It is a lie: nature is not balanced, but tumbling forwards in a damp confusion of forms. Not so much a comforting friend as a science-fiction monster: adsorbing all the bullets we shoot at it – each time getting up and coming back at us; each time further mutated and more terrifying.

Tamil Love Poetry: The Five Hundred Short Poems of the Aiṅkurunūru. By Martha Ann Selby. Translations from the Asian Classics. New York: Columbia University Press, 2011. Pp. 195 + xii. $84.50 cloth; $27.50.

One of the more remarkable features of the epilogue to Master Geffrei Gaimar's Estoire des Engleis is the light that it sheds both internally on the process of composition of the poem and externally on the actual sources used for its compilation and on the various individuals who had a part to play in making them available to the author. In addition to the poet himself, no fewer than nine contemporaries are named , and what appear to be four (...) direct written sources, in Latin and English, are listed . Clearly we are dealing here with an exceptionally self-conscious author, intent on establishing the highest scholarly credentials for his historico-literary enterprise and investing his text with a wide range of verifiable auctores from the England of the first half of the twelfth century. (shrink)

Lists are a recurring feature in Old English and Old Icelandic poetry, and particularly a feature of those poems that are included in the genre wisdom literature and those that have a claim to be among the earliest surviving compositions in each language. Some poems, such as Widsith and Grímnismál, are entirely made up of lists contained within a slight narrative frame; others, such as The Wanderer and Hávamál, have lists embedded within them. Both kinds of poem have posed (...) problems for modern readers and editors, some of whom have dismissed list poems as simply pedestrian and boring, while others have struggled with problems of unity and with the many metrical difficulties that the verse lists in both languages display. An example is the Old English Maxims II , the structure of which has been a major concern of the scholars who have written about the poem. Among them R. MacGregor Dawson argues for a type of unity based on association for both Maxims I and II, asserting that the poems are “not simply lists but mnemonic arrangements in sequences built up by multiple association of ideas, either through meaning or through sound.” The most recent editor of Maxims II, on the other hand, points out that at least one of the perceived divisions in the poem is based on relationships of form rather than meaning or sound. T. A. Shippey goes on to remark that within this sequence there is much variety and that “Of the twenty-four descriptive phrases only three repeat a syntactic and metric shape used previously in the section.”. (shrink)

The Japanese poet-scholar John Solt is perhaps best known in the United States for his excellent biocritical study (Harvard, 1999) of the avant-garde poet Kitasono Katue, who served, from the mid-1930s on, as Ezra Pound's primary conduit to the stylization of Japanese poetics that he so admired. “Kit Kat,” as Pound fondly called the poet he knew only via their extensive correspondence, was Pound's translator, editor, and sometime collaborator; in return, Pound (who did not read Japanese) wrote admiringly of Katue's (...) work in Guide to Kulchur and elsewhere.Solt has now published a beautifully produced volume of his own distinctive poetry—a poetry that fuses the concision of Japanese tanka and haiku with very up-to-date explorations of what Pound called moeurs contemporaines: riddling short lyrics laced with humor and a telling irony that makes the reader smile with a shock of recognition. In the spirit of Kenneth Rexroth, with whom he studied in Santa Barbara, Solt's seemingly “simple” free verse is carefully structured. The minimalist poems are placed, one per page, in different spatial positions, with the Japanese translation en face. The volume contains a sprinkle of elegies and occasional poems, but Solt's signature poems are epigrams or aphorisms in the vein of the Zen koan: i held my tongueas if it werea ticketThe pun on the word held and the ticket metaphor can be read quite variously: I said nothing, saving my “ticket” for future gain. Or I “held” my tongue as one holds on to a precious ticket for some form of entrance, perhaps erotic. Indeed, Solt excels at the erotic poem—one that is never directly confessional or even personally expressive but that gives the reader a strong sense of a particular moment, as inice cubes meltin the crackleof your nakednessyou roll down your lace stockingsexposing the same designin tattoo... where it is the imprint the lace leaves on the skin that produces arousal. We never know who the “you” of these poems is, nor does it matter. We only know—in the case of a neighboring poem—that the lovers have “met again / and again / like spinning tops,” until “with centrifugal force / we easily slipped / outside the windows / of our eyes.” Caught up in the moment of ecstasy, they no longer see one another.In this complex and subtle poetry, comparisons come readily, only to be given an ironic twist: the mind is a kitehe thoughtletting goof both stringsAnd things are never quite what they seem: you toasted“happiness to usand confusionto our enemies”and I laughedsecureuntil a cloud formedin my mindWe have all had this experience of group approval only to wonder—the next minute—whether we really agree. Solt's minimalist lyrics not only make us smile: they also make us think. (shrink)

continent. 2.2 (2012): 148–151 When things get complex, as they may indeed be getting, the distinction between tools and the things that can be made with them begins to dissolve. The medium is not only also a message, it is an essential counter-valence to our own impulses towards the creation of meaning, beauty and knowledge. The tools we think we are using also use us: They push us around, make us think new things, do new things, even be new things. (...) Language is no different, of course, although in its supremacy and ubiquity, it is even more elusive, difficult to perceive. The very words you are looking at right now are like compact little cryptograms—a written convention, talking back at you in codes. Poetry is language speaking for itself. It is, at its best, where what is being told is coincident with the telling. The words written, or uttered, pop out at us, while in the same moment, constellations of meaning emerge; the components and its composition resonate, vacillate, on the page and in the air. Many of the constraints and styles of poetry we know have developed in order to allow words to express themselves, or show themselves as the mediation of a mental image. Programming languages for computer hardware, no matter how “high level” or abstract they are, are by necessity far less elaborate than traditional forms of writing and speech. But the structure and function of these new languages give them special advantage in clarity: These languages (syntax, sequence) and the results they produce (ideas, ‘executables’) are absolutely inseparable. By design, computing languages are created in order to express specific ideas, creating certain kinds of action or manipulation of other codes (data). In this sense perhaps, software is always, and already, poetic. It is precise description, and pure syntax—the signifier and signified—clearly coincident in the machine. Ishac Bertran ’s code {poems} is an edited book project that exposes the materiality of computer programming languages. Here are presented a small sampling from a compiled book of poetry written by software engineers, artists and other code writers, “exploring the potential of code to communicate at the level of poetry.” ( code-poems.com ) The project solicited for online, public submissions from code-writers in response to the notion of a poem, written in a software language which is semantically valid (i.e.: it compiles ). This solicitation winds up revealing the inner workings, constitutive elements, and styles of both a particular software and its authors. From a large number of submissions, a selection of poems will be printed as a bound volume in the Autumn of 2012. - Jamie Allen __________________________________________________ DAILYGRIND import java.util.Date; public class DailyGrind { public static final void main(String[] args) { boolean its_time_to_go_home = false; boolean away_the_hours = true; while (away_the_hours) { boolean away_the_hours = true; Date now = new Date(); its_time_to_go_home = now.getHours() > 17 && now.getMinutes() > 30; if (its_time_to_go_home) { break; } try { Thread.sleep(60000); } catch (InterruptedException e) { // ignore } } } } Paul Illingworth // Java __________________________________________________ UNHANDLED LOVE class love {}; void main() { throw love(); } Daniel Bezerra // C++ __________________________________________________ TWOFACED public class TwoFaced { public String greet() { return "Hi! So great to see you!"; } private String think() { return "Fucking bitch."; } } Jason Kopylec // Java __________________________________________________ DANCING WITHIN using System; public class PoemCode { private bool dancing_within() { Boolean me = true; while (dancing_within()) { var iables_of_light = ""; try { int elligently_to; object ify_the_world_apart; } catch (Exception s) { int o_the_broken_parts; throw; int o_the_seed_of_life; } Random ashes_of = new Random(); float ing_devices; short age_of; char acter_will_never_let_you = 'b'; } return me; } } Álvaro Matías Wong Díaz // C#  . (shrink)

