Pub Date : 2011-04-04DOI: 10.5840/JPHILNEPAL20116145
T. Bealer
H. P. Lovecraft's apologia for the inclusion of horror fiction in the literary canon, entitled "Supernatural Horror in Literature," concludes with an argument that this genre is a particularly appropriate aesthetic response to the monumental advances in science, technology, and psychology that shaped modern America: Combated by a mounting wave of plodding realism, cynical flippancy, and sophisticated disillusionment, [horror writing] is yet encouraged by a parallel tide of growing mysticism ... and through the stimulation of wonder and fancy by such enlarged vistas and broken barriers as modern science has given us with its intra-atomic chemistry, advancing astrophysics, doctrines of relativity, and probings into biology and human thought. At the present moment the favouring forces would appear to have somewhat of an advantage; since there is unquestionably more cordiality shown toward weird writings than when, thirty years ago [the best horror fiction] fell on the stony ground of the smart and cocksure nineties. (1) Lovecraft suggests that the radical reformulation of common conceptions about human beings and their environment occurring in the early twentieth century prompted a concurrent reinvigoration of popular interest in horror writing because these new advancements rendered the known world strange. Psychoanalysts posited that there were parts of the human mind that could never be fully integrated into conscious thought. Scientific discoveries were revealing a universe incomprehensible in its vastness and seemingly infinite in its subatomic complexity. According to Lovecraft, these developments provoked an affective response of "wonder and fancy" in American writers and readers which translated into an aesthetic preference: fiction that reflected the disorienting and chaotic world modern scientists and philosophers were uncovering. Left unarticulated in Lovecraft's essay, but apparent in his fiction, is the way ambivalence towards the rapid social changes wrought by historical modernity, particularly in terms of increased opportunities for and likelihood of interracial contact, also finds expression in his horror writing. Philosopher Marshall Berman posits that ambivalence is endemic to living in a modern setting which "promises us adventure, power, joy, growth, transformation of ourselves and the world-and, at the same time ... threatens to destroy everything we have, everything we know, everything we are." (2) In Lovecraft, the opportunities and the anxieties endemic to historical modernity that Berman identifies are often explored by and through the destructive potential of extra-terrestrials invading the New England landscape. As Michael Saler argues, "one of the most important legacies of Lovecraft's life and fiction is how he came to terms, not just with disenchantment, but also with difference." (3) Lovecraft's 1931 short story "The Shadow Over Innsmouth" literalizes the racial anxieties activated by modernist social change into a ho
h·p·洛夫克拉夫特在《文学中的超自然恐怖》一书中为将恐怖小说纳入文学经典进行了辩护，最后他认为，这种类型是对塑造现代美国的科学、技术和心理学的巨大进步的一种特别恰当的审美反应:与日益高涨的现实主义浪潮、玩世不恭的轻狂和成熟的幻幻感作斗争，[恐怖写作]却受到日益增长的神秘主义浪潮的鼓励……现代科学以它的原子内部化学、不断发展的天体物理学、相对论学说以及对生物学和人类思想的探索，给我们带来了广阔的前景和打破的障碍，从而激发了我们的惊奇和幻想。在目前的时刻，有利的力量似乎有一些优势;毫无疑问，与三十年前(最好的恐怖小说)落在聪明自信的九十年代的石头地上相比，现在人们对怪异作品表现出了更多的热情。(1)洛夫克拉夫特认为，20世纪初发生的关于人类及其环境的普遍观念的彻底改变，同时也激发了人们对恐怖写作的兴趣，因为这些新的进步使已知的世界变得陌生。精神分析学家认为，人类心灵的某些部分永远无法完全融入意识思维。科学发现揭示了一个浩瀚的宇宙，其亚原子的复杂性似乎是无限的。根据洛夫克拉夫特的说法，这些发展在美国作家和读者中引发了一种“惊奇和幻想”的情感反应，这转化为一种审美偏好:小说反映了现代科学家和哲学家正在揭示的迷失方向和混乱的世界。在洛夫克拉夫特的文章中没有明确表达，但在他的小说中却很明显，对历史现代性造成的快速社会变化的矛盾心理，特别是在增加种族间接触的机会和可能性方面，也在他的恐怖作品中得到了表达。哲学家马歇尔·伯曼(Marshall Berman)认为，矛盾心理是生活在现代环境中的特有特征，现代环境“承诺我们冒险、权力、快乐、成长、自我和世界的转变，同时……威胁要摧毁我们所拥有的一切，我们所知道的一切，我们的一切。”(2)在洛夫克拉夫特的作品中，伯曼所识别的历史现代性特有的机遇和焦虑往往是通过外星人入侵新英格兰景观的破坏性潜力来探索的。正如迈克尔·塞勒(Michael Saler)所说，“洛夫克拉夫特的生活和小说最重要的遗产之一是，他不仅接受了幻灭，而且接受了差异。”(3)洛夫克拉夫特1931年的短篇小说《印斯茅斯的阴影》(The Shadow Over insmouth)将现代主义社会变革引发的种族焦虑变成了一个恐怖情节，并通过对这一情节的解决，揭示了一个作家正在研究和考虑对种族差异的一种同情的、尽管仍然非常矛盾的审美反应。这个故事对“他者性”及其来源的描述，虽然在内容上是超自然的，但却引发了一种社会政治焦虑，即种族间接触对白人男性主体的影响。《影子》的无名主人公是一个年轻的旅行者，他被神秘的印斯茅斯小镇迷住了。他最终发现的知识威胁到对人类状况的稳定理解，包括他自己。通过对居民的采访，对这座衰败城市的探索，以及对印斯茅斯神秘居民的观察，主人公逐渐意识到，镇上的居民一直在与水生外星种族杂交，导致了半人半兽的“鱼蛙”种群，最终长出了怪异的两栖动物外观，回到了海洋。…
