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...

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 book is an invitation to read poetry. Simon Critchley argues that poetry enlarges life with a range of observation, power of expression and attention to language that eclipses any other medium. In a rich engagement with the poetry of Wallace Stevens, Critchley reveals that poetry also contains deep and important philosophical insight. Above all, he argues for a "poetic epistemology" that enables us to think afresh the philosophical problem of the relation between mind and world, (...) and ultimately to cast the problem away. Drawing astutely on Kant, the German and English Romantics and Heidegger, Critchley argues that through its descriptions of particular things and their stubborn plainness - whether water, guitars, trees, or cats - poetry evokes the "mereness" of things. It is this experience that provokes the mood of calm and releases the imaginative insight we need to press back against the pressure of reality. Critchley also argues that this calm defines the cinematic eye of Terrence Malick, whose work is discussed at the end of the book. (shrink)

An analysis of Geoffrey Hill's lyric poem about William Blake illuminates the relations between art, prophecy, and imperial politics across more than two centuries. Hill's poem responds to David V. Erdman's argument that Blake was resolutely, if ineffectually and sometimes secretly, opposed to war. It also establishes Hill's own cryptic but definite resistance to contemporary war and warmongers, while it mourns poetry's public powerlessness to halt the violent competition for material resources. Ignored by the majority, poetry fails to (...) bring about the ethical social change that poets often envision. The layering of perspectives (Hill the poet and scholar writing about Erdman the scholar, who is explicating Blake the poet and artist) allows for a multidimensional interpretation of the role of poets and prophetic poetry. Despite their fury at society's deafness and greed, and frustration at their own incapacities, poets—because if they are great poets, they are prophets, too—continue to speak to their audiences about the problems of this world and about the better worlds that can be imagined. Hill's text obliquely teaches how the small success of a great poem can provide a minor note of consolation as it objects to terror and tyranny. (shrink)

This dissertation addresses the ontological significance of poetry in the thought of Martin Heidegger. It gives an account of both his earlier and later thinking. The central argument of the dissertation is that poetry, as conceptualised by Heidegger, is beneficial and necessary for the living of an authentic life. The poetry of T. S Eliot features as a sustaining voice throughout the dissertation to validate Heidegger's ideas and also to demonstrate some interesting similarities in their ideas. Chapter (...) one demonstrates how effectively certain concepts from Heidegger's 'Being and Time' can be applied in an analysis of T.S. Eliots celebrated poem 'The Love Song of J. Alfred Prufrock'. The reading involves concepts such as angst, authenticity, inauthenticity, the they and idle talk as they appear in 'Being and Time' and then relates these to aspects of T.S Eliot's poem. Chapter two is an exegesis of Heideggers essay 'The Origin of the Work of Art' in order to understand the meaning of poetry as he describes it. The essay centres on the interpretation of a painting by Vincent van Gogh, and what the experience of the painting reveals to someone authentically engaging with the artwork. Heidegger attempts to establish what the essence of a thing is (the artwork as thing), for the 'origin' of the artwork resides in its 'thingliness'. He creates an important distinction between equipment and the artwork, as well as earth and the world in order to justify the unique, originary position that the artwork occupies. This leads Heidegger to create a new understanding of poetry (which is expanded to encompass all art forms) and to emphasise the importance of the human agent in both the creation and preservation of the artwork. Chapter three is an exploration of language in both the Heidegger of 'Being and Time' and the later Heidegger's thought. The aim is to explore the ontological effect that Heidegger's conception of language has for our existence. He places language within a primordial role arguing that it is not us who speak language, but language that speaks us. This conception has important consequences for our relationship with Being, and the way in which we understand our existence. The final chapter unifies the various themes of the dissertation into a cohesive argument. The chapter begins with a discussion on the meaning of our existence following the later Heidegger. This is nothing less than the guardianship of Being which can only be understood in its relation to our dwelling within the fourfold. In conclusion it is through the measure of the language of poetry that we can realise the possibility of authentic dwelling. (shrink)

Oakeshott’s theory of poetry was a pure theory. But it was so pure a theory it emptied out most of what we would normally mean by poetry, it ignored the history of poetry in extracting a meaning out of it, and it left to one side most of the questions about poetry which are of interest to poets, critics or indeed anyone. This chapter places Oakeshott’s theory of poetry in the context of theories of (...) class='Hi'>poetry from Aristotle through Johnson, Wordsworth and Shelley through to figures as varied as Wittgenstein, Leavis, Eliot and Auden in order to suggest that Oakeshott theory was, as a theory of poetry, a provocation, and, as a theory of something undoubtedly worth thinking about, not a theory of poetry at all. (shrink)

