Only now can we consider that the question of genuine mythical detachment has been fully clarified. We remember how difficult it was to find the true root of this detachment. We compared mythical detachment with general material detachment and poetic detachment but could not find a satisfactory answer anywhere. All the time we have faced a difficult task: to synthesize the sensuousness, extreme con-creteness, and purely material corporeality of myth with its otherworldly, fabulous, and generally acknowledged "unreal" character. After (...) many attempts we have only now finally found this genuine synthesis in the concept of miracle. Miracle is thus an absolutely necessary dialectical synthesis by which mythical consciousness lives and without which myth itself would not exist. From this point of view, myth's relation to other areas of human creativity also appears in a new light. (shrink)

Focusing on the aesthetic representation of trauma, George Smith outlines the nexus points between poetics and hermeneutics and shows how a particular kind of thinker, the artist-philosopher, practices interpretation in an entirely different way from traditional hermeneutics. Taking a transhistorical and global view, Smith engages artists, writers, and thinkers from Western and non-Western periods, regions, and cultures. Thus we see that poetic hermeneutics reconstitutes philosophy and art as hybridizations of art and science, the artist and the philosopher, subject and object. (...) In turn, the artist-philosopher's poetic-hermeneutic reconstitution of philosophy and art is meant to transform human consciousness. This book will be of interest to artists and scholars working in studio practice, art history, aesthetics, philosophy, cultural studies, history of ideas, history of consciousness, psychoanalytic studies, myth studies, and literary studies, and creative writing. (shrink)

This paper revisits Plato’s and Aristotle’s views on mimesis with a special emphasis on mythos as an integral part of it. I argue that the Republic ’s notorious “mirror argument” is in fact ad hominem : first, Plato likely has in mind Agathon’s mirror in Aristophanes’ Thesmoforiazusae, where tragedy is construed as mimesis ; second, the tongue-in-cheek claim that mirrors can reproduce invisible Hades, when read in combination with the following eschatological myth, suggests that Plato was not committed to (...) a mirror-like view of art; third, the very omission of mythos shows that the argument is a self-consciously one-sided one, designed to caricature the artists’ own pretensions of mirror-like realism. These points reinforce Stephen Halliwell’s claim that Western aesthetics has been haunted by a «ghostly misapprehension» of Plato’s mirror. Further evidence comes from Aristotle’s “literary” discussion: rather than to the “mirror argument”, the beginning of the Poetics points to the Phaedo as the best source of information about Plato’s views on poetry. (shrink)

This essay discusses the semiotic scaffolding of modern science, the roots of which lie in the Protestant Reformation and the latter’s repudiation of the “semiotics of nature” upon which medieval theology depended. Taking the fourteenth-century battles between realism and nominalism as the semiotic scaffolding of the Reformation which was subsequently built on nominalist principles, and the Reformation as what made possible the development of early modern science, this essay argues that nominalism, Protestantism, and early modern science were all infected by (...) the gnostic influences which had always accompanied Christianity from the start. Indicating that forms of creative discovery, in the arts, humanities and sciences, are closer to poetic forms than they are to the Baconian model which informed modern science, the essay goes on to link the latter gnostic-influenced metaphysics, motivated by a Reformation anxiety about sin and error, to the development of the modern “megamachine” as described by Lewis Mumford in The Myth of the Machine volumes 1 and 2. Finally the essay suggests that semiotically revivified life sciences might be capable of resolving some of the systemic and ecological problems which Mumford identifies. (shrink)

This paper deals with diachronic of rethink by the philosophy of modern times primordial existential problems of man, come down to European consciousness through their crystallization in the Bible, which was formed in the controversy with the pagan-magical desire to dominate man in the world. Bible ceases to be arch myth-poetical folk stories, it has mainly intellectualists nature and aims to organize reality of life on eradication of mythologist, strengthening a sense of the significance of their own (...) real history of the Jewish people and the nations that surround it as sacrosanct, a cautionary tale. A task knowledge of the laws of the Divine plan and the distinction between Good and Evil places in the centre of the world Deity becomes a breeding ground for Christian anthropocentrism that elevating man as the "image of God", seamlessly connects with theocentric situation, and it is different from anthropocentrism of ancient-Renaissance type, that really treats a person as theomachist and "ruler of nature", which is made later in the project Modern. That is, the latter is already present in the Bible in the "bound" form, and formed, in fact, in the bosom of the biblical worldview. This biblical rational concept was replaced by anthropocentric myth, utopian fantasies, mythologies of "secularized religion", the mythologizing of scientific knowledge and even revival of occultism. This situation makes the view look at the innovation and creativity of the project. (shrink)

