Suddenness And The Composition Of Poetic Thought

Interrogating the much-cherished concept of “poetic thinking,” this book focuses on what interview and draft materials reveal of how poets actually do think, when in the act of writing. The interviews confirm what findings from cognitive science and linguistics make clear: we rarely know exactly what words we are going to say, until we have said them. Suddenness and the Composition of Poetic Thought draws out the implications of a radically curtailed view of consciousness on how we understand the drafting and revision of lines of poetry, with implications for our theorisation of the composition of prose. Henrich von Kleist’s assertion that “it is not we, but a certain condition of ours which knows” emerges as central to this reassessment of the nature of the written word. Employing an extensive archive of interview materials with major Anglophone poets, discussing how they think in the moments of composition, this book also provides a lucid account of the links between poetic composition and live performative thinking in the contexts of Romantic compositional practice and the early (pre)textual history of ancient Greek epic. A transdisciplinary study at the crossroads of philosophy, cognitive psychology, literary studies, and linguistics, this book reconceptualizes the wellsprings of poetic thought and advances our understanding of thinking’s complex but vital link to improvised speech.

Providing a solid media-philosophical groundwork, the book contributes to the theory of alterity in Performance Philosophy, while stimulating and inspiring future inquiries where studies in media, art, and literature intersect with philosophy. It collects a selective as well as productive diversity of philosophical, literary, and artistic figures of thought, attaining an exacting framework as a result of a clearly elaborated ethics of alterity, innovatively opened up by way of an aisthetics of existence: Touching upon the Aristotelian concept of aisthesis, the material, perceptual and sensory dimensions of everyday bodily existence are highlighted to move beyond what aesthetics in Modern Philosophy just specializes in, namely art and the beautiful. The notion of existence is therefore borrowed from Maurice Merleau-Ponty, who understands it as something concrete and richly interrelated, so as to avoid the dualisms both of psychological processes of consciousness and of physiological mechanisms. It is thus made explicit such that the unity of body and soul is not any arbitrarily arranged connection between “subject” and “object” but, rather, that it is enacted at every instant in the movement of existence. Imaginatively then, the book puts into writing how alterity not only can be treated theoretically but can be also made accessible through writing as well as rendered relatable through reading. That is why it deals with exemplary interpersonal encounters in the lifeworld, in the arts, and in the media, which are initially thematized as intercorporeal experiences, so as to enable an approach for an ethics of alterity by way of, in particular, sites located within a phenomenology of perception oriented towards the lived body.

Providing a solid media-philosophical groundwork, Beyond Mimesis contributes to the theory of mimesis and alterity in performance philosophy while serving to stimulate and inspire future inquiries where studies in media and art intersect with philosophy. It collects a wide range of philosophical and artistic thinkers' work to develop an exacting framework with clear movement beyond mimesis in aesthetic experiences in uncanny valleys. Together, the chapters ask if intersubjective acts of relating that are defined by alterity, responsivity or witness and trust can be transferred to artificial beings without remainder. The proposed framework uses a particularly fruitful theoretical model for this inquiry known as the “uncanny valley”—a fictitious schema developed in 1970 by Japanese roboticist Masahiro Mori. According to Mori, artificial beings or animated dolls become more eerie to us the more “humanlike” they appear. The model’s utility requires distinguishing between visual media and real life, but in general, it suggests that there is a fundamental incommensurability between people and artificial beings that cannot be ignored. This necessitates that all-too realistic representations as well as fictional encounters with artificial beings do not transgress certain limits. According to Mori, it is an ethical imperative of their design that they evidence a certain degree of dissimilarity with people. This notion seems especially applicable to artistic projects in which animated dolls or robots make explicit their “doll-ness” or “robot-ness” and thus inscribe a moment of reflexivity into the relations they establish. With contributions by Elena Dorfman, Jörg Sternagel, Dieter Mersch, Allison de Fren, Nadja Ben Khelifa, James Tobias, Grant Palmer, Stephan Günzel, Nicole Kuʻuleinapuananiolikoʻawapuhimelemeleolani Furtado, Misha Choudhry and a conversation between Carolin Bebek, Simon Makhali, and Anna Suchard.