In this article, I focus on the way one can avow emotions and beliefs in poetry, with an emphasis on emotional expression. I want to show how the so-called Neo-Expressivism concerning self-attributions and avowals can help us understand the nature of emotional expression in poetry. The emphasis is on the way people use poems as vehicles for avowals of emotion and the way that emotions can shine through poems even though the poets did not intend to show those emotions. In (...) order to show that this is possible I shall give a short defense of a moderate, Wittgensteinian intentionalism and interpretative pluralism with respect to the understanding of literary works. What is an avowal? The Israeli philosopher... (shrink)

Ever since Plato's condemnation of the poets who did not deserve a place in his ideal city poetry has, in areas of the Western world, drawn suspicion as for its ability to convey the "truth." Philosophy, then, was thought to be a better candidate assuming that the truth in question could only be "discursive" as opposed to "poetic." In the West, the tension between poetry and philosophy reached a quasi-chiasmatic peak with modernism, a period during which the poem asserted (...) in the most radical way its own mode of thinking. Alain Badiou in his Que pense le poème? qualifies the singularity of poetic thought in terms of "musical silence." Yet, in spite of the depth and beauty of the image, the poem falls short of being considered as philosophical thought proper. By moving away from a conception of philosophy centred on logos as method, the poem may conceivably reveal a profoundly philosophical nature. Such is the case with the poetic prose of French contemporary writer Christian Bobin. Starting from Badiou's conception of "musical silence" in poetry this essay reflects on the extent to which emptitude at work in Bobin amounts to a uniquely philosophical mode of thinking. (shrink)

In June 1922 Rothstein, in his courageous and ingenious attack on Schwabe's generally accepted chronology of Catullus' poems, made these two surprising statements: The liaison with Lesbia began later than 57 B.C. All short poems are later than 57 B.C. To maintain the first statement Rothstein denied , against strong evidence, that poem 68 referred to Lesbia. To explain the second he assumed gratuitously that Catullus carelessly lost all his short poems written before 57 B.C., preserving only (...) long ones, and among these the datable poems 68 and 65+66. (shrink)

The poetical corpus of 11th-c. Christopher Mitylenaios, such as it is found in manuscript No. Z α XXIX (13th c.) of the Biblioteca della Badia Greca in Grottaferrata, consists of 145 poems and 2856 verses. Of these carmina 123 are written in jambic trimeters, 18 in dactylic hexameters, three in elegiac distichs, and one in an Anacreontic metre. In the first part of the article outer metric is discussed; among other things one learns that the Anacreontic poem 75 forms (...) metrically a case of its own as it consists of eight strophes of four verses each, whereby the even strophes are followed by two so-called koukoullia, that the dactylic hexameters use 28 out of 32 possible schemes, thus contrasting with the Callimachean and Nonnian types, and that in the dodecasyllables the so-called Binnenschluss after the 5th foot is overwhelmingly present while in no less than 16 hexameters the poet uses a caesura after the 3rd foot. In the second part (inner metric) the numerous transgressions of metrical laws are investigated, as well as verse end and accentuation, and prosody; this last item concerns long and short vowels, diphthongs and dichrona, correptio Attica and hiatus. The text ends with a twofold appendix about caesurae. (shrink)

On January 1, 2020, I (the first author), started my term as the new Editor in Chief of Metaphor and Symbol. I wanted to inaugurate that moment with a short editorial piece in the journal seeking t...

‘Jason…chosen leader because his superior declines the honour, subordinate to his comrades, except once, in every trial of strength, skill, or courage, a great warrior only with the help of magical charms, jealous of honour but incapable of asserting it, passive in the face of crisis, timid and confused before trouble, tearful at insult, easily despondent, gracefully treacherous in his dealings with the love-sick Medea but cowering before her later threats and curses, coldly efficient in the time-serving murder of an (...) unsuspecting child (sic), reluctant even in marriage.’ So Carspecken put the case against Jason's heroism. In the face of such an indictment, Lawall's plea in mitigation, ‘it must be admitted that [Jason] often reveals the qualities of a true gentleman’, seems somehow inadequate. Criticism since Carspecken has found various overlapping categories for Jason which both take account of the earlier negative judgements and preserve the centrality of his ‘personality’ and character in the poem: Jason is the quiet diplomat who works through consensus rather than force, his is a heroism of sex-appeal, he is an anti-hero, the embodiment of Sceptic ‘suspension of judgement’, or, alternatively, he is ‘one of us’, credible and lifelike. Carspecken himself tried a different tack: the poem is concerned not with individual heroism but with the heroism of the group (cf. 1.1, 4.1773–81). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Catullus: The Shorter PoemsJoseph B. SolodowJohn Godwin, ed. Catullus: The Shorter Poems. Ed. with intro., trans., and comm. Warminster: Aris and Phillips, 1999. xii + 223 pp. Cloth, $59.95; paper, $28.Godwin's volume joins two other recent ones that also offer a text and English translation of the poet, along with introduction and notes: G. P. Goold, Catullus: Edited with Introduction, Translation, and Notes, 2d ed. (London 1989; 1st (...) ed., 1983), and Guy Lee, Catullus: Edited with a Translation and Brief Notes (Oxford 1990). The proportion of commentary varies considerably among the three editions. Goold's notes are very brief, occupying less than one-sixth the number of the pages of the text plus translation; they identify references mostly, or sketch a background, either historical or personal. Lee's notes, somewhat more devoted to language and interpretation, amount to one-fourth. In Godwin's book the commentary equals the text and translation. This, clearly, is intended to be the author's chief contribution, and indeed it is easily the most valuable part. (In the same format he dealt with the longer poems, 61-68, in a volume published in 1995.) Rather than an editor or translator, Godwin is an interpreter of literature.Most parts of the introduction are reliable. "Catullus' Life and Times" balances familiar scholarly positions with criticism. Against Ross's view (originating with Reitzenstein, actually) that the poet applied the language of politics to love, he cites Lyne's, that poet and politician alike used the language of the governing class. He is skeptical of identifying Lesbia with Clodia Metelli. The next section describes the performance of poetry, an important subject, if less obvious. The discussion of poets' financial rewards here would be less neat had the instructive researches of Peter White been taken into account (JRS 64 [1974]: 40-61; HSCP 79 [1975]: 265-300; JRS 68 [1978]: 74-92). Godwin afterward sets forth well first the poetic standards and strivings of Catullus and his fellow-neoterics, then the major interpretative strategies practiced by literary critics: biography, New Criticism, New Historicism, and attention to intertextuality, to the arrangement of poems, to their closure (but not structuralism or deconstruction). His own stance is characterized by a keen awareness of the literary artifact, and this will make for some fine, persuasive interpretations.The section on meter, however, is seriously defective. Addressed to the rank beginner, who is taught when syllables are long, when short, what elision is, and which patterns of longs and shorts constitute the various meters, it is bound to mislead in important ways. It ignores prodelision (which Goold, for the sake of correct reading, represents in his text: gratumst, for example). Nowhere does it say that the fifth foot of a hexameter is regularly a dactyl, much less that the substitution of a spondee there is a neoteric affectation (see Cic. Att. 7.2.1). It claims that "the second half of the pentameter is in the overwhelming majority of cases dactylic" (17, my emphasis). For iambic senarii and choliambics it fails to mention the caesura. Lack of attention to meter probably explains why Godwin prints vehemens (rather than vemens) at 50.21 and vastasque paludesque at 115.5 (no other verse among the elegiacs is hypermetric, though 64.298 is), and also why in the commentary on poem 4 he does not draw attention to Catullus' tour [End Page 283] de force in writing pure iambics; this would have strengthened his point that the verse gives "the movement of the poem a swift impetus appropriate to the movement of the yacht" (117). The last part of the introduction is a concise statement of how the text has been transmitted.The text here printed is Godwin's own. Let it be compared with Goold's, which is, in my opinion, the truest ever produced--comprehensive in understanding the sources, fearless in replacing manuscript nonsensicalities with Catullan sense and elegance, from start to finish marked by sound judgment. As a sample I chose 49 poems, the verses of which represent 57 percent of the total number in Godwin's volume. Of the divergences from Goold's text in the sample, about two... (shrink)

