Poetry

It is no secret that, for Nietzsche, philosophy and poetry are closely related. Some of his most important works contain poems, or even present themselves as poetry. Yet, in their efforts to make Nietzsche a respectable philosopher, scholars have turned their attention away from this poetic dimension and have privileged instead the philosophical dimension of his work. The title of the present volume, Nietzsche als Dichter, echoes Arthur Danto’s influential Nietzsche as Philosopher, and therefore aims to reinstate the part previously (...) left aside. In order to do so, the articles in the volume focus on specific poems or poetic aspects of Nietzsche’s... (shrink)

During the last ten years of his life, Antonin Artaud shows more and more intensively a multi-faceted and caustic refusal for traditional literature and the ordinary practice of writing. But above all, he shows a stylistic impatience for the alphabetic use of the word and the language. By the intention of creating an inhuman language, which could be understood also by the illiterate people, Artaud wants to undermine the significant use of the word, so that he can achieve a non-representative (...) language, a language that could make real. In this perspective, the aim of our work consists in an inquiry of the expressive forms through which Artaud’s last literary production shows the refusal of canonical literature: especially, we attempt to work about the use of glossolalias, drawings and pictograms included in several Cahiers which Artaud draws up during his confinement in the Rodez’s madhouse, as well as in some of the letters that he writes since 1943. (shrink)

Recensione di J. L. NANCY, T. TUPPINI, Être bourré, o del corpo senza corpo, Mimesis, Milano-Udine2014.

Aristotle and the classical rhetoricians conceived of metaphor as a figure of speech in which one thing is given a name or an attribute of another thing on the basis of some resemblance that exists between the two things. Wallace Stevens conceived of metaphor not as the production of pre-existing resemblances observed in nature but the “creation of resemblance by the imagination” (NA: 72). Resemblance, and not identity, according to Stevens, is the fundamental relation between the two terms of metaphor. (...) This is akin to contemporary accounts of metaphor in terms of the phenomenological or experiential seeing of one thing as another thing (Yoos 1971; Davidson 1979; Camp 2006a,b; Semino 2008; Ritchie 2013). Seeing one thing as another thing on the basis of resemblance or similarity implies that the one thing is not the other. I do two main things in this paper: one, I appraise the theoretical value of Wallace Stevens’ conception of metaphor as the creation of resemblance by the imagination; and two, I pose a challenge to the view that takes resemblance as fundamental to metaphor, arguing that in the cases I present, thinking of the relation as identity and not resemblance, concurs with our ontological commitments to the things compared in the metaphor. In the final analysis, I suggest that Stevens conception of metaphor as metamorphosis can meet the challenge: rather than thinking of the ‘is’ (identity) of metaphor as an ‘as’ (resemblance), for Stevens, the ‘as’ (resemblance) of metaphor metamorphosize into an ‘is’ (identity). (shrink)

A close reading of Mary Robinson’s late-eighteenth-century poem “London’s Summer Morning,” which captures all the noises and smells of a busy London street, is not enough to convince the reader that it isn’t all a dream. But whose dream? René Descartes and Wallace Stevens suggest that it may not matter.

It is only relatively recently that analytical philosophers have given special focus to poetry as a topic in its own right in aesthetics or as a semi-autonomous branch of the philosophy of literature. A new field is taking shape: the so-called Philosophy of Poetry. But do analytical philosophers have anything new to say on the topic? What kinds of issues or problems attract their attention? Rather than simply surveying the field, the paper looks at some emerging concerns- about form & (...) content, experience, interpretation, expression, and poetic truth-and suggests that poetry poses some quite serious challenges to standard conceptions of meaning and truth. On the current showing it seems likely that studying the practices and norms of poetry will force a reconceiving of the powers or limits of language that could itself promote fresh understanding in core areas of philosophy. So bringing analytical philosophy to poetry can yield benefits in both directions, offering insights as well as challenges. (shrink)