In the long nineteenth century, scientists discovered striking similarities between how birds learn to sing and how children learn to speak. Tracing the 'science of birdsong' as it developed from the 'ingenious' experiments of Daines Barrington to the evolutionary arguments of Charles Darwin, Francesca Mackenney reveals a legacy of thought which informs, and consequently affords fresh insights into, a canonical group of poems about birdsong in the Romantic and Victorian periods. With a particular focus on the writings of Samuel Taylor Coleridge, the Wordsworth siblings, John Clare and Thomas Hardy, her book explores how poets responded to an analogy which challenged definitions of language and therefore of what it means to be human. Drawing together responses to birdsong in science, music and poetry, her distinctive interdisciplinary approach challenges many of the long-standing cultural assumptions which have shaped (and continue to shape) how we respond to other creatures in the Anthropocene.

This book collects important researches on social sciences and humanities conducted by the academics at East China Normal University (ECNU) in recent years. The book covers topics including emotions of homeland, special events in Chinese literary and art history, Chinese population studies, media research, democracy at grass-root level, elderly people situation, etc.This book is the sixth volume of the WSPC-ECNU Series on China. This Series showcases the significant contributions to scholarship in social sciences and humanities studies about China. It is jointly launched by World Scientific Publishing, the most reputable English academic publisher in Asia, and ECNU, a top University in China with a long history of exchanges with the international academic community.

This carefully edited collection of complete works of Edgar Allan Poe is formatted for your eReader with a functional and detailed table of contents: Novels The Narrative of Arthur Gordon Pym of Nantucket The Journal of Julius Rodman Short Stories The Murders in the Rue Morgue The Mystery of Marie Rogêt The Purloined Letter The Gold-Bug The Thousand-and-Second Tale of Scheherazade The Man of the Crowd The Tell-Tale Heart The Fall of the House of Usher The Cask of Amontillado The Black Cat The Masque of the Red Death The Pit and the Pendulum Ligeia The Oval Portrait A Tale of the Ragged Mountains Eleonora A Dream Metzengerstein The Assignation Berenice Morella William Wilson The Imp of the Perverse Hop-Frog The Light-House Ms. Found in a Bottle A Descent into the Maelstrom The Facts in the Case of M. Valdemar The Balloon-Hoax Mesmeric Revelation Some Words with a Mummy Mystification The Premature Burial The Oblong Box The Spectacles The System of Dr. Tarr and Prof. Fether The Sphinx The Island of the Fay The Landscape Garden Morning on the Wissahiccon The Domain of Arnheim Landor's Cottage The Duc de l'Omelette A Tale of Jerusalem Loss of Breath Bon-Bon Lionizing King Pest Four Beasts in One – The Homo-Cameleopard How to Write a Blackwood Article A Predicament The Devil in the Belfry The Man That Was Used Up The Business Man Why the Little Frenchman Wears His Hand in a Sling Never Bet the Devil Your Head Three Sundays in a Week Diddling The Angel of the Odd The Literary Life of Thingum Bob, Esq. Mellonta Tauta Von Kempelen and His Discovery X-ing a Paragrab The Power of Words The Conversation of Eiros and Charmion The Colloquy of Monos and Una Shadow Silence… The Complete Poetical Works Plays Essays & Miscellanea The Life and Letters of Edgar Allan Poe Memorandum (Autobiographical Essay) The Dreamer – Life and Work of Edgar Allan Poe Edgar Allan Poe (1809-1849) was an American writer, editor, and literary critic, best known for his poetry and short stories.

Sonnets to Orpheus is Rainer Maria Rilke's first and only sonnet sequence. It is an undisputed masterpiece by one of the greatest modern poets, translated here by a master of translation, David Young. Rilke revived and transformed the traditional sonnet sequence in the Sonnets. Instead of centering on love for a particular person, as has many other sonneteers, he wrote an extended love poem to the world, celebrating such diverse things as mirrors, dogs, fruit, breathing, and childhood. Many of the sonnets are addressed to two recurrent figures: the god Orpheus (prototype of the poet) and a young dancer, whose death is treated elegiacally. These ecstatic and meditative lyric poems are a kind of manual on how to approach the world – how to understand and love it. David Young's is the first most sensitive of the translations of this work, superior to other translations in sound and sense. He captures Rilke's simple, concrete, and colloquial language, writing with a precision close to the original.