"Collects Martin Heidegger's pivotal writings on art, its role in human life and culture, and its relationship to thinking and truth"--Publisher description.

In the recent article Poetry , Language and Communication by Bernard Mayo, the author, intending to establish new distinctions between poetry and other uses of language, has overshot the mark, and arrived at a completely obscurantist view of poetry.

There is a wide gap, at any rate in the English-speaking world, between the people whose business it is to talk about the nature of poetry and those who are concerned with the critical analysis of language. Although both subjects are legitimate topics for philosophical discussion, there are few philosophers who combine a deep and effective interest in aesthetics with a concern in the problems of linguistic analysis. The analytical philosopher is only too ready to relegate poetry (...) to the field of “emotive” meaning; and, although “emotive” is a convenient term for marking off aspects of meaning with which the scientist is not concerned, it is also a means for keeping questions closed which ought to be opened. For it conceals the enormous differences which exist between various nonscientific uses of language. It does this behind an implicit suggestion that, since “emotions” are the province of the psychologist, any sort of inquiry into these uses of language will be merely a psychological inquiry. Poetry, of course, falls into this category of non-scientific uses of language, and a few psycho-analysts have accepted the commitment to discuss it; but on the whole its discussion is left to a very small band of aestheticians and a very large fraternity of literary critics. (shrink)

This essay explores the ontological movement of poetry, its language and words, by establishing a dialogue with the thought of three Japanese thinkers, Ki no Tsurayuki, Motoori Norinaga and Fujitani Mitsue, and the German philosopher Martin Heidegger. The overall purpose, as we progress from one to the other, is to present, explore and disclose a horizon where poetry gradually becomes the locus of a philosophy of language that places it at the genesis of mutual understanding, ethics (...) and, thus, of community. (shrink)

The present contribution to the continuing translation of the works of Heidegger into English under the editorship of J. Glenn Gray is one of the most valuable. The first-rate translation, preceded by an excellent Introduction, is by Albert Hofstadter, whose popular anthology, Philosophies of Art and Beauty, had included his translation of Heidegger's 1935 essay, "The Origin of the Work of Art." That essay, along with six other pieces, hitherto untranslated, make up the present volume--including the first essay of Unterwegs (...) zur Sprache, which was not included in the English translation, On the Way to Language. The volume also contains a translation of Heidegger's poem "Aus der Erfahrung des Denkens," under the title "The Thinker as Poet." Found here too are the two important essays "Building, Dwelling and Thinking," and "The Thing," which together represent the most important of Heidegger's all too brief but very suggestive treatments of the "world" as the "Foursome". Readers of Being and Time who consult these later essays will be surprised to discover what has come of the "world" in Heidegger's later thought, and in particular of the relationship of God to the world, a theme which was bracketed in Being and Time. As a whole this very valuable collection deals with the later Heidegger's highly aesthetic, highly poetic, view of Being and of Dasein's relationship to Being. These essays represent the final outcome of his use of the phenomenological method to approach Being; and they contain, if anything does, what Heidegger means by "overcoming metaphysics." If Heidegger's later thought is, as has been suggested, a Seinsmystik, it is no less a Seinsdichtung.--J. D. C. (shrink)

The general argument of this essay is that poetry is an everyday ambition and an everyday accomplishment. The evidence for this – a good bit of which I will amass enthusiastically in what follows – is everywhere in our language. I explore this according to three guiding intuitions: (i) people, at least some of the time, want to give their words a similar intensity or fullness and show the same skill in unleashing verbal power, as poets do – (...) seeking words that will carry their voices; (ii) people say things give me the same aesthetic bliss and ache of gratitude that poetry gives me; and (iii) there seems to be a poetic or aesthetic dimension to all of language, without which words would not have the significance for us that they do. I end the essay by saying why the poetry in our everyday speech complicates the relation between the ordinary and (different versions of) the extraordinary as other philosophers have imagined it. (shrink)

