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Journal articles on the topic 'Metaphysical poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 September 2024

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1

Tregear, Ted. "Hope Against Hope: Abraham Cowley and the Metaphysics of Poetry." ELH 90, no. 4 (December 2023): 979–1006. http://dx.doi.org/10.1353/elh.2023.a914013.

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Abstract: In a poem to his friend Richard Crashaw, Abraham Cowley offered a critique of hope in ostentatiously metaphysical terms. He thus initiated an exchange, "On Hope," whose philosophical tenor offers new insights on the dialectic between poetry and metaphysics in seventeenth-century England. Following Cowley's lead, this essay explores the principle of hope in metaphysical poetry. It reads his poem against the metaphysical tradition, from Aristotle to Theodor Adorno, to clarify its engagement with the Aristotelian notion of potentiality. And it shows how, even in writing against hope, Cowley's poetry can think, and hope, in ways that metaphysics cannot.

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Aprilia Ridadi Prihatini and Ananda Dewi Sahri. "Metaphysical Conceit Analyses Of Selected Poems By John Donne’s." Fonologi : Jurnal Ilmuan Bahasa dan Sastra Inggris 2, no. 3 (July 31, 2024): 304–9. http://dx.doi.org/10.61132/fonologi.v2i3.954.

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Metaphysical is a literary genre that combines philosophical ideas with emotional depth and deep analyses of nature. One of the famous authors in this genre is John Donne, who is known for his profound themes, distinctive style, and skillful use of conceit in his poetry. This paper aims to explore the influence of John Donne's work on metaphysical poetry and assess the contribution and striking elements of metaphysics in his selected poems by examining Donne's use of conceit. The research aims to examine how John Donne influenced the poetry of metaphysics and explore the assessment of his literary endeavors as well as metaphysical elements. The research has uncovered new perspectives from a metaphysical standpoint on religion, the universe, love, and death.

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3

Perry, T. Anthony (Theodore Anthony). "Jewish Metaphysical Poetry?" Prooftexts 25, no. 1 (2005): 210–16. http://dx.doi.org/10.1353/ptx.2006.0013.

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4

Bezrukov, Andrii. "TRANSFORMATION AND INTERPRETATION OF GENDER CONCEPTS IN METAPHYSICAL DIMENSION: FROM CONTEMPLATIVE WORLDVIEW TO TRANSPERSONAL EXPERIENCE." Humanities & Social Sciences Reviews 8, no. 4 (August 1, 2020): 373–81. http://dx.doi.org/10.18510/hssr.2020.8437.

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Purpose of the study: Verbalization of concepts in the artistic dimension is of great significance in the study of the metaphysical view of the world. This study is undertaken to identify and describe the principal ways of transformation and interpretation of verbalized concepts with gender features, in particular the concept of WOMAN, in the poetic discourse of the Metaphysicals. Methodology: It is based on the combination of research strategies of an interdisciplinary approach with the methods of interpretive, linguistic-stylistic, hermeneutic, and imagological analysis. Adopting the methods of interpretive analysis of literary writings in the gender dimension allows us to greatly broaden the applicable scope of them. Main findings: Gender concepts analysis based on the seventeenth-century English metaphysical poetry can be of great importance since the functioning and transformation of the sphere of concepts are complicated by metaphorical, symbolic, and linguistic ambivalence – an essential element of artistic practices of the Metaphysicals. Verbalization of the concepts of MAN and WOMAN actualise a particular way of transforming and conveying the basic features of the conceptual system of gender through the lens of dialectical thinking. Application of the study: The analysis of gender concepts in poetry appears to be an embranchment of relevant and influential gender studies contributing to such fields of humanities as literary studies, linguistics, and philosophy, cultural and religious studies. This emphasizes an interdisciplinary/multidisciplinary approach. Novelty/Originality: The means of interpretive analysis help achieve objectification of the gender sphere of concepts in the metaphysical dimension that becomes a crucial means of representation of the linguistic worldview. Since the verbalization of gender concepts and gender considerations in the poetry of the Metaphysicals, and especially in John Donne's, is not always explicit, the study of them at the imagery level allows revealing even implicit concepts, in particular gender ones, arising from mental activity, spiritual life, and transpersonal experience. In metaphysical poetry, the word is considered a means of contemplating reality and transcending beyond it.

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Sansom, Dennis L. "“What you look hard at seems to look hard at you”: Metaphysics and the Poetry of Gerard Manley Hopkins." Journal of Aesthetic Education 55, no. 3 (October 1, 2021): 33–58. http://dx.doi.org/10.5406/jaesteduc.55.3.0033.

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Abstract Gerard Manley Hopkins once said, “What you look hard at seems to look hard at you.” This phrase not only encapsulates the central emphasis of Hopkins’s poetry but also suggests a proper relationship between philosophy and art. The aesthetic experience of artworks can provide pivotal experiences for metaphysical interpretations, and I attempt to show that Hopkins’s poetry gives such a foundational and informative experience for philosophical investigations. Hopkins develops his poetic expressions based on what he calls the ability of language to inscape and ingress profound experiences of reality. The metaphysics of Duns Scotus in which the particular embodies or transubstantiates the universal underlies these ideas and inspires Hopkins to write poetry. My point is not to say that a philosopher can offer the true meaning of Hopkins’s poetry and that, once we get the philosophical meaning, we can dismiss the poems. Rather, Hopkins’s poetry presents the kind of experiences that a philosopher can use to make meaningful metaphysical interpretations of the world.

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6

Lewisohn, Leonard. "Metaphysical Time in Rūmī’s Mathnawī: Sufi Terminology of Metaphysical Time." Mawlana Rumi Review 9, no. 1-2 (January 3, 2020): 19–51. http://dx.doi.org/10.1163/25898566-00901004.