Carmelitan poetry from XVII and XV1I1 centuries, undertook the subject of the love of the God, presents the influences of Spanish mysticism as well the erotic symbolism of The Sonn Above Song. The love, presented by anonymous authors, was compared to the fire of which the flame makes in the object of the love the qualm and faint, the gladness and suffering at once. Carmelitan authors used the metaphors of heart pierced by arrow - of the motif functioned already (...) in antique, next taken over by church fathers (Orygenes, St. Augustin), and then by the great Christian mystics (St. Teresa of Avila and St. John of the Cross). Polish nuns also described ecstasy’s experiences, characteristics by “suspension of the senses,” and by combination of delight and pain simultaneously. They also appealed to the Ecstasy of St. Teresa which illustrated her wound of the love. This style must incarnate spirit. Therefore, carmelitan authors utilized the metaphors of love and sensual stylistic figures. The oxymoron, paradox and hyperbole are figures necessary to the articulation of the love between God and soul, because over simple words it is difficult to express. The sensual stylistic figures were of used to transposition the mysteries of God’s love and reflected relations between human beings and God, presented by - consolidated in receiving conscience the formulas of the language of love. The love is a unity of two complementary parts. This greatest idea wanted to present the language of love and the semantics of passion in poetry of Polish Carmclitans. (shrink)

On Sir Muhammad Iqbal, 1877-1938, Urdu poet.

Poetry and philosophy can be seen as coming into competition in various ways in Plato’s Symposium. This confrontation notwithstanding, poetry and philosophy appear in this dialogue as cooperative rivals that are fundamentally at peace with each other.

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

Poetry is a process. While people typically refer to poems as textual objects, our experience of poetry is inherently embodied and enacted, meaning that we experience poems as events that we contextualize as gestalt representations. We experience metaphors, too, as processes, which arise from experiential gestalts, that extend gestalt structures and lay the conceptual foundation for our experience of the world. This article argues that, like metaphors, poetic gestalts can be mapped onto other experiences to help people navigate (...) their worlds. While this kind of poetic thought has largely been considered by scholars to have existed only since the emergence of the modern human mind sometime in the last 60,000 years, the author suggests that poetic thought likely arose prior to modern cognition, and may have in fact given rise to it. A crucial aspect of the embodied and enactive approach to poetry outlined in the article is that people’s experience of poetry is fundamentally contextual and emotional. Furthermore, because emotions are a primary source of meaning, our emotional responses to poetry make it a useful tool for extending our own conceptual apparatuses, enhancing emotional intelligence, and for generating shared values. (shrink)

James articulates and defends a Spinozist view of the interplay between poetry and philosophy: philosophy has an ineliminably poetic content, and poetry is an aid and support to philosophy. In this piece, I juxtapose James’s Spinozist schema with another schema available within Spinoza’s historical milieu. In Ibn Tufayl’s view, rather than poetry being an aid to philosophy, poetry opens to a world of experience that even the best philosophy cannot grasp. For flat-footed philosophers who think that (...) philosophy can in principle have the last word on everything, poetics might give an approximate indication of a kind of experience that lies beyond it. (shrink)

Poetry is language at its most distilled and most powerfulRita Dove(David Streitfeld, Washington Post, “Laureate for a New Age,” March 19, 1993).The genesis for this special issue arose in a rethin...

In the Netherlands, the poet Herman Gorter is mostly known as the author of the neo-romantic poem May and the “sensitivistic” Poems, but internationally he became famous as a propagandist of radical Marxism: the author of influential brochures and of an “open letter” to comrade W.I. Lenin in 1920. During the 1890s, Gorter became increasingly dissatisfied with his poetry, considering it as ego-centric, disinterested and “bourgeois”, unconnected with what was happening in the real world. He wanted to put his (...) poetry on a scientific footing, notably by endorsing a dialectical materialist worldview. In the communist society he envisioned, science would become poetry and poetry would become science. In his opus magnum Pan, two terms are rather prominent, namely heelal and kristal. These signifiers not only reflect important themes, but also two friendships which began around 1900, namely with prominent astronomer and marxist Anton Pannekoek and with Ada Prins, the first woman in the Netherlands who acquired a PhD in chemistry, specialised in liquid crystal research. Whereas Ada Prins is mostly remembered as one of Gorter’s secret lovers, she was first and foremost his educated guide into the complex and enigmatic world of twentieth-century chemistry research. Liquid crystal chemistry became an important source of inspiration for Gorter’s work and the main objective of this paper is to demonstrate her influence on Gorter’s Pan as a scientific poem After presenting the two heroes of this paper, and their work in poetry and chemistry respectively, I will analyse the role of liquid crystals in Herman Gorter’s Pan, highlighting important connections with Ada Prins’ research into liquid crystal chemistry. (shrink)