{"title":"“The Innsmouth Look”: H. P. Lovecraft’s Ambivalent Modernism","authors":"T. Bealer","doi":"10.5840/JPHILNEPAL20116145","DOIUrl":"https://doi.org/10.5840/JPHILNEPAL20116145","url":null,"abstract":"H. P. Lovecraft's apologia for the inclusion of horror fiction in the literary canon, entitled \"Supernatural Horror in Literature,\" concludes with an argument that this genre is a particularly appropriate aesthetic response to the monumental advances in science, technology, and psychology that shaped modern America: Combated by a mounting wave of plodding realism, cynical flippancy, and sophisticated disillusionment, [horror writing] is yet encouraged by a parallel tide of growing mysticism ... and through the stimulation of wonder and fancy by such enlarged vistas and broken barriers as modern science has given us with its intra-atomic chemistry, advancing astrophysics, doctrines of relativity, and probings into biology and human thought. At the present moment the favouring forces would appear to have somewhat of an advantage; since there is unquestionably more cordiality shown toward weird writings than when, thirty years ago [the best horror fiction] fell on the stony ground of the smart and cocksure nineties. (1) Lovecraft suggests that the radical reformulation of common conceptions about human beings and their environment occurring in the early twentieth century prompted a concurrent reinvigoration of popular interest in horror writing because these new advancements rendered the known world strange. Psychoanalysts posited that there were parts of the human mind that could never be fully integrated into conscious thought. Scientific discoveries were revealing a universe incomprehensible in its vastness and seemingly infinite in its subatomic complexity. According to Lovecraft, these developments provoked an affective response of \"wonder and fancy\" in American writers and readers which translated into an aesthetic preference: fiction that reflected the disorienting and chaotic world modern scientists and philosophers were uncovering. Left unarticulated in Lovecraft's essay, but apparent in his fiction, is the way ambivalence towards the rapid social changes wrought by historical modernity, particularly in terms of increased opportunities for and likelihood of interracial contact, also finds expression in his horror writing. Philosopher Marshall Berman posits that ambivalence is endemic to living in a modern setting which \"promises us adventure, power, joy, growth, transformation of ourselves and the world-and, at the same time ... threatens to destroy everything we have, everything we know, everything we are.\" (2) In Lovecraft, the opportunities and the anxieties endemic to historical modernity that Berman identifies are often explored by and through the destructive potential of extra-terrestrials invading the New England landscape. As Michael Saler argues, \"one of the most important legacies of Lovecraft's life and fiction is how he came to terms, not just with disenchantment, but also with difference.\" (3) Lovecraft's 1931 short story \"The Shadow Over Innsmouth\" literalizes the racial anxieties activated by modernist social change into a ho","PeriodicalId":288505,"journal":{"name":"Journal of Philosophy: A Cross-Disciplinary Inquiry","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2011-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115390705","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2011-04-04DOI: 10.5840/JPHILNEPAL20116149
E.D.N. Wortel
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Pub Date : 2011-04-04DOI: 10.5840/JPHILNEPAL20116148
J. Hicks
