Designed to offer a critical survey of trends and developments in recent scholarship on Philodemus of Gadara and Hellenistic literary theory, the essays in this volume treat the papyrus texts of Philodemus' treatises on poetry and the related subjects of rhetoric and music, establishing links with his Roman contemporaries Lucretius, Catullus, Horace, and Virgil. The volume contains a complete translation of Philodemus' On Poems Book 5. The essays evaluate Philodemus' formalism, which denied the moral utility of poetry as it (...) sought to demonstrate the convergence of the Epicurean and the traditionally poetic. The distinguished contributors are D. Obbink, D. Clay, E. Asmis, D. Sider, M. Wigodsky, R. Janko, J. Porter, D. Blank, D. Armstrong, and S. Oberhelman. (shrink)

If one wants to know what happened in Hellenistic poetic theory, Philodemus' survey of poetic theories in the fifth book of his On Poems is an excellent guide. Even though the survey is well preserved, it has been neglected. Jensen, who published the first complete edition of On Poems 5 in 1923, did not discuss this part of the text; and it has been treated only briefly by others. This is a pity because, as Philodemus shows, the (...) Hellenistic period was an era of great diversity and innovation in literary theory. Philodemus gives evidence of: a refined and highly systematic critical vocabulary; a new concern with verbal form; a new notion of mimesis; and in general, a great proliferation of theories that present alternatives to those of Plato and Aristotle. Hellenistic literary theorists studied Plato and Aristotle critically; some revised or elaborated their views, whereas others opposed them. Ancient poetic theory did not come to a standstill with Aristotle any more than philosophy did. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Perloff’s Wittgenstein: W(h)ither Poetic Theory?David Kellogg (bio)Though Marjorie Perloff has been one of the most powerful forces in contemporary poetry studies for some time, her work has not received the critical attention it warrants. Her latest book, Wittgenstein’s Ladder: Poetic Language and the Strangeness of the Ordinary, provides an opportunity for reflection on a body of writing remarkable both in its consistency and its constant reinvention. (...) Indeed, reading Perloff through Wittgenstein’s Ladder throws her other work over the last twenty years into a new light, as many concepts crucial to her vocabulary—not only theory but also modernism, artifice, avant-garde—are here turned around and forced into new roles. To ask whether and to what extent Wittgenstein’s Ladder constitutes a break in her career is simultaneously to raise the question of critical and poetic theory.Theory Inside and Out“It is in this sense that grammar may be said to replace theory,” writes Marjorie Perloff in the introduction to Wittgenstein’s Ladder [18]. The sense in question is Ludwig Wittgenstein’s, or rather the sense of the late (post-1929) Wittgenstein inflected through Perloff’s post-poststructuralist sensibility. As the sentence preceding this remarkable claim puts it: “For although the later Wittgenstein was to argue that grammar is precisely the key to understanding a given proposition, that there is no essence above and beyond a specific grammatical structure, one nevertheless must ‘distrust’ grammar in the sense of interrogating it as stringently as possible” [17–18].Of course, formulations of theory as a style of distrust have been a commonplace in theoretical discourse for some time. It would not be difficult to argue that Perloff’s explicit advocacy of grammar through Wittgenstein—whose philosophy, she argues, “is indeed intentionally ‘antiphilosophical,’ its purpose being precisely to determine in what circumstances philosophy should be ‘against’ philosophy and why” [12]—is of a piece with recent attempts to think the limits of theory in theory itself. But such a reduction would seriously misread Perloff’s project. We would do well to question, for example, the obvious similarities between Perloff’s description of a duplicity in the project of grammar/theory and the model it might be taken as at once pointedly evoking and evading, Paul de Man’s now-classic essay “The Resistance to Theory.” Despite their apparent similarities, the startling claims of Wittgenstein’s Ladder have little in common with de Man’s suggestion that “resistance may be a built-in constituent of [theoretical] discourse,” and that “the polemical opposition, the systematic non-understanding and misrepresentation, the unsubstantial but eternally recurrent objections, are the displaced symptoms of a resistance inherent in the theoretical enterprise itself” [12].For one thing, de Man explicitly distances his conception of a theoretical project deeply threatening to the claims of knowledge from one rooted in concepts of grammar: [End Page 67][A]s long as it remains grounded in grammar, any theory of language, includ-ing a literary one, does not threaten what we hold to be the underlying principle of all cognitive and aesthetic linguistic systems. Grammar stands in the service of logic which, in turn, allows for the passage to the knowledge of the world. The study of grammar, the first of the artes liberales, is the necessary pre-condition for scientific and humanistic knowledge. As long as it leaves this principle intact, there is nothing threatening about literary theory. The continuity between theory and phenomenalism is asserted and preserved by the system itself. Difficulties occur only when it is no longer possible to ignore the epistemological thrust of the rhetorical dimension of discourse, that is, when it is no longer possible to keep it in its place as a mere adjunct, a mere ornament within the semantic function.[14; emphasis added]In other words, de Man places grammar opposite the project of criticism, which he identifies with rhetoric and ultimately with reading. What de Man refers to as “the latent tension between rhetoric and grammar” is resolved decidedly in favor of the former: “the grammatical decoding of a text leaves a residue of indetermination that has to be, but cannot be, resolved by grammatical means, however... (shrink)

