Marc Froment-Meurice - That is to say: Heidegger's poetics [made in istanbul]

This is the first authoritative, book-length study of what Heidegger called "thinking poetics." That Is to Say conducts its analysis of Heideggerian poetics by expounding the sense of language from the perspective of fundamental ontology. This project is carried out in readings of the pertinent chapters of Being and Time, the lectures on Hölderlin, “The Origin of the Work of Art,” and On the Way to Language. The book is guided by a question that no other writer on Heidegger has yet asked: Why should poiesis provide a privileged access to the specificity of the poetic?

With this question guiding his quite unorthodox analyses of Heidegger's texts on poetics and the work of art, the author sheds new light on every aspect of Heidegger's philosophy. The analyses devoted to Heidegger's idea of a proximity between thinking and poetry, his conception of Hölderlin as the poet, of poetic experience, and of the privilege he accords the name reveal a series of presuppositions and necessary assumptions in Heidegger's conception of poetry that not only remain unthought by Heidegger himself, but that, strictly speaking, cannot be thought in terms of what Heidegger understood by thinking.

That Is to Say points to the limits of poetics with regard to the work of art, and in particular the literary work. In doing so, it gestures toward new ways of doing justice to the literary and to art in general.


http://www.mediafire.com/file/mjjztxwzmlz/THAT_IS_TO_SAY__MEURICE.pdf


p.s.
read it alongside Lacoue-Labarthe

'68 reads meurice reads heidegger

Agamben - The End of the Poem

This book, by one of Italy’s most important and original contemporary philosophers, represents a broad, general, and ambitious undertaking—nothing less than an attempt to rethink the nature of poetic language and to rearticulate relationships among theology, poetry, and philosophy in a tradition of literature initiated by Dante.

The author presents “literature” as a set of formal or linguistic genres that discuss or develop theological issues at a certain distance from the discourse of theology. This distance begins to appear in Virgil and Ovid, but it becomes decisive in Dante and in his decision to write in the vernacular. His vernacular Italian reaches back through classical allusion to the Latin that was in his day the language of theology, but it does so with a difference. It is no accident that in the Commedia Virgil is Dante’s guide.

The book opens with a discussion of just how Dante’s poem is a “comedy,” and it concludes with a discussion of the “ends of poetry” in a variety of senses: enjambment at the ends of lines, the concluding lines of poems, and the end of poetry as a mode of writing this sort of literature. Of course, to have poetry “end” does not mean that people stop writing it, but that literature passes into a period in which it is concerned with its own ending, with its own bounds and limits, historical and otherwise.

Though most of the essays make specific reference to various authors of the Italian literary tradition (including Dante, Polifilo, Pascoli, Delfini, and Caproni), they transcend the confines of Italian literature and engage several other literary and philosophical authors (Plato, Aristotle, the Stoics, Boethius, the Provençal poets, Mallarmé, and Hölderlin, among others).

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French Art Songs of the 19th-Century

French Art Songs of the Nineteenth-Century:
Thirty-Nine Works from Berlioz to Debussy
compiled by Philip Hale

