The world and image of poetic language: Heidegger and Blanchot

This essay engages ways in which the manifestation of ??world?? occurs in poetry specifically through images, and how we can conceive of the imagination in this regard without reducing the imagination to a mimetic faculty of consciousness subordinate to cognition. Continental thought in the last century offers rich resources for this study. The notion of a ??world?? is related to the poetic image in ways fundamental to the Heidegger??s theory of language, and may be seen in Continental poetics following Heidegger, including Blanchot??s examination of poetry in his account of the space of literature. By means of images, I shall demonstrate, poetic language is exemplary in relation to ??world?? in two ways. (1) Images, poetically arranged, generate and open up a sense or experience of a world, specific to that poem, for its reader. Poetic images then, exhibit a generative evocation of world. (2) Through images, a poem may evoke the way in which space and time are inhabited as a world of human dwelling in an ontologically or existentially meaningful way. The relation of images to world is, then, an illumination or a disclosure of world. The first of these relations remains, to a large extent, immanent to the poem, but may be seen as an analogue of the essentially human experience of inhabiting a world. The second relation transcends the poem and relates the poem immediately to the existential framework of human dwelling.     

IS NATURE ENOUGH? ROBERT FROST REPLIES IN “THE MOST OF IT”

Abstract. In his poem “The Most of It” Robert Frost explores whether nature alone is sufficient to satisfy human spiritual yearnings. At first pass, the poem reads like a dark statement about the absence of any higher intelligence in the natural world, and it has been interpreted this way by many, including the person who inspired Frost to write it, Wade Van Dore. However, on careful reading Frost's poem also contains a subtle celebration of nature's spiritual assets. By creating a work with two possible meanings, Frost indicates that the answer to whether “nature is enough” is in the eye of the beholder. Because much of the poem's hopeful message resides in its meter, Frost also seems to be saying that nature will be enough mainly for those who appreciate nuance and accept ambiguity. For those so predisposed, a spirituality based in the belief that “nature is enough” requires no unverifiable entity for personal fulfillment and may ameliorate environmental problems that increasingly jeopardize human well‐being.     

Trees and Us: Poetic Metaphors and Pastoral Images

This article elaborates on my earlier contention that poetry and pastoral care have a great deal in common (Capps, The Poet’s Gift, 1993) by focusing on Joyce Kilmer’s well-known poem “Trees.” I use this poem to support the metaphorical association of trees and human beings and to advocate for the pastoral image of the upholder. A brief sketch of Kilmer’s life is presented, and parodies of the poem are used to address the question whether pens are mightier than swords (a question that Kilmer’s own life as a poet and soldier also evokes). The article concludes with Denise Levertov’s poem “From Below” which, together with Kilmer’s “Trees,” illumines the image of the pastor as ordained to be the upholder of the community and of the individuals who comprise it.     

An Elegy,a Love Song,and a Lullaby

In the course of the past decade, I have found himself looking as much to poets and the experience of reading poetry as to the work of other analysts in my ongoing effort to become a psychoanalyst. Both the poet and the psychoanalyst are individuals whose life's work is that of making “raid[s] [on] the inarticulate” (Eliot, 1940, p. 128) in their effort to delve as deeply as possible into what it is to be human and to render that experience in the medium of language. To this end, I offer a reading of Seamus Heaney's (1987) “Clearances,” an elegy Heaney wrote for his mother soon after her death. I explore the ways in which the experience of mourning—whether in a poem or in an analytic experience—is not simply “conveyed” (as if illuminating something already there) but created in the very act of writing/saying the poem or of bringing feelings to life in words in an analytic session.

I begin by presenting a brief biographical account of Heaney not to “explain” his poetry in analytic terms but to allow the reader to create a more imaginative, more human reading of the poem as he or she enters into the conversation between the life of the man and the life of the poetry. Then I discuss the ways in which “Clearances” comes to life as a variety of coexisting forms of love that together shape an experience of grief.     

FORGETTING THE FORGOTTEN ONES

Haim Gouri’s poem “Hanishkahim” (The Forgotten Ones) has appeared in several versions and in a number of collections. Suggesting the noble heroism of soldiers dying in battle, this poem has become an example of the symbolic repertoire employed to enforce national myths. As part of the “Palmah generation” of poets, Gouri’s own life, as well as the imagery of the poetry, articulates the ideals of the sabras who fought and died in the Israeli War of Independence. However, this poem also challenges these myths. “Hanishkahim” questions the State’s memorialization of military heroism while ignoring those soldiers, particularly the disabled, who destabilize the authority of national narratives. In shorter editions of this poem, Gouri’s critique of war commemoration is obliterated. This article examines Gouri’s poem in light of the role editing plays in shaping ideological discourse.     