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AbstractThis article explores the idea of Metaphysical Time in the poetry of Jalāl al-Dīn Rūmī against more general understandings of time and temporality in Sufi thought and Persian poetry. Various attitudes toward serial time and the subjective experience of past, present, and future are reflected in the poetry of not only Rūmī, but also ʽUmar Khayyām and Ḥāfiẓ. The philosophical approaches toward human temporality discussed here include sentient carpe diem, spiritual carpe diem, and pursuit of the Metaphysical Moment, or Time’s Currency (naqd-i waqt). To understand this, we must examine Rūmī’s understanding of the notion of the Sufi as ‘the son of time’ (Ibn al-waqt), along with the concomitant or related ideas in Rūmī’s poetry of ‘the Father of Time’ (abū ‘l-waqt) and ‘the Brethren of Time’ (ikhwān al-waqt), and the Prophet’s Hadith, ‘I have a time with God….’. The article elaborates on some remarkable homologies between the concepts of time and the ‘Industrious Man’ in the poetry of Mawlānā Rūmī and William Blake, and how the attraction of divine love pulls the lover out of Time into the realm of Eternity, and how love subverts rational categories of time and space, which become illusory and vanish in the mystical experience of unity. Aldous Huxley’s distinction between the Philosophers of Time and the Philosophers of Eternity is also explored in relation to Rūmī’s thinking.

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7

Braček, Tadej. "Contrasts in Metaphysical Writing: John Donne and Emily Dickinson." ELOPE: English Language Overseas Perspectives and Enquiries 7, no. 2 (May 28, 2010): 77–90. http://dx.doi.org/10.4312/elope.7.2.77-90.

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This paper starts by stating what metaphysical poetry is, what its characteristics are, and who the metaphysical poets are. Later the paper focuses on Emily Dickinson’s poetry and confirms the thesis that she can be considered a metaphysical poet. The third thing the paper deals with is to what extent Donne’s and Dickinson’s poetry as well as Donne’s Sermons correspond to the Calvinist theology, which is the common credo of the Churches to which they belong. A further issue the paper debates about is rhetorical devices in the metaphysical service.The last aspect of Donne’s and Dickinson’s writing that the essay explores is their attitude towards truth.

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8

Blanch, Antonio. "Metaphysical values in modern poetry." Neohelicon 14, no. 2 (September 1987): 71–81. http://dx.doi.org/10.1007/bf02094673.

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9

Loveridge, Mark. "Matthew Prior’s Alma: Affecting the Metaphysics." English: Journal of the English Association 68, no. 262 (2019): 235–61. http://dx.doi.org/10.1093/english/efz026.

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Abstract This essay provides the first full descriptive and analytical account since 1946 of Matthew Prior’s poem Alma: or The Progress of the Mind (1719), which Alexander Pope described as a ‘master-piece’. Connections are developed between Prior’s use of effervescent figures of speech and narrative tricks, and uses of figurative metaphysical language in Isaac Newton’s Opticks, the Principia Mathematica, and the ‘Leibniz–Clarke’ controversy of 1715–1716. It emerges that the poem’s main subject is figurative language and the arguments it serves. Alma is a very unusual critique of aspects of Newtonian thought, employing techniques of ‘metaphysical’ poetry to poke fun at Newtonian metaphysics.

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10

Beaver, Aaron. "Derzhavin's Metaphysics of Morality." Slavic Review 66, no. 2 (2007): 189–210. http://dx.doi.org/10.2307/20060217.

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In this essay, Aaron Beaver argues that the poetry of Gavrila Derzhavin routinely and consistently connects metaphysical beliefs with moral ones, and that, at its most sophisticated, this connection amounts to a full “metaphysics of morality” much like that developed by Derzhavin's contemporary, the philosopher Immanuel Kant. Beaver begins by exploring Derzhavin's belief in the immortality of virtue; he then examines how Derzhavin's famous monument poems assert the poet's immortality because he verbally pays tribute to those who are virtuous; finally he analyzes Derzhavin's 1797 poem “Bessmertie dushi,” in which the poet realizes the connection between the immortality of the soul and morality. The latter part of the article examines Derzhavin's poetic expression of this connection in light of Kant's two postulates of the moral law—the immortality of the soul and the existence of God—and finds that Derzhavin's poetry expresses a similar position with genuine philosophical rigor.

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11

Macarthur, David. "Wittgenstein and Poetry: A Reading of Czeslaw Milosz’s “Realism”." Philosophies 9, no. 4 (August 18, 2024): 128. http://dx.doi.org/10.3390/philosophies9040128.

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In this paper I hope to cast light on Wittgenstein enigmatic remark, “one should really only create philosophy poetically”. I discuss Wittgenstein’s ambition to overcome metaphysics by way of an appeal to ordinary language. For this purpose I contrast “realism” in philosophy (i.e., metaphysical realism, particularly its modern scientific version) with “realism” in poetry. My theme is the capacity of poetry to provide a model for Wittgenstein’s resistance to the inhumanity unleashed in metaphysics—exemplified by two distinct forms of skepticism—which obliterates the ordinary world under the guise of discovering its true nature. The poem I shall use to illustrate the difficulty in maintaining our grip on reality, hence our grip on our humanity, is Czeslaw Milosz’s poem “Realism”.

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12

Ali, Nasir. "Metaphysical Elements in Wali Deccani's Poetry." Makhz 2, no. IV (December 31, 2021): 98–106. http://dx.doi.org/10.47205/makhz.2021(2-iv)8.

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13

Byunghwa, JOH. "Metaphysical Motives in Eliot’s Early Poetry." Journal of the T. S. Eliot Society of Korea 31, no. 1 (April 30, 2021): 45–67. http://dx.doi.org/10.14364/t.s.eliot.2021.31.1.45-67.

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14

Jadeja, Dr Jaylaxmi. "Shakespeare’s Sonnets and The Metaphysical Poetry." POETCRIT 32, no. 1 (February 14, 2019): 6–11. http://dx.doi.org/10.32381/poet.2019.32.01.2.