GEORGES BIZET
Vieille chanson (words by Charles Millevoye)
Pastorale (words by Jean-François Regnard)
CÉCILE CHAMINADE
Si j'étais jardinier (words by Roger Miles)
Tu me dirais (words by Rosemond Gérard)
ERNEST CHAUSSON
"Les morts (No. 1 of Chansons de Miarka, Op. 17, words by Jean Richepin)"
CLAUDE DEBUSSY
"Les cloches (No. 2 of Deux romances, words by Paul Bourget)"
"Il pleure dans mon coeur (No. 2 of Ariettes oubliées, words by Paul Verlaine)"
"Haromonie du soir (No. 2 of Cinq poèmes de Baudelaire, words by Charles Baudelaire)"
La mort des amants (No. 5 of Cinq poèmes de Baudelaire)
Romance (No. 1 of Deux romances to words by Bourget)
L'ombre des arbres (No. 3 of Ariettes oubliées to words by Verlaine)
LÉO DELIBES
Les filles de Cadix (words by Alfred de Musset)
Jours passés (words by Armand Silvestre)
HENRI DUPARC
Extase (words by Jean Lahor)
Soupir (words by Armand Sully-Prudhomme)
CÉSAR FRANCK
Le mariage des roses (words by Eugène David)
Lied (words by Lucien Paté)
BENJAMIN GODARD
Te souviens-tu? (words by composer)
Embarquez-vous! (words by Ulrich Guttinguer)
L'amour (words by Rose Harel)
CHARLES GOUNOD
Au printemps (words by Jules Barbier)
Medjé: chanson arabe (words by Jules Barbier)
Le vallon (words by Alphonse de Lamartine)
REYNALDO HAHN
"L'heure exquise (No. 5 of Chansons grises, words by Paul Verlaine)"
Si mes vers avaient des ailes! (words by Victor Hugo)
VINCENT D'INDY
"Madrigal dans le style ancien (Op. 4, words by Robert de Bonnières)"
"Lied maritime (Op. 43, words by composer)"
JULES MASSENET
Chant provençal (words by Michel Carré)
Ouvre tes yeux bleux (words by Paul Robiquet)
Que l'heure est donc brève (words by Armand Silvestre)
GABRIEL PIERNÉ
Sérénade (Op. 7; words by Eugène Adenis)
CAMILLE SAINT-SAËNS
La cloche (words by Victor Hugo)
Clair de lune (words by Catulle Mendès)
AMBROISE THOMAS
Le soir (words by Michel Carré)
CHARLES-MARIE WIDOR
Soupir (words by Théophile Gautier)

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Vernant & Vidal-Naquet - Myth and Tragedy in Ancient Greece [made in istanbul]

MADE IN TURKEY
Fark Yaralari Presents:

Jean-Pierre Vernant and Pierre Vidal-Naquet are leaders in a contemporary French classical scholarship that has produced a stunning reconfiguration of Greek thought and literature. In this work, the authors present a disturbing and decidedly nonclassical reading of Greek tragedy that insists on its radical discontinuity with our own outlook and with our social, aesthetic, and psychological categories. Originally published in French in two volumes, this new single-volume edition includes revised essays from Volume I as well as the first English translation of Volume II.

“What is Dionysiac about Greek tragedy, Vernant suggests, and specific to the genre, is the ‘otherness’ of the hero, his belonging to an absent world that no longer exists, and the blurring and shifting of the boundaries between illusion and reality that result for the audience from the enacted fictions of the tragic theatre.... Myth and Tragedy is a book to be unreservedly welcome for its progressive unfolding of ideas which have proved consistently fertile in new perceptions and for thinking that is in the best sense individual as well as collective.”
— Times Literary Supplement

the uncanny as the ground

Victorian Poetry: Poetry, Poetics and Politics [routledge]

Victorian Poetry: Poetry, Poetics and Politics by Isobel Armstrong
(Routledge Critical History of Victorian Poetry)

"To my mind Armstrong's book makes its contribution to the study of Victorian Literature in two key ways. I expect I will return often to her very sophistocated consideration of that old chesnut, the Victorian crystallization of lyric subjectivity in a political-poetical dramaturgy of self-spectatorship. And I find an extraordinary resonance in her formulation of the relationship of Victorian poet and modernist critic.." --This text refers to the Paperback edition.

Review
'This book remains a most thought-provoking work.'- EM Contemporary Review

Book Description

Victorian Poetry is a major re-evaluation of the genre by one of the leading scholars of the period. In a work both comprehensive and astute, the author demonstrates the sophisticaiton of Victorian poetry, rescuing it from its longstanding image as `a moralized form of romantic verse'. br br Amrstrong brings together the familiar poets of the era: Swinburne, Tennyson, Hopkins and Browning, and relates them to female and working-class poets. The aesthetics and politics of Victorian poetrym both conservative and radical, are then examined and brought together in a historical discussion that challenges some of the vital issues in contemporary criticism. br br This volume marks an acheivement in the appreciation and understanding of Victorian literature, re-reading Victorian poetry from the midst of contemporary debate.

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