In Poetics of Reverie he considers the absolute origins of that imagery: language, sexuality, childhood, the Cartesian ego, and the universe.

This article draws on the interrelated concepts of reverie and repose in Gaston Bachelard's philosophy to approach Claire Denis' poetic foregrounding of objects in 35 Shots of Rum (35 Rhums, 2008). Connecting Bachelard's work on time to his later studies of the imagination, I demonstrate how the poetic time of reverie and repose are essential to Bachelard's thinking. Focusing on three especially charged objects (trains, rice cookers and lanterns), I argue for reverie and repose as being embedded into the rhythmic (...) structure, affective organisation and form of Denis' film. Contextualising Bachelard's later thinking in relation to Eugène Minkowski, I maintain that Denis' objects reverberate (both formally and sensuously). In 35 Shots of Rum, Denis' poetic objects and her evocation of different in-between states parallels Bachelard's own materialist thinking on the imagination, reverie and repose. (shrink)

Sleep and dream visions as revelations, narrative devices, signs of illness, and aesthetic-artistic formulae alongside their interpretations, are common experiences shared by all cultures throughout the ages. They exhibit an astonishing variety of contexts and meanings. Rather than abstract time, with its mathematical indistinctness, a dialectical concreteness of signs and symbols in culture determines the specificity and character of dream experience and its complex hermeneutic.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Songs of Degrees: Essays on Contemporary Poetry and PoeticsVirginia A. La CharitéSongs of Degrees: Essays on Contemporary Poetry and Poetics, by John Taggart; 254 pp. Tuscaloosa: University of Alabama Press, 1994, $29.95 paper.John Taggart is a highly respected American poet whose passion for objectivism permeates his critical reading as well as his own creative works. The volume Songs of Degrees: Essays on Contemporary Poetry and Poetics (...) represents the first time that his various critical articles have been collected into a single work. Of the eighteen essays, all but one were previously published in various journals between 1975 and 1989; the eighteenth is an essay or “A Preface” on one of his own collections of poetry, Peace on Earth. By addressing his own poetry, Taggart’s volume cleverly includes himself as poet in this study of what he considers valuable in a work of art. [End Page 398]Finding a poem to be a simple composition of words (principle) and an image suggested by that composition (process), Taggart adopts the title Songs of Degrees from Louis Zukofsy’s seven short poems published in 1956 as Some Time. A song is then a poetic form, a continuing complete statement which actualizes the separate entities (words) of its expression. However, and most importantly, a song does not begin as a visual report; rather, a song moves towards being visualized. Consequently, everything depends on technique and everything turns on its structure, as the mind coordinates the information received by the eye. Degrees, then, emerge as variations of consonance and dissonance or word-sound functions. To write down is to compose; to compose is to create. Hence, a song of degrees is both an actual object and a metaphor for that object.Under the poetic of objectivism, Taggart’s essays are primarily concerned with poets whose work is in accord with his own: George Oppen (three essays), Frank Sampori, William Bronk, Louis Zukofsy (three essays), Bruce Andrews, Susan Howe (two essays), Robert Duncan, Charles Olson, and Theodore Enslin. Taggart demonstrates here that he is a sensitive and intellectually alert reader. These essays on criticism are in actuality essays on Taggart’s concept of poetics. Implicit is Taggart’s bias as an objectivist poet who insists that poetry has a spiritual value in the visionary tradition of Robert Lowell and Robert Duncan and to an extent Wallace Stevens.But perhaps of even greater interest than Taggart’s superb readings of his poetic colleagues—and it can be justifiably argued that perhaps only Taggart can read these poets with the sympathetic eye that they deserve—is the inclusion of three essays on other arts: dance (Trina Collins), stained glass (Mark Rothko), and jazz (John Coltrane). By including these essays with those of literary criticism, Taggart expands the terms poetics and poetry to any text or object which is a moving line and complete at the same time. Form comes from language; language is then based on experience, not belief, and the resulting image is what is revealed and reflected, what is seen. A work (poem, song, text) is valuable because its visionary imagination captures the collective conscience to regain spiritual ascesis. The process of objectification is the metaphor or song, which emerges in degrees of interaction. The song has substance, it is tangible, and it has an objective existence of its own. To be critical is to objectify the composition or structure at hand. Critical is another term for technical, and indeed it is the technical aspect of writing poetry which Taggart so deftly elucidates in his volume of essays.For anyone interested in objectivist poetry, Taggart’s collection of essays is mandatory reading. His insights into this kind of cerebral poetry are invaluable, for he blends appreciation with analysis, information with inspiration, and logic with imagination. His own sensitivity to the struggle which is the poetic process brings a new consciousness to the poetics of poetry.Virginia A. La CharitéUniversity of KentuckyCopyright © 1995 The Johns Hopkins University Press... (shrink)