This special issue of Journal of Poetry Therapy focuses on the use of poetry and other forms of expressive writing to explore the transformative experiences of military veterans, and so in this article I discuss how the use of poetry, hip-hop, and philosophy positively influenced my life while I was serving in the United States Air Force (USAF) from 2000 through 2004. This article briefly reviews my reasons for enlisting and discusses the importance that poetry, hip-hop, and philosophy had for (...) me during four different phases of my military history: (i) Basic Military Training, (ii) Aircraft Qualification, Combat Survival, and Water Survival Training, (iii) serving in the post 9/11 operations Operation Enduring Freedom and Operation Iraqi Freedom, and (iv) the period after fulfilling my time of service for the USAF. In discussing each phase, I explain the unique challenges that I encountered, how I used poetry, hip-hop, and philosophy to successfully overcome these challenges, point out relevant examples of poetry, hip-hop, and philosophy that were particularly influential, and include pictures of my experiences throughout. (shrink)

This chapter explores the rather striking manner in which at key moments in the history of philosophy, in the discipline’s attempts at self-definition, the genre or literary form of poetry plays a key role. Philosophy, at these moments, has been defined, inter alia, as the enemy of poetry, the guiding light for the philosopher who can only try and inevitably fail to emulate its brilliance, or as the anomalous guest at the philosophical table with whom the host discipline has relations (...) which result in either generative or degenerative effects. Insofar as it lays claim to or liaises with philosophy – as we have come to know it today – poetry has thus played a part in the self-definition of genre theory. The aim of this chapter is to capture a very specific set of transfers, transpositions, metonymies and other modes of reversible relations of substitution and surrogacy between philosophy and poetry, and along the way between genre-theory-as-philosophy and poetry. (shrink)

Strauss's critique of Heidegger's philosophy aims at a recovery of political philosophy, which he saw as threatened by Heidegger's radical historicism; for Strauss, philosophy as a whole could not survive without political philosophy, and his return to the classical tradition of political philosophy, while inspired by the work of Heidegger, was directed against what he saw as the nihilism that was its consequence. Here I wish to examine a dimension of Strauss's critique which, though hinted at, remains neglected or unexplored (...) by Strauss: that is, how the critique of Heideggarian historicism should naturally link with Strauss's frequent attention to the issue of the ancient 'quarrel between philosophy and poetry'. It has often been observed by other commentators that through Heidegger's work, philosophy appears liable to be supplanted by contemporary literature, whether poetry or philosophy. As some of Strauss's explicit statements extend his definition of what falls under the category of 'poetry' in the modern age to contemporary novels and poetry, this aspect of Heidegger should have commanded more of his attention. Endurance of the quarrel between philosophy and poetry becomes through the prism of Strauss's work the confrontation of political philosophy with literature, particularly the novel form. It was not so much the rise of modern, non-teleological natural science that threatened the endurance and dignity of philosophy, then, but the rise of modern literature; the critique of historicism, when viewed in the light of the enduring 'quarrel', should lead one to a consideration of a crucial issue which remained oddly neglected, or was only hinted at, by Strauss. (shrink)

This reading of Plato's Ion shows that the philosophic action mimed and engendered by the dialogue thoroughly reverses its (and Plato's) often supposed philosophical point, revealing that poetry is just as defensible as philosophy, and only in the same way. It is by Plato's indirections we find true directions out: the war between philosophy and poetry is a hoax on Plato's part, and a mistake on the part of his literalist readers. The dilemma around which the dialogue moves is false, (...) and would have been recognized as such by Plato's contemporaries. Further, it is intrinsically related to a false, but popular, view of language. So the way out of the false dilemma of the dialogue is the way out of the war between philosophy and poetry, and also makes one see what is false about the view of language which makes such war plausible. (shrink)

Interpretations of Mill's response to literature are often placed within a larger analysis of the development of his ethical thought. Such interpretations commonly seek to describe the importance to Mill's intellectual development of the episode in his personal experience, recollected in Chapter V of his Autobiography, which awakened him to the value of poetry and to the need for an active cultivation of personal feeling. The connection between the two is usually made by demonstrating how his mature ethical thought integrates (...) ideas that were first brought home to him during this reaction against the logical rigour of his background and upbringing, a reaction that contrasts Mill's acceptance of the importance of personal culture and emotion with the scant regard afforded to these elements within Benthamite utilitarian thought. Thus the resolution of Mill's personal crisis is seen as shedding light on key limitations within the moral philosophy that he inherited from Bentham and from his father. (shrink)

