Este texto apresenta algumas reflexões sobre os elementos poéticos presentes no discurso místico, ressaltando quais as características fundamentais destes textos, desde um ponto de vista da poesia. Ao fazer isso, o texto também pergunta quais seriam os elementos místicos da poesia. Se se pode falar de uma poética da mística, poder-se-ia também considerar uma mística da poética? Considerando-se que o discurso místico é resultado de uma experiência com o sagrado, haveria uma experiência transcendente também expressa na poesia considerada profana? O (...) procedimento adotado para a depreensão desta poética da mista é a análise literária de alguns poemas da tradição mística, de um salmo bíblico e de um texto de um poeta não comprometido com uma tradição religiosa específica. O resultado desta análise é percebido como uma possível poética da mística. Por outro lado, o aspecto transgressor da linguagem presente na poesia é apontado como sendo expressão da mística da poesia. Palavras-chave : Poesia. Mística. Teologia Negativa. Literatura. Sagrado.: This paper reflects on the poetical elements present in mystical discourse. The idea is to highlight the poetical characteristics of mystical texts. In doing so, the article asks which the mystical elements of poetry are. Another question is also raised: if it is possible to talk about poetics of mystic, is it possible to consider the existence of a mystical poetic? Considering the mystical discourse as the result of an experience with the Sacred, is there a transcendental experience expressed in poetry considered profane? For the establishment of this poetic of mysticism, the texts analyses some mystical poems: a psalm from the Bible and a poem from a Brazilian poetry that does not belong to a specific religion tradition. The result of this analysis is presented as a possible poetic of mysticism. Furthermore, the aspect of transgression of the language, present in poetry, is shown as an expression of the mystic of poetry. Keywords: Poetry. Mysticism. Negative Theology. Literature. Sacred. - DOI: 10.5752/P.2175-5841.2012v10n25p53. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Some Aspects of Christian Mystical Rhetoric, Philosophy, and PoetryRyan J. StarkThis is an article about poets and poetic philosophers who make spirited arguments. My purpose in particular is to clarify the nature of mystical rhetoric, which needs to be distinguished from secular rhetoric (i.e., “secular” as nonspiritual). As ways of existing in language, they are ontologically incommensurable, and we should treat them as such. Mystical rhetoric is that into (...) which Spirit enters, conveying to both writer and reader some aspect of providential kairos that cannot otherwise be attained. That is, God completes mystical inferences. God participates, illuminating the hearts of those who open themselves to grace through faith. Or, in other words, writers and readers who want to enter into numinous arguments must shelve the hermeneutics of suspicion. An overly critical stance actually diminishes the possibility of insight, even if it is well intended, much like nervous backseat driving, which—though aimed at producing safety—inevitably works against it. I am not suggesting, however, that skeptics are at a complete loss when approaching mystical rhetorical situations. Rather, they simply do not grasp the metaphysical, enchanted, or occult dimensions of the discourses at work, because they have closed themselves off to Spirit or—more commonly—have attempted to transmogrify Spirit into secular concepts, which distorts spirited language and leads to mischaracterizations of religious experience.1 In contrast, I provide a Christian approach to [End Page 260] mystical rhetoric, one that neither discounts nor sidesteps the real presence of the supernatural.Inspired Rhetoric and HermeneuticsFuror poeticus is a key element of mystical persuasion. The phrase literally means “poetical fury,” and the idea behind it in a Christian framework is that the Holy Spirit aids writers in creating imaginative texts (e.g., sonnets, sermons, essays, novels, blogs, etc.) or, in pernicious instances, demons aid writers.2 In either case, a mysterious force helps the author to compose. Moreover, furor touches readers or listeners, a point seldom emphasized but nonetheless central to this sublime practice of composition. Inspired writing requires inspired reading: furor poeticus needs furor lectoris.3 The Spirit aids readers in understanding mystical rhetoric, as long as those readers participate earnestly in the discourse. John Milton (1674, 7.31), for example, famously envisions such a “fit audience” in the third invocation to the Muse in Paradise Lost (i.e., the “great Argument”), where he calls on the reader for hermeneutical verve, a spirited reading to complement his enthusiastic writing. Søren Kierkegaard also writes to an audience capable of spiritually minded hermeneutics, allowing him to perform various edifying dissimulations through pseudonyms: the despairing aesthete, the unscrupulous seducer, the rigid moralist, and so forth. These inspired writers expect believing readers to contribute to their works, to complete their disputations, in fact, through spirited exegesis. Their methods of composition demand it, which is to say that writers touched by furor leave little room in their arguments for the sustainable disposition of the uninspired reader.Cicero explains spirited rhetoric and hermeneutics in De divinatione, where Quintus talks about how inspired readers experience the same type of furor as inspired writers, seers, and prophets: “Men capable of correctly interpreting all these signs of the future seem to approach very near the divine spirit of the gods whose will they interpret, just as scholars do when they interpret the poets” (1938, 226). Scholarship, in other words, is capable of tapping into mystical energy, making the scholars as prophetic as the vates on which they write. In the second book of On Christian Doctrine (1958, 75–78), Augustine also explains the importance of mystical exegesis as a form of prophecy, where sincere readers undergo the same type of inspiration as mystical writers. For Augustine, spirited reading begins with prayer and ends with revelation. In both accounts of furor, Cicero’s and Augustine’s, [End Page 261] the inspired audience and the inspired writer together experience rapture, a divine vision or illumination, which is precisely the type of communion that occurs during mystical discourses.4Still, the idea of seeking communion with God is potentially unsettling. The notion produces anxieties of psychosis, possession, and self-erasure. Plato famously expresses such concerns in Ion, for example... (shrink)

Resumen El propósito de este artículo es presentar a Christophe Lebreton monje, poeta y mártir en Argelia como una figura que representa una renovación del lenguaje con el que se dice el misterio de Dios hecho experiencia humana. La tesis que sostenemos es que su escritura poética, de rasgos posmodernos, dice a Dios de un modo actualizado tanto por su forma como su contenido, en el que destacan la hospitalidad y la nupcialidad.The purpose of this article is to present Christophe (...) Lebreton monk, poet and martyr in Algeria, as a figure that represents a renewal of language with which the mystery of God turned into human experience, is expressed. The thesis we maintain is that his poetic writing, of postmodern traits, names God in an updated way both in form and content, in which hospitality and nuptiality stand out. (shrink)

