The aim of this article is to familiarize the Polish reader with Poets and the Poetry of Poland, the first extensive anthology of the Polish literature published in English in the United States by Paweł Sobolewski. Particular emphasis was placed on the characteristics of this work, recreating the traces of reception of this work and showing the most important sources on which the author relied. The presented article also points out the importance of Sobolewski’s literary and cultural activity, as he (...) initiated multifaceted, often pioneering projects, becoming one of the leading Polish diaspora activists in the 19th century’s United States, also active in the American community. This paper was partially based on the source materials collected by Mieczysław Haiman at the Polish Museum in America, to which the access was possible thanks to a Kościuszko Foundation scholarship. The historical analysis of the sources based on the descriptive-historical paradigm was adopted as the basic tool. Noteworthy, the Poets and Poetry of Poland was the crown work of Sobolewski’s many-year mission, related to the desire to make Americans familiar with the Polish culture and to present it in representative forms. The anthology, including the translations of the works of 60 authors from the sixteenth to the nineteenth century, gave an insight into the multi- faceted recognition of the biographies and literary works of eminent Polish poets, mostly belonging to the times of Romanticism and the Enlightenment. Despite the strong inspiration from Rycharski’s textbook and other sources, the final shape of the volume was influenced by the editor’s personal experiences, his reading preferences and contact with the authors. The selection of works and the structure of the conducted argument reflect the spirit of affirmation for the great tradition created by the first generation of romantics and the significance of the November Uprising, in which Sobolewski took part. (shrink)

The Poet's "Caressive Sight": Denise Levertov's Transactions with Nature The scientific consciousness which broke with the holistic perception of life is credited with "unweaving the rainbow," or disenchanting the world. No longer perceived as sacred, the non-human world of plants and animals became a site of struggle for domination and mastery in implementing humankind's supposedly divine mandate to subdue the earth. The nature poetry of Denise Levertov is an attempt to reverse this trend, reaffirm the sense of wonder inherent (...) in the world around us, and reclaim some "holy presence" for the modern sensibility. Her exploratory poetics witnesses to a sense of relationship existing between all creatures, both human and non-human. This article traces Levertov's "transactions with nature" and her evolving spirituality, inscribing her poetry within the space of alternative—or romantic—modernity, one that dismantles the separation paradigm. My intention throughout was to trace the way to a religiously defined faith of a person raised in the modernist climate of suspicion, but keenly attentive to spiritual implications of beauty and open to the epiphanies of everyday. (shrink)

The old proverb can still more accurately be applied to their biographers.‘ Even the more plausible and psycho logically tempting details in the lives of literary figures derive from these authors’ fictional works, poems, and dramas, and not from the kind of source material biographers use today, letters, documents, eyewitness testimony. Critics and readers eager to establish some historical correlation between any ancient poet's life and his work should expect to be disappointed. But even if the ancient lives are (...) useless to the historian or critic trying to explain what in Euripides’ experience compelled him to write about Medea, these stories are of interest to mythologists. If we stop being angry at the Lives for failing to be historical, and look at them rather as myths or fairy tales, some informative patterns begin to emerge. (shrink)

Poets, like other men, have their speculative moods. Some poets have been widely read in the literature of philosophy and have wrestled continuously with the intellectual problems of their times. From Euripides to Mr. Eliot large expanses of dialectical argument have appeared in verse, and in our own tongue Spenser, Shakespeare, Pope, Wordsworth and many other supreme writers have questioned the semblance of nature and mind, and have sought to trace the ideal forms of reality. Men of letters in every (...) generation have naturally discussed the problems of knowledge and existence and have offered emphatic opinions on them. The views of poets have been accorded particular honour and attention. Illustrious poets have declared that poetry opens a more penetrating road to truth than that which is provided by science or academic philosophy. Certain modern critics repeat these claims. “The mind of man,” writes one, “has a knowledge of truth beyond the near-truths of science and society. Poetry tells us this truth.” I will not pause here to inquire whether anything of value can be observed of poetry in general any more than can be stated of prose in general. Nor do I wish to enter into the subject of poetic truth. The questions I desire to raise concern assumptions about the philosophical ideas of poets. Recent criticism has shown a notable tendency to fasten on these ideas. The tendency revives the practice of the nineteenth century when theologians, philosophers and literary thinkers were fond of expounding the rational systems of Wordsworth, Tennyson and Browning. The present vogue of this prosaic treatment of poetry may be due to a strong recoil from the literary fashion prevalent a generation ago which minimized the intellectual feature in the art of poetry. (shrink)

