This 1935 book studies the powerful influence exercised by Ancient Greek culture on German writers from the eighteenth century onwards.

This study analyses the emergence of aesthetic theory in eighteenth-century Germany in relation to contemporary theories of the nature of language and signs. As well as being extremely relevant to the discussion of literary theory, this perspective casts much light on Enlightenment aesthetics. The central text under consideration shows that the extended comparison of poetry and the plastic arts contained in that major work of aesthetic criticism rests upon a theory of signs and constitutes a complex and global theory (...) of aesthetic signification. His analysis of Laocoon is preceded by chapters which establish the underlying structure and influence of the Enlightenment metasemiotic - that is, the place and function of the sign concept in the culture of the early eighteenth century. As an important reinterpretation of Lessing's Laocoon and of the development of German aesthetic theory, this book will be of special interest to students and scholars of German literature. Moreover, as a significant chapter in the history of semiotics, it will be read with profit by all those concerned with the history of literary criticism and aesthetic theory. (shrink)

Rogery Fry in Last Lectures threw out the suggestion that the inferiority of neolithic to palaeolithic painting might be due to the birth or growth of language and the consequent temptation to dull the vivid sensibility for individual life by the practically useful habit of abstract or generalized thinking. Whether or no the birth and growth of language involved a set-back for graphic and plastic art, it certainly first made poetry possible. And the question which puzzles me is this: (...) Would any art analogous to poetry have been possible without speech? What if a tongue-tied race had invented a system of ideograms or purely conventional gestures? (shrink)

_An ambitious new history of philosophy in English that broadens the canon to include many lesser-known figures__ “[This] lively chronicle of philosophy in English is a splendid accomplishment sufficient unto itself. Highly intelligent, always even-handed, quietly but consistently witty, _Witcraft _is an excellent guide along the twisted and tricky path of human thought.”—___Wall Street Journal__ Ludwig Wittgenstein once wrote that “philosophy should be written like poetry.” But philosophy has often been presented more prosaically as a long trudge through canonical (...) authors and great works. But what, Jonathan Rée asks, if we instead saw the history of philosophy as a haphazard series of unmapped forest paths, a mass of individual stories showing endurance, inventiveness, bewilderment, anxiety, impatience, and good humor? Here, Jonathan Rée brilliantly retells this history, covering such figures as Descartes, Locke, Kant, Hegel, Marx, Nietzsche, Mill, James, Frege, Wittgenstein, and Sartre. But he also includes authors not usually associated with philosophy, such as William Hazlitt, George Eliot, Darwin, and W. H. Auden. Above all, he uncovers dozens of unremembered figures—puritans, revolutionaries, pantheists, feminists, nihilists, socialists, and scientists—who were passionate and active readers of philosophy, and often authors themselves. Breaking away from high-altitude narratives, he shows how philosophy finds its way into ordinary lives, enriching and transforming them in unexpected ways. (shrink)

Aelivs donatvs, the note d grammarian of the fourth century of our era, wrote commentaries on Terence and Virgil. The commentary on Terence has been preserved, though in a curiously heterogeneous form which thus far has defied analysis. The most plausible supposition is that our present text is a conflation of two commentaries, one by Donatus himself, and one by Euanthius, whose work was obviously utilized for part of the introductory note on comedy. But even if this is the right (...) statement of the question, the question remains to be solved. The problem of the commentary on Virgil is, unfortunately, more simple, or at least is universally adjudged more simple. We have extant Donatus's life of Virgil, his dedicatory letter to Lucius Munatius, and his introductory remarks on Bucolic poetry. The commentary itself, save for scattered references in later grammarians, glossaries, and commentaries, has been lost. (shrink)