The physical sciences, as generally understood, are disciplines concerned with the characteristics and behavior of physical objects and states. What is evident about the current condition of consciousness is that: 1) It has no identified physical states; 2) There is no generally accepted vocabulary of its functioning, or its participant entities; and 3) No ‘normal science’ operative structure upon which a community of scientists agree. The reasons are that consciousness is a prescientific concept persisting because there is no (...) adequate physicalist theory to replace it, and because biology operates in a way ‘invisible’ to assumed mental processes and vocabulary. What is required is a plausible theory built on a biophysical base. A theory is being developed: it is termed the _theory of brain-sign_. Brain-sign replaces consciousness as an evolved neural operation in which brains communicate with each other in the collective action of organisms, so addressing the limitations of being an isolated individual. It depends upon neural signification, in this case of the organisms’ immediate _causal orientation_ towards the world. Thus, multiple organisms are linked as one biophysical operation. Signs are biologically ubiquitous and inherently physical. Organisms are not subjective agents with transcendent powers acting in a perceivable world, but evolved organic objects with the ability to cooperate as one overarching biological process. It is anticipated this theoretical operation and vocabulary will explain brain function, which mind fails to do. It accounts for science from both its neural origins and its communal nature. ER -. (shrink)

From my Consciousness in Action, ch. 2; see Consciousness in Action for bibligraphy. This chapter revises material from "Kant on Spontaneity and the Myth of the Giving", Proceedings of the Aristotelian Society, 1993-94, pp. 137-164, and "Myth Upon Myth", Proceedings of the Aristotelian Society, 1996, vol. 96, pp. 253-260.

Neopoetics is a matrix for dynamic perceptual convergences between material and immaterial systems. The deep foundational ground for Neopoetics is the Poetics of Aristotle and its relation to the ancient Greek theatre as a practical systemic ideology for the mythic Greek drama. As Aristotle’s Poetics posits six basic components for the construction of drama (plot, character, thought, diction, song and spectacle) the neopoetic system has six constituent aspects: expanded embodiment, experiential metaphor, matrix architecture, perceptual resonance, the rheomode and neopoetic mythos. (...) Expanded embodiment describes an expansion of the corporeal body into fluid, dematerialized dimensions of experience, expression and exchange. Experiential metaphor is a sensate interface between the expanded body and the dematerialized field that contextualizes it in a neopoetic framework. It is what Roy Ascott terms an interspace: ‘found between the virtual and actual, where reality is renegotiated and the new consciousness is embodied’. The next three neopoetic aspects describe the language structures through which a new mythos is articulated. Matrix architecture is a framework for activation and alignment of the senses. It is a multisensory perceptual membrane that ignites the prism of the expanded body’s sensorium within the fluid interface of experiential metaphor. Matrix architecture articulates both a new sensorium and its interface with an integrated material/immaterial perceptual field. Perceptual resonance is the cathartic awakening of ‘the space between the senses’, evoked by the alignment of perceptual dimensions through matrix architecture. From this prismatic aperture emerges the mythic, transformative rheomode – the experiential language of the quantum wave. The rheomode is an expression of language. The term was coined by the quantum physicist David Bohm as an experiment in pursuit of a linguistic dimension of the wave. Yet in a neopoetic context, the rheomode becomes an evolutionary system. As Roy Ascott states,Language is not merely a device for communicating ideas about the world but rather a tool for bringing the world into existence. Art is a form of world building, of mind construction, of self-creation, whether through digital programming, genetic code, articulation of the body, imaging, simulation, or visual construction. Art is the search for new language, new metaphors, new ways of constructing reality, and for the means of redefining ourselves.Neopoetics mythos unfurls through the rheomode. It is an expression of an emerging ecology, an experiential awakening of the wave within the particle. Neopoetic myths are fluid evolutionary pulsations. They are transformation in the liquid convergences between material and immaterial dimensions. They are streams of lava birthing bedrock for an emerging paradigm. (shrink)

This paper presents a literary reading of the Homeric Hymn to Pan, tracing the effects of phonetic, verbal, and thematic repetitions throughout the hymn and especially surrounding the appearance of Echo in line 21. A close reading of the structures generated by these repetitions reveals a complex superimposition of structural schemata, and a psychoanalytic reader-response analysis relates our deferred expectation for closure to Pan's disappointed desire for Echo in the erotic myth. The nightingale simile, in its allusion to the (...) Odyssey, enacts another kind of echo and illustrates the self-conscious intertextuality of the archaic Greek poetics of variation. (shrink)

