Time For Educational Poetics

Time for Educational Poetics address a discussion of today’s philosophy of education and educational research: educational poetics is not limited to a theoretical construction, but rather focuses on creative, imaginative and poetic experience, to being recreated in the teaching-learning process.

Educational research and poetics are often not included in the same conversation. Educational Poetics: Inquiry, Freedom and Innovative Necessity is one of the only texts to explore the possibilities of linking these domains to develop an emergent form of inquiry. Such an inquiry utilizes our human potential to go beyond the seductive force of everyday commonsense to consider and put into place alternative perspectives that are often hidden from view. These alternative perspectives, in turn, help create the ability to free ourselves from mental slavery as we change in inventive ways, a form of innovative necessity.

Reveals the neglected mode of knowing and learning, from Socrates to the middle ages and beyond, that relies more on the integrated powers of sensory experience and intuition, rather than on modern narrow scientific models of education.

Osip Mandel'shtam (1891-1938) is considered by many to have been the best Russian poet of his era. This book is the first attempt to describe in a comprehensive way Mandel'shtam's intellectual world and its effect on his evolution as a thinker.

A Hermeneutics of Poetic Education: The Play of the In-Between explores the ways in which both play and poetry orient us toward what surpasses us. Catherine Homan develops an original account of poetic education that builds on Friedrich Hölderlin’s idea of poetry as a teacher of humanity. Whereas aesthetic education emphasizes judgments of taste and rational autonomy, poetic education foregrounds self-formation and openness to the other. Critically engaging the works of Eugen Fink, Hans-Georg Gadamer, and Paul Celan, this book argues that poetry and play call for a particular stance in the world and with others. Open toward the infinite while simultaneously reaching toward its own finitude, the poetic work addresses us and invites our response. Poetry reveals the human condition as “in-between” and dialogical, even at the limits of language. Although many philosophers mistakenly view play as frivolous, Homan takes play seriously. Play--spontaneous and creative--resists mastery and instead requires an active attunement to the to-and-fro movement of the world, of others, and ourselves. A Hermeneutics of Poetic Education demonstrates that poetic education, as learning to listen, provides vital resources for responding to alterity in meaningful ways that resist totalization.

How poetry can help us think about and live in the Anthropocene by reframing our intimate relationship with geological time The Anthropocene describes how humanity has radically intruded into deep time, the vast timescales that shape the Earth system and all life-forms that it supports. The challenge it poses—how to live in our present moment alongside deep pasts and futures—brings into sharp focus the importance of grasping the nature of our intimate relationship with geological time. In Anthropocene Poetics, David Farrier shows how contemporary poetry by Elizabeth Bishop, Seamus Heaney, Evelyn Reilly, and Christian Bök, among others, provides us with frameworks for thinking about this uncanny sense of time. Looking at a diverse array of lyric and avant-garde poetry from three interrelated perspectives—the Anthropocene and the “material turn” in environmental philosophy; the Plantationocene and the role of global capitalism in environmental crisis; and the emergence of multispecies ethics and extinction studies—Farrier rethinks the environmental humanities from a literary critical perspective. Anthropocene Poetics puts a concern with deep time at the center, defining a new poetics for thinking through humanity’s role as geological agents, the devastation caused by resource extraction, and the looming extinction crisis.

New York City was the site of a remarkable cultural and artistic renaissance during the 1950s and '60s. In the first monograph to treat all five major poets of the New York School-John Ashbery, Barbara Guest, Kenneth Koch, Frank O'Hara, and James Schuyler-Mark Silverberg examines this rich period of cross-fertilization between the arts. Silverberg uses the term 'neo-avant-garde' to describe New York School Poetry, Pop Art, Conceptual Art, Happenings, and other movements intended to revive and revise the achievements of the historical avant-garde, while remaining keenly aware of the new problems facing avant-gardists in the age of late capitalism. Silverberg highlights the family resemblances among the New York School poets, identifying the aesthetic concerns and ideological assumptions they shared with one another and with artists from the visual and performing arts. A unique feature of the book is Silverberg's annotated catalogue of collaborative works by the five poets and other artists. To comprehend the coherence of the New York School, Silverberg demonstrates, one must understand their shared commitment to a reconceptualized idea of the avant-garde specific to the United States in the 1950s and '60s, when the adversary culture of the Beats was being appropriated and repackaged as popular culture. Silverberg's detailed analysis of the strategies the New York School poets used to confront the problem of appropriation tells us much about the politics of taste and gender during the period, and suggests new ways of understanding succeeding generations of artists and poets.