Everyone interested in Arabic and Persian literature, in Islam and in comparative religion, regrets the death of Arthur J. Arberry, Sir Thomas Adams's Professor of Arabic in the University of Cambridge. Arberry combined rare human qualities and exceptional professional attainment, and this enabled him to make a unique contribution both to learning and to mutual understanding between East and West. He had a deep sense of vocation, which he brought to his unremitting labours as a skilled editor of texts, especially (...) in the field of Islamic mysticism, and as an imaginative translator of these texts of the Koran and of Arabic and Persian poetry, and as a sympathetic interpreter of Sūfism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:“An Immoderate Taste for Truth”: Censoring History in Baudelaire’s “Les bijoux”E. S. Burt (bio)In May 1949, a French Court of Appeals reversed an 1857 decision condemning six poems from Les fleurs du mal for obscenity, in a signal case of a public lifting of a ban against some lyric poems. 1 Among the several interesting features of this case not the least is the decision to proceed against the (...) work in the first place. For lyric poetry does not appear an attractive target for censorship. Its subject matter and formalism remove it far enough from the experience of most readers that Gustave Flaubert, fresh from his troubles with the court over Madame Bovary, could express his surprise at the government’s attack: “This is new,” he wrote to Baudelaire, “this pursuit of a volume of verse.” While Flaubert’s comment was in point of fact inaccurate, he puts his finger on a problem worth considering. 2 Here we have a work that must seem naturally exempt from state intervention, by virtue of a deliberate retreat from risky political subjects, and it nonetheless did get censored by the state. Can anything be learned about “normal” state censorship from this exceptional case? [End Page 19]A key factor in the government’s decision to pursue the book, according to the prosecutor Pinard, was that these poems would prove accessible to a large audience: 3 “An immoral book that had no chance of being read or understood would not be pursued” [1208], he states. In his argument, as in the judgment by the court that the condemned poems “lead necessarily to the exciting of the senses by a coarse realism offensive to modesty” [1182], the assumption is that the work is extraordinarily available, its pictures immediately referable to ordinary experience. In the six condemned poems, language is judged to be not a veil but a tool, and a sex tool at that. “Despite an effort of style” [1182], the poetic situation—in most of the poems that of the boudoir—is painted in a language insufficiently flowery. 4A further interesting feature in the case is that when it comes up again, under DeGaulle’s Fourth Republic, the court summarily dismisses the 1857 judgment of coarse realism as just one possible interpretation, and a forced one at that. Instead, the 1949 court finds that the poems are self-referential, symbolic entities that do not represent ordinary experience:If some pictures, on account of their originality, were able to alarm some minds upon first publication and appeared to the first judges as offensive to morality, such an appraisal, attaching itself only to a realistic interpretation of the poems and neglecting their symbolic meaning, has proved to be of an arbitrary character, unratified by public opinion or by the judgment of the literary world.[St. John-Stevas 249]The shocking representations of 1857, outraging morality, are now understood to deliver the Wordsworthian “shock of mild surprise” by which we recognize the original work of art. In 1949, the poems are precious artifacts; their language is not realistic but symbolical; its sensuous forms reveal an inner, spiritual meaning.A crucial resemblance can be discerned between the actions taken by the two courts: both make their judgments in terms of a “reading pact,” a set of “artificial rules” [1206] that are presumed to govern reading and to have currency in the context. Les fleurs gets policed in the name of this generic purity, with the prosecutor Pinard calling “the judge... a sentinel who must not let the border be crossed” [1206] and the 1949 decision confirming the opinion of the literary world that the supposed transgression against public morality was in point of fact a transformation in the rules regulating the narrow confines of lyric poetry. 5This concern that texts be framed by a reading pact aimed at constraining their interpretation is worth considering in any discussion of censorship that wants to move from the level of pragmatics to that of theory. It leads to queries about the possibility of getting rid of state censorship entirely and about the state’s interest, as guardian and overseer of the archive, in the institutionalization and... (shrink)

Proclaiming empiricism -- Guiding experiment -- Gaining loss -- Despairing hope.