The concept of interpretation is applicable to any forms of knowledge, including systems of religious knowledge, designing the ideal model of the subject of religious veneration. The author analyzes the epistemological features of theology as a form of spiritual culture, its formation in ancient culture. It is shown that the epistemological basis for overcoming mythological consciousness was the decentralization of thinking, i.e. development of the ability of consciousness in the construction of the image, the picture of the world (...) to correct the position of the subject, to take into account the relativity of the reference system, from the standpoint of which the subject perceives the object and transforms it into an operational system of thinking. Decentration of thinking provided the overcoming of the subjective mental boundaries of the field, giving the thinking nature of universality. Historical stages and moments of this process - the transformation of mythology into forms of folk art, mythopoetic epic, in the form of religious consciousness. In line with such transformations of archaic consciousness, cultural and historical prerequisites of theology emergence were formed. They are represented in mythopoetic art, ancient mythography, early traditions of critical and rationalistic interpretation of the myth, etc. The article shows the formation of allegorical theology, which became possible in the era of individualization of artistic creativity, when the visible was the difference between the motive and the purpose of activity, creative idea and its embodiment, figuratively-poetic and rationally-conceptual ways of reflecting the world, when the image of reality and its personal meaning began to be realized as different States of consciousness. The main function of any theology is the interpretation of abstract models of the subject of religious veneration. (shrink)