Avec les Sophistes, puis Platon et Aristote, les grands philosophes de l’Antiquité classique ont démontré un intérêt marqué pour la question du langage, que ce soit dans ses parties constitutives ou dans sa dimension pragmatique. En revanche, les traces d’une réflexion explicite remontant aux corpus archaïques sont, elles, plus diffuses. Dans le cadre de mon article, scindé en deux parties, je proposerai, tout d’abord, une présentation synthétique des fragments explicites d’Héraclite d’Éphèse – lesquels reposent sur le lexique du λόγος et (...) de l’ὄνομα –, avant que de plonger dans l’analyse détaillée de trois séquences implicites – à savoir B25, B48 et B121 –, ce afin de démontrer que, (1) d’une part, il existe, chez ce penseur archaïque, une perception plus ou moins aiguë des structures de la langue, que (2), d’autre part, celle-ci se déploie chez lui non pas en une réflexion autonome, mais au travers même de l’usage pratique qui en est fait et que (3), finalement, cette réflexion enclose dans son objet se révèle au moins aussi intéressante que celle reposant sur le vocabulaire précité. La lecture ciblée de ces séquences permettra de démontrer que, dans une époque antérieure aux grandes formalisations des philosophes et des grammairiens grecs, les structures éminemment complexes mises en place par le poète suggèrent, et parfois démontrent, une compréhension profonde de l’unité de la langue comme organe coordonné et des articulations qui la composent. (shrink)

The author attempts to encompass the self, or a self, that, while at some times appears to be his own, at other times not, thus encompassing and continually morphing. It is a mixture of poetry and prose.

Abstractabstract:Toni Morrison suggests that storytelling is a highly effective way of structuring knowledge, and that the harnessing of a clever allegory, the search for well-patterned language is a constant, provocative engagement with the contemporary world. This article considers the ways poetry, imagination, and well-patterned language are utilized in the philosophies of Ralph Waldo Emerson, Richard Rorty, and Leonard Harris. The author notes that there are apparent similarities between Rorty and Harris, but one should also notice that there (...) are significant differences in these two philosophical positions. The author ultimately argues that Harris's move toward poetry and well-patterned language is extremely powerful and needed if people wish to move beyond a well-established set of values and norms. Harris prods us to tell thought-provoking, engaging stories—to intricately tuck knowledge into allegory and well-patterned language—but do it without being an apologist for the prevailing bourgeois liberal democratic tradition. In this manner, the harnessing of metaphor and clever allegory, the creative engagement with poetry and well-patterned language (in philosophy) is a provocative means of engaging the oppression, dispossession, and immiseration of the contemporary world. (shrink)

This paper examines how Heidegger's view that language is poetry might provide a helpful way of understanding the nature of religious language. Poetry, according to Heidegger, is language in its purest form, in that it both reveals Being, whilst also showing the difference between word and thing. In poetry, Heidegger suggests, we come closest to the essence of language itself and encounter its strangeness and impermeability, and its revelatory character. What would be the (...) implications for viewing religious language in this way? Through examining Heidegger's view that poetry is the purest form of language, I suggest that it would also be possible to view religious language as poetry in this way, in that it also shows the transcendence of what cannot be brought to presence in language, except as concealed. Such a view of religious language does not regard it as a problematic type of language, deserving special treatment, but rather suggests that in religious language the inarticulable relationship between word and world is revealed. (shrink)

Bruns lucidly depicts the distinctions and convergences between these two lines of thought by examining the works of Mallarme, Flaubert, Joyce, Beckett, and ...

The paper discusses three theses in relation to poetry: the Inadequacy Thesis: language is inadequate to capture, portray, do justice to, the quality and intensity of the inner life; the Empathy Thesis: descriptions of certain kinds of experiences can only be understood by a person who has had similar experiences; the Poetic Thesis, which has two parts: only through poetry can we hope to overcome the problem of the Inadequacy Thesis and the difficulty of poetry is (...) at least partly explained by the Empathy Thesis. The paper argues that there are important truths underlying each thesis but that it would be wrong to connect this kernel of truth with a Lockean view of language, and in particular with a view of language as 'private', in the sense implied by Locke and criticized by Wittgenstein. The romantic conception of poetry, to which the theses are related, neither relies on the Lockean view nor does it succumb to the Wittgensteinian view. (shrink)

