The article suggests that, contrary to widespread opinions and standard encyclopedic definitions, philosophy is a domain not only of thoughts and ideas but also of feelings. Philosophy as love for wisdom includes emotions in both of its components. Among the many various feelings that we experience, there is a discrete group that, thanks to their involvement with universals, may be regarded as philosophical. Wonder, grief, compassion, tenderness, hope, despair, and delight are philosophical if they are experienced on behalf (...) of humankind and addressed to the world as a whole. The vocation of philosophy is to expand the realm of feelings through the generalizing capacity of the reason, so that love, joy, and pain can be experienced in a noble way, on a maximally global scale, not reducible to private or practical situations. Emotions of philosophical cast affect the world more powerfully than metaphysical ideas and logical propositions. Revolutions are driven less by ideas than by philosophical wrath, exasperation with the existing order of things, and the feeling that the world is unjust. It is in this context that Epstein's essay defines the genre of lyric philosophy as a direct self-expression of the thinking subject in the process of attaining self-cognition — as represented, for instance, in the work of Augustine, Montaigne, Kierkegaard, Emerson, and Nietzsche. Philosophical subjecthood as a means of self-expression for the transcendental subject should be distinguished from the purely personal subjectivity inherent to empirical individuals, in the same way and to the same extent as philosophical feelings should be distinguished from mundane ones experienced in everyday situations. Since the subject focused on itself is essential to lyricism, we may even speak of the generic, inescapable lyricism of philosophy per se. (shrink)

These sixty-one numbered paragraphs offer an overview of the idea and practice of lyric philosophy. They draw heavily on the author's texts Lyric Philosophy, Wisdom & Metaphor, and “Bringhurst's Presocratics: Lyric and Ecology”. The present essay outlines key concepts — clarity as resonance, metaphor as gestalt shift, meaning as gesture, the overlap between philosophy and poetry, the nature of lyric truth — and suggests that they are essential to an adequate epistemology. These concepts (...) allow us to address serious gaps in our understanding of how humans think, gaps that have arisen owing to the limitations of linguified intelligence coupled with a disinclination to admit the existence of these limitations. The overview also describes fundamental differences between lyric philosophy and analytic philosophy, while insisting on a robust conception of truth and on the existence of a knowable mind-independent world. The importance of a lyric approach for our understanding of a range of ecological questions is discussed, and lyric philosophy is positioned, politically, as a critique of technocracy. (shrink)

What is lyric philosophy? The clearest response to that question is the book-length investigation by Canadian philosopher and poet Jan Zwicky. If philosophy can be defined as thinking in love with clarity, then lyric philosophy might be roughly understood as such thinking in which clarity assumes the form of resonance. Among her paradigmatic lyric philosophers, Zwicky includes (inter alia) the aphorists Herakleitos and Ludwig Wittgenstein. Lyric is distinguished by its deep structure, which is (...) polydimensional and integrative. Epistemically, this structure responds to the gestural root of meaning, which is ineffably manifest in the physical world. (shrink)

This contribution to a symposium on “lyric philosophy” argues that there is much in Jan Zwicky's work that should make it attractive to literary critics, in particular her insistence that form and content are inextricably bound up with one another. Lyric compositions should not be assessed by reason and logic alone, she holds, and they should not be understood solely in terms of their propositional content. She acknowledges that full understanding employs the imagination and takes account of (...) metaphor. However, some critics may be less willing to accept Zwicky's suggestion that there is a world, and an experience of the world, that is available to us without linguistic mediation and structuring. This article questions whether there a kind of meaning that can be understood preverbally and intuitively. The discussion concludes with a consideration of Zwicky's comments on Rainer Maria Rilke's sonnet “Archaic Torso of Apollo.” Contrary to her own principles, she offers a prose summary of the poem that does not take account of its lyric form and thereby misses some of its most enigmatic features. Whereas Zwicky would have it that the reader of such a poem can achieve a preverbal intuition of its meaning, the article suggests that, when we attend carefully to the words of the poem, we will be intriguingly perplexed. (shrink)

