This paper considers the relation between mytho-poetic narrative and practical philosophy in an Idealist/Romantic fragment, usually attributed to Hegel, known as the ‘System-programme’. Like many works of the young Hegel, the text seeks political reform through a reform of religion and suggests that for politics to be truly motivating reason must be embedded in mytho-poetic discourse. This Hegelian ‘reform’ is in the service of a new, sensuous, practical rationality and a motivating political praxis. The paper places these (...) issues in the context of the religious thought of J.J. Rousseau, particularly his religious themes, as presented in The Social Contract . The paper also connects these issues to a political problem identified in recent work by Simon Critchley, the problem of practical or moral motivation. Critchley claims that while citizens of secular, liberal, democratic societies experience the political norms that shape their lives as externally binding, these norms are not internally compelling. Against this he claims that what are motivating are frameworks of belief that call the secular project into question. At least one of Critchley’s solutions to this problem is connected to the sphere of the religious. While accepting the idea that connecting social and political problems to religion can render them motivating, this paper will withhold from endorsing either the solution offered by the young Hegel in the ‘System-programme’ or Critchley’s, and raises doubts also about the Rousseauian response . It argues that these solutions fail to adequately address the problem they face: how to render contemporary political life internally compelling for modern political subjects? (shrink)

The history of Western philosophy is predominantly a history of written texts, but philosophers have lived in that history and looked back at it as if a dependence on such unusual and complex artifacts had nothing to do with the work of philosophy itself. The assumption behind this notion of a literary “museum without walls” is that philosophical meaning is self-generating and transparent—that both the medium and form of philosophical texts as they appear to the reader are accidental causes, with (...) no significant consequences for philosophical meaning itself. (shrink)

I argue from a hermeneutic point of view that formal elements of poetry can only be identified because poetry is based on both the phenomenon and the conception of poetry, both of which precede the attempt to identify formal elements as the defining moment of poetry. Furthermore, I argue with Gadamer that poetry is based on a rupture with and an epoche of our non-poetic use of language in such a way that it liberates “fixed” universal aspects of everyday (...) language, and that through establishing itself in a new, self-referential and monologue unity, it individualizes speech . From the hermeneutic position, poetry is a form of speaking rather than a “fixed” object. As such, I will try to make sense of what Paul Celan said in his famous “Meridian” speech: namely, that the poem is “actualized language, set free under the sign of a radical individuation, which at the same time stays mindful of the limits drawn by language, the possibilities opened by language.”. (shrink)

Women's Power To Be Loud: The Authority of the Discourse and Authority of the Text in Mary Dorcey's Irish Lesbian Poetic Manifesto "Come Quietly or the Neighbours Will Hear" The following article aims to examine Mary Dorcey's poem "Come Quietly or the Neighbours Will Hear," included in the 1991 volume Moving into the Space Cleared by Our Mothers. Apart from being a well-known and critically acclaimed Irish poet and fiction writer, the author of the poem has been, from (...) its beginnings, actively involved in lesbian rights movement. Dorcey's poem "Come Quietly or the Neighbours Will Hear" is to be construed from a perspective of lesbian and feminist discourse, as well as a cultural, sociological and political context in which it was created. While analyzing the poem, the emphasis is being paid to the intertwining of various ideological and subversive assumptions, their competing for importance and asserting authority over one another, in line with, and sometimes, against the grain of the textual framework. In other words, Dorcey's poem introduces a multilayered framework that draws heavily on various sources: the popular culture idiom, religious discourse, the text even employs, in some parts, crime and legal jargon, but, above all, it relies upon sensuous lesbian experience where desire and respect for the other woman opens the emancipating space allowing for redefining of one's personal and textual location. As a result of such a multifarious interaction, unrepresented and unacknowledged Irish women's standpoints may come to the surface and become articulated, disrupting their enforced muteness that the controlling heteronormative discourse has attempted to ensure. In Dorcey's poem, the operating metaphor of women's silence, conceived of, at first, as the need to conceal one's sexual identity in fear of social ostracism and contempt of the "neighbours," is further equated with the noiseless, solitary and violent death of the anonymous woman, the finding of whose body was reported on the news. In both cases, the unwanted Irish women's voices of either agony, during the unregistered by anybody misogynist bloodshed that took place inside the flat, or the forbidden sounds of lesbian sexual excitement, need to be censored and stifled, not to disrupt an idealized image of the well-established family and heteronormative patterns. In the light of the aforementioned parallel, empowered by the shared bodily and emotional closeness with her female lover, and already bitterly aware that silence in discourse is synonymous with textual, or even, actual death, the speaker in "Come Quietly or the Neighbours Will Hear" comes to claim her own agency and makes her voice heard by others and taken into account. (shrink)

