Having in mind the concept of poiesis, as Paul Valéry uses it, time and movement are presented as concepts produced within the project of understanding the natural world. From the idea of philosophy as a way of constructing through concepts the intelligibility of phenomena, I will show the coherence between the construction of the concept of time and that of the concept of movement.

Reacting against the turn to transcendence that heavily characterized the medieval worldview, the modern worldview is fundamentally exemplified by a threefold turn to immanence, consisting of a subjective turn, a linguistic turn and an experiential turn. Language plays a pivotal role here since it mediates between the subjective and the experiential. Ricoeur’s treatment of metaphor, significantly laid out in his The Rule of Metaphor, is crucial in bringing about this linguistic turn that mediates the subject and its experience of the (...) world. Through an analysis of “seeing as” as a poietic reconfiguration of reality in the subject’s experience, language transforms and founds the world as a “being as.” What is disclosed in this interpretative transformation of reality is not simply an hermeneutical ontology but possibly—also through language—an hermeneutical axiology. (shrink)

I try to show that Aristotle does not restrict 'praxis' to those activities which have their end in themselves. NE VI 5, 1140b6-7 need not to be taken as an argument in favour of the restricted interpretation: the wording of the passage is compatible with the interpretation that the end of a praxis is (another) praxis (e.g. eupraxia), the end of a poiesis on the other hand is never a poiesis. This interpretation fits better the use of 'praxis' (...) throughout the NE. MM A 34, 1197a4-12 is discarded since the MM is not written by Aristotle. Next I discuss the relation between the verbs 'prattein' and 'poiein' on the one hand and the corresponding nouns 'poiesis' and 'praxis' on the other, in order to determine their exact meaning. To conclude, Aristotle's distinctions are compared to certain tenets of H. Arendt in her 'Vita Activa'. (shrink)

Historically, the productive aspect of the aesthetic experience can be described as a process during which aesthetic practice freed itself step by step from restrictions imposed on productive activity in both the classical and the biblical tradition. If one understands this process as the realization of the idea of creative man, it is principally art which actualizes this idea.1 First, when the poietic capacity is still one and undivided, it asserts itself subliminally; later, in the competition between technical and artistic (...) creation, it explicitly claims to be a production of a special kind. It is in that history of the concepts labor and work that the restrictions become most palpable.2 In the Greek tradition, all producing remains subordinate to practical action . As the activity of slaves who are rigorously excluded from the exercise of the virtues, poiesis occupies the lowest rank in social life. In the Christian tradition, handiwork is cursed, which means that man is meant to maintain himself only by toiling against a resistant nature ; salvation can only be found beyond his activity in this world. But in both the classical and the Christian conceptual fields relating to labor, we already encounter ambivalent definitions which could introduce and justify an upward revaluation of man's labor.1. See Hans Blumenberg, "'Nachahmung der Natur': Zur Vorgeschichte des schöpferischen Menschen," Studium Generale 10 : 266-83, still unexcelled. I also base my discussion on Jürgen Mittelstrass, Neuzeit und Aufklärung; Studien zur Entstehung der neuzeitlichen Wissenchaft und Philosophie , and to the results of two seminars at Constance held jointly and to which I owe essential insights.2. See Werner Conze, "Arbeit," in Geschichtliche Grundbegriffe: Historiches Lexikon zur politisch-sozialen Sprache in Deutschland, ed. Conze, Otto Brunner, and Reinhart Koselleck, 4 vols. , 1:154-215, and Walther Bienert, Die Arbeit nach der Lehre der Bibel ; an abbreviated version appears in Bienert's "Arbeit," Die Religion in Gescheichte und Gegenwart .Hans Robert Jauss is professor of literary criticism and Romance philology at the University of Constance. He is the author of many books and articles, including two works forthcoming in English, Toward an Aesthetic of Reception and Aesthetic Experience and Literary Hermeneutics, from which the present essay is taken. Michael Shaw has translated many works, among them Max Horkheimer's Dawn and Decline. (shrink)