-/- Carefully considering the difference in the philosophical potential of page poetry and performance poetry, Karen Simecek argues that it is only by considering them side by side that the unique cognitive value of each can be realised. -/- Focusing on spoken word poetry reveals the importance of voice and embodied words to the differing epistemic rewards of engaging with contemporary works of poetry in both private reading and live performance. This concept of embodied voice progresses a new line of (...) thinking in the cognitivism debate and unlocks the philosophical value of engaging with poetry. Simecek's discussion of performed poetry also advances discussions of affect and experience in contemporary analytic aesthetics which raise new insights and connections within the field. -/- The moral significance of the differing effects of poetry finds comprehensive articulation through a rich philosophical analysis of the thoughts and affects which arise in particular contexts. Simecek concludes that when page poetry is treated as paradigmatic, this enables reflection in the singular, whereas taking poetry in live performance as paradigmatic enables reflection on what is shared and shareable with others. (shrink)

In Lyric Philosophy, Jan Zwicky presents a way of thinking that challenges the model that currently prevails in academic philosophy. In this essay I deal primarily with one aspect of lyric thought: its relation to time. I examine whether beauty’s relationship to time is like that of lyric thought, for Zwicky tells us that the “experience of beauty is the experience of some form (or other) of relief from time.” She also describes lyric thought (...) as being more spatial than temporal in structure. I question whether the style of timelessness of beauty is like the style of timelessness of lyric thought. (shrink)

Philosophers ask just whose expression, if anyone’s, we hear in lyric poetry. Walton provides a novel possibility: it’s the reader who “uses” the poem (just as a speech giver uses a speech) who makes the language expressive. But worries arise once we consider poems in particular social or political settings, those which require a strong self-other distinction, or those with expressions that should not be disassociated from the subjects whose experience they draw from. One way to meet this challenge (...) is to consider the poem expressive of a plural subject, which frees us from looking for a particular individual whose voice we hear in the work, whether she be fictional or actual. Some lyrics give voice to a group whose experience is attended to in the work. This may be done through a posited fictional speaker, but the ontology of the speaker is shown to be less important. Attending to a group whose concerns are voiced allows us to explain how poems can manage to address our-worldly concerns even when lacking actual persons whose expressions we encounter in the poems. (shrink)

Each of us is not just a set of actions, experiences, and plans but also a set of traits, capacities, and attitudes; we are as much our character as our life. And while story form can help unify a messy life, when it comes to a messy character, we may need something like the form of a poem. Could we model our self-conception, then, on a work like Sonnet 35? In finding deep-going unity—and even bittersweet beauty—beneath surface-level ambivalence, Sonnet 35 (...) arguably offers a perfect formal model, pointing the way to a transfiguration, through art, of intractable internal conflict. (shrink)

Of the most recent turn to literary practices in contemporary art, this article studies one facet: that which relates to the lyric tradition. It hopes to make a case for ‘lyric images’, drawing on the works by artists Tacita Dean, Day for Night (2009), and Roni Horn, Still Water [...] (1999). Read around poems by Emily Dickinson, John Fuller and Margaret Atwood, how these artworks utilize photography’s natural capacity to mirror both the recursive syntactic structure and the blending (...) of instantaneity with immortality common to the lyric poem is explored. Particularly, the article considers notions of cyclical seriality – as composed of singular moments, yet tending towards the infinite – both formally and referentially. Whether these qualities provoke an imaginative and/or emotive looking that contrasts with our response to previous assumptions of the written form in conceptual art practices (e.g. Art and Language) is also reflected upon, in order to contemplate why this particular hybridising may be current in photographic practice. (shrink)

Early 20th century Futurist attempts in visual poetry can be related to technology-based poetic creation and current digital experiences. This essay seeks to enhance the understanding of Media Poetry by identifying the existing connections between the “words in freedom” and Eduardo Kac's Holopoetry. This example of interactive and immaterial creation represents a crucial contribution to redefine poetry‟s relevance to contemporary global networks and also a milestone to understand the future of virtual and immersive writing spaces.