Through an analysis of many different examples, Danvers articulates a new way of thinking about mysticism and scepticism, not as opposite poles of the philosophical spectrum, but as two fields of enquiry with overlapping aims and methods. Prompted by a deep sense of wonder at being alive, many mystics and sceptics, like the Buddha, practice disciplines of doubt in order to become free of attachment to fixed appearances, essences and viewpoints, and in doing so they find peace and equanimity. They (...) develop ways of living with impermanence and the unexpected by letting go of adherence to dogmatic beliefs and by suspending judgement. In common with many artists and poets they act as agents of uncertainty, actively disturbing the routines and habits of day-to-day thought and behaviour in order to demonstrate how to maintain a sense of balance and spontaneity in the midst of life s difficulties. Topics explored include: being and self as process; mysticism and language; scepticism and dogmatism; Buddhism, interdependence and emptiness; Daoism and impermanence; dialectics of doubt in art and poetry. Written in a lively and accessible style, accompanied by drawings and photographs by the author, this volume is aimed at scholars, artists, teachers, and anyone interested in philosophy, religion, art, poetry and ways of being.". (shrink)

One of the central assumptions of the present study is that mystic or religious poetry not just formulates mystic or religious ideas: it somehow converts theological ideas into religious experience, by verbal means. It somehow seems to reach the less rational layers of the mind by some drastic interference with the smooth functioning of the cognitive system, or by a quite smooth regression from ‘ordinary consciousness’ to some ‘altered state of consciousness’. In this way, the experience is (...) affected not only by its contents, but also by the perceived quality of the structure of the underlying mental process. This brings us to recognize that mystic or religious poetry is sometimes of vastly different styles. In my book I distinguish between two prototypes of such styles, those that are based on drastic and on smooth interference, respectively. The present article will examine poems based on a very special kind of drastic disruption, of which George Herbert was the grand master. This prototype uses typographic schemes for disruptions in orientation, activating mechanisms of prelinguistic babbling, delaying connection of signifiers with the signified, and transcending distinctions to go to unity. Also looked at will be psychological and social defenses against these disruptions as well as ways to overcome those defenses. In this article I will consider the relationship between mystic poetry and what Willie van Peer calls ‘typographic foregrounding’. In this relationship, I will suggest, both mystic and aesthetic principles are involved. (shrink)

Este artigo tem como objetivo refletir sobre a relação entre religião e literatura a partir poética mística de Adélia Prado. Apresentarei brevemente alguns métodos que exploraram e ainda exploram essa aproximação. Também mostrarei a estreita relação entre mística e poesia e como ela se apresenta na obra de Adélia Prado. Essa estreita relação permite-nos nomear a obra de Adélia Prado de poética mística e é a partir dessa noção que será feita uma leitura teológica na poética da mineira de Divinópolis, (...) destacando as reflexões sobre importantes aspectos para a tradição teológica cristã e para a existência humana em geral que emergem da sua poesia. A conclusão do percurso é que a poética mística de Adélia Prado é profundamente marcada por uma caminhada rumo à iluminação mística, o que nos permite dizer que se trata de uma canção que celebra a vida em seus mais diferentes aspectos, afirmando o corpo como lugar de encontro com Deus. Palavras-chave : Adélia Prado. Religião. Literatura. Mística. Poesia.This article reflects on the relationship between religion and literature in the mystical poetry of Adelia Prado. Some methods that have explored such relationship will briefly be presented. This paper also aims to explore the close relationship between mysticism and poetry and how it is presented in the work of Adelia Prado. This close relationship helps us to make a theological study of the poetry of Adélia and also allows us to highlight some insights on important aspects of her poems for Christian Theology e for human being. In sum, the mystical poetry of Adélia Prado is deeply influenced for a path towards mystical enlightenment, which allows us to say that her work is a like a song that intends to celebrate life in its different aspects, highlighting the human body as the place where the human being finds God. Keywords: Adélia Prado. Religion. Literature. Mystical. Poetry. - DOI: 10.5752/P.2175-5841.2012v10n25p120. (shrink)

This paper studies the English poems of Richard Crashaw from a historicist and formalist perspective. It specifically considers Crashaw’s poetry in its religious but also intellectual and early scien­tific context to investigate the frequently overlooked influence of science on his poetry. Metaphors drawn from alchemy and particularly from the trans­formation of matter to achieve its purification and spiritualisation enrich the poet’s expression of mystical devotion to underline that access to the spiritual as well as mystical union with Christ (...) are deeply rooted in the devotee’s body. Representations of the earth as a chemical laboratory focus on materiality and corporality to emphasise the constant movement animating matter. A form of spiritual alchemy underscores Crashaw’s Christocentrism and references to the metamorphoses of matter consistently aim to express mystical union. A meta-poetic analysis eventually highlights a significant analogy between reading and alchemical processes in order to demonstrate the anagogical aim of Crashaw’s verse and the way his poems work on his reader’s heart to lift his soul. References to liquefaction, distillation or sublimation echo the published works of mystics but alchemical conceits based on symbolically evocative topoï and polysemic vocabulary reinforce the importance of the corporal in the expe­rience of mystical union. (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 article demonstrates how Iranian classical music and Persian medieval poetry, taken as separate semiotic systems, form together, in certain contexts, a single hybrid semiotic system with overlapping structural features and shared aesthetic principles. Hjelmslev’s description of connotative semiotic systems serves as a theoretical framework to show the modalities of this hybridization. This phenomenon can be observed through comparative analysis of the interdependence of poetry and music in the Persianate World from a semiotic point of view. On the (...) one hand, the quantitative (chronemic) meter of the Persian classical versification, called ‘aruz, as well as its extraordinarily heavy use of rhyme display a formal structure that evokes that of a musical phrase. On the other hand, the dependence of the structure of the Iranian musical system upon the rhythmic structure of classical poetry suggests a unique character of which few examples exist. This interdependence manifests itself particularly in the mystic (Sufi) poetry of the medieval period, specifically in the work of such renowned poets as Rumi, Sa’di Shirāzi, and Hāfez, who are among the best-known in the West. Examples of their lyric works are examined here to demonstrate occurrences of the collusion between the two semiotic systems. (shrink)

This article discusses the role of myth in Persian literature and poetry, and how it has affected Sufism and the evolution of its mysticism. Sufism developed in the seventh (3 AH) century solely within the confines of Islamic orthodoxy. The Sufi path began as a protest movement against Islam and the Caliphs, and progressively enriched its many dimensions until the tenth century, when the majority of artists, calligraphers and poets were Sufi. The article will investigate Sufism as an activism (...) movement related to politics, religion and social circumstances, and its collaboration with new media in finding a new, contemporary method of protest in today’s Iran. (shrink)