The Alexandrian emphasis on smallness, elegance, and slightness at the expense of grand themes in major poetic genres was not preciosity for its own sake: although the poetry was written by and for scholars, it had much larger sources than the bibliothecal context in which it was composed. Since the time of the classical poets, much had changed. Earlier Greek poetry was an intimate part of the life of the city-state, written for its religious occasions and performed by (...) its citizens. But eh conquests of Alexander had altered the structure and the boundaries of the Greek world to an astonishing degree. Alexandria, the center of the poetic culture of the new age, was a city that had not even existed at the time of Euripides; it was in Egypt, not in Greece, and was a huge, polyglot community. As immigrants immersed in a new, impersonal, and bureaucratic society, the poets not unreasonably sought out what was small, intimate, and personal in their verses. The heroes of early Greek poetry are larger than life; those of Alexandrian poetry are life-size. They are human, like us; they have a childhood and an old age; they are afraid or in love or caught in a rainstorm. It was simply one way of reducing the world to more manageable dimensions. At the same time, the new world of Alexandria needed a new poetry. To continue writing epics about a mythology that seemed very far away was senseless; it was impossible to recapture either the style or the immediacy of Homer, lyric poetry, or Attic tragedy. The scholar-poets of Alexandria admired the literature of classical Greece; for them Homer was incomparable and inimitable, to be studied—but not to be copied. Far better, then, to find a new voice on a more manageable scale: instead of oral epic, erudite epyllion; instead of lyric, epigram; instead of tragedy, mime. The poets of an urban and unheroic world might long for but could never re-create the grandeur of the past. James E. G. Zetzel is associate professor of classics at Princeton University and editor of the Transactions of the American Philological Association. He is the author of Latin Textual Criticism in Antiquity and, with Anthony T. Grafton and Glenn W. Most, has translated Friedrich August Wolf’s Prolegomena ad Homerum. (shrink)

Many years ago Wilamowitz desiderated a systematic collection of the texts which relate to the different types of poetry composed by the great lyric poets of Greece. He hoped that if we could only crystallize our admittedly scanty information about the characteristics of, say, the Paean or the Dirge, we might be able to reach a slightly better understanding than we have now of the formal structure and artistic design of the poems and fragments which have come down to (...) us under these titles. Indeed, this kind of knowledge is very important. (shrink)

The sixty years between 43 BC, when Cicero was assassinated, and AD 17, when Ovid died in exile and disgrace, saw an unexampled explosion of literary creativity in Rome. Fresh ground was broken in almost every existing genre, and a new kind of specifically Roman poetry, the personal love-elegy, was born, flourished, and succumbed to its own success. Latin literature now became, in the familiar modern sense of the word, classical: a balanced fusion of what was best and most (...) stimulating in earlier Greek and Roman writing, charged with new and original life by the individual genius of, most particularly, Virgil, Horace and Ovid. Augustan literature, conventionally viewed as the expression in writing of the age itself - political and social stability reflected in artistic equilibrium - turns out on a close and critical reading to have been subject to the same stresses and strains as the society in and for which it was produced. In appraising the monumental literary achievements of the age the underlying tensions and contradictions are not ignored. The critical discussions in this volume do full justice to the complexity and subtlety of the literature itself. (shrink)

This volume covers a relatively short span of time, rather less than the first three-quarters of the first century BC; but it was an age of profoundly important developments, with enduring consequences for the subsequent history of Latin literature. Original and innovative in widely differing ways as was the work of Lucretius, Sallust and Caesar in particular, the scene is dominated, historically, by two figures: Cicero and Catullus. Cicero was a politician and a man of affairs as well as a (...) man of latters, whose vast literary output reflects a range of intellectual interests unparalleled among surviving Roman writers; creator of a prose style the Quintilian regarded as synonymous with eloquence itself; and better known to us, from his letters, as a human being, than any other figure from classical antiquity. Catullus was a poet, single-mindedly devoted to fostering the tradition of learned Alexandrian poetry at Rome; the author of one slender volume of verse that has attracted more critical attention in proportion to its size than any other ancient poetry-book; and the lover of Lesbia. In these chapters it is shown how these, and other, Roman writers of genius continued the process of transforming their traditional Greek models into new and vigorous Latin forms, with lasting effects for oratory, historiography, and the higher genres of poetry. (shrink)