An Aesthetics of the Given in Rei Terada's Looking Away Rei Terada, Looking Away: Phenomenality and Dissatisfaction, Kant to Adorno (Harvard University Press, 2009), Page 240, ISBN 0674032683. [ILLUSTRATION OMITTED] Philosophers have long determined perception to be the "weaker" faculty. The senses are unreliable, we are told, and require reason to distinguish between appearance and illusion. Reevaluating the status of phenomenality through chapters on Coleridge, Kant, Nietzsche, and Adorno, Rei Terada's Looking Away traces an attitude ("phenomenophilia") and a character ("the phenomenophile") to exemplify a kind of perception that resists or delays the subsumption of sensation under concepts, lingering in pure phenomenality as a "space before the acceptance of any perceived fact" (5). Through figures of lingering, tarrying, and the book's eponymous "looking away," Terada presents the cultivation of object perceptions that resist the transition to fact perception as a mode of dissatisfaction with the given. Expressing dissatisfaction with the given world is often met with charges of skepticism, decadence, or anti-science denialism. Terada frames her explorations of phenomenophilia in terms of the fact/value distinction-is vs. ought-and the slippery way in which fact perception ("is") quickly shades into a social demand to affirm those facts as normative facets of reality ("ought"). The subtle bias by which facts are deemed more valuable than mere appearances pushes observers to confer a positive value on the world "as is." The coercion to affirm the given is the central problem the book seeks to address. Terada suggests that balking at the pressure to accept natural and social facts as givens (and implicitly as norms) is an experience shared among artistic, queer, and utopian sensibilities for whom the world falls short or feels oddly unnatural and inhospitable. To resist the coercion to accept object perceptions as facts, the phenomenophile turns to ephemeral perceptions too fleeting or subjective to count as facts (e.g., optical illusions). Ephemeral perceptions cannot be shared (and so cannot be aesthetic in Kantian terms), but neither can they be commodified or appropriated for instrumental aims (65); hence ephemera become models for a non-coercive relation to objects. Though Terada carefully identifies these ephemeral sensations as non-aesthetic or "counteraesthetic" (7), she might also have described them as pertaining to Baumgarten's original definition and scope of aesthetics as the science of all sensations, not just those related to beauty and sublimity; or to Hume's brand of value-free empiricism (see p. 10-13). In the chapters on Coleridge and Nietzsche, Terada examines two figures conflicted about their respective phenomenophilia, and suggests that some of their guilt stems from a common 19th-century misreading of Kant. …
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Pub Date : 2011-04-04DOI: 10.5840/JPHILNEPAL20116144
J. Murray
I. Introduction Western imperialism began in the 15th century, as Spain and Portugal explored and colonized lands in the Americas and West Indies. The period of imperialist expansion continued for more than 400 years as Italy, Spain, Britain, Germany, Portugal, France, Belgium and even the United States continued land grabs for resources. Many theorists and historians regard the beginning of World War I as the climax of imperialism. However, aggressive desires to restore the idea of empire resurfaced in Nazi Germany and in the present-day United States, a nation that maintains an unchallenged hegemony through military and economic supremacy and technological and scientific advancement. The historical periods noted provide a framework for British imperialism, German fascism, and American capitalism. From the mid-nineteenth century onward, each of the ideologies influenced the creation of national identities that inspired patriotic fervor so volatile, it necessitated outward expansion and colonization of indigenous populations and cultures, the privileging of social groups, the redistribution of wealth and resources, the creation of government infrastructures, and the institutionalization of new political systems. In the late-nineteenth century, patterns of