Biblical Exegesis and Mystical Theology in the Venerable Bede brings together seventeen essays by Arthur Holder exploring the theology and spirituality found in Bede's biblical commentaries and homilies. The volume shows that Bede was both a masterful student of received tradition and a creative thinker concerned to address the needs and concerns of his audience of Christian pastors and teachers in the eighth-century Northumbrian church. Although Bede is best known as the author of The Ecclesiastical History of the English People, (...) the last half-century of scholarship has demonstrated the sophistication and vast influence of his work in the fields of grammar, biblical interpretation, hagiography, poetry, computus, natural science, and theology. The chapters in this volume show how Bede's exegesis was integrally connected with his work in all those genres and with the monumental artistic productions of his monastery such as the illuminated bible manuscript known as the Codex Amiatinus. The five parts of the book deal with Bede as teacher and biblical scholar, his interpretations of the tabernacle and the temple, his commentary on the Song of Songs, his attitudes toward philosophy and heresy, and his mystical theology. This book will be of interest to students of Christian theology, mysticism, the development of biblical interpretation, and the history of early medieval England. (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)

In this book, Sarah Rolfe Prodan examines the spiritual poetry of Michelangelo in light of three contexts: the Catholic Reformation movement, Renaissance Augustinianism, and the tradition of Italian religious devotion. Prodan combines a literary, historical, and biographical approach to analyze the mystical constructs and conceits in Michelangelo's poems, thereby deepening our understanding of the artist's spiritual life in the context of Catholic Reform in the mid-sixteenth century. Prodan also demonstrates how Michelangelo's poetry is part of an Augustinian tradition (...) that emphasizes mystical and moral evolution of the self. Examining such elements of early modern devotion as prayer, lauda singing, and the contemplation of religious images, Prodan provides a unique perspective on the subtleties of Michelangelo's approach to life and to art. Throughout, Prodan argues that Michelangelo's art can be more deeply understood when considered together with his poetry, which points to a spirituality that deeply informed all of his production. (shrink)

The mutual influences of the medieval discourse of courtly love and the literary visions of divine love have long been recognized by readers of medieval lyrical poetry and devotional writings. They are especially visible in the affinities between the language used to construct the picture of the ideal courtly lady and the images of the Virgin Mary. Praises of Mary’s physical beauty, strewn with erotic implications, are an example of a strictly male eroticization of the medieval Marian discourse, rooted (...) in Bernard of Clairvaux’s allegorical reading of the Song of Songs, where Mary is imagined as the Bride of the poem, whose “breasts are like two young roes that are twins”. Glimpses of medieval female erotic imagination, also employed to express religious meanings, can be found in the writings of the mystical tradition: in England in the books of visions of Margery Kempe, in the anonymous seers of the fourteenth century, and, to some extent, in Julian of Norwich. Though subdued by patriarchal politics and edited by male amanuenses, the female voice can still be heard in the extant texts as it speaks of mystical experience by reference to bodily, somatic and, sometimes, erotic sensations in a manner different from the sensual implications found in the poetry of Marian adoration. The bliss of mystic elation, the ultimate union with God, is, in at least one mystical text, confidently metaphorized as an ecstatic, physical union with the human figure of Christ hanging on the cross. (shrink)

Heidegger’s commentaries on Hölderlin’s poetry constitute an essential part of his philosophical heritage. They played a decisive role in the move from a self-enclosed theory of Being to a transcendent openness. Nietzsche confirmed Heidegger’s aversion of the philosophical subjectivism that had come to paralyze all of Western philosophy and, related with it, threatened Western culture with collapse. The time before and during World War I confirmed both the consequences of a philosophical subjectivism and the urgent need for an active (...) political attitude. Heidegger’s support of Nietzsche did not outlast the war nor the information that the will to power’s political interpretation was not Nietzsche’s own but his sister’s and had become a secret weapon in the service of the Nazi party. By that time Heidegger studied Hölderlin’s poetry and understood that also his own philosophy of Being had been rigid and one-sided. From Hölderlin’s poetry he learned the indispensability of passive attitudes. Thus far atheism had served as protection of the absoluteness of a self-enclosed Being. Through the poems of Hölderlin Heidegger learned that Being is not a self-supporting absolute but a transcendent openness that might be expressed actively in religion or in a mystical Gelassenheit. (shrink)

This article engages with the reception and naming of women by contemporary historians and theologians. The core question is as follows: when is a woman received as a theologian? This question is looked at via the works of Hadewijch, a 13th-century Flemish writer. Scholars easily group together women from the High Middle Ages as mystics, referring to the experiential character of their theology and their writing in the vernacular. These criteria of gender, language and experience then disqualify them as theologians (...) and qualify them as mystics. In this article, the dichotomy between spirituality and theology is revisited and examples of a growing discourse where Hadewijch and some of her contemporaries are called theologians are given. The genre of theology is then widened to recognise the worth not only of scholastic discourse but also of vision, poetry and bodily experience.Contribution: The renaming of historical woman figures is of utmost importance in the understanding of what constitutes women theologians in the present day as well as for the healing of the divide between ‘spirituality’ and ‘theology’. (shrink)

This research thesis explores the concept of attention as outlined and practised in the life of Simone Weil (1909-1943), a French woman variously described as a philosopher, mystic and activist yet someone who eludes categorisation or systematisation. It outlines the background to her life in a France between two world wars, and seeks to situate her within the context of the Christianity she claimed as her cultural backdrop. It explores the concept of attention as both a spiritual exercise and (...) a practice in the life of Weil, something that then evolved into a core principle of her thinking. The central question here is the age-old one, harking back to ancient philosophy, concerning the living of a good life, particularly within the context of a lifelong acquaintanceship with Weil‘s work. As this study examines Weil‘s ideas on reading, it also interrogates how she is read, particularly by poets today, with a view to assessing her influence. Weil was a writer who loved poetry and wrote some herself. Poetry and the recitation of prayers played an important role in her mystical experiences. The role of affliction in her mysticism and in her life is important and it will be seen how her stance in the face of affliction is something that marks her thinking. The concept of attention today incorporates issues around the commodification of the attention span, as well as its deficits. This study examines some of these issues and draws forth from the life and work of Simone Weil a more expanded, practical, and reflective understanding of the idea of attention. (shrink)

Resumo O artigo pretende apresentar as principais linhas temáticas da poética de Adélia Prado, escritora que do primeiro ( Bagagem , 1976) ao último livro ( A duração do dia , 2010) tem surpreendido público e crítica com a articulação de temas que o senso comum considera divorciados, mais propriamente, uma religiosidade mística e uma erótica candente. Pensar o erótico e o místico em Adélia é pensar o humano circunscrito pelo horizonte da morte, sabendo-se que, mais do que uma temática, (...) esses são elementos estruturadores e sustentadores dessa poética que se enraíza em uma corporeidade extrema que assume corpo e linguagem como abertos para o sagrado. Entretanto, ainda que religiosa, sua poesia não é ingênua ou catequética e, a experiência mística, à semelhança do que acontece com os grandes místicos Teresa de Avilla e São João da Cruz, se dá no corpo, que se torna porta de abertura para o mistério: ' o mistério vai se mostrar através do corpo' , diz-nos uma das personagens adelianas. Palavras-chaves: Adélia Prado; Mística; Erotismo; Poesia.The article aims to present the main themes of the poetry of Adelia Prado, a writer who since the first book (Bagagem, 1976) to the last (A duração do dia, 2010) has surprised audiences and critics with the articulation of issues that common sense believes divorced, more properly, a mystical religiosity and a burning eroticism. Thinking about the erotic and the mystical in Adelia Prado´s poetry means thinking about human being as circumscribed by the horizon of death, knowing that more than a simple theme, these are elements of a structured and sustained poetry that is rooted in a extreme corporeality that assumes body and language as always open to the sacred. However, although religious, his poetry is neither naive nor catechetical. Such mystical experience, similar to what happens with the great mystics Santa Tereza de Avilla and São João da Cruz, takes place in the body, which becomes the gateway to the mystery. Keywords : Adélia Prado; Mystic; Eroticism; Poetry. - DOI: 10.5752/P.2175-5841.2012v10n25p104. (shrink)