Das 17. Jahrhundert ist beherrscht von der Maschine. Sie dominiert als technische Konstruktion die Theorien und Praxen der wissenschaftlichen Revolution und bedingt entscheidend den Aufstieg der empirischen Wissenschaften. Als Metapher hat sie Erklärungskraft für barocke Modelle von Welt und Mensch, von Körper und Geist; bildlich repräsentiert sie kulturelle und natürliche, weltliche und religiöse Prozesse. Auch Literatur und Theater sind nicht ohne Maschinen zu denken. Darum geht es in diesem Buch: um die polyfunktionale Figur der Maschine in Bezug auf theater- und (...) literaturästhetische Diskurse und Performanzen. Denn Maschinen haben im rationalistisch-mechanistischen Barockzeitalter nicht nur philosophischen Erklärungswert - sie besitzen zugleich Generierungspotenzial: das Potenzial, Neues und Anderes, Mögliches und Unmögliches zu generieren. Die Poiesis der Maschine in der barocken Theater- und Literaturästhetik steht zur Diskussion. Vorgestellt werden zwei zentrale poietische Prozesse: Die Maschine generiert literarisch-theatrale Möglichkeitsräume auf der Bühne und im Buch. Zum einen setzt die Theatermaschine die barocke Ästhetik des Spektakulären um, gesteigert in der maschinellen Theatralisierung der Welt im Rahmen des barocken Festes. Zum anderen inszeniert die Maschinenliteratur Technikutopien auf der Schnittstelle zwischen Wirklichkeit und utopisch-visionärer Möglichkeit – und steht damit für das noch nicht diversifizierte literarische System der Frühen Neuzeit ein. Den Hauptteil des Buchs bildet ein Repertorium, welches die Werkgruppe der "Theatra Machinarum" erstmals systematisch erfasst: gedruckte, ein- oder mehrbändige Technikschaubücher vom 16. bis 18. Jahrhundert, die reale und imaginierte Maschinen in Bild und Text präsentieren und sich, häufig durch einen theatermetaphorischen Titel, als Inszenierungen von Wissen auf einer Bühne ausstellen. (shrink)

A groundbreaking conception of interactive media, inspired by continuity, field, and process, with fresh implications for art, computer science, and philosophy of technology.

En este artículo nos proponemos exponer los rasgos esenciales de la poiesis educativa de Unamuno, en su aspecto demagógico* o demopédico*. Por cuestiones metodológicas, expondremos, en primer lugar, las razones que nuestro autor ha sostenido para legitimar la necesidad de dicha educación, que debería alejarse del especialismo* germánico (Fachmann), con vistas a determinar las técnicas de enseñanza de su labor educativa popular, que, en su pensamiento, asume rasgos esencialmente ético-normativos (Gentleman).

Martin argues that literary studies remain mired in the anomalies of a linguistic methodology derived from early 20th-century language philosophy, a view challenged not only by theoretical physics, but also by compelling advances in philosophic semantics.

ABSTRACT Artworks of realism have been the chief target continuously employed by critics to perpetuate a traditional view of art as mere imitation. In this article, I argue for a way to understand artworks of realism based on a suspension of the classical distinction between mimesis and poiesis. By examining the perception model and the poiesis of mechanically reproduced art, I argue that contrary to the traditional view, an artwork of realism does not represent what is ordinarily called (...) “reality” by imitating it; in what may seem a representation of the world an artwork of realism actually creates something from scratch, making neither an ontological claim to become and to replace the object in question nor an artistic claim to copy after the object; and despite its apparent achievement of resembling the objects in the world, an artwork of realism should be judged by itself as well as by itself as embodiment of conditions of seeing and of encountering, inhabiting, and interpreting the visible at a certain historical juncture. (shrink)