This paper explores space as a core source of aesthetic pleasure in various codes of football. The paper begins by applying Kant’s distinction between the agreeable and the pleasurable to sport, arguing that the appreciation of sport entails more than just excitement. Pleasure comes from an appreciation of the rules, strategies and history of the game. The significance of the rules of various codes of football in articulating our experience of space will be taken as fundamental to such appreciation. Drawing (...) on the phenomenology of Merleau-Ponty and the ‘topoanalysis’ of Gaston Bachelard, it will be argued that the aesthetic appreciation of football lies, not simply in recognising the complexity and subtlety of the movement of players and ball about the pitch, but more significantly in the creative and poetic imagination that the player embodies, and the striving of the player to create places within the course of play within which they can exercise their own competence as a player, and inhibit the competence of their opponents. A poetics of football is suggested to lie in the response that poetry and reverie about football can make through the metaphorical articulation and explication of the player’s embodied imagination and their experience of the game. (shrink)

Like many North African, Francophone, and world writers whose lives span the historic divide of independence from colonialism, Abdelkébir Khatibi’s work focuses in large part upon the idea of encounter, or, in French, “rencontre.” In this paper I focus upon the figure of the orphan in La mémoire tatouée and Le lutteur de classe à la manière taoïste, two of his earliest texts. By focusing upon the orphan as a multivalent term, and by following Khatibi’s emphasis upon language, literature, and (...) even life itself as a game or experiment, we can see how Khatibi creates an ethics of encounter that derives its meaning from recuperating a negatively connotated word and transforming it into a term of positive value. With the term “orphan,” he shows how through encountering the Other, by extending beyond into the unknown, by exceeding the circumscriptions of ancestry, identity, and national culture, the individual rises into a new status of free living. Moreover, it is equally through the practice of writing that life redounds with life; writing for Khatibi is never a mimetic representation of life per se but a space for experimenting, for discovery, and for exceeding the parochial nature of an individual’s physical placement in the world. In this sense, the orphan status of his writing shows itself through his aggressively restless, polyphonic, and ageneric writing that uses the localization of genre only as a hinge to push against in the quest to articulate a new relation to the world. (shrink)

Representations of urban youth and its cultures of display have become an increasing focus of attention for contemporary cinema. The film La Haine received critical acclaim for its raw depiction of `ghetto life' for alienated `minority' youth in France. In this article, we use this text as a way of exploring the cultural politics of such filmic practices. La Haine's aesthetic strategies of an affective `hyper-realism' and postmodern authenticity are scrutinized for their racialized politics of representation. The discussion focuses on (...) the film's reflexive presentation of racialized youth and their musical cultures. We argue that while the film lucidly captures the intensity of an urban existence, its aesthetic strategies and self-reflexivity belie a deeper unacknowledged ethico-political relation to racialized Otherness. (shrink)

Doris Lessing is a writer for all times; she is a historiographer and a transnational translational mediator between the East and the West. This volume provides a collection of articles analysing Doris Lessing's literature. The first part, entitled "Lessing's World of Words", offers a broad vision of the writer's novels; it introduces her many genres and sheds light on her literary affiliations. This is followed by "Lessing's Other Spaces", which dives into the novelist's imaginary and spiritual universes. The final part, (...) "Intersections: Lessing and Other Writers" establishes an analogy between Lessing's texts and Ahlem Mustaghanemi's Memory in the Flesh, Atiq Rahimi's Earth and Ashes and Salman Rushdie's Shame. (shrink)

The paper, which compares Plato and Aristotle's different approaches towards artistic activity, is divided into three parts. The first part discusses Plato's Ion on mimesis and technē, as well as the role that poetry plays in the Republic. The second section offers an account of Aristotle's idea of happiness as the end of action. The last section of this study deals with an attempt to reconcile Plato and Aristotle's attitude towards mimetic art in a treatise by a Neoplatonic renaissance thinker, (...) Torquato Tasso. El artículo compara las concepciones de actividad artística en Platón y Aristóteles y se divide en tres partes. En la primera, se discuten la mimesis y la technē en el Ion de Platón, así como el papel de la poesía en la República. En la segunda, se hace un recuento de la idea de felicidad de Aristóteles como fin de la acción. En la última se discute el intento de reconciliación de las posiciones de Platón y Aristóteles reali-zado por el pensador neoplatónico renacentista, Torquato Tasso. (shrink)