discrimination were enforced by British and German imperial rule and a common search for national consciousness. Britain's First Empire was comprised of colonies of settlers in Ireland, Wales, and the Americas, prior to the thirteen colonies achieving independence from British rule in 1783. The Second Empire of the Victorian Period was made up of elements of the First Empire as well as India. (1) Britain's success at creating and sustaining empire, particularly during the Victorian period, was a motivating factor that shaped and directed the course of distinct hegemonies of fascist Germany and capitalist America. Germany's short-lived colonization of Africa and the Pacific, and its eventual concession of many colonial settlements at the end of World War I, set the stage for the growth of fascism during the early 1930s and 1940s. The same patterns of discrimination enacted by British imperialists resurfaced in America in the early 20th century, as waves of immigrants endured hostility, alienation, and disenfrachisement from native-born Americans. Massive swells in immigrants and a growing cultural diversity antagonized conceptions of national unity. During World War II, animosity and hostility toward German and Japanese Americans led to resettlement, encampment, and other restrictive measures that enforced policies of discrimination. In a similar fashion, Asian and Arab Americans endured social and cultural displacement during the Korean and Vietnam wars, and Gulf Wars in Iraq and Afghanistan. Despite their ideological differences, British imperialism, German fascism, and American capitalism each directed cumulative energies toward establishing the threat of foreign and domestic antagonists effec
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Pub Date : 2011-03-22DOI: 10.5840/JPHILNEPAL201161528
Michael Y. Bennett
Maps ... are superimposed in such a way that each map finds itself modified in the following map, rather than finding its origin in the preceding one: from one map to the next, it is not a matter of searching for an origin, but of evaluating displacements. Every map is a redistribution of impasses and breakthroughs, of thresholds and enclosures, which necessarily go from bottom to top. There is not only a reversal of directions, but also a difference in nature: the unconscious no longer deals with persons and objects, but with trajectories and becomings.... --Gilles Deleuze (1) Disclaimer experiment, n. The action of trying anything, or putting it to proof; a test, trial; (2) the following article. The beautiful thing about the hard sciences (e.g., chemistry, physic, etc., and I mean no disrespect to those fields that fall outside of the common designation "hard sciences"), is the experiment. Or rather, more wonderful than even the experiment is the inherent acknowledgement that the scientist begins with only a hypothesis and that the evidence gathered sculpts the hopefully-publishable paper. The scientist cares not what path the evidence takes him or her, or whether or not his or her hypothesis was right in the first place. A successful scientist gets paid to evaluate the differences in his or her findings with the scientist's hypothesis. Scientists must reconcile each turn within a rhizome. This is the Scientific Method, the dominant form of scientific inquiry for five hundred or so years. This paper is an experiment testing a two-fold hypothesis. The two hypotheses are as follows: 1) a modified Scientific Method can be used effectively to conduct research in the field of English Literature, Critical Theory (Cultural Studies) and Human Sciences (as well as, I presume, every other social science) 2) this paper, which is an inquiry on maps will, in fact, function as a map. The two hypotheses may, however, be in fact one. A paper which acts like a Deleuzean map has similar properties to that of the Scientific Method: observation, hypothesis, experiment, conclusion. I, however, do not want to spend my time on this paper trying to employ the strict Scientific Method or trying to show