This article discusses the poem written by Joseph Brodsky shortly after the proclamation of Ukrainian independence in the early 1990s. It compares this poem with other pieces by the same author that deal with the paradigm of “independence vs. imperial unity.” These poems present a difference, which is striking at first glance: Brodsky welcomes Lithuanian independence, while simultaneously denying the same rights to Ukrainians and Aztecs. As for Afghanis … his disdain is even more palpable. The proposed explanation (...) is the concept of “Cultural Empire,” which the poet considers to be the ultimate good. This article briefly mentions the general problem of de-imperializing classical Russian literature in the context of post-colonial studies. (shrink)

This short poem is an Emersonian interpretation of the Hindu concept.

The Malayalam poet, Kunjunni, is known for his short and simple poems. Some of his poems are filled with rich philosophical insights, and a few such poems are gathered in this paper with a view to unravel the philosophical view point embedded in them. By explicating the poet’s views about space, time, the world and the other, the paper contends that the philosophical vision that unfolds in these poems is a form of solipsism, the doctrine that the self alone (...) exits. It is shown how the poet considers the other minds including God, and the spatiotemporal universe as various manifestations of his self and refuses to grant them independent ontological status as people generally tend to do. The paper concludes by noting also certain sceptical tendencies in the poet. (shrink)

The title of Charles Taliaferro’s book is derived from poems and stories in which a person in peril or on a quest must follow a cord or string in order to find the way to happiness, safety, or home. In one of the most famous of such tales, the ancient Greek hero Theseus follows the string given him by Ariadne to mark his way in and out of the Minotaur’s labyrinth. William Blake's poem “Jerusalem” uses the metaphor of a (...) golden string, which, if followed, will lead one to heaven itself. Taliaferro extends Blake’s metaphor to illustrate the ways we can link what we see, feel, and do with deep spiritual realities. Taliaferro offers a foundational case for the recognition of the experience of the eternal God of Christianity, in which God is understood as the fount of all goodness and the subject and object of our best love, revealed through scripture, tradition, philosophical reflection, and encountered in everyday events. He addresses philosophical obstacles to the recognition of such experiences, especially objections from the “new atheists,” and explores the values involved in thinking and experiencing God as eternal. These include the belief that the eternal goodness of God subordinates temporal goods, such as the pursuit of fame and earthly glory; that God is the essence of life; and that the eternal God hallows domestic goods, blessing the everyday goods of ordinary life. An exploration of the moral and spiritual riches of the Christian tradition as an alternative to materialism and naturalism, _The Golden Cord_ brings an originality and depth to the debate in accessible and engaging prose. “Charles Taliaferro has written a thought-provoking, original work that succeeds in throwing some of the central tenets of naturalism into question. He has gathered cutting-edge scholarship from the context of debates about naturalism and discusses that within the framework of a theological account of the human condition. The result is a robust theological response to secular naturalism, one that deserves to be taken seriously by the latter’s proponents.” —_Victoria Harrison, University of Glasgow_. (shrink)

Gunn told me once that he had gone on a picnic on Primrose Hill with Ted and Sylvia. What was she like? She seemed a very good mother, Thom said, recalling the picnic basket she had prepared, adding that famous people never seemed to behave characteristically when he met them. Although neither Gunn nor Plath could have known it, they would come to have something deeply personal in common. Gunn's mother was a suicide who left her body for her children (...) (in her case, two teenage sons) to find in the morning. His poem about it is called “The Gas-Poker.”Readers may ask whether we do not already know enough about Sylvia and Ted. The bite mark on his cheek where she drew blood the night they met, the cup of warm milk set out for her toddlers to find with her body in the morning. This detail—the cup of warm milk cooled to frigid temperatures during a night that was one of the coldest on record locally—is, for me, the hardest to forgive. But Clark, drawing on a vast reservoir of evidence and anecdote amassed over years, is able to construct a more nuanced impression of Plath than we have had before. There are missteps, as when Clark complains of Plath's “popular, clichéd image as the Marilyn Monroe of the literati.” No one who has ever heard the breathy voice of Monroe singing “Happy Birthday, Mr. President” and compared it to the plummy, matronly, decidedly upper-class voice Plath cultivated for the BBC can believe that any such cliché exists. Plath mythologized her own life, but Clark succeeds in weaving a tight fabric of minutiae that permits the reader to see what Plath was doing at almost any hour of any particular day. In this steady neutral light, she becomes more fully human. (shrink)

Catullus 6 is a short poem addressed to a certain Flavius, otherwise unknown. Flavius, so we are told, refuses to say anything about his girlfriend, and the poet can explain this only by assuming that he has taken up with a mistress who is singularly unrefined . It is certainly clear that Flavius is not spending his nights alone; the state of his bedroom proves that much . But, says Catullus, there is no reason for Flavius to remain (...) silent, no matter what folly he is engaging in. He should confide in the poet, whose only wish is to praise him and his mistress in witty verse. (shrink)

Suenan timbres, by the Colombian poet Luis Vidales, is an urbanely rural work. The fact that flowers, spiders, cats and landscapes are found in these short poems-vignettes –all of which are a reflection of a city in the process of modernization–; confirms how interested was the author in the idea that his poetic project could erode the barrier separating the cultural and natural spheres. Bearing this in mind, the article attempts to show that the intersubjective dialogue between the two (...) spheres is not peaceful, balanced or horizontal. On the contrary, the article, through a philosophical analysis based on the ideas of ecocriticism, seeks to reveal that underlying this dialogue, there is the desire of modern men to dominate, control and subdue nature to the laws and rule of culture. (shrink)

Rabbi Solomon ibn Gabirol (Avicebrón) was perhaps the greatest Neo-Platonist in the medieval Arabic philosophic tradition, and the greatest medieval Hebrew poet. In the following discussion, the author studies a short poem (Ahabtikha: "I Have Loved You") from Ibn Gabirol's classic philosophy work Fons Vitae, and he tries to clarify some of the poem's enigmas. The poem does relate to the teachings of the Fons Vitae, but does so in a nonphilosophic manner, making no use of (...) philosophic terminology or argument. (shrink)