En replaçant les travaux de Philippe Walter dans les cadres historique et théorique des analyses bachelardiennes et durandiennes sur l’imaginaire, Blanca Solares met en évidence les apports spécifiques de ses thèses, tant du point de vue méthodologique que du point de vue idéologique. Cette entreprise de reconstruction des présupposés conceptuels de Philippe Walter permet de souligner l’importance d’une réévaluation en profondeur d’un imaginaire médiéval trop souvent compris à l’aune d’une conception simplificatrice de la christianisation, tout en montrant la nécessité d’une (...) approche nuancée et renouvelée des sources traditionnelles. By putting the work of Philippe Walter in the historical and theoretical contexts of the Bachelard and Durand’s analysis on the imaginary, Blanca Solares highlights the specific contributions of his theses, both from methodological and ideological points of view. This reconstruction effort on the conceptual presuppositions of Philippe Walter serves to accentuate the importance of a thorough revaluation of a medieval imaginary too often understood, at the beginning of a simplified design to the Christianization, while showing the need for a nuanced and renewed approach to traditional sources. Al situar las investigaciones de Philippe Walter dentro del marco histórico-teórico de los análisis de Bachelard y Durand sobre el imaginario, Blanca Solares evidencia sus aportes específicos, tanto metodológicos como ideológicos. Esta labor de reconstrucción de los fundamentos conceptuales de Philippe Walter muestra cuánto importa cambiar el enfoque al imaginario medieval empobrecido por unas aproximaciones a la cristianización demasiado simplificadoras y justifica plenamente una aproximación renovada y fina a las fuentes tradicionales. (shrink)

Italian philosopher Giorgio Agamben is the rare writer whose ideas and works have a broad appeal across many fields, and his devoted fans are not just philosophers, but readers of political and legal theory, sociology, and literary criticism as well. Agamben’s intuition and meditation are fascinating, and not least when he turns his critical eye to the mysteries and contradictions of early religion. _The Unspeakable Girl: The Myth and Mystery of Kore_ is a book of three richly detailed treatments of (...) the myth of Kore. Kore, also called Persephone, and referred to poetically by the Greeks as “the unspeakable girl,” was the daughter of Demeter and Zeus who was abducted by Hades and made queen of the netherworld. Kore and her story gave rise to a mysterious cult at Eleusis, the site of the well where Demeter mourned her lost daughter. This book opens with an innovative and insightful essay that focuses on the mysterious indeterminacy of the figure of Kore/Persephone—at once a woman and a girl, a virgin and a mother—as well as the attendant divisions of speech and silence, the sacred and the profane, the animal and the human, and the mortal and the divine. Here, tracing these dichotomies, Agamben is in top form, able to articulate paradoxes that in another writer’s hands might be ineffable. In the second and third parts of the book the reader is treated to a series of beautiful paintings by acclaimed artist Monica Ferrando, as well as her translation of crucial Greek and Latin source materials. As a whole, _The Unspeakable Girl_ will not only be welcomed by Agamben’s many readers across the disciplines, but also by enthusiasts of classical mythology in general. (shrink)

En el artículo analizo los imaginarios etílicos elaborados en Oda al vino de Pablo Neruda y Borrachos dionisíacos de Pablo de Rokha. A modo de hipótesis, propongo que ambos textos constituyen una defensa o apología del alcohol y sus efectos embriagadores, donde la valoración del consumo etílico se vincula con la idea de masculinidad a la que adscriben las voces poéticas. Desde esta perspectiva, postulo también que ambos textos configuran una poética de la embriaguez, que se inscribe en la tradición (...) de poetas que desde la Antigüedad hasta la Modernidad han cantado las bondades del alcohol y sus efectos. In this article, I analyze the alcoholic imaginaries elaborated in Oda al vino by Pablo Neruda and Borrachos dionisíacos by Pablo de Rokha. As a hypothesis, I propose that both texts are a defense or apology of alcohol and drunkenness, where the worth of alcohol consumption is closely connected with the idea of masculinity postulated by poetic voices. In this sense, I also propose that both texts configure a poetic of drunkenness, which belongs to the tradition of poets who have sung the virtues of alcohol and its effects from Antiquity to Modernity. (shrink)

One possible way of tracing the history of fantastic forms in Western culture is to link it to the adventure of bodies that encounter radical alterity, which may appear in the guise of something purely external, or as the externalized expression of an intimate experience that has become terrifying, unbearable, and schizoid.1The fantastic represents a privileged realm of imagination for contemplating a corporeal history of different forms of violence. It constitutes the exemplary locus of a negative reverie on the frightening (...) and fantasized alterities and otherworldliness of the flesh. That is true not only due to its imaginary realm of metamorphosis, transformation, and mutation, but... (shrink)

Este texto se propõe perspectivar a agência humana no entorno do ato de grafar, ou seja, trata das relações e suas tensões entre as percepções do real e de sua inscrição no tempo-espaço, com ênfase à escrita. Dimensiona essa questão circunscrevendo certa noção de um corpo em jogo no mundo, no qual nota e anota o que percebe, via uma Poética da Notação Esquizográfica. Passa, por conseguinte, a perspectivar tal noção de corpo a partir da ideia de um indivíduo que, (...) em Deleuze, é colocada em questão nos termos de um eu passível, ou um ante-eu, como condição para determinações diferenciais dos e nos encontros: sob esse ante-eu, todavia, se impõe um Eu pessoal. Um corpo é, então, considerado como composto por singularidades em movimentos contínuos, variações nas quais irrompem individuações – individualidades dotadas de forças pré-individuais inerentes aos corpos. O problema é colocado a partir da ideia, presente em Barthes, de que uma logosfera nos envolve, e que precisamos, portanto, sacudi-la, pois se trata de um dado do nosso sujeito centrado: pôr em jogo, assim, o que, em nossa individualidade, constitui o Eu pessoal, que condiciona os movimentos da representação, via recognição. Com efeito, é um jogo com a linguagem, tomando-a, com Deleuze e Guattari, como incorpóreos que se expressam dos corpos. Trata-se de ponderar que o mundo, após pensado, só pode ser perspectivado nesses termos, com o pensamento e a linguagem. Destarte, o jogo que propomos – e seus efeitos sobre a educação –é condicionado, com Baudrillard, por uma impostura radical, que passa a lidar com o real, via certa Poética da Notação Esquizográfica. Palavras-chave: Poética. Jogo. Corpo. Pensamento. Linguagem. (shrink)