similarities to it. I invoke the Scientific Method for the possibility it presents. Basically every paper in the field of English Literature has an observation, hypothesis (thesis), experiment (evidence) and a conclusion (they already resemble the Scientific Method). But how often does the writer prove his or her hypothesis incorrect? Never (or at least I have never encountered this). My aim in this paper is to 'experiment' with a new method of inquiry. This inquiry works like a Deleuzean map. Method of Inquiry I will describe this paper as a series of displacements. I am beginning the paper with the above quote from "What Children Say." This is the observation (or Deleuze's observation). I will then hypothesize about this quote. It is the experiment that will seem extr
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Pub Date : 2010-11-01DOI: 10.5840/JPHILNEPAL201061327
Sara Crangle
In a poem first published in 1923, Mina Loy describes the human ego as a "carnose horologe"--a fleshy, time--telling instrument. (1) While an ego is arguably circumscribed by flesh, it is not usually considered fleshy; Loy's use of "carnose" asks us to reconfigure the ego as inseparable from its body, and this demand jars against the definition of carnality as opposed to all things spiritual or intellectual. More specifically, carnality refers to the body as the seat of passions or appetites, proclivities sensual or sexual in nature. In Loy's writing, she frequently toys with the term carnality, its variants, and its extended meanings. "Mass Production on 14th Street" is a poem about the excesses of market capitalism; here Loy associates and aligns carnality with carnival, writing that the "iris circus of Industry" generates "orgies of orchid" among a foliage of mass-production: carnations tossed at a carnal caravan for Carnevale. (2) Loy employs a floral conceit that returns us repeatedly to the body: "iris" being both plant and centre of the eye, or locus of perception; "carnation" a crown-like flower whose name is associated with "coronation" and "incarnation." "Carnation" thus connotes the revered-becoming sovereign--and one of the most celebrated acts of humility in Western culture: Christ's decision to take up human form. But Loy's poem exhibits no deference to the venerable flower; tossed at a carnal caravan, these carnations are sacrificed to Loy's carnivalesque diction (circus, orgy, carnevale) and syntax, her deliberate repetition of sounds and word play. As Loy writes in a poem on Joyce: "The word made flesh" can "fee[d] on itself." (3) Loy does not associate the deific or sovereign with the act of communication; hers is a self-sufficient, secular view of the word. Loy's writing strives to embody language and explore the language of embodiment; the human subject frequently dissolves in the wake of her struggle with the physicalities of life and language. I am suggesting that Loy presents us with a dissolute self-a self disunited, unrestrained, and wanton--even as I am aware that there is a tacit, longstanding disagreement among critics as to whether Loy's writing articulates a self entire, one capable of transcendence, or a self mired in and sustained by the vicissitudes of the flesh. (4) My own sense is that Loy's presentation of the subject is fed by her fascination with human passions. This fascination underscores her understanding that the self is innately, endlessly divided--nothing akin to an inviolate whole. As such, Loy's alignment of carnality and the carnivalesque in "Mass Production" is not incidental, but integral to her oeuvre; for Loy, human appetites are often comical, even uproarious. In what follows, I will consider Loy's use of risibility--the desire to laugh--as it accompanies and extends her examinations of other desires such as sexuality and hunger. Like Loy, many modernist philosophers were preoccupied with laught