Pierre Hadot has discussed the deep connections between ancient Western philosophy and spiritual exercises. The author appreciates these connections, but he explains why he explored a different path. He began to write haiku as a form of spiritual practice. He wanted to use these short verses to become more mindful, present, and responsive – in his life and in his work in bioethics. After comparing traditional haiku and modern haiku, the author gives some examples from classical sources. Then he (...) considers how reading and writing haiku might help bioethics to focus less on deliberation and choice, and more on attention and perception. Haiku might help bioethics to attend to the contexts, life conditions, and lifeworlds that shape and situate people’s lives. These short poems might even illuminate some of the backgrounds and existential grounds of ethical life. At the end, the author presents some haiku that he wrote about modern life, young children, older adults, illness, medicine, and death. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.1 (2001) 142-154 [Access article in PDF] Critical Discussions The Fortunes of Avant-Garde Poetry Mary Anne O'Neil Invisible Fences. Prose Poetry as a Genre in French and American Literature, by Steven Monte; xii & 298 pp. Lincoln: University of Nebraska Press, 2000, $50.00. Modern Visual Poetry, by Willard Bohn; 321 pp. Newark: University of Delaware Press, 2000, $47.00. The situation of French poetry at the turn (...) of the twenty-first century is far different from what it was during the last fin de siècle. In 1900, poetry was a booming art, and France was home to numerous poets of varied inspiration and expression. The religious verse of Claudel and Péguy shared the attention of the reading public with the philosophical poetry of Valéry and the futuristic celebrations of Paris and modern life found in Apollinaire's Alcools and Calligrammes. Long poems, short poems, poems written in standard verse, free verse, prose, and even published as drawings, suggested that the golden age of poetry begun in the early nineteenth century by the Romantics and continued after 1850 by Baudelaire, Verlaine, Rimbaud, and Mallarmé, would not soon come to an end. This indeed proved to be the case, for the heirs of the Symbolist tradition of the first decade of the twentieth century were soon followed by the Surrealist revolutionaries of the 1920s and 1930s, many of whom directed their talents to the composition of political verse at the time of the Second World War. Political poetry by and large disappeared from France after 1950, only to be [End Page 142] succeeded over the next two decades by two very different types of verse. On the one hand, writers like St. John Perse and Pierre Jean Jouve produced difficult works whose appeal was limited to a sophisticated audience, while lyricists, such as Jacques Prévert and even the songwriter Georges Brassens, made poetry more accessible to the general public, often through popular songs. The fact that, during the days of May 1968, students scrawled verses of the Surrealist-Communist poet Paul Eluard on the walls of the Sorbonne to encourage efforts to bring down the social order attests to the power exerted by poetry on the intellectual life of France well into the second half of the twentieth century. Such, however, is no longer the case today. There are only two well-known living French poets, Francis Ponge and Yves Bonnefoy. While reviews dedicated to original poetry do still exist, especially in the south of France where the poetic arm of the French Resistance was most active in the 1940s, poetry attracts many fewer readers--and fewer writers--than it did even fifty years ago.Such a radical change merits some reflection. What has happened to French poetry since the mid-twentieth century? In a sense, all good things must come to an end sometime, and a century and a half of inventiveness and poetic energy may simply have run its natural course. French publishing houses, well aware that prose sells better than verse, have done little to encourage young poets. However, certain trends in the subject matter and form of contemporary French poetry have probably contributed to the current lack of interest. Since the end of the Second World War, French poets have concerned themselves almost uniquely with everyday life--common objects, geographical locales, and ordinary people. This obsession with the ordinary has produced some excellent poetry, especially René Char's evocations of Provençal landscapes and Yves Bonnefoy's treatments of childhood. Yet, this concentration on everyday life has severed poetry from the traditional subjects that have sustained it ever since classical antiquity, such as the celebration of heroic figures and heroic deeds, philosophical and religious inquiry, love, loss, prophetic vision. This very narrow range of subject risks consigning poetry to the status of a minor art. At the turn of the twenty-first century, French poetry also finds itself at the end of a very long period of formal experimentation that began in the second half of the nineteenth century and which includes... (shrink)

The famous statement from the Neo-Confucian tradition, "All the people on the street are sages", is commonly believed to have first been made in a short poem by Zhu Xi about the famous Buddhist city of Quanzhou. In the poem, Zhu Xi writes: "This place has been called a Buddhist kingdom; all the people on the street are sages".1 However, the statement is more frequently attributed to another Neo-Confucian philosopher, Wang Yangming, and it is often alleged to (...) be a typical claim in his teachings. The attribution of the claim to Wang Yangming and the philosophical significance of the claim for Wang's teachings may be partly due to passage 313 in the Chuanxilu 传习录... (shrink)

The notice in the Scholia Bernensia about Vergil, Georgics 4.468 that links the name of Gallus to the katabasis of Orpheus can be read as a confirmation of the relation between Vergil’s short poem and the elegiac poet’s work. Significant in this sense is the term formido, very elegant as used by Vergil and maybe part of the poetic lexicon of Gallus, as is perhaps suggested by a passage of the Philae stele.

Hobbes could not have written Paradise Lost: the longest of his few references to the story of Adam and Eve drains their relationship of drama and complexity; most aspects of human sexuality he addresses only in classifying them as off limits because of their indecency, neglecting topics in some respects germane to the clarification of his philosophy; and his original English verse amounts to one line for each of that epic's twelve books. This short poem nonetheless represents an (...) intriguing persuasion to love written in his extreme old age. Moreover, his treatment of “LUST” in The Elements of Law takes a significantly non-judgmental form by the standards of his time, though not marking so substantial an innovation as Simon Blackburn takes it to be. Most importantly, the anti-puritanical thrust of Hobbes's attack on Presbyterian preachers in Behemoth again illustrates his capacity for entertaining—however briefly—an essentially uncensorious view of human sexuality, this time in conjunction with a critique of sexual repression, as imposed by those clergymen in their role as spiritual advisers, that sheds invaluable light on the self-consciously scandalous libertinism of younger contemporaries often identified in his own day and since as “Hobbists”. (shrink)

Loris Malaguzzi was one of the most important figures in 20th century early childhood education, achieving world-wide recognition for his educational ideas and his role in the creation of municipal schools for young children in the Italian city of Reggio Emilia, the most successful example ever of progressive, democratic and public education. Despite Malaguzzi’s reputation, very little of what he wrote or said about early childhood education has been available in English. This book helps fill the gap, presenting for the (...) first time in English, writings and speeches spanning 1945 to 1993, selected by a group of his colleagues from an archive established in Reggio Emilia. They range from short poems, letters and newspaper articles to extended pieces about Malaguzzi’s early life, the origins of the municipal schools and his ideas about children, pedagogy and schools. This material is organised into five chronological chapters, starting at the end of World War Two and ending just before his death, with introductions to each chapter providing background, including the historical context, the main events in Malaguzzi’s life and the rationale for the selection of documents. The book provides a unique insight into the background, thinking and work of Malaguzzi, revealing, in his own words, how his thinking developed, how he moved between theory and practice, how he border-crossed many disciplines and subjects, and how he combined many roles ranging from administrator and campaigner to researcher and pedagogue. Academics, students and practitioners alike will find this landmark publication provides rich insights into his life and work. (shrink)

This chapter examines aspects of the Pythagorean tradition from the perspective of “spiritual guidance”. The only traces that remain of the initial period of Pythagoreanism are the acousmata and a handful of authentic fragments of Philolaus of Croton. The chapter focuses on the Golden Verses, a short poem dating back to the Hellenistic period that constitutes the most complete and impressive illustration of spiritual guidance in a Pythagorean milieu. The chapter analyzes that despite the chronological distance that separates (...) the Golden Verses from the acousmata, what is at issue in both cases is the practice of the Pythagorean way of life, that gives guidance all its meaning. What emerges from the testimonies dealing with the Pythagoreans is that their way of life was practiced in a community, or the Pythagorean society or sect. (shrink)