A poet, his mission, his making and evolution and various definitions of purposes of composition of poetry will be delineated. -/- The spiritual, philosophical and social conditions and their influence in the making and evolution of poet and writer and their craft will be dealt with. -/- The duty of poets, critics and readers in the celebration of composition of poetry and literature as part of culture and civilization will be presented. The committed and free-lance poets will be (...) compared and contrasted. -/- The poet and his relation to composition of poetry in view of the poet's social, emotional and intellectual makeup will be elaborated. -/- Also the writers and poets all over the world are suffering from unwritten censorship implemented by governments, terrorists, zealots of - religion, region, caste, community, gender- like historical and natural divisions. The Travails of literary creation and creators will be discussed. A critical observation on this will be presented together with experiences of the author - physicist - as a poet. -/- . (shrink)

The Poet as Phenomenologist: Rilke and the New Poems opens up new perspectives on the relation between Rilke's poetry and phenomenological philosophy, illustrating the ways in which poetry can offer an exceptional response to the philosophical problem of dualism. Drawing on the work of Husserl, Heidegger and Merleau-Ponty, Luke Fischer makes a new contribution to the tradition of phenomenological poetics and expands the debate among Germanists concerning the phenomenological status of Rilke's poetry, which has been severely limited to comparisons (...) of Rilke and Husserl. Fischer explicates an implicit phenomenology of perception in Rilke's writings from his middle period (1902-1910). He argues that Rilke cultivated an artistic perception that, in a philosophically significant manner, overcomes the opposition between the sensuous and the intelligible while simultaneously transcending the boundaries of philosophy. Fischer offers novel interpretations of central poems from Rilke's Neue Gedichte (1907) and Der neuen Gedichte anderer Teil (1908) and frames them as the ultimate articulation of Rilke's non-dualistic vision. He thus demonstrates the continuity between Rilke and phenomenology while arguing that poetry, in this case, provides the most adequate response to a philosophical problem. (shrink)

This article proposes a role for aesthetic judgment in our practical thought. The role is related to those moments when practical reason seems to give out, when it fails to yield a judgment about what to do in the face of a choice we cannot avoid. I argue that these impasses require agents to create, but that not any creativity will do. For we cannot regard a response to one of these problems as arbitrary or capricious if we want to (...) act on it. We must instead regard that response as justified by the problem itself. I suggest that this combination of creativity and normativity is characteristic of aesthetic judgment and this makes it a promising candidate for making these very difficult choices. (shrink)

This chapter seeks to characterize the voice of the poet within the Iliad, and to show that a better understanding of the poet’s voice helps to explain several distinctive and puzzling features of Iliadic narrative. The chapter looks at the poet’s relationship to the Muses, and his temporal and spatial self-positioning within the world of the Trojan war, all of which illustrate the divine perspective he offers on that war.

A Vaiṣṇava Poet in Early Modern Bengal: Kavikarṇapūra’s Splendour of Speech. By Rembert Lutjeharms. Oxford Theology and Religion Monographs. Oxford: Oxford University Press, 2018. Pp. 360. $99.

Martin Heidegger defines the world as ‘the ever non-objective to which we are subject as long as the paths of birth and death . . . keep us transported into Being’. He writes that the world is ‘not the mere collection of the countable or uncountable, familiar and unfamiliar things that are at hand . . . The world worlds’. Being able to fully and richly express how the world worlds is the task of the artist, whose artwork is the (...) crystallization of this ‘worlding’. For Heidegger it is especially the poet who is attuned to this ‘worlding’, for the poet’s work is focussed on and happens within language itself. The poet is a ‘world-maker’, but this ‘worlding’ is not directed at creating a fictional world; rather it is aimed at revealing the world itself, drawing to the foreground the ‘ever non-objective’ nature of the world, the world happening and unfolding through and with us. This paper, using T.S. Eliot’s poetry, particularly Four Quartets as an example, will delve into how the language of the poet is able to articulate this seemingly invisible boundary between the everyday world and that same world revealed as a mysterious potential that ‘worlds’. The ‘religious imagination’ is central in how this transformation of reality, through poetic language, can manifest. Paul Ricoeur’s work on the poetic and religious dimensions of imagination, particularly the notion of ‘hope’ provides the theoretical underpinnings to explain this transformation. (shrink)

