This book concerns the relationship between language and poetry in Heidegger's later writings. Gerald L. Bruns illuminates these difficult and strange writings by analyzing his style and form and by reflecting on the philosopher's insights.
Essential reading for students and anyone interested in the great philosophers, this book opened up appreciation of Martin Heidegger beyond the confines of philosophy to the reaches of poetry. In Heidegger's thinking, poetry is not a mere amusement or form of culture but a force that opens up the realm of truth and brings man to the measure of his being and his world.
"A delightful book … I should like to have written it myself." — Bertrand Russell First published in 1936, this first full-length presentation in English of the Logical Positivism of Carnap, Neurath, and others has gone through many printings to become a classic of thought and communication. It not only surveys one of the most important areas of modern thought; it also shows the confusion that arises from imperfect understanding of the uses of language. A first-rate antidote for fuzzy thought and muddled writing, this remarkable book has helped philosophers, writers, speakers, teachers, students, and general readers alike. Mr. Ayers sets up specific tests by which you can easily evaluate statements of ideas. You will also learn how to distinguish ideas that cannot be verified by experience — those expressing religious, moral, or aesthetic experience, those expounding theological or metaphysical doctrine, and those dealing with a priori truth. The basic thesis of this work is that philosophy should not squander its energies upon the unknowable, but should perform its proper function in criticism and analysis.
In recent years philosophers have produced important books on nearly all the major arts: the novel and painting, music and theatre, dance and architecture, conceptual art and even gardening. Poetry is the sole exception. This is an astonishing omission, one this collection of original essays will correct. If contemporary philosophy still regards metaphors such as 'Juliet is the sun' as a serious problem, one has an acute sense of how prepared it is to make philosophical and aesthetic sense of poems such W. B. Yeats's 'The Second Coming', Sylvia Plath's 'Daddy', or Paul Celan's 'Todesfuge'. The Philosophy of Poetry brings together philosophers of art, language, and mind to expose and address the array of problems poetry raises for philosophy. In doing so it lays the foundation for a proper philosophy of poetry, setting out the various puzzles and paradoxes that future work in the field will have to address. Given its breadth of approach, the volume is relevant not only to aesthetics but to all areas of philosophy concerned with meaning, truth, and the communicative and expressive powers of language more generally. Poetry is the last unexplored frontier in contemporary analytic aesthetics, and this volume offers a powerful demonstration of how central poetry should be to philosophy.
From its beginnings, philosophy's language, concepts and imaginative growth have been heavily influenced by poetry and poets. Drawing on the work of a wide range of thinkers throughout the history of Western philosophy, Raymond Barfield explores the pervasiveness of poetry's impact on philosophy and, conversely, how philosophy has sometimes resisted or denied poetry's influence. Although some thinkers, like Giambatista Vico and Nietzsche, praised the wisdom of poets, and saw poetry and philosophy as mutually beneficial pursuits, others resented, diminished or eliminated the importance of poetry in philosophy. Beginning with the famous passage in Plato's Republic in which Socrates exiles the poets from the city, this book traces the history of the ancient quarrel between philosophy and poetry through the works of thinkers in the Western tradition ranging from Plato to the work of the contemporary thinker Mikhail Bakhtin.
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A free ebook version of this title is available through Luminos, University of California Press’s Open Access publishing program. Visit www.luminosoa.org to learn more. In the Arabic eleventh-century, scholars were intensely preoccupied with the way that language generated truth and beauty. Their work in poetics, logic, theology, and lexicography defined the intellectual space between God and the poets. In Language Between God and the Poets, Alexander Key argues that ar-Raghib al-Isfahani, Ibn Furak, Ibn Sina (Avicenna), and Abd al-Qahir al-Jurjani shared a conceptual vocabulary based on the words ma‘na and haqiqah. They used this vocabulary to build theories of language, mind, and reality that answered perennial questions: how to structure language and reference, how to describe God, how to construct logical arguments, and how to explain poetic affect.
This book explores the origins of the academic culture wars of the late 20th century and examines their lasting influence on the humanities and progressive politics. It puts us in a position to ask this question: what to make now of those furious debates over postmodernism, multiculturalism, relativism, critical theory, deconstruction, post-structuralism, and all the rest? In an effort to arrive at a fair judgment on that question, the book reaches for an understanding of postmodern theorists by way of two genres they despised and hopes, for that very reason, to do them justice. It tells a story, and in the telling, advances two basic claims: first, that the phenomenological/hermeneutical tradition is the most suitable source of theory for a humanism that aspires to be universal; and, second, that the ethical and political aspect of the human condition is authentically accessible only through narrative. In conclusion, it argues that the postmodern moment was a necessary one, or will have been if we rise to the occasion and seize the opportunity it offers: a truly universal humanism might yet be realized even in—or perhaps especially in—this atavistic hour of parochial populism.
I am 27 and have never killed a man but I know the face of death as if heirloom my country memorizes murder as lullaby —from “For Fahd” Textured with the sights and sounds of growing up in East New York in the nineties, to school on the South Side of Chicago, all the way to the olive groves of Palestine, My Mother Is a Freedom Fighter is Aja Monet’s ode to mothers, daughters, and sisters—the tiny gods who fight to change the world. Complemented by striking cover art from Carrie Mae Weems, these stunning poems tackle racism, sexism, genocide, displacement, heartbreak, and grief, but also love, motherhood, spirituality, and Black joy. Praise for Aja Monet: ““[Monet] is the true definition of an artist.” —Harry Belafonte ““In Paris, she walked out onto the stage, opened her mouth and spoke. At the first utterance I heard that rare something that said this is special and knew immediately that Aja Monet was one of the Ones who will mark the sound of the ages. She brings depth of voice to the voiceless, and through her we sing a powerful song.” —Carrie Mae Weems Of Cuban-Jamaican descent, Aja Monet is an internationally established poet, performer, singer, songwriter, educator, and human rights advocate. Monet is also the youngest person to win the legendary Nuyorican Poet’s Café Grand Slam title.