By accepting that the formal structure of human language is the key to understanding the uniquity of human culture and consciousness and by further accepting the late appearance of such language amongst the Cro-Magnon, I am free to focus on the causes that led to such an unprecedented threshold crossing. In the complex of causes that led to human being, I look to scholarship in linguistics, mythology, anthropology, paleontology, and to creation myths themselves for an answer. I conclude that (...) prehumans underwent an existential crisis, i.e., the realization of certain mortality, that could be borne only by the discovery-creation of the larger realm of symbolic consciousness once experienced as the sacred (but today we know it as "the world" – as opposed to our immediate natural environment and that of other animals). Thus, although we, the human species, are but one species among innumerable others, we differ in kind, not degree. This quality is our symbolically enabled self-consciousness, the fortress of cultural identity that empowers but also imprisons awareness. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Plato and the PoetsCatalin ParteniePierre Destrée and Fritz-Gregor Herrmann, editors. Plato and the Poets. Mnemosyne Supplements: Monographs on Greek and Latin Language and Literature, 328. Leiden-Boston: Brill, 2011. Pp. xxii + 434. Cloth, $217.00.This beautifully produced volume is a collection of nineteen essays, half of them being initially presented as papers given at a 2006 conference in Louvain. Seven chapters focus on the Republic and address a variety (...) of issues: the ancient quarrel between philosophy and poetry (Glenn W. Most); Plato’s criticism of poetry and his negative attitude toward women (Penelope Murray); mimêsis as appearance-making (Gabriel Richardson); the meaning of mimêsis (Jera Marušič); Plato’s criticism and appreciation of poetry (Stephen Halliwell); thumos and the criticism of poetry (Pierre Destrée); painting, poetry, and the cognitive division of the soul (Rachel Singpurwalla). One chapter deals with myth, invented story, and true account in the Timaeus (Gretchen Reydams-Schils). Two are devoted to the Laws—mimetic correctness and choric poetry (Antony Hatzistavrou), and tragedy and philosophy (Susan Sauvé Meyer). The remaining nine chapters deal with other dialogues, although they are often discussed in connection with the Republic; the topics they discuss include: theia moira, enthousiasmos, and mimêsis in Gorgias (Fritz-Gregor Herrmann); divine possession, inspiration, and mimêsis in Ion and Republic (with references to Plato’s entire corpus, Catherine Collobert); the poet and the rhapsode as hermêneus in Ion (Carlotta Capuccino); the poet, the mad lover, and the mad philosopher as the true interpreter in Ion and Phaedrus (Francisco Gonzalez); inspiration and Plato’s psychology in Ion, Phaedrus, Politicus, Philebus, Timaeus (Stefan Büttner); theia moira in Ion and Meno, and the poets’ incomplete ascension in Symposium (Dominic Scott); Plato’s use of poetry and poets in Symposium (Elizabeth Bel-fiore); poetry and image-making in Republic and Sophist (Noburu Notomi); and poetry, the tripartition of the soul and the Form of Beauty in Phaedrus (Elizabeth Pender).As Stephen Halliwell put it in his essay, there is the seemingly Platonic attitude “which criticizes, censors and even ‘banishes’ poets, and which speaks in terms of unmasking the false pretensions and the damaging influence of poetry. But there is also the Platonic stance which never ceases to allow the voices of poetry to be heard in Plato’s own writing, which presupposes not only extensive knowledge but also ‘love’ of poetry on the part of Plato’s readers, and which at certain key junctures claims for itself nothing less than the status of a new kind of philosophical poetry and art: the status, indeed, of ‘the greatest music’ [Phaedo 61a; cf. Phaedrus 248d, 259b] and even of ‘the finest and best tragedy’ [Laws 817b]” (241). All the contributors address, in one way or another, the puzzling contrast between these two views on poetry. Halliwell, for instance, claims that Book X of the Republic “offers not a simple repudiation of the best poets but a complicated counterpoint in which resistance and attraction to their work are intertwined, a counterpoint which (among other things) explores the problem of whether, and in what sense, it might be possible to be a ‘philosophical lover’ of poetry” (244). While Most argues that “there is little or no evidence for any consciousness” of a generic opposition between philosophy and poetry tout court before Plato, “this opposition may even be in the process of being constructed” in his Republic (19) (Notomi, too, discusses this topic, and refers to the view according to which the “ancient quarrel” was Plato’s invention). [End Page 291]In reading the nineteen essays of this volume, one realizes that in Plato there is not just one poetics, or two contrasting views on poetry, but—as the editors put it—“several models of what poetry is and what the poets do” (xxii). One would have liked that these several models be explicitly discussed in a concluding chapter. The editors, however, acknowledge that neither they nor their authors aimed at achieving a unified vision of the subject: “While certain recurring themes crystallize themselves with increasing complexity in the course of the various discussions, there remain both contradictions and incompatibilities between results... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Separating the Human from the Divine Cesáreo Bandera University ofNorth Carolina at Chapel Hill Myths are hard to die. One such myth concerns what happened with poetry in general, that is to say, imaginative literature or literary fiction, in the transition from the Middle Ages to the Renaissance and beyond. Its basic outline was developed during the nineteenth century. J. E. Spingarn, for example, echoes such a (...) class='Hi'>myth in his History of Literary Criticism in the Renaissance, first published in 1899, which has gone through many editions and reprintings since then. In it we read the following: The first problem of Renaissance criticism was the justification of imaginative literature. The existence and continuity of the aesthetic consciousness, and perhaps, in a less degree, of the critical faculty, throughout the Middle Ages, can hardly be denied; yet distrust of literature was keenest among the very class of men in whom the critical faculty might be presupposed, and it was as the handmaid of philosophy, and most of all as the vassal of theology, that poetry was chiefly valued.... The Renaissance was thus confronted with the necessity ofjustifying its appreciation of the vast body of literature which the Revival of Learning had recovered for the modern world. (3) Speaking of Savonarola's De Divisione ac Utilititate Omnium Scientiarum, written about 1492, he concludes as follows: In fine, as a reformer, he represents for us the religious reaction against the paganization of culture by the humanists. But the forces against him were too strong. Even the Christianization of culture effected during the next century by the Council of Trent was hardly more than temporary. Humanism, which represents 74Cesáreo Bandera the revival of ancient pagan culture, and rationalism, which represents the growth of the modem spirit in science and art, were currents too powerful to be impeded by any reformer, however great. (14) This general picture of the historical standing and the fate of literary fiction as we move from the Middle Ages into the modern era, is still very much with us, even though it is ill at ease with, or flatly contradicted by, undeniable historical facts. For example, the incredible notion of a "paganization of culture by the humanists" would have horrified somebody as profoundly Christian as Petrarch and, later on, Erasmus, who criticized the scholastics "in the name of a purer and simpler mode of piety and religious devotion" (Mazzeo 17). Or the mistaken idea that modern rationalism was much more hospitable to poetry than the old scholastic one. For from the seventeenth century on, as J. F. West has pointed out, the whole tide of [scientific] opinion was running strongly against poetry, metaphor, and poetic prose. The philosophers generally saw them as an obstacle to truth. Hobbes regarded metaphor as one of the hindrances to straight thinking. Rousseau thought that the philosophy of Descartes had 'cut the throat of poetry'; and John Locke, late in the century, openly regarded poetry as made up of 'pleasant pictures and agreeable visions in the fancy,' but basically misleading. (114) It is indeed true that in medieval scholasticism poetry occupies the lowest rank in the hierarchical structure of the arts and sciences. But it does have a place there. It would have never occurred to Thomas Aquinas, for example, to expel it from that position as something dangerous, something to be avoided. In fact, as he tells us at the beginning of the Summa Theologica, theology itself, the highest of the sciences, does not consider it below its dignity to make use of metaphor and other poetic devices propter utilitatem ac necessitatem. And yet it is precisely that kind of violent expulsion ofpoetic fiction that will be attempted during the Renaissance. In the words of Russell Fraser, "it is in the Renaissance, and not the Middle Ages that the artist is driven from the commonwealth" (39). It was then that the "war against poetry" intensified to fever pitch. It is, therefore, an error to imagine that those in the sixteenth and seventeenth centuries who bitterly attacked poetic fiction in general and the theater in particular as a very dangerous threat to religion and morality, were fanatic hold-overs from a medieval past... (shrink)

