In lieu of an abstract, here is a brief excerpt of the content:The Impossible Sacrifice of Poetry: Bataille and the Nancian Critique of SacrificeElisabeth Arnould (bio)When, at the very center of his Inner Experience, Bataille arrives at what he calls the “uppermost extremity of non-meaning,” he stages for us one of the principal scenes of his “sacrifice of knowledge.” It depicts Rimbaud, turning his back on his works, making the ultimate and definitive sacrifice of poetry. This scene, (...) which complements two other representations of the “supplice” of the experience—the crucifixion of God and the oncoming madness of Hegel—rounds out the triple sacrificial vocation of an experience of nonknowledge, at once “a-theological,” “a-gnoseological,” and “a-poetological.” It extends to poetry and language the critical and sovereign imperative of an experience that can only be called “inner” insofar as it renounces truth, knowledge, and, ultimately, speech.What exactly, however, does this sacrificial renunciation of words represent for Bataille and why did he choose to load it with all the transgressive weight of the experience of nonknowledge (“non-savoir”)? Why place the self-sacrifice of poetry at the very center of a book that would be annulled by an immolation of speech? Indeed, why make this final “supplice”—a sacrifice of words performed and dedicated “to” “nothing”—into the core of the book’s interior rapture? Isn’t this figure of death and silence incurably equivocal? Does it not attribute the traditional traits of a “nothingness” to this “rapturous heart” of finitude that Bataille always wanted to designate as the “impossible” object of his experience? And is it not, therefore, condemned to appropriate, through this representation, the nonmeaning of a finitude that Bataille, far from conceptualizing as simple nothingness, usually prefers to designate ambiguously as “nonknowledge”?Such are the questions I shall address in reevaluating Bataille’s concept of sacrifice in light of Jean-Luc Nancy’s critique. In his article “The Unsacrificeable,” Nancy was the first to point out the problematic nature of the sacrificial model in Bataille’s conceptualization of finitude. According to Nancy, sacrifice, including the self-sacrifice of Rimbaud so important to Bataille, is the vehicle of an “ontotheological” appropriation. And it is through sacrifice that Bataille’s reflection on finitude attempts to domesticate death while claiming to abandon it to the aporetic enunciation of a “nonknowledge.”I shall thus examine the problematic figure of poetry’s self-sacrifice in order to expose, with Nancy, the equivocality of its conceptual appropriation. In light of Bataille’s multiple stagings and interpretations of this figure, however, I shall also attempt to demonstrate how his writing on and of sacrifice already contains the seeds of its own critique and attempts to exceed itself. Bataille did not simply want to reveal, in Rimbaud’s self-sacrifice, the inexpressible truth of finitude; he also wanted to denounce the comical lie of the sacrificial appropriation. And it is this double valence of the Rimbaldian self-sacrifice that I shall try to bring forth. [End Page 86]Before elucidating the meaning and function of this figure in the specific context of Inner Experience and questioning its possible duplicity, one must examine the general notion upon which it is modeled. Poetry’s self-sacrifice is the “consummate” form 1 of a sacrifice that we find in the form of stagings and commentaries in Bataille’s work. As is well known, the question of sacrifice has always occupied a central place in Bataille’s thought. He has not only studied this protean ethnological phenomenon we call “sacrifice” but has also wanted to give sacrifice, beyond traditional “ontotheological” interpretations and recent anthropological reconstructions, a meaning that far exceeds these restricted determinations. Sacrifice is not simply, for Bataille, a theoretical object. A paradigmatic manifestation of the sacred and its transgressions, it marks rather a limit to conceptualization and constitutes a stumbling block to thought. As such, it is, for Bataille—or, as he himself maintains, for all thought—the locus of an interruption. Cross-culturally, sacrifice delineates the limit thought comes up against when it faces what it cannot think.As the negation of our corporeal and intellectual limits, as the bloody excess that erupts before the fascinated eyes of a spectator, sacrifice “represents,” for... (shrink)

Although the poet, journalist, and critic Heinrich Heine has not received much attention among recent political theorists, his revolutionary poetry and criticism were foundational for many German thinkers who have become canonical and comprise a powerful theoretical and historical project in their own right. This essay revisits Heine’s Zur Geschichte der Religion und Philosophie in Deutschland, situating it within the broader arc of his poetry and prose works, to examine the unique mode of criticism he developed in response (...) to a sense of political impasse and paralysis in his moment. For Heine, this paralysis stemmed from the persistence of outmoded institutions in a revolutionary age, and the act of exposing it was the first step toward rebelling against and overcoming it. Heine thus developed a revolutionary notion of criticism that sought to lay bare and get beyond his moment. (shrink)

This essay will criticize Peter Lamarque’s claim in The Opacity of Narrative that reading for ‘opacity’ is the way to read literature as literature. I will summarize the idea of ‘opacity’ and consider the plausibility of this claim through an examination of Lamarque’s related comments on translation. The argument for ‘opacity’, although it insists on the importance of attention to a work’s form in the apprehension of its content, involves, at the same time, a certain obliviousness to form, indicated in (...) the first instance by an unpersuasive conflation of lyric poetry and prose fiction. Through a comparison of opposing approaches to the translation of a novel written in verse, and an analysis of why the translation of poetry is generally understood to be more challenging than the translation of prose, I will argue that reading for ‘opacity’ does not adequately capture what it means to read literature as literature. (shrink)