米娜·洛伊(Mina Loy)在1923年首次发表的一首诗中，将人类的自我描述为“carnose horloge”——一种肉乎乎的计时仪器。(1)虽然可以说自我受到肉体的限制，但它通常不被认为是肉体的;洛伊对“肉体”的使用要求我们重新配置自我，使其与身体不可分割，而这种要求与肉体的定义相抵触，肉体的定义与所有精神或智力的事物相对立。更具体地说，肉欲指的是身体作为激情或欲望的所在地，本质上是感性或性的倾向。在洛伊的作品中，她经常玩弄肉体这个词，它的变体，以及它的延伸含义。《14街的大规模生产》(Mass Production on 14th Street)是一首关于市场资本主义过度行为的诗;在这里，洛伊将肉欲与狂欢节联系起来，并将其联系起来，他写道，“工业的鸢尾花马戏团”在大规模生产的树叶中产生了“兰花的狂欢”:康乃馨被扔在狂欢节的肉欲车队里。(2)洛伊运用了一种花卉的自负，使我们不断地回到身体上:“虹膜”既是植物，又是眼睛的中心，或者是感知的中心;康乃馨是一种皇冠状的花，它的名字与“加冕”和“化身”联系在一起。因此，“康乃馨”意味着受人尊敬的君主——以及西方文化中最著名的谦卑行为之一:基督决定以人的形式出现。但是洛伊的诗没有表现出对这朵可敬的花的尊敬;这些康乃馨被扔在肉欲的大篷车上，被洛伊狂欢式的措辞(circus, orgy, carnevale)和语法、她刻意重复的声音和文字游戏所牺牲。正如洛伊在一首关于乔伊斯的诗中所写的那样:“成为肉体”这个词可以“自食其力”。(3) Loy不将神灵或君主与沟通行为联系起来;她对世界的看法是自给自足的、世俗的。洛伊的写作力求体现语言，探索体现语言;在她与生命和语言的物质斗争中，人类主体经常消失。我想说的是，洛伊呈现给我们的是一个放荡的自我——一个分裂的、不受约束的、放荡的自我——尽管我意识到，批评家们长期以来对洛伊的作品是表达了一个完整的自我，一个能够超越的自我，还是一个深陷并被肉体的沧桑所维持的自我，存在着一种默契的分歧。(4)我个人的感觉是，洛伊对这一主题的呈现是由她对人类激情的迷恋所滋养的。这种迷恋强调了她的理解，即自我是天生的，无休止的分裂——没有什么类似于一个不可侵犯的整体。因此，洛伊在《大规模生产》中对肉欲和狂欢的结合不是偶然的，而是她作品中不可或缺的一部分;对洛伊来说，人类的胃口常常是滑稽的，甚至是滑稽的。在接下来的文章中，我将考虑洛伊对可见性——笑的欲望——的运用，因为它伴随着并扩展了她对其他欲望的考察，比如性和饥饿。像洛伊一样，许多现代主义哲学家都全神贯注于笑;它的因果关系引起了尼采、柏格森和弗洛伊德等人的注意。他们的讨论对洛伊和她的许多同行的作品产生了显著的影响，其中温德姆·刘易斯的《野体》(1927)就是一个特别令人信服的例子。在她最著名的诗作《致乔安娜之歌》(Songs to Joannes, 1917)中，我们可以看到洛伊对笑的哲学的回应。在诗中，她将可见性和性描绘成通往狂喜的管道。在这样做的过程中，洛伊强调了尼采的哲学后裔之一，即乔治·巴塔耶的戒律。三十多岁时，洛伊写了《因塞尔》，在这部小说中，她对肉欲的兴趣并没有减弱，而是转向了方向。这本书是关于琼斯夫人的，她是一位住在巴黎的艺术家和艺术品经销商，她试图指导隐居和贫困的艺术家因塞尔，一个与超现实主义运动有密切联系的人物。这对夫妇被形容为小丑，一起说话，一起笑，一起吃。…
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Pub Date : 2010-11-01DOI: 10.5840/JPHILNEPAL201061324
S. Fredman
I: Charles Olson (1910-1970) was such a scholarly poet that the first critical monograph devoted to him, by Robert von Hallberg, carries the apt title Charles Olson: The Scholar's Art (1978). (1) Because Olson was an avid researcher--ferreting out Melville's annotated copies of Shakespeare, digging with gusto into the bowels of archives, and reading voraciously in a range of fields such as history, linguistics, geography, and archeology--and because, like Ezra Pound, he insisted on basing the truth claims in his poetry, essays, and letters on the fruits of his research, Olson's critics have tended to follow his own lead in discussing the many influences on his work. Taking their cues also from the prodigious labors of Olson scholars George Butterick and Ralph Maud, his critics have busied themselves with tracing the impact on his work of the huge library of texts he is known to have consulted. (2) Critical attention to Olson's reading, annotation, and advocacy of texts in this library has produced much admirable work; the time has come, though, for an opening out in the exploration of intellectual, esthetic, and political traditions from which he drew. It is important to move beyond trends of thought represented in his library, in order to measure him against other significant figures and movements. (3) This more expansive approach to Olson can free his work from the grip of a coterie that has persistently claimed it and can help present its acute insights, brilliant formulations, and methodological breakthroughs to a larger world. (4) One of the major modern philosophers whom Olson can fruitfully meet in dialogue is the pragmatist John Dewey (1859-1952). Although there is no mention of Dewey in Olson's published work, in the sources for his work identified by Butterick and Maud, or in the critical literature (aside from one significant contribution by fellow poet Robert Duncan, discussed below), Dewey was, during the Great Depression when Olson was in his twenties and acquiring his intellectual proclivities, a towering figure in American philosophy and education and one of the most prominent left--leaning intellectuals. For a young man whose political, pedagogical, and esthetic interests had a populist and pragmatist flavor, exposure to Dewey would have been unavoidable. In early 1931, at the same time as the appearance of the "Objectivists" issue of Poetry (edited by Louis Zukofsky), Dewey gave the William James Lectures at Harvard (published in 1934 as Art as Experience), formulating a full-fledged pragmatist esthetics that is in many ways consonant with Objectivist poetics. (5) Olson did not attend Dewey's lectures nor did he read at the time the issue of Poetry that launched the Objectivist movement, but his debt to Objectivism has been long established. Likewise, his explicit reliance on Alfred North Whitehead's 1929 Process and Reality has received ample treatment. (6) In order to assess fully what Olson took from the poetry and theory of
