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.

This book rediscovers a traditional mode of knowledge that remains viable today. Contrasted to the academic and cultural fads often based on the scientific methodology of the Cartesian legacy, or any number of trendy experiments in education, Poetic Knowledge returns to the freshness and importance of first knowledge, a knowledge of the senses and the passions. "Poetic knowledge" is not the knowledge of poetry, nor is it even knowledge in the sense that we often think of today, that is, the mastery of scientific, technological, or business information. Rather, it is an intuitive, obscure, mysterious way of knowing reality, not always able to account for itself, but absolutely essential if one is ever to advance properly to the higher degrees of certainty. From Socrates to the Middle Ages, and even into the twentieth century, the case for poetic knowledge is revealed with the care of philosophical archeology. Taylor demonstrates the effectiveness of the poetic mode of education through his own observations as a teacher, and two experimental "poetic" schools in the twentieth century.

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.

Together, Wordsworth's verse and his compelling criticism have done much to shape our understanding of poetic art since the Romantic period. This volume is the first in many years to reexamine Wordsworth's complex theory of poetry in depth across the full range of the poet's work, presenting new scholarship by influential commentators in the field.

"Every point of view, every kind of knowledge and every kind of experience is limited and ignorant: nevertheless so far as l know, this volume seems to me to be as representative as it could be.---Delmore Schwartz

This volume brings together Nussbaum's published papers on the relationship between literature and philosophy, especially moral philosophy. The papers, many of them previously inaccessible to non-specialist readers, deal with such fundamental issues as the relationship between style and content in the exploration of ethical issues; the nature of ethical attention and ethical knowledge and their relationship to written forms and styles; and the role of the emotions in deliberation and self-knowledge. Nussbaum investigates and defends a conception of ethical understanding which involves emotional as well as intellectual activity, and which gives a certain type of priority to the perception of particular people and situations rather than to abstract rules. She argues that this ethical conception cannot be completely and appropriately stated without turning to forms of writing usually considered literary rather than philosophical. It is consequently necessary to broaden our conception of moral philosophy in order to include these forms. Featuring two new essays and revised versions of several previously published essays, this collection attempts to articulate the relationship, within such a broader ethical inquiry, between literary and more abstractly theoretical elements.

Through detailed readings and interviews, this book provides a valuable introduction to feminist language-poets and to some of the most compelling issues in contemporary poetry.

When Plato wrote his dialogues, written texts were disseminated primarily by performance and oral recitation. Literacy, however, was spreading, and Frank is the first to point out that the dialogues offer two distinct ways of learning to read. One method treats learning to read as being led to true beliefs about letters and syllables by an authoritative teacher. The other method, recommended by Socrates, focuses on learning to read by trial and error, and on the opinions learners come to have based on their own fallible experiences. In all the dialogues in which these methods appear, learning to read is likened to coming to know, and the significant differences between the two methods are at the center of Frank's argument. When learning to read is understood as a practice of assimilating true beliefs by an authoritative teacher, it reflects the dominant scholarly account of Plato's philosophy as authoritative knowledge and of Plato's politics as, if not authoritarian, then at least anti-democratic. Rulers should have such authoritative knowledge and be philosopher-kings. However, learning to read or coming to know by way of Socrates' method, leads to quite a different set of conclusions. Professor Frank resists the claim that Plato's dialogues seek to endorse or enforce a hierarchy of knowledge and politics. Instead, she argues that they offer a philosophical education in self-authorization by representing and enacting challenges to all claims to expert authority, including those of philosophy.

Conceptions and practices of poetry change not only from time to time and from place to place but also from poet to poet. This has never been more the case than in recent years. Gerald Bruns’s magisterial What Are Poets For? explores typographical experiments that distribute letters randomly across a printed page, sound tracks made of vocal and buccal noises, and holographic poems that recompose themselves as one travels through their digital space. Bruns surveys one-word poems, found texts, and book-length assemblies of disconnected phrases; he even includes descriptions of poems that no one could possibly write, but which are no less interesting (or no less poetic) for all of that. The purpose of the book is to illuminate this strange poetic landscape, spotlighting and describing such oddities as they appear, anomalies that most contemporary poetry criticism ignores. Naturally this breadth raises numerous philosophical questions that Bruns also addresses—for example, whether poetry should be responsible (semantically, ethically, politically) to anything outside itself, whether it can be reduced to categories, distinctions, and the rule of identity, and whether a particular poem can seem odd or strange when everything is an anomaly. Perhaps our task is simply to learn, like anthropologists, how to inhabit such an anarchic world. The poets taken up for study are among the most important and innovative in the late twentieth and early twenty-first centuries: John Ashbery, Charles Bernstein, Paul Celan, Kenneth Goldsmith, Lyn Hejinian, Susan Howe, Karen Mac Cormack, Steve McCaffery, John Matthias, J. H. Prynne, and Tom Raworth.What Are Poets For? is nothing less than a lucid, detailed study of some of the most intractable writings in contemporary poetry.