Strauss's critique of Heidegger's philosophy aims at a recovery of political philosophy, which he saw as threatened by Heidegger's radical historicism; for Strauss, philosophy as a whole could not survive without political philosophy, and his return to the classical tradition of political philosophy, while inspired by the work of Heidegger, was directed against what he saw as the nihilism that was its consequence. Here I wish to examine a dimension of Strauss's critique which, though hinted at, remains neglected (...) or unexplored by Strauss: that is, how the critique of Heideggarian historicism should naturally link with Strauss's frequent attention to the issue of the ancient 'quarrel between philosophy and poetry'. It has often been observed by other commentators that through Heidegger's work, philosophy appears liable to be supplanted by contemporary literature, whether poetry or philosophy. As some of Strauss's explicit statements extend his definition of what falls under the category of 'poetry' in the modern age to contemporary novels and poetry, this aspect of Heidegger should have commanded more of his attention. Endurance of the quarrel between philosophy and poetry becomes through the prism of Strauss's work the confrontation of political philosophy with literature, particularly the novel form. It was not so much the rise of modern, non-teleological natural science that threatened the endurance and dignity of philosophy, then, but the rise of modern literature; the critique of historicism, when viewed in the light of the enduring 'quarrel', should lead one to a consideration of a crucial issue which remained oddly neglected, or was only hinted at, by Strauss. (shrink)

This paper asks the following question: can an atheist reader fully taste the aesthetic meaning of poetry written by a theist author? This question is discussed with specific reference to the devotional poetry of Tagore. The paper discusses forms of pre-modern religious thinking which influenced Tagore’s conceptions of God, his relation to Nature, human society, and the human self. But it stresses that Tagore’s time was different from those of pre-modern believers. Tagore, as a modern thinker, had to (...) fashion a response to the ‘problem’ of disenchantment. He constructed a philosophic vision that embraced modern science, but argued that it did not dispel the sense of living in an enchanted universe. Consequently, it is argued that a nastika can enjoy his poetry. This requires the nastika to view the idea of God not as a failure of cognition, but as a triumph of the imagination. I can continue to enjoy Tagore’s poetry without unease. (shrink)

MacIntyre, Clark, and Heidegger would all agree that the current problem with moral theory is its lack of a satisfactory conception of human telos. This lack leads us to resort to such fictions as rights, interests, and utility, which are “disguises for the will to power.” Ibid., p. 240. These thinkers would also agree that modern nation-states are cut off from the roots of the Western tradition. Modern political economy, with “its individualism, its acquisitiveness and its elevation of the values (...) of the market to a central social place”Ibid., p. 237. is leading us into “the coming age of barbarism and darkness.”Ibid., p. 244. MacIntyre's grim depiction of the future, which Heidegger calls “the time of the darkening of the earth” and “the flight of the gods”,Heidegger, “What Are Poets For?” in Poetry, Language, Thought. can only be met by re-appropriating our own tradition. Although Aristotle has much to tell us, I believe Heidegger is right to turn to Heraclitus for a non-anthropocentric conception of humanity's place in Nature. Other writers, however, such as Arne Naess, George Sessions, and Stuart Hampshire, argue that the writings of Spinoza may offer the most helpful vision of humanity needed to guide our efforts to find a more appropriate basis for our behavior toward each other and toward the non-human world as well.George Sessions, “Spinoza and Jeffets on Man in Nature,” Inquiry 20 (1977):481–528. Sessions' essay was criticized by Genevieve Lloyd in “Spinoza's Environmental Ethics,” Inquiry 23 (1980):293–311. In reply, Arne Naess wrote “Environmental Ethics and Spinoza's Ethics: Comments on Genevieve Lloyd's Article,” Inquiry 23 (1980):313~ 325. Cf. also Stuart Hampshire, Two Theories of Morality (Oxford: Oxford University Press, 1977). Yet Aristotle, Qark, Heidegger, Heraclitus, Maclntyre, and Spinoza all agree that in order to behave fittingly, we must understand what it means to be human. At this time, I would like to acknowledge the importance of the following objection to what I have been arguing here: While it may be true that the concept of human rights is a fiction, it is nevertheless a very useful fiction for changing how human beings relate to each other. Tom Regan has frequently pointed out that even if the concept of rights proves to be ficticious, it can be helpful in protecting non-human beings from abuse by humans. Cf. his essay “Exploring the Idea of Animal Rights,” Animals' Rights - A Symposium (Sussex and London: Centaur Press Ltd., 1979); Regan, “Animal Rights, Human Wrongs,” Environmental Ethics 2 (1980):99–120. The doctrine of the rights of man justified the American and French revolutions, which brought forth new and important human freedoms. Today, most of humanity still lacks the protection afforded by constitutionally guaranteed human rights. Moreover, even in constitutional democracies there are frequent abuses of and attempts to curtail human rights. Until far more people become committed to protecting human rights, it is unlikely that there will be a big movement to extend rights to non-human beings, much less to overcome the anthropocentrism inherent in the concept of rights. What the Buddhist tradition calls “skillful means” is appropriate in our current situation.My thanks to Professor David Levin of Northwestern University for having reminded me of the importance of approaching the question of human rights in a “skillful” way. We must approach people in a way sensitive to their current self-understanding. Before we can pass on to the stage of planetary unity made possible by non-anthropocentric thinking, we need to find ways that promote mutual respect among human beings.On the topic of the relation between spiritual-psychological growth and the shift in human morality, cf. M.W. Fox, “Animal Rights and Nature Liberation,” in Animals' Rights - A Symposium. Out of such respect there can also arise respect for the non-human as well. While largely in agreement with this point of view, I would like to note that our means must be very skillful, indeed, if we are to transform our relationships to each other and to the natural world before irreparable damage is done to the earth, through nuclear war or environmental destruction. The time grows short for the transformation needed to bring us from the stage of anthropocentrism to a deeper awareness of our internal relationship to the whole world. Some people, such as Peter Russell, argue that we are witnessing the evolution of a non-anthropocentric mode of planetary consciousness that will be supported by the revolution in communications and computers. Peter Russel, The Global Brain: Speculations on the Evolutionary Leap tp Planetary Consciousness (New York: J.P. Tarcher, 1983). Other people, such as Jeremy Rifkin, maintain that the coming computer age promises ever greater intrusions into natural processes, such as the drive for control of genetic structures.Jeremy Rifkin, Algeny (New York: Viking, 1983). In my view, while it is important to extend the idea of human rights wherever possible, it is also crucial that we consider seriously the possibility that the idea of human rights is merely a transitional way of conceiving of morality. As we learn more about the interrelationship of human life with all other aspects of the earth's life, our self-understanding will no longer be in harmony with the human-centered morality we know today. We will either learn to respect all beings and act toward them in appropriate ways, or else we will continue down the road we are now headed - a road which seems to have a very disturbing destination. Learning to dwell appropriately on earth is the most pressing moral issue of the day. (shrink)