“Poetry, Animality, Derrida”: this title is traced by a play of the letter, by the chance of an acronym: “pad.” This pad – the random drawing up of these three letters, p, a, d – is perhaps untranslatable. As such, it might bear witness to Jacques Derrida's memorable remark about poetry, translation, and the materiality of words: “The materiality of a word cannot be translated or carried over into another language. Apocalypse distracted: deranged, absent‐minded, diverted apocalypse. Not in (...) some merely maniacal or else nihilistic manner: it is necessary to reckon, as always in Derrida's writing, with the workings of deconstruction as what he calls a “strange strategy without finality”, with “distracted apocalypse” as a figure of that. Derrida's commentary on Lawrence's poem is too rich and suggestive to be readily summarized. (shrink)

Do poems provide “scripts” for reader’s thoughts? Kendall Walton’s account of poets as thoughtwriters, in which poems can serve to express readers’ thoughts without positing an expressive thinker in the poem, is considered from various angles. While it seems a minimal expressive thinker needs to be posited, this leaves open other questions about poems as the stuff of thought. Can poems be fully thought, and do readers take ownership of the thinking that poetry prompts? Elizabeth Bishop’s “At the Fishhouses” (...) is discussed as a poem that allows the reader a chance to separate aspects of content and control of thought. (shrink)

Poetry is a literary art, and is often examined alongside the novel, stories, and theater. But poetry, much of it, has more in common with music, in important respects, than with other forms of literature. The emphasis on sound and rhythm in both poetry and music is obvious, but I will explore a very different similarity between them. All or almost all works of literary fiction have narrators—so it is said anyway—characters who, in the world of the (...) fiction, utter or write the words of the text thereby reporting the events of the story. But there is a very different way of understanding literary works, one applicable especially to poetry. Much music can be understood in a similar manner, and doing so nicely explains several important characteristics of listen-ers’ experiences. (shrink)

This paper reads Republic 583b-608b as a single, continuous line of argument. First, Socrates distinguishes real from apparent pleasure and argues that justice is more pleasant than injustice. Next, he describes how pleasures nourish the soul. This line of argument continues into the second discussion of poetry: tragic pleasures are mixed pleasures in the soul that seem greater than they are; indulging them nourishes appetite and corrupts the soul. The paper argues that Plato has a novel account of the (...) ‘paradox of tragedy’, and that the Republic and Philebus contain complementary discussions of tragic and comic pleasure. (shrink)

The eleventh century poet Bilhaṇa’s magnum opus, his Vikramāṅkadevacarita, quickly became one of the most admired and quoted examplars of a newly emergent genre in second millennium Sanskrit poetry, the patron-centered court epic—an extended verse composition dedicated to relating the deeds and celebrating the virtues of the pet’s own patron. But Bilhaṇa’s verse biography of his patron, the Cālukya monarch Vikramāditya VI, while ostensibly singing his praises, is colored throughout by darker suggestions that Vikramāditya may be less than the (...) moral paragon it proclaims him to be, and that the power of poetry lies precisely in its ability to fabricate royal virtue where none exists, and to wash clean the reputation of any king, regardless of his actual deeds. He makes these insinuatons through a variety of formal and narrative techniques, most strikingly by his persistent suggestions that Vikramāditya has perhaps less in common with Rāma, the archetypal paragon of royal virtue, than with his demonic antagonist Rāvaṇa, and, even more corrosively, that Rāma’s own reputation may owe more to his panegyrist’s skill than to his own virtue. (shrink)

