The Poetry Of Thought From Hellenism To Celan

From the distinguished polymath George Steiner comes a profound and illuminating vision of the inseparability of Western philosophy and its living language. With his hallmark forceful discernment, George Steiner presents in The Poetry of Thought his magnum opus: an examination of more than two millennia of Western culture, staking out his claim for the essential oneness of great thought and great style. Sweeping yet precise, moving from essential detail to bracing illustration, Steiner spans the entire history of philosophy in the West as it entwines with literature, finding that, as Sartre stated, in all philosophy there is “a hidden literary prose.” “The poetic genius of abstract thought,” Steiner believes, “is lit, is made audible. Argument, even analytic, has its drumbeat. It is made ode. What voices the closing movements of Hegel’s Phenomenology better than Edith Piaf’s non de non, a twofold negation which Hegel would have prized? This essay is an attempt to listen more closely.”

From the distinguished polymath George Steiner comes a profound and illuminating vision of the inseparability of Western philosophy and its living language. With his hallmark forceful discernment, George Steiner presents in The Poetry of Thought his magnum opus: an examination of more than two millennia of Western culture, staking out his claim for the essential oneness of great thought and great style. Sweeping yet precise, moving from essential detail to bracing illustration, Steiner spans the entire history of philosophy in the West as it entwines with literature, finding that, as Sartre stated, in all philosophy there is “a hidden literary prose.” “The poetic genius of abstract thought,” Steiner believes, “is lit, is made audible. Argument, even analytic, has its drumbeat. It is made ode. What voices the closing movements of Hegel’s Phenomenology better than Edith Piaf’s non de non, a twofold negation which Hegel would have prized? This essay is an attempt to listen more closely.”

Reconsidering the German tendency to define itself vis-à-vis an eastern Other in light of fresh debate regarding the Second World War, this volume and the cultural products it considers expose and question Germany's relationship with its imagined East.

Taking a cognitive approach, this book asks what poetry, and in particular Holocaust poetry, does to the reader - and to what extent the translation of this poetry can have the same effects. It is informed by current theoretical discussion and features many practical examples. Holocaust poetry differs from other genres of writing about the Holocaust in that it is not so much concerned to document facts as to document feelings and the sense of an experience. It shares the potential of all poetry to have profound effects on the thoughts and feelings of the reader. This book examines how the openness to engagement that Holocaust poetry can engender, achieved through stylistic means, needs to be preserved in translation if the translated poem is to function as a Holocaust poem in any meaningful sense. This is especially true when historical and cultural distance intervenes. The first book of its kind and by a world-renowned scholar and translator, this is required reading.

This collection brings together some of the most prominent critics of contemporary poetry and some of the most significant poets working in the English language today, to offer a critical assessment of the nature and function of poetic thought. Working at once with questions of form, literary theory and philosophy, this volume gives an extraordinarily diverse, original and mobile account of the kind of ‘thinking’ that poetry can do. The conviction that moves through the collection as a whole is that poetry is not an addition to thought, nor a vehicle to express a given idea, nor an ornamental language in which thinking might find itself couched. Rather, all the essays suggest that poetry itself thinks, in ways that other forms of expression cannot, thus making new intellectual, political and cultural formulations possible. This book was originally published as a special issue of Textual Practice.

"No longer imminent, the End is immanent." "Ends are ends," Frank Kermode goes on to clarify, "only when they are not negative but frankly transfigure the events in which they were immanent." From its imminence to its immanence, not "negative," "no longer," but transformative, how is "the End" in turn "transfigured"? In what may ending be said then to consist? To "the end times" of apocalypse and eschatology Giorgio Agamben, following Gianni Carchia, opposes messianism and "messianic time"--to the end of time, in a formula, the time of the end. To the writings of those for whom to philosophize is to learn how to die--from Plato to Montaigne and beyond--one may oppose, in like manner, the writings of Spinoza, who "thinks of death least of all things"--"for nature is Messianic by reason of its eternal and total passing away," as Benjamin writes--and so in whose pages "wisdom," transfigured, "is a meditation on life."

The volume combines for the first time the fields of Classical Reception and World Literature in a pioneering collection of essays by world-leading scholars on modern poetry from various cultural and linguistics backgrounds (Arabic, Chinese, creole, English, French, German, Greek, Hebrew, Italian, Japanese, Spanish).

DIV“A fresh, revelatory, golden eagle’s eye-view of western literature.” —Financial Times/divDIV Early in Grammars of Creation, George Steiner references Plato’s maxim that in “all things natural and human, the origin is the most excellent.” Creation, he argues, is linguistically fundamental in theology, philosophy, art, music, literature—central, in fact, to our very humanity. Since the Holocaust, however, art has shown a tendency to linger on endings—on sundown instead of sunrise. Asserting that every use of the future tense of the verb “to be” is a negation of mortality, Steiner draws on everything from world wars and the Nazis to religion and the word of God to demonstrate how our grammar reveals our perceptions, reflections, and experiences. His study shows the twentieth century to be largely a failed one, but also offers a glimpse of hope for Western civilization, a new light peeking just over the horizon./div

Approaching Romanian literature as world literature, this book is a critical-theoretical manifesto that places its object at the crossroads of empires, regions, and influences and draws conclusions whose relevance extends beyond the Romanian, Romance, and East European cultural systems. This “intersectional” revisiting of Romanian literature is organized into three parts. Opening with a fresh look at the literary ideology of Romania's “national poet,” Mihai Eminescu, part I dwells primarily on literary-cultural history as process and discipline. Here, the focus is on cross-cultural mimesis, the role of strategic imitation in the production of a distinct literature in modern Romania, and the shortcomings marking traditional literary historiography's handling of these issues. Part II examines the ethno-linguistic and territorial complexity of Romanian literatures or “Romanian literature in the plural.” Part III takes up the trans-systemic rise of Romanian, Jewish Romanian, and Romanian-European avant-garde and modernism, Socialist Realism, exile and émigré literature, and translation.

This edited volume explores the intersections of the human, nonhuman, transhuman, and posthuman from a phenomenological perspective. Representing perspectives from several disciplines, these investigations take a closer look at the relationship between the phenomenology of life, creative ontopoiesis, and otherness; technology and the human; art and the question of humanity; nonhumans, animals, and intentionality; and transhumanism. Ontological positioning of the human is reconsidered with regard to the nonhuman, transhuman, and posthuman within the cosmos. Further examination of the artificial and object in the lifeworld is also explored. This volume also pays tribute to Anna-Teresa Tymieniecka and her methodical contributions to phenomenology. This text appeals to students and researchers of phenomenology worldwide.