This book aims to expand our sense of poetry's reach and potential impact. It is an effort at recouping the poetic imperative buried within the first taxonomic description of human being: "nosce te ipsum," or "know yourself." Johanna Skibsrud explores both poetry and human being not as fixed categories but as active processes of self-reflection and considers the way that human being is constantly activated within and through language and thinking. By examining a range of modern and contemporary poets including Wallace Stevens, M. NourbeSe Philip, and Anne Carson, all with an interest in playfully disrupting sense and logic and eliciting unexpected connections, The Poetic Imperative highlights the relationship between the practice of writing and reading and a broad tradition of speculative thought. It also seeks to demonstrate that the imperative "know yourself" functions not only as a command to speak and listen, but also as a call to action and feeling. The book argues that poetic modes of knowing - though central to poetry understood as a genre - are also at the root of any conscious effort to move beyond the subjective limits of language and selfhood in the hopes of touching upon the unknown. Engaging and erudite, The Poetic Imperative is an invitation to direct our attention simultaneously to the finite and embodied limits of selfhood, as well as to what those limits touch: the infinite, the Other, and truth itself.

This book addresses the thought of Paul Ricoeur (1913–2005), paying particular attention to the creative tension between love and justice as principle themes in his work. Dealing with these issues chiefly in his writings on religion, Ricoeur explored the tension between the biblical ideals of the golden rule—the religious formulation of a principle of justice—and the love command. Author W. David Hall shows how these ideals continually speak to each other in Ricoeur's work, how they operate creatively on each other, and how each serves as a corrective to the perversions of the other. Hall maintains that although issues of love and justice became prominent comparatively late in Ricoeur's corpus, they provide a sustained trajectory throughout his work and are an important interpretive key for understanding Ricoeur's intellectual project as a whole.

This book aims to expand our sense of poetry's reach and potential impact. It is an effort at recouping the poetic imperative buried within the first taxonomic description of human being: "nosce te ipsum," or "know yourself." Johanna Skibsrud explores both poetry and human being not as fixed categories but as active processes of self-reflection and considers the way that human being is constantly activated within and through language and thinking. By examining a range of modern and contemporary poets including Wallace Stevens, M. NourbeSe Philip, and Anne Carson, all with an interest in playfully disrupting sense and logic and eliciting unexpected connections, The Poetic Imperative highlights the relationship between the practice of writing and reading and a broad tradition of speculative thought. It also seeks to demonstrate that the imperative "know yourself" functions not only as a command to speak and listen, but also as a call to action and feeling. The book argues that poetic modes of knowing - though central to poetry understood as a genre - are also at the root of any conscious effort to move beyond the subjective limits of language and selfhood in the hopes of touching upon the unknown. Engaging and erudite, The Poetic Imperative is an invitation to direct our attention simultaneously to the finite and embodied limits of selfhood, as well as to what those limits touch: the infinite, the Other, and truth itself.

Winner of the Modern Language Association (MLA)’s William Sanders Scarborough Prize From Audre Lorde, Ntozake Shange, and Bessie Head, to Zanele Muholi, Suzan-Lori Parks, and Missy Elliott, Black women writers and artists across the African Diaspora have developed nuanced and complex creative forms. Mecca Jamilah Sullivan ventures into the unexplored spaces of black women’s queer creative theorizing to learn its languages and read the textures of its forms. Moving beyond fixed notions, Sullivan points to a space of queer imagination where black women invent new languages, spaces, and genres to speak the many names of difference. Black women’s literary cultures have long theorized the complexities surrounding nation and class, the indeterminacy of gender and race, and the multiple meanings of sexuality. Yet their ideas and work remain obscure in the face of indifference from Western scholarship. Innovative and timely, The Poetics of Difference illuminates understudied queer contours of black women’s writing.

The Early Romantics met resistance from artists and academics alike in part because they defied the conventional wisdom that philosophy and the arts must be kept separate. Indeed, as the literary component of Romanticism has been studied and celebrated in recent years, its philosophical aspect has receded from view. This book, by one of the most respected scholars of the Romantic era, offers an explanation of Romanticism that not only restores but enhances understanding of the movement's origins, development, aims, and accomplishments--and of its continuing relevance. Poetry is in fact the general ideal of the Romantics, Frederick Beiser tells us, but only if poetry is understood not just narrowly as poems but more broadly as things made by humans. Seen in this way, poetry becomes a revolutionary ideal that demanded--and still demands--that we transform not only literature and criticism but all the arts and sciences, that we break down the barriers between art and life, so that the world itself becomes "romanticized." Romanticism, in the view Beiser opens to us, does not conform to the contemporary division of labor in our universities and colleges; it requires a multifaceted approach of just the sort outlined in this book.

This dissertation reconsiders the key importance of violence as an aesthetic, political, and cultural category in Seamus Heaney's poetry and translations. The dissertation begins by asking how the relation between violence, literature, and nationalism might be understood in the Irish postcolonial context. The author details how specific explosions of postcolonial violence as well as broader cultural manifestations and perceptions of violence have motivated and informed some of the key aesthetic developments and major projects in this poet's career. By examining a wide range of representations from his oeuvre, he details Heaney's deft negotiation of the related problems of violence and decolonization through a complex and compelling poetic of violence. Specifically, he examines Heaney's conception and development of the lyric as a field of force, his employment of the pastoral as an anticolonial mode of resistance, and his translations of canonical texts as acts of counterviolence carried out at the level of the vernacular and form. Through close readings of Heaney's verse, translations, prose, and journalism, the author demonstrates how many of his writings can be profitably read as part of an ongoing attempt to intervene textually in a Northern Irish culture of violence. He also argues that Heaney's often conflicted, occasionally uneven, and frequently brilliant attempts to outface violence through writing have necessitated a remarkable degree of experimentation and adaptation at the level of form, language, and genre. By bringing into interactive and critical focus a study of poetics and postcolonial criticism, the author attempts to demonstrate that a particular set of violent conditions and perceptions (which are endemic to postcolonial situations) have, to a remarkable degree, informed Heaney's highly innovative transformations of inherited cultural materials. (3 figures, 185 refs.).

Uses the concept of the poetic fragment to draw connections between romantic poetry and modern literature and literary theory.

Written with both the cultural and moral crisis and the challenge of the future in mind, Peter Abbs's book charts an open, clear, and positive way forward for education. Divided into four sections, the first examines the true and fitting ends of education and outlines a positive conception of education as an initiation into critical enquiry and the personal art of learning. The two middle sections consider aesthetic education. Abbs confronts government approaches to arts teaching and offers an alternative dynamic paradigm within which the creativity of the culture transmitted down the ages and the creativity of the individual seen as biologically given must be combined. The outcome of this is explored, in detail, in relation to the teaching of literature, creative writing and drama. The final section offers critical appraisals of influential figures in the arts field:; Herbert Reid, the late Peter Fuller and David Holbrook.

This Element explores the politics of literary translation via case studies from the Heinemann African Writers Series and the work of twenty-first-century literary translators in Cameroon. It intervenes in debates concerning multilingualism, race and decolonization, as well as methodological discussion in African literary studies, world literature, comparative literature and translation studies. The task of translating African literary texts has developed according to political and socio-economic contexts. It has contributed to the consecration of a canon of African classics and fuelled polemics around African languages. Yet retranslation remains rare and early translations are frequently criticised. This Element's primary focus on the labour rather than craft or art of translation emphasises the material basis that underpins who gets to translate and how that embodied labour occurs within the process of book production and reception. The arguments draw on close readings, fresh archival material, interviews, and co-production and observation of literary translation workshops.