W. H. Auden's dictum "poetry makes nothing happen" has an enduring currency in poetic criticism, quoted ad nauseam to support the view that poetic discourse must never fall subservient to political ends.1 Conventional wisdom would hold that Hugh MacDiarmid, a poet more often noted for his obstinate commitment to communism, patently failed to heed this dictum. Indeed, as Scott Lyall notes, MacDiarmid's political poems are almost never anthologized, suggesting that the poems in which MacDiarmid's political views are made explicit (...) are of inferior poetic quality.2Yet one must acknowledge that its subject matter cannot be taken as an... (shrink)

Is poetry a topic for philosophical reflection? This paper seeks to argue that it is by exhibiting poetry as a form of knowledge. What the claim that poetry is a form of knowledge amounts to is that something can be knowledge in virtue of being poetical and poetical in virtue of being the (kind of) knowledge it is. Various kinds of skeptical doubt about this claim are considered. It is argued that such doubts are based on distorting (...) pictures of poetry. Two strategies to justify the claim that poetry is a form of knowledge shall be explored. The first strategy is a broadly Wittgensteinian one, relying on grammatical reminders. The second strategy is a broadly Hegelian one, exhibiting poetry as a form of knowledge by showing that the concepts of two other forms of knowledge – practical and second-person knowledge – due to internal incoherences, point beyond themselves towards the concept of poetry. (shrink)

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)

This paper is about Artificial Intelligence (AI) attempts at writing poetry, usually referred to with the term “poetry generation”. Poetry generation started out from Digital Humanities, which developed out of humanities computing; nowadays, however, it is part of Computational Creativity, a field that tackles several areas of art and science. In the paper it is examined, first, why poetry was chosen among other literary genres as a field for experimentation. Mention is made to the characteristics of (...) poetry (namely arbitrariness and absurdity) that make it fertile ground for such endeavors and also to various text- and reader-centered literary approaches that favored experimentation even by human poets. Then, a rough historic look at poetry generation is attempted, followed by a review of the methods employed, either for fun or as academic projects, along Lamb et al.’s (2017) taxonomy which distinguishes between mere poetry generation and result enhancement. Another taxonomy by Gonçalo Oliveira (2017), dividing between form and content issues in poetry generation, is also briefly presented. The results of poetry generators are evaluated as generally poor and the reasons for this failure are examined: inability of computers to understand any word as a sign with a signified, lack of general intelligence, process- (rather than output-) driven attempts, etc. Then, computer-like results from a number of human poetic movements are also presented as a juxtaposition: DADA, stream of consciousness, OuLiPo, LangPo, Flarf, blackout/erasure poetry. The equivalence between (i) human poets that are concerned more with experimentation more than with good results and (ii) computer scientists who are process-driven leads to a discussion of the characteristics of humanness, of the possibility of granting future AI personhood and of the need to see our world in terms of a new, more refined ontology. (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)

"What one cannot compute, one must poetize." So concludes this remarkable sequence of propositions on the centrality of poetry for what we call cognition. Developed through brief, lucid, and eloquent logical elaborations that are punctuated by incisive readings of a range of poems--Western and non-Western, low culture and high--Poetry and Mind offers to theorists and practitioners of literature, together with logicians and cognitive scientists, a more sophisticated account of the extraordinary regimes of human mental experience. Poetry grants (...) us the ability to move "beyond the limits of thought" and to explore the beyond of cognition. It teaches us to think differently. An elliptic response to Wittgenstein's point of arrival in the Tractatus Logico-Philosophicus, this book is first and foremost an interdisciplinary study of poetry, drawing on literary, philosophical, and scientific traditions. The work conducted on minds and brains over the last decades in psychology, artificial intelligence, and neuroscience cannot be ignored if, as humanists, we are interested in the way we think. Dubreuil thus calls for a constant dialogue with the positive examination of cognition to better situate the normal regimes of thought, as well as to underline the other mental possibilities that literature opens up. Poetry and Mind shows that poetry--a widespread and perhaps universal phenomenon among humans--arises through syntactic structures, cognitive binding, and mental regulations, but that, in going through them, it also exceeds them. The best poems, then, are not only thought experiments but actual thinking experiments for the unthinkable. They expand the usual semantics of natural languages, and singularly deploy the rhetorical armature of speech. Made of iterations and linguistic reorganizations, they exceed their own algorithms and, often, they become reflexive, strange, and cognitively dissonant. They provide detachable, movable, and livable significations to our selves. The literary scope of this book is more than "global": it is uniquely broad and comparative, encompassing dozens of different traditions, oral or written, from all continents, from Ancient times to the contemporary era, with some thirty specific readings of texts, ranging from Sophocles to Gertrude Stein, from Wang Wei to Aimé Césaire, and from cuneiform tablet to rap music. Together, Dubreuil's readings and elaborations offer a major reappraisal of the relations between creation, language and our embodied brains."--Publisher's website. (shrink)