This paper addresses the apparent difficulty experienced by philosophers in applying the methodology of art criticism to the aesthetics of nature and uses the idea of 'narrative' to explore it. A short poem is chosen which recounts the 'narrative' of a simple natural process – the passage of day into night – and this is followed by a simplified critique illustrating how the poem invites questions relating to style, technique, subject, etc., leading to the query whether the (...) art form (poem) can be dispensed with and the subject (nature) be left to tell its own story, using the 'language' of symbolism. The interface between art and science is reviewed particularly in the light of the ideas of John Dewey and what has happened since. The 'symbolism of environmental opportunity' is proposed as the key to crossing the arts/science boundary, and the question is raised whether the distinctiveness of nature is of paramount importance in this context. Various grounds for scepticism are examined, e.g. the danger of drawing inferences about human interaction with nature from the behaviour of other species. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:R. D. Ackerman BELIEVING IN A FICTION: WALLACE STEVENS AT THE LIMITS OF PHENOMENOLOGY The "ring of men" of "Sunday Morning" will chant their "devotion to the sun, / Not as a god, but as a god might be, / Naked among them, like a savage source" (CP, pp. 69-70).' Solar nakedness is deferred even as it is named. The problem for belief is the question of appearance and (...) representation. Things appear as and like.... The phenomenological return to things is also a turn to fiction, as Husserl understood: "If anyone loves a paradox, he can really say... that the element which makes up the life of phenomenology... is fiction. ' " The sun is divine, and it is not; it is both naked and clothed, savage and civilized, source (or end) and means. But such paradox is ultimately unsatisfying, and as we will see with Stevens, the need for belief—for an image or idea of totality—forces the issue of fiction and reality. The Stevens we will have in view is not the Stevens—as if there were such a creature. Our Stevens is the one most persuaded by promises such as those of phenomenology, the one most concerned with decreation (reduction) and fresh beginnings, with discovery and recognition, with imagination, the body, and the earth. This is the Stevens for whom the barrier of language presages at last not absence and difference but fictive recovery of presence and identity, the one for whom poetry represents a way of belief beyond mysticism even as it bodes mythic proximity. Finally, this is the Stevens who predominates throughout the prose (as well as in much of the poetry), who tries mightily to secure a belief while disencumbering himself of metaphysics—but alas, I think, with small success. Although Stevens's association of the problem of belief with the idea of fiction occurs in early poems such as "A High-Toned Old Christian 79 80Philosophy and Literature Woman" and "To the One of Fictive Music," his most intensive involvement with fiction as belief dates from the early 1940s and spans the period of his major essays and his last four volumes of poems. He recounts, for instance, a 1942 conversation with a student: "I said that I thought that we had reached a point at which we could no longer really believe in anything unless we recognized that it was a fiction. The student said that that was an impossibility, that there was no such thing as believing in something that one knew was not true. It is obvious, however, that we are doing that all the time" (L, p. 430). What does it mean to believe in a fiction? That is my main subject here, as we seek out the limits of the phenomenological Stevens. His letters of this period are preoccupied with the problem of fictive belief: "If one no longer believes in God (as truth), it is not possible merely to disbelieve; it becomes necessary to believe in something else.... A good deal of my poetry recently has concerned an identity for that thing.... In one of the short poems that I have just sent to the harvard advocate, I say that one's final belief must be in a fiction. I think that the history of belief will show that it has always been in a fiction" (L, p. 370). The poem referred to, "Asides on the Oboe," begins: The prologues are over. It is a question now, Of final belief. So, say that final belief Must be in a fiction. It is time to choose. (CP, p. 250) Acknowledging that "in the long run, poetry would be the supreme fiction" (L, pp. 430-31), Stevens nonetheless singles out the nominative function of poetry as the essence of its claim to supremacy: "Poetry means not the language of poetry but the thing itself.... The subject matter is what comes to mind when one says of the month of August... 'Thou art not August, unless I make thee so'" (L, p. 377). The quoted line (also from "Asides") underscores the paradox that for Stevens the essence of fiction (the nontrue) is its capacity to nominate the true or the real. This... (shrink)

Abraham ibn Ezra, the subject of this Cologne doctoral dissertation, is a lesser-known figure in the history of Jewish philosophy in medieval Spain, his dates placing him roughly after Ibn Gabirol and before Moses Maimonides. The title given to this book calls first for some comment. By "Religionsphilosophie," a term he has seemingly inherited from his scholarly predecessors, Greive does not mean "philosophy of religion," but is referring to a system of reality and of knowledge concerned with a metaphysical ultimate (...) principle and our relation to that principle, and in which no divide is established between "religion" and "philosophy," between "mysticism" and "rational thought"., accommodating his faith to his philosophy.) This system, as it is found in Ibn Ezra, conforms in its general lines to the Neoplatonic-inspired philosophy common in medieval Islamic and Jewish thought. A second comment might be made concerning the scope of Greive’s work. It is not his intent to present a full and systematic account of Ibn Ezra’s philosophy. He wishes rather to provide a careful reconstruction of certain aspects of Ibn Ezra’s thought which will represent an improvement on earlier scholarly accounts and will serve to illuminate Ibn Ezra’s philosophy as a whole. Following a brief review of Ibn Ezra’s Jewish philosophical predecessors, Greive surveys previous scholarly work on Ibn Ezra, finding confusion and misinterpretation of particular theories and a tendency to relate Ibn Ezra to Ibn Gabirol while ignoring Islamic influences. Greive then proceeds to his corrective treatment of aspects of Ibn Ezra’s thought, but not before surveying Ibn Ezra’s life, works and posthumous influence, noting that an account of Ibn Ezra’s philosophical thought must draw from all his literary production, as he did not compose a strictly philosophical work. There is one possible exception, Ibn Ezra’s prose poem Haj ben Meqis, which Greive presents in the latter part of his book in German translation with introduction and notes, and which, for Greive, can serve to demonstrate Ibn Ezra’s dependence vis-à-vis Avicenna. The book ends with a translation of a short poem, the Arugat ha-hokmah, and a very useful bibliography and indices. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Letting Go: The Story of Zen Master TosuiDavid E. RiggsLetting Go: The Story of Zen Master Tosui. By Peter Haskel. Honolulu: University of Hawai'i Press. Pp. xv + 167. Hardcover $45.00. Paper $17.00.In his latest book, Letting Go: The Story of Zen Master Tōsui, Peter Haskel has taken on the task of translating the traditional biography of an obscure and eccentric Japanese Zen monk of the seventeenth century, (...) the Tōsui oshō densan, which was compiled by the celebrated scholar-monk Menzan Zuihō (1683-1769). Haskel has added an impressively comprehensive critical introduction, extensive footnotes, and a concluding essay. The translation of this collection of anecdotes is accurate and very readable, and the supporting critical apparatus is a concise survey of recent critical scholarship concerning the turbulent world of Zen Buddhism in early Tokugawa Japan.The first half of Tōsui's life was unremarkable: he traveled and met various teachers and then was recognized as a master in his own right. He was eventually invited to preside over a Sōtō Zen training temple, where he settled down and led meditation retreats for five years. By the end of this time he was attracting many disciples, including some very well known monks, when suddenly he simply disappeared. At the end of a training season, instead of presiding over the usual elaborate ceremonies, he stuck a poem to the wall, and without a word to anyone walked out with just the clothes on his back. Even the earlier facts of his life are sketchy, but from this time on all we have are stories that Menzan himself acknowledges cannot be arranged in a clear chronology. According to one tale, after an extensive search, two of his closest disciples found Tōsui living among beggars. His hair and beard were wild, his Buddhist robe was tattered, and his begging bowl was broken. Tōsui berated the two for interfering with his desire to be left alone and stalked off. One disciple continued to pester him; Tōsui relented, and they set off together. At the side of the road Tōsui discovered the body of a dead beggar and set about to bury him with his own hands. He then insisted that the disciple accompany him in eating what food remained in the beggar's bowl, but the disciple was overcome with disgust. Tōsui sent him off with instructions to go study under the émigré Chinese master Kao-ch'uan, an important teacher of the newly imported Chinese Buddhism (called Ōbaku Zen in Japan). As is always the case with these stories, there is no explanation of his actions: no indication of why Tōsui chose this teacher or if there was any significance to sending his student to a teacher in another lineage.Various people continued to attempt to find Tōsui over a span of many years, but he refused to teach or even talk to most of them. Besides anecdotes like this, we have only a few short poems and ripostes that give a flavor of his irreverent style. In response to a merchant who wanted to know how to do Zen meditation, Tōsui would only say, "Soy sauce should be made in midsummer; miso should be made in winter." If people persisted in trying to see him, he simply disappeared rather than deal with them. He lived in tiny rented rooms in towns working as a maker of straw sandals, doing day labor or simply begging for his sustenance. He rejected all offers of support, and if someone attempted to get around his refusals by leaving money or [End Page 132] clothes nearby, he distributed everything to the beggars among whom he lived. As he got older he relented a bit and allowed a follower to provide a meager living for him making vinegar, using the ruse that it wasn't patronage since the rice used for making the vinegar would otherwise have been discarded. When Tōsui died, his funeral was presided over by Kao-ch'uan (the Ōbaku teacher to whom he had entrusted his former students), and his remains were interred at Kao-ch... (shrink)