Although all readers of Mary Shelley’s Frankenstein agree with Victor that his creation of the monster was a mistake, few are certain about how it should be resolved. Shelley offers two vexed solutions to the problem of the creature. The first, explored in the plot of Frankenstein, unfolds with an air of tragic inevitability; Victor destroys his creature and—by extension—himself. But the second solution that Shelley raises, through the creature’s earnest behest that Victor make him a partner, also presents obstacles. (...) Shelley invites her readers to sympathize with the monster’s predicament, but not with its resolution in the nightmarish prospect of a “race of devils … propagated upon the earth, who might make the.. (shrink)

The term "Philosophic lyric".--Introductory chapter.--The "return to nature"; Wordsworth's "philosophy of nature".--The period between Wordsworth and Meredith.--Wordsworth and Meredith as poets of nature.--Browning and Meredith as poets of man.--Conclusion.

The article recasts the pre-history of philosophy as it is understood by G. W. F. Hegel, so as to examine what a “Lyrical Presentation of History” might have been. The essay argues that Hegel’s treatment of history at the end of his Lectures on Aesthetics suffers from an inattention to the specific philosophical content of modern lyrical poetry, which can be located in his claim that lyrical poetry is primarily concerned with the subject. In contrast, the author argues that (...) Hegel’s account ought to have led him to hold that lyrical poetry is primarily concerned with subjective, alienated worlds, which he calls “counterworlds”. The essay ends with a brief treatment of three poems by Paul Celan to show how this shift in the meaning of lyrical poetry would have led Hegel to give greater weight to lyrical poetry in his theory of history. (shrink)

Lyric poetry, often regarded as the epitome of subjectivity in the realm of artistic expression, emerges from the depths of the poet’s personal emotions. Hence, in the aesthetic landscape of the nineteenth-century Germany, it was excluded from the inventory of genuine art forms, all of which were deemed to be objective and disinterested. Associating lyric poetry with music in its origin and essence, Nietzsche extends his Schopenhauerian metaphysics of music to the lyric, making it a highly objective (...) art reverberating from the abyss of existence, the Ur-Eine, expressing its intrinsic self-contradictory and agonizing nature. A similar understanding of the creative process of poetic composition in the lyric, which this article aims to elucidate, can also be found in some of Rūmī’s ghazals and observations. These include a metaphysics of the unseen, a reunion through ecstasy and rapture, and a reflection and mirroring, initially through music and then through the lyric. (shrink)

What begins with an unlikely collection of unrelated phenomena--mechanical dolls, weather, atoms, lyric poetry--blossoms in the course of _Toy Medium_ into a subtle and persuasive meditation on one of Western philosophy's biggest puzzles: the relation of mind and matter. What is the role of the imagination in defining material substance? In a dazzling study of the poetics of materialist philosophy and of the materialism of lyric poetry, Daniel Tiffany traces the historical conjunction of matter and metaphor (...) through a remarkable range of topics: automata in classical antiquity and the eighteenth century; Kepler's treatise on snowflakes; animal magnetism; fireworks and cloud-chamber photographs; the origins of the microscope as a philosophical toy and its bearing on the figure of the virtuoso. At critical junctures in modern Western culture, Tiffany finds uncanny parallels between the metaphorics of science and visions of material substance rooted in popular culture and lyric poetry. _Los Angeles Times Best Nonfiction Book of 2000_. (shrink)

Lyric poetry is often associated with expression of the personal. For instance, the work of the so-called “confessional” poets, such as Sylvia Plath and Anne Sexton, is often thought to reveal inmost thoughts and feelings of the poetic voice through first personal expression. The lyric poem, with its use of personal pronouns and singularity of voice, appears to invite the reader to experience the unfolding of the words as the intimate expression of another.Intimacy itself is associated with attention (...) to another and is thought to play a role in feeling sympathy and empathy. As John Gibson comments, “Empathy makes possible an especially intimate and powerful form of identification. It underwrites our capacity...... (shrink)