[Holbrook's] is one of the keenest and deepest critical minds in the field of Islamic literature. She provides for the reader (scholar and lay persona alike) fascinating insights into the genre, poetic functions, mystical allegory, narrative technique, audience response, etc. Many of her analyses are scintillating.... The Holbrook volume is a landmark in Ottoman literary scholarship. --MESA Bulletin... a major contribution to Ottoman and Turkish literary study--I frankly am at a loss to describe how major.... Dr. Holbrook's book will make (...) its own category and subsequent publication in the field will be judged in relation to it. --Walter G. Andrews, professor of Near Eastern Languages and Civilization, University of Washington When the Ottoman Turkish Empire was divided into modern states after World War I, in Turkey a change of alphabet and radical linguistic reform aimed to free modern Turkish literature from intellectual ties to the East. Holbrook recuperates Ottoman debates on the existential status of language and social value of art with a poetics of Beauty and Love, the philosophical fairy tale in verse by Seyh Galib. Where does language come from? How does a poet conceive imagery? What rights to interpretive authority does Muslim law accord the individual when God's word is law? Holbrook's lively analysis ranges an intertext of genres in Arabic and Persian as well as Turkish. The romance of separated lovers is a paradigm of journeys that lead beyond discourse. A poet's quest for originality reveals an archaeology of modernism. Holbrook traces the revolutionary polemic and Orientalist philology that de-aestheticized Ottoman poetry, bringing the critique of Orientalismto bear upon the Ottoman center Orientalism suppressed. (shrink)

A pioneering study that illuminates the connection of music, poetry, mystical praxis and social history underlying the ceremony of the Mevlevi Dervishes. Mevlana Jalaluddin Rumi, whose life and mystical poetry provided the inspiration for the Mevlevi Sufi order, is one of the world's best-known poets, yet the centuries-long musical tradition cultivated by the Mevleviye remains much less known. In this deeply researched book, renowned scholar Walter Feldman traces the historical development of Mevlevi music and brings to light the (...) remarkable musical and mystical aesthetics of the Mevlevi ayin - the instrumental and vocal accompaniment to the sublime ceremony of the 'Whirling' Dervishes. (shrink)

ABSTRACT In the Bible, the human God-relationship is typically established through and by the phenomenon of “calling”. However, for much subsequent theology, this has been displaced by “vision”, “taste” or “feeling”. Referring to the notion of an inner word, the paper follows Kierkegaard's treatment of silence as, alternatively, a mode of inattention and attention to such an inner word. With Heidegger, the paper turns to the notion of vocation, both as in the discussion of the call of conscience in Being (...) and Time and the poetic vocation exemplified in the figure and poetry of Hölderlin. Finally, it considers the possible difference between such a poetic vocation and a divine calling. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Guided Rapid Unconscious Reconfiguration in Poetry and ArtRoger SeamonThe idea that literary works are designed to give pleasure does not get much exercise these days. So I would like to take it out for a walk. We’ll see where it takes us, how much ground it covers, and what friends it makes along the way. Perhaps if we take it off the leash of theory, it will roam (...) far enough afield.... By this time you are bored with my metaphor, and thus have made a judgment about the use of a trope that is often said to be at the heart of poetry. 1 What I want to do is give an account of the principle that led to that judgment, for it is the same principle, I shall argue, that governs judgments about the aesthetic dimension of literary works.I first encountered the idea in F. W. Bateson’s English Poetry: An Introduction, where he labels it the “The Principle of the Semantic Gap.” Poetry, Bateson says, does not consist of the transference of feeling from poet to reader (the Romantic and expressive view which he opposes), but of “the successful collocation of contrasted or conflicting ‘meanings,’” 2 and he traces the theory back to Coleridge’s idea that poetry consists in the “balance or reconciliation of opposite or discordant qualities” (Biographia Literaria, chap. xiv). Contrasted meanings defeat normal expectations, so the reader is forced to bridge (apparent) gaps in order to make sense of the words, and it is that collaboration between author and reader that constitutes poetic activity. The theory is, though Bateson does not present it as such, a reworking of the ancient notion that in a successful work of art we perceive unity in variety. This essay is an effort to extend and defend that theory in its modern form, particularly as it relates to literary works.The modern theory came into being because of a change in the [End Page 412] object of aesthetic analysis from the work and what it imitated to the psychology of the audience:Up to the eighteenth century the theory of art in the Western world was dominated by ancient philosophy. It was most of all Plato’s metaphysics which, in a number of variations and even distortions, attributed to the artist the capacity of perceiving the divine ideals of beauty beyond the world of the senses and embodying them in his creations. The rejection of this mystical view of art in the course of the eighteenth century... was bound to make theorists turn to psychology. 3It is within this psychological tradition that the modern version of unity and variety has been developed.Re-castings of the ancient formula for aesthetic value have been done by (at least) five recent theorists. Given that one can probably trace the twentieth-century revival back to Gestalt psychology, it is not surprising that the earliest of the four is Rudolph Arnheim. In an essay on “Order and Complexity in Landscape Design” he defines order as “the degree and kind of lawfulness governing the relations among the parts of an entity,” and complexity as “the multiplicity of the relationships among the parts of an entity.” 4 Arnheim then psychologizes (rather than “cosmologizes”) these concepts by grounding them in the propensity to be perceptually satisfied by a balance between the two: “Complexity without order produces confusion; order without complexity produces boredom” (p. 124). Similarly, in The Act of Reading Wolfgang Iser says:The reader’s enjoyment begins when he himself becomes productive, i.e., when the text allows him to bring his own faculties into play. There are, of course, limits to the reader’s willingness to participate, and these will be exceeded if the text makes things too clear or, on the other hand, too obscure: boredom and overstrain represent the two poles of tolerance, and in either case the reader is likely to opt out of the game. 5In the same vein, Francis Sparshott asserts in The Theory of the Arts that “Beauty occupies the ground between cliché and chaos,” with variety protecting against the former, unity protecting against the latter, 6 and in The Sense of... (shrink)