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

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

The critical analysis of desire is a staple of classical Buddhist thought; however, modern scholarship has focused primarily on doctrinal and scholastic texts that explain the Buddhist understanding of desire. As a result, the contribution of _kāvya_ (poetry) to the classical Buddhist philosophy of desire has not received much scholarly attention. To address this dearth, I explore in this article the notion of _kāma_ (desire or love) in Aśvaghoṣa’s epic poem, the _Saundarananda_ (_Beautiful Nanda_). I begin by framing the (...) poem’s Buddhist interpretation of desire and highlighting the didactic and transcendental role of _kāma_ in transforming Nanda, the poem’s protagonist. Then, I examine Aśvaghoṣa’s poetic depictions of Nanda, Sundarī, and the _apsaras_es, outlining the _Saundarananda_’s phenomenology of desire. Overall, this article illustrates how Aśvaghoṣa employs the genre of _kāvya_ to express a Buddhist critique of desire that focuses on the nature of the desirable object and the state of mind of the desirous subject. (shrink)

Am şlefuit materia pentru a afla linia continuă.Und das Problem ensteht: was is das, was übrigbleibt, wenn ich von der Tatsache, daß ich meinen Arm hebe, die abziehe, daß mein Arm sich hebt?Acknowledged to have launched modern poetry with Les Fleurs du mal, Charles Baudelaire was also a prolific and influential art critic, a close friend of Edouard Manet, and an early champion of Eugène Delacroix. At one time decidedly not a friend of sculpture, Baudelaire published a critique (...) of this art form in a section of his Salon de 1846 titled “Pourquoi la sculpture est ennuyeuse” :3Sculpture has several disadvantages inherent in the medium itself. Crude and direct like nature, sculpture is.. (shrink)

Quentin Meillassoux has made his step to the forefront of contemporary philosophy with harsh criticism of the very idea of critique and any critical project following Kant’s philosophy. The article provides a critical assessment of Meillassoux’s approach (and in passing also tackles those of Graham Harman and Iain Hamilton Grant). The basic argument is that the so called “speculative realist / materialist” approach is less materialist than such approach assumes by fundamentally repeating a Heideggerian move that surprisingly does not (...) turn to poetry but to science. In the final part, the politically problematic outcomes of such an endeavour are delineated in a polemical discussion of the work of Elie Ayache. The totality of the article argues for a revivifying of the idea of critique – not in its traditional guise but in what the author calls a meta-critical approach. (shrink)

In his late unfinished work on aesthetic theory, Adam Smith develops the concept of rythmus to explore such arts as music, dance and poetry. Smith argues that rythmus communicates emotion in a very specific way. For Smith, narrative arts, such as drama or the novel, predominately seek to recreate or represent in the minds of their readership or audience the emotions of the characters that are portrayed. But what we experience through rythmus, by contrast, is an original, and not (...) a sympathetic, feeling. Rythmus is the communicative medium of a paradoxical mode of collective feeling in which each person feels his or her own emotions, and yet all feel the same thing; in which social being is at once non-fungible and shared. (shrink)

This original new book argues for a reassessment of Plato's challenge to the arts. Plato was the first great figure in Western philosophy to assess the value of the arts; he argued in the Republic that traditionally accepted forms of poetry, drama, and music are unsound. While this view has been widely rejected, Janaway argues that Plato's hostile case is a more coherent and profound challenge to the arts than has sometimes been supposed. Denying that Plato advocates "good art" (...) in any modern sense, Janaway seeks both to understand Plato's critique in the context of his own philosophy and to locate him in today's philosophy of art, showing how issues in aesthetics arise from responses to his charges. (shrink)

