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P U B L I S H E D B Y T H E N I E T Z S C H E C I R C Volume • V • • • • • Issue • 2 • • • • • November • 2010 published by the Nietzsche Circle Volume • V • • • • • Issue • 2 • • • • • November • 2010 B o a r d • o f • A d v i s o r s Dr. Christa Davis Acampora Dr. Benjamin Moritz Cem Aydogan Hermann Nitsch Dr. Babette Babich Dr. Kelly Oliver Dr. Nicholas Birns Lance Olsen Dr. Arno Böhler Dr. Graham Parkes Dr. Tony Brinkley Keith Ansell-Pearson Dr. Thomas Brobjer Dr. Philip Pothen Mark Daniel Cohen Dr. Timothy Quigley Dr. Véronique Fóti Prof. Alan Rosenberg Dr. Terri J. Gordon Dr. Ofelia Schutte Dr. Jennifer Anna Gosetti-Ferencei Dr. Gary Shapiro Dr. Susanne Granzer Dr. Walter Sokel Pierre Hadot Dr. Stefan Lorenz Sorgner Dr. Lawrence Hatab Dr. Joan Stambaugh Dr. Horst Hutter Mark Strand Dr. David Kilpatrick Dr. Yunus Tuncel Joseph Kosuth Dr. Gianni Vattimo Donald Kuspit Paul van Tongeren Dr. Laurence Lampert Kim White Vanessa Lemm Colin Wilson Linda Lewett Patrick Wotling Paul S. Loeb Dr. Irvin Yalom Dr. James Luchte John Bell Young Tali Makell Gérard Zuchetto 1 Hyperion Volume • V • • • • • Issue • 2 • • • • • November • 2010 Publisher: Nietzsche Circle, Ltd. Editor-in-Chief: Mark Daniel Cohen Managing Editor: Rainer J. Hanshe PDF Design: Mark Daniel Cohen Logo Design: Liliana Orbach Advertising: Andre Okawara Donations: Katie Creasy (Donations can be made at http://nietzschecircle.com) Nietzsche Circle Website Design: Hasan Yildiz (http://designkillsme.com) Nietzsche Circle Event Poster Design: Doerthe Fitschen-Rath Letters to the editors are welcome and should be emailed to [email protected]. Hyperion is published quarterly by Nietzsche Circle, Ltd. P.O. Box 575, New York, NY 10011, U.S.A. Website: http://nietzschecircle.com. For advertising inquiries, e-mail Andre Okawara: [email protected]. Contents © 2010 by Nietzsche Circle, Ltd. and each respective author. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, or any information storage and retrieval system, without permission in writing from Nietzsche Circle, Ltd. After one year, all rights revert to the respective authors. If any work originally published by the Nietzsche Circle is republished in any format, acknowledgement must be noted as following and a direct link to our site must be included in legible font in a conspicuous place: “Author/Editor, title, year of publication, volume, issue, page numbers, originally published by Hyperion. Reproduced with permission of the Nietzsche Circle, Ltd.” Hyperion—Volume V, issue 2, November 2010 2 Volume • V • • • • • Issue • 2 • • • • • November • 2010 Thought . to the Purpose 10 SPECIAL SECTION: THE ART OF ISTVÁN OROSZ Introduction Changing the Geometry of Thought by Mark Daniel Cohen 11 Lessons on Semblances Lesson 1: The Eye of the Cyclops by Kristóf Fenyvesi 20 Texts by István Orosz 22 The Art ... by István Orosz 49 Ex Libris Bookplates designed by István Orosz exclusively for the readers of Hyperion 70 NEW TRANSLATIONS Pessoa the plural writing and the sensationist movement essay with selections and translations of Pessoa’s Sensationist writings by Nuno Filipe Ribeiro 73 3 Hyperion Volume • V • • • • • Issue • 2 • • • • • November • 2010 Translations from the poetry of Giuseppe Ungaretti translated by David W. Grunner 97 Starobinski: Melancholy in the Mirror: Three Readings of Baudelaire introduction by Rainer J. Hanshe 113 translated by Charlotte Mandell 118 Ikinci Yeni (Second New) Turkish Poetry in Transmission translated by Fulya Peker 125 FILM On Film and Freedom A Conversation with Miklós Jancsó by Maria Bogdan 141 Further Thoughts on Contemporary Film-Making by Miklós Jancsó 150 LITERATURE book review: Awe-Inspiring Hideousness: Porius written by John Cowper Powys reviewed by Nicholas Birns 155 Hyperion—Volume V, issue 2, November 2010 4 Volume • V • • • • • Issue • 2 • • • • • November • 2010 book review: Franz Kafka: The Office Writings ed. by Stanley Corngold, Jack Greenberg, and Benno Wagner reviewed by Walter H. Sokel 167 book review: Dostoevsky: A Writer in His Time written by Joseph Frank reviewed by Tanya E. Mairs 175 book review: Epochal Discordance: Hölderlin’s Philosophy of Tragedy written by Véronique M. Fóti reviewed by Rosa Slegers 181 book review: Other Waves On The Seashore Two New Translations of Swedish Poetry Göran Sonnevi, Mozart’s Third Brain. Tr. Rika Lesser Petter Lindgren, Farawaystan. Tr. Lars Ahlström reviewed by Nicholas Birns 187 THEATER Theatre’s Impossible Promise: The Void by Hybrid Stage Project reviewed by David Kilpatrick 199 5 Hyperion Volume • V • • • • • Issue • 2 • • • • • November • 2010 ADVERTISEMENTS Coarctate: Antigone’s Return and Selected Poems by Mark Daniel Cohen 8 Ilan Averbuch: Public Projects Text by Mark Daniel Cohen 9 Balkan World Music Festival 71 What She Knew, a new reconsideration of the Oedipus Myth premieres in December 2010 72 Izhar Patkin: Judenporzellan