J. M. Cameron; XII—Poetic Imagination, Proceedings of the Aristotelian Society, Volume 62, Issue 1, 1 June 1962, Pages 219–240, https://doi.org/10.1093/aristote.

J. M. Cameron; XII—Poetic Imagination, Proceedings of the Aristotelian Society, Volume 62, Issue 1, 1 June 1962, Pages 219–240, https://doi.org/10.1093/aristote.

The first comparative study of Heidegger and Schelling, recognizing Schelling's place in post-Kantian GermanIdealism and his contribution to Heidegger's later thought.

The essays in this 1996 volume explore the ways in which traditional philosophical problems about self-knowledge, self-identity, and value have migrated into literature since the Romantic and Idealist periods. How do so-called literary works take up these problems in a new way? What conception of the subject is involved in this literary practice? How are the lines of demarcation between philosophy and literature problematised? The contributors examine these issues with reference both to Romantic and Idealist writers and to some of (...) their literary and philosophical inheritors and revisers. Their essays offer a philosophical understanding of the roots and nature of contemporary literary and philosophical practice, and elaborate, powerful and influential, but rarely decisively articulated, conceptions of the human subject and of value. (shrink)

Gaston Bachelard distinguishes the radical novelty and newness of the imagination from pre-existing sensory impressions. In this article, I explore Bachelard's connections between time, the imagined image and poetic form, and I consider their implications for the cinema. Concentrating my analysis on Ildikó Enyedi's Testről és lélekről/ On Body and Soul — a film that alternates between doubled worlds, depictions of human and animal life — I draw out the temporality and the diversity of Bachelard's imagined images. Bringing (...) Bachelard's instant, vertical time and the crystalline to bear on Enyedi's film, I argue that, under the pretext of sleep, rest and dreaming, On Body and Soul engages the temporality and attentiveness of the Bachelardian imagination, together with its poetic effects. (shrink)

This paper, therefore, ploughs the furrow of postcolonial history, memory and the poetic imagination deploying the poetry of the Nigerian poet Joe Ushie.In particular, the paper negotiates the Rwandan genocide as a tragic foreground of the imperial process through its indulgent, artificial fixing of boundaries to accomplish its empire-building project in Africa. But beyond the colonial mediation in, and onslaught on, the cultures of others, the paper argues that African societies have also been complicit in their agonistic and (...) violent history as the Rwandan genocide amply demonstrates. The paper concludes that a martial culture reminiscent of Civan, the warmonger, which manifests itself in private and especially public domains will only entrench intolerance, ethnocentrism, communal wars and violent death on the continent. (shrink)

This book examines the role Plato accords to imagination in the ancient quarrel between poetry and philosophy. Claiming that the function of imagination evokes a realm of praxis within Plato's dialogues heretofore largely unrecognized, this book offers an interpretation of Plato that challenges the more orthodox view in which poetry and the arts are denigrated, and indeed, seen as eradicable from the dialogues altogether.

Fourteen enjoyable papers, from the Theoretical Archaeology Conference held in Oxford in December 2000, which reflect on the relationship between archaeology and the outside world' and investigate the meaning of archaeology to the general public and the relevance of archaeology to society. Essays examine the development of archaeology as a discipline through the medieval, Romantic and Post-Modern eras, looking, for example, at the treatment of archaeological themes in the works of Mary Shelley and Byron. Contributors also consider the impact of (...) Stonehenge on astronomical studies, the influence of Roman finds and sites, including Bath and Caerleon, on Edwardian jewellery and children's stories and the dramatisation of the Iceman's' discovery in a recent play. (shrink)

The subject of this research is, first of all, the ontological and phenomenological aspects of the prototype as a category and a kind of phenomenon in the field of art and poetic imagination. The research is carried out mainly on the material of the phenomenological-dialectical concept of A. F. Losev and the phenomenology of the poetic imagination of G. Bashlyar. The historical, philosophical and theological contexts of the concept of the prototype of Losev are revealed. The (...) emphasis is made on the ontological meaning of expression and the prototype, on the ontology of aesthetic and art. Losev's concept, as well as the "direct ontology" of the poetic image in the concept of Baschlyar, are applied to the artistic material that organically meets them. These are the texts of N. Gogol: "Sorochinskaya Fair", "The Night before Christmas", "Terrible Revenge", "Old World landowners", "Viy". The theme of the prototype as an archetype revealing the deep semantics of art has been sufficiently developed, in particular, based on the material of K. Jung's analytical psychology. The novelty of this study includes several aspects. Firstly, based on Z. Freud's approach to the close connection of the infantile-personal and the archaic in the psyche in the interpretation of this artistic material, Freud and Jung's approaches are combined, it is concluded that archaic and eroticism in the primordial element are merged into one whole, therefore it is not necessary to categorically oppose these two approaches to each other, at least when referring to archetypal material. Secondly, this study focuses on the ontological and phenomenological aspects of the prototype, which are not given enough attention in various studies. Thirdly, the study combines concepts such as phenomenological-dialectical, phenomenology of poetic imagination, intertextual analysis in relation to the subject of the prototype, which in their interaction allow us to more fully reveal the primitive element of art. All this can contribute to the creation of a holistic concept of the prototype in art and in the sphere of poetic imagination. (shrink)