According to Bakhtin, the reason that literature is the most ideological of all ideological spheres may be discovered in the structure of genre. He criticizes the formalists for ending their theory with a consideration of genre; genre, he observes, should be the first topic of poetics. The importance of genre lies in its two major capacities: conceptualization and “finalization.” A genre’s conceptualization has both inward and outward focus: the artist does not merely represent reality; he or she must use existing (...) means of representation in tension with the subject at hand. This process is analogous to the dual nature of the utterance, its orientation simultaneously toward its past contexts and its present context. “A particular aspect of reality can only be understood in connection with the particular means of representing it” .Genre’s production of perception is not simply a matter of physical orientation; it is also a matter of ideology: “Every significant genre is a complex system of means and methods for the conscious control and finalization of reality” . According to Bakhtin, nonideological domains are “open work,” not subject to an ultimate closure; but one goal of works of art is precisely to offer closure, a “finalization” that accounts for their ideological power and their capacity to produce consciousness. In the particular finalization of genre, we see a continual tension between tradition and situation.25 As Terry Eagleton suggests in Criticism and Ideology, “A power-loom, for one thing, is not altered by its products…in the way that a literary convention is transformed by what it textually works.”26 Analogously, Bakhtin writes that “the goal of the artistic structure of every historical genre is to merge the distance of space and time with the contemporary by the force of all-penetrating social evaluation” . It is perhaps because of this purported goal that Bakhtin himself seemed to prefer the novel, which he viewed as a meta-genre incorporating at once all domains of ideology and all other literary genres. Finally, we must emphasize that Bakhtin’s model of genre rests upon his insistence that literary evolution is not the result of device reacting against device, as Viktor Shklovsky believed, but rather of ideological, and ultimately socioeconomic, changes. 25. For a discussion of the tension between genre and performance, and between tradition and situation, in folkloric performances, see Hymes, “Folklore’s Nature and the Sun’s Myth,” Journal of American Folklore 88 : 345-69.26. Eagleton, Criticism and Ideology, p. 73. Susan Stewart is associate professor of English at Temple University. She is the author of a book of poetry, Yellow Stars and Ice , and two books of literary theory, Nonsense: Aspects of Intertextuality in Folklore and Literature and On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, and the Collection. (shrink)

: Green consciousness is a holistic worldview based in many ancient and still-current principles and wisdoms, holistic worldview, and one that offers alternative conceptions of human and non-human subjectivity, of humans' relationships with each other and with non-human nature. Its principles are elaborated not only in environmentalist philosophies but also in some forms of popular culture. Shrek retells ancient earth-based myth, specifically around its imagination of greenness as an emblem of the life force, its respect for the feminine (...) principle, its refusal of hierarchy and split consciousness, its endorsement of the happy body and communal ecstasy, and its ringing celebration of diversity. (shrink)

From my Consciousness in Action, ch. 2; see Consciousness in Action for bibligraphy. This chapter revises material from "Kant on Spontaneity and the Myth of the Giving", Proceedings of the Aristotelian Society, 1993-94, pp. 137-164, and "Myth Upon Myth", Proceedings of the Aristotelian Society, 1996, vol. 96, pp. 253-260.

A notorious concept in the history of aesthetics, “disinterest,” has begotten a host of myths. This paper explores and challenges “The Myth of the Absent Self ” [MAS], according to which in disinterested experience, “the subject need not do anything other than dispassionately stare at the object, bringing nothing of herself to the table other than awareness” (Riggle 2016, p. 4). I argue that the criticism of disinterest experience grounded in MAS is skewed by two false assumptions: about the (...) nature of the clarifying, evaluative, and transformative self-consciousness (which the disinterest critic takes to be at the heart of the profundity of beauty) and about the nature of the self. By bringing out the falsehood of these two assumptions, and by clarifying the core commitments of disinterest, the paper proves that the disinterest critic is in no superior position to the disinterest advocate regarding the explanation of the profound role of beauty in human life. (shrink)