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15

Piasta, Ewa Anna. "Metaphysical Aspects of Rose Ausländer’s Poetry." Respectus Philologicus 22, no. 27 (October 25, 2012): 103–14. http://dx.doi.org/10.15388/respectus.2012.27.15340.

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This article analyzes six poems by Rose Ausländer, a poet of Jewish origin, who lived in the years 1901–1988. She was born at Chernivtsi (then in the Austro-Hungarian Empire), and died in Düsseldorf (Germany). Ausländer wrote in German and in English. The aim of this paper is to discuss the metaphysical aspects of Ausländer’s poems and to demonstrate that these aspects are manifested on the semantic, lexical and axiological levels. My interest is in the spiritual experience evoked by her poetry, resulting from a transcendence-and Absolute-oriented existence, experienced in terms of mystery. Another objective is to determine whether the said metaphysical experience receives religious specification. The ergocentric method, as proposed by Zofia Zarębianka in her research into the sacred in literature, is based on the assumption that this phenomenon is inherent in the text itself and can thus be investigated without referring to external circumstances or searching therein for itsorigins. This allows for a greater concentration onthe very phenomenon of the sacred as present ina literary text.The analysis of the poems shows that references to God the Creator tend to be frequent, and that human participation in the act of creation is repeatedly stressed. The speaker assumes a posture of dependence on, respect for and admiration of the Absolute. Significant to the spiritual dimension of this poetry is seeing material reality and the affairs “of this world” in eschatological terms. Ausländer’s poetry reveals a system of Bible-based beliefs, such as those concerning the love for one’s neighbour. An adequate reading of the meanings evoked in Ausländer’s lyrical texts becomes possible when the Bible is seen as the prototype of the lyrical situations presented in her poems. The primacy of spiritual meanings, as well as the search for identity, eternity, fullness and the creative powers of God, become clear indeed. The religious vocabulary of the poems under discussion is rather poor. Instead, it is axiological references and allusions to Biblical fragments, such as psalm verses, that construct the poems’ metaphysical aspects. These are then made more specific with the use of notions typical of the Judeo-Christian tradition.

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Burney, Fatima. "Locating the World in Metaphysical Poetry." Journal of World Literature 4, no. 2 (June 10, 2019): 149–68. http://dx.doi.org/10.1163/24056480-00402002.

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Abstract Discussions on world literature often imagine literary presence, movement, and exchange in terms of location and prioritize those literary traditions that can be easily mapped. In many regards, classical ghazal poetry resists such interpretation. Nonetheless, a number of nineteenth-century writers working in Urdu and English reframed classical ghazal poetry according to notions of locale that were particularly underpinned by ideas of natural essence, or genius. This article puts two such receptions of the classical ghazal in conversation with one another: the naičral shāʿirī (natural poetry) movement in North India, and the portrayal of classical Persian poet Hafiz as a figure of national genius in the scholarship of Ralph Waldo Emerson. Both these examples highlight the role that discourses of nature and natural expression played in nineteenth-century literary criticism, particularly with regard to conceptions of national culture. They also demonstrate how Persianate literary material that had long circulated in cosmopolitan ways could be vernacularized by rereading conventionalized tropes of mystical longing in terms of more worldly belonging.

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Shevtsov, Sergii. "Transcendental anthropology and poetry (metaphysical parallels)." Sententiae 6, no. 2 (August 30, 2002): 41–51. http://dx.doi.org/10.31649/sent06.02.041.

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In this article, the author analyses and compares the views of Kant, Heidegger, Husserl, Brodsky and Bakhtin, and examines the problem of time, space, and contemplation. Another subject of consideration is the finitude of being, which combines the three previous aspects.

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18

Ślarzyńska, Małgorzata. "The Metaphysical Canon in Poetry: on Cristina Campo’s Translation Activity." Tekstualia 1, no. 5 (December 31, 2019): 151–58. http://dx.doi.org/10.5604/01.3001.0014.4107.

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The article focuses on Cristina Campo’s poetry translations in the context of her literary choices infl uenced by her predilection to metaphysical literature. The category of metaphysical literature can be understood, fi rst of all, as related to metaphysical English poets like John Donne, George Herbert, Richard Crashaw, and Henry Vaughan. Metaphysical were also those authors whose writings defi ed the categories of space and time, and transcended the temporal and geographical limits. One of the greatest Campo’s fascinations from that perspective was the poetry of William Carlos Williams, as well as other authors that entered in her category of imperdonabili. Campo’s translational activity followed a well-delineated path related strictly to her metaphysical inclinations and manifested certain traits of the tendency to establish the personalized canon of real and worthwhile literature that at the same time opposed the mainstream literary choices of that time

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Pospolita, Anastasiia. "THE METAPHYSICAL MOTIVES IN THE POETRY OF BOLESŁAW LEŚMIAN." Polish Studies of Kyiv, no. 35 (2019): 503–9. http://dx.doi.org/10.17721/psk.2019.35.503-509.

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The research is devoted to the metaphysical motives in the poetry of Bolesław Leśmian. This is an important milestone in the history of Polish literature. The legacy of such poets determines not only the nature of national poetry, but also has a significant impact on the development of world literature. Bolesław Leśmian created his unique metaphysical world. Its structure, organization and other features and innovations are the subject of our study. The aim of the study is to show the metaphysical motives in the poetry of Bolesław Leśmian, based on the critical reception of the representatives of the Polish and Ukrainian literary studies from the past and present century. The main features of the soul topos in Lesmian’s poetry are its transcendent origin, connection to corporalness, death, individuality, permanent motion. In our study, we came to the conclusion that Man can exist only in conjunction with nature. With its help, he can know the otherworldly, God, but when he merges with it, he becomes a different form of being, but does not die. Because man can not know God, he is afraid of the unknown and the unconscious she suffers. Man seeks to know God, but he is not her guardian or ruler. The other world is a redeveloped, separate world, there are travels, the poet is constantly looking for similarities to the earth. It is fictional, therefore, M. Glovinsky calls it “represented”. B. Leśmian’s poetic world is sensational and the perception and understanding of his world is through our senses. The dream in poetry of Bolesław Leśmian is not only a leading motive but also an element of the composition and often acts as the theme of the poem. To represent his metaphysical world, Bolesław Leśmian uses the technique of installation, introduces new words, oxymorons and other artistic techniques characteristic of the epoch of modernism. According to metaphysics, the highest value is earthly existence, and vice versa: the impossibility of being, the inability to become bodily, which feels thinking, is the fundamental source of all suffering. Bolesław Leśmian seems to open the opposite world to us, the unceasing motion of that which does not exist, unmanaged in the side of existence, and realizes the painfulness of the unassembled form of existence, which is as strong as the suffering of the body.

