The Legitimacy Of Poetic Reason

Many philosophical accounts of reason are geared toward providing rational justifications ex post facto rather than accounting for the role reason plays in actu in the process of creative work. Moreover, when in actu accounts of reason are given, they are usually too narrow to describe the sort of high-level creative work that is involved in the composition of poetry or the creation of a scientific theory. This book suggests that the rudiments of a broader account are found in various German Idealist figures, most notably the philosopher-novelist-critic Friedrich Schlegel and the philosophical poet and novelist Friedrich Hölderlin. However, German Idealism generally is subject to Hans Blumenberg's secularization critique which provides a strong prima facie argument that the accounts of poetic reason suggested by Schlegel and Hölderlin are indefensible. This book argues that confronting Blumenberg's secularization critique and his associated legitimation of modernity with a romantic conception of poetic reason requires revisions on both sides, and that the work of Lacan is especially well-suited to provide the conditions upon which a legitimation of poetic reason can be provided. O. Bradley Bassler is Associate Professor, Emeritus at the University of Georgia, Athens, USA. He has published five previous books, including two with Palgrave Macmillan: Diagnosing Contemporary Philosophy with the Matrix Movies (2017) and Kant, Shelley and the Visionary Critique of Metaphysics (2018). .

Many philosophical accounts of reason are geared toward providing rational justifications ex post facto rather than accounting for the role reason plays in actu in the process of creative work. Moreover, when in actu accounts of reason are given, they are usually too narrow to describe the sort of high-level creative work that is involved in the composition of poetry or the creation of a scientific theory. This book suggests that the rudiments of a broader account are found in various German Idealist figures, most notably the philosopher-novelist-critic Friedrich Schlegel and the philosophical poet and novelist Friedrich Hölderlin. However, German Idealism generally is subject to Hans Blumenberg ‘s secularization critique which provides a strong prima facie argument that the accounts of poetic reason suggested by Schlegel and Hölderlin are indefensible. This book argues that confronting Blumenberg’s secularization critique and his associated legitimation of modernity with a romantic conception of poetic reason requires revisions on both sides, and that the work of Lacan is especially well-suited to provide the conditions upon which a legitimation of poetic reason can be provided.

This book explores the differing ways in which language has been used to try to make sense of the First World War. Offering further developments in an innovative approach to the study of the conflict, it develops a transnational viewpoint of the experience of war to reveal less expected areas of language use during the conflict. Taking the study of the First World War far beyond the Western Front, chapters examine experiences in many regions, including Africa, Armenia, post-war Australia, Russia and Estonia, and a variety of contexts, from prisoner-of-war and internment camps, to food queues and post-war barracks. Drawing upon a wide variety of languages, such as Esperanto, Flemish, Italian, Kiswahili, Portuguese, Romanian and Turkish, Multilingual Environments in the Great War brings together language experiences of conflict from both combatants and the home front, connecting language and literature with linguistic analysis of the immediacy of communication.

Hymns and hymnbooks as American historical and cultural icons. This work is a study of the importance of Protestant hymns in defining America and American religion. It explores the underappreciated influence of hymns in shaping many spheres of personal and corporate life as well as the value of hymns for studying religious life. Distinguishing features of this volume are studies of the most popular hymns (“Amazing Grace,” “O, For a Thousand Tongues to Sing,” “All Hail the Power of Jesus’ Name”), with attention to the ability of such hymns to reveal, as they are altered and adapted, shifts in American popular religion. The book also focuses attention on the role hymns play in changing attitudes about race, class, gender, economic life, politics, and society.

This volume examines for the first time the most important methodological issues concerning Christian poetry – i.e. biblical and theological poetry in classical meters – from a diachronic perspective. Thus, it is possible to evaluate the doctrinal significance of these compositions and the role that they play in the development of Christian theological ideas and biblical exegesis.

"The four corners of this book like at the following points (i) the use of the word Reason by Wordsworth in the Prelude ; (ii) the abandonment of the intellect by Keats in the Nightingale and the Urn ; (iii) the emphasis laid on Reason by Milton in Paradise Lost ; (iv) the schism in Reason studied by Shakespeare in the tragedies. Add to these four middle points of (i) the definition of Beauty by Marlowe in Tamburlaine ; (ii) the imagination of it by Keats in the same two odes ; (iii) the identification of it with Reason in Paradise Lost ; (iv) the humanization of it in the women of Troilus and Othello and the later plays ..."--Preface.

Expanding Authorship collects important essays by Peter Middleton that show the many ways in which, in a world of proliferating communications media, poetry-making is increasingly the work of agencies extending beyond that of a single, identifiable author. In four sections--Sound, Communities, Collaboration, and Complexity--Middleton demonstrates that this changing situation of poetry requires new understandings of the variations of authorship. He explores the internal divisions of lyric subjectivity, the vicissitudes of coauthorship and poetry networks, the creative role of editors and anthologists, and the ways in which the long poem can reveal the outer limits of authorship. Readers and scholars of Wallace Stevens, William Carlos Williams, George Oppen, Frank O'Hara, Robert Duncan, Robert Creeley, Jerome Rothenberg, Susan Howe, Lyn Hejinian, Nathaniel Mackey, and Rae Armantrout will find much to learn and enjoy in this groundbreaking volume.

In this book, Robert K. Beshara applies decolonial film theory to an analysis of Youssef Chahine's (1997) Al-Masir (Destiny). Transmodern Cinema and Decolonial Film Theory is the first book on decolonial film theory, which unpacks key concepts in decoloniality and decolonial aesthetics. Decolonial film theory is then applied to Youssef Chahine's (1997) historical drama al-Ma?ir in an effort to juxtapose the Egyptian filmmaker (Chahine) and his decolonial cinema to the Andalusian polymath (Ibn Rushd) and his Islamic philosophy.