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Pub Date : 2010-11-01DOI: 10.5840/JPHILNEPAL201061328
H. Weinfield
The concept of measure embraces music and mathematics, law and jurisprudence, and such moral and ethical ideals as moderation and temperance. The word, in both its noun and verb forms, encompasses a wide range of meanings. Among the various definitions that the dictionary provides for the noun, some deal with proportionality and limits (an adequate or due portion; a moderate degree; a fixed or suitable limit; the dimensions of something being measured; an instrument for measuring; and a system for standard units of meaning), some with music and poetry (a melody, tune, or dance; rhythmic structure or movement; a metrical unit, foot; a grouping of a specified number of musical beats located between two vertical lines on a staff), and some with actions or legislative acts (a step planned or taken as a mean to an end; a proposed legislative act). The latent connection, implicit in the various meanings of the word, between poetry and legislation or government recalls Shelley's maxim in A Defence of Poetry that "[p]oets are the unacknowledged legislators of the World." (1) Poetry employs measure, but its relationship to the concept of measure differs from that of other disciplines and other forms of discourse. Like those other forms of discourse, poetry can be seen as a way of approaching, grasping, and communicating experience, truth, or knowledge; and though to the popular imagination poetry is sometimes thought of as vague, to the extent that it employs measure with precision it is at least potentially more rather than less precise than other forms of discourse. Not only does poetry employ measure, it is wholly taken up with measuring, and, in a sense, nothing more than a measuring process of a certain kind. The eighteenth century referred to verses as numbers and considered music and poetry to be a kind of counting without being aware that one was counting. This is as much to say that, in addition to presenting and representing the world, the task of the poet involves measuring one thing against another, putting things in proportion, judging, evaluating, and criticizing. It is not, of course, that the world is merely given to the poet: poetry invention; but this too involves measuring and cannot be separated from measuring. Ultimately, poetry employs measure in order to measure. The same, of course, could be said of the sciences, but poetry is obviously distinct from the sciences in a number of ways. For one thing, the measure it employs is musical and affective, not merely mathematical (if poetry involves counting without being aware that one is counting, it also, of course, involves feeling); and for another, in contrast to the sciences, poetry has no positive knowledge to impart and no content distinct from its form. Form can never be separated from content in poetry because what poetry measures, in addition to a content of some kind, is its own form--or in other words, itself. By giving measure to language, poetry turns the instrument of discou
{"title":"“Is There A Measure On Earth?”: Hölderlin’s Poem “In lovely Blueness” In Light Of Heidegger’s Essay “. . . Poetically Man Dwells. . . .”","authors":"H. Weinfield","doi":"10.5840/JPHILNEPAL201061328","DOIUrl":"https://doi.org/10.5840/JPHILNEPAL201061328","url":null,"abstract":"The concept of measure embraces music and mathematics, law and jurisprudence, and such moral and ethical ideals as moderation and temperance. The word, in both its noun and verb forms, encompasses a wide range of meanings. Among the various definitions that the dictionary provides for the noun, some deal with proportionality and limits (an adequate or due