"A close analysis of the Republic's diverse literary styles shows how the peculiarities of verbal texture in Platonic discourse can be explained by Plato's remolding of tropes and techniques from poetry and the Presocratics. This book argues that Plato smuggles poetic language into the Republic's prose in order to characterize the deceitful coloration and polymorphy that accompanies the world of Becoming as opposed to the Real. Plato's distinctive discourse thus can transmit, even to those figures focused on (...) the visual within his Republic, the shiftiness of the base and the unjust."--Publisher's website. (shrink)

Reading Kevin Hart’s creative hermeneutic of the ‘basileic’ reduction in his latest book, Kingdoms of God, naturally leads me to consider another eminent linguistic phenomenologist who continually occupies my thoughts. Although I have been reading Hart now for about 25 years, I have been reading Paul Ricoeur for a decade longer than that, and it is his theory of poetic discourse that my mind keeps tenaciously associating with Hart’s perspectives on parable. Granted, Hart never mentions Ricoeur in Kingdoms (...) of God—unless my careful reading is not so careful and I missed it! In Trespass of the Sign, however, he does note Ricoeur’s significance as a hermeneutical philosopher, specifically his emphasis on the distinction between the hermeneutics of faith and the hermeneutics of suspicion. Also, in an article on John Caputo’s postsecular philosophy of ‘religion without religion,’ Hart makes a brief comment on Ricoeur’s apparent Hegelianism with reference to a general theory of revelation as nonreligious and nontheistic. Still, nowhere that I know of does he extensively address Ricoeur’s fascinating discourse theory regarding metaphor, mimesis, narrative, and parable. If great minds think alike, then Hart and Ricoeur are, indeed, great minds, for, truly, Ricoeur’s reflections on parables and the Kingdom offer an intriguing gloss on Hart’s parabolic ‘basileiology.’ Translating Hart into Ricoeur, therefore, is, in my mind, an easy and profitable exercise that may well enhance the provocative character of Hart’s basileic reduction. Such a translation is the central purpose of this essay. (shrink)

This book is not only a major twentieth-century contribution to Dostoevsky’s studies, but also one of the most important theories of the novel produced in our century. As a modern reinterpretation of poetics, it bears comparison with Aristotle.“Bakhtin’s statement on the dialogical nature of artistic creation, and his differentiation of this from a history of monological commentary, is profoundly original and illuminating. This is a classic work on Dostoevsky and a statement of importance to critical theory.” Edward Wasiolek“Concentrating on the (...) particular features of ‘Dostoevskian discourse,’ how Dostoevsky structures a hero and a plot, and what it means to write dialogically, Bakhtin concludes with a major theoretical statement on dialogue as a category of language. One of the most important theories of the novel in this century.” The Bloomsbury Review. (shrink)

This book is an original and important study of philosophical issues in medieval Arabic poetics. Examining the commentaries on Aristotle's Poetics by Avicenna in the context of Aristotle's logical theory, the author shows how the philosophers justified the logical and moral power of poetic discourse.

本书主要讨论了先秦时期几种主要话语体系中“观”所具有的内涵结构，并进而讨论了“观”在这些话语体系以及后世几种重要理论中所呈现出来的诗性建构。.

Despite its common use in both literature and popular discourse, the concept of “poetic justice” in which a wrong-doer is harmed by his own crimes has been completely ignored by both literary and philosophical scholars. We can learn more about it by comparing its charms to those of its more popular cousin, revenge. Each can assuage our resentment at the wrong-doer’s contempt of human suffering, promises to teach a moral lesson, and can borrow some moral justification from the (...) golden rule. Their satisfactions are often deceptive, but it behooves us to understand the attractions of each. (shrink)

The present study is an analysis of Plato’s _Timaeus-Critias_ composition process, from the point of view of discourse modeling. It intends to show that the dialogue is distinguished by an insightful articulation of composition techniques, which combine the pictorial and dramatic aspects of poetic _mimesis_. Establishing the Panateneias as an implicit reference, the work presents the performance of a sequence of narratives, produced as true discursive images. Platonic originality is revealed in _Timaeus-Critias_, therefore, as the accomplishment of a (...) formal construction that is both dramatic and representational, through a singular mimetic agency of discursive forms. (shrink)

In Poetic Justice Martha Nussbaum undertakes to explain how “story-telling and literary imagining” can supply “essential ingredients in a rational argument” and thereby improve public discourse regarding important ethical, political, and legal issues.