Efficacy of self-instructional training for reducing children''s anxiety in an evaluative situation

Fifty-six fourth-grade children were categorized as either high or low in trait anxiety and then assigned to a self-instruction treatment, minimal-treatment, or no-treatment control condition. At both pretest and posttest, the subjects recited a memorized poem while being videotaped with the expectation that they would be judged on their performance. State anxiety measures, a behavior rating of anxiety, a measure of performance accuracy and the time involved in reciting a poem were obtained at both pretest and posttest. Contrary to expectation, the self-instructional training resulted in subjects' exhibiting greater signs of behavioral anxiety, subjects' hurrying through the task (taking less time to recite the poem) and high trait-anxiety subjects' reporting more state anxiety while anticipating reciting the poem. Correlational analyses indicated that trait anxiety was significantly related to the measures of state anxiety and the behavior rating of anxiety but not to performance accuracy.     

Encounters with raven

I have been visited by Eurydice. She first came to me, unbidden, unexpected, in the way things usually first come to me–in a poem. But there was something different about how this poem happened. On one of my Fridays devoted to writing, I was suddenly hijacked by Eurydice's point of view, her voice, her demand that I speak for her. She was shrill. She was insistent. She gave me no choice but to work on the poem till I had gotten it how she wanted it. She feels she has been much neglected and misunderstood, and she let me know a poem was not enough. It was just the beginning. She wants prose. She wants essays. She wants public presentations. She wants me to tell her version of the story.     

Ramón García,Featured Poet: Brother Bluebeard and Other Poems

In this commentary on the “Brother Bluebeard” sequence by featured poet Ramón García, I consider the profound and terrible revelations this mythic poem gives about our own dreaded times, as well as the wisdom it brings us, patterned on the archetype of initiation—descent into an underworld. In his gender-fluid retelling of the Bluebeard legend, the narrator of the poem is a man who sleeps with men, but who over the course of the poem identifies with the women whom Bluebeard has slaughtered. This is at once a highly political sequence of poems, in which we can recognize the Bluebeard in our current national story, a Jungian series of poems that illuminates the alchemical process of mortificatio and rebirth, and a story of trauma and spiritual recovery.     

Maya Angelou's Inaugural Poem

Maya Angelou's performance of her poem On the Pulse of Morning at the inauguration of William Jefferson Clinton as 42nd President of the United States on January 20, 1993, was compared with other poetry and prose performances. Measurements of her pause frequency, pause location, pause duration, phrase length, speech rate, articulation rate, and percentage of pause time all uniquely characterized her performance. Printed versions of Angelou's inaugural poem were also analyzed. Inconsistencies in spelling, punctuation, spacing, and line and stanza breaks, along with additions, omissions, and sequence changes of words and phrases, were found. The poem performed possesses a richness unpredictable from either the extant literature on poetry readings or from Angelou's own printed pages.     

上博简孔子《诗论》“仲氏”与《诗·仲氏》篇探论——兼论“共和行政”的若干问题

上海博物馆藏战国楚竹书所载的“中氏”即今传本《诗·仲氏》。孔子时代的《仲氏》一诗 ,在流传的过程中 ,因错简而被误入它诗 ,它的原貌至少包括了《燕燕》诗的末章和《何人斯》的第七章。经复原后的《仲氏》一诗 ,体现了儒家孝悌精神。上博简《诗论》载孔子以“君子”评《仲氏》一诗 ,其主导思想即在于对“孝弟”原则的肯定。《仲氏》一诗透露的内容与共伯兄弟的情况十分吻合 ,且其简被编入《邶风》 ,此皆可以推测此诗为共伯余之作。《诗·仲氏》对于了解“共和行政”这一重大历史事件提供了相当可贵的资料     

Theologian of sin and grace. The process of radicalization in the theology of Matthias Flacius Illyricus

Abstract

The execution in 1540 of the notable English evangelical, Robert Barnes, sparked a flurry of martyrological propaganda. Although much of this literature is well known to scholars of the Henrician reformation, at least one contribution remains obscure: a poem (1542) by the Pomeranian Humanist, Johannes Sastrow. If in line with Protestant portrayals of Barnes as a martyr, Sastrow’s poem, produced at safe remove from England, is unique in attempting primarily to cast Henry VIII as a despot comparable to the tyrants of classical antiquity. Both its context and content, crowded with classical allusions, reveal a young Humanist concerned not only to memorialize a friend and to condemn the ruler responsible for his death, but also to advertise his own skills as a budding Humanist. The poem is here contextualized, translated, and annotated for the light it sheds on the multiple uses to which early-modern martyrological propaganda could be put.     

