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📒Knowing Poetry ✍ Adrian Armstrong
✏Knowing Poetry Book Summary : In the later Middle Ages, many writers claimed that prose is superior to verse as a vehicle of knowledge because it presents the truth in an unvarnished form, without the distortions of meter and rhyme. Beginning in the thirteenth century, works of verse narrative from the early Middle Ages were recast in prose, as if prose had become the literary norm. Instead of dying out, however, verse took on new vitality. In France verse texts were produced, in both French and Occitan, with the explicit intention of transmitting encyclopedic, political, philosophical, moral, historical, and other forms of knowledge. In Knowing Poetry, Adrian Armstrong and Sarah Kay explore why and how verse continued to be used to transmit and shape knowledge in France. They cover the period between Jean de Meun’s Roman de la rose (c. 1270) and the major work of Jean Bouchet, the last of the grands rhétoriqueurs (c. 1530). The authors find that the advent of prose led to a new relationship between poetry and knowledge in which poetry serves as a medium for serious reflection and self-reflection on subjectivity, embodiment, and time. They propose that three major works—the Roman de la rose, the Ovide moralisé, and Boethius’ Consolation of Philosophy—form a single influential matrix linking poetry and intellectual inquiry, metaphysical insights, and eroticized knowledge. The trio of thought-world-contingency, poetically represented by Philosophy, Nature, and Fortune, grounds poetic exploration of reality, poetry, and community.
📒Poetry S Knowing Ignorance ✍ Joseph Acquisto
✏Poetry s Knowing Ignorance Book Summary : What kind of knowledge, if any, does poetry provide? Poets make poems, but they also make meaning and craft a kind of learned and creative ignorance as they provide infinitely revisable answers to the question of what poetry is. That question of poetry's definition invites broader ones about the relationship of poetry to other lived experience. Poetry thus implies something like a way of life that is resistant to definitive statements and conclusions, and the creation of communities of readers and writers that live in ever-renewed questioning. To resist concluding is to embrace a kind of productive ignorance, a knowledge that is first and foremost aware of poetic knowledge's own limits. Poetry's Knowing Ignorance shows, through an examination of French poetry, how it is this dialogue in response to a constant questioning, to an answer-turned-question, that continues to blur the boundary between poetry and writing about poetry, between poetry and criticism, and between poetry and other kinds of experience.
📒Knowing One S Place In Contemporary Irish And Polish Poetry ✍ Magdalena Kay
✏Knowing One s Place in Contemporary Irish and Polish Poetry Book Summary : Are we allowed to choose where we belong? What pressures make us feel that we should belong somewhere? This book brings together four major poets-Heaney, Mahon, Zagajewski, and Hartwig-who ask themselves these questions throughout their lives. They start by assuming that we can choose not to belong, but know this is easier said than done. Something in them is awry, leading them to travel, emigrate, and return dissatisfied with all forms of belonging. Writer after writer has suggested that Polish and Irish literature bear some uncanny similarities, particularly in the 20th century, but few have explored these similarities in depth. Ireland and Poland, with their tangled histories of colonization, place a large premium upon knowing one's place. What happens, though, when a poet makes a career out of refusing to know her place in the way her culture expects? This book explores the consequences of this refusal, allowing these poets to answer such questions through their own poems, leading to surprising conclusions about the connection of knowledge and belonging, roots and identity.
📒Poetry Knowledge And Community In Late Medieval France ✍ Rebecca Dixon
✏Poetry Knowledge and Community in Late Medieval France Book Summary : The role of poetry in the transmission and shaping of knowledge in late medieval France.