This paper examines Bohdan Boichuk’s poetry by looking into the role his childhood memories played in forming his poetic imagination. Displaced by World War II, the poet displays a unique capacity to transcend his traumatic experiences by engaging in creative writing. Eyewitnessing war atrocities perpetrated by the Nazis does not destroy his belief in the healing power of poetry; on the contrary, it makes him appreciate poetry as the only existentially worthy enterprise. Invoking Gaston Bachelard’s classic work The Poetics (...) of Reveries: Childhood, Language, and the Cosmos, I argue that Boichuk’s vivid childhood memories, however painful they might be, helped him poetically recreate and reimagine fateful moments of his migrant life. (shrink)

Resumen: En el siguiente análisis intentamos, por una parte, contextualizar la loa El divino Narciso de sor Juana Inés de Cruz dentro de los paradigmas estéticos y culturales de su época. Y por otra, reactualizar la lectura crítica de ella desde la perspectiva de una retórica o poética subalterna, entendiendo esto último como la deconstrucción literaria y su posterior reorganización de las significaciones que justificaron el colonialismo. Lo anterior tiene por finalidad dar cuenta cómo, mediante la manipulación precisa de los (...) códigos hegemónicos, se logra invertir los contenidos simbólicos de una de las representaciones más tempranas y persistentes del continente americano: la figura América-mujer, imagen que naturalizó y justificó su alteridad.: In the following analysis, we tried first to contextualize La loa El Divino Narciso from Sor Juana Inés de la Cruz within esthetical and cultural paradigms of her time. Then, we tried to update her critical reading from the perspective of a subordinate rhetoric or poetics. We understand it as the literary deconstruction and subsequent reorganization of the meanings that justified colonialism. This approach has the purpose of accounting for the way in which accurate manipulation of hegemonic codes makes it possible to reverse the symbolic contents of one of the earliest and most persistent representations of the American continent: the America-woman figure. This image naturalized and justified its otherness. (shrink)

Nicolas Malebranche looks at the phenomena of imaginative contagion up to the point of madness, as in the case of the visions of sorcerers and werewolves. Although Malebranche relies on a psycho-physiological description, it becomes obvious that the responsibility for such contagions is not to be attributed to those who were expected to be the cause, that is would-be sorcerers, but to those who picked up on their deeds and gave them some importance. It is therefore the material conditions of (...) these stories and the use made by them of the social and intellectual authorities that should be underlined. In the final analysis, the Malebranchian reflexion on imaginative contagion is a critique of the writers of such stories and of the anxiety they may produce in their readers' minds. At this point, the general explanatory schema according to which a contagion is due to the action of a strong imagination upon a weaker one is no longer relevant. For as regards the writer, given that he is impressed by the visionary's tales and has himself a strong imagination, this makes him all the more responsible for what he writes. (shrink)