이 글의 목적은 팬데믹이 이끈 존재론적 전회의 운명을 ‘탈인간중심주의’에 대한 요 청으로 받아들이고, 이에 대한 실천적 사유방식을 하이데거의 시인론에서 찾는 데에 있다. 이러한 주장을 개진하는 이유는 기존의 인식론뿐만 아니라 존재론적 지형도의 한계를 비 판적으로 고찰하는 일이야말로 팬데믹 시대의 대안적 사유를 찾는 출발점이라고 보기 때 문이다. 팬데믹은 인간과 비인간을 나누는 이분법적 사고가 세계 내 존재자들의 유기적 얽 힘의 관계를 왜곡한 결과이다. 즉, 인간이 인간 이외의 모든 존재자의 근거와 조건을 오직 인간의 관점에서 따져 물음으로써, 각 존재자의 존재를 자의적으로 이해하고 판단한 결과 로 (...) 나타난 존재 망각의 시대상인 것이다. 이로써 기존의 인간중심주의로부터의 전회 (Kehre)는 거부할 수 없는 시대적 요청이 된다. 하이데거의 시인론은 팬데믹을 휴머니즘의 몰락의 언표로서 접근할 수 있는 통찰을 제 공한다. 그는 궁핍한 시대의 시인(현존재)을 통해 거주함의 근본 능력을 회복할 것을 일깨 운다. 시인적인 거주는 인간을 사방세계의 연결망 속에 정위시킴으로써 자기와 타인 모두 를 본래적인 결속성으로 묶어준다. 인간이 이러한 근본적 연관 속에서 함께 어우러진다는 것 자체가 곧 거주함을 뜻한다. 사방세계는 네 가지 근본 요소가 일체를 이루고 있음을 뜻 할 뿐 아니라, 인간의 지분은 4분의 1에 불과함을 의미한다. 이는 세계에 대한 인간의 지 배를 당연한 것으로 간주하던 인간의 태도에 대한 발본적인 변화를 촉구하는 사유 양식이다. 이로써 하이데거 시인론의 근간은 탈인간중심적임이 성립된다. 하이데거의 시인론이 인류가 직면한 존재론적 전회의 요구에 부응하는 가장 근본적인 접근으로써 시도될 수 있 음을 논증하는 것이 이 글의 주안점이다. (shrink)

