Equimetrical translation of verse, which conveys the metre of the source text, should be distinguished from equiprosodic translation of verse, which conveys theversification system of the source text. Equiprosodic translation of verse can rely on the possibilities of natural language (for instance, when presumably Publius Baebius Italicus created the Ilias Latina, he made use of the quantitative structure in Latin), but it can also employ an artificial system (cf., for example, the quantitative verse in Church Slavonic or English). The (...) class='Hi'>Estonian language makes it possible to convey the syllabic (based on the number of syllables), accentual (based on the number and configuration of accents) and quantitative (based on the configuration of durations) versification systems. In practice, combined types are most frequent, for instance, the ones in which both the syllable count and the configuration of accents is relevant; in Estonian, versification systems with theparticipation of all three principles are possible as well. Despite the contrast of quantity in Estonian, the transmission of the quantitative structure of ancient metrics still involves a number of difficulties which result from differences in the prosodic structures. The transmission of purely syllabic versification system has also been problematic: it is hard to perceive such structure as verse in Estonian and therefore it has often been conveyed with the help of different syllabic-accentual or accentual-syllabic verse metres. Although equiprosodic translation is not necessarily equimetrical, in actual translation practice it usually is so. (shrink)

The sources of the theory of the Estonian hexameter can be traced back to 17th-century Germany, where the long syllables of ancient hexameter were replaced with stressed ones, and short syllables with unstressed ones. Although such understanding is clearly inadequate, to a great extent it still holds ground in contemporary approaches. Hexameter, like any other verse metre, can be treated from two angles. First, as an abstract scheme which is realized in different texts, while the degree of realization can (...) vary. Second, hexameter can be viewed as a prototype and actual texts create a certain space further from or closer to the prototype. In both cases questions arise, first, about the limits of hexameter, and second, whether a given text has features of a random hexameter or reflects theauthor’s conscious intent. (shrink)

Artiklis käsitletakse nihilistliku kirjandusloome võimalusi eesti luule näitel. Nihilismi ei mõisteta artiklis väärtusprobleemina, vaid ontoloogilise probleemina. Nihilistlikku kirjandusloomet käsitletakse taotlusena tuua sõnasse teine, eimiski. Artikli teoreetiline raamistik toetub põhiliselt Gianni Vattimo languse ontoloogia kontseptsioonile, aga ka Friedrich Nietzsche, Martin Heideggeri ja Maurice Blanchot' töödele. Samuti analüüsitakse artikli teoreetilises osas eimiski väljendamise võimalusi eesti keeles, tuginedes Uku Masingu ning Jaan Kaplinski mõttekäikudele. Luuletajatest käsitletakse artiklis enim Jaan Oksa ja Juhan Liivi. Analüüsi käigus tuuakse esile järgmised eimiskiga seotud poeetilised figuurid: ootus ja (...) luhtumus, langus ja loojak, hullus, surm. Analüüsi tulemusena selgub, et nihilistlik loome on eesti luules tugevalt esindatud, kuid ei filosoofias ega luules pole võimalik saavutada otsest juurdepääsu eimiskile, tuleb piirduda aimamisega, vihjamisega. The paper discusses the possibilities for creating nihilistic literary works, using Estonian poetry as an example. The paper regards nihilism as an ontological problem, and not as a problem of values. Nihilistic literary creativity will be treated as an attempt to introduce nothingness. The theoretical framework is provided by Gianni Vattimo's ontology of decline, as well as by the works of Friedrich Nietzsche, Martin Heidegger and Maurice Blanchot. The paper also analyzes, relying on the ideas put forward by Uku Masing and Jaan Kaplinski, the possibilities of expressing nothingness in the Estonian language. As to Estonian poets, the paper will focus on the works of Juhan Liiv and Jaan Oks. The analysis of their works highlights the following poetic figures related to nothingness: anticipation and failure, decay and decline, madness, death. The analysis will demonstrate that nihilism is strongly present in Estonian poetry. However, since neither philosophy nor poetry has direct access to nothingness, one must remain content with presentiments and allusions. (shrink)

Present article tries to give insight into the ways in which Estonian haiku models its author and communicates with the reader. The author thinks that while Japanese haiku is a predominantly autocommunicative piece of literature, where even a fixed point of view is not recommended, Estonian literary conventions are oriented towards openly communicational texts, which convey a fixed axiology and rely on abundant use of pronouns and rhetorical questions, addresses and apostrophes. While there is a considerable amount of (...) Estonian haiku that depend on Estonian literary conventions, most of the Estonian haiku texts, however, are oriented to the Japanese model. These texts have been labelled “the catalogues of landscape”, as they are constituted by naming different landscape objects without developing a line of narration. Thereby every landscape element in poetry is granted its own voice, and through this multitude of voices inside the text, the reader is forced to enter an autocommunicative process of remodelling him/herself. (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...