Resumen: En el presente ensayo se expone y discute la idea de que el lenguaje, más allá de ser un medio de comunicación, se manifiesta como poesía; esto en el sentido de que es en el lenguaje donde diariamente se configura el mundo con sentido humano. Poesía del lenguaje aparece como una expresión que busca dar cuenta de la energía creadora del lenguaje a la hora de instituir la realidad en la dimensión lingüística de esta. La discusión toma la forma (...) de comentarios y diálogo con tesis de pensadores como Heidegger, Saussure, Benjamin, Maturana, y de poetas como Novalis, Neruda, Huidobro, con el propósito de elucidar la dimensión poética del lenguaje y sus efectos prácticos y morales en la vida social.: In this essay we explain and discuss the idea that language, beyond its quality of being a means of communication, manifests itself as poetry; in the sense that it is in language where the daily configuration of a world with human meaning takes place. The poetry of language appears as an expression that thrives to explain the creative energy of language, as it institutes reality in its linguistic dimension. The discussion take shape in the form of comments on, and dialogue with, thinkers such as Heidegger, Saussure, Benjamin, Maturana, and with poets such as Novalis, Neruda, Huidobro, with the purpose of elucidating the poetic dimension of language and its practical and moral effects on social life. (shrink)

The human brain is divided into two hemispheres, right and left, that are joined by a thick ‘cable’ of neural fibres called the corpus callosum. It has long been observed that injury to the left hemisphere in the average adult damages speech, speech comprehension, and reading, and causes paralysis on the right side of the body. Injury to the right hemisphere, on the other hand, seems to leave linguistic capabilities intact, but causes paralysis on the left side of the body. (...) These observations have given rise to the twin concepts of contralaterality of hemispheric control and cognitive specialization of hemispheric function. As far back as the nineteenth century, it was recognized that the left hemisphere’s specialty was language. Pioneering British neurologist John Hughlings Jackson asserted in 1868 that the left hemisphere was the ‘leading side’ in most people, responsible for the control of speech and will. In the decade of the 1940s, French neurologist Henry Hecaen and British psychologist Oliver Zangwill demonstrated that the right hemisphere, far from being passive, controlled visuospatial processing. (shrink)

In _Poetry and Apocalypse_, Franke seeks to find the premises for dialogue between cultures, especially religious fundamentalisms—including Islamic fundamentalism—and modern Western secularism. He argues that in order to be genuinely open, dialogue needs to accept possibilities such as religious apocalypse in ways that can be best understood through the experience of poetry. Franke reads Christian epic and prophetic tradition as a secularization of religious revelation that preserves an understanding of the essentially apocalyptic character of truth and its disclosure in (...) history. The usually neglected negative theology that undergirds this apocalyptic tradition provides the key to a radically new view of apocalypse as at once religious and poetic. (shrink)

ABSTRACT Toni Morrison suggests that storytelling is a highly effective way of structuring knowledge, and that the harnessing of a clever allegory, the search for well-patterned language is a constant, provocative engagement with the contemporary world. This article considers the ways poetry, imagination, and well-patterned language are utilized in the philosophies of Ralph Waldo Emerson, Richard Rorty, and Leonard Harris. The author notes that there are apparent similarities between Rorty and Harris, but one should also notice that (...) there are significant differences in these two philosophical positions. The author ultimately argues that Harris’s move toward poetry and well-patterned language is extremely powerful and needed if people wish to move beyond a well-established set of values and norms. Harris prods us to tell thought-provoking, engaging stories—to intricately tuck knowledge into allegory and well-patterned language—but do it without being an apologist for the prevailing bourgeois liberal democratic tradition. In this manner, the harnessing of metaphor and clever allegory, the creative engagement with poetry and well-patterned language (in philosophy) is a provocative means of engaging the oppression, dispossession, and immiseration of the contemporary world. (shrink)

This book concerns the relationship between language and poetry in Heidegger's later writings. Gerald L. Bruns illuminates these difficult and strange writings by analyzing his style and form and by reflecting on the philosopher's insights.

Poetry holds an important place as part of our cultural heritage.1 However, despite poetry’s apparent cultural value, there have been surprisingly few attempts to articulate clearly how this should be reflected in the teaching curriculum in our schools and universities. As a consequence of this lack of clarity, the cultural value of poetry gives way to the increasing emphasis on providing instrumental justification for the teaching curriculum; including poetry in the curriculum is often justified in terms (...) of promoting transferable skills and knowledge such as problem solving, understanding and interpreting language, general creativity, widening vocabulary, identifying or “spotting” techniques, and learning... (shrink)