I begin by quoting from two valuable recent works on Horace. Professor Brink in his Horace on Poetry writes: ‘The centre of the short piece lies in lines 21—34. Readers, among them critics and poets, had denied one aspect of the Odes which was surely above criticism—the striking originality of these poems. Horace's defence turns on the question of originality’ and ‘Epistle 19 is unique in that it alone among the literary satires and letters reiterates Horace's claim to be the (...) Latin fidicen’ . And Dr. McGann in his Studies in Horace's First Book of Epistles : ‘In Ep. 19... as in the literary satires, Horace is a practising poet or at least a very recently practising one, engaged in defending himself against hostile criticism’ and ‘As the only epistle concerned exclusively with literary matters, the nineteenth stands apart’. (shrink)

SummaryThe writings of the very popular American poet Robert Frost (1874–1963) reveal an unusually specific and detailed knowledge of science. This was particularly evident among the poems of his penultimate volume, Steeple Bush, of 1947. Several of these poems confronted with basic insights issues raised by the period's ‘new physics’. Among those, especially Frost's epigram ‘A Wish to Comply’ wittily confronted an important epistemological difficulty in particle physics. Such science must induce a belief in the fundamental importance of entities (...) invisible to any physical human senses except those aided by complex apparatus used in abstruse experiments. Recondite scientific issues are confronted in other poems published in Steeple Bush such as ‘Skeptic’ (which meditates on the ‘red shift’ evidence for an expanding universe), but these poems are clearly derived from popular theoretical expositions, not practical experience. ‘A Wish to Comply’, on the other hand, clearly records an actual experience of a failed Millikan ‘oil drop’ experiment. This event evidently led to the poet to fake a report of his own observation of an electrically charged oil droplet, for reasons of social pressure. In meditating on these circumstances the epigram opens questions relating to scientific ‘systematic error’, the suppression, ‘trimming’ or ‘cooking’ of experimental data, and a bias toward confirmation of highly respected opinions. Although Frost did not live to know it, two of these questions have been latterly opened in regard to Millikan's own reports of his original oil drop experimental data. (shrink)

Bergin, Helen Review of: Priest, poet and theologian: Essays in honour of Anthony Kelly CSSR, by Neil Ormerod and Robert Gascoigne, eds,, pp. 253, $36.95.