Hastings Center Report, Volume 52, Issue S1, Page S18-S21, March‐April 2022.

We have become estranged from the cosmic movements, according to Bataille. We are confined by the error linked to the representation of ‘the stationary earth’. We have negated the immersive immanence of the whole and made nature into a fixed world of tools and things. How then do we recognise ourselves as part of the ‘rapture of the heavens’? Bataille urges us to consider life as a solar phenomenon, the free play of solar energy on the earth. This paper argues (...) how Bataille’s cosmic vision anticipates both planetary and ecological thinking. This entails a base materialism of difference based on a radical Nietzschean and Heraclitean theory of becoming and flux. This thought is developed along Bataillean concepts such as the movement of the whole, the labyrinthine, and compound beings, ipseity, as well as the concept of a communifying movement. This materialism paired with Vladimir Vernadsky’s biosphere lays the foundation for the laws of the general economy, which also constitutes an economy inclusive of a general ecology: a tragic vision of Gaia and Dionysos. Finally, poetry is considered, as a way we might reconnect with the universe and stimulate ecological imagination. (shrink)

This paper finds its origin in a debate between Georges Bataille (1897-1962) and Octavio Paz (1914-1998) on what is central to the idea of eroticism. Bataille posits that violence and transgression are fundamental to eroticism, and without prohibition, eroticism would cease to exist. Paz, however, views violence and transgression as merely intersecting with, rather than being intrinsic to, eroticism. Paz places focus on imagination, and transforms eroticism from a transgressive, to a ritualistic act. Eroticism thus functions as an intermediary, turning (...) animal sexuality into ceremony and rite. In this paper, I argue that Paz and Bataille are not fundamentally at odds in their conceptualisation of eroticism. Instead, Paz redefines the locus of eroticism by subverting its unsettling aspects. His conception of eroticism gives precedence to the imagination, which in itself is an act of violation. Imagination transgresses normal life, but this transgression – the violation of the habitual world – also introduces a glimpse of the numinous that Paz associates with belongingness. The paper further explores eroticism, as this is perceived today, and argues that it ultimately eliminates the threshold marked by transgression. The rise of the contemporary pornographic society is marked by a loss of imagination and transcendence, which ultimately reduces the subject into a mere automaton that demands instant gratification. (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)

The assent of man, Michael Berube -- Getting rid of the appearance-reality distinction -- Universalist grandeur and analytic philosophy -- Romanticism, narrative philosophy, and human finitude.

In this essay, after a brief decolonial analysis of the concept of “poetry” in Indigenous communities, I will investigate the poetic-philosophical implications of Cherokee culture, more specifically the poetic essence of the Cherokee language, the poetic aspects of Cherokee myth (pre-history) and post-myth (history), and the poetic-philosophical powers of Cherokee ritual. My first section analyzes the poetic essence, structure, special features, and historical context of the Cherokee language, drawing on Ruth Holmes and Betty Sharp Smith’s language textbook, Beginning Cherokee. (...) My second section considers poetic aspects of the pre-history and history of the Cherokee Nation considered as a text, using Robert J. Conley’s The Cherokee Nation: A History. And my third section investigates the poetic nature of the Cherokee rituals’ myth-ontological background and its existential psychological implications, via J. T. Garrett & Michael Tlanusta Garrett’s The Cherokee Full Circle: A Practical Guide to Ceremonies and Traditions. Collectively, these analyses will suggest that, just as the Cherokee and other tribes are the slandered, disenfranchised, suppressed and covered-over Indigenous peoples of the North American continent, so poetry writ large (including Indigenous philosophy) is the slandered, disenfranchised, suppressed and covered-over arche of western philosophy (as I have previously explored via a new interpretation of Nietzsche). In short, I will argue that both poetry and Cherokee culture can be understood as indigenous “absences” which are in truth vital and enduring presences. (shrink)

The significance of historical advances in human development has been widely debated within cognitive science. Steven Mithen's recent book, The prehistory of mind (London: Thames & Hudson, 1996), presents an archeologist's attempt to explain the details of cognitive development within the framework of modern anthropology and cognitive psychology. We argue that Mithen's attempt fails for a number of different reasons. The relationship between the archeological evidence he considers and his conclusions is problematic. We maintain that it is difficult to draw (...) biological conclusions from strictly behavioral artifactual evidence. To buttress his claims, Mithen borrows heavily from the very cognitive science literature to which he hopes to contribute. As a consequence, his analysis of the archeological evidence cannot promote a particular cognitive theory, since his interpretation is only as strong as those theories from which he borrows. We are also concerned that the specific details of Mithen's program are equally problematic. Mithen's claim that modular intelligences did not exist outside of hominid evolution is likely false and unwarranted. As a consequence, we argue that the central component of his claim that the uniquely human feature of our development, the move from modular to fluid minds, depends on poorly defined distinctions between a wide range of mental processes. Whether we can accept Mithen's characterization of these claims will depend, we argue, on how he chooses to clarify these terms. We suggest that the various choices will be difficult to reconcile with his theory. Moreover, we suggest that the phenomena that Mithen hopes to explain in human development cannot be explained strictly in terms of analogical reasoning. We nevertheless find Mithen's attempt at answering these questions to be both a constructive and fascinating foray into what is an under-explored topic. (shrink)

