lists I have now checked and amplified from the indexes to the authors concerned. My lists are probably not complete, but I hope they are sufficiently near it to present a true picture of the position. (shrink)

The comic dramatists of the fifth centuryb.c.were notable for their preoccupation with poetics – that is, their frequent references to their own poetry and that of others, their overt interest in the Athenian dramatic festivals and their adjudication, their penchant for parody and pastiche, and their habit of self-conscious reflection on the nature of good and bad poetry. I have already explored these matters at some length, in my study of the relationship between comedy and literary criticism in the period (...) before Plato and Aristotle. This article continues the story into the fourth century and beyond, examining the presence and function of poetical and literary-critical discourse in what is normally called ‘middle’ and ‘new’ comedy. (shrink)

This study investigates the literary-historical context of the attempts by late Southern Song critics to periodize Tang poetry. It demonstrates that the primary agenda of these critics was to establish High Tang poetry as the sole correct model. The insistence on the supremacy of the High Tang went in tandem with, and formed part of, the rebuke of contemporary poets for choosing Late Tang poetry as the object of emulation. The focal point of contention was whether Late Tang poetry could (...) or should serve as a useful model, at least for some in the initial stage of their poetic training. In this context, periodizations of Tang poetry functioned as an auxiliary to the discourse on choices of models in the late Southern Song. (shrink)

Everyday life is a central theme of Hong Kong poetry. Many Hong Kong poets use the quotidian as a starting point for the exploration of history and alternative imaginings. This mundane focus, unlike the colonial dreamscape of Hong Kong as an economic miracle, allows writers to reflect upon Hong Kong as a post-colonial and global space. The Hong Kong writer Natalia Chan examines the complex nature of everyday life within the space of the global and post-colonial city. Chan’s poems deal (...) with the essence of everydayness and use commodities to conjure up the vivacity of the urbanscape of Hong Kong. Unlike the political and economic discourse that is usually used to define Hong Kong, Chan’s work portrays Hong Kong as a city that offers the possibility of daily re-creation against the background of history. In this article, we will examine Chan’s use of the circulation of commodities in the global world and explore the way fashion becomes a point where high and popular culture, private and public domains, and local and global interests clash, negotiate, and fertilize each other. Chan’s works do not conform to the economic and prosperity discourse that has repressed Hong Kong; rather, she guides her readers to re-experience the everydayness of routines, to celebrate alternate ways of understanding the urbanscape, and to open themselves to the potentialities of art and the everyday. (shrink)

This new study challenges traditional ways of reading Plato by showing that his philosophy and political theory cannot be understood apart from a consideration of the literary or aesthetic features of his writing. More specifically, it shows how Plato’s well-known cosmological dialogues—the _Phaedrus, Timaeus, _and _Critias_—are structured using several books of the _Odyssey _as their shared source text. While there has recently been much scholarly discussion of the relation between poetry and philosophy in Plato’s dialogues, little of it addresses questions (...) central to thoroughgoing literary criticism. Planinc’s work is unique in that it shows the significance of Plato’s extensive refiguring of key episodes in the _Odyssey_ for an interpretation of his political philosophy. Plato’s cosmological dialogues are almost always discussed topically. The _Timaeus _is picked through for its theological or scientific doctrines; the _Critias _is reduced to its Atlantis story, or puzzled over because of its ostensible incompleteness; and the _Phaedrus_ is read for its parallels to modern understandings of erotics or rhetoric. The dialogues are not usually considered in relation to one another, and then only in the context of developmental schemes primarily concerned with distinguishing periods in Plato’s metaphysical doctrines. Planinc argues that the main literary features of the _Phaedrus,_ _Timaeus,_ and _Critias _are taken from books 6 to 9 of the _Odyssey,_ the largest part of the story of Odysseus’s stay with the Phaeacians, from the time he swims to shore and encounters Nausicaa to the time he reveals his identity and begins recounting his earlier travels after hearing Demodocus’s songs. By exploring the full range of the many charming and intriguing things the dialogues present in this literary context, he shows that they are a coherent, unified part of Plato’s corpus. _Plato through Homer_ takes a radically new approach to Plato’s texts that illuminates their literary and philosophic significance and highlights their enduring appeal. (shrink)

David Farrell Krell reflects on nine writers and philosophers, including Heidegger, Derrida, Blanchot, and Holderlin, in a personal exploration of the meaning of sensual love, language, tragedy, and death. The moon provides a unifying image that guides Krell's development of a new poetics in which literature and philosophy become one. Krell pursues important philosophical motifs such as time, rhythm, and desire, through texts by Nietzsche, Trakl, Empedocles, Kafka, and Garcia Marquez. He surveys instances in which poets or novelists explicitly address (...) philosophical questions, and philosophers confront literary texts--Heidegger's and Derrida's appropriations of Georg Trakl's poetry, Blanchot's obsession with Kafka's tortuous love affairs, and Garcia Marquez's use of Nietzsche's idea of the Eternal Return--all linked by the tragic hero Empedocles. In his search to understand the insatiable desire for completeness that patterns so much art and philosophy, Krell investigates the identification of the lunar voice with woman in various roles--lover, friend, sister, shadow, and narrative voice. (shrink)