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Рязанцева, Тетяна. "INTERMEDIAL INTERPRETATION OF THE KEY TOPICS OF METAPHYSICAL POETRY (TWO CHAPTERS FROM AN INTERNATIONAL ART PROJECT “THE SEA IS HERE. ABSENCE AS PRESENCE”)." Слово і Час, no. 1 (March 12, 2023): 62–80. http://dx.doi.org/10.33608/0236-1477.2023.01.62-80.

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The paper discusses the productivity of the new creative approaches to the established types of poetry. Building on the theoretical definitions, taxonomies, and observations formulated in the works of James Smith, Frank Warnke, Michael Nott, Robert Crawford and Norman McBeath, Susan Sontag, Viktoria Khoniu, et al., the research argues that the artistic practices of photopoetry (“a form of photo-text that takes, for its primary components, poetry and photography”, Michael Nott) offer new ways to interpret certain topics of metaphysical poetry. The term “metaphysical poetry” defines an independent trend of literature focused on “the realities of peculiar kind” (James Smith) such as Time, Death, Religion, and Love. The material for analysis is taken from the international multimedia project “The Sea Is Here: Absence as Presence” (2020) edited by Natalia Kutsepova (USA) and Nina Kharchenko (Germany). Two photopoetic pieces from this art book, “Miracles” by Shaun Evans and “Bond” by Kati Dahlmann, explore the themes of Religion and Death, which are central to metaphysical poetry. The detailed analysis of “Miracles” and “Bond” outlines the types of artistic collaboration in both projects and focuses on their structural, stylistic, and semantic characteristics. Special attention is paid to the ways of interaction between photographs and texts. It is noted that the principle of photopoetic imagery is close to the principle of metaphysical conceit (to harmonize the incompatible). The author concludes that the creative strategy of photopoetry can be instrumental in interpreting the key metaphysical topics. It proves the vitality of some traditional concepts (memory as a tool to transform the transient/mortal into the stable/immortal) and introduces important innovations (the detached position of a human being in their communication with God).

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21

Ahmad Mahir, Normazla, Zarina Ashikin Zakaria, Mohd Muzhafar Idrus, and Norhana Abdullah. "Exploring The Element of Allegory and Metaphysical Conceit in The Works of John Donne’s A Valediction Forbidding Mourning & John Dryden’s Annus Mirrabilis: A Comparative Analysis." Al-Azkiyaa - Jurnal Antarabangsa Bahasa dan Pendidikan 1, no. 1 (September 16, 2022): 35–47. http://dx.doi.org/10.33102/alazkiyaa.v1i1.7.

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In the Renaissance period, the rise of the 17th century metaphysical poets like John Donne, John Dryden, Andrew Marvell and others had contributed to the publication of copious colourful poetry. The use of allegory and metaphysical conceit in their poetry have further revealed their inventive metaphors and agile intelligence (Bloom, 2010). Using Aldo Nemesio’s (1999) comparative method as an attempt to understand the poet and persona’s human literary behaviour, researchers have categorized and analyzed the poems in multiple contexts and stanzas so as to create interpretations from the allegory and conceit depicted. Hence, this paper shall discuss the findings on the comparative analysis of the element of allegory and metaphysical conceit depicted in the poems of the two metaphysical poets; John Donne’s A Valediction Forbidding Mourning and John Dryden’s Annus Mirrabilis.

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Du, Jiapeng. "An Analysis of Metaphysical Conceits in John Donne’s Poems." Theory and Practice in Language Studies 11, no. 8 (August 1, 2021): 962–67. http://dx.doi.org/10.17507/tpls.1108.12.

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In the seventeenth century British literary arena appears a unique school of poetry called “metaphysical school”. The most remarkable characteristic of the metaphysical poetry is the original and arresting conceits. John Donne is the forefather and the most representative of the school. Through analyzing the sources of conceits in John Donne’s poems, this paper attempts to clarify the using of conceits in John Donne’s representative poems, and then summarize the features and unique functions of conceits. It is hoped that it can help readers to have a better understanding of the poet’s poetry, and grasp his thoughts.

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Roberts, Michael Symmons. "Writing Faith into Poetry." Modern Believing 65, no. 2 (April 2024): 163–70. http://dx.doi.org/10.3828/mb.2024.13.

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A poet’s essay, reflecting on the opportunities and challenges of writing poetry in metaphysical territory (and the difficulty of finding terms to define this territory) at a time when much traditional religious language is no longer widely used or shared.

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Bezrukov, Andriy. "Hedonist and Theologist Narratives in French Baroque Poetry and Spiritual Verses by the English Metaphysicals: Poetising Author’s Experience vs Sacralising Privy Feelings." Studia Philologica, no. 22 (2024): 227–42. http://dx.doi.org/10.28925/2412-2491.2024.2216.