This article argues that a recent wave of creative self-translations by Latinx poets marks a significant turn in Latinx literary history. In contrast to the conventional view of translation as a derivative, subsidiary craft, these self-translations serve as a creative practice (for composing innovative literature), a trope (for cultural and linguistic multiplicity and self-decolonization), and a theoretical framing (attuned to colonial relationships and power differentials between languages and cultures). What does this reconceptualization of self-translation mean for Latinx poetry and (...) for translation studies? What are its contexts and antecedents, its aesthetic forms and modes of inventiveness, its social and theoretical implications? I consider these questions in relation to the work of two Puerto Rican poets, Urayoán Noel and Raquel Salas Rivera, arguing that their practices are illuminated by the decolonial theory of “transcreation,” or creative translation, developed by Haroldo de Campos. Their poetry is related to but distinct from the tradition of Spanglish and code-switching in Latinx poetry, for English and Spanish coexist in their self-translations in novel ways that do not necessarily correspond to ordinary speech patterns. At the same time, traditional values in translation are supplanted by an emphasis on creativity, criticality, and the translator’s discernable presence. I contend that transcreative self-translation reflects, critiques, and queers the process of transculturation ongoing in the US and its colonies on linguistic, cultural, and social levels. (shrink)

Quite fittingly derived from proficient and attack, coming onto the market in late 20-th century, being associated with protocol-abiding clinical psychiatry and gender-based postmodern discourse, Prozac is seen in what follows as a generic name for serotonin reuptake inhibitors (SSRI-s) and, under its various names, it is further associated with creativity or rather poetic input. While providing the sense of a postmodern notion of subjectivity, the case studies in support of our analysis are found to experience a restoration, even if (...) partial and temporary, of the hyperthemic or rather sanguine temperament. (shrink)

There is an irony in that, the modern empirical and scientific study of metaphor, as arguably the major form of figurativity, arose in part from a realization that metaphor resides in territories s...

Since antiquity, Empedocles has been considered as an example of both successful and unsuccessful communication. Aristotle credits him with vividness of images, but blames him for failure of clarity, and eventually compares his obscureness to that of oracles. Therefore, scholars in the past came to the conclusion that Empedocles deliberately employs an opaque style, like Heraclitus and his "studied ambiguity", as means for initiation. This paper challenges this assumption and asks whether and how ambiguity can work within a didactic poem. (...) By showing how Empedocles' and Heraclitus' communicative strategies differ from one another, I shall point to the poet's role as a charismatic and spiritual guide, displaying at times a Sibyl-like attitude. Being a mediator between two separate dimensions puts Empedocles in an ambiguous position, because he delivers what the Muse and the gods made available for him to share, and so his opaqueness does not come directly from him. Ultimately, this style analysis also says something about who the ideal audience must have been. (shrink)

This essay is an obituary notice for Elizabeth Sewell, a long-time friend of Michael Polanyi and a well-known poet, novelist and critic.