📒Jacques Maritain And The Many Ways Of Knowing ✍ Douglas A. Ollivant
✏Jacques Maritain and the Many Ways of Knowing Book Summary : Drawing on the writings of Jacques Maritain--and by extension those of Thomas Aquinas--the essays in this volume examine the effects of theories of knowledge on individuals, culture, and entire schools of philosophical thought. The contributors challenge contemporary epistemologies, which are largely based on writings of Descartes, Locke, and Kant. They critique these theories internally and demonstrate their incompatibility with other goods, such as liberty, human dignity, and access to the transcendent. In stark contrast to modernity's dubious and fragmented opinions and belief systems, Maritain--in works like The Degrees of Knowledge and Creative Intuition in Art and Poetry--proposed a theory of knowledge that permits real, if limited, knowledge of substances, wholes. Some contributors use these works as a springboard from which to examine aspects or applications of knowledge that Maritain left unexplored. Others challenge or question aspects of Maritain's analysis, seeking to improve upon his work. Still others compare Maritain with other neo-Thomistic philosophers, most notably Etienne Gilson, Alasdair MacIntyre, and Pope John Paul II. Maritain's works on human knowledge and the implicit critique of modernity contained within provide an alternative for those seeking to engage the various deficiencies of the "culture of death." These essays demonstrate the continuing relevance--and timeliness--of Maritain's thought. Douglas A. Ollivant is assistant professor of politics at the United States Military Academy. Contributors: George Anastaplo, James Arraj, Joseph M. de Torre, Robert Delfino, Raymond Dennehy, John M. Dunaway, Robert Fallon, Desmond FitzGerald, William J. Fossati, W. Matthews Grant, Catherine Green, James G. Hanink, Gregory J. Kerr, John F. X. Knasas, John F. Morris, Ralph Nelson, Douglas A. Ollivant, Matthew S. Pugh, Steven J. Schloeder, Christopher H. Toner, John G. Trapani, Jr., Henk E. S. Woldring, and Thomas F. Woods. "This is a valuable collection of articles on an important individual who is still influencing contemporary political thought."--Lucien J. Richard, OMI, Catholic Library World
📒One Thousand Things Worth Knowing ✍ Paul Muldoon
✏One Thousand Things Worth Knowing Book Summary : Another wild, expansive collection from the eternally surprising Pulitzer Prize–winning poet Smuggling diesel; Ben-Hur (the movie, yes, but also Lew Wallace's original book, and Seosamh Mac Grianna's Gaelic translation); a real trip to Havana; an imaginary trip to the Château d'If: Paul Muldoon's newest collection of poems, his twelfth, is exceptionally wide-ranging in its subject matter—as we've come to expect from this master of self-reinvention. He can be somber or quick-witted—often within the same poem: The mournful refrain of "Cuthbert and the Otters" is "I cannot thole the thought of Seamus Heaney dead," but that doesn't stop Muldoon from quipping that the ancient Danes "are already dyeing everything beige / In anticipation, perhaps, of the carpet and mustard factories." If this masterful, multifarious collection does have a theme, it is watchfulness. "War is to wealth as performance is to appraisal," he warns in "Recalculating." And "Source is to leak as Ireland is to debt." Heedful, hard-won, head-turning, heartfelt, these poems attempt to bring scrutiny to bear on everything, including scrutiny itself. One Thousand Things Worth Knowing confirms Nick Laird's assessment, in The New York Review of Books, that Muldoon is "the most formally ambitious and technically innovative of modern poets," an experimenter and craftsman who "writes poems like no one else."
📒Understanding French Poetry ✍ Stamos Metzidakis
✏Understanding French Poetry Book Summary :
📒Poetic Rhythm ✍ Derek Attridge
✏Poetic Rhythm Book Summary : This is the first introduction to rhythm and meter that begins where students are: as speakers of English familiar with the rhythms of the spoken word, nursery rhymes, song and rap. Poetic Rhythm builds on this knowledge and experience, moving from basic questions about the rhythms of spoken English to the elaborate achievements of past and present poets. Terminology is straightforward and there are frequent practical exercises. Poetic Rhythm will help readers of English poetry experience and enjoy its power, subtlety and diversity, and will serve as an invaluable tool for those who write or discuss poetry in English.
📒Literary Knowing In Neoclassical France ✍ Ann T. Delehanty
✏Literary Knowing in Neoclassical France Book Summary : This book, spanning the years 1650–1730 in France and England, looks primarily at the history of literary criticism during that period in order to show how the rising interest in the sublime pushes literary critics to entirely alter their approach to theorizing works of literature. It provides a new approach to understanding how eighteenth-century aesthetic theories are indebted to seventeenth-century religious, philosophical, and literary ideas.
📒Knowing Through Poetic Reflection ✍ Brian E. Wakeman
✏Knowing Through Poetic Reflection Book Summary : Knowing Through Poetic Reflection by Brian E. Wakeman will be of interest to readers who have asked the author to publish his poems. 1. The chapters make original contributions to the use of poetry and art in mission. 2. The book makes a new contribution to the writing of poetry as a process and product of qualitative and action research . 3. The central theme is about poetry and reflection. It describes the use of art and poetry in a church community project. 4. Then subsequent chapters explore the healing power of humour, and analyse the relationships between poetry and prophecy, and poetry and wisdom. The author illustrates poetry as theological reflection, and discusses the forms and processes of his writing. 5. A key chapter is about poetry as a means and product of research, and a way of knowing. In the final two chapters, the author makes an appeal for restoring the status of poetry in Church life, and explains his methodology. The author invites readers to respond to the ideas in the book.