Literary Time and Literary Space in Imagism and Ezra Pound’s Poetry

The relationship between literature and philosophy has led to the inflow of 'small' literature from 'big' literatures within the interaction between literary time and literary space with a propensity to emerge ‘big' again in another literary time and space. The most influential factor in ‘making it new' or 'from big to small, and big again' turns out to be time on account of the fact that the literary creator, namely the poet, is mortal. Since the existence of a poet as a creator turns out to be ‘temporal’, ‘making it new’ turns out to be vital for the next temporality. Therefore, this paper, using the document research method, examines Pound's poetry refracted through the time and literary space of his creative existence, as the urge for translation became an influential factor for Pound himself as a ‘new’ author. Thus, the paper analyses ‘temporal overlapping’ under the inspiring influence of Pound's poetic re-creation, either as a conversion of translated matter or as its enhancement by the poets he read. The divergent takes on mimesis by Plato and Aristotle helps Pound's creative originality, whereas J. Hillis Miller’s reading of the theory of temporality of De Mann and Heidegger, as well as the time-space transformations, help clarify 'temporal overlapping'. These, in turn, make us believe that the creation of ‘new originality’ influenced by ‘old originality’ during the transformation of time into space brings about the immortality of the poet along with ‘the little big’ literature. Received: 7 October 2021 / Accepted: 29 November 2021 / Published: 3 January 2022

THE INFLUENCE OF GREEK PHILOSOPHY ON ISLAMIC CULTURE AL-TAWHIDI IS A MODEL

The East, with its ontological history, is full of religions, and the spirituality of the eastern mind is evident in its love for the literature of proverbs and wisdom that it was able to formulate, and its sanctification of the word is only due to its magical impact on himself; It is his consolation for his painful reality! It deals with its concepts and religious and worldly matters, and that he did not digest Greek philosophy until after the writers presented it with short sentences with wise meanings from the sayings of its philosophers! It is known that wisdom and proverbs are advice, guidance, advice and exhortation, expressing a subjective experience, length of contemplation and insight into life matters, and they often have moral dimensions and that they are suitable for all human societies in a time and place. The concept of culture is so complex that it includes all human aspects. Speaking about the impact of Greek culture on Arab culture or even the presence of multiple connections, it stems from the phenomenon of influence and influence. Greek philosophy was mixed with Islamic thought and culture in the Abbasid era in general, and Arabic literature in general. In particular, it became one of the tools of expression, and the Greek philosophical culture penetrated into the Arab culture (its terms, concepts and sayings of its philosophers) until it spread in its three types: pure philosophical culture, literary philosophy, and philosophical literature. Islamic Society As the names of Greek philosophers gained popularity among members of society in all its classes! The research focused on the issue of the impact of Muslim writers on the dissemination of Greek philosophical culture in the Abbasid era, taking from Abu Hayyan al-Tawhidi (d. 414 AH / 1023 AD) as a model; Although al-Tawhidi was not unique in mixing literature with philosophy; But it is a typical example of the writers of the Abbasid era who were influenced by Greek philosophy and whose literary culture was mixed with Greek philosophy. Greek philosophy has spread among members of the Islamic community by publishing the wisdom, proverbs and sayings of Greek philosophers and scientists. The research was divided into three sections that dealt with the first topic: the relationship between literature and philosophy, while the second topic: the reasons for monotheistic influence on Greek philosophy, and the third topic: it follows the impact of Greek philosophy with the works of monotheism.

Humanistic Intention of Dystopia in "The Giver" by Lois Lowry

Purpose. The aim of this piece is to study the manifestations of humanistic pursuits in a literary fiction work. The main interest is related to the interpretation of those existential and sociocultural concepts that underlie the dystopian novel by Lois Lowry. The theoretical basis of the study is based on works on phenomenology and the theory of reader reception. The method of phenomenology is a descriptive method: the phenomena of consciousness cannot be reduced to limited cognitive forms, and therefore language and means of description are important along with their ability to reveal consciousness through phenomena. Originality of the study lies in the investigation of the humanistic aspect of a dystopian society, depicted in the modern literary fiction. The main attention is focused on the phenomenological identification of existential ideas and their manifestation in the literary characters of the given work. The conclusions speak about the tendencies of humanization and dehumanization of a man and society in the context of philosophical, ethical and aesthetic issues, which are the most important and urgent problems of our time. The current study finds out that in the modern dystopian literature and philosophy, the main subject of attention is a human. This human is perceived and depicted as a phenomenon that cannot be grasped by the notions of intimation and essence. The human is a creature whose freedom presupposes a constant departure from nature and habitual reality to the realm of transcendent through the desire to comprehend his or her certain way of existence.