"M. F. Simone Roberts's A Poetics of Being-Two is animated by a lively and engaging voice, drawing readers in with a sense of serious purpose working (delightfully) in tandem with a sense of humor. Roberts's aesthetics and her close readings of Yves Bonnefoy, St-John Perse, and Jorie Graham clearly demonstrate the literary effectiveness of Irigarayan sexual difference as an analytic trope, even as they emphasize the philosophical and political possibilities sexual difference opens up for feminism, environmentalism, and all levels of (...) contemporary cultural critique and activism."—Gail M. Schwab, Hofstra University -/- In An Ethics of Sexual Difference, Irigaray calls for a new poetics in the sense of both art and life. Rather than a critique from within philosophy, A Poetics of Being-Two tests Irigaray's ethics by extending it to other sites of cultural production. Where Irigaray's method finds stirrings and repressions of sexual difference in philosophy, this project explores that tension in poetics. Building from Irigaray's ethics, the book describes a poetics of being-two as concerns gendered subjectivity in literary poetics and then traces the on-going emergence of a poetics of being-two in the post-symbolist poetic tradition. Irigaray scholars will be interested in the sustained interpolation of Irigaray's ethical concepts as principles for a critical aesthetics and in their hermeneutic application in reading a literary tradition. Readers in comparative literature will find the first sustained feminist engagements with the major French poets Bonnefoy and Perse and an elucidation of their influence on the Pulitzer Prize winning poet Jorie Graham. (shrink)

In this book, Sarah Rolfe Prodan examines the spiritual poetry of Michelangelo in light of three contexts: the Catholic Reformation movement, Renaissance Augustinianism, and the tradition of Italian religious devotion. Prodan combines a literary, historical, and biographical approach to analyze the mystical constructs and conceits in Michelangelo's poems, thereby deepening our understanding of the artist's spiritual life in the context of Catholic Reform in the mid-sixteenth century. Prodan also demonstrates how Michelangelo's poetry is part of an Augustinian tradition that emphasizes (...) mystical and moral evolution of the self. Examining such elements of early modern devotion as prayer, lauda singing, and the contemplation of religious images, Prodan provides a unique perspective on the subtleties of Michelangelo's approach to life and to art. Throughout, Prodan argues that Michelangelo's art can be more deeply understood when considered together with his poetry, which points to a spirituality that deeply informed all of his production. (shrink)

This paper explores the metaphysical concepts of divine “love” (ʿeshq), “attraction” (jadhbe), and “selflessness” (bīkhodī) in the seminal Iranian Shīʿī Muslim thinker Mullā Muḥsin Fayḍ Kāshānī’s poetry. This research emerges from the gap in existing literature, which mainly explores Fayḍ Kāshānī’s philosophical, theological, or ḥadīth works, while the scrutiny of his poetry largely stays within its literary attributes, overlooking the philosophical and mystical themes embedded within. The paper’s thesis posits that according to Fayḍ Kāshānī, the spiritual journey commences with reason, (...) progressing to constant divine contemplation, a combination that nurtures muḥabbat—an initial stage of divine love—which, when discovered, evokes a more intense love: “divine attraction” in the seeker’s heart, leading to selflessness and divine unity. This paper employs the hermeneutic method and analytical examination to scrutinize Fayḍ Kāshānī’s poetry within the context of his treatises. It follows an “intracultural” interpretation to explore Fayḍ Kāshānī’s thought within Persian intellectual tradition and uses an “intercultural” interpretation to contextualize the findings within Islamic, Christian, and ancient Greek metaphysics. The methodology includes a “horizontal interpretation” of Quranic and ḥadīth references in Fayḍ Kāshānī’s works and a “vertical interpretation” of unveiling deeper meanings of Fayḍ Kāshānī’s thoughts within the broader mystical traditions. (shrink)

In an interesting paper read some time ago to the Cambridge Philological Society , H. J. M. Milne analysed the first Ode of Sappho and showed that it is constructed according to those principles of poetical form which we should expect to find in the work of so delicate a Greek artist. If more of these lyrics had survived in their entirety, the task of expounding the technique of Greek poetry would be simpler than it is, because naturally the principles (...) are more easily grasped in a short lyric than in epic or drama. (shrink)

