Marist Undergraduate Philosophy Journal Vol V 2022

Volume V (2022)

Ribiero provides an ontology of poetry which describes this transition in “The Spoken and the

Written: An Ontology of Poems,” and which distinguishes declamation-based poetry from its

successor, inscription-based poetry. With this transition, the identity conditions (conditions for

what makes the tradition ontologically distinct) of declamation-based poetry have been frozen in

time, and inscription-based poetry has continued to have identity conditions contrasting that of

its predecessor. What is regarded as mainstream poetry has faithfully followed this shift from

declamation to inscription-based and for which there are ontological implications regarding

what falls into each tradition and which identity conditions should be followed when a form

straddles both traditions. In this paper, I will not cover all the ontological distinctions between

oral and inscription-based poetry, but merely try to describe some important implications in how

we ought to determine their ontological status in modern poetry. This paper will be loosely

divided into three sections. In the first section, I will discuss the ontological status of literature

and how the ontologicalstatus of poetry must be differentiated. In the second section, I will

discuss Ribiero’s proposal for an ontology of poetry, describe the importance of the shift that has

occurred in poetic tradition, and attempt to answer some ontological questions arising from her

proposal. Finally, in the third section,I will discuss some implications of equating modern

poetry with inscription-based poetry.

Section I

There has been an ongoing dialogue between philosophers regarding the ontological

status of literature. A common viewpoint has been corroborated that different types of art should

be regarded as ontologically distinct due to their different identity conditions and entities

accepted in their paradigms. Obviously, physical art has different displayal, preservation, and

evaluative conditions than a play or novel does, and thereby the question of a common

ontological status is ill-formed and too broad to be answerable. Amie Thomasson has written

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