Resumen: El objetivo del presente trabajo es acercarnos no ya en clave epistemológica a la pregunta específica que se realiza respecto de la teoría literaria, sino por el contrario, a la pregunta mediada por la idea de verdad que la filosofía le ha hecho a la literatura. Creemos que en los textos de Platón existe una intuición fundamental que de manera implícita ha puesto en marcha múltiples aparatos teóricos que intentaron dar cuenta de la literatura. La intuición, sin dilaciones, es (...) la siguiente: la poesía no es matemática. Nuestro interés entonces es reconocer las periferias del diálogo inaugurado por Platón entre el concepto de verdad y la idea de literatura, como así también sus recíprocas determinaciones, y su pregnancia en los discursos que han abordado a la literatura en clave teórica.: In the present work the objective is not only to approach in an epistemological key to the specific question asked by literary theory but rather the question, mediated by the idea of truth, that philosophy has done to literature. We believe that in Plato's texts there is a fundamental intuition that implicitly has set in motion multiple theoretical devices that tried to account for literature. The intuition, without delay, is the following: poetry is not mathematical. Our interest then is to recognize the peripheries of the dialogue inaugurated by Plato between the concept of truth and the idea of literature, as well as their reciprocal determinations, and their pregnancy in the discourses that have addressed literature in a theoretical key. (shrink)

This book addresses the philosophy of Kant and the poetry of Shelley as historical starting points for a new way of thinking in the modern age. Fusing together critical philosophy and visionary poetry, Bassler develops the notion of visionary critique, or paraphysics, as a model for future philosophical endeavor. This philosophical practice is rooted in the concept of the indefinite power associated with the sublime in both Kant and Shelley’s work, to which the notion of the parafinite (...) or indefinitely large is extended in this book. (shrink)

During the late 1930s, the failed attempt at collaboration between the Frankfurt School and the Vienna Circle culminated in Horkheimer’s 1937 paper ‘The Latest Attack on Metaphysics’. Horkheimer ([1937] 1972), relying on a caricature of positivism as espousing an uncritical myth of the given, drew far-reaching conclusions concerning positivism’s conservative prohibition of the radical questioning of appearances. Horkheimer (1940) later applied some of these criticisms to Dilthey’s conception of Verstehen, while presenting Logical Empiricism as dismissing Dilthey’s proposals nothing more than (...) poetry. By examining Neurath’s unpublished reply to Horkheimer, and drawing on Uebel’s (2019) account of Logical Empiricism’s stance towards Verstehen, this chapter will attempt to dispel Horkheimer’s caricature. I will highlight a parallel between Neurath’s attitude towards (i) claims about Verstehen in social science and (ii) Horkheimer’s proposals for the use of Vernunft by a ‘supra-scientific’ Critical Theory. Neurath argues that once Horkheimer’s objections to ‘positivism’ are reformulated in non-metaphysical terms, they point towards a genuine problem concerning science’s relation to social praxis. For Neurath, the problem can be addressed from within (rather than, as Horkheimer would have it, from above) empirically-minded investigations in the history and sociology of science. (shrink)

Atypical among Heidegger’s numerous discussions of poets is the condemnation of Rilke in the 1942-43 lecture course Parmenides. At stake is the definition of “the open” (das Offene): Rilke reserves the open for animals as freedom from conceptual determinacy, whereas Heidegger reserves it for human beings as the place of Being in which things first appear as what they are. The open, for Heidegger, names the existential conception of place (as distinct from a geographical point) and features in his life-long (...) attempts to articulate the relations between language, human existence, poetry and the everyday. By denying that human beings have access to the open, Rilke runs athwart this project and by denying it in a poem he confounds the expectations that Heidegger harbours with respect to the work of art as a site of the opening up of aesthetic experience, within the everyday, to ontological questioning. (shrink)

It has been widely assumed that Heschel's writings are poetic inspirations devoid of philosophical analysis and unresponsive to the evil of the Holocaust. Who Is Man? contains a detailed phenomenological analyis of man and being which is directed at the main work of Martin Heidegger found primarily in Being and Time and Letter on Humanism. When the analysis of Who Is Man? is unapacked in the light of these associations it is clear that Heschel rejected poetry and metaphor as (...) a means of theological elucidation, that he offered a profound examination of the Holocaust and that the major thrust of his thinking eschews Heidegerrian deconstruction and the postmodernism that ensued in its phenomenological wake. Who Is Man? contains direct and indirect criticisms of Heidegger's notions of 'Dasein', 'thrownness', 'facticity' and 'submission' to name a few essential Heideggerian concepts. In using his ontological connective method in opposition to Heidegger's 'ontological difference', Heschel makes the argument that the biblical notion of Adam as a being open to transcendence stands in oppostion to the philosophical tradition from Parmenides to Heidegger and is the only basis for a redemptive view of humanity. (shrink)