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In the poetic diversity of Western European Baroque, the worldview was dominated by the search for unity in the contradictions of existence, which almost always immersed the man in a theological context. This is especially evident in the works by the seventeenth-century English Metaphysicals, whose unique style is considered from the perspective of the European continental poetic tradition. At the same time, appealing to French Baroque poetry as a specific literary phenomenon compared to Donne’s school in England is determined by the historical and creative process that produces individual strategies of poetising an author`s experience vs sacralising privy feelings. The article discusses the originality of the means of poetic expression of worldview principles in French Baroque poetry and English metaphysical school, which are expressed in close connection with the author’s paradigms of hedonistic-religious vs spiritual vision of reality. These means are actualised at the image-plot and structural levels that determine the methodology based on conceptual approaches to comparative analysis with elements of hermeneutic, imagological, stylistic, and cultural-historical methods. The article emphasises that the profound considerations about the origins of the universe in love poems with hedonistic motives bring the works of the French authors (Théophile de Viau) closer to the verses of the English ones, who discuss serious issues of human existence, religion, world order, etc. (A. Marvell) even in love poems. The religious works of the French poets (d’Aubigné, de Sponde, La Ceppède) contrast with metaphysical ideas about the transcendent world (J. Donne, G. Herbert, F. Quarles, Н. Vaughan) precisely by interpreting the Baroque themes of the transience of earthly existence, imperfection of human being, that are represented defectively from the perspective of style. Metaphysical tension and emotional release of the most secret movements of the soul raise the spiritual verses to the level of contemplative poetry.

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Manganiello, Dominic. "Book Review: The Varieties of Metaphysical Poetry." Christianity & Literature 43, no. 3-4 (June 1994): 420–22. http://dx.doi.org/10.1177/014833319404300316.

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Chouhan, Sandhya. "The Theme of Love in Sarojini Naidu’s Poetry." International Journal of Advanced Research in Peace, Harmony and Education 04, no. 01 (December 4, 2019): 10–12. http://dx.doi.org/10.24321/2455.9326.201903.

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Love is the dominant theme of Sarojini Naidu’s poetry. There are a large number of love-lyrics in the store of her poetry. As a love-lyricist, Sarojini Naodu is superb. Her lyrics deal with human love to metaphysical love. Thus, her love-lyrics have an aesthetic approbation of contemplation and sensation.

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Ziarek, Krzysztof. "The Poetic Way of Thinking." Research in Phenomenology 52, no. 1 (February 21, 2022): 68–83. http://dx.doi.org/10.1163/15691640-12341489.

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Abstract Heidegger repeatedly performs the encounter of thinking and poetry, explicitly for the sake of inaugurating a non-metaphysical way of thinking. This transformed thinking is to be poetic and non-conceptual, eschewing the comfort of transparent meaning, the grasping power of concepts, the presentational force of images, or the self-evident correctness of propositional statements. The need for such a non-metaphysical thinking arises historically, at the endpoint of the epoch of the completion of metaphysics, when it comes to roost in the Gestell, the technological essencing of being, which pervades and (over)powers all that is in being: all beings, entities and occurrences. Poetic thinking responds to the modern drive to maximum availablity and dispose-ability of being and beings, freeing up the possibility of a path alternative to the dominion of calculative thought and its technological metrics.

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Младеновић, Јелена. "НЕОЛОГИЗАМ „ОНОЦВЕТНО” У АРИЉСКОМ АНЂЕЛУ БРАНКА МИЉКОВИЋА." PHILOLOGIA MEDIANA 14, no. 1 (June 13, 2022): 35–44. http://dx.doi.org/10.46630/phm.14.2022.02.

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“The Angel of Arilje”, a poem from Branko Miljković’s volume of poems Fire and Nothing (1960), is the poet’s another expression of transforming the metaphysical into poetical. All the significant questions in Miljković’s poetics, furthermore, in neosymbolist poetics are mirrored in it: the relation between poetry and reality, erasing of subject (oblivion), and the nature of poem. Within the image of an angel (a fresco and poetic imagery), Miljković has discovered the desired balance between the material and the spiritual. The relation between the realities of the former and the latter side of the wall is a precondition for understanding Miljković’s notion of emptiness, not only as a place of birth of poetry, but also as the discovery of the ontological meaning. Having in mind the lexicographic aspect of the poem “The Angel of Arilje”, here we observe Miljković’s neologism “onocvetno/other-florally” as the key poetism in which Miljković’s creative principle of connecting metaphysics and poetry is epitomized.

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Williams, Nicholas Morrow. "The Metaphysical Lyric of the Six Dynasties." T'oung Pao 98, no. 1-3 (2012): 65–112. http://dx.doi.org/10.1163/156853212x629901.

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AbstractIn the third and fourth centuries there flourished in China a literary tradition that integrated abstruse philosophizing into pentasyllabic verse: xuanyan shi or the “metaphysical lyric.” Xuanyan verse was mostly ignored in the great wave of literary critique and classification during the succeeding centuries, and much has been lost, but by using a variety of sources, ranging from the Shishuo xinyu to later imitations, we can ascertain its features and assess its later impact. Xuanyan verse played a key role in the development of early medieval poetry, providing a philosophical foundation to undergird poetic genres from which it at first appears quite alien. This article first describes the ideological and cultural context of xuanyan poetry, then surveys its major exemplars, and finally demonstrates its enduring influence.

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Motornyy, Oleksandr. "METAPHYSICAL AND RELIGIOUS MOTIVES IN PAVEL PETR’S POETRY." Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, no. 12(80) (December 23, 2021): 113–16. http://dx.doi.org/10.25264/2519-2558-2021-12(80)-113-116.