Traumatic Stress Disorders

The symptoms of posttraumatic stress disorder (PTSD) have long been recognized in medicine, history, literature, and philosophy. This chapter provides an introduction and overview to this handbook, focusing on the historical context that underlies current issues within the trauma literature. This handbook contains eight parts, focusing on classification and phenomenology; epidemiology and special populations; contributions from theory, assessment, prevention, and early intervention; treatment; and dissemination/implementation and ending with a chapter highlighting future directions. The historical underpinnings of each area are delineated, with attention to their linkage with current research. The hope for this revised edition of the Handbook of Traumatic Stress Disorders is to facilitate linkages among cross-cutting areas of study and clinical application, while providing concise, up-to-date reviews of current knowledge.

Der prix de morale der Akademie von Dijon für das Jahr 1750

The article reconsiders Rousseau’s famous Discours sur les sciences et les arts within the medial and institutional context of the prize question (prix de morale) proposed by the Academy of Dijon for the year 1750. To do so, it pays special attention to the contributions submitted by Rousseau’s (thirteen) competitors, which so far have hardly been analysed by historians of literature and philosophy. The paper also expands on the institutional and social structure of the Academy of Dijon as well as the particular profile of its morality prizes organized since 1743. In addition, the article situates the contest of 1750 in the broader context of the concours académique and outlines the evolution of the genre with its specific rhetorical traditions since the end of the seventeenth century. Thus, the crucial question, how the Academy of Dijon came to select Rousseau’s text, can be approached from a different angle. Finally, this perspective also sheds new light upon certain aspects of a major work in the history of philosophy - the Discours sur les sciences et les arts.

Means of speech characteristics of the stage image in the context of decoding the signal space contemporary performances

The purpose of the article is to identify the features of speech characteristics in the context of the disclosure of the plot-content aspect of the performance of postmodern aesthetics. Methodology. A typological and systematic method is used to study the creative mechanisms of the actor's creation of the speech characteristic of the image in the context of the peculiarities of the aesthetics of postmodernism; cognitive method, thanks to which theoretical positions in the field of language psychology and speech therapy are extrapolated to the field of theatrical art; method oftheoretical generalization, etc. Scientific novelty. The influence of postmodernist theater tendencies on the process of the actor's voice work on the creation of the image – the development and implementation of speech features of the character; the peculiarities of the process of decoding the sign system of a modern production on the basis of the interpretation of the speech characteristic of the images created by the actors are analyzed. Conclusions. The verbal characteristic of the image contributes to the actor's representation of certain internal characteristics of the character, his emotional state, deep reaction to events and/or actions of other characters, changes in lifestyle and worldview, etc., and in the context of postmodern aesthetics, when stage texts double coding" – a complex phenomenon of postmodernism, artistic and aesthetic means of which in theatrical art is a synthesis of different languages and codes of literature and philosophy in a holistic hypertext of performance, contribute to the understanding and comprehension of semantic aspects of theatrical production. The actor's use of elements of speech characteristic contributes to the expansion of his professional speech competence, the diversity of speech sound of the stage word. The components of speech characteristics can act as expressive means that reveal important aspects of the character; the necessary form of revealing the internal content of the stage image; an important element of the psychophysical structure of the role; an artistic technique that enhances the expressive possibilities of the stage word, and, accordingly, helps to form verbal symbolic means of expressing the artistic meanings of the performance. In our opinion, for the organic process of forming the stage image in general and the speech characteristics of the character in particular, the actor must not only expand his attention, observation, and ability to understand and comprehend the psychological and social causes of human behavior, but also deepen knowledge of psycholinguistics and speech therapy. Because only the organic combination of these factors contributes to the design of optimal stage speech, which corresponds to the concept of each specific performance.