The interlink between myth and wisdom in Hellenic heritage is characteristically embodied in the Platonic philosophizing as regards the education and enculturation of the human psyche. As is read in the end of The Republic , the myth of Er turns out to be a philosophical rewriting of poetry to a large degree. For it engagingly reveals Plato’s moral inculcation, philosophical instruction and poetic wisdom in particular, all of which are intended to guide human conduct along the right (...) track for the bliss of the postmortem cycle, and put philosophy learning into first priority for the choice of the future life. Moreover, the transmigrate experience in the mystic overtone of “the Orphic-Pythagorean conglomerate” is discussed with a intercultural reference to the Buddhist doctrines of samsara and karma. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Separating the Human from the Divine Cesáreo Bandera University ofNorth Carolina at Chapel Hill Myths are hard to die. One such myth concerns what happened with poetry in general, that is to say, imaginative literature or literary fiction, in the transition from the Middle Ages to the Renaissance and beyond. Its basic outline was developed during the nineteenth century. J. E. Spingarn, for example, echoes such a (...) class='Hi'>myth in his History of Literary Criticism in the Renaissance, first published in 1899, which has gone through many editions and reprintings since then. In it we read the following: The first problem of Renaissance criticism was the justification of imaginative literature. The existence and continuity of the aesthetic consciousness, and perhaps, in a less degree, of the critical faculty, throughout the Middle Ages, can hardly be denied; yet distrust of literature was keenest among the very class of men in whom the critical faculty might be presupposed, and it was as the handmaid of philosophy, and most of all as the vassal of theology, that poetry was chiefly valued.... The Renaissance was thus confronted with the necessity ofjustifying its appreciation of the vast body of literature which the Revival of Learning had recovered for the modern world. (3) Speaking of Savonarola's De Divisione ac Utilititate Omnium Scientiarum, written about 1492, he concludes as follows: In fine, as a reformer, he represents for us the religious reaction against the paganization of culture by the humanists. But the forces against him were too strong. Even the Christianization of culture effected during the next century by the Council of Trent was hardly more than temporary. Humanism, which represents 74Cesáreo Bandera the revival of ancient pagan culture, and rationalism, which represents the growth of the modem spirit in science and art, were currents too powerful to be impeded by any reformer, however great. (14) This general picture of the historical standing and the fate of literary fiction as we move from the Middle Ages into the modern era, is still very much with us, even though it is ill at ease with, or flatly contradicted by, undeniable historical facts. For example, the incredible notion of a "paganization of culture by the humanists" would have horrified somebody as profoundly Christian as Petrarch and, later on, Erasmus, who criticized the scholastics "in the name of a purer and simpler mode of piety and religious devotion" (Mazzeo 17). Or the mistaken idea that modern rationalism was much more hospitable to poetry than the old scholastic one. For from the seventeenth century on, as J. F. West has pointed out, the whole tide of [scientific] opinion was running strongly against poetry, metaphor, and poetic prose. The philosophers generally saw them as an obstacle to truth. Hobbes regarded metaphor as one of the hindrances to straight thinking. Rousseau thought that the philosophy of Descartes had 'cut the throat of poetry'; and John Locke, late in the century, openly regarded poetry as made up of 'pleasant pictures and agreeable visions in the fancy,' but basically misleading. (114) It is indeed true that in medieval scholasticism poetry occupies the lowest rank in the hierarchical structure of the arts and sciences. But it does have a place there. It would have never occurred to Thomas Aquinas, for example, to expel it from that position as something dangerous, something to be avoided. In fact, as he tells us at the beginning of the Summa Theologica, theology itself, the highest of the sciences, does not consider it below its dignity to make use of metaphor and other poetic devices propter utilitatem ac necessitatem. And yet it is precisely that kind of violent expulsion ofpoetic fiction that will be attempted during the Renaissance. In the words of Russell Fraser, "it is in the Renaissance, and not the Middle Ages that the artist is driven from the commonwealth" (39). It was then that the "war against poetry" intensified to fever pitch. It is, therefore, an error to imagine that those in the sixteenth and seventeenth centuries who bitterly attacked poetic fiction in general and the theater in particular as a very dangerous threat to religion and morality, were fanatic hold-overs from a medieval past... (shrink)