“拟议”“变化”与文学复古

何景明与李梦阳论诗,曾引《周易·系辞》中的“拟议以成其变化”来针砭对方的“尺寸法古”.后来李攀龙将这一易学命题提升为诗文复古的纲领,既标志着复古理论的“成熟”,也标志着复古实践陷入窘境.通过探讨宋明学者如何阐释这一易学命题,可以发现复古论者的思维方式深受经学影响;通过解析复古论者如何运用这一易学命题,可以透视李、何论诗的分歧所在,以及前后七子复古思想的变化.     

A poem and a dream

Recently, a journalist in analysis had a dream that stimulated the writing of a poem, the two psychic products occurring no more than a few hours apart. Since the analysand had copious free associations to both products, believing both to be culled from the same unconscious raw material, an interesting study of an act of aesthetic creation almost in statu nascendi became possible. A concept called poem work is entertained in this paper and is compared and contrasted with the classical psychoanalytic concept of dream work, allowing some unanswerable questions to be posed and discussed in regard to the formal constitutive elements of poetry.     

The flow of emotion through Beowulf

The Old English saga Beowulf was studied in translation with the help of the Dictionary of Affect in Language which quantifies the emotional connotations of words. Statistically significant differences in Pleasantness and Activation were evident across segments of the poem. A model was developed to represent the wave-like flow of Pleasantness and Activation through the Beowulf saga. Analyses identified a meta-structure whose climax was the second adventure (the killing of Grendel's mother). Data from three different translations and data representing the meter and orthography of the original poem provided convergent construct validity for the model.     

The Discipline of Do Easy

Do Easy is a discipline that seems similar to Zen Buddhism or Toaism, and yet has a flavor all its own. It was conceived through a poem written by Willaim S. Burroughs and brought into vivid monochrome through a YouTube video created by the avant garde filmmaker Gus Van Sant in 1978. Although Burroughs' poem and Van Sant's film are irreverent, humorous, and subversive, there is a deeply therapeutic quality to this approach, which mainstream psychology has sadly overlooked. If there is such a thing as spiritual behaviorism, this could be it.     

Dante's Comedy: Precursors of psychoanalytic technique and psyche

This paper uses a literary approach to explore what common ground exists in both psychoanalytic technique and views of the psyche, of 'person'. While Western literature has developed various views of psyche and person over centuries, there have been crystallizing, seminal portraits, for instance Shakespeare's perspective on what is human, some of which have endured to the present. By using Dante's Commedia , particularly the Inferno , a 14th century poem that both integrates and revises previous models of psyche and personhood, we can examine what features of psyche, and 'techniques' in soul-healing psychoanalysts have inherited culturally. Discovering basic features of technique and model of psyche we share as psychoanalysts permits us to explore why we have differences in variations on technique and models of inner life.     

Visionary Eschatology: Piers Plowman

In its later versions Piers Plowman is a long, complex poem of extraordinary formal, theological, and political complexity. It is one of the greatest Christian poems. Written in a period of unprecedented conflict in English polities, including the Church, it was passionately involved in exploring many of these conflicts while seeking to imagine projects of Reformation. The poem includes fascinating reflections on diverse eschatological traditions within the late medieval Church, including neo-Joachite ones. Subjecting both the contemporary Church and such eschatologies to sustained critique, the author evolves a profoundly Christocentric vision in the light of which triumphant narratives of the Church would emerge as among the opiates threatening the Church at the poem's close.     

Analyse me

The poem Analyse Me evolved from my desire to understand where and how the creative fitted into the scheme of military veteran mental health treatments in Australia. In 2016, as an Australian Army veteran and a creative writer, I undertook to conduct craft of writing workshops for veterans. However, I found creative arts, in all modes, were not as widely incorporated into treatments and research as I thought. The poem is a creative response to my frustration and disbelief of the results of my research and is a representation of my findings conceptualised to be the clinical and externally measurable treatment modes at one extreme, contrasted against the less definable use of the imagination or the creative at the other. The poem highlights the broad expanse between these extremes. It underlines a view on the difference of gender in treatment and the divide between the detached, clinical analysis and the more personal, intuitive creative response. Analyse Me does not deny the use of one modality over, or to the exclusion, of the other but rather indicates they both have purpose and can be mutually supportive and beneficial.