Combining literary and philosophical analysis, this study defends an utterly innovative reading of the early history of poetics. It is the first to argue that there is a distinctively Socratic view of poetry and the first to connect the Socratic view of poetry with earlier literary tradition.Literary theory is usually said to begin with Plato's famous critique of poetry in the Republic. Grace Ledbetter challenges this entrenched assumption by arguing that Plato's earlier dialogues Ion, Protagoras, and Apology introduce a (...) distinctively Socratic theory of poetry that responds polemically to traditional poets as rival theorists. Ledbetter tracks the sources of this Socratic response by introducing separate readings of the poetics implicit in the poetry of Homer, Hesiod, and Pindar. Examining these poets' theories from a new angle that uncovers their literary, rhetorical, and political aims, she demonstrates their decisive influence on Socratic thinking about poetry.The Socratic poetics Ledbetter elucidates focuses not on censorship, but on the interpretation of poetry as a source of moral wisdom. This philosophical approach to interpreting poetry stands at odds with the poets' own theories--and with the Sophists' treatment of poetry. Unlike the Republic's focus on exposing and banishing poetry's irrational and unavoidably corrupting influence, Socrates' theory includes poetry as subject matter for philosophical inquiry within an examined life.Reaching back into what has too long been considered literary theory's prehistory, Ledbetter advances arguments that will redefine how classicists, philosophers, and literary theorists think about Plato's poetics. (shrink)

Combining literary and philosophical analysis, this study defends an utterly innovative reading of the early history of poetics. It is the first to argue that there is a distinctively Socratic view of poetry and the first to connect the Socratic view of poetry with earlier literary tradition. Literary theory is usually said to begin with Plato's famous critique of poetry in the Republic. Grace Ledbetter challenges this entrenched assumption by arguing that Plato's earlier dialogues Ion, Protagoras, and Apology introduce (...) a distinctively Socratic theory of poetry that responds polemically to traditional poets as rival theorists. Ledbetter tracks the sources of this Socratic response by introducing separate readings of the poetics implicit in the poetry of Homer, Hesiod, and Pindar. Examining these poets' theories from a new angle that uncovers their literary, rhetorical, and political aims, she demonstrates their decisive influence on Socratic thinking about poetry. The Socratic poetics Ledbetter elucidates focuses not on censorship, but on the interpretation of poetry as a source of moral wisdom. This philosophical approach to interpreting poetry stands at odds with the poets' own theories--and with the Sophists' treatment of poetry. Unlike the Republic's focus on exposing and banishing poetry's irrational and unavoidably corrupting influence, Socrates' theory includes poetry as subject matter for philosophical inquiry within an examined life. Reaching back into what has too long been considered literary theory's prehistory, Ledbetter advances arguments that will redefine how classicists, philosophers, and literary theorists think about Plato's poetics. (shrink)

On the basis of a revision of the real dynamics of Greek poiesis and autopoiesis as evolutionary processes of meaning and knowledge-of-the-World evaluative-construction, Cognitive Poetics proposes key philological, ontological and cultural adjustments to improve our understanding of thought, conceptual activity, and the origins and social nature of language. It searches for an integrated theory of social problems in general Cognitive Science: from Linguistics or Psychology, through Anthropology, Neurophilosophy or Literary Studies, to Neurobiology or Artificial Life Sciences. From an essential (...) turn to the real thing, cognition as (social) action, it provides new unforeseen accounts of the complex dynamics of human essentially creative understanding studying and analyzing all form of texts as active fossils as mentils (Guerra 2009). (shrink)

Our usual view of the Renaissance poetic, as we derive it from the explicit statements which we normally cite, sees it primarily as a rhetorical theory which is essentially Platonic in the universal meanings behind individual words, images, or fictions. Accordingly, poetic words, images, or fictions are taken to be purely allegorical, functioning as arbitrary or at most as conventional signs: each word, image, or fiction is seen as thoroughly dispensable, indeed interchangeable with others, to be used (...) just so long as we can get beyond it to the ultimate meaning which it presumably signifies. This rather simple—if not simplistic—semiology leaves the body of poetry as empty as modern post-Saussurean linguistics often leaves the body of language. By treating all poetic devices as transparent elements through which various universal "truths" are revealed, the rhetorical/allegorical theory converts all the poet's dispositions of words into devices of persuasion on the service of a function higher than that of poetry. Such is the way that, for example, a conservative, widely influential theorist like Scaliger clearly formulated the principle. And for as careful a commentator on Renaissance imagery as Rosemund Tuve, these are the farthest reaches of the Renaissance poetic; she argues that any more subtle a claim is merely the consequence of the modern mind trying anachronistically to sophisticate an older tradition. Her examination of explicit statements by major Renaissance writers on poetics finds reinforcement in the logic of Petrus Ramus as she extends it to a total stylistics, or even to a linguistics.1 · 1. Rosemund Tuve, Elizabethan and Metaphysical Imagery: Renaissance Poetic and Twentieth-Century Critics . Murray Krieger, University Professor of English and director of The Irvine School of Criticism and Theory at the University of California at Irvine, is the author of, among other works, The Tragic Vision, The Classic Vision, and, most recently, Theory of Criticism: A Tradition and its System. The present essay is part of his book, Poetic Presence and Illusion: Essays in Critical History and Theory. "Fiction, History, and Empirical Reality," his previous contribution to Critical Inquiry, appeared in the Winter 1974 issue. (shrink)