Nasir-i Khusraw is a major literary figure in medieval Persian culture. He was a Muslim philosopher, poet, travel writer, and Ismaili da'i who lived a thousand years ago in the lands known today as Afghanistan, Iran, and Tajikistan. Although known in the West mainly for his Safarnama, or travelogue, which describes his seven-year journey from Khurasan, in the eastern Islamic lands, to Cairo, the city of the Fatimid imam-caliphs, his poetry and ideas are less familiar. Yet, over the centuries, (...) Persian-speaking lands have consistently ranked him as one of the finest poets of all time. But today, even among those who know Nasir-i Khusraw's poetry, few understand the philosophical and Ismaili concepts the poet expounds. And while mystical and epic genres of Persian poetry are memorized and studied, the genre of philosophical poetry in Persian remains basically unexplored. This collection of studies seeks to redress the balance. Originally presented at a conference at the School of Oriental and African Studies (SOAS), University of London in 2005 to commemorate the millenary of Nasir-i Khusraw's birth, the papers published here examine his poetry both for philosophical meaning and poetic method. They address a variety of topics, ranging from metaphysics, cosmology, and ontology to prophecy, as well as rhythm and structure, and analysis of individual poems and authorship. (shrink)

Aesthetics, fledgling of the philosophic brood, is the most suspect of that family. It is suspected of all the philosophical sins: vagueness, disorder, dogmatism, emotionalism, reductionism, compartmentalization. Sometimes its youth is thought to be a sufficient excuse for these divagations. Sometimes the very nature of its content, involving the waywardness of genius, the remoteness of feeling from intellect, the surd of inspiration in even the mildest appreciation, are believed to condemn aes thetics irrevocably to the underside of the civilized man's (...) domain. Some philosophers have gloried in this apparently mystical and a-rational quality and have seen in it the very nature of the beautiful; others have come to regard it, rather, as evidence of the unskillfulness of our minds and have turned away from aesthetic problems to the task of sharpening the aesthetician's language and logic. The laughter of the gods is not difficult to discern through the poetry of the more mystical aesthetician or through the prose of the analysts. Meanwhile the manifold complexities and problems of aesthetic experience invite our understanding. For aesthetic experience is a present fact of human life and may, perhaps, be understood by men. Such, at least, will be the present assumption. This is the reason why the title of this book mentions art together with analysis; for if art is intelligible, the work of art and the experience of it may be analyzed into its functional parts. (shrink)

Mystic -- Grundriss -- Breath -- The poem as a visual opening -- Silences of depth -- Multiple meanings of the heart -- Ariel -- The sacramental value of colors -- The turning -- Performing the feminine -- Bodies in poetry, bodies in the world -- White as lighting and depth -- In her own voice -- Striking a balance -- The moon and the yew tree -- A heavy light-ing -- Opening onto the feminine body -- Other (...) ways of listening and seeing the poem -- In the name of the mother -- Inside the suicidal body -- Facing the other -- Engendering sexes -- The arrival of the bee box -- Arriving -- Tensions and resistance -- The blond colonnades -- Swarms: plath's stereotypes -- Plath and racial imagery -- Plath's racism, beyond the bee box -- Letting be(e) -- Appropriation and releasement -- The box is only temporary -- Epilogue: Performing the spiritual for Plath, Heidegger, and Merleau-Ponty. (shrink)

A history of mystical Islamic poetry, not only in Arabic and Persian, but also in the popular folk traditions of regional vernacular languages, including a chapter on Rumi and Sufi poetry.

Nusrat Fateh Ali Khan was a foremost singer of qawwâlî. This Muslim devotional music, which is prominent in South Asia, has been developed since the fourteenth century by the Sufi circles of the Chishti brotherhood in order to preach and communicate the teachings of the saints. Inspired by mystic spirituality, Nusrat's music travelled through the East and the West, absorbing some of the features of the musical cultures with which it came in contact. It also travelled through time, transforming (...) the traditional style of the ancient chanted poetry into new forms of musical expression. Nusrat's life and his artistic vicissitudes show the postmodern destiny of qawwâlî as a religious kind of music that apparently went through a process of desacralization and profanation as a result of multiple interpretations by different audiences. In order to discern the conditions of significance, semiotics reconstructs the relation between text and context of interpretation on the ground of structural pertinences. In this way, semiotics offers an analytical standpoint alternative to the postmodernist approach to postmodern cultural phenomena. By surveying the forms of listening that are structurally provided by the textual discourse, semiotics investigates the destiny of the musical and religious meanings of qawwâlî in relation to the process of intercultural translation. (shrink)

Jain ādhyātmik (spiritual, mystical) poets from the 17th to 19th centuries (e.g., Banārasīdās, Ānandghan, Cidānanda) elaborated a category of ineffability to discuss the pure experience of the soul or self (ātma-anubhava). These early-modern Jain poets mobilized a very specific understanding of the ineffable, one that resists language and logocentrism as sources of delusion and conflict. The focus on the ineffable in this poetry is always attended by a set of terms that qualify the ādhyātmik view. These are a privileging (...) of the neutral (samatā), experience (anubhava), and on the other hand, a demotion of opinion, partisanship, doctrinarism, and bigotry (matawālā, mata-arthi, mata-jaṅgī). This paper will show that a shared constellation of terms, intertextuality, and a rejection of partisanship and logocentrism bound a group of Jain poets from the 17th to 19th centuries to a particular endorsement and understanding of ineffability; one which was authorized and emboldened by an engagement with Jain philosophical plurality and non-absolutism. The poetry exhibits a frequent co-occurrence of ādhyātmik anubhava with the Jain the epistemological system known as saptabhaṅgī (Jain seven-valued predications), of which avaktavya (sometimes translated as ineffable or non-assertable) is a prominent aspect. The association philosophically grounds ādhyātmik positions and reinforces their assertion that some aspects of reality, namely ātma-anubhava, are ineffable and beyond the realm of phenomenal predication. (shrink)

This article examines the influence of the Persian mystic poet Hafi z on western poets. Interest in Hafiz started in England in the eighteenth century with the translations of Sir William Jones. In the nineteenth century, the German translation of Baron von HammerPurgstall inspired Goethe to create his masterpiece Westöstliche Divan (West-Eastern Divan). The poetry of Hafiz evoked such passion in Goethe that he referred to him as ‘Saint Hafiz’ and ‘Celestial Friend’. Inspired by Westöstliche Divan, a number (...) of German poets including Rückert and Platen composed volumes of poetry on the model of ghazal, the popular poetic form perfected by Hafi z in Persian literature. Prominent among the German thinkers influenced and fascinated by Hafiz was Friedrich Nietzsche who repeatedly mentioned him in his works. The influence of Hafiz stretched to America in 1838 when Ralph Waldo Emerson read Goethe’s West-Eastern Divan. In Hafiz, Emerson found a man who derived pleasure in the very elements which others found mean. Under the influence of Hafiz’s Saki-nameh or the Book of Wine, he created his finest poem Bacchus which, according to Harold Bloom, set the terms for the dialectic of American poetry. (shrink)