George Santayana was not only a poet but also a philosopher whose style, concerns, and even positions drew in his own time and continues to draw in ours the attention of poets and, more broadly, literary authors. He was, in short, a poet's philosopher. In so characterizing Santayana, however, there is no slight of his strictly philosophical achievement. The philosophical finesse with which he treated complex topics is, indeed, nowhere more evident than in his rigorous analysis of poetic (...) utterance. The author of this essay explores Santayana's nuanced account of poetic utterance and, then, interprets Santayana's own literary accomplishments, including his philosophical writings, in light of this account. Given the attention which Angus Kerr-Lawson has paid to the rhetorical strategies and literary qualities of this singular philosopher, it is fitting to contribute such an essay to an issue in his honor. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Women Poets and the Origin of the Greek Hexameter W. ROBERT CONNOR A very considerable question has arisen, as to what was the origin of poetry. —Pliny the Elder, Natural History 7.57 i. a road trip with pausanias Tennyson called the dactylic hexameter “the stateliest measure / ever moulded by the lips of man,” but he did not say whose lips first did the moulding. Despite much arguing we (...) do not know for sure where it came from, or who developed it. But some ancient Greeks did, or thought they did. For them, the hexameter came with a personal history, a legendary one to be sure, but no less powerful for that. The legend, moreover, started with a woman poet. The trail that leads to this is a long and devious one, but a good guide presents himself, Pausanias, author of A Greek Guidebook (Hellados Periegesis). Although he is now valued primarily as a quarry cordoned off for topographers and archaeologists, he had a strong interest in poets, especially women ones. These include Sappho, of course, the valiant Telesilla of Argos of whom he tells two stories (2.20.8, and 2.35.2), and Praxilla of Sicyon (3.13.5). In his account of Boeotia he mentions another woman poet of the fifth century before our era, Corinna of Tanagra. She, he says (9.22.3f.), once defeated Pindar in a poetry contest, and was, he thinks, the most beautiful woman of her time, judging by a statue of her he had seen. He also speaks of Myro of Byzantium (9.5.8). Pausanias was confident that she had written epic and elegiac verse. arion 27.2 fall 2019 Pausanias chooses, moreover, to end his work with an enigmatic story about another woman poet, Anyte of Tegea. He had not mentioned her in his lengthy account of her home town in the mountains of Arcadia, but now her story seems to speak to him. It is set at a ruined shrine of Asclepius near the port town of Naupactus. The reason that Anyte had come there was a strange one: She had had, he says, a vision—not a dream, but a real vision—at the end of which she found herself holding a sealed tablet addressed to one Phalysius of Naupactus. He was, it turns out, a prosperous citizen of the town, but was going blind. Anyte made the journey, surely not an easy one, and delivered the tablet. As soon as Phalysius broke its seal, he found he could make out the letters—a wondrous improvement in his vision, which he attributed to the healing god Asclepius. That is why he built the shrine that Pausanias saw many years later. And the content of the message? Give Anyte two thousand gold staters. Phalysius did so. End of story. End of the Guidebook. So, indeed, Pausanias paid attention to women poets, and there were plenty of them to pay attention to. There is good evidence of a vibrant tradition of women’s poetry among the ancient Greeks. Pausanias is not the only writer of his time to note this. In fact, if on his journeys Pausanias had encountered the well-travelled rhetorician Tatian, the two near-contemporaries could have challenged one another to see who could name the largest number of women poets and identify the sculptors of statues honoring them. Tatian might have won, to judge from his Address to the Greeks, ch 33. But then, Tatian had an agenda. As a convert to a “barbarian” cult he wanted to show that his co-religionists had precedents for respecting women’s intellects: “My object in referring to these women is, that you may not regard as something strange what you find among us, and that, comparing the statues which are before your eyes, you may not treat the women with scorn who among us pursue philosophy.” So much for the Christian Tatian. Did Pausanias have an agenda, too? His stories of two women from Delphi, Boio 86 women poets and the origin of the greek hexameter and Phemonoe, help answer that question. ii. boio’s disruptive poetry when pausanias’s work describes Delphi, the plot thickens. In... (shrink)

Perhaps the best way to understand Harold Bloom's enigmatic theory of "poetic misprision" is to avoid the immanent critique altogether. It is best described, rather , as a synthesis. Bloom seems to have taken Aristotle's mimesis and linked it to Freud's concept of sublimation,1 with particular emphasis on the role that sublimation plays in "the family romance." Even if one were to hedge a bit and take into account the fact that neo-Freudian re-evaluations of orthodox psychoanalysis have succeeded in extracting (...) the purely sexual component out of the psychodynamics of sublimation, one is still left with the notion of sublimation as anxiety producing. Thus it is that, according to Bloom, the modern poet, in particular, sublimates his imitation of a strong precursor poet. Since the emphasis today is on desexualizing libido, Freud's original sexual vocabulary seems to have survived for its metaphorical value alone; the "unconscious fear of castration," for example, is simply a metaphor for "the poet's fear of ceasing to be a poet," a man's fear of ceasing to be a man. No matter how much we "modernize" Freud, the fact will always remain that the psychoanalytic context is the context of psychopathology: "a variety of the uncanny." · 1. See Sigmund Freud, Three Contributions to the Theory of Sex, in The Basic Writings of Sigmund Freud, ed. and trans. A. A. Brill , pp. 625-26. David D. Cooper is an associate in the department of English at the University of California, Santa Barbara. Using the critical paradigm developed in the present essay, he has written a book on Thomas Merton's poetry. See also: "Poetry, Revisionism, Repression" by Harold Boom in Vol. 2, No. 2; "Formalism, Savagery, and Care; or, The Function of Criticism Once Again" by Jerome J. McGann in Vol. 2, No. 3. (shrink)