In the tenth book of the Republic, Plato famously writes: "There is an ancient quarrel between poetry and philosophy." In this essay I reflect upon this "quarrel" through an analysis of a passage from Dante's Inferno. I conclude by suggesting that, when employed well, poetry and philosophy complement each other in helping us reflect upon the deep issues of life. (This paper was originally presented at the 19th Annual Conference of Association for Core Texts and Courses) .

Poetry evokes mental imagery in its readers. But how is mental imagery precisely related to poetry? This article provides a systematic treatment. It clarifies two roles of mental imagery in relation to poetry—as an effect generated by poetry and as an efficient means for understanding and appreciating poetry. The article also relates mental imagery to the discussion on the ‘heresy of paraphrase’. It argues against the orthodox view that the imagistic effects of poetry cannot (...) be captured by prosaic paraphrase, but points to features of poetry that can shape aspects of mental imagery that are liable to be lost in paraphrase. (shrink)

This essay focuses on Günther Anders’s engagement with (political) poetry. I draw on published material and unpublished source texts from the Anders Nachlass to track how Anders arrives at his own writing style and mode of address through his sustained engagement with poetry. Anders’s philosophical prose and exoteric use of language is shaped by multifaceted reflections on (political) poetry and by the tension between ‘political poetry’ and ‘lyrical action’. I first elaborate on Anders's reading of Brecht (...) in the early 1930s, and then turn to the poetry and reflections on poetics that were written during his long exile in the US (1936–50). It is from this basis that I consider Anders’s categorical and programmatic turn away from poetry from the mid-1940s onwards. What emerges from my discussion is that engagements with literature, and with poetry in particular, were not a marginal activity for Anders but reflect a broad, life-long interest in (predominantly) classical and contemporary poetry, resulting in reflections on poetics and his own extensive poetic praxis. (shrink)

Taking seriously Guillaume Apollinaire's wager that twentieth-century poets would one day "mechanize" poetry as modern industry has mechanized the world, Carrie Noland explores poetic attempts to redefine the relationship between subjective expression and mechanical reproduction, high art and the world of things. Noland builds upon close readings to construct a tradition of diverse lyricists--from Arthur Rimbaud, Blaise Cendrars, and René Char to contemporary performance artists Laurie Anderson and Patti Smith--allied in their concern with the nature of subjectivity in an (...) age of mechanical reproduction. (shrink)

Why is there a long-standing debate about paraphrase in poetry? Everyone agrees that paraphrase can be useful; everyone agrees that paraphrase is no substitute for the poem itself. What is there to disagree about? Perhaps this: whether paraphrase can specify everything that counts as a contribution to the meaning of a poem. There are, we say, two ways to take the question; on one way of taking it, the answer is that paraphrase cannot. Does this entail that there is (...) meaning mysteriously locked in a poem, meaning that cannot be represented in any way other than via the poem itself? If that were so it would have profound implications for poetry’s capacity to convey insight. We suggest reasons for thinking that the entailment does not hold. Throughout, we connect the traditional debate over paraphrase, which has largely been conducted within the fields of philosophy and literary theory, with recent empirically oriented thinking about the communicability of meaning, represented by work in pragmatics. We end with a suggestion about what is to count as belonging to meaning, and what as merely among the things that determine meaning. (shrink)

Should public schools provide students with opportunities to write poetry? If so, why? The modern education reform movement insists that students be able to answer questions citing specific textual evidence. In practice, this means that American public education focuses on standardized testing and gives students few opportunities to say something new. In this essay, I explain how Charles Taylor’s expressivist thesis justifies a place for poetry in the public-school curriculum. According to Taylor, the designative-instrumentalist theory of language emphasizes (...) its role in transmitting pre-existing thoughts. The constitutive-expressivist theory of language, on the contrary, maintains that people form and clarify their thoughts in expressing them. For the latter view, poetry is a way to give voice to one’s authentic self, one’s community, and the cosmos. This article brings this insight into contemporary debates about the curriculum and explains the democratic value of encouraging students to express themselves. (shrink)

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