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Some philosophical poets may make broad philosophical inquires and engage with diverse philosophical topics throughout their poetry, while others may concentrate within one branch of philosophical poetry. For example, Dante is considered by some to be both a philosophical poet, in a general sense, as well as a metaphysical poet. [7]
Strictly speaking, the philosophy of literature is a branch of aesthetics, the branch of philosophy that deals with the question, "What is art"? Much of aesthetic philosophy has traditionally focused on the plastic arts or music, however, at the expense of the verbal arts. Much traditional discussion of aesthetic philosophy seeks to establish ...
The poet living in a garret, the absent-minded professor, Vincent van Gogh struggling with madness, are all (at least in the popular mind) examples of Schopenhauer's geniuses: so fixed on their art that they neglect the "business of life" that in Schopenhauer's mind meant only the domination of the evil and painful Will.
Transcendental poetry is a term related to the theory of poetry and literature and, more precisely, to the fields of aesthetics and romantic philosophy. [1] The expression "transcendental poetry" was created by the German critic and philosopher Friedrich Schlegel (1772-1829) and also used by the poet and philosopher Friedrich von Hardenberg (1772-1801), also known as Novalis.
The essay offers a profound look at the poem and its role in society. In a paragraph mid-essay, Emerson observes: For poetry was all written before time was, and whenever we are so finely organized that we can penetrate into that region where the air is music, we hear those primal warblings, and attempt to write them down, but we lose ever and anon a word, or a verse, and substitute something ...
Leonardo Bruni's translation of Aristotle's Poetics. Poetics is the study or theory of poetry, specifically the study or theory of device, structure, form, type, and effect with regards to poetry, [1] though usage of the term can also refer to literature broadly.
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His essay posited that art must have substance and that poet José García Villa's adherence to "art for art's sake" is decadent. The essay provoked debates, the discussion centering on proletarian literature , i.e., engaged or committed literature versus the orientation of literature as an art for the sake of art itself.