In the summer of 1997 one could scarcely enter a bookstore in Beijing without encountering Wang Xiaobo's pensive and defiant look on the cover of dozens of books displayed at the entrance. Wang had suddenly died in the spring of that year at the age of forty-five. Born in Beijing in 1952 to a family of intellectuals, he remained attached to China's capital despite periods of separation, such as during the Cultural Revolution, when he was sent to Yunnan to "learn (...) from the peasants" and taught in a "people-run-school" in Shandong, and also during the 1980s, when he studied in the United States . Wang always returned to Beijing, in the late 1970s to study economy and business at the People's University and in the late 1980s to teach there. After retiring in 1993, he devoted his time to writing: poetry, novels, essays, non-fiction, and a movie script. (shrink)

It is, I think, generally believed that the last oracle delivered at Delphi was that given to Oreibasios announcing the inability of Apollo to prophesy there again. This oracle begins with the line: επατε τ βασιλϊ· χαμα πσε δαδαλος αλ and has been translated by Swinburne as The Last Oracle. Of it Myers wrote: ‘ the last fragment of Greek poetry which has moved the hearts of men, the last Greek hexameters which retain the ancient cadence, the majestic melancholy (...) flow.’ But there is evidence which suggests that this was, in fact, not the last prophetic utterance of the Pythian god, and no ancient authority implies that it was. (shrink)

Introduction: All is trash that reason cannot reach : unenlightened writers and the postmodern world -- Learning to read, learning to listen in Robinson Crusoe -- The hymns of Isaac Watts and postmodern worship : aesthetic knowledge as a response to the Enlightenment critique of religion -- Jonathan Swift's information machine and the critique of technology -- Christopher Smart's poetry and the dialogue between science and theology -- Festival and discipline in revolutionary France and postmodern times -- Remembering things (...) past : tradition as a way of knowing in Edmund Burke and Hans-Georg Gadamer -- Reconciling the heart with the head : the poetry of William Cowper and the thought of Michael Polanyi. (shrink)

In an educational landscape dominated by discourses and practices of learning, standardized testing, and the pressure to succeed, what space and time remain for studying? In this book, Tyson E. Lewis argues that studying is a distinctive educational experience with its own temporal, spatial, methodological, aesthetic, and phenomenological dimensions. Unlike learning, which presents the actualization of a student’s "potential" in recognizable and measurable forms, study emphasizes the experience of potentiality, freed from predetermined outcomes. Studying suspends and interrupts the conventional logic (...) of learning, opening up a new space and time for educational freedom to emerge. Drawing upon the work of Italian philosopher and critical theorist Giorgio Agamben, Lewis provides a conceptually and poetically rich account of the interconnections between potentiality, freedom, and study. Through a mixture of educational critique, phenomenological description, and ontological analysis, Lewis redeems study as an invaluable and urgent educational experience that provides alternatives to the economization of education and the cooptation of potentiality in the name of efficiency. The resulting discussion uncovers multiple forms of study in a variety of unexpected places: from the political poetry of Adrienne Rich, to tinkering classrooms, to abandoned manifestos, and, finally, to Occupy Wall Street. By reconnecting education with potentiality this book provides an educational philosophy that undermines the logic of learning and assessment, and turns our attention to the interminable paradoxes of studying. The book will be key reading for scholars in the fields of educational philosophy, critical pedagogy, foundations of education, composition and rhetoric, and critical thinking and literacy studies. (shrink)

ABSTRACTShelley’s “Letter to Maria Gisborne” is a playful improvisational verse epistle, widely praised for its urbanity and its display of the poet’s invention. The verses turn on a catalogue of the collection of odd scientific and mechanical objects that Shelley found scattered around him in the place he composed the letter, the Livorno workshop of Gisborne’s son, a young engineer who was building a new-model steamboat at the time. In the context of that space, the poem reads as a response (...) to competing notions of invention. For Shelley, the engineer’s workshop is an attractive alternative to the poet’s tower—which was uncomfortably close to a Grub Street garret. Verbal and visual images of poets’ and scientists’ workshops, from Hogarth and Mary Robinson, to Joseph Wright of Derby and Frankenstein, illustrate the tensions embodied in the physical location and poetic performance of Shelley’s celebrated “Letter.”. (shrink)