If we think of artistic creation as a basic dimension of humanity we need to question the absence of female artists in history. We should also look at their gradual emergence in the late 20th century, an emergence that coincides with the feminist movement and a change in the conception of art itself, revealed chiefly by Duchamp. But does art by women have some specificity? Without giving a definite answer as far as subject matter is concerned, we note that the (...) conditions suited to both history and the history of art may affect their creation but without specifying it ontologically. If, moreover, some women artists define their work as feminist, it is through an act that combines artistic and political transgression. The exhibition currently arranged by the Georges Pompidou Centre, elles@ beaubourg, provides new resources for these complex questions. (shrink)

Ce texte est une proposition d’interprétation des liens, substantiels, conceptuels et théoriques, qui existent entre ce qu’il est possible de nommer économie et ce que nous nommons poésie. Notre hypothèse est qu’économie et poésie fonctionnent de la même manière du fait d’une contrainte ontologique forte imposée à la poésie. La modernité poétique essaie de s’en défaire et donc le poétique est un art récent.

O presente artigo procura determinar a poiesis educativa unamuniana, ou seja, as técnicas de ensino e de aprendizagem propostas por Unamuno para o ensino espanhol das primeiras décadas do século XX. Num primeiro momento, centrar-se-á no eixo professor-aluno. Para o autor, o decisivo é que a relação que une professor e aluno não seja austera como na escolástica, na qual os referidos elementos permaneciam afastados entre si, mas que fosse estruturada numa espécie de amor filial. A sua proposta pedagógica (...) consiste, portanto, na substituição do velho paradigma educativo escolástico por um personalismo educacional que fosse capaz de conceber professor e aluno como pai e filho em espírito. Num segundo momento, valoraremos as suas propostas pedagógicas para o eixo professor-saber, que, na sua perspetiva, deveria deixar de ser pensado como um templo do saber para passar a ser concebido como um mediador das aprendizagens, como o demonstra a sua famosa definição como agitador de espíritos. Depois, e em relação direta com os resultados anteriores, analisaremos a forma como o autor estrutura o eixo aluno-saber. Unamuno, ao recusar a conceção escolástica de discente como recipiente vazio, considera que este deveria aprender mais procedimentos que conteúdos, de tal forma que fosse capaz de procurar por si mesmo o saber que necessita, com constância, esforço e trabalho. E, num último momento, deslindaremos as suas sui generis conceções epistemológicas de saber e verdade céticas. (shrink)

At its core, this study understands its central term, poiesis as the process of forming new styles of sense-making and multiple modes of thought. Such plural styles deserve notice so far as they give readers alternate ways of organizing experience and interpersonal relations: they provide new worlds, in fact. The epithet "New-world" poiesis, then, is in one respect redundant, since new worlds are revealed through the "poetic" process itself. But the title also refers to current and past historical (...) encounters between an "old-world" Anglo-American mindset and its "others"---encounters between worlds that over time have qualified, tested, strengthened, and fractured each other. ;Poets who generate and interweave new worlds provide a context for maintaining a central debate within discussions of complexity in contemporary U.S. poetics. Assuming that lyric poetry can reasonably be expected to represent and to some extent transform experiences and perceptions of reality, the question arises as to what kind of experiences and worlds should be represented and/or transformed. On one hand, critics find that the role of the contemporary lyric is expressive, that is, most suited to approaching the internal conscious states or the social conditions of a person or group. On the other hand, as a fragmentary, associative use of language, lyric poetry shows the workings of language itself, a system of meaning concerned mainly with its own, ongoing re-organization. ;This debate between poetic language as providing either coherence or change---a debate that currently enjoys critical esteem and claims an increasing amount of attention from critics, poets, and anthologists---assumes that as complexity increases in poetic experimentation, the capacity for the poem to represent social relations diminishes. Poems that examine the surface texture of language, its critics claim, dissolve most often into a "play of words." Gathered into rival camps that it seems could hardly disagree more radically, the terms of the argument appear in the form of a debate between social identity and complex meaning systems. ;Detailing more specific versions of this debate, my project investigates four intellectual environments into which plural-world poetries have introduced complex lyric treatments of experience in order to distort dominant, established views: subjecting historical; cultural; linguistic; and urban discussions to a "deep pluralism." What I've found is that in the richest instances, long lyric poems that provide plural worlds allow for both resonance and wonder, both coherent sources of personal expression or social affiliation and an ability to appreciate multiple styles and to move across identities and ways of naming the real. Each aspect to the other is usually said to be incommensurate, and yet, at the right level of abstraction, or plurality, meaningful social distinctions can be made with minimal exclusionary consequences. (shrink)