What is it about the nature of "soul" that makes it so difficult to adequately capture its complexity in a strictly discursive account? Why do some of the most profound human experiences elude our attempts to theorize them? How can a written document do justice to the dynamic activity of thinking, as opposed to merely presenting a collection of thoughts-as-artifacts? Finally, what can we learn about the activity of philosophizing, and about the human soul, by reflecting on the possibilities and (...) limitations of writing? These concerns, in various forms and in different registers, have preoccupied Michael Davis throughout his distinguished career. This volume is in honor of, and in dialogue with, Davis's work, which spans ancient philosophy and literature, continental philosophy and political philosophy. It includes original essays by numerous distinguished scholars in the fields of philosophy and political science. The remarkable range and caliber of the contributions attest to the breadth and depth of Davis's influence. The essays in Part I of the volume explore the nature of soul through the lens of tragedy. Part II consists of three essays that explore the human longing for perfect knowledge and completion--and the obstacles to the fulfilment of that longing--in relation to the divine. In Part III, the essays address the distinctive challenges of the political sphere and philosophy's relation to it. And while the relationship between philosophy and poetry is an implicit theme throughout the volume, the essays in Part IV focus directly on philosophy's aestheticizing tendencies. Many different philosophical and literary works are discussed throughout these chapters, including ancient works such as Plato's Republic, Euthydemus and Laws, Homer's Iliad, and Euripides' Trojan Women, as well as works by modern philosophers such as Rousseau, Kant, Hegel, Kierkegaard and Nietzsche. In addition, three essays analyze some of Shakespeare's plays in relation to the thought of Plato and Machiavelli. All of the essays are thematically linked by a common thread as they attend to the poetic dimension of philosophical thinking. Michael Davis is Professor of Philosophy at Sarah Lawrence College, where he has taught since 1977 and has been the Sarah Yates Exley Chair in Teaching Excellence (2003-2005). He has also taught on the graduate faculty at Fordham University and the New School for Social Research. He is the author of numerous articles and books, which include: Ancient Tragedy and the Origins of Modern Science; The Poetry of Philosophy: On Aristotle's Poetics; The Politics of Philosophy: A Commentary on Aristotle's Politics; The Autobiography of Philosophy; Rousseau's The Reveries of the Solitary Walker; Wonderlust: Ruminations on Liberal Education; and The Soul of the Greeks: An Inquiry. He is also co-translator (with Seth Benardete) of Aristotle's On Poetics. Contributors include: Abraham Anderson, Jonathan Badger, Robert Berman, Ronna Burger, Kenneth DeLuca, Gwenda-lin Grewal, Scott Hemmenway, Paul Kirkland, Mary Nichols, Denise Schaeffer, Paul Stern, Richard Velkley, Lisa Pace Vetter, Ann Ward, Lee Ward, Catherine Zuckert and Michael Zuckert. About the Editor: Denise Schaeffer is Professor of Political Science at the College of the Holy Cross. She is the author of Rousseau on Education, Freedom and Judgment and contributing co-editor (with Christopher Dustin) of Socratic Philosophy and Its Others. She is co-editor (with Gregory McBrayer and Mary P. Nichols) of the Focus Philosophical Library edition of Plato's Euthydemus, for which she authored the Introduction and co-authored the Interpretive Essay. (shrink)

Resumen En la crítica del Cantar de los Cantares no hay acuerdo acerca del problema estructural del libro. Las teorías se dividen en aquellas que abogan por un carácter fragmentario contra otras que ven un carácter unitario de los poemas. El estudio intenta revisar esta problemática y proponer que el Cantar de los Cantares es una colección de poemas sueltos que un redactor/recopilador juntó e intentó poner en cierto orden, incorporando el conjuro de 2,7; 3,5; 5,8; 8,4 como estribillo con (...) función articuladora, de tal manera que el conjuro quedó puesto como hito divisorio entre grandes bloques poéticos que se relacionan entre sí por un tema común u otro recurso de mano redaccional, configurando así un ordenamiento estructural de todo el libro.In the criticism of the Song of Songs there is no agreement on the structural problem of the book. Theories are divided into those advocating a fragmentary against others who see a unitary character of poems. The study attempts to revise this problems and propose that the Song of Songs is a loose collection of poems that a compiler gathered and tried to give some order, incorporating the adjuration of 2, 7; 3,5; 5,8; 8,4 as refrain with articulate function, such that the adjuration was set as milestone dividing between large blocks poetic that interrelate by a common theme or other resource or literary technique thus configuring a structural arrangement of the whole book. (shrink)

Resumen: Esta investigación busca dar cuenta de los espacios que habitan los personajes del cuento Alegres, libres y ruidosas de Pedro Juan Gutiérrez. Mediante los detalles que nos entrega el narrador, revisaremos los “operadores tonales”, estableciendo los enunciados descriptivos y los detalles inherentes a ellos, en cuanto a la composición de los personajes, así como el tipo de espacio en que se realizan, construyendo una identidad transgresora bajo la perspectiva de la poética de lo soez. En este sentido, los personajes (...) serán “máquinas deseantes” que irrumpen en la realidad con un flujo sistemático de líquidos descompuestos que arrastran residuos políticos, éticos y estéticos presentes en la Cuba contemporánea. Así, podríamos hablar de un sexo eminentemente político que no se presenta denotativamente en el cuento sino en las metáforas construidas por aquellos operadores que fijan el “tono” del relato. Por último, postulamos que los detalles funcionan como “pistas” de una historia secreta que funciona bajo la historia visible que se narra en el cuento.: This research seeks to explain the spaces inhabited by characters from the story Alegres, libres y ruidosas by Pedro Juan Gutiérrez. Thoughout the details provided by the narrator, we will review “tone operators”, determining their descriptive and inherent statements, concerning characters, the space in which they are realized by building a transgressor identity under the view poetics of the vulgar. In this sense, the characters are "desiring machines" that burst into reality with a systematic flow of decomposed liquids that drag political, ethical and aesthetic residues present in contemporary Cuba. Thus, we could speak of an eminently political sex that does not occur denotatively in the story but in the metaphors constructed by those operators who fix the "tone" of the story. Finally, we postulate that the details function as "clues" of a secret story that works under the visible story told in the tale. (shrink)