In book X of the Republic, Plato famously reports “a quarrel between poetry and philosophy.” The present essay examines this quarrel in book X, along with other relevant parts of the Republic, by understanding “philosophy” and “poetry” as rival ways of life and rival ways of discourse. The essay first explains why, in Plato’s view, poetic discourse weakens one’s power to reason and is at odds with philosophic discourse. Then it shows how poetic discourse (...) is bound up with a way of life that champions the value of freedom. Such a life forms a contrast with the philosophic life, which is marked more by stability and unity than by freedom. The quarrel, however, is not a simple antagonism. The essay hence concludes by discussing why, despite the opposition between the two, philosophy cannot do without poetry. (shrink)

In book X of the Republic, Plato famously reports “a quarrel between poetry and philosophy.” The present essay examines this quarrel in book X, along with other relevant parts of the Republic, by understanding “philosophy” and “poetry” as rival ways of life and rival ways of discourse. The essay first explains why, in Plato’s view, poetic discourse weakens one’s power to reason and is at odds with philosophic discourse. Then it shows how poetic discourse (...) is bound up with a way of life that champions the value of freedom. Such a life forms a contrast with the philosophic life, which is marked more by stability and unity than by freedom. The quarrel, however, is not a simple antagonism. The essay hence concludes by discussing why, despite the opposition between the two, philosophy cannot do without poetry. (shrink)

Meaningful work refers to the idea that human work is an integral part of the way we think of our lives as going well. The concept is prevalent in sociology and business studies. In philosophy, its discussion tends to revolve around matters of justice and whether the State should take steps to eradicate meaningless work. However, despite the breadth of the recent, general literature, there is little to no discussion about how it is in fact the case that work is (...) meaningful. There is a basic assumption that certain facts about work make it meaningful. After noting the shortcomings in the literature, this essay argues that we can better understand the production of meaning in work by an analogy to speech acts. Using Paul Ricoeur’s theory of action as discourse, one can see how meaning is predicated in the performance of work in ways that are locutionary, illocutionary, and perlocutionary. (shrink)

'Pataphysics: The Poetics of an Imaginary Science is a survey that attempts to describe a hypothetic philosophy--the avant-garde pseudo-science imagined by Alfred Jarry. 'Pataphysics is a supplement to metaphysics, accenting it, then replacing it, in order to create a philosophic alternative, whose discipline can study cases, not of conception, but of exception: variance , alliance , and deviance . 'Pataphysics synthesizes the romantic schism between a literal, scientized discourse and a figural, poeticized discourse, and my thesis suggests that (...) this revision of the signifier "science" by 'pataphysics is symptomatic of a postmodern transition in science from a paradigm of absolutism to a paralogy of relativism. Structured as a descriptive explication, which emphasizes a theoretical perspective, this survey is divided into five chapters: the first chapter recounts the history of the conflict between science and poetry ; the second chapter examines the avant-garde pseudo-science of 'pataphysics itself ; and finally, the last three chapters discuss the influence of 'pataphysics upon the poetics of its subsequent successors . While my thesis focuses upon theories of textual poetics rather than poetry itself , my thesis does nevertheless strive to be as conceptually encyclopedic as 'pataphysics itself: instead of normalizing 'pataphysics within one theoretical perspective, this survey alludes intermittently to 'pataphysical enterprises that constitute exceptions to such a genealogy of Jarryites. What is at stake is the status of poetry in a world of science. How might poetry reclaim its own viable truth? How might science benefit from its own poetic irony? For the postmodern condition, such questions have already opened up a novel space for speculative imagination; hence, this survey presents itself as a kind of primer for a future of possible research. (shrink)

An undiscovered chapter in the history of architecture comes from the ex-Soviet Republic of Georgia. Poetics of Architecture is the name given to the studioworkshop at the Georgian Technical University set up by the Georgian architect Shota Bostanashvili (1948–2013). From 1990 until his death he delivered insightful, playful and rather provocative lectures on architecture at this university. He preferred to call his architectural philosophy, critical discourse on architecture. Themes ranged from poetics to metapoetics of architecture. His philosophy of architecture (...) is illustrated by some of his designs and executed projects which demonstrate a drift from existentialism to the philosophy of play. This study includes reference to his last building, a project whose demolition Bostanashvili witnessed before passing away. Based on the concept of the return of the sacred, this edifice was a sort of counter movement to technogenic architecture. (shrink)