Like the determinist, the New Critic must proceed by assuming what he hopes to prove; he assumes the existence of "objective" relations between the words of the poem he is studying and then attempts to perceive such relations.1 The distinction between "objective"—that is, in some sense verifiable—and purely subjective or personal meaning must necessarily be a central one for this type of poetics. New Critics are constantly protesting that they are not "reading into" works, that the meanings they ascribe to (...) the words or images of a literary text are objectively there rather than subjectively imposed. Empson declares, speaking of a recurrent image in Donne's poetry, "the point is not so much what 'connotations' this 'image-term' might have to a self-indulgent reader as to what connotation it actually does have in its repeated uses by Donne"—there is clearly a semantic distinction to be made here, for Empson is using the same term, "connotation," to describe both what he does and what he does not mean.2 · 1. On this procedure in general, see Nelson Goodman's remark on "virtuous circles" in Fact, Fiction, and Forecast , pp. 67 ff.· 2. "Donne and the Rhetorical Tradition," Kenyon Review 11 : 580; reprinted in Paul Alpers, ed., Elizabethan Poetry: Modern Essays in Criticism , pp. 63-77. Empson's quotation marks indicate that for the purposes of discussion he is adopting the terminology of Rosemond Tuve. Richard Strier, assistant professor of English at the University of Chicago, has written articles on religious poetry and is currently completing a book on Herbert and Vaughan. (shrink)

The present paper argues that Merleau-Ponty’s notion of Flesh/reversibility intellectually is significantly flawed, and leads phenomenology into something of a dead end. This is shown through the following strategy. First Merleau-Ponty’s account of originary perception and his critique of the reflective attitude are expounded. They are shown to culminate in rejection of the subject-object relation as an ontological fundamental in favour of a ‘hyper-reflective method’. A critique of Merleau-Ponty’s position is then offered. It argues that originary perception is (...) not logically prior to reflective thought, and that Merleau-Ponty fails to do justice to the scope of the subject-object relation. Specifically, he overlooks the way in which the relation is the basis of our practical perceptual orientation. It is then shown how this relation actually pervades Merleau-Ponty’s own all-important ‘hyper-reflective’ alternative – the notion of ‘Flesh’. Possible counter-arguments are considered and refuted. The.. (shrink)

Resumen: En el presente artículo buscaremos analizar los diversos tratamientos que Walter Benjamin ha realizado a lo largo de su obra acerca de la crítica como temática eminentemente filosófica. Para ello abordaremos, en primer lugar, su acercamiento a la poesía del Romanticismo alemán, luego a la poesía barroca y, finalmente, a la obra de Baudelaire con el objetivo de justificar que una comprensión acabada de la crítica implica necesariamente para el filósofo alemán recuperar la actualización como clave de lectura de (...) la historia. En efecto, si actualizar presupone para Benjamin la asunción de la no coincidencia del tiempo consigo mismo, esto es, la supervivencia del pasado en el presente y el potencial significante de sus emergencias, buscaremos mostrar cómo la noción de crítica benjaminiana descansa en ese diferencial temporal y encuentra allí su fuente de sentido.: In this article we intend to analyze the different considerations that Walter Benjamin carried out in his work on the problem of critique as an eminently philosophical subject. To do this, we will address, first, his approach to German romantic poetry, then baroque poetry and, finally, Baudelaire’s work, in order to explain how a full comprehension of critique means, for the German philosopher, to recover the idea of “actualization” as a key for reading History. In fact, if the actualization presupposes, for Benjamin, the assumption of the non-coincidence of time with itself, that is, the survival of the past within the present and its potentiality to signify, we try to show how Benjamin’s notion of criticism rests on that temporal difference and finds there its source of meaning. (shrink)

The Religion of Humanity has typically been associated with Auguste Comte's positivism. Within liberal philosophical debate, John Stuart Mill's measured advocacy for it has received some attention, especially given his otherwise well-known emphasis on the tension between religion and liberty. Yet Alexis de Tocqueville's perceptive awareness of the Religion of Humanity as an evolving phenomenon, expressed through his discussion of democratic poetry, remained largely unnoticed. Of course, Tocqueville's essential religio-political task was to promote a modified version of Christianity and (...) buttress the standing of religious morality as an outside barrier against human action motivated by democratic materialism, notwithstanding the secular doctrine of self-interest well understood. Indeed, despite the neutral tone of Tocqueville's discussion of democratic poetry, elsewhere his critique of democratic pantheism, writers and orators, theatre, and historians warned against excessive veneration of humanity, which amounted to a sublimation of the dogma of the sovereignty of the people. (shrink)

ABSTRACTWe examine Marx's critiques of language, politics, and capitalist political economy and show how these anticipated critical discourse and argumentation analysis and ‘cultural political economy’. Marx studied philology and rhetoric at university and applied their lessons critically. We illustrate this from three texts. The German Ideology critically explores language as practical consciousness, the division of manual and mental labor, the state, hegemony, intellectuals, and specific ideologies. The Eighteenth Brumaire studies the semantics and pragmatics of political language and how it represents (...) the class content of politics and contributes to social transformation. Capital deconstructs the categories of classical political economy and their constitutive role in capitalist social relations. This is one aspect of CPE. Capital also highlights the structural and agential aspects of these relations, their contradictory dynamic, and their crisis-prone character. We comment on this aspect too. This said, Marx held that social transformation is mediated through political imaginaries and highlighted the need for the proletariat to develop a ‘poetry’ of the future. We then consider the misleading ‘base-superstructure’ metaphor and note how, against the thrust of Marx's work, it tends to reify culture. The article concludes that Marx contributed to the critique of semiotic as well as political economy. (shrink)

I attempt in this paper to argue a thesis that is the opposite of the standard reading of Plato’s Symposium. I maintain that it is not the persuasive speech of thecomic or tragic poets that is criticized and undermined in the dialogue, but Socratic dialectic and dialogical argumentation. This is to say, it is not Aristophanes’ and Agathon’s speeches that are the object of Plato’s critique, but Socrates’ minimalist and rather unpoetic elenchos. My anaysis leads to the conclusion that (...) Diotima’s speech is meant to be recognized as Plato’s own invention in order to highlight the abstraction and utter unmusicality of Socratic dialectic. (shrink)

Fabi and Goldberg raised important considerations regarding both research and funding priorities in the field of bioethics and, in particular, the field’s misalignment with social justice. W...