Resumen: En este trabajo se intenta demostrar que en el corpus poético de Enrique Lihn el sujeto de la enunciación recorre el itinerario instaurado por la poesía moderna con el que se accede al origen polisémico del lenguaje y finalmente al blanqueamiento semántico que confiere la nada mortal (Blanchot). Dicho recorrido es motivado por el desamor que conduce al hablante a la muerte donde obtiene el secreto de la poesía como un lenguaje decodificado. Esta decodificación genera un no-ser, un sujeto (...) inicialmente precario y desterrado de sí mismo que luego se ve empoderado en la materialidad de su lenguaje. Un lenguaje tanatológico que reingresa a la vida por medio del discurso poético y resemantiza el más allá bajo la óptica de una muerte intravital (Jankélévitch). Abstract: This article attempts to demonstrate that in Enrique Lihn's poetic selected corpus the subject of enunciation travels the itinerary established by modern poetry by virtue of which there is an access to the polysemic origin of language and finally to the semantic whitening that mortal nothingness confers (Blanchot). This journey is motivated by a romantic heartbreaking experience that leads the speaker to death where he obtains the secret of poetry as a decoded language. This decoding generates a non-being, an initially precarious subject and exiled from himself, who is later empowered by the materiality of his language. A thanatological language that re-enters life through poetic discourse and resemanticizes the afterlife under the perspective of an intravital death (Jankélévitch). (shrink)

Resumen La relación que siempre ha existido entre la filosofía y el lenguaje es una zona que nos interesa explorar. La imagen de la metáfora como figura que se contextualiza en este ensayo, tiene como presupuesto el origen occidental del acto especular y la concurrencia que lo metafórico ha tenido en este tan particular período del pensamiento. -/- Lo metafórico, entonces, se convierte en el nudo gordiano que se comienza a develar en tanto esta problematización hace aparición en el texto (...) poético como fuente genera triz de lo que posteriormente será el discurso filosófico occidental, que en su lectura fundacional atisba el caos pero cae con posterioridad en un irreversible proceso de secularización en el cual la metáfora también jugó y juega hasta hoy un muy importante desempeño. -/- Abstract The relationships that there has always been between philosophy and language is a zone we are interested in exploring from the image of the metaphor as a figure which it is contextualized in this essay having its basis on the western origin of the speculative act and the repetitiveness that the metaphoric has had in that particular period of thought. -/- The metaphoric then become the gorgian node which start to reveal as this puzzle appears in the poetic text as a generative source of the following philosophical western discourse which in its foundational reading views the chaos but it falls later in a irreversible process of secularization in which the metaphor also played and play until today an important execution. (shrink)

Resumen: Este artículo intenta visibilizar algunos aspectos del rol fundacional de la narrativa de Juan Emar en las letras nacionales, en particular, su fecundo diálogo con la antipoesía de Parra. Se propone que tanto en Miltín 1934 de Emar como en la Antipoesía de Parra asistimos a la práctica de una carnavalización del motivo de lo divino-sublime. En esta dirección, ambas poéticas vanguardistas modulan en el espacio hispanoamericano una de las aristas del “proyecto inconcluso de la modernidad” : la muerte (...) nietzscheana de Dios y de su espacio simbólico; connotado por el tópico de la música de las esferas. Tópico que en ambos autores se da en el marco de un cuestionamiento a una estética de lo sublime que predominaba en la crítica de la época.: This article attempts to draw attention to the foundational role of the literary production of Juan Emar in the national letters, in particular, its fruitful dialogue with the antipoesía de Parra. It is proposed that both in Miltín 1934 and the Antipoesía de Parra we attend the practice of carnivalization of the divine-sublime. In this direction, both avant-garde poetics modulate one of the edges the “unfinished project of modernity” : the simbolic death of God and the simbolic space; connotated by the topico of the spheres music. Topico that in both authors is given in a questioning of a critique of an aesthetic of the sublime; that prevailed in criticism of that period. (shrink)

Resumen: Este trabajo propone una aproximación a tres obras centrales de la poesía latinoamericana: Trilce, Altazor y En la masmédula, tomando como base la confrontación entre las limitaciones que el lenguaje necesariamente impone y la voluntad radicalmente transgresora que estos textos exhiben. En particular, el trabajo explora la tensión entre la tendencia del lenguaje a fragmentar la realidad mediante conceptos y la aspiración a la unidad -la superación de toda fragmentación- que denotan los procesos verbales desplegados en estas obras. Para (...) profundizar el análisis, se propone un diálogo entre el lenguaje poético y el pictórico, tomando como referencia los planteamientos teóricos de Piet Mondrian y su visión acerca de la relación entre lo “individual” y lo “universal”.: This article presents an approach to three masterpieces of Latin American poetry: Trilce, Altazor, and En la masmédula, based on the confrontation between the limitations that language necessarily entails and the rule-breaking attitude that these poetical works display. Specifically, this study explores the tension between the tendency to divide reality into segments inherent in language and the quest of unity -the cancellation of any kind of segmentation- that underlies verbal processes in Trilce, Altazor, and En la masmédula. In order to deepen the analysis, this work poses a significant connection between poetical and pictorial language, taking as reference Piet Mondrian’s theoretical contributions about the relationship between “individual” and “universal” forms. (shrink)