continent. 1.2 (2011): 70-75. cartography of ghosts . . . And as a way to talk . . . of temporality the topography of imagination, this body whose dirty entry into the articulation of history as rapturous becoming & unbecoming, greeted with violence, i take permission to extend this grace —Akilah Oliver from “An Arriving Guard of Angels Thusly Coming To Greet” Our disappearance is already here. —Jacques Derrida, 117 I wrestled with death as a threshold, an aporia, a bandit, (...) a part of life. —Akilah Oliver Moraine in geological lingo is that which is left behind. Moraine- a euphemism for the de-stabilizing referent of the writer-ly body as a “troubled and troubling landscape marked by cultural and historical signifiers, the body as flesh memory [...] the body as transitory” (Oliver, Author Statement). Moraine— a geological metaphor of the poet as a holder of memory, as an accumulation of rocks and debris carried along the edge, terminal, dropped at the foot of language (in language). “Flesh Memory” according to Akilah Oliver is "that which my body recalls [...] everything has to do with the task of remembrance and its narrative reinvention [...] I was always translating an idea of the world as it presented itself at any given time. To write was a choice about how to be seen, how to enter the world as translator, actor, participant, in the dialogues that apparently made the real 'real'" (Levitsky). Flesh. Memory. The stuff some poems are made from. The stuff that gets abandoned, gleaned, and picked up by more flesh and memory. "My body, my life has always felt like a kaleidoscopic rip in the dominant fabric [...] has always been a dialogue with the impossible and the apparent” (Levitsky). The impossible-body or poet's body anticipates and performs (through language) an irretrievable death. IN APORIA I realized everything I must have been doing must have been Death. It was Christmas or Labor Day—a holiday—and every time you turned on the radio they said something like ‘four million’ or ‘going to die’.” — Andy Warhol I’m trying on egos, [a justification for the planet’s continuance]. Oh hello transgressor, you’ve come to collect utilitarian debts, humbling narrative space. Give me condition and wheatgrass, I his body disintegrating. I his body is ossification. Death my habit radius, yeah yeah. I his body can’t refuse this summons. I can’t get out this fucking room. Tell me something different about torture dear Trickster. Tell me about the lightness my mother told me to pick the one i love the best how it signals everything I ever wish to believe true just holy on my ship. I jump all over this house. this is it [what I thought is thought only, nothing more deceptive than]: I his body keeps thinking someone will come along, touch me. As like human or lima bean. I’m cradling you to my breast, you are looking out. A little wooden lion you & Peter carve on Bluff Street is quieting across your cheekbone. Not at all like the kind of terror found in sleep, on trembling grounds. It is yesterday now. I have not had a chance to dance in this century. Tonight I shall kill someone, a condition to remember Sunday morning. To think of lives as repetitions [rather than singular serial incarnations]. To understand your death is as exacerbating as trying to figure out why as schoolchildren in mid-nineteen-sixties Southern California we performed reflexive motions: cutting out lace snowflakes, reading Dick and Jane search for their missing mittens, imagining snow. Disintegrat ing . The -ing gerund catapults from the non-finite verb into past, present, future. The -ing as a tail pinned to death, a dog spinning to bite and never fully reaching itself, always shy of the end, circumreferential; a double copulative: deathing. Possessively AO calls it “habit radius” (a virtual fetish attribute) or an inescapable death presence that “confronts us with the paradox of an unattainable object [...] through it’s being unattainable” (Agamben, 27). A flirtation or dialogue with an unknowable thing and aporia utilized as investigative instrument to engage (death) while (in Southern California) we “perform reflexive motions,” cut lace snowflakes, imagine snow, and pay rent like “yeah, yeah” what else is new. And this too, fiction. The book I wish to right. The restored fallen, heroic. Did you expect a different grace from the world? Or upon exit? I’m working on “tough.” They think I am already. All ready. Who is the dead person? Is "I'm sorry" real to a dead person? Browning grass. My hands on this table. A contentious century. A place to pay rent. Redemptive moments. Am I now the dead person? Dead person, dead person, will you partake in my persimmon feast? The body inside the body astounds, confesses sins of the funhouse. I too have admired the people of this planet. Their frilly, orderly intellects. The use they’ve made of cardamom, radiation as well. How they’ve pasteurized milk, loaned surnames to stars, captured tribes, diseases, streets, and ideas too. The living-body as archive: is it possible to experience the living-body as archive without a (kind of) death? Sifting the rubble, rummaging through hoarded debris, skin sheds, memory-napping, and re-awoken (in flesh and) on terrain. “An investigative poetics seeks to unravel staid communities of thought and grasp at what might always be just beyond reach; a poetics of inquiry that lies between language as meaning, and language as rapturous entry into the world of posited ideas and idealism”( Levitsky). Something snaps. Lights blow out prior to embarking upon an investigative poetics. It begins with a question (often a sexy aporia) that leads to openings. "Every politics of memory [...] implies an intervention of the state. It's a state that legislates and acts with regard to the nonfinite mass of materials to be stored, materials which must be collected, preserved” (Derrida & Stiegler, 62). It seems poetic investigation already contains the potentiality of an (invisible) archive if the writer is “always writing” especially when not. Here’s my stupid digital romantic inclination: the living-body (of a poet) is a self-sustaining archive of non-finite memories. But not even I really believe that. AO innovated and sculpted an investigative poetic praxis. In a conversation with poet Rachel Levitsky, poetic-voice is viewed not as a precious identifier, but as a means to think through/about form, concluding that form is linked to framing. While poetic-voice may have tendency to precede form, it also erupts as a result of framing techniques. “They are frames that hold the shape of thinking (which is also to say of imagining) [...].”7 This reminds me of my rabbit who symmetrically chewed the corners of his hutch, which makes me wonder if it’s an expression of the shape of some animal anxiety tick I won’t ever have access to. Beyond the form/frame, death is an unoriginal yet unique limit; death is a damn deathless thing. It functions