I examine the role of the imagination (Einbildung) for Martin Heidegger after his Kant-reading of 1929. In 1929 he broadens the imagination to the openness of Dasein. But after 1930 Heidegger either disparages it as a representational faculty belonging to modernity; or further develops and clarifies its ontological broadening as the clearing or poiesis. If the hylo-morphic duality implied by Kantian imagination requires a prior unity, that underlying power unfolding beings in aletheic formations (poiesis) of being (the happening (...) of being, the opening of the world) would have to ultimately be in excess to any spontaneous power of subjectivity. (shrink)

This article discusses how Nicholas of Cusa’s speculative philosophy harbors an ecumenical spirit that is deeply entwined and in tension with his commitment to incarnational mystical theology. On the basis of my discussion of this tension, I intend to show that Nicholas understands “faith” as a poietic activity whose legitimacy is rooted less in the independent veracity of the beliefs in question than in the potential of particular religious conventions to aid intellectual processes of self-interpretation. In undertaking this analysis, the (...) paper will use Nicholas of Cusa’s De pace fidei—whose overt intention is to show that all forms of religious practice presuppose the same universal faith—as an interpretive lens to explore implications of the philosophical anthropology that Nicholas offers in treatises such as De ludo globi and De venatione sapientiae. Thus, I will argue that Nicholas’ appreciation of the inevitability of religious diversity in the temporal world funds the consistently favored view in his speculative works that “faith” is a virtue only insofar as its adherent genuinely remains in search of understanding and that, consequently, religious beliefs should function as nothing more than tools for creative activity, interpretation, and inquiry. (shrink)

Veronique Foti delves into the full range of Heideggerian texts to elaborate the problematics of historicity, language, and the structure of disclosure or "manifestation" in connection with the Herman poets whom Heidegger invoked along his path of thinking. Foti's reading of these ports is a probing inquiry into the aesthetic, ethical, and political implications of Heidegger's thought. She knows how technicity and poetizing are opposed yet brought together in Heidegger's hermeneutic phenomenology, how they are both politicized and linked with ethical (...) praxis, and how technicity, poetizing, and praxis cannot be dissevered from Heidegger's essential thinking. (shrink)

This article presents a critical theory of the medium of ‘normative’ prose. Relying on the work of critics of poet's prose and the philosophy of Badiou and Nancy, it commences by defining prose ostensibly as the immaterial and thus invisible dianoia or discursive other to the radically material poeisis. The essay then attempts to trace a brief history of critical attention paid to prose to uphold and further develop this thesis. Using the poeticized prose of Ron Silliman's Tjanting as an (...) exemplary, contemporary text the remainder of the article delineates the three elements of prosaic immateriality. The first is the predominance of the role of deixis in prose as the very act of referring to reference itself devoid of actual referents in the world, the moment of the predominance of prose as normative according to Godzich and Kittay. The second is the attempt by automatized prose discourse to occlude its alterity and the role of poetic alienation in revealing this automatization as a political/ideological construct. This is traced back to the formalism of Shklovsky and then reconsidered in the Language poetics of Ron Silliman's own theorization of the New Sentence as that which resists automatized syllogistic cohesion. Thirdly, the paper looks at the significant incursions in the field by one of the key contemporary thinkers, Giorgio Agamben. Analysing Agamben's theory of prose as the collapse of poetic semiotic singularity into semantic generality, I finish with a consideration of how Silliman's work resists this very gesture in an attempt to create a permanently materialized prose that resists being relegated to dianoia or the prose of generalized connections. (shrink)