This essay focuses on a humorous metaphor that appears prominently in critiques of Buddhist monks’ poetry, from the eleventh century onward. Alluding to the monastic vegetarian diet, critics leveled that monks’ poetry had “a whiff of vegetables”, “the flavor of cabbage and bamboo shoots”, or “the taste of pickled stuffing”. The double meaning of qi 氣 is literally flavor or smell and by extension also refers to an individual’s literary style and character. Members of the literati largely agreed (...) that such flavors described what was distinctive about typical monks’ poetry, and debated whether monks ought to rid their poems of vegetal qualities such as plainness and narrowly repetitive themes. Other critics argued that monks’ poetry is an acquired taste, rich with delicate poetics well worth savoring. I conclude by observing how some modern scholars have uncritically reiterated the logic of this witty disparagement, and I suggest alternative directions for further study of monks’ poetry. (shrink)

In 2009 the Roundtable on Sustainable Palm Oil established a conflict resolution mechanism to help rural communities address their grievances against palm oil companies that are RSPO members. This article presents the broadest ever comprehensive assessment of the use and effectiveness of the RSPO conflict resolution mechanism, providing both overviews and in-depth analysis. Our central question is: to what extent does the RSPO conflict resolution mechanism offer an accessible, fair and effective tool for communities in Indonesia to resolve conflicts with (...) companies? Our aim is not only to provide a ‘reality check’ of this mechanism but also to contribute to the wider debate on how communities can seek access to justice when engaged in intractable conflicts with palm oil companies. For data collection, we took three steps. First, we used our own database of 150 conflicts between communities and companies in Indonesia. We identified 64 conflicts that involved RSPO member companies, of which 17 prompted communities to convey their grievances to the RSPO’s conflict resolution mechanism. Second, we used the database of the RSPO, which handled 85 complaints against companies in Indonesia in the period 2009–2020. Third, we conducted fieldwork, in total, about 6 months of fieldwork and extensive interviews on three conflicts involving RSPO companies to identify mechanisms leading to both failed and successful instances of conflict resolution. For our assessment, we used three criteria to assess the conflict resolution mechanism of the RSPO: accessibility, procedural justice, and the outcomes of the process. We conclude that—on all counts—the conflict resolution mechanism is biased in favor of companies. The result of these biases is that the actual capacity of the RSPO’s mechanism to provide a meaningful remedy for rural communities’ grievances remains very limited. This unequal access to justice sustains conflicts between companies and communities over land. (shrink)

I want to argue…that to read Rossetti’s religious poetry with understanding requires a more or less conscious investment in the peculiarities of its Christian orientation, in the social and historical particulars which feed and shape the distinctive features of her work. Because John O. Waller’s relatively recent essay on Rossetti, “Christ’s Second Coming: Christina Rossetti and the Premillenarianist William Dodsworth,” focuses on some of the most important of these particulars, it seems to me one of the most useful pieces (...) of scholarship ever written on the poet. The essay locates the special ground of Rossetti’s religious poetry in that peculiar Adventist and premillenarian context which flourished for about fifty years in mid nineteenth-century culture. In point of historical fact—and it is a historical fact which has enormous significance for the aesthetic character of Rossetti’s poetry—her religious verse is intimately meshed with a number of particular, even peculiar, religious ideas.18 From the vantage of her strongest poetry, the most important of these ideas were allied to a once powerful religious movement which later—toward the end of the century—slipped to a marginal position in English culture.The whole question [of premillenarianism] was overshadowed first and last by the Tractarian Movement, Anglo-Catholicism, and the resulting Protestant reaction. And we can see in retrospect that all through the years [1820-1875] the theological future actually belonged to liberal, or Broad Church, principles. By the middle 1870s, apparently [the issues raised through the premillenarian movement] were no longer very alive.19­­In this context we may begin to understand the decline of Rossetti’s reputation after the late nineteenth century, when she was still regarded as one of the most powerful and important contemporary English poets. Her reputation was established in the 1860s and 1870s, when Adventism reached the apogee of its brief but influential career. Thereafter, the availability of religious poetry was mediated either through the Broad Church line or through the High Church and Anglo-Catholic line . The premillenarian and evangelist enthusiasm which supported Rossetti’s religious poetry had been moved to the periphery of English culture when the canon of such verse began to take shape in the modern period.To read Rossetti’s poetry, then, we have to willingly suspend not only our disbelief in her convictions and ideas but also our belief in those expectations and presuppositions about religious poetry which we have inherited from those two dominant ideological lines—Broad Church and High Church and Anglo-Catholic. Waller has drawn our attention to the general premillenarian content of her work, and I should like to follow his lead by emphasizing another crucial and even more particular doctrinal feature of her poetry. 19. Waller, “Christ’s Second Coming,” p. 477. For a general discussion of millenarianism in the early nineteenth century, see J. E. Harrison, The Second Coming, Popular Millenarianism, 1780-1850 . Jerome J. McGann is the Doris and Henry Dreyfuss Professor of Humanities at the California Institute of Technology. His two most recent books are The Romantic Ideology. A Critical Investigation and A Critique of Modern Textual Criticism . His previous contributions to Critical Inquiry are “Formalism, Savagery, and Care; or, The Function of Criticism Once Again” and “The Meaning of the Ancient Mariner”. (shrink)