Text by Mark Daniel Cohen 96 Blind Dates Project, Nov 2010 – Feb 2011 111 Odes, by Victor Segalen translated into Italian by Maura del Serra 112 Hyperion—Volume V, issue 2, November 2010 6 Volume • V • • • • • Issue • 2 • • • • • November • 2010 Tentativi di certezza, Poems in Italian by Maura del Serra 124 Titles from Archipelago Books Special Discount Offer for Hyperion Readers 139 Pulverizing Portraits: Lynn Emanuel’s Poetry of Becoming by Camelia Elias 153 Passion Spent: Love, Identity, and Reason in the Tales of E. A. Poe by Bent Sorensen 174 Hyperion is published by the Nietzsche Circle Editor-in-Chief: Mark Daniel Cohen Managing Editor: Rainer J. Hanshe Soon to be reversed 7 Hyperion Thought . to the Purpose “Consider a discipline such as aesthetics. The fact that there are works of art is given for aesthetics. It seeks to find out under what conditions this fact exists, but it does not raise the question whether or not the realm of art is perhaps a realm of diabolical grandeur, a realm of this world, and therefore, in its core, hostile to God and, in its innermost and aristocratic spirit, hostile to the brotherhood of human. Hence, aesthetics does not ask whether there should be works of art.” —Max Weber, “Science as a Vocation” It has ever been the discomfort of serious thought to observe the otherwise universal equation of natural events and human actions. And it is not an irony that the equalizing has not rendered human behavior a natural force, with no more moral significance than a hurricane, or sunshine, for our willfulness has never been delivered to doubt. Rather, it has inflated our thoughts to the stature of the commandments of a god, and everything human becomes as much a given as is nature itself. We become as unquestionable as gospel. There is no comprehensive scientific view of human nature, for science can inquire only the how of things, not the why—it takes what it probes as given— and we are always at the wrong end of the microscope. If philosophy has any lingering function, if there is any role for it that science has not appropriated, it is to ask questions science cannot address. It is to engage the “should” factor. Aesthetics has been something of the “science” of art, in that it has inquired into what it would not judge, or, more to the point, it judged works of art as examples of something it would not think to judge —art itself, art per se. Hence, every individual judgment a non sequitur. And thus, Hyperion is dedicated to asking the unasked questions, to thinking what has been the unthinkable, to engaging the “should” factor: should art continue to exist, and why, works of art should be phenotypes of precisely what, should art be transformed into something unrecognizable, or, should it be relegated to the scrap heap of history. Hyperion—Volume V, issue 2, November 2010 10 11 Hyperion—The Art of István Orosz Special Section: The Art of István Orosz edited by Kristóf Fenyvesi and the editors of Hyperion Introduction: István Orosz Changing the Geometry of Thought by Mark Daniel Cohen I was just going to say, when I was interrupted, that one of the many ways of classifying minds is under the heads of arithmetical and algebraical intellects. All economical and “ practical wisdom is an extension or variation of the following arithmetical formula: 2+2=4. Every philosophical proposition has the more general character of the expression a+b=c. We are mere operatives, empirics, and egotists, until we learn to think in letters instead of figures. They all stared. —Oliver Wendell Holmes f the purpose of art is to punish its palms against the doors Iof perception, then a rail is wanted to channel, past every possibility of ingress, to corridor the revelation around the faults of nothing more than madness, to guide it down the braiding line to something of the truth. It is not an inclination towards rationality over feelings, for reason can wind as Hyperion—Volume V, issue 2, November 2010 12 feverish and frenzied as the more familiar, no more frequent rages of affection. It is rather a rigor for the mind, a necessary discipline to deter us in our urge to the insanity of unending self-delusion, to patronize ourselves, to pander every thought to our constant desire for blandishment and commiseration, and to head the intellect, untrusting of the ballast of common observation, around the drop zones of nothing but psychology. The so-far perennial, far-too-unquenchable religious impulse aside, it is a peculiarity and distinguishing feature of the modern world that we expect of art a penetration into realms otherwise beyond our reach. We expect the sublime, which, regardless of the variety of meanings to the concept prior to our age, has come to signify a parting of the veils. Art as the royal road to truth, even if the truth of the matter is that there is none, an equivocation that remains unequivocally an answer.
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