Ludwig Wittgenstein's interest in the writings of Rabindranath Tagore, is recognized among scholars worldwide though little has been written on his fascination with Tagore's poetry and symbolic plays. In Language, Limits, and Beyond, Priyambada Sarkar explores Tagore and Wittgenstein's philosophical arguments on the concept of 'threshold of language and meaning', highlighting the systematic connections between Tagore's canon and Wittgenstein's early works. Situatingher study in the early 1900s, when Tagore's poetry had just become available in Europe, Sarkar finds similarities (...) between Tagore's and Wittgenstein's exploration of the limits of language. She argues that Wittgenstein's early philosophy can be better understood when juxtaposed with Tagore.Drawing parallels between the worlds of philosophy and poetry, Sarkar identifies the point of convergence of their two philosophies in the realm of language, tracing how they reach surprisingly similar conclusions through entirely different paths of inquiry. Sarkar finally claims that such important points of contact will help one to arrange the pieces of the Tractarian jigsaw puzzle in a manner where all the pieces of logic, language, world, and the mystical will fall into place and form acoherent picture. (shrink)

Through the influence of the religious mystical thought, which interprets the human as a traveler and the world as a destination to settle in and migrate from, numerous connotations as to the road, the passenger as well as the journey have been created in Turkish Ṣūfī poetry. The caravan, which takes place in poetry as an element of simile (tashbīḥ) and generally within the framework of metaphor (majāz) is one of these associations. In Ṣūfī texts, the caravan symbolizes (...) the spiritual journey of the sālik, who wants to reach the rank (maqām) of the Perfect Human Being in the footsteps of the leading figures of the religion and Ṣūfīsm (Taṣawwuf). The caravan has passed, which is understood as a symbol peculiar to the lore language, looks like a formula of a series of advice that reminds and warns people of the responsibilities they are obliged to fulfill even though life is short and the world is temporary. Being delayed of the unwary traveler when the caravan has passed was used in the sense that the sālik could not make use of his life, time, and opportunities; and the situation of the person who was left behind and separated from the caravan was generally met with the analogy of a lame donkey. In this study, which is about the caravan as a mystical metaphor (majāz), the survey model, one of the qualitative research methods, was used. The research aims to determine the use of the caravan metaphor (majāz) in the examples of Ṣūfī poetry and meanings it has gained in Ṣūfī terminology. For this purpose, the major works written between the 12th and 19th centuries in Turkish Ṣūfī poetry have been investigated, and the data obtained have been evaluated in the light of the works and views of the leading figures who have been influential on Turkish Ṣūfī culture and literature. The study, which is thought to contribute to the understanding of the metaphors (majāzs) that Turkish Ṣūfī poetry is based on is important since it reveals that the usages the caravan has passed is one of the common symbols of Ṣūfīsm (Taṣawwuf). As a result of the research, it was found out that the metaphor (majāz) of the caravan has existed in poetry uninterruptedly since the 12th century when Turkish Ṣūfī literature began to take shape. Although time, place, and persons change, the meanings attributed to the metaphor (majāz) of the caravan are almost the same. Especially in the poems containing advice, the metaphor (majāz) of the caravan was frequently used to guide people and human life was associated with the caravan. In this respect, it can be said that the metaphor (majāz) of the caravan has a traditional usage in Turkish Ṣūfī poetry. On the other hand, the usage of the caravan metaphor (majāz) in Turkish Ṣūfī poetry and the usage in Iranian literature show similarity. As a matter of fact, starting with Aḥmed Yesevī (d. 562/1166), many Ṣūfī poets depicted the same journey in a similar way, and Saʿdī-i Shīrāzī (d. 691/1292) dealt with the same theme in a way that coincided with the narrative and vocabulary of Turkish poets. The fact that the caravan is determined with similar uses in the poems of different societies as a Ṣūfī symbol shows that the metaphor (majāz) of the caravan has a common usage regarding Ṣūfīsm (Taṣawwuf) in the wide cultural geography of Islam. The metaphor (majāz) of the caravan has a special usage in Turkish Ṣūfī poetry in the form of the caravan has passed. Expressions in the style of the caravan has passed which succinctly fit a long adventure into two words, are symbols peculiar to the lore language, and serve as psychological advice in Turkish Ṣūfī poetry. On the one hand, this symbol deals with the caravan journey in the dimension of truth, on the other hand, it gives metaphorical meanings to the word, referring to the spiritual journey of sālik. In this sense, the caravan has passed is a powerful metaphor (majāz) that warns people to make the best use of the rest of their life, or rather the moment they are in, and it looks like a formula of a series of advice that warns them. The advice in question is closely related to the words die before you die and time is a sharp sword, often used by the leading figures of religion and mysticism. Therefore, the caravan has passed is a kind of contemplation and presents a vivid picture of the journey that takes its source from the social life so that the traveler does not forget that he is on the way by reminding him of death. The advice style is generally dominant in the poems in which the metaphor (majāz) of the caravan is used, especially in the poems describing the caravan’s passing and the heedless traveler staying on the road. However, it is obvious that the subject is presented in a lyrical and impressive style, especially in poets such as Aḥmed Yesevī, Yūnus Emre (d. 720/1320 [?]) and Niyāzī-i Mıṣrī (d. 1105/1694). (shrink)

