He speaks of "the curious phenomenon of Corbin who continues to hold a primary place in the imagination whatever one's other interests/commitments/practices. There's not much like it--text with intrinsic interest that somehow manifests the actual quality of its subject matter (text as containing its own ta'wil in the very manner of its unfolding-- as it were, ta'wil of the possible ta'wil)." He continues, "The historical precedent and the inherent principle of ta'wil remains important to me and to others. At some point I would like to address this in a way that extends our discussion in that dialogical text. It has to do with what I call "the principle of principle" in my discussion of "principle art" (including a poetics of principle). I speak about this in "Configuring Principle," as well as in the Prologue to An Art of Limina. Both of these are online at: Configuring Principle, and An Art of Limina." April 27, 2010: See this on The Art of Limina.
Thursday, February 25, 2010
George Quasha on Ta'wil and other matters - Corbin & Poetry #19
I received a nice note from George Quasha in which he points out that he has posted an edited, more readable and more complete version of the landmark 1974 piece "Ta'wil Or How to Read" that I posted in December. It can be found at his website here: Ta'wil Or how to Read.
He speaks of "the curious phenomenon of Corbin who continues to hold a primary place in the imagination whatever one's other interests/commitments/practices. There's not much like it--text with intrinsic interest that somehow manifests the actual quality of its subject matter (text as containing its own ta'wil in the very manner of its unfolding-- as it were, ta'wil of the possible ta'wil)." He continues, "The historical precedent and the inherent principle of ta'wil remains important to me and to others. At some point I would like to address this in a way that extends our discussion in that dialogical text. It has to do with what I call "the principle of principle" in my discussion of "principle art" (including a poetics of principle). I speak about this in "Configuring Principle," as well as in the Prologue to An Art of Limina. Both of these are online at: Configuring Principle, and An Art of Limina." April 27, 2010: See this on The Art of Limina.
He speaks of "the curious phenomenon of Corbin who continues to hold a primary place in the imagination whatever one's other interests/commitments/practices. There's not much like it--text with intrinsic interest that somehow manifests the actual quality of its subject matter (text as containing its own ta'wil in the very manner of its unfolding-- as it were, ta'wil of the possible ta'wil)." He continues, "The historical precedent and the inherent principle of ta'wil remains important to me and to others. At some point I would like to address this in a way that extends our discussion in that dialogical text. It has to do with what I call "the principle of principle" in my discussion of "principle art" (including a poetics of principle). I speak about this in "Configuring Principle," as well as in the Prologue to An Art of Limina. Both of these are online at: Configuring Principle, and An Art of Limina." April 27, 2010: See this on The Art of Limina.
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