If patriotism can thus be seen as an incentive or as an instigation even in such a recondite science as epistemology, how much more readily can it be seen to perform such functions in other studies more immediately or inextricably bound up with communal human life? I pass over instances that occur to me—for instance, the Victorian Jesuit, Father Hopkins, declaring that every good poem written by an Englishman was a blow struck for England--and profit instead, if I may, by (...) the presence among us of Edward Said. I do not know, and it is none of my business to know, what passport Said presents at the international frontier. But it is surely common knowledge among us that he has deep and feelingful and intimate allegiances to the state of Lebanon. Who of us has failed to connect this with his books Orientalism and The Question of Palestine? The point is that, having made this connection, none of us thinks the worse of Said. On the contrary, we recognize that he has a special stake in such topics and therefore speaks on them with a special authority. Unless I am mistaken, that stake and that authority are, in a perhaps extended sense, patriotic. And whatever our speculative objections to the idea and the principle of patriotism, in practice we recognize it and we honour it.What I am questioning, it will now be plain, is the principle of "disinterest." "The disinterested pursuit of knowledge"—it is what in our distinct disciplines all of us have paid lip-service to, and perhaps more than lip-service. But when we come right down to it, is it what we believe? The honest patriot declares an interest; and if we are wise, we take note of the declaration, making allowances and reserving doubts accordingly. But what are we to make of the scholar who declares no interest, who claims implicitly to be truly disinterested. Can we believe him? And if we cannot, what guidance do we have as to what reservations to make, what doubts to entertain? I am of one mind with my Marxist colleagues who, from a political position very far from mine, warn us to be especially suspicious of the scholar who claims to have no axe to grind. We, all of us, have axes to grind; the crucial distinction is between those who know this about themselves and those who don't.Let me make myself clear. When I urge that the terms "patriotism" and "patriotic" be reinstated in our discourse, and particularly in those forms of our discourse that may be called "interpretation," I do not imply that patriotism is a nobler, a more elevated instigation than sundry others, mostly ideological, of which we are more aware. The point is precisely that of these others we are aware because we share a vocabulary which acknowledges them, whereas "patriotic" has been banished from our vocabulary, and so the reality which the word represents is left out of our calculations. Let me admit for the sake of argument what I do not in fact believe-- that patriotism is a concept and a sentiment so besmirched by the unholy uses made of it that, if mankind is to survive, patriotism will have to be eradicated. Even if that were the case, it remains true that patriotic interest and incitement are very far from having been eradicated from the world that we in fact inhabit, and try to interpret, here and now; and if we try to work within a vocabulary that pretends otherwise, we condemn ourselves to producing interpretations that are drastically partial and perhaps disastrously misleading. The point is not whether patriotism is a good thing or a bad thing but simply that it is; it exists, as powerful factor which we all in our hearts acknowledge even as our vocabulary refuses to. And when we speak in this context of "the world," we certainly include in that world ourselves, who offer to interpret it. Every one of our interpretations is coloured by the fact that we, the several interpreters, are British or American, French or Italian or Russian or whatever. If we think otherwise, we deceive ourselves; and yet where, in any of our currently acceptable vocabularies, determined as all of them are by the glib rationalism of the Enlightenment, do we find that momentous fact about ourselves acknowledged? Where is it acknowledged, for instance, in the vocabulary of feminism that "woman," as conceived by an American writing about Italians, cannot help but be significantly different from "woman" as conceived by an Italian looking at Americans? Or again, an Italian woman may well, we must suppose, be an Italian patriot; but where, in the current vocabulary of feminists, is that dimension of her "woman-ness" allowed for? Let it be acknowledged only so as to be deplored; but let it in any event be acknowledged. At the moment, it isn't.Donald A. Davie, the distinguished poet, is Andrew W. Mellon Professor of the Humanities at Vanderbilt University and honorary fellow of Saint Catharine's College, Cambridge and of Trinity College, Dublin. He has edited The New Oxford Book of Christian Verse, and his Collected Poems 1950-1970 appeared in 1972. His latest publications are Dissentient Voice and These the Companions; Recollections. (shrink)