For Kant, poetry is the freest, finest art of all. Music and painting depend on sensuous charms. Poetry offers the most direct presentation of "aesthetic ideas". As Kant's critique subjects reason to reason, so too does the poet try to best language via language. However, the poet's license is not absolute. The poet must create a new sense, not nonsense, lest he slide into the intractable privacy of delirium or evil. Using Hannah Arendt's reading of the Third (...) Critique, and excerpts from one of Kant's favorite poets, Milton, I examine the extent of the free play poetry allows. (shrink)

This book offers an original approach to avant-garde art and its transformative force. Presenting an alternative to the approaches to art developed in postmodern theory or cultural studies, Ziarek sees art's significance in its critique of power and the increasing technologization of social relations. Re-examining avant-garde art and literature, from Italian and Russian Futurism and Dadaism, to Language poetry, video and projection art, as well as transgenic and Internet art, this book argues that art's importance today cannot be (...) explained simply in aesthetic or cultural terms but has to take into consideration how artworks question the technological character of modern power. To emphasize the transformative character of art, the book redefines art as a force field, in which forces drawn from historical and social reality come be to formed into an alternative relationality. Through discussions of such key avant-garde figures as Marinetti, Duchamp, Khlebnikov, and Vertov, and innovative contemporary artists like Viola, Wodiczko and Kac, The Force of Art counters the pessimism about art's social function by recovering and redefining art's transformative role in modernity. (shrink)

I propose a critique of Heidegger’s poetics, and show that poetic critique of Heidegger is also philosophical critique on Lévinasian lines. I identify an obsessional erasure of absence in Heidegger’s poetics, a neglect of the immemorial other. Lévinas frames this critique through Valéry’s Eupalinos, a dialogue of an immemorial Socrates, in Limbo after his own death, praising architecture over his own, lost, philosophy. Separating poetics from ontology, Lévinas’s immemorial acknowledges irrecuperable traces, murmurs, or echoes of alterity; (...) poetry, as commemoration, marks the distance between loss and absence. This contrasts with Heidegger’s eulogy of Max Scheler and its echo in the Gedachtes, metaphysical and poetic monuments that seek an incompletable divorce from sensation and persons. I present Mark Doty’s elegy Atlantis as an illustration of Lévinas’s central philosophical critique of Heidegger’s thinking of death and persons. Atlantis embodies the immemorial; architecture alive with sound, an impossible city populated by absence. (shrink)

In this essay, I analyze Romare Bearden’s art, methodology, and thinking about art, as well as his attempt to harmonize his personal aesthetic goals with his sociopolitical concerns. I then turn to Hans-Georg Gadamer’s reflections on art and our experience (Erfahrung) of art. I show how Bearden’s approach to art and the artworks themselves resonate with Gadamer’s critique of aesthetic consciousness and his contention that artworks address us, make claims upon us, and even reveal truth. Lastly, I discuss Gadamer’s (...) emphasis on the spectator’s active yet non-mastering role in the event of art’s address—an event that implicates the spectator and has the potential to transform him or her. This leads to a discussion of Gadamer’s notion of the type of self-(and world) understanding that occurs through aesthetic experience. I close by returning to Bearden in order to discuss how his art unearths a crucial feature of our being-in-the-world. I call this feature “world-unmasking” and show how it expands and enriches Gadamer’s account. (shrink)

This article explores the relationship between Heidegger’s philosophy and poetry in his habilitation and his first lectures in Freiburg. Although poetry as a particular phenomenon was not yet thematized by Heidegger, philosophy and language developed in its proximity since the habilitation text. Subsequently, a tragic quotation exemplifies the characterization of language as a premundane generality in his first lessons. The article elaborates an interpretation of the implicit relationship between philosophy and poetry based on the pre-mundane language [Vorweltliche] (...) and its critique of neo- Kantianism. This relationship is the phenomenological possibility of letting see through language, especially the phenomena of world and meaning. Therefore, phenomenology and poetry came together in Heidegger’s thought around those two central phenomena of his later ontology. (shrink)

"M. F. Simone Roberts's A Poetics of Being-Two is animated by a lively and engaging voice, drawing readers in with a sense of serious purpose working (delightfully) in tandem with a sense of humor. Roberts's aesthetics and her close readings of Yves Bonnefoy, St-John Perse, and Jorie Graham clearly demonstrate the literary effectiveness of Irigarayan sexual difference as an analytic trope, even as they emphasize the philosophical and political possibilities sexual difference opens up for feminism, environmentalism, and all levels of (...) contemporary cultural critique and activism."—Gail M. Schwab, Hofstra University -/- In An Ethics of Sexual Difference, Irigaray calls for a new poetics in the sense of both art and life. Rather than a critique from within philosophy, A Poetics of Being-Two tests Irigaray's ethics by extending it to other sites of cultural production. Where Irigaray's method finds stirrings and repressions of sexual difference in philosophy, this project explores that tension in poetics. Building from Irigaray's ethics, the book describes a poetics of being-two as concerns gendered subjectivity in literary poetics and then traces the on-going emergence of a poetics of being-two in the post-symbolist poetic tradition. Irigaray scholars will be interested in the sustained interpolation of Irigaray's ethical concepts as principles for a critical aesthetics and in their hermeneutic application in reading a literary tradition. Readers in comparative literature will find the first sustained feminist engagements with the major French poets Bonnefoy and Perse and an elucidation of their influence on the Pulitzer Prize winning poet Jorie Graham. (shrink)