The epidemic outbreak of the coronavirus has meant a sudden, temporary ceasing of activities as we knew them. The health crisis has led to a social and economic crisis, and these circumstances have revealed solidarity on a global scale. In moments of separation, when culture has brought us closer together, the global phenomenon of charity songs has emerged, generating financial aid for scientific research and care for the most vulnerable people. This work focuses on a charity song turned into a (...) hymn, a narrative poem in the first person that tells everyone's common story, “Aves enjauladas” by the Spanish singer-songwriter Rozalén. This paper carries out a linguistic, stylistic and audiovisual analysis of this multimodal event, which has been transmitted through a ‘lyric video’ and spread in a vertiginous way on digital platforms and social networks, reaching millions of views. Ultimately, the paper analyses the spiritual and material impact, the body and soul of this living poem, taking a still photograph of the artistic recreations and musical, visual, pictorial and pedagogical ‘echoicities’ of this work, as well as appreciating its material socio-economic repercussions in the real lives of families at risk of exclusion. (shrink)

Abstract:Is it possible to speak about the unspeakable as it is represented in music, lyric poetry, and tragedy? The answer is yes, if we adopt a purely aesthetic perspective. The answer is no, if we adopt the perspective of the transcendental subject as the metaphysical source of music, lyric poetry, and tragedy. In this paper, I conceptualize the nondiscursivity of music, lyric poetry, and Attic tragedy in the philosophical aesthetics of Kant, Schopenhauer, and Nietzsche. I also make (...) a few incidental remarks to Plato's Socrates and Aristotle as well as the Theban plays by Sophocles. (shrink)

Authentic objects are those that have a historical link to a person, event, time, or place of some significance. The current study examines everyday beliefs about authentic objects, with three primary goals: to determine the scope of adults' evaluation of authentic objects, to examine such evaluation in two distinct cultural settings, and to determine whether a person's attachment history predicts evaluation of authentic objects. We found that college students in the UK and the USA consistently evaluate a broad range of (...) authentic items as more valuable than matched control objects, more desirable to keep, and more desirable to touch, though only non-personal authentic items were judged to be more appropriate for display in a museum. These patterns were remarkably similar across the two cultural contexts. Additionally, those who had an attachment object as a child evaluated objects more favorably, and in particular judged authentic objects to be more valuable. Altogether, these results demonstrate broad endorsement of "positive contagion" among college-educated adults. (shrink)

Songs that combine happy music and sad, violent, or morally disturbing lyrics raise questions about the relationship between music and lyrics in song, including the question of how such songs affect the listener, and of the ethical implications of listening – and perhaps singing along with – such songs. To explore those perplexing cases in which the affective impact of music and lyrics seem entirely incompatible, we first examine how song music – and the sympathetic musical affects it elicits – (...) can influence listener attention to lyrics. We propose that ‘happy’ music and mood in particular may discourage close attention to the semantic contents of lyrics in some cases, and impart a ‘positive glow’ to them in others. We also mine the kinds of moral questions to which emotional and imaginative immersion in fiction can give rise for their potential applicability to songs with disturbing narratives. We then explore how performance and performer may influence the understanding and interpretations of lyrics. This investigation of the complexities of such songs will use Tom Jones’ murder ballad “Delilah” as a template, taking into account both its impact and its presentation. (shrink)

This article contributes to a theory of the lyric essay film by bringing studies of the essay film and lyricism to bear on Pietro Marcello’s Lost and Beautiful (2015). We argue that the lyric essay film delivers its argument by leveraging the tension between words and images, narrative and counter-narrative components, and the (non)human subjectivities (i.e. the director’s, characters’ and camera’s) its text embodies and enacts. These tensions generate interstitial sites from which the ethics and politics of the (...) lyric essay film emerge. Insofar as the lyric essay film is marked by the intrusion of subjectivity in the genre’s argumentative structure, the polyvocality that this intrusion allows in terms of both critical and affective contribution to the film’s argument is what enables the lyric essay film to undermine ideological homogenisation and the naturalisation of situated subjective positions. Moreover, the felt participation of the subjectivity of the camera in the rendering of reciprocal processes of subjectivation becomes ethically meaningful as it embodies a conception of subjectivity as co-determined by otherness. The ethical significance of this interaction is also relevant to contemporary environmental thought, as it maintains that human subjectivities are co-determined by human and nonhuman others. (shrink)