The poet Tony Harrison has created work for the stage and television, and even assumed the role of poet/journalist, writing newspaper reports in verse from war-torn Bosnia. His work is underpinned by a belief in the political nature of the act of writing. He has generally attracted a non-working-class readership; nevertheless, he has never abandoned his quest for a ‘democratic’ poetry. Much of his work has taken the form of a poetry of immediate response to current events. He (...) has also been insistent, at times, on where his poetry should be published. When he wrote ‘Initial Illumination’ for The Guardian, for example, he argued it should not appear in the ‘literary’ section, but on the news pages. Harrison sees himself as a ‘war poet. He uses his position as a public intellectual to engage in a struggle against dominant discourses and ways of seeing and to bring audiences to confront the horror of war. The article focuses in particular on his Gulf War poem, ‘A Cold Coming’, in which he uses strategies such as ekphrasis, to position the reader as a kind of ‘secondary witness’ of a war that had been turned by the media into a distant, anaesthetised spectacle. (shrink)

With Hegel’s observations in his Lectures on Aesthetics, on the difference between the epic poetry of the ancients and the novel as the dominant literary form of the present, we are at the center of these meditations. The great epic poems of antiquity, Homer’s Iliad and Odyssey, for instance, or Virgil’s Aeneid, reflect not only the minds of certain poets; they are, at the same time, as are all great literary works, recognizable as the product of an age; and the (...) age of Homer, the age of epic poetry, Hegel characterizes as a “fundamentally poetic state of the world,” that is a world in which poetry is not merely written, but, as it were, lived. The active intervention and participation of gods in the lives of mortals; groves and springs and hills as the habitats of nymphs and fauns; the poetic comprehension of what is, was at that time not a matter of the poetic imagination at work in the minds of a few chosen individuals, of artists whose successors, much later in history, more often than not lamented their separation from their contemporary surroundings, but was “natural,” a matter of fact, of ways of thinking and feeling shared by the whole community. It is not absurd to say that in such a world our distinctions between imagination and fact were of little importance, if not unknown. It is this that led the young Nietzsche to accuse the first great analytical rationalist of Greece, Socrates, the indefatigable questioner, of having destroyed mythology, of having helped to bring about the end of tragedy, indeed, of Greek art. (shrink)

I consider poetry composition from both the “inside” view of a poet and the “outside” view of a cognitive psychologist. From the perspective of a psychologist, I review behavioral and neural studies of the reception and generation of poetry, with emphasis on metaphor and symbolism. Taking the perspective of a poet, I discuss how the seeds for a poem may arise. Finally, I consider the prospects for future developments in a field of computational neurocognitive poetics.

Between 1934 and 1942 Heidegger delivered three series of lectures on Hölderlin’s poetry. The discussion of “Der Ister” was the last of these, although Heidegger continued to think and write about Hölderlin into the 1960s. William McNeill and Julia Davis’s recent translation of the “Ister”— volume —is the first of the Hölderlin lectures to appear in English.

In recent years, anthropologists have built a rich body of ethnography on the experience of addiction, including important cultural critiques of treatment systems. Yet little has been written from the perspective of those who work in the everyday to help others recover from substance abuse. In this article, I reflect on my labor as a clinical social worker providing therapy for homeless women and men who struggle with addiction. Building on the eloquence of those who seek to recover, recovery poets, (...) I demonstrate how the work of a team of frontline workers operates in a particular intersubjective realm that creates different conditions for understanding addiction and recovery than does anthropological fieldwork. By detailing the labor of recovery as I performed it using different evidence-based therapies to permit the emergence of a new consciousness, I aim to bring to center stage the complex labor of frontline workers so that their working conditions will be taken into account more often in anthropological work on addiction and treatment. (shrink)

(2008). Latin Poet‐Doctors of the Eighteenth Century: the German Lucretius (Johann Ernst Hebenstreit) Versus the Dutch Ovid (Gerard Nicolaas Heerkens) Intellectual History Review: Vol. 18, Humanism and Medicine in the Early Modern Era, pp. 91-101.