To seek fundamental truths, analytic metaphysicians generally start with observed phenomena. From here they typically move outwards, using discursive thought to posit scientifically informed theories about the ultimate reality behind appearances. Mystics, too, seek to uncover the reality behind appearances. However, their meditative methods typically start with experience and go inwards to a fundamental reality sometimes described as a pure conscious unity. Analytic metaphysicians may be tempted to dismiss the mystical approach as unworthy of investigation. In this paper I will (...) outline and address four challenges that sceptics are likely to advance, arguing that none is persuasive. I shall also attempt to clarify the role and scope of meditation in establishing the viability of mystical data in the construction of any potential metaphysic about fundamental reality. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Incomprehensible Certainty: Metaphysics and Hermeneutics of the Image by Thomas PfauThomas ZingelmannPFAU, Thomas. Incomprehensible Certainty: Metaphysics and Hermeneutics of the Image. Notre Dame, Ind.: University of Notre Dame Press, 2022. xxiii + 785 pp. Cloth, $80.00Thomas Pfau reconstructs one of the most traditional and possibly most decisive philosophical debates, [End Page 559] namely, the one about the form and function of appearance (Schein). This debate is taken up (...) on the basis of the concept of image. This means that Pfau concentrates historically as well as systematically on a specific topic within this debate. The book is divided into two major sections.In the first section, Pfau examines how the history of the metaphysics and theology of the image develops, starting with Plato in the first chapter. The basic idea in this section is that the image has a crucial epistemic role in the metaphysical and theological systems of the authors addressed. Here Pfau shows that Plato, at the latest in the Sophist, develops a theory of images that revalues appearance contrary to the assumptions in the Republic. Chapter 1 is about the mediation of unity and multiplicity, as it is also shown in Plotinus. Chapter 2 attempts to show how the Byzantine icon embodies the conviction that the invisible truth of the visual world can be revealed only through images. Pfau's demonstration of various epistemic dimensions of the image then begins with chapter 3: the eschatological vision from Augustine to Bonaventure to Julian of Norwich. Chapter 4, the last of the first section, reconstructs Nicholas of Cusa's position, which attempts to understand mystical visions mediated by images of Christ.The second section examines how the metaphysics of the image—in the sense of an epistemology, which tries to establish ultimate justifications—nevertheless persists and even evolves despite two crucial switches in philosophy. On the one hand, this concerns philosophy that subordinates the visual to the abstract (for example, Hegel) and, on the other, the supposedly nonmetaphysical status of the image in the developing natural sciences. Chapter 5 then attempts to show, through Goethe's botanical investigations and reflections, how, despite the establishment of the natural sciences, Goethe attempts to defend intuition as a scientific method and appearance as a scientific object of investigation. This position is then pursued historically in chapter 6, through the work of Lyell, Darwin, and Ruskin, where the visible is understood as the connecting point of the sciences in general. Gerard Manley Hopkins is then identified in chapter 7 as representing a position that combines theological with proto-phenomenological arguments to highlight the epistemic value of images. The last chapter then deals with decisive developments at the beginning of the twentieth century. In phenomenology (Husserl), painting (Cézanne), and poetry (Rilke), a conception develops that epistemically valorizes sensual and intuitive experience.Generally speaking, Pfau attempts to trace historically what arguments and positions have been developed on the relationship between image and knowledge. His work is based on the conviction that the image is the basis for human orientation in the world and is therefore of great epistemological value. Of outstanding importance for his question is that the epistemological value of images is not to be located in the properties of images, that is, an ontology of the image; rather, Pfau is interested in those positions that reflect on the relationship between knowledge and [End Page 560] experience of images. While clarifying the ontological status of images remains important, the epistemological status of images—what role the experience and usage of images has for humans—is in the foreground. Pfau reconstructs positions that hold that the pictorial is a medium of knowledge. He puts forward the thesis that there is a tradition that is of the opinion that in and through the medium of the image—and this closes the arc to the Schein-debate—being can be experienced by man. In other words, the invisible is to become recognizable through the visible. Of particular importance is his reading of the late Platonic dialogues: While appearance and being are still thought of as distinct in these dialogues, they are not opposed, in the sense of an epistemic opposition. Plato's... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Ancient and Modern HermeneuticsDavid HalliburtonAncient and Modern Hermeneutics, by Gerald L. Bruns; xii & 318 pp. New Haven: Yale University Press, 1992, $37.50.Modern hermeneutics, Bruns explains, has mainly gone in two directions. One is toward the transcendental ground-swells of Husserl, who remains committed to idealities, as exemplified in geometry. The second direction, taken by Heidegger, Gadamer, and Bruns (not to mention Sartre, Merleau-Ponty, Levinas, and the Pragmatists) hews (...) to the worldly rootedness of understanding; here each and all enjoy the capacity to comprehend—if not perfectly, at least perfectly well.Bruns divides his admirable opus into two large sections. Part One, on the Ancients, consists of essays on Socrates, Thucydides, the Hebrew Bible, allegory, the Jewish Midrash, and what may be broadly viewed as a correlative Islamaic text. He argues that Socrates’ ironic inclinations are not forensic ploys but manifestations of an authentic ontological disposition. (This ontological motif sounds throughout Bruns’s text.) Bruns’s Socrates has but to carry out the phusis that he himself is—in the undertow of which he cannot but be ironic even as, in being ironic, he cannot but be, like phusis, elusive and even impenetrable: “The point about Socrates is that we never know how to take him” (p. 32).Bruns handles ingeniously the problem of speeches that Thucydides “reported” but could not have heard. He argues that Thucydides provides a sort of simulacrum of the speeches. On this view, the historian does not attempt to report what the speakers actually said; instead he portrays implicitly the concrete historical situations (the modifiers are mine) in which orators orate: “the true author... would not be its original speaker nor its subsequent scribes but the situation that called for the speech to be made” (p. 58).In his challenging chapter on allegory, especially in Philo, Bruns approaches the former’s mystical commentary on the cherubim by problematizing familiar, restrictive distinctions. “In this case there can be no easy or gross distinction between the exoteric and the esoteric, the literal-minded and the wise....” To Philo “understanding is a form of recognition, of being turned toward and received into what before had been hidden or strange” (p. 102).Part Two, on the Moderns, treats of hermeneutic issues raised by Wordsworth [End Page 158] but even more paradigmatically by Luther; the tragic concept of experience; the question of tradition; radical hermeneutics; and the quarrel between philosophy and poetry. The journey ends in Bruns’s attempt to hypostatize an originary concept of freedom.To Bruns the liminal figure for modernity is Luther. It is a high hermeneutic moment that each of Luther’s students receives his own Bible with wide margins in which to copy the master’s—or conceivably his own—commentaries. Here Scripture is not merely grasped cognitively but is immediately, and, with full Deweyan and Diltheyan overtones, experienced. Luther for his part postulates that the text interprets itself. Concurring, and returning to the ontological motif noted above, Bruns proposes the one’s relation to a text “is ontological rather than simply exegetical. Luther’s distinction between law and gospel is a way of extending this ontological relation from the notion of a legal indictment to that of a spiritual one in which one’s self-understanding or self-identity is reconstituted by the text” (p. 146).Later Bruns deftly contrasts Hegel’s Umkehrung, the “movement toward enlightenment and the self-certainty of absolute consciousness” (p. 157), with Heidegger’s resolute refusal to appropriate or manipulate the world into which he, with everyone else, has been thrown. This attitude is somewhat akin to negative capability or wise passiveness—no English word or phrase gets it right—and requires a kind of letting-be, or letting-go. Bruns puts the matter about as well as one can, in short compass: “Thinking... is not reasoning or questioning but listening; its goal is not conceptual representation by Gelassenheit, or a letting go, releasement, and ‘openness to the mystery’” (p. 158).In his chapter on romantic hermeneutics, Bruns returns to Luther who, though stressing the empowerment of the individual reader, nonetheless regards the text as a vital force entering into and transforming the... (shrink)