Interpretations of Mill's response to literature are often placed within a larger analysis of the development of his ethical thought. Such interpretations commonly seek to describe the importance to Mill's intellectual development of the episode in his personal experience, recollected in Chapter V of his Autobiography, which awakened him to the value of poetry and to the need for an active cultivation of personal feeling. The connection between the two is usually made by demonstrating how his mature ethical thought integrates (...) ideas that were first brought home to him during this reaction against the logical rigour of his background and upbringing, a reaction that contrasts Mill's acceptance of the importance of personal culture and emotion with the scant regard afforded to these elements within Benthamite utilitarian thought. Thus the resolution of Mill's personal crisis is seen as shedding light on key limitations within the moral philosophy that he inherited from Bentham and from his father. (shrink)

This book on the topic of ethics and poetry consists of contributions from different continents on the subject of applied ethics related to poetry. It should gather a favourable reception from philosophers, ethicists, theologians and anthropologists from Africa, Asia, Europe and Latin America and allows for a comparison of the healing power of words from various religious, spiritual and philosophical traditions. The first part of this book presents original poems that express ethical emotions and aphorism related to a philosophical questioning (...) of the grounding of our values for life. The poems are written by twelve authors coming from four continents, for whom poetic emotions are sources of artistic inspiration and that can be used for conflict resolution. In the second part, which features short essays, nine authors tackle how poems, symbolic representations, metaphorical narratives and lies impact the space of possibilities, in which we are moved to action, knowledge formation, and how we imagine the world together. (shrink)

In this paper, I identify an assumption at play in anti-semantic interpretative approaches to Frege: the notion that translatability to Frege’s concept script functions as a criterion for deciding whether a thought is expressed in a sentence or utterance. I question the viability of this assumption by pointing to Frege’s accounts of the aim and character of his logical language and scientific discourse more generally, and by looking at his remarks on poetic forms of language, literature and fiction (Dichtung). Since (...) it seems clear that the sentences used in poetic and literary forms of language that Frege discusses, have Sinn and are possible to understand, in his view, I argue that the translatability criterion for thoughts is flawed. A discussion of Frege’s appeal to an approach of willingness to understand in a reader, and the relation between Frege’s use of elucidatory discourse and his conception of Dichtung is central to my exposition in this paper. (shrink)

Poems are treated by translators as hierarchical multilevel systems. Here we propose the notion of “multilevel poetry translation” to characterize such cases of poetry translation in terms of selection and rebuilding of a multilevel system of constraints across languages. Different levels of a poem correspond to different sets of components that asymmetrically constrain each other (e. g., grammar, lexicon, syntactic construction, prosody, rhythm, typography, etc.). This perspective allows a poem to be approached as a thinking-tool: an “experimental lab” which submits (...) language to unusual conditions and provides a scenario to observe the emergence of new patterns of semiotic behaviour as a result. We describe this operation as a problem-solving task, and exemplify with Augusto de Campos’ Portuguese translation of John Donne’s poem “The Expiration.”. (shrink)

In this essay I take up Plato’s critique of poetry, which has little to do with epistemology and representational imitation, but rather the powerful effects that poeticperformances can have on audiences, enthralling them with vivid image-worlds and blocking the powers of critical reflection. By focusing on the perceived psychological dangers of poetry in performance and reception, I want to suggest that Plato’s critique was caught up in the larger story of momentous shifts in the Greek world, turning on the rise (...) of literacy and its far-reaching effects in modifying the original and persisting oral character of Greek culture. The story of Plato’s Republic in certain ways suggests something essential for comprehending the development of philosophy in Greece : that philosophy, as we understand it, would not have been possible apart from the skills and mental transformations stemming from education in reading and writing; and that primary features of oral language and practice were a significant barrier to the development of philosophical rationality. Accordingly, I go on to argue that the critique of writing in the Phaedrus is neither a defense or orality per se, nor a dismissal of writing, but rather a defense of a literate soul over against orality and the indiscriminate exposure of written texts to unworthy readers. (shrink)

Poetry holds an important place as part of our cultural heritage.1 However, despite poetry’s apparent cultural value, there have been surprisingly few attempts to articulate clearly how this should be reflected in the teaching curriculum in our schools and universities. As a consequence of this lack of clarity, the cultural value of poetry gives way to the increasing emphasis on providing instrumental justification for the teaching curriculum; including poetry in the curriculum is often justified in terms of promoting transferable skills (...) and knowledge such as problem solving, understanding and interpreting language, general creativity, widening vocabulary, identifying or “spotting” techniques, and learning... (shrink)