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Three Differences Between an Academic and an …
Denis Donoghue has an interesting discussion of ideological interpretation of Yeats's poetry, in particular the poem 'Leda and the Swan' in the Chapter 'Yeats: The New Political Issue' of his book 'The Practice of Reading.' For more on my own understanding of ideology, including differences between ideological and non-ideological interepretations, see in the page 'Religions and ideologies.' See also my discussion of the contributions of two ideological interpreters:
Denis Donoghue writes,
' ... in more recent work on Yeats' poem, we find many instances of a disabling ideological turn in criticism. Yeats is not allowed to have his theme: he must be writing about something else. What else but Ireland and England? This turn is effected, for the most part, by Irish critics or by visitors to Ireland who feel obliged to interpret Yeats in the murky light of the violence in Northern Ireland since 1968 - 1969.
'In the process, much of Yeats's work is ignored. We hear nothing of his relations with Blake, Shelley, the French Symbolists, the Upanishads, the neo-Platonic tradition, or the Noh theater. He might never have written "Lapis Lazuli." We hear of nothing but Ireland and England. The resultant confusions are dismaying. Said reads "Leda and the Swan" as an act of decolonization and regards Yeats as an inspiring figure in the first phase of liberation. But Deane claims that Yeats's "so-called fascism is, in fact, an almost pure specimen of the colonialist mentality."
'Kiberd applies to modern Irish literature and culture - and to "Leda and the Swan" - the postcolonial vocabulary of Fanon's The Wretched of the Earth. This procedure might be considered bizarre, but it issues from one of the most disabling prejudices of postcolonial studes, that all empires are the same. Local conditions in Algeria, India, Ireland, South Africa, the Belgian Congo, and other colonies don't affect the paradigm of empire. One theory of hegemony fits all, apparently. So a theory that emanated from Algeria under the French will serve well enough to explain Ireland under the British.'
If the differentiae are very important in the understanding of Algeria and Ireland, the differentiae are even more important in understanding societies and practices with very great of time and in other respects, such as the societies which produced the bog people and the societies in which the violence in Northern Ireland occurred (divided 'societies' rather than a single society.)
What does metaphysics, which Heidegger defines as the separation of essence and existence that began with Plato, have to do with the ontological difference of Being and beings? One might say that the tradition, particularly the medieval tradition, would equate these two distinctions. Being () is the essence of beings, of what exists (), the essence in the sense of the universal One which unifies everything. For Heidegger, the distinction essence-existence actually belongs in the tradition on the side of Being, but the between Being and beings, although constantly presupposed by all metaphysics, was never thought. Only when metaphysics reaches its completion does the possibility arise of transforming the ontological difference, of thinking it from the unthought presupposition of all metaphysics back to its essential origin in Appropriation.
Three Differences Between an Academic and an Intellectual
“EΡΩΣ” by Robert Bridges has a contradictory concept of what humans view as love, thus the negative and positive comparisons are between Eros different angles in love and lust....
With the unique aspects and images these poets write about, they distinguish the similarities between themselves and contain different intensities in their poetry.
Difference between prose and poetry essay
We said that ontology is the science of being. But being is always the being of a being. Being is essentially different from a being, from beings. How is the distinction between being and beings to be grasped? How can its possibility be explained? If being is not itself a being, how then does it nevertheless belong to beings, since, after all, being and only beings ? What does it mean to say that being to beings? The correct answer to this question is the basic presupposition needed to set about the problems of ontology regarded as the science of being. We must be able to bring out clearly the difference between being and beings in order to make something like being the theme of inquiry. This distinction is not arbitrary; rather, it is the one by which the theme of ontology and thus of philosophy itself is first of all attained. It is a distinction which is first and foremost constitutive for ontology. We call it the --the differentiation between being and beings. P. 17
This poem of great clarity and freshness has been found wanting by the academic critic David Lloyd. He found the poem ideologically deficient, failing to pay homage to post-colonial theory, although he would put it differently. (My page shows why interpretations in terms of post-colonialism can't possibly account for the realities of Irish and Northern Irish history.)
David Lloyd does his best to explain his view in the well-known - too well-known - not-in-the-least seminal essay 'Pap for the Dispossessed' (later 'colonized' - incorporated into the empire of - his book 'Anomalous States: Irish Writing and the Post-Colonial Moment.' Compare the excellent 'Theory's Empire,' edited by Daphne Patai and Will H. Corral, the essays of which 'question the inflated claims, facile slogans, and political pretensions that have in our time turned theory into a ubiquitous orthodoxy.' From the back cover.)
David Lloyd criticizes the 'cultural nationalism' of the poem, 'since language is seen primarily as naming, and because naming performs a cultural reterritorialisation by replacing the contingent continuities of an historical community with an ideal register of continuity in which the name (of place or of object) operates as the commonplace communicating between actual and ideal continuum.'
David Lloyd's interest is in ideological success and failure, as he sees it, rather than artistic success and failure but my priorities are different. Hhe last verse-paragraph of the four which make up the poem is markedly lower in its artistic success than the first three. Although it's evocative, to an extent, it's matter-of-factness does nothing to advance the poem or to bring it to a satisfactory conclusion.
The first verse paragraph:
My 'place of clear water',
the first hill in the world
where springs washed into
the shiny grass
The lack of a comma after 'world' is the main fault here. The first line is arresting. It has rhythmic distinction, to an extent. The second line is arresting too, and again, with rhythmic distinction, to an extent. The first line and the second line would form an obvious pair, the second line consolidating the effect of the first, if only there had been a comma at the end of the second line, to create a pause. As it is, the second line is only the start of a progression which takes attention away from the first line and away from itself.
'where springs washed into / the shiny grass' give the impression that the grass is shiny independently of the effect of the springs, but of course it's the water from the springs which make the grass shine. The preposition 'into' is clumsy - yet another instance of Seamus Heaney's inattention to superfluous and distracting syllables. 'into' should have been removed. I think this would be an improvement:
where springs washed,
the grass shone.
The softness of the Irish language is a counterpart to the softness of this poem, which lacks all harshness. The poem does use the word 'soft:' 'Anahorish, soft gradient ... '
This poem, a very appealing one, deserves better than ideological mauling. There's nothing in the poem which makes the point that Irish is the language of the colonized whereas English is the language of the colonizer, for which we may be duly grateful.
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Difference between critique and essay of the story
The term mindfulness appeared in , but this is where Heidegger expands on it. He returns to familiar themes: truth, nothingness, enownment, ontological difference, art, the Greeks, Nietzsche, Spengler, and more, as well as commenting on his earlier texts. All are examined alongside mindfulness and some other themes that are here elaborated more fully: the withdrawal, the rupture and gathering, the dynamic inbetween, and the ab-ground (translated as abyss in other texts) that is not ground.
The Difference Between Augustanism and Romanticism ..
The words are quoted from Wordsworth's 'The Prelude,' Book First, line 361. In the case of this episode, Wordsworth's borrowing of the boat and his intense experience as he rowed at Ullswater, the 1850 version (lines 357 - 400) is superior to the 1805 version, which is weakened by the giving of unnecessary information, like Seamus Heaney's poem. The quotation omits part of the phrase in In 'The Prelude,' ' ... It was an act of stealth / And troubled pleasure,' which is reasonable, since Seamus Heaney's throwing away of the biscuits was no act of troubled pleasure, but he's left with a scrap of a very great passage, used unnecessarily. There were many other ways of expressing stealth available to him, of course. Wordsworth's lines are very much superior to this poetry of Seamus Heaney's or any other poetry of his but amplification to demonstrate this is unnecessary here.
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