This paper will examine the sanskrit short-poem Āta ṅkavādaśataka written in 1988 by the famous indian pandit Vagish Shastri. Although composed in a language that is 2500 year old, the Century deals with one of the most dramatic events in contemporary indian history: sikh nationalist terrorism. The poet provides both a socio-political interpretation as well as a mythological-theological one, managing to combine a traditional approach with a pronounced ideological awareness. We will both supply information on the social and (...) historical background of the phenomenon, and discuss the poetic qualities of the work. Special attention will be given to linguistic, metrical and rhetorical features, which link this contemporary composition to classical kāvya poetry. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Songs of Degrees: Essays on Contemporary Poetry and PoeticsVirginia A. La CharitéSongs of Degrees: Essays on Contemporary Poetry and Poetics, by John Taggart; 254 pp. Tuscaloosa: University of Alabama Press, 1994, $29.95 paper.John Taggart is a highly respected American poet whose passion for objectivism permeates his critical reading as well as his own creative works. The volume Songs of Degrees: Essays on Contemporary Poetry and Poetics represents the (...) first time that his various critical articles have been collected into a single work. Of the eighteen essays, all but one were previously published in various journals between 1975 and 1989; the eighteenth is an essay or “A Preface” on one of his own collections of poetry, Peace on Earth. By addressing his own poetry, Taggart’s volume cleverly includes himself as poet in this study of what he considers valuable in a work of art. [End Page 398]Finding a poem to be a simple composition of words (principle) and an image suggested by that composition (process), Taggart adopts the title Songs of Degrees from Louis Zukofsy’s seven short poems published in 1956 as Some Time. A song is then a poetic form, a continuing complete statement which actualizes the separate entities (words) of its expression. However, and most importantly, a song does not begin as a visual report; rather, a song moves towards being visualized. Consequently, everything depends on technique and everything turns on its structure, as the mind coordinates the information received by the eye. Degrees, then, emerge as variations of consonance and dissonance or word-sound functions. To write down is to compose; to compose is to create. Hence, a song of degrees is both an actual object and a metaphor for that object.Under the poetic of objectivism, Taggart’s essays are primarily concerned with poets whose work is in accord with his own: George Oppen (three essays), Frank Sampori, William Bronk, Louis Zukofsy (three essays), Bruce Andrews, Susan Howe (two essays), Robert Duncan, Charles Olson, and Theodore Enslin. Taggart demonstrates here that he is a sensitive and intellectually alert reader. These essays on criticism are in actuality essays on Taggart’s concept of poetics. Implicit is Taggart’s bias as an objectivist poet who insists that poetry has a spiritual value in the visionary tradition of Robert Lowell and Robert Duncan and to an extent Wallace Stevens.But perhaps of even greater interest than Taggart’s superb readings of his poetic colleagues—and it can be justifiably argued that perhaps only Taggart can read these poets with the sympathetic eye that they deserve—is the inclusion of three essays on other arts: dance (Trina Collins), stained glass (Mark Rothko), and jazz (John Coltrane). By including these essays with those of literary criticism, Taggart expands the terms poetics and poetry to any text or object which is a moving line and complete at the same time. Form comes from language; language is then based on experience, not belief, and the resulting image is what is revealed and reflected, what is seen. A work (poem, song, text) is valuable because its visionary imagination captures the collective conscience to regain spiritual ascesis. The process of objectification is the metaphor or song, which emerges in degrees of interaction. The song has substance, it is tangible, and it has an objective existence of its own. To be critical is to objectify the composition or structure at hand. Critical is another term for technical, and indeed it is the technical aspect of writing poetry which Taggart so deftly elucidates in his volume of essays.For anyone interested in objectivist poetry, Taggart’s collection of essays is mandatory reading. His insights into this kind of cerebral poetry are invaluable, for he blends appreciation with analysis, information with inspiration, and logic with imagination. His own sensitivity to the struggle which is the poetic process brings a new consciousness to the poetics of poetry.Virginia A. La CharitéUniversity of KentuckyCopyright © 1995 The Johns Hopkins University Press... (shrink)

This short article pairs the realms of “Mathematics”, “Philosophy”, and “Poetry”, presenting some corners of intersection of this type of scientocreativity. Poetry have long been following mathematical patterns expressed by stern formal restrictions, as the strong metrical structure of ancient Greek heroic epic, or the consistent meter with standardized rhyme scheme and a “volta” of Italian sonnets. Poetry was always connected to Philosophy, and further on, notable mathematicians, like the inventor of quaternions, William Rowan Hamilton, or Ion Barbu, the (...) creator of the Barbilian spaces, have written appreciated poems. We will focus here on an avant-garde movement in literature, art, philosophy, and science, called Paradoxism, founded in Romania in 1980 by a mathematician, philosopher and poet, and on the laboured writing exercises of the Oulipo group, founded in Paris in 1960 by mathematicians and poets, both of them still in act. (shrink)

Shortly after his arrival at Carthage, while he is waiting for Dido to meet him, Aeneas finds that the walls of her temple are adorned with pictures of the Trojan War. Sunt hie etiam sua praemia laudi, he cries to Achates, sunt lacrimae rerum et mentem mortalia tangunt. The description of the pictures which follows is a remarkable example of Virgil's ability to use a traditional device in such a way as to strengthen and illuminate the main themes of his (...) poem. It is my object here first to reinterpret one of the scenes which has been misunderstood, and then to discuss how Virgil has chosen and arranged his episodes so that the description of a picture gallery becomes a part of an epic poem. (shrink)

This paper gives a short description of basic features of the dominating mindset in the Western world between the 1970s and today, often called “post-modern”, through a re-reading of John Ashbery’s poem “Self-Portrait in a Convex Mirror” . In doing so, it applies the viewpoint of an interdisciplinary history of ideas. Since collective mindsets have become the most important contextual political factors, the implications are multiple.