Research in the world of Eminescu’s manuscripts has brought again to discussion the bond between culture and creation and, within this, the relation that we are especially interested in, that between Philosophy and Poetry. It is a known fact that the poet studied philosophical works intensely, not solely out of the obligation to prepare for a university career , but mostly because he had the passion for philosophical problems, as it can be concluded from the analysis of his entire (...) poetic work, as well as the exploration of the “hidden world” in his notes books. He knew, most of all, the German Philosophy, as he transposed into Romanian pages from Kant ; but he discovered thinking affinities with the “pessimist philosopher” Arthur Schopenhauer, whom he assumed as a sort of spiritual mentor, relating thus with young Nietzsche, who had declared in his first book, “The Birth of Tragedy from the Spirit of Music”, his veneration towards the same master . Eminescu, however, did not part from Schopenhauer, but took him also as a guide to discovering the old oriental Philosophy, especially the Indian one, that had also inspired the author of “The World as Will and Representation”. Therefore, Eminescu accumulated a rich philosophical culture; but did he also produce Philosophy? (shrink)

Patronage and Poetry in the Islamic World: Social Mobility and Status in the Medieval Middle East and Central Asia. By Jocelyn Shariet. Library of Middle East History, vol. 24. London: I. B. Tauris, 2011. Pp. x + 326. £62.50, $105.

The employment of mythological language and imagery by an Epicurean poet - an adherent of a system not only materialist, but overtly hostile to myth and poetry - is highly paradoxical. This apparent contradiction has often been ascribed to a conflict in the poet between reason and intellect, or to a desire to enliven his philosophical material with mythological digressions. This book attempts to provide a more positive assessment of Lucretius' aims and methodology by considering the poet's attitude to (...) myth, and the role which it plays in the De Rerum Natura, against the background of earlier and contemporary views. The author suggests that Lucretius was not only aware of the tension between his two roles as philosopher and poet, but attempted to resolve it by developing his own, Epicurean poetic, together with a bold and innovative theory of the origins and meaning of myth. (shrink)

The mystical experiences of the ṛṣis , the spiritual giants of the early Vedic times, led to the creation of the Vedic hymns and eventually to the formation of the whole elaborate structure of the Vedic religion, as upheld by the Indian priesthood. But there were obviously others who pursued mystical experiences without themselves engaging, like the ancient ṛṣis , in attempts to transmit their experiences through mythological poetry and religious leadership. They adopted mystical ecstasy as their way of (...) life. Mysticism as a conscious way of life is, in India, called Yoga. Being outside the trend of Vedic mythological creativity and the Brāhmanic religious orthodoxy, the Yogis of Vedic times left little evidence of their existence, practices and achievements. And such evidence as has survived in the Vedas is scanty and indirect. (shrink)

John Macquarrie's Hensley Henson Lectures for 1993-94 delivered at the University of Oxford may serve two different but not mutually exclusive audiences. First, as a brief, concise, reliable, and yet not uncritical survey of Heidegger's thought from Being and Time through his later meditative thinking of Being, this book stands at the top of my list. Following a discussion of Heidegger's career and early writings, Macquarrie devotes two chapters to his major work, Being and Time. He makes it clear that (...) Heidegger was primarily concerned with developing a general ontology, not philosophical anthropology as many persons initially thought. The fourth chapter, entitled "Theology and Metaphysics," focuses in particular on the essay "What Is Metaphysics?" including the later postscript and introduction, Introduction to Metaphysics, and A Letter on Humanism. These works take up some of the issues unfinished in Heidegger's major work and point the way towards a more direct focus on the question of Being itself. Chapter 5 is concerned with Heidegger's reflections on thinghood, technology, and art showing his development beyond the primarily instrumental world of work in his early writings to a much richer, perhaps even spiritual conception of world. In chapter 6 Macquarrie discusses three closely related topics in Heidegger's later work, thinking, language, and poetry. Here we see Heidegger's progression beyond traditional philosophical and metaphysical thinking of Being to what he calls meditative thinking, a kind of thinking and speaking of Being that has much in common with poetic thinking and speaking and an understanding of Being that finds parallels in some western and eastern mystical traditions. For the title of his seventh chapter, Macquarrie chooses the title of the well-known interview with Heidegger, "Only A God Can Save Us," published in Der Spiegel after his death. He is primarily concerned in this chapter with the understanding of Being, theology, and God. Macquarrie delays until his final chapter the discussion of Heidegger's relation to National Socialism which comprises half of the Der Spiegel article. With characteristic balance Macquarrie argues that although Heidegger's conduct at the time should not be excused or glossed over it needs to be seen in the particular historical and political context which he outlines. To this he adds two personal notes based on his experiences with German prisoners following the cessation of hostilities in 1945 and a conversation with Hannah Arendt. The conversation with Hannah Arendt took place at Heathrow Airport on May 19, 1973 where Dr. Arendt was on her way to Europe for her summer holiday. Heidegger had suggested that Edward Robinson and Macquarrie consult with Arendt if they had any special difficulties translating Being and Time, and Macquarrie and she continued to have contacts following the completion of the translation. Their conversation turned to the sales of the translation of Being and Time which had been quite large, and Macquarrie commented that Heidegger must be making a good bit of money from the translation. Arendt replied that Heidegger was not much of a business man and that most of the money went to the publisher. Macquarrie then asked, "Would you say then that it was because he is not a man of affairs that he became so involved with the Nazis in 1933?" "Yes," she said, "quite so.". (shrink)

“The conception of culture and philosophy’s role within it developed in this work permits interesting formulations of a number of important issues and concepts: the relations between the utopian and utilitarian functions of philosophic theory; the character of the aesthetic and mystical sensibilities; the meaning and function of metaphor and of irony; the value of theoretical consensus; the nature of philosophic communication; and the distinctive relation of Plato and Socrates as a model for philosophic activity.” — David L. Hall With (...) Eros and Irony, David Hall re-evaluates the cultural role of philosophy, probing to the very heart of questions in epistemology, metaphysics, and philosophy of culture. Two central arguments structure the book: the first is that in modern culture the autonomy of the aesthetic and religious sensibilities has been seriously qualified by an overemphasis on narrowly rational moral interests. The second is that philosophic activity must be construed in terms of two conflicting elements: the desire for completeness of understanding, and the failure to achieve such understanding. Hall provides a historical survey of philosophic thought, encompassing Plato, Kant, Wittgenstein, Heidegger, and Whitehead. He also avails himself of sources outside of philosophy, in such diverse fields as poetry, psychology, physics, and Eastern religion, to create a work that not only addresses key issues in philosophy, but also has deep implications for science, art, religion, morality, and cultural self-understanding. (shrink)

The myths of Plato.--A great mystic: Plotinus.--Dante as a spiritual teacher.--Wordsworth: seer and patriot.--Browning's portraits of women.