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The spiritual direction of Czech poetry reaches the period of the XIX-XX centuries, where we see the works of such authors as J. Deml, J. Zagradníček, J. Durych. Despite the difficult years of the Second World War, and later oppression by the official communist authorities, this tradition has not been lost, but rather strengthened and is represented today by a number of authors, including M. Schtor, R. Fajkus, partly M. Děžinský and others. In these authors’ poetry one can see noticeable search for a lyrical hero of the Higher Power, the search for his own place in this world, trying to unravel its mysteries. One of the famous representatives of this literary trend is Pavel Petr. Poet was born in Zlín, worked as a locksmith for some time, later was the editor of some Czech literary journals, and afterwards began to write his own works. As of today, there are eleven of his poetic books. His poetry is characterized by religious symbolism, complex metaphor, irrational imagery, the lyrical hero's search for God. Images of Peter are very rarely lined up in a clear logical whole picture. The reader may try to do it him or herself, but it is likely that such an attempt will encounter an obstacle where logic falls into a dead end and the author, as if watching it, just smiles. The lyrical hero, being in such a world, also does not know in what temporal and spatial dimension he is, where exactly to go. The only hope for a Supreme Power that can show the way through revelation. That is why in the poetry of P. Petr there is often an appeal to such a force. The author seems to be hinting to the reader so that it is impossible to understand the spiritual world by logic, and the only thing left for us to do is to apply the power of faith.

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Matthews, Steven. "T. S. Eliot's Chapman:?Metaphysical? Poetry and Beyond." Journal of Modern Literature 29, no. 4 (September 2006): 22–43. http://dx.doi.org/10.2979/jml.2006.29.4.22.

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Dime, Gregory T. "The Difference between "Strong Lines" and "Metaphysical Poetry"." Studies in English Literature, 1500-1900 26, no. 1 (1986): 47. http://dx.doi.org/10.2307/450694.

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Walker, Cheryl. "Metaphysical Surrealism in the Poetry of Elizabeth Bishop." Christianity & Literature 48, no. 1 (December 1998): 45–60. http://dx.doi.org/10.1177/014833319804800106.

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Krysa, Bohdana. "METAPHYSICAL FOUNDATIONS IN THE POLEMICAL VERSE COMPLEX OF THE 1580—90S." Слово і Час, no. 1 (February 3, 2022): 52–68. http://dx.doi.org/10.33608/0236-1477.2022.01.52-68.

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The aim of the paper is to justify the correlation between polemical motifs in verses and the metaphysical principle of causation. It is possible due to revealing that the mainstay of polemical discourse lies in the images by which God, as the Cause of all things, manifests His presence in the world, according to the teachings of medieval metaphysics. This gives grounds for interpreting the emotional tension of polemical discourse and its inherent figures of reduction or simplification not as an alternative to the inner metaphysical sense but only as a kind of decentralizing and translating it into the language of other circumstances or the language of personal spiritual experience. The metaphysical dimension of polemical poems correlates with the prospect of restoring their broader literary context and broader reception. The paper is to investigate the extent to which the structure as a choice, focused on the publication and perception of texts in certain historical circumstances, makes it possible to manifest certain metaphysical factors by causing a special nonlinear nature of interrelationship, the reverberation of individual motifs and voices between the texts, which are quite different from each other. This historical-literary and hermeneutic approaches let us observe the manifestation forms of metaphysical sense not only in relation to the literary subtext but also in terms of the development and functioning of sovereign metaphysical motifs. Interpretation of the praxis of religious life and the nature of church confrontations and heresies discloses the ‘inner’ image of the individual in the light of Christology and the Christian concept of the Word. The study of the metaphysical foundation of polemical verse complex determines general tendencies in Ukrainian poetry and their transformation in certain milieus. At the same time, it testifies to the changes and development of poetic discourse, the awareness of God’s Word, and human responsibility for the said and written.

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Andersen, Svend. "“Den guddommeligt skønne natur”." Dansk Teologisk Tidsskrift 84, no. 1 (July 16, 2021): 25–47. http://dx.doi.org/10.7146/dtt.v84i1.128069.

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Abstract: The article offers a contribution to the understanding of K.E. Løgstrup’s metaphysics focusing on his reading of Friedrich Hölderlin’s poetry and Martin Heidegger’s interpretation thereof. Heideggerian ontology plays a crucial role in Løgstrup’s theology as a philosophical explication of the pre-understanding of Christian faith. At first, existential ontology was essential in this respect, but later Løgstrup realized the necessity of broadening the view to being in general, which equals the movement towards metaphysics. In this movement, Hölderlin as interpreted by Heidegger is pivotal, an important element being the “poetic openness” Løgstrup introduces in The Ethical Demand. In unpublished manuscripts, Løgstrup claims that poetic openness in Hölderlin has an ontological and metaphysical content, and his reading thereby anticipates central themes in his later metaphysics such as omnipresence, particularity, and the history-nature relation.

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MARINCHUK, Yuriy. "MARTIN HEIDEGGER’S METAPHYSICAL QUESTION OF 1929-1930: GENESIS AND CONSEQUENCES." Epistemological Studies in Philosophy Social and Political Sciences 7, no. 1 (July 26, 2024): 31–42. http://dx.doi.org/10.15421/342413.

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The article examines the foundations that constitute the formulation of the metaphysical question in Martin Heidegger’s philosophy. The article focuses in detail on the period of 1929-1930, which includes the report “Was ist Metaphysik?” and the lecture course “Die Grundbegriffe der Metaphysik. Welt–Endlichkeit–Einsamkeit”. The introduction to the article and the main problem are three prejudices from Being and Time that make it impossible to ask a clear question about being. The main material is presented on the basis of primary sources: “Being and Time”, “Basic Concepts of Metaphysics”. The peculiarity of Heidegger’s work of the 1929s and 1930s is the approximation of the research methodology in the 1927 treatise to the present. Phenomenological hermeneutics and fundamental ontology were used in relation to the ancient Greeks to develop a metaphysics of ciphers or special words in which Heidegger concentrated the Greek experience of being. During the 1930s, Heidegger would make an effort to realize this experience by looking for points of intersection between Greeks and Germans in German idealism and poetry. Since the Greeks are ruled by aeon (temporal time) and agon (the spirit of competition), modern metaphysics needs to develop a special concept of being that would distinguish who Germans are, where they came from, and where they are going. The article proposes a distinction between higher being - divine, human life-world – social, human essence – cultural, working, shepherd. Being, being and man are subject to metaphysical questioning as the most general concepts. That is, those that immediately or a priori express a certain clarity. Nihilism, as the spirit of the time, demands that metanarratives be questioned and self-evidence be reassessed. An outstanding achievement of Heidegger’s metaphysical question is the distinction being as Seyn. The nationalist or folk Old German definition of being both frees it from academic requirements and accurately captures the open horizon in which the existence of the first half of the 20th century was frozen. Since this essence of man is presented after the linguistic turn, it lacks the main feature of the turn-a specific linguistic ability or words that clarify being. The article aims to study Martin Heidegger’s metaphysical teaching in the 1929-1930s. The article concludes that the metaphysics of the above-mentioned years of Heidegger’s philosophy reveals itself in parallel with the spirit of the time of the then German conservative revolution. As we know, Martin Heidegger did not remove the question of being and selected names for it, because he was looking for an appropriated lawn and a boundary, beyond which the exit to the lawn opens. This article offers a look at this problematic in the contextual name of metaphysic – Seyn.