Short description: Part A : Philosophy, Literature, and Knowledge – Chapter I : Idealism and the Absolute – A. J. B. Hampton: “Herzen schlagen und doch bleibet die Rede zurück?” Philosophy, poetry, and Hölderlin’s development of language suffi cient to the Absolute – P. Sabot: L’absolu au miroir de la littérature. Versions de l’Hégélianisme’ chez Villiers de l’Isle Adam et chez Mallarmé – P. Gordon: Nietzsche’s Critique of the Kantian Absolute – Chapter II: Philosophy and Style – J.-P. Larthomas: (...) Le cas Kierkegaard (1813-1855) ou l’écriture comme dialectique de l’écoute – S. Hüsch: Style et signifi cation. Intériorité et communication indirecte chez Søren Kierkegaard – A. Milon: La question du style en philosophie: la grammaire non-style – C. Van Lerberghe: La question du style dans la phénoménologie asubjective de Jan Patocka – Chapter III: Poetry and Philosophy – J.-B. Dussert: Martin Heidegger en ses poèmes – C. de Roche: The poem and the monad: On the reception of Leibniz‘ monadology in Paul Celan’s poetics – M. de Jesus Cabral: Entre théâtre et philosophie : notes sur la poétique de Maurice Maeterlinck – Chapter IV : Literature, Philosophy, and (new) Mythology – A. Martinengo: La raison hors de soi. Herméneutique et mythe chez Paul Ricoeur – G. Boggio Marzet Tremoloso: Démythologisation comme acte mythopoïétique: le cas de Jason de Elisabeth Porquerol. – G. Coulter: Jean Baudrillard: The Literary / Poetic Philosopher – Chapter V : Literature and Ethics – J. Azoulai: L’Éthique de Spinoza dans Bouvard et Pécuchet: un vertige philosophique et littéraire – I. Vendrell: Can Literature be Moral Philosophy? A sceptical view on the Ethics of Literary Empathy – F. Picon: Envisager Todorov: Poétique, éthique et humanisme contemporain – Chapter VI : Philosophy and Textuality – E. Lecler: La littérature : la mort de la philosophie – J. A. Gosetti- Ferencei: Writing in Philosophy and the Literature and Philosophy of Writing (Plato, Mann, Blanchot) –W. Cristaudo: Bringing Back Character and Grammar: Freeing Literature from Excessive Reliance on Philosophy and Theory – C. Alfano: Parenthesising Cracks into the Ground of Philosophy: The Textuality of Stanley Cavell’s Philosophical Writing – Part B: Perspectives of a Dialogue between Philosophy and Literature: Philosophical Refl ections in Literary Creation – Chapter VII : Philosophical Dialogue and Literature – A. Baillot: Tieck et Solger, un dialogue philosophicolittéraire – V. Altachina: Le dialogue philosophique chez Diderot et chez Dostoïevski – Chapter XIII : Bergsonien Infl uences in Literature – C. Dewas: Bergson et Katzantzakis. Les limites du langage comme condition d’une métaphysique de la littérature – E. Pesenti Rossi: La philosophie à l’épreuve de la poésie : Bergson et Ungaretti – Chapter IX : Wittgenstein and Literature – G. Valdemarca: La revanche du sens commun : Wittgenstein, Musil et la chute de la certitude – A. Leaker: From the ‘numinous glow’ to ‘gut squalor’: Transcendence and the Ordinary in Wittgenstein and Don DeLillo’s Underworld – A. den Dulk: Wallace and Wittgenstein: Literature as Dialogue Concerning the Real World – Chapter X: Borges and Semprun: Writers and Philosophers – J.-F. Mattéi: Borges et la philosophie – T. Capmartin: Voyage au bout de la représentation dans Fictions: Quelques remarques ménardiennes sur Borges et le stoïcisme – V. Capdevielle- Hounieu: Jorge Semprún et l’hybridation du littéraire et du philosophique : pour une ‘fi ction essayistique’ – Chapter XI : Literary (Mis-) Readings of Philosophy – P. Lasarte: Misreadings of Arthur Schopenhauer in Sin Rumbo by Eugenio Cambaceres – S. Roldan: Qu’est-ce qui est fort comme la mort selon Maupassant? La détermination ultime d’Olivier Vertin vue sous l’angle de Schopenhauer – B. Nickel: L’infl uence de Ludwig Wittgenstein (1889–1951) sur la poésie concrète – Chapter XII: The Impact of Philosophy on 20th Century Literature and Poetry – B. Ertugrul: Walter Benjamin et Ingeborg Bachmann entre littérature et philosophie – J. Leclercq / M. Watthee-Delmotte: Michel Henry : pour un langage de la subjectivité. La pensée du roman Le Fils du roi – J. Hobus: “The happiness of the concentration camps”: Reading Imre Kertész’ Novel Fatelessness with Albert Camus’ Concept of the Absurd – S. Frogel: Man without God: Nietzsche, Kafka and Camus Der Herausgeber Sébastian Hüsch, Studium der Philosophie, Geschichte,. (shrink)

Cet article a pour objectif d’initier, voire de former, les enseignants à l’exploitation phonologique d’un texte littéraire en classe de Français Langue Étrangère. À travers deux textes de genre littéraire différent, un poème et une nouvelle, nous proposons des moyens pratiques, accompagnés de conseils pédagogiques, qui permettraient aux enseignants d’introduire le texte littéraire dans leur classe de langue. Dans le cadre du présent article, nous nous attachons à travailler la compétence réceptive au moyen du poème de Paul Verlaine et la (...) compétence lectorale au moyen de la nouvelle de Marguerite Yourcenar. (shrink)

Homer'sIliadis an epic poem full of war and battles, but scholars have noted that ‘[t]he Homeric poems are interested in death far more than they are in fighting’. Even though long passages of the poem, particularly the so-called ‘battle books’ (Il.Books 5–8, 11–17, 20–2), consist of little other than fighting, individual battles are often very short with hardly ever a longer exchange of blows. Usually, one strike is all it takes for the superior warrior to dispatch his (...) opponent, and death occurs swiftly. The prominence of death in Homeric battle scenes raises the question of how and in which terms dying in battle is being depicted in theIliad: for while fighting can be described in a straightforward fashion, death is an abstract concept and therefore difficult to grasp. Recent developments in cognitive linguistics have ascertained that, when coping with difficult and abstract concepts, such as emotions, the human mind is likely to resort to figurative language and particularly to metaphors. (shrink)

The aim of this short note is to highlight a possible, hitherto unnoticed, telestich in Verg. Aen. 8.246–9, which presents the Greek word sēma (‘portent’, ‘wonder’, ‘prodigy’, ‘tomb’). To justify this identification, I will argue for its significance from its context in the poem (the battle between Hercules and Cacus), pointing out the insistence on the imagery of light and revelation, and the use of the phrase mirabile dictu, which appears in the same episode of the Aeneid, in (...) the Latin poetic tradition. (shrink)

This study analyzes a poem by the Twelver Shiʿi jurist Ḥusayn b. ʿAbd al-Ṣamad al-ʿĀmilī (d. 984/1576) that has recently been discovered in a multiple-text manuscript in Iran. It is argued here that the poem dates from 961–63/1554–56 and expresses the author’s disappointment and frustrations with patrons or intermediaries in his efforts to procure a position shortly after he arrived in Safavid territory.