Este manuscrito pretende plantear dos ideas: la primera problematiza el origen de la universidad en tanto creación humana en sentido pragmático (Kant, 1800), para luego abordarlo en perspectiva histórica desde tres momentos: Medieval, Clásico y Ancestral, retomando autores como Rashdal (1895), Haskings (1923), Ureña (1919), Ribeiro (1971) y Dussel (2004); posteriormente se plantea el origen de la universidad más allá de su historicidad, en el interior del ser humano como cultivo de la virtud y el conocimiento poiesis en Platón (...) (380 a.C/1999). La segunda idea implica comprender que desde su origen la universidad como politeia desde la apropiación de algunos planteamientos aristotélicos (s,f/1883) y arendtianos (1997), ha posibilitado pensarse como un escenario de movilización social o continuidad del orden social establecido, donde se reflexiona críticamente en la necesidad de actualización de la universidad entre poiesis y politeia como potencia para recuperar su sentido primigenio, en tanto actitud que brota del interior del ser humano. (shrink)

El espíritu científico del siglo XVII, inclinado a demostrar la verdadmore geométrico y a sostener el ideal de un conocimiento seguro que dé cuenta de la totalidad de lo real partiendo de principios evidentes, influye de manera deteminante sobre la justificación racional de las condiciones más adecuadas para la ordenación de la vida en sociedad. En esta línea se inscribe el ambicioso proyecto de Tomas Hobbes, al postular una filosofía práctica demostrativa capaz de articular definitivamente la naturaleza humana el "estado (...) natural" de la sociedad y el ideal de un orden jurídico-normativo cuya expresión máxima, el Estado como ente de razón, asume la forma de un "cuerpo artificial" construido técrucamente por los hombres. La contrastación con el pensamiento de Aristóteles, permite ver que con Hobbes no sólo nos encontramos frente auna original teoría del poder, sino ante la manifestación naciente de un movimiento cultural, filosófico, científico y político, cuyos efectos de sentido nos son hoy contemporáneos. (shrink)

In a tribute to the intellectual legacy of Peter Fitzpatrick, this article explores the poiesis of modern law, as a constitutive ambivalence distilled in the affinity between law and literature. Reading with Fitzpatrick, the resolution of the contradictions of this law in myth depends, paradoxically, upon its fundamental irresolution. Reflecting upon the profound significance of his revelation of the mythology of modern law and its scholarly reverberations, I consider the constitutive tensions of this law as exemplified in the relation (...) between praxis and poiesis, the operative function of the former dependent upon the creative unfolding of the latter. The alchemy of autopoiesis, by which law boldly proclaims itself law, is made explicit in the eschatology of its archive and the formation of its sovereign subject in negation. Revealing the literary dimensions of this law, the conceit of autonomy is nonetheless subject to the subversive substitutions of the supplement. Pressing yet further, the autopoiesis of law is found to be enfolded within a generative sympoiesis, constituted by the movement between its apposite dimensions. Ultimately, extending Fitzpatrick’s rendering of the irresolution of modern law as decolonial, I explore the possibilities afforded by a reading of the fundamental mutuality of myths, and the decolonial conviviality of poiesis. (shrink)

ZusammenfassungZur aristotelischen Unterscheidung von Herstellen und Handeln (Poiesis und Praxis) gibt es zwei konkurrierende Interpretationen: nach der einen betrifft der Unterschied zwei verschiedene Aspekte an Handlungen, nach der anderen verschiedene Typen von Handlungen. Für eine Entscheidung dieser Frage sind systematische und exegetische Gesichtspunkte zu trennen: zwar bietet die aristotelische Textbasis Belege für beide Seiten, allerdings zeigt die systematische Untersuchung, dass eine zwei-Typen-Lesart sachlich verfehlt ist. Handlungen lassen sich nicht sinnvoll unterteilen in solche, die ihr Ziel lediglich außer sich, aber (...) kein Ziel in sich haben und umgekehrt. Stattdessen sind sie notwendig von einer doppelten Zielsetzung geleitet, bei welcher der Vollzug der Handlung in deren Vollendung münden soll. (shrink)