Introduction: Thinking Poetic Writing Ever since Plato banished the poets from his Republic, while he himself continued to write with such artistry, ...

John V. Taylor was a missionary statesman, ecumenist, Africanist, onetime General Secretary of the Church Missionary Society, and later Anglican Bishop of Winchester. His work offers a theology and practice of Christian mission which is faithful to scripture while fully facing the facts of the contemporary world at the beginning of the third millennium. Does Christian evangelism promote sectarianism and violence, or can it contribute to harmony and peace in the global village? Can Christians extol the true significance of Jesus (...) Christ without demeaning others? Who is God and how does God's nature shape ours? This book tackles these and other vital issues by giving the first major account of the life and thought of one of the 20th century's greatest religious thinkers. Here is an example and tutor to any thoughtful Christian. Consistently incarnational and sacramental in his approach, Taylor seeks to live out the truths he discovers in his daily ministry as poet, priest and prophet - inviting those around him to share the way of Christ. Taylor is also author of major works such as "The Go-Between God", his book on the Holy Spirit, and "The Christlike God", where he outlines the distinctive Christian insight into God as the patient, generous, self-sacrificing love we see in Jesus. (shrink)

Richard Janko's acclaimed translation of Aristotle's _Poetics_ is accompanied by the most comprehensive commentary available in English that does not presume knowledge of the original Greek. Two other unique features are Janko's translations with notes of both the _Tractatus Coislinianus_, which is argued to be a summary of the lost second book of the Poetics, and fragments of Aristotle’s dialogue On Poets, including recently discovered texts about catharsis, which appear in English for the first time.

The myths of Plato.--A great mystic: Plotinus.--Dante as a spiritual teacher.--Wordsworth: seer and patriot.--Browning's portraits of women.

Andres Bonifacio is a household name in the history of the Philippines.His name has been included into many discussion and controversies revolvingover his identity as the Father of the Revolution and being the founder ofKataastaasang, Kagalanggalangag Katipunan . His poems serve as legaciesthat can unlock what kind of person is Andres. Through his poems, he expressedreflections about the situation of the Indios during the time of colonization andthe rage of the revolution. This descriptive study analyzed four selected poemsof Andres Bonifacio (...) and sought to find a new insight into the poems through a Neo-Marxist perspective using a Neo-Marxist lens, specifically the theory of cultural hegemony by Antonio Gramsci. Based on the content analysis of hispoems, it was found out that Bonifacio was affected by the false consciousnesspropagated by the colonizers during the Spanish settlement in the country. Italso answered the question whether Bonifacio is a patriotic man or a nationalistichero. Keywords: Literature, revolution, neo-marxism, poems, Andres Bonifacio, descriptiveresearch, Philippines. (shrink)

Between 1934 and 1942 Heidegger delivered three series of lectures on Hölderlin's poetry. The discussion of “Der Ister” was the last of these, although Heidegger continued to think and write about Hölderlin into the 1960s (see GA 4). William McNeill and Julia Davis's recent translation of the “Ister”—volume (GA 53)—is the first of the Hölderlin lectures to appear in English.

Through Fire - important element in Novalis and Gaston Bachelard, we could try an approach between these two authors, separated in time, but close in the aesthetic's imagination value.Através do Fogo - elemento marcante tanto em Novalis quanto em Gaston Bachelard, pudemos ensaiar uma aproximação entre esses dois autores, distantes no tempo, mas próximos no tocante à valorização da imaginação.

History and criticism on the work of Sir Muhammad Iqbal, 1877-1938.

In this collection of essays, Alain Badiou revisits the age-old problem of the relation between literature and philosophy, arguing against both Plato and Heidegger's famous arguments. Philosophy neither has to ban the poets from the republic nor abdicate its own powers to the sole benefit of poetry or art. Instead, it must declare the end of what Badiou names the "age of the poets," from Holderlin to Celan. Drawing on ideas from his first publication on the subject, "The Autonomy of (...) the Aesthetic Process," Badiou also offers an illuminating set of readings of contemporary French prose writers, giving us fascinating insights into the theory of the novel while also accounting for the specific position of literature between science and ideology. (shrink)