이 논문은 진리의 문제를 다시 사유하는 바디우의 철학을 소개하면서, 진리의 출현을 정치, 과학, 예술(시), 사랑이라는 네 가지 절차 속에서 생산되는 복수의 과정으로 파악하는 그의 이론 가운데 시에 집중한다. 진리는 백과사전적 체계인 지식의 망을 교란시키면서 출현하여 이름 붙일 수 없는 것으로 나타난다. 바디우는 진리 문제에 있어서 합의점을 찾지 못하고 단지 의미물음만으로 만족하고 있는 듯한 현대 철학자들의 입장을 거부하면서, 진리 범주야말로 모든 가능한 철학의 핵심 범주임을 강조한다. 이러한 맥락에서, 바디우는 해석학이 진리 문제보다는 의미 물음에 천착하기 때문에 자신의 철학과는 거리를 둔 소피스트의 입장에 (...) 가깝다고 본다. 바디우는 진리를 생산하는 네 가지 유적 절차들의 조건들에 대한 성찰에서 철학의 목적은 단지 이 조건들을 해석하는 것이 아님을 명시한다. 그에 따르면, 철학은 진리가 거하는 실재 과정을 해석하는 것이 아니라 그 과정들의 동시대적 조건들 하에서, 의미의 망에 난 구멍일 뿐인 진리가 어떻게 그리고 왜 의미를 갖지 않는지가 밝혀지는 고유의 장소를 정립하는 것이다. 바디우의 시적 진리론이 해석학의 의미론과 그리 동떨어져 있지 않다는 것과, 새로운 인간 형상과 허구의 가능성을 이야기하는 바디우의 철학이 해석학적 작업과 같은 곳을 바라보고 있다는 사실을 본 논문은 드러내고자 한다. (shrink)

Why should poets choose to repeat concrete sounds or abstract structures when conveying their poetic messages? After all, it would seem that repetition tends to slow down comprehension and require greater cognitive effort. The key to understanding the rationale behind these poetic devices is the communicative principle of relevance proposed by Sperber and Wilson: interlocutors communicate on the assumption that what is being said is relevant in the communicative context. But how things are said is also relevant: poets (...) create patterns for pragmatic, communicative reasons. Poetic devices also promote affective states, which cannot be reduced to cognitive ones. (shrink)

"Novels, movies, and lies - these are all fictions that provoke with their as ifs and what ifs. In response to the idea that fiction has somehow become an unfashionable topic in contemporary criticism, this volume argues that the question of fiction needs to be updated in the absence of a widely accepted theory of truth. This collection, dedicated to the noted scholar and literary critic Lubomir Dolezel, covers an extensive number of theoretical and historical issues relevant to our (...) understanding of the status of fictions - literary or not." "Fiction Updated offers approaches to fiction and poetics that, in an imaginary topography of contemporary humanities, dwell at a distance from both the mimetic theory of literature and deconstruction. The contributors introduce new perspectives to the problem of fictionality, or broaden the scope of its applications, by examining the works of such authors as Homer, Casanova, Aristotle, Woolf, Vaihinger, Borges, Kundera, Coetzee, and Bakhtin."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved. (shrink)