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Adejumo, Arinpe. "Didacticism and Philosophical Tenets in Ọbasa’s Poetry." Yoruba Studies Review 5, no. 1 (December 21, 2021): 1–24. http://dx.doi.org/10.32473/ysr.v5i1.130058.

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Projection and promotion of Yoruba cultural ideology and philosophy are motifs in D.A. Ọbasa’s poetry. As an ingenious poet, Obasa adroitly blends the tropes of didacticism and philosophical tenets in his poetry. Existing works on his poetry have explored the thematic preoccupations of his poems, as well as their forms and stylistic features. However, little attention has been paid to the correlation between didacticism and philosophy in his poetry. Tis essay, therefore, identifies the basic tenets of philosophy in the form of ethical, metaphysical, and epistemological aspects of Yoruba philosophy in Obasa’a poetry with a view to establishing the way Yoruba philosophy is used to teach morals in the poems. Ọbasa’s philosophical inclination is anchored on Yoruba philosophy. Some of the philosophical tenets identified are ethical issues, like obedience, truth, hospitality and being respectful. Virtues are extolled, while vices, like jealousy, pride, disobedience and deceit are condemned. The metaphysical beliefs of the Yoruba in death, destiny, and life after death, as well as the belief in the Supreme Being (Olodumare) are also discussed. The epistemological values of Yoruba communal system and ìwà, and ọmọlúàbí concept are also entrenched in Ọbasa’s poetry. It is also revealed that satirical elements, especially humor are used to project Yoruba philosophical belief in order to imbue the reader with moral rectitude. There is a close link between Ọbasa’s poetry and the Yoruba sociocultural milieu. The essence of didacticism and philosophical tenet in his poems is to advance the social development of the Yoruba society and the larger Nigerian society.

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Makin, Michael, Tiutchev, Boratynskii, and Sarah Pratt. "Russian Metaphysical Romanticism: The Poetry of Tiutchev and Boratynskii." Modern Language Review 82, no. 3 (July 1987): 808. http://dx.doi.org/10.2307/3730518.

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Leighton, Lauren G., Sarah Pratt, Tiutchev, and Boratynskii. "Russian Metaphysical Romanticism: The Poetry of Tiutchev and Boratynskii." Studies in Romanticism 26, no. 3 (1987): 475. http://dx.doi.org/10.2307/25600673.

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SOĞUKÖMEROĞULLARI, Mehmet. "Religious, Mystical and Metaphysical Elements in Yahya Kemal’s Poetry." International Journal Of Turkish Literature Culture Education 1, no. 1 (2012): 218–45. http://dx.doi.org/10.7884/teke.4.

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Sampson, Earl D., and Sarah Pratt. "Russian Metaphysical Romanticism: The Poetry of Tiutchev and Boratynskii." Slavic and East European Journal 29, no. 4 (1985): 471. http://dx.doi.org/10.2307/307467.

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Farooq Salih Albadri, Dr Mohammed. "The Metaphysical School of Poetry of the Seventeenth Century." International Journal of Scientific and Research Publications (IJSRP) 11, no. 5 (April 12, 2021): 304–8. http://dx.doi.org/10.29322/ijsrp.11.05.2021.p11336.

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William R. Hooton III. "Herbert, Keats, and the Romantic Revival of Metaphysical Poetry." George Herbert Journal 21, no. 1-2 (1997): 33–57. http://dx.doi.org/10.1353/ghj.2013.0020.

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Jamal, Muhammad Tanveer, and Abdul Zahoor Khan. "Poetry of Bābā Farīd." ISLAMIC STUDIES 61, no. 1 (March 31, 2022): 85–110. http://dx.doi.org/10.52541/isiri.v61i1.1393.

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Shaikh Farīd al-Dīn Mas‘ūd Ganj-i Shakar (569/1173-664/1265) is one of the celebrated Chishtī Sufis of the Indian subcontinent. Chishtī order is credited with several seminal literary innovations in Medieval Islamic India. Bābā Farīd is considered the father of Punjabi poetry. He also had a great command of other languages including Persian and Arabic. The present study explores the contemporary sources that interacted with Bābā Farīd’s couplets. An effort has also been made to explore the originality of the Ashlōk-i Shaikh Farīd included in the Guru Granth. The study is a unique endeavour to conceptualize and examine the thematic connection of Bābā Farīd’s poetry with his life, teachings, and metaphysical thoughts preserved in biographical compendia.

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Zelić, Tomislav. "The Nondiscursive Aesthetics of Music, Lyric Poetry, and Tragedy." Philosophy and Literature 47, no. 2 (October 2023): 342–58. http://dx.doi.org/10.1353/phl.2023.a913810.