From symposion to goṣṭhī: The Adaptation of a Greek Social Custom in Ancient India

The symposion, a male social gathering that began in ancient Greece, was a social institution by and for men, hence a type of men’s society as we might understand it in modern parlance. Its manifestation on the Indian subcontinent has to date not been fully explored. In its original form, the symposion consisted of three main elements: alcohol, sex, and intellectual pursuits in the form of literature and philosophy, commonly understood by the popular phrase “wine, women, and song”. These sympotic elements find their equivalents in a wide range of Sanskrit litera­ture, which include medicine (Āyurveda), eroticism (Kāmaśāstra), polity (Arthaśāstra), epics, and rhetoric (Alaṃkāraśāstra), as expressed in the Carakasaṃhitā, the Kāmasūtra, the Arthaśāstra, the Mahābhārata and Rāmāyaṇa, and the Kāvyamīmāṃsā. The literary evidence indicates that the three sympotic elements came to full blossom in urban Indian men’s social gatherings or goṣṭhīs dating to a few centuries before the Common Era. The paper combines this literary evidence with archaeological sources to show how a foreign social custom contributed to an indigenous institution of men’s society in ancient India by a process of adaptation. It would appear that as the institution moved into different parts of the Indian subcontinent, it increasingly came under Brahmanic influence, which led to an important ideological change that stressed literary and intel­lectual pursuits over alcohol and sex. Under royal patronage, the goṣṭhī finally became a means for the development of Sanskrit and Indian literature and drama.

Literary Philosophy and the Use of Uselessness

We build this work from the memory of the time we stumbled into tulips at city hall. As guard sirens fled off into the night, we wondered, “Maybe we can borrow some.” We ripped handfuls from the ground and ran. “Don’t worry,” we said, “they are too busy to catch us stealing tulips.” Likewise, we get away with this useless project because others are busy doing useful work: exigent, coherent, important work. We support much of that busyness, and at the same time wonder what is lost with all that attention towards usefulness. What we offer here, through a hybrid of reflective, poetic, essayistic and scholarly forms, may be an attempted escape from the obligations of scholarship. It may be indulgent. It may tell the reader nothing, or only what the reader already knows. Yet it is oriented towards an enduring promise. This is the promise of a literary experience, understood as a kind of resonance, ineffable primarily, but nevertheless one that matters. Such a promise is found in the power and possibility of story, through poetic lines that must be broken and conceptual tethers left incommensurable. We enter this space of breaking and unfurling through an inquiry into use. The question of use and uselessness is one way of holding human contradictions in both hands. By this we mean that we make and leave space for literary and philosophical inquiries considered useless—in that they do not resolve anything—but nevertheless matterful. We suggest that readers meander these curated pages as they \ meander through an art exhibition or a museum. Within a literary exhibition one can wander through pages, spaces, and ideas. Pause. Dwell. Think. We curate a literary home beyond the demands of making something of use and we invite the reader to sit with us. As with an exhibition, possibility cannot be controlled for and so we exist in potentiality acknowledging both its positive and negative potential. Through our use, misuse, and abuse of literature and philosophy, we make ourselves a home in a possibility that can only be offered, not demanded. We manifest this literary home through fragments of philosophy evoked through a series of microfictions. As scholars, learners, teachers, and writers we are often asked to defend what our writing does. And it is implicitly suggested that knowledge creation is the result. What is the use of a work that cannot promise new knowledge? Literary knowledge may only be one gorgeous possible ordering. It is a practice which produces a kind of knowledge which is no knowledge, which is useless. If we must answer what it is that our writing does we suppose that—if anything—it offers up fictions for philosophizing. We explore a home for this work in scholarly contexts which too often find it useless, which is to say we position uselessness as a concept of value for our work as scholars, writers, and teachers. In the end we name no new uses but fiction; we steal tulips.

Introduction

This Introduction presents a study of Latin vocabulary for solitude as background for replacing bipartite divisions of Roman life (e.g., otium and negotium, “public” and “private”) with a tripartite model comprising public, private, and solitary spheres. It outlines this model’s applicability to Greek literature and philosophy, Roman religion, and Roman law, leading to a discussion of the Roman bedroom (cubiculum) and the solitary reading and writing to which it could be home. Reviewing the history of scholarship on Roman society, religion, and literature from antiquity through the present, it demonstrates how and why solitude has been written out of the study of Roman culture, and how the problem of solitude relates to the question of the individual in ancient society. Finally, it explores the relationship of literature to Rome’s solitary sphere in the age of Virgil, addressing problems of periodization, the relationship between literary criticism, philosophy, and literary production.