portion; a moderate degree; a fixed or suitable limit; the dimensions of something being measured; an instrument for measuring; and a system for standard units of meaning), some with music and poetry (a melody, tune, or dance; rhythmic structure or movement; a metrical unit, foot; a grouping of a specified number of musical beats located between two vertical lines on a staff), and some with actions or legislative acts (a step planned or taken as a mean to an end; a proposed legislative act). The latent connection, implicit in the various meanings of the word, between poetry and legislation or government recalls Shelley's maxim in A Defence of Poetry that \"[p]oets are the unacknowledged legislators of the World.\" (1) Poetry employs measure, but its relationship to the concept of measure differs from that of other disciplines and other forms of discourse. Like those other forms of discourse, poetry can be seen as a way of approaching, grasping, and communicating experience, truth, or knowledge; and though to the popular imagination poetry is sometimes thought of as vague, to the extent that it employs measure with precision it is at least potentially more rather than less precise than other forms of discourse. Not only does poetry employ measure, it is wholly taken up with measuring, and, in a sense, nothing more than a measuring process of a certain kind. The eighteenth century referred to verses as numbers and considered music and poetry to be a kind of counting without being aware that one was counting. This is as much to say that, in addition to presenting and representing the world, the task of the poet involves measuring one thing against another, putting things in proportion, judging, evaluating, and criticizing. It is not, of course, that the world is merely given to the poet: poetry invention; but this too involves measuring and cannot be separated from measuring. Ultimately, poetry employs measure in order to measure. The same, of course, could be said of the sciences, but poetry is obviously distinct from the sciences in a number of ways. For one thing, the measure it employs is musical and affective, not merely mathematical (if poetry involves counting without being aware that one is counting, it also, of course, involves feeling); and for another, in contrast to the sciences, poetry has no positive knowledge to impart and no content distinct from its form. Form can never be separated from content in poetry because what poetry measures, in addition to a content of some kind, is its own form--or in other words, itself. By giving measure to language, poetry turns the instrument of discou","PeriodicalId":288505,"journal":{"name":"Journal of Philosophy: A Cross-Disciplinary Inquiry","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2010-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132047489","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2010-11-01DOI: 10.5840/JPHILNEPAL201061330
Satwik Dasgupta
{"title":"(Im)Probable Solutions? Space and Place in Thinking Territory: Some Reflections","authors":"Satwik Dasgupta","doi":"10.5840/JPHILNEPAL201061330","DOIUrl":"https://doi.org/10.5840/JPHILNEPAL201061330","url":null,"abstract":"","PeriodicalId":288505,"journal":{"name":"Journal of Philosophy: A Cross-Disciplinary Inquiry","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2010-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129787825","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2010-11-01DOI: 10.5840/JPHILNEPAL201061323
Yubraj Aryal
{"title":"Editorial - Post-Political Subject: A Modernist Critique","authors":"Yubraj Aryal","doi":"10.5840/JPHILNEPAL201061323","DOIUrl":"https://doi.org/10.5840/JPHILNEPAL201061323","url":null,"abstract":"","PeriodicalId":288505,"journal":{"name":"Journal of Philosophy: A Cross-Disciplinary Inquiry","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2010-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129226532","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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