A long tradition of research including classical rhetoric, esthetics and poetics theory, formalism and structuralism, as well as current perspectives in (neuro)cognitive poetics has investigated structural and functional aspects of literature reception. Despite a wealth of literature published in specialized journals like Poetics, however, still little is known about how the brain processes and creates literary and poetic texts. Still, such stimulus material might be suited better than other genres for demonstrating the complexities with which our brain constructs (...) the world in and around us, because it unifies thought and language, music and imagery in a clear, manageable way, most often with play, pleasure, and emotion (Schrott and Jacobs, 2011 ). In this paper, I discuss methods and models for investigating the neuronal and cognitive-affective bases of literary reading together with pertinent results from studies on poetics, text processing, emotion, or neuroaesthetics, and outline current challenges and future perspectives. (shrink)

A groundbreaking work that uncovers an implicit system of hermeneutics in traditional Chinese thought and aesthetics.

In this article, a poetical and performative narrative is shared to examine how the use of stories to critically self‐reflect on oppression facilitates an understanding of critical social theory in nursing education and impacts social justice. A fusion of prose with a poetical narrative is employed; the latter is reserved to capture the immediacy of personal, emotive, and embodied storied experiences. This deeply intimate and dialogical story begins with a pedagogical experiment created to facilitate nursing students' understanding of critical (...) social theory. Drawing upon Paulo Freire's work, the nursing teacher in a professional development course attempted to deconstruct power relations and cultivate an open and safe learning environment by sharing a poem that depicts her oppression. Students then anonymously wrote a word/statement about their oppression. The teacher created a composite poem from students' words and shared it with the class; it was a powerful moment that highlighted their shared humanity. As a way to further explore stories and consider how to preserve these words, a small group of students and the teacher formed the ‘the oppression group’. Towards the end, we conclude an unfinished story by realizing that the chains of oppression are loosening and humanity is surfacing. There is still a camouflaging of an authentic self. There are still stories to be told. The group is not yet certain if a social representation of an authentic self is possible and if all stories can be told. It has become apparent that the personal can play out in social justice as enacted in the classroom between teacher and students and provides an entry point into the development of the capacity to be social agents in nursing. The group simultaneously concludes the story with both an ending and a threshold of social justice. (shrink)

ABSTRACTMaría Zambrano's biggest contribution to intellectual history is, without a doubt, her poetic reason; her unique attempt to overcome the limiting coordinates of the framework of rationality established by the Enlightenment. Having spent forty-five years in exile, the relevance of this Republican thinker has only been acknowledged in recent decades. Since then, the political content of her early work, as well as her engagement with the Republic's cause prior to and during the Spanish Civil War are well known. Nevertheless, (...) although Zambrano still wrote some political books after the Civil War, most notably, Persona y democracia, the political component of her thought after this period has passed largely unnoticed. This article intends to take a wider approach to Zambrano's political engagement by exploring the political significance of her poetic reason. Here I contend, first, that poetic reason, far from being an isolated attempt at developing an alternative rationality, is actually in line with the critique of instrumental reason proposed by the Frankfurt School and, second, that, in fact, there are meaningful parallels between poetic reason and Frankfurtian Critical Theory. Thus, the purpose of this article is to explore such parallels and their significance in revealing the political dimension of Zambrano's thought. (shrink)

In this paper I seek to link Aristotle's Nicomachean Ethics and Politics to his Poetics. Specifically, I wish to argue that his ethical and political works imply that the realization of the human good, virtuous activity, can come about only given extended political experience. I then suggest that poetry (as presented by Aristotle in the Poetics) might itself be seen as a form of political experience that can strengthen and clarify ethical and political theory and aid in the realization (...) of virtue. By representing concrete examples of human life -- particular men acting in an unpredictable and contingent world -- and simultaneously observing certain dramatic rules, poetry helps to fill the gap between raw political experience and formal abstract theory. It captures the unique and indeterminate nature of varied human lives in a distilled and organized way, encouraging the audience's active participation and exercising those vital but elusive critical capacities which demand reason but go beyond deduction and rule following. Aristotle's Poetics illuminates, in a way that the Nicomachean Ethics and Politics cannot, the essential role of both reason and creativity in virtuous action. (shrink)