as a source of poetic investigation; that thing always “just beyond reach.” And how is death not a fetish (in this case an obsessive reverence for something non-material)? “Insofar as it [death] is a presence, a fetish [...] it is in fact something concrete and tangible; but insofar as it is the presence of an absence, it is, at the same time, immaterial and intangible, because it alludes continuously beyond itself to something that can never really be possessed [...] The fetish is [...] a sign of an absence, it is not an unrepeatable unique object; on the contrary, it is something infinitely capable of substitution, without any successive incarnations ever succeeding in exhausting the nullity of which it is the symbol” (Agamben, 33). AO utilized absence (the absent body [catapulted by the death of a beloved]) as an apparatus to investigate. In the process of conversing with absence or that which is absent, the absent body is affectionately objectified, incessantly summonsed back to a place of recognition, of objects, a desire for the absent body to remain intact while exiting the structural limits of grammar and syntax by moving into chant forms “to say what cannot be said” (Levitsky). from AN ARRIVING GUARD OF ANGELS THUSLY COMING TO GREET dear oluchi- the light is blinking rapidly on the black boxy machine. your room seems bigger than before and i am still planning to read some of those robert jordan books of yours. yesterday at the used bookstore where i was browsing the mysteries to “stall reality” (they are really not mysteries at all, they just employ death as the plot mistress but are unable to grasp its mystery at all)—well the point is, things were calm down here for a while and the world was little. i want to be big like you. or i want you not vast, not dead, not gone, but human small and here. i am so selfish. that is what i really want. to see you again. to oil your scalp. to hear you walk in the door, say ma i’m home . give me a chance to say welcome home son. or when leaving, don’t forget your hat . what do you wear out there? i wish you could have taken your new shoes with you. i’m so proud of you. i’m sorry for the way you died. i miss you all the time. even before, i missed you. out there, one time, some different men said: “shake for me girl, i wanna be your backdoor man.” who dat you love. 5/18/03 A letter-poem in sixteen lines “dear oluchi-” is safe-housed in epistolary form. Poetic voice is rendered as internal thought meanderings, a not-so-much confession, private/(pillow?) talk in the desire to be heard/witnessed by the referent and reader with an intent to absolve. The diminutive “i” bears a relation to poet Fanny Howe’s “little g God” in that “One of the (many) things I like about little g God is that you can have a vodka tonic while you talk to little g God, sing along to Bowie’s “I’m Afraid Of Americans,” and hum Coltrane’s “A Love Supreme,” though maybe not all at the same time” (Oliver, 2009). Towards the middle of the poem AO is at a used bookstore and remarks on the funny employment of death as a ‘plot mistress’ that ‘they’ (the dubious employed mystery authors) are ‘unable to grasp’, thereby giving death a mouthpiece, a modeling job, something to do to pass the time. from THE VISIBLE UNSEEN When I first saw graffiti, I recognized in it an ugly aesthetic, a dialectics of violence, a distortion of limbs, a hieroglyph. It was only later when I read the names of the dead that I then saw the path of ghosts charted there; its narrative of loss for the visible unseen whose place in history has been fictionalized and rendered unseen under the totalizing glare of history. Inscriptions, traces, specters. Graffiti begs a public face just as ghosts require non-ghosts (humans) to sense them. The “visible unseen” is a game of hide-and-seek between public viewer and graffiti-inscriber, an ephemeral-violent aesthetic on an ephemeral-policed canvas. Graffiti-inscribers already submit to being forgotten, expect to be washed away; perhaps it’s a holy urban mandala created by gangster-type monks without Buddhism. [...] in its refusal to disappear it forces a discourse in the public imagination we are forced to see what we would rather not, to make sense of an encoded language that we cannot read on the level of meaning. it irritates, forces its agency on us, speaks outside and beyond semiotic reach. An epic font-size pervading the public’s imagination, illegible, I could just close my eyes, remain passive, drive past, abandon it beyond reach, push it further away beyond death walls. In Barcelona I watched a clean up crew wash walls with an awesome water hose but I was more intrigued by their bodies; not a distortion of limbs, not hieroglyph but also not entirely legible; the laboring body permanently erasing specters of the city, and of course they knew it was also an invitation for the ghosts to return. Graffiti is death’s little sister, is also an aporia. [...] Graffiti (fr GK -graph(os), something drawn or written, to diagram or chart) attempts to stage the impossible: to erase the essence of its own subjectivity. Graffiti is a cartography of ghosts, a mapping of elegiac rapture (the transporting of a person from one place to another, as in heaven) and rupture (the state of being broken open.) Dwelling is a fiction stasis. [...] The notion of the past as being something done with, a look-back event, inhibits the possibility of reading graffiti as rapture, as rupture. If graffiti posits history as always in the process of becoming undone. [...] Because what is the body, if not also a complex temple, an unstable site through which to negotiate subjects, materiality, economies, gods, and modes of representations? The site where we are all already belated. Graphein meaning “to write.” “Derrida says every archive makes a law, and the law of genre is its own rupture” (Bloch, 39). However, graffiti is an (non/anti)-archive of erasure due to (the politics of) washing out its subjectivity, which only adds onto (or is symptomatic of) its character. The inhibition of “reading graffiti as rapture, as rupture” is partly due to it being a “look-back” event in that it’s process involves scratching through layers to reveal previous specters underneath. Graffiti (as an ancient genre) has always been a thing of ‘becoming undone’, and therefore ‘belated and always in arrival’ (Levitsky). It’s a Dionysian activity done at night with it’s back turned toward us. "The specter [...] is of the visible, but of the invisible visible, it is the visibility of a body which is not present in flesh and blood [...] appearing for vision, to the brightness of day [...] something becomes almost visible which is visible only insofar as it is not visible in flesh and blood. It is a night visibility. As soon as there is a technology of the image, visibility brings night. It incarnates in a night body, it radiates in a night light" (Derrida & Stiegler, 115). (shrink)

