Ever since Plato's condemnation of the poets who did not deserve a place in his ideal city poetry has, in areas of the Western world, drawn suspicion as for its ability to convey the "truth." Philosophy, then, was thought to be a better candidate assuming that the truth in question could only be "discursive" as opposed to "poetic." In the West, the tension between poetry and philosophy reached a quasi-chiasmatic peak with modernism, a period during which the poem asserted in (...) the most radical way its own mode of thinking. Alain Badiou in his Que pense le poème? qualifies the singularity of poetic thought in terms of "musical silence." Yet, in spite of the depth and beauty of the image, the poem falls short of being considered as philosophical thought proper. By moving away from a conception of philosophy centred on logos as method, the poem may conceivably reveal a profoundly philosophical nature. Such is the case with the poetic prose of French contemporary writer Christian Bobin. Starting from Badiou's conception of "musical silence" in poetry this essay reflects on the extent to which emptitude at work in Bobin amounts to a uniquely philosophical mode of thinking. (shrink)

In this paper, I aim to articulate, at least in part, what makes Sara Ahmed’s uses and analyses of metaphors fruitful for thinking about problems in the social world. I argue that Ahmed’s these metaphorical concepts perform three functions. First, her analyses improve our understanding of the social world precisely because we already understand the world through metaphors. They draw out the metaphors we use to think about ourselves and others and, in doing so, allow us to think more carefully (...) about those metaphors. To support this claim, I will draw on the insights of George Lakoff and Mark Johnson in their seminal Metaphors We Live By. Second, one thing that Ahmed’s analyses of metaphors often allow us to see is that the movement and arrangement of bodies in the social world can be analyzed in poetic terms. To be clear, it is not just that we linguistically express and understand bodies through metaphor, metonymy, synecdoche, and the like, but also that the movement, arrangement, and reactions of our bodies are themselves experienced as metaphorical and metonymical, and that they provide the foundation for understanding social reality in metaphorical terms. Finally, as a result of the first two functions, Ahmed helps us imagine ways to intervene so that we can change how we live and interact with others. Specifically, to work toward positive social change, we might both rework the metaphorical concepts we use to understand the social world and alter our practices of movement that, all too often, reify existing social boundaries and inequalities. (shrink)

This paper explores how the poetic speaks to philosophical treatments of post-truth. In doing so, it reconsiders the relationship between poetry and philosophy, and the aspects of the poetic that are pertinent to the performance of rumour. It examines classic performances of rumour in both philosophy and poetry, through the lens of Nietzsche’s account of poetry as a rhythm that creates an economy of memory. In doing so, it suggests that the poetic can alert us to the ways in which (...) different dimensions of rhythm and memory are at work in the ‘post-truth age.’. (shrink)

This essay concerns Heidegger’s assertion that the biography of the poet is unimportant when interpreting great works of poetry. I approach the question in three ways. First, I consider its merits as a principle of literary interpretation and contrast Heidegger’s view with those of other Trakl interpreters. This allows me to clarify his view as a unique variety of non-formalistic interpretation and raise some potential worries about his approach. Second, I consider Heidegger’s view in the context of his broader philosophical (...) project. Viewed this way, Heidegger’s decision to neglect the poet’s biography seems quite reasonable and consistent with his inquiry into the being of language. Finally, I consider Heidegger’s suggestion that Trakl is a kind of mad genius. I recast this paradigmatic figure in terms of what I call the ‘wretched prophet’ and consider some ways in which its appeal sheds light on the crisis of modernity and the aestheticization of politics. (shrink)

Constantin Brancusi’s sculpture The First Cry asks questions that overlap with the concerns of contemporary existential phenomenology, namely, temporality, the relation between art and truth, the nature of embodiment, and the lived experience of perception. In this paper, I put Heidegger and Merleau- Ponty’s writings into dialogue with one of Brancusi’s many ovoid sculptures. Even though Heidegger is not commonly included by those involved in body studies, his writings—especially the later writings—sketch out a philosophy that is at least open to (...) the materiality and physicality of artworks and beholders. We will move through several entrances into this moving work: the work’s shining, listening, mirroring, and temporal dimensions. The phenomenological method employed follows Heidegger’s fundamental claim that art opens up entrances to the truth of the world around it. Brancusi’s work allows us to experience Merleau-Ponty’s concept of the chiasm, Heidegger’s idea of the fourfold, and reveals the ways in which philosophy needs art. When we stay with First Cry in our philosophizing and in the gallery, we experience the motion and movement within Brancusi’s work; the experience is at once essential and sensuous. (shrink)