The Consciousness Reframed proposition is exciting because it is both interdisciplinary and offers the possibility of a macrocosmic perspective on the world – a view of the world as simultaneously a whole in itself, the sum of its parts, and as part of a wider whole – or as Koestler put it, ‘After a period of some 500 years when the western eye has been focussed primarily on the microcosmic, scaling up from the micro to the macro does not (...) at first come easily’. Global civilization has too often been misled by grand narratives – never more so than in the twentieth century, when grand narratives of race and class slugged it out bringing death to millions. On the other hand the planetary ‘big picture’ nowadays forces itself upon us through global information networks that all of us simultaneously share in a time-compact world. As such we are creatures of the macrocosmos, whether we care to acknowledge it or not. The Planetary Collegium, this article suggests, is a beach-head on the shores of a macrocosmos awaiting both discovery and re-discovery. (shrink)

In this paper, I attempt to read the poetic principle behind the Tammuzi movement of modern Arabic poetry through the lens of speculative poetics. While speculative-poetic accounts of modern poetry, such as those provided by Allen Grossman, blazed new paths connecting poetry to personhood in modernity, their application to the development of modern poetry outside of Europe remains limited by their self-avowed focus on European history. This paper will outline a critical corrective to speculative poetics which, I argue, can be (...) of value in extending its domain of application to Arabic projects of poetic modernity, particularly the two tendencies of "free verse" and "commitment" poetry that emerged out of the Tammuzi movement. (shrink)

The Great Illusion takes a scientific look at the brain itself, presenting research that supports the naturalistic stance that the mind is identical to the brain. Singh argues that if we take seriously the idea that the mind is the brain then it follows logically that free will must be an illusion, that there can be no consciousness independent of the brain, and that there can be no substantial self that exists independently from the brain. He further argues that (...) there can be no such thing as absolute moral responsibility. (shrink)

In this paper, I attempt to read the poetic principle behind the Tammuzi movement of modern Arabic poetry through the lens of speculative poetics. While speculative-poetic accounts of modern poetry, such as those provided by Allen Grossman, blazed new paths connecting poetry to personhood in modernity, their application to the development of modern poetry outside of Europe remains limited by their self-avowed focus on European history. This paper will outline a critical corrective to speculative poetics which, I argue, can be (...) of value in extending its domain of application to Arabic projects of poetic modernity, particularly the two tendencies of "free verse" and "commitment" poetry that emerged out of the Tammuzi movement. (shrink)

The author explores the fragmented and often fragile human psyche, revealing common, everyday forms of dementia that plague millions of people, discusses the ...

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 125-142 [Access article in PDF] Hölderlin's Poetic Self-consciousness James H. Donelan Nur ihren Gesang sollt' ich vergessen, nur diese Seelentöne sollten nimmer wiederkehren in meinen unaufhörlichen Träumen. I should forget only her song, only these notes of the soul should never return in my unending dreams. Hölderlin, Hyperion I FOR MANY YEARS, Friedrich Hölderlin has occupied a crucial position in both literary and (...) philosophical history. Well-known literary theorists, such as Walter Benjamin, Peter Szondi, and Paul de Man, have described him as the poet who made the transition from German Classicism to Romanticism. Several major philosophers, including Dieter Henrich and Manfred Frank, claim that Hölderlin's insights into Kantian and Fichtean metaphysics were vital to Schelling's and Hegel's far more famous accounts of subjectivity. Either contribution alone would make Hölderlin an important figure in intellectual history; it is almost miraculous that he managed both, especially when one considers the brevity of his career, a span of only ten or twelve productive years.What accounts for this remarkable dual achievement? Historical accident and tremendous talent give us only a partial answer. Hölderlin was fortunate to have Hegel and Schelling as close friends at the Tübinger Stift, and to move to Jena precisely when it had become a center for new thinking in both literary and philosophical circles. He had enormous ability both for ancient Greek and poetic meter, allowing him to benefit from his predecessors and his contemporaries [End Page 125] in remarkable ways. However, his parallel accomplishments in philosophy and poetry are linked by more than just happenstance and genius. In my view, they represent the continuous development of a solution to a single problem, that of self-consciousness, realized in poetic form through an idea of music. For Hölderlin, making the transition from philosopher to poet required him to establish a connection between Idealist theories of self-consciousness and the material world. To meet this challenge, he constituted himself as a self-conscious poet through both theoretical and actual poetic creations, and constituted a musical-poetic voice, or Gesang, within his poetry as a means of joining the abstractions of philosophy with the concrete voice of the poet.The background of this transformation lies in the complex history of the idea of self-consciousness, or subjectivity. In the early Idealist accounts of self-consciousness of Kant and Fichte, the subject recognizes its existence by juxtaposing itself with an object. However, the nature of this object, and the connection between the abstract, theoretical construction of the subject and the actual, practical experience of the conscious self posed a problem that neither philosopher solved definitively. For Kant, self-consciousness emerges from a pre-reflective sense of the self's existence as the subject of different experiences of phenomena over time; self-consciousness therefore arises from a deduction of empirical experience. However, this formulation contains a surprisingly belated and unmotivated version of the self, with no clear account of its origin.Fichte answered the question about the origin of the self by stating that the self posits itself through its opposition to a material object, a non-self he calls the Nicht-ich, and becomes self-conscious by differentiating the Ich from the Nicht-ich and declaring "I am I." Fichte's explanation of self-consciousness as an act rather than an entity nevertheless relies on a kind of solipsism and still does not sufficiently address the ultimate cause of the process. The Ich that declares its own existence must distinguish itself from the Nicht-ich somehow; the relation between the two terms presupposes a subject that already possesses sensory apprehension to create the distinction between Ich and Nicht-ich necessary for the initial positing of the self.Either explicitly or implicitly, both Kant's and Fichte's versions of subjectivity rely on the category of the aesthetic, defined as the experience of precognitive sensation in general, to mediate the encounter between subject and object. Kant later expanded his inquiry [End Page 126] into... (shrink)