This paper offers a biosemiotic account of the poetic aspects of gesture and speech in schizophrenia. The argument is that speech and gesture are not the mere expression of pre-verbal thoughts. Instead, meaning is enacted by the temporal and semantic coordination of speech and gesture. The bodily basis of language is highlighted by the fact that, failing to create language that is organized around topics, individuals with schizophrenia often rely on poetic associations in directing their utterances. Accordingly, the (...) analysis of schizophrenic speech and gesture based on McNeill’s Growth Point theory is enriched with reference to both Cowley’s (2007b) views on language as distributed social coordination, and Alexander’s (Biosemiotics 2(1):77–100, 2009) description of formal causes in nature. Schizophrenic language can be seen as a hypertrophied manifestation of the discourse-scaffolding function of poetic associations in speech and gesture. The analysis of schizophrenic language shows that language behavior need not be built on pre-verbal thoughts and important aspects of schizophrenic language, such as metalinguistic awareness and semiotic agency, can be clarified by applying concepts from biosemiotics. (shrink)

This article explores the role of affect in the disorganized language and thought that can manifest itself in bipolar disorder. Bipolar disorder, or as it was previously known, manic-depressive illness, can produce psychotic language and thought in its more extreme forms. During the production of discourse in bipolar disorder, there is a strong correlation between the underlying affective state, i.e., depression, euthymia, hypomania, and mania, and linguistic and cognitive performance. A psycholinguistic model of the dynamics between language, thought, and (...) affect in bipolar disorder based on McNeill¿s concept of a ¿Growth Point¿ is proposed. In particular, the poetic structural phases of discourse production in bipolar disorder, which vary according to the underlying affective state, provide a phenomenological bridge between the psychotic discourse of mania and normal language production. (shrink)