Wrapped in the glow of the computer or phone screen, we cruise websites; we skim and skip. We glance for a brief moment at whatever catches our eye and then move on. Slow Reading in a Hurried Age reminds us of another mode of reading--the kind that requires our full attention and that has as its goal not the mere gathering of information but the deeper understanding that only good books can offer. Slow Reading in a Hurried Age is a (...) practical guide for anyone who yearns for a more meaningful and satisfying reading experience, and who wants to sharpen reading skills and improve concentration. David Mikics, a noted literary scholar, demonstrates exactly how the tried-and-true methods of slow reading can provide a more immersive, fulfilling experience. He begins with fourteen preliminary rules for slow reading and shows us how to apply them. The rules are followed by excursions into key genres, including short stories, novels, poems, plays, and essays. Reading, Mikics says, should not be drudgery, and not mere escape either, but a way to live life at a higher pitch. A good book is a pathway to finding ourselves, by getting lost in the words and works of others. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Adventures of Telemachus [1699] by François de Salignac de la Mothe-FénelonJean–Michel RacaultFrançois de Salignac de la Mothe-Fénelon. The Adventures of Telemachus [1699]. Translated with an introduction and notes by A. J. B. Cremer. London, Anastasis Books, 2022, 419 pp. Hardbound £24.50. Paperback £15. ISBN: 9781739798314.Fénelon’s 1699 novel The Adventures of Telemachus—or more precisely, the epic poem in prose—was one of the major bestsellers in many European (...) countries for nearly two centuries. The book inspired paintings, operas, fashions, and even wallpaper motifs. It gave birth to a literary subgenre, the “archeological novel,” such as Terrasson’s Sethos (1731) or Bernardin de Saint-Pierre’s L’Arcadie (1788), in which the action is located in an antique setting. Still part of French schools’ syllabi a century ago, this book mainly owes its survival today to highly specialized academic research, stimulated from time to time when an “Agrégation” program generates new publications, papers, and conferences, as happened in 2009–10. The situation is similar in English-speaking countries, if perhaps just a bit worse: new editions are scarce and generally based more or less on revised versions of eighteenth-century translations, such as those editions by John Hawkesworth’s (1768) or Tobias Smollett’s (1776).The publication by A. J. B. Cremer of an entirely new translation, featuring a close rendering of the French text into modern English and preserving the original’s formal dignity without resorting to a pastiche of the classical language, is therefore a landmark in the history of Fénelon’s reception, and in the valuation of Telemachus particularly. This edition, while intended for the general reader, includes most of what is expected of a scholarly edition. In a comparatively short introduction, the editor recalls the essential facts about the author’s background (as a descendent of high nobility) and about his ecclesiastic career, which was compromised by both his involvement in mystical spirituality (the quarrel over Quietism) and his critical attitude toward the absolutism of Louis XIV’s régime. [End Page 140]In fact, Fénelon’s appointment as Archbishop of Cambrai (1695) was a kind of exile. In 1689, however, he was appointed tutor to Louis XIV’s seven-year-old grandson, the young Duke of Burgundy, second in the line of succession to the throne after his father (though both died prematurely). Fénelon wrote for this boy The Adventures of Telemachus as an educative fiction in the tradition of the “mirrors of Princes.” Of course, such a book was not intended for publication, and when it appeared in 1699—strangely enough, in a fully legal manner and with a printing privilege—it was against Fénelon’s will and in a very faulty form, which was corrected in later editions. An editor today therefore faces solving some highly complex textual problems, and choosing between the manuscript traditions. Cremer’s translation is based upon Jacques Le Brun’s authoritative text, published in Fénelon’s Œuvres, tome II (Paris: Gallimard, “Pléiade,” 1997).1After surveying the critical reception of Telemachus, particularly in England, starting at the text’s first publication and reaching the present time, the introduction discreetly hints at an apparent trend, among some interpretations, toward Christian allegory. If the figure of Mentor obviously “represents Fénelon” in his tutorial role, Cremer notes, this character, also an incarnation of Minerva, embodies humanity and divinity simultaneously, and thus may be seen as a “Christ-figure,” with Telemachus as his disciple and Ulysses, with his pursuit of a never-ending quest, as the symbolic form of the Divine. These observations are not entirely new; they have been formulated before by various critics. The editor himself concurs with a well-known article by André Blanc that describes Fénelon’s neo-platonician turn of mind: for Fénelon there is no contradiction between Christian revelation and the pagan fables of classical mythology, which he considers prefigurations or allegories of Christianity.This interpretation is abundantly and convincingly confirmed in the editor’s annotations. While as expected the commentaries point frequently to Greco-Latin mythology or classical literary sources... (shrink)

Hume's Reception in Early America: Expanded Edition brings together the original American responses to one of Britain's greatest men of letters, David Hume. Now available as a single volume paperback, this new edition includes updated further readings suggestions and dozens of additional primary sources gathered together in a completely new concluding section. From complete pamphlets and booklets, to poems, reviews, and letters, to extracts from newspapers, religious magazines and literary and political journals, this book's contents come from a wide variety (...) of sources published in colonial America and the early United States between 1758 and 1850. As well as classics by Thomas Jefferson, John Adams and Alexander Hamilton, it contains scores of unknown and hard-to-locate items, many of which have not been reprinted since their original publication. These responses are divided into four parts covering Hume's Essays; his Philosophical Writings; his History of England; and his Character and Death. Each of those parts has a separate introductory essay, and every selection is introduced by a short headnote that sets the piece in its historical context and provides bibliographical references. Packed with new insights into Hume and American thought and culture, Hume's Reception in Early America reveals the relevance and impact of Hume on American political, philosophical, historical, religious, and aesthetic debates. (shrink)

Samuel Coleridge once noted that very short works of art ease the cognitive burden on poet and reader alike. Limiting the number of lines in a poem, he contends, allows the work 'to acquire, as it were, a Totality' which allows the reader's mind to 'rest satisfied'. Anyone who has strained to grasp the overall pattern of some massive novel, film, or musical work can readily appreciate Coleridge's point. And yet insofar as a film or poem is (...) a temporal work of art, the parts of which are manifested only consecutively, its Totality - be it an ever so small one - is never directly presented to us all at once, and its acquisition, as well as the satisfaction such an acquisition can provide, requires a feat of memory. A film, like a life, may have a brilliant, simple order and a deep and powerful unity, but the presentation and realization of such a totality is something that takes place in time, something that requires an experience of temporal unfolding - something that requires the work of a mind capable of thinking through and recollecting the temporal relations between the parts of the whole. So that while Marianne Olsen Ulrichsen's Come is a perfectly unified gem, a satisfying totality that presents itself to us in just four and a half minutes, we must nonetheless live through its unfolding to discover the coherence of its parts. One of this film's central themes is precisely this kind of process, namely, the constitution of personal identity and togetherness, in and through time and memory. What follows is just one story that may be told about an elusive process that no doubt takes very different forms for different viewers. (shrink)

The paper analyzes the collection of the Northern Irish poet Frank Ormsby entitled A Northern Spring published in 1986. On the basis of selected poems, the author of this paper aims to examine the poet’s reflections about World War II, the lives of the soldiers, and the things that remain after a military combat, which are both physical and illusive. The poems included in the volume present the author’s reflections upon the senselessness of war and dying, short lives of (...) the soldiers, the awareness of their own meaninglessness in comparison to the broader picture, and the contradictory and desperate need to be remembered nevertheless. They also show what is left of the soldiers and the war, as well as how life goes on, with or without them. (shrink)