Abstract:Taking up the question of style, I argue that this term provides a generative framework for reassessing the historical challenges of feminist writing and politics. To develop my argument, I read Judith Butler's philosophy alongside Denise Riley's poems, historical criticism, and philosophical prose, proposing that both writers are inventive participants in the tradition of immanent critique. I demonstrate how feminist questioning of linguistic conventions and social norms is enfolded in Butler's paratextual reflections on philosophical grammar and in Riley's poetic (...) and theoretical efforts to acknowledge her uneasy relationship to lyric. Any dialogue between philosophy and poetry returns us to the longstanding debate about the value of these respective disciplines. I conclude by proposing that Riley and Butler encourage us to consider that each demands the other as a supplement—a necessity that emerges from the need to account for the collective life in which language is embedded. (shrink)

Poetry and mathematics might seem to be worlds apart. Nevertheless, a number of Greek and Roman poets incorporated counting and calculation within their verses. Setting the work of authors such as Callimachus, Catullus and Archimedes in dialogue with the less well-known isopsephic epigrams of Leonides of Alexandria and the anonymous arithmetical poems preserved in the Palatine Anthology, the book reveals the various roles that number played in ancient poetry. Focussing especially on counting and arithmetic, Max Leventhal demonstrates how (...) the discussion, rejection or enacting of these two operations was bound up with wider conceptions of the nature of poetry. Practices of composing, reading, interpreting and critiquing poetry emerge in these texts as having a numerical component. The result is an illuminating new way of approaching Greek and Latin poetry – and one that reaches across modern disciplinary divisions. (shrink)

E. P. Thompson's poetry and poetics are rarely considered by commentators on his work, but they are central to his thought. Thompson, who for a long time identified as a poet rather than a historian, struggled to find an alternative to both the Bloomsburian modernism he associated with decadent British capitalism and the chilly philistinism of Stalinist socialist realism. Thompson's unique and ingenious poetics emphasizes the political nature of poetry, yet denies that poets ought to subordinate their work (...) to political concerns. By understanding Thompson's poetics, we can understand his critique of the 'positivism and utilitarianism' which he came to believe were inherent in most forms of Marxism. Thompson's poetics also helps us to understand the peculiar forms that some of his most famous political polemics take. (shrink)

This paper questions Hegel’s critique to the central place that Romantic authors Friedrich Schlegel andNovalis gave to the dimension of affection in their philosophical thinking, as well as to the way theylink philosophy and poetry. The summit of this affective and poetical tendency of the Romantics is theso-called Sehnsucht – the infinite longing or aspiration – which Hegel criticizes in a very truculentmanner. The interest of this debate is not limited to the studies on the famous controversy Hegelversus (...) Romanticism; in a broader sense, it presents a singular case of a certain dissent on the way howphilosophy takes a stand on the matter of affection and poetry. In Hegel’s case, this stand is one thatposes a strong hierarchy in which reason and the conceptual activity of thinking are superior to thedimension of feelings, and this hierarchy also unfolds as a superiority of the philosophical over thepoetical – while the Romantics endeavoured, precisely, to unravel such hierarchy. This paper defendsthe importance and deepness of the affective dimension promoted by the Romantics, whilst alsoattempts to deconstruct some of the main assumptions of Hegel’s critique. (shrink)

Two key axes carry the parameters that define Rancière’s approach to poetry. The first axis is constituted by his well-known account of aesthetic modernity as a democratic “regime of the arts”, which breaks with the previous, “representative” one, by allowing all subjects and all genres to be appropriated in expressive gestures. These expressive gestures can no longer rely on the old representational rules and references and therefore require constantly reinvented creative forms. The second axis that emerges from the dismantlement (...) of the old regime of representation is therefore a new mode of expressive creativity inherent in individual and collective action. The combination of these two principles creates the structural conditions and the contradictions of the modern aesthetic field, within which individual poets define their tasks and encounter new limits and difficulties. Viewed as a series of individual, situated attempts at linguistic creation within a field in which the structures of perception and diction are inherently up for grabs, poetry becomes a particularly significant exercise. The great poets provide exemplary models of what saying and doing can mean in the conditions of modernity as a regime of equality; and from their individual exemplarity, profound theoretical implicit lessons can be drawn. Rancière’s writings on poetry as a result always seek to accomplish two aims: provide substantive hermeneutic reconstructions of writing practices, taken as exemplary forms of modern “poiesis”; and critique alternative theoretical uses of poetry and through these, alternative conceptions of modern practice and theory. To review these aspects of Rancière’s approach to poetry, I have adopted a genealogical approach, as it is the simplest way to give a sense of the richness of Rancière’s long engagement with the works of poets. (shrink)