This investigation addresses a pressing anxiety of our time - that of homelessness. Tersely stated, the philosophical significance of homelessness in its more modern context can be understood to emerge with Nietzsche and his discourse on nihilism, which signals the loss of the highest values hitherto. Diverging from Nietzsche, Heidegger interprets homelessness as a symptom of the oblivion of being. The purpose of the present enquiry is to rigorously confront humanity's state of homelessness, and at the same time illumine (...) the extent to which Heidegger's thought engages with this pervasive phenomenon. In questioning the nature of homelessness, Heidegger's preoccupations with nihilism and modern technology prove crucial. Moreover, his attempts to overcome or prepare for the overcoming of this state of homelessness are also of great import to the current investigation. Adorno and Lèvinas offer scathing critiques of Heidegger's thought as it relates to the motifs of homelessness, homecoming (Heimkunft) and the German Heimat, for they associate it with provincialism, paganism, and a pernicious form of politics. In providing these critiques they bring to light the risks involved in undertaking a homecoming venture, and they also show how a great thinker can err greatly. While acknowledging the importance of these criticisms, the present study reveals how Heidegger's various discourses on homelessness and homecoming bear fruitful insights that can contribute not just to a Germanic sense of homecoming but to a sense of homecoming that humanity at large can relate to and be enriched by. (shrink)

Resumen: En este trabajo se intenta demostrar que en el corpus poético de Enrique Lihn el sujeto de la enunciación recorre el itinerario instaurado por la poesía moderna con el que se accede al origen polisémico del lenguaje y finalmente al blanqueamiento semántico que confiere la nada mortal (Blanchot). Dicho recorrido es motivado por el desamor que conduce al hablante a la muerte donde obtiene el secreto de la poesía como un lenguaje decodificado. Esta decodificación genera un no-ser, un sujeto (...) inicialmente precario y desterrado de sí mismo que luego se ve empoderado en la materialidad de su lenguaje. Un lenguaje tanatológico que reingresa a la vida por medio del discurso poético y resemantiza el más allá bajo la óptica de una muerte intravital (Jankélévitch). Abstract: This article attempts to demonstrate that in Enrique Lihn's poetic selected corpus the subject of enunciation travels the itinerary established by modern poetry by virtue of which there is an access to the polysemic origin of language and finally to the semantic whitening that mortal nothingness confers (Blanchot). This journey is motivated by a romantic heartbreaking experience that leads the speaker to death where he obtains the secret of poetry as a decoded language. This decoding generates a non-being, an initially precarious subject and exiled from himself, who is later empowered by the materiality of his language. A thanatological language that re-enters life through poetic discourse and resemanticizes the afterlife under the perspective of an intravital death (Jankélévitch). (shrink)

Usually technological innovation and artistic work are seen as very distinctive practices, and innovation of technologies is understood in terms of design and human intention. Moreover, thinking about technological innovation is usually categorized as “technical” and disconnected from thinking about culture and the social. Drawing on work by Dewey, Heidegger, Latour, and Wittgenstein and responding to academic discourses about craft and design, ethics and responsible innovation, transdisciplinarity, and participation, this essay questions these assumptions and examines what kind of knowledge and (...) practices are involved in art and technological innovation. It argues that technological innovation is indeed “technical”, but, if conceptualized as techne, can be understood as art and performance. It is argued that in practice, innovative techne is not only connected to episteme as theoretical knowledge but also has the mode of poiesis: it is not just the outcome of human design and intention but rather involves a performative process in which there is a “dialogue” between form and matter and between creator and environment in which humans and non-humans participate. Moreover, this art is embedded in broader cultural patterns and grammars—ultimately a ‘form of life’—that shape and make possible the innovation. In that sense, there is no gap between science and society—a gap that is often assumed in STS and in, for instance, discourse on responsible innovation. It is concluded that technology and art were only relatively recently and unfortunately divorced, conceptually, but that in practices and performances they were always linked. If we understand technological innovation as a poetic, participative, and performative process, then bringing together technological innovation and artistic practices should not be seen as a marginal or luxury project but instead as one that is central, necessary, and vital for cultural-technological change. This conceptualization supports not only a different approach to innovation but has also social-transformative potential and has implications for ethics of technology and responsible innovation. (shrink)