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Abstract: Is it possible to speak about the unspeakable as it is represented in music, lyric poetry, and tragedy? The answer is yes, if we adopt a purely aesthetic perspective. The answer is no, if we adopt the perspective of the transcendental subject as the metaphysical source of music, lyric poetry, and tragedy. In this paper, I conceptualize the nondiscursivity of music, lyric poetry, and Attic tragedy in the philosophical aesthetics of Kant, Schopenhauer, and Nietzsche. I also make a few incidental remarks to Plato's Socrates and Aristotle as well as the Theban plays by Sophocles.

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Faruque, Muhammad U. "Eternity Made Temporal." Journal of Sufi Studies 9, no. 2 (June 30, 2021): 215–46. http://dx.doi.org/10.1163/22105956-bja10009.

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Abstract This study investigates the Deobandī engagement with classical Sufi thought through the writings of one of modern South Asia’s most influential Sufi thinkers, namely Ashraf ʿAlī Thānavī (d. 1943). The article brings to focus Thānavī’s contributions to South Asian Sufism by showing how he sought to preserve, defend, revive, and disseminate classical Sufi teachings in a climate of social reform. The article documents how Deobandī scholars such as Thānavī – far from being propagators of shallow fundamentalist discourses – immersed themselves in the ocean of some of the most sophisticated strands of Islamic learning such as Sufi metaphysics that often employ rational methods of argumentation, alongside symbols and imageries to articulate complex metaphysical doctrines in both prose and poetry.

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Cooper, David E. "Visions of Philosophy." Royal Institute of Philosophy Supplement 65 (October 2009): 1–13. http://dx.doi.org/10.1017/s1358246109990026.

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Characterizations of philosophy abound. It is ‘the queen of the sciences’, a grand and sweeping metaphysical endeavour; or, less regally, it is a sort of deep anthropology or ‘descriptive metaphysics’, uncovering the general presuppositions or conceptual schemes that lurk beneath our words and thoughts. A different set of images portray philosophy as a type of therapy, or as a spiritual exercise, a way of life to be followed, or even as a special branch of poetry or politics. Then there is a group of characterizations that include philosophy as linguistic analysis, as phenomenological description, as conceptual geography, or as genealogy in the sense proposed by Nietzsche and later taken up by Foucault.

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Yilmaz, Arif, and Mustafa Çiçek. "A Classification Essay on Islamic Poetry in New Turkish Literature." Revista de Gestão Social e Ambiental 18, no. 9 (April 26, 2024): e06445. http://dx.doi.org/10.24857/rgsa.v18n9-008.

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Objectives: The objectives of this study are to define Islamic poetry, explore its analytical methodology, and provide examples that illustrate its thematic concepts within modern Turkish poetry. Methods: To achieve these objectives, the study employs the document analysis method, which is a qualitative research approach. The analysis focuses on modern Turkish poetry, examining examples across eight distinct categories of Islamic poetry. Results: The analysis of Islamic poetry within modern Turkish literature reveals its diverse manifestations across various thematic categories. These include Islamist Poetry, Turkish-Islamic Poetry, Sufi Poetry, Islamic Mystical Poetry, Islamic Metaphysical Poetry, Islamic Cultural Poetry, Religious Poetry, and Islamic Romantic Love Poetry. Each category is exemplified with a poem, showcasing the rich tapestry of Islamic sensibility, motivation, and thematic concepts present in modern Turkish poetry. Conclusion: In conclusion, this study highlights the enduring influence of Islam on Turkish poetry, both historically and in contemporary times. Through the exploration of Islamic poetry across different thematic categories, the study illustrates the depth and breadth of Islamic sensibility within modern Turkish literature. The researchers' conclusions drawn from the analysis further contribute to our understanding of the role of Islamic poetry in shaping cultural and literary discourse in Turkey.

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Yılmaz, Arif, and Mustafa Çiçek. "A Classification Essay on Islamic Poetry in Contemporary Turkish Literature." Journal of Lifestyle and SDGs Review 4, no. 3 (September 17, 2024): e02581. http://dx.doi.org/10.47172/2965-730x.sdgsreview.v4.n03.pe02581.

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Objectives: The objectives of this study are to define Islamic poetry, explore its analytical methodology and provide examples that illustrate its thematic concepts within contemporary Turkish poetry. Methods: To achieve these objectives, the study employs document analysis and a qualitative research approach. The analysis focuses on contemporary Turkish poetry, examining examples across eight distinct categories of Islamic poetry. Results: The analysis of Islamic poetry within contemporary Turkish literature reveals its diverse manifestations across various thematic categories. These are Islamist Poetry, Turkish-Islamic Poetry, Sufi Poetry, Islamic Mystical Poetry, Islamic Metaphysical Poetry, Islamic Cultural Poetry, Religious Poetry and Islamic Romantic Love Poetry. Each category is exemplified with a poem, showcasing the rich tapestry of Islamic sensibility, motivation, and thematic concepts present in contemporary Turkish poetry. Contribution: In terms of research implications, this study highlights the enduring influence of Islam on Turkish poetry, both historically and in contemporary times. Through the exploration of Islamic poetry across different thematic categories, the study illustrates the depth and breadth of Islamic sensibility within contemporary Turkish literature. The conclusions drawn from the analysis further contribute to our understanding of the role of Islamic poetry in shaping cultural and literary discourse in Turkey.

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Kovalenko, George. ""The Heart's Residuum": Adorno's Metaphysical Experience in Stevens's "Extracts from Addresses to the Academy of Fine Ideas"." Wallace Stevens Journal 48, no. 1 (March 2024): 71–83. http://dx.doi.org/10.1353/wsj.2024.a922172.

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ABSTRACT: Although Wallace Stevens and Theodor W. Adorno respond in distinct ways to the Holocaust, their works have a theoretical affinity. In 1940, Stevens writes a poem that, while it cannot register the unfathomable catastrophe, does speculate about the fate of the imagination in a world turned into an enormous camp through total war. Adorno, who most famously responds in his dictum against poetry after Auschwitz, develops a minimal theory of what he calls metaphysical experience. What for Adorno is the dialectical category of metaphysical experience is for Stevens poetics.

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