There often appears to be a striking correspondence between mythic stories and aspects of reality. We will examine the processes of creative imagination within a neurobiological frame and suggest a theory that may explain the functions of myth in relation to the hidden aspects of reality. Myth is peppered with archetypal entities and interactions that operate to reveal hidden processes in reality that are relative to the human condition. The imagery in myths in a sense “sustains the true.” (...) That is, mythopoetic imagery keeps the interpretive process in experience closer to the actual nature of reality than the rational faculties operating alone are able to do. Indeed, whereas rationalizing can easily lead us awry, genuine myth rarely does. Explanations of events offered by cultures around the world are frequently couched in terms of mythic themes and events. An important function of myth is to provide a “field of tropes” that in‐forms the lived experience of people. This paper focuses especially on those aspects of myth that represent facets of the quantum universe and give us clues as to the relationship between consciousness, symbolism, and reality. (shrink)

This book explores the dynamic relationship between myth and philosophy in the Presocratics, the Sophists, and in Plato - a relationship which is found to be more extensive and programmatic than has been recognized. The story of philosophy's relationship with myth is that of its relationship with literary and social convention. The intellectuals studied here wanted to reformulate popular ideas about cultural authority and they achieved this goal by manipulating myth. Their self-conscious use of myth creates (...) a self-reflective philosophic sensibility and draws attention to problems inherent in different modes of linguistic representation. Much of the reception of Greek philosophy stigmatizes myth as 'irrational'. Such an approach ignores the important role played by myth in Greek philosophy, not just as a foil but as a mode of philosophical thought. The case studies in this book reveal myth deployed as a result of methodological reflection, and as a manifestation of philosophical concerns. (shrink)

The employment of mythological language and imagery by an Epicurean poet - an adherent of a system not only materialist, but overtly hostile to myth and poetry - is highly paradoxical. This apparent contradiction has often been ascribed to a conflict in the poet between reason and intellect, or to a desire to enliven his philosophical material with mythological digressions. This book attempts to provide a more positive assessment of Lucretius' aims and methodology by considering the poet's attitude to (...) myth, and the role which it plays in the De Rerum Natura, against the background of earlier and contemporary views. The author suggests that Lucretius was not only aware of the tension between his two roles as philosopher and poet, but attempted to resolve it by developing his own, Epicurean poetic, together with a bold and innovative theory of the origins and meaning of myth. (shrink)

S. L. Hurley; Myth Upon Myth, Proceedings of the Aristotelian Society, Volume 96, Issue 1, 1 June 1996, Pages 253–260, https://doi.org/10.1093/aristotelian/96.1.

In this essay I refer to eros as the force that plays on our bodies and connects us to the larger community of life, an embodied form of love that charges the will towards well-being. Analyzing the ways that eros can be engaged and expressed in the "commons" as a life sustaining force, I look to current, on-the-ground work being done in Detroit, MI where a grassroots network of artists, community-builders, educators and neighborhood folk are revitalizing their city. Linking this (...) work and the love I experienced with them to childhood experiences in my own homeplace in northern New York State, I argue for the development of eco-ethical consciousness within an erotic "poetics of place" where the natural world speaks to us within our interpretive, expressive efforts. Finally, in an explication of education as those generative relations that are specifically oriented towards well-being, I look to the relation among eros, language and the creation of the commons as a critical educational endeavor. If we are to stem the tide of ecological destruction now upon us, we will need educators in public schools who recognize and are able to create classroom practices that encourage an "eco-erosic love" and thus inspire students who can protect the fragile relationship of their human communities to the ecosystems upon which we depend. (shrink)