Bangladesh experienced a massive surge in humanitarian crises after the 1971 Liberation War due to the systematic use of violence at both public and private spheres. Fictional accounts of the post-conflict period depict women as subjected to institutionalised sexism and aggravated physical and mental violence. Critical studies on such narratives often reiterate a stereotypical and essentialising discourse surrounding women’s identity, characterising them as helpless and passive victims of discrimination and exploitation. Drawing upon Judith Butler’s notions of precarity and agency, (...) we argue that the Bangladeshi-born British writer Tahmima Anam’s The Good Muslim transcends victimhood narratives by creating a more nuanced image of woman as vulnerable victims and resisting subjects at the same time. The novel is preoccupied with notions of vulnerability, violence, religious zealotry, and family estrangement. The findings reveal that the precariousness of women in the post-war period is caused and aggravated by violence and oppression perpetrated at political, social, and religious spheres. Female characters like Maya and Piya are presented as empowered agents of transformation when it comes to vulnerable situations that render them as insignificant and precarious. The study concludes that the novel contests and alters the stereotypical representations of women embedded in normalising and hegemonic discourses. (shrink)

In this paper I consider Derrida’s anathematization during the 1992 "Cambridge affair" in the light of the 1270 and 1277 condemnations of unorthodox philosophical theses by the bishop of Paris, Etienne Tempier, the inventor of double truth. In particular, I compare these two occurrences through a reading of modernities as a re-centring on the new orthodoxy of naturalistic ontology, which began to take place in the 17th century. After the Humean attack, Kant recast such a naïve naturalistic objectivity into a (...) more defendable shape, by internalizing the supposed universal spatio-temporal structure of Newtonian physics as transcendental conditions of possibility. Though the Kantian ontological and theological legacy is still detectable in Derrida's quasi-concept of iterability, Derrida's theoretical contributions well exceed metaphysical discourse. More generally, I argue that during the last fifty years these contributions, together with contemporary reconsiderations of modernities, produced an emerging theoretical region. Within this region, the metaphysical chain of substitution of centre for centre is displaced, so that we can evaluate practices of exclusion without having to rely on alternative injunctions. (shrink)

Although Heidegger’s explicit account of “poetic dwelling” belongs to his later philosophy, there are important indications that he was already engaging with the core matter of the notion in his early thought. Contrary to the idea that in Being and Time, “dwelling” amounts to mere practical coping with the environment, we would like to demonstrate that the notion is already a poetic issue in his early thought, as it requires the appropriation of our relation to the world via (...) an authentic experience of finitude. Following a topological mode of thinking, the paper thematizes the connections between Heidegger’s early and later thought, and elucidates the following three points: First, “freeing” and “letting” appears as the appropriate ethos of a poetic experience of finitude, one that maintains the “clearing” of meaningfulness. Second, a topological reading of Being and Time can explicate the notions of authenticity and inauthenticity as different disclosures of the clearing where human being-world correlation occurs. Third, the notion of “keeping-still” (Schweigen) can be interpreted as an authentic disposition that frees space for the disclosure of existence. The paper concludes that an authentic experience of finitude through “stillness” appears to reorient human ethos by releasing “discourse” from absorption in “idle-talk” and that such an act of existential re-orientation of one’s disposition towards the world is the essence of “authenticity,” and Heidegger’s early “poetic dwelling”. (shrink)

ASHÉ: Ritual Poetics in African Diasporic is a collection of interdisciplinary essays contributed by international scholars and practitioners. Having distinguished themselves across such disciplines as Anthropology, Art, Music, Literature, Dance, Philosophy, Religion, and Theology and conjoined to construct a defining approach to the study of Aesthetics throughout the African Diaspora with the Humanities at the core, this collection of essays will break new ground in the study of Black Aesthetics. This book will be of great interest to scholars, practitioners, and (...) students interested in tracing African heritage identities throughout the African Diaspora through close examination of a variety of discourses directly connected to expressive elements of cultural production and religious rituals. (shrink)

ASHÉ: Ritual Poetics in African Diasporic is a collection of interdisciplinary essays contributed by international scholars and practitioners. Having distinguished themselves across such disciplines as Anthropology, Art, Music, Literature, Dance, Philosophy, Religion, and Theology and conjoined to construct a defining approach to the study of Aesthetics throughout the African Diaspora with the Humanities at the core, this collection of essays will break new ground in the study of Black Aesthetics. This book will be of great interest to scholars, practitioners, and (...) students interested in tracing African heritage identities throughout the African Diaspora through close examination of a variety of discourses directly connected to expressive elements of cultural production and religious rituals. (shrink)