Lévinas believed that Blanchot identified artistic inspiration with his understanding of the il y a, that is, an inauthentic attitude toward life and the Other. Lévinas, who tried to overcome the neutrality of the il y a, criticised Blanchot’s desire to establish ethics as a prima philosophia. Lévinas asked himself in what way the artwork could give access to the ethical, which is why he explored the relationship between expression and responsibility. He concluded that poetic speaking was excluded from his (...) understanding of ethical language. Therefore, Lévinas was against poetic activity, in ethical terms, because poetic activity (dis)possessed the subject/artist in such a way that the creator was not able to control his writing, which converted art into the worst kind of irresponsibility. This paper will focus on Lévinas’ first aesthetic period, and on the ideas collected in the essay La Réalité et son ombre, published in 1948. (shrink)

In their brief online presentation "Qu'est-ce que l'Oulipo?", Jacques Roubaud and Marcel Bénabou explain how Oulipians proceed in the exploration of the lipo, littérature potentielle: "Certes, MAIS COMMENT?", they ask, before replying: "En inventant des contraintes. Des contraintes nouvelles et anciennes, difficiles et moins diiffficiles et trop diiffiiciiiles. La Littérature Oulipienne est une LITTÉRATURE SOUS CONTRAINTES." The vigorous tone conveyed by spelling and typography points to the distinct challenge posed by Oulipian writing, which relies on the difficulty of the constraint (...) in its effort to reach as far as possible into the uncharted territory of potential literature.... (shrink)

Resumen: Propongo una lectura de los relatos eróticos de Di Giorgio, según este, el hibridismo genérico textual y sexual ampliamente reconocido por la crítica, así como la recurrencia de transformaciones y metamorfosis a impulsos de un deseo que cancela las fronteras entre lo humano, lo animal, lo vegetal y lo material, realiza una profunda crítica epistemológica a la racionalidad moderna, andro y antropocéntrica, y su forma de concebir identidad y diferencia. El eje de esta ruptura epistemológica es la desarticulación de (...) las estructuras binarias sexo/género y Naturaleza/Cultura, que disloca la alineación de cuerpo-género-deseo y la oposición clásica bios/zoé, bases fundamentales de los órdenes políticos y simbólicos de Occidente.: I propose a reading of Di Giorgio's erotic stories according to which generic textual and sexual hybridism widely recognized by critics, as well as the recurrence of transformations and metamorphosis at the urging of a desire that cancels the boundaries between the human, animal, vegetable and material, he makes a deep epistemological critique of modern rationality, andro and anthropocentric, and his way of conceiving identity and difference. The axis of this epistemological rupture is the disarticulation of the sex/gender and nature/culture binary structures, which dislocate the alignment of body-gender-desire and the classic bios/zoé opposition, fundamental bases of the political and symbolic orders of the West. (shrink)

Poetics and politics: these two key words are the names of the two main axes of Jacques Taminiaux’s work as a whole. They are also the title of the first chapter of his Maillons herméneutiques of 2009. In that work, he goes through a chain of 14 “links” to show that each of them consists in “cross-checkings” of different interpretive designs, all of which have to do, in a more or less direct manner, of this intercrossing of art and (...) politics which, ever since his first book, has been central to his thought. As he himself recalls, the analysis of such “cross-checkings” was already the focus of his first book, La nostalgie de la Grèce à l’aube de l’idéalisme allemand. In this book, in which Taminiaux shows how ancient Greece became an indispensable reference for German thinkers at the end of the eighteenth century, Taminiaux demonstrates how Hölderlin and Hegel, in their respective itineraries of thought, were profoundly influenced by Schiller’s nostalgia for Greece, as expressed in Schiller’s famous poem of 1788 about Die Götter Griechenlandes, The Gods of Greece. (shrink)

This paper aims to trace the evolution of Bachelard's thought as he gropes toward a concrete formulation of a philosophy of the imagination. Reverie, the creative daydream, occupies the central position in Bachelard's emerging metaphysic, which becomes increasingly “phenomenological” in a manner reminiscent of Husserl. This means that although Bachelard does not use Husserlian terms, he appropriates the following features of (Husserlian) phenomenology: 1. a desire to “embracket” the initial (rationalistic) impulse; and 2. an aspiration to apprehend in its entirety, (...) the creative epiphany of an image. Ultimately, this paper aims to show that there is a sense in which Bachelard's metaphysical concerns in his poetics are an outgrowth of (rather than radical break from) his earlier scientific and epistemological concerns. What results in reverie is an aesthetic intentionality providing a metaphysic of the imagination: the aesthetic object, such as fire or water, is an object only insofar as it enables/calls forth a subject to enter into a receptive, self-aware and cosmic state of being; subject-ness and object-ness are intimately and archetypally intertwined. Bachelard's “new poetics” results from his transplantation/cross-fertilization of the general epistemology of the “new scientific spirit” on to/across his aesthetics. (shrink)

