Things Merely Are : Philosophy in the Poetry of Wallace Stevens
Book Details
Format
Hardback or Cased Book
ISBN-10
041535630X
ISBN-13
9780415356305
Publisher
Taylor & Francis Ltd
Imprint
Routledge
Country of Manufacture
GB
Country of Publication
GB
Publication Date
Feb 15th, 2005
Print length
152 Pages
Weight
259 grams
Product Classification:
Literary studies: from c 1900 -Literary studies: poetry & poets
Ksh 27,900.00
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In this beautifully written and deeply insightful book, Simon Critchley shows how Wallace Stevens's poems contain deep and important philosophical insight.
This book is an invitation to read poetry. Simon Critchley argues that poetry enlarges life with a range of observation, power of expression and attention to language that eclipses any other medium. In a rich engagement with the poetry of Wallace Stevens, Critchley reveals that poetry also contains deep and important philosophical insight. Above all, he agues for a ''poetic epistemology'' that enables us to think afresh the philosophical problem of the relation between mind and world, and ultimately to cast the problem away.
Drawing astutely on Kant, the German and English Romantics and Heidegger, Critchley argues that through its descriptions of particular things and their stubborn plainness - whether water, guitars, trees, or cats - poetry evokes the ''mereness'' of things. It is this experience, he shows, that provokes the mood of calm and releases the imaginative insight we need to press back against the pressure of reality. Critchley also argues that this calm defines the cinematic eye of Terrence Malick, whose work is discussed at the end of the book.
Drawing astutely on Kant, the German and English Romantics and Heidegger, Critchley argues that through its descriptions of particular things and their stubborn plainness - whether water, guitars, trees, or cats - poetry evokes the ''mereness'' of things. It is this experience, he shows, that provokes the mood of calm and releases the imaginative insight we need to press back against the pressure of reality. Critchley also argues that this calm defines the cinematic eye of Terrence Malick, whose work is discussed at the end of the book.
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