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

This paper assumes that the literary work of art is a "stratified system of norms", and that the description of each stratum may require a different kind of logic. One of the main problems is the meaningful integration of these descriptions. A speech sound may be described on an acoustic, a phonetic and a phonemic level; normally, its acoustic description is irrelevant to its linguistic or poetic significance. However, in certain circumstances, the acoustic description may account for the emotional quality (...) of the speech sound, may yield insight into the rhythmic structure of a poem, etc. Furthermore, pieces of poetry may be used to illustrate psychological theories about the aesthetic event; or psychological theories may be used to yield insight into the aesthetic nature of pieces of poetry. The paper focuses on the methodological issues involved in foregrounding the possible aesthetic significance of the transitions from one level of description to another. In doing this, it attempts to carefully navigate between two theoretical extremes: a reductionist view of literary theory according to which all the "special sciences " can be reduced to "more basic sciences" and, eventually, to physics; and the one formulated by Wellek and Warren as follows: "The psychology of the reader, however interesting in itself and useful for pedagogical purposes, will always remain outside the object of literary study [...] it must be unrelated either to the structure or the quality of a poem ". The middle course here proposed relies on "the principle of marginal control", that is, "the control exercised by the organizational principle of a higher level on the particulars forming its lower level". Paraphrasing Polânyi, the principles of literature may be said to govern the boundary conditions of a cognitive system—a set of conditions that is explicitly left undetermined by the laws of lower processes — physical, cognitive, and linguistic. If one knows more about these "lower" processes, one may get a better understanding of the principles of literature that govern those boundary conditions. It is claimed that in this way Cognitive Poetics is capable of discerning and explaining significant literary phenomena which present insurmountable difficulties to other approaches. (shrink)

This book features readings of over twenty key texts and authors in Western poetry and philosophy, including Homer, Plato, Dante, Chaucer, Shakespeare and Rousseau. Simon Haines argues that the history of both can be seen as a struggle between two different conceptions of the self: the "romantic" vs. the "realist".

Why have poets played such an important role for contemporary philosophers? How can poetry link philosophy and political theory? How do formal considerations intersect with philosophical approaches? These essays seek to establish a dialogue between poetry and philosophy. Each essay contributes to our understanding of the relationships between theory and lived experience while providing new insight into important poets such as Charles Baudelaire, Stéphane Mallarmé, Victor Hugo, and others. The broad range of metaphysical, phenomenological, aesthetic, and ethical approaches announce important (...) new paths for a reinvigorated study of lyric poetry in the decades to come. (shrink)

A collection of essays written by pupils, friends and colleagues of Professor Peter Dronke, to honour him on his retirement. The essays address the question of the relationship between poetry and philosophy in the Middle Ages. Contributors include Walter Berschin, Charles Burnett, Stephen Gersh, Michael Herren, Edouard Jeauneau, David Luscombe, Paul Gerhardt Schmidt, Joe Trapp, Jill Mann, Claudio Orlandi and John Marenbon. It is an important collection for both philosophical and literary specialists; scholars, graduate students and under-graduates in Medieval Literature (...) and in Medieval Philosophy. (shrink)

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Poetry and philosophy have had a long and convoluted relation, characterized often by mutual antipathy and rarely by mutual acknowledgment and respect. Plato was one influential philosopher who trashed poetry’s capacities to trade in the domain of truth and knowledge, but it was J. L. Austin who blew the final whistle by dismissing it as non-serious. And while for many poets that was an invitation to dismiss Austin, for many philosophers that was a confirmation of the overall discomfort they had (...) already felt with respect to poetry. Just how wrong both parties were in this standoff is revealed in the latest book by Maximilian De Gaynesford, The Rift in the Lute: Attuning Poetry and Philosophy, which calls for a dismissal of the separation of the two and for their mutual cooperation. In this paper, we look at De Gaynesford’s proposal, mostly praising its strong points and occasionally raising doubts regarding its success. (shrink)

“Poetry, art, religion are precious things.”The American philosopher John Dewey is an iconic figure. A prolific writer, his scholarly attention variously focused upon philosophy, education, democracy, economics, and aesthetics. It is not commonly known, however, that behind the scenes in his private office at Columbia University, Dewey also wrote poetry.2 Without his knowledge or consent, ninety-eight poems were collected from his wastebasket in 1930 by a custodian. Additional “scraps” and poems were found in his office desk after his retirement, (...) bringing the total to 101. In 1977 these poems were published and made available to the public for the first time in The Poems of John Dewey, edited by Jo Ann... (shrink)

The volume unites the three aspects - poetry, philosophy, and science - found in Lucretius' De Rerum Natura. With ten original essays and an analytical introduction, the volume aims not only to combine different approaches within single covers, but to offer responses to the poem by experts from all three scholarly backgrounds.

The three books we are to consider, although each has its own integrity and individual theme, are bound together by their common concern for poetry and religion, theology and philosophy. Martz and Ross are interested chiefly in the relations between poetry and theology, while the essays edited by Hopper concentrate more upon the aims and beliefs of the artist in his cultural setting and especially upon those features of the contemporary world which raise problems of a religious character. No series (...) of essays, of course, can ever have the unity of a book by a single author, but there is a dominant theme in Spiritual Problems and it may be described as the relation between religion and the creative work of the contemporary artist. Behind virtually every essay is a concern for how religion should be related to culture and for the manner in which the novelist, dramatist and poet should treat those problems of modern life which can best be characterized as religious. (shrink)