Merleau-Ponty characterizes the poetic or literary use of language as bringing forth of sense as if it is a being that is an interlocutor with its readers. Sense will be explored as interwoven with a deeper imagination that works within the temporality of institution to become more fully manifest. Throughout the essay will be seen the overlap with Claudel’s ontology as expressed in L’Art poetique and Claudel’s approach to language. Why Merleau-Ponty’s articulation of embodiment and perception must culminate in the (...) poetic expression of the flesh ontology will be seen in: 1) how the phenomenology of sense leads to the flesh ontology as closely tied to the literary dimension of language, 2) that the analysis of sense leads to the vital importance of the physiognomic or vertical imagination as opening the latent depths of perception by its expression within poetic language, and also tracing the link between metaphor and the flesh ontology, and that 3) the expression of the latent sense of perception as the interplay of lateral relations as access to Being is the reversibility of the flesh, also articulated by Claudel as co-naissance, and calls for an “interrogative knowing,” a “question-savior.” The articulation of the texture of Being is an overlapping endeavor with Claudel as the poetic articulation of a stream of sense below our reflective life.Merleau-Ponty caractérise l’usage poétique ou littéraire du langage, en tant que producteur de sens, comme s’il s’agissait d’un être qui est un interlocuteur pour ses lecteurs. Le sens sera exploré comme entrelacé à une imagination plus profonde qui opère dans la temporalité de l’institution pour devenir pleinement manifeste. Dans cet article nous étudierons l’empiètement avec l’ontologie de Claudel telle qu’elle est exprimée dans l’Art poétique et avec l’approche de Claudel au langage. Les raisons pour lesquelles l’articulation merleau-pontienne de l’incorporation et de la perception doit aboutir à l’expression poétique de l’ontologie de la chair seront alors recherchées : 1) dans la manière dont la phénoménologie du sens conduit à une ontologie de la chair si étroitement liée à la dimension littéraire du langage ; 2) dans le fait que l’analyse du sens conduit à l’importance vitale d’une imagination physionomique ou verticale qui ouvrirait les profondeurs latentes de la perception par son expression dans le langage poétique, et aussi en traçant le lien entre la métaphore et l’ontologie de la chair, et 3) dans le fait que l’expression du sens latent de la perception, tout comme l’interaction des relations latérales et comme l’accès à l’Être, consiste dans la réversibilité de la chair, aussi décrite par Claudel comme co-naissance, et qui invite à une « connaissance interrogative », à une « question-savoir ». Ainsi, la tentative d’articuler la texture de l’Être s’entrecroise avec les réflexions de Claudel, comme l’articulation poétique d’un flux de sens au-dessous de nos vies réflexives.Merleau-Ponty caratterizza la poetica o l’uso letterario del linguaggio come portatore di senso, come se si trattasse di un essere che interloquisce con i suoi lettori. Il senso verrà esplorato come intrecciato con un’immaginazione più profonda che opera nella temporalità dell’istituzione per diventare pienamente manifesta. In questo articolo si esaminerà la sovrapposizione tra l’ontologia di Claudel, espressa nell’Arte poetica, e il suo approccio al linguaggio. Al fine di evidenziare i motivi che portano l’articolazione merleau-pontiana dell’essere incarnato e della percezione a culminare nell’espressione poetica dell’ontologia della carne si vedrà: 1) come la fenomenologia del senso conduca all’ontologia della carne in quanto strettamente legata alla dimensione letteraria del linguaggio ; 2) che le analisi del senso conducono all’importanza vitale della fisiognomica o dell’immaginazione verticale in quanto schiudenti le profondità nascoste della percezione, attraverso la sua espressione all’interno del linguaggio poetico e rintracciando, altresì, il legame tra la metafora e l’ontologia della carne; 3) che l’espressione del senso latente della percezione, sia come intreccio di relazioni laterali sia come accesso all’Essere, è la reversibilità della carne, che Claudel articola attraverso la nozione di co-naissance, ed esige un “sapere interrogativo”, un “sapere domandante”. Così il tentativo di articolare la trama dell’Essere si sovrappone all’articolazione poetica in Claudel di un flusso di senso che sottende la nostra vita riflessiva. (shrink)

In the preface to a slender volume entitled La communauté affrontée, philosopher Jean-Luc Nancy writes: “The present state of the world is not a war of civilizations. It is a civil war: it is the internecine war of a city, of a civility, of a citizenry [citadinité] that are being deployed up until the limits of this world, and because of this, up until the extremity of their own concepts” . Globalization, or the limitless expansion of the West driven by (...) totalizing notions such as “History, Science, Capital, Man and/or their Nothingness” reaches a point where such concepts must of necessity break apart, where “a distended figure bursts, [and] a chasm appears” . This chasm signals a rent in the supposedly .. (shrink)