In lieu of an abstract, here is a brief excerpt of the content:Re-dating Ausonius’ War PoetryJ. F. DrinkwaterThe extant works of ausonius contain a small but intriguing number of references to military activity on the Rhine in which he himself appears to have been closely involved. In perhaps the best known of these (Mosella 420–24), he declares that the Moselle has seen the “united triumphs of father and son”—that is, of the ruling western Augusti, Valentinian I and Gratian—which they have (...) won by defeating enemies beyond the River Neckar and the former Roman city of Lupodunum (normally written Lopodunum, the modern Ladenburg), and the source of the Danube: Nicrum super et Lupodunum / et fontem Latiis ignotum annalibus Histri (425/4). However, Ausonius also devotes two of his epigrams to the same topic. In one (Epig. 3/28 [Green/Peiper]), he depicts the Danube, at its source, hailing the Augusti, again “father and son,” and anticipating with pleasure its announcing to their colleague in the East, Valentinian’s brother, Valens, the destruction of the “Suebians” and the fact that the Rhine is no longer the frontier of Gaul. In the other (Epig. 4/31), Ausonius’ Danube rejoices that, though its head was once concealed in lands remote, it now flows for its entire length under Valentinian’s sway. In the preface to his Griphus (line 14 Green) and in the introduction to his Cento Nuptialis (line 48 Green) Ausonius makes passing allusion to the time when he was on “active service” (expeditione; quia sub imperatore meo tum merui). We may conclude this short catalogue with others of his better-known works, the “Bissula poems,” in which he sings the praises of his “Suebian girl,” his “pet,” taken as a spoil of war beyond the Rhine, at the source of the Danube (17.1.3-4/9.1.3-4).All such references are generally assumed to derive from a single action, the campaign of 368 in which, according to Ammianus Marcellinus, both Valentinian and Gratian (and, presumably, the latter’s entourage, including Ausonius) campaigned over the Rhine against the Alamanni. 1 The terminus post quem of the composition of all the works [End Page 443] concerned is, therefore, 368. As far as completion and publication are concerned, most attention has been given to his Mosella, where two internal references have been interpreted as indicating a date late in 370 or in 371: as Green has recently put it, “in or close to 371.” 2But neither of these dates is as solidly founded as they may seem. The precise details of the 368 fighting are unclear. It may have remained north of the Main, and may therefore have not taken Roman forces south to the Neckar; and even if it had, it may still not have taken them as far as Ladenburg and beyond, to the source of the Danube at Donaueschingen. 3 However, we can be fairly sure that Valentinian reached Ladenburg in 369; 4 and this has led some to treat the two campaigns as one, with Ausonius probably accompanying Gratian in the earlier stage, and certainly being with him during the later. Thus he would have reached, or have been able to claim that he had reached, the Danube source, have been given Bissula, and have been inspired to write Mosella not in 368, but in 369. 5 In addition, the internal references in Mosella are very opaque. As Seeck observed, and some have accepted, the unnamed high official who “ruled Rome... bearing a title all but the highest, though he was peer of the highest” (trans. Evelyn White) of lines 409–11 should not necessarily be taken to be Sextus Petronius Probus, consul posterior to Gratian in 371. 6 If Ausonius’ language allows of any precise identification of an individual or an office, it is equally, if not more, likely that the reference is to the holder of a Roman metropolitan position, specifically that of vicarius urbis or praefectus annonae, both of which were subordinate to the praefectus Urbi, who had close links with Trier or its region. Seeck in fact suggested that Ausonius was here referring to the Gallo-German Bappo, who reached the premier position of City Prefect in 372; but... (shrink)

This paper investigates the concept of emotion and its relevance to education via character education through the medium of poetry. The objective is to demonstrate the potential implementation of character education through poetry, and to show the intrinsic link between poetry and virtue, knowledge and reasoning. It is argued that poetry serves as a bridge between emotion and character education. The philosophy of emotions is explored through the works of Aristotle, Karin Bohlin and David Carr. Character (...) education is understood in terms of a Neo-Aristotelian approach, drawing on Kristján Kristjánsson, Bohlin and Carr. My position is that, through exercising the craft of poetry, children and young students are provided with tools for exploring emotions, and for discerning and deliberating about virtues and moral contextual nuances in the broader context of human experience. (shrink)

The Program for Medical Humanities at UC–Berkeley recently hosted a small conference composed largely of health professionals and humanities scholars to reflect on "violence in medicine." The topic itself is unsettling: coupling the two words seems at best oxymoronic and at worst darkly suggestive. The conversation ranged from forms of malpractice and exclusion to ways we normalize questionable protocols and treatments. One of the issues that repeatedly arose was the ways in which patients can emerge from clinical encounters and hospital (...) stays feeling violated, sometimes despite the best intentions of care providers.Having looked closely at a good deal of poetry by patients, I decided to bring forward some examples... (shrink)

This book is both a sequel to author John Taylor's earlier volume Into the Heart of European Poetry and something different. It is a sequel because this volume expands upon the base of the previous book to include many more European poets. It is different in that it is framed by stories in which the author juxtaposes his personal experiences involving European poetry or European poets as he travels through different countries where the poets have lived or worked. (...) Taylor explores poetry from the Czech Republic, Denmark, Lithuania, Albania, Romania, Turkey, and Portugal, all of which were missing in the previous gathering, analyzes heady verse written in Galician, and presents an important poet born in the Chuvash Republic. His tour through European poetry also adds discoveries from countries whose languages he reads fluently--Italy, Germany, Greece, and France. Taylor's model is Valery Larbaud, to whom his criticism, with its liveliness and analytical clarity, is often compared. Readers will enjoy a renewed dialogue with European poetry, especially in an age when translations are rarely reviewed, present in literary journals, or studied in schools. This book, along with Into the Heart of European Poetry, motivates a dialogue by bringing foreign poetry out of the specialized confines of foreign language departments. (shrink)