The pregnant female body and, more generally, the generative process tout court have been linked with metaphors since the dawn of Western philosophy, though this history has only recently been taken up and critically discussed (Rigotti 2010; Cavarero 1995). The research hypothesis I test in this paper is that pregnancy and childbirth ought to be considered as absolute metaphors, as per their “indissoluble alogicality” (Blumenberg 2010). Following the analyses presented in Paradigms for a Metaphorology, the goal of the article (...) is to enhance dialogue between Blumenberg’s conception of the metaphor and those philosophical reflections that focus on the pervasiveness of metaphors concerning pregnancy and childbirth. This paper is therefore an investigation on the link between female reproductive functions and philosophical knowledge. (shrink)

This paper delves into the striking parallels between the linguistic patterns of Large Language Models (LLMs) and the concepts of psychosis in Lacanian psychoanalysis. Lacanian theory, with its focus on the formal and logical underpinnings of psychosis, provides a compelling lens to juxtapose human cognition and AI mechanisms. LLMs, such as GPT-4, appear to replicate the intricate metaphorical and metonymical frameworks inherent in human language. Although grounded in mathematical logic and probabilistic analysis, the outputs of LLMs echo the nuanced linguistic (...) associations found in metaphor and metonymy, suggesting a mirroring of human linguistic structures. A pivotal point in this discourse is the exploration of “absolute metaphors”—core gaps in reasoning discernible in both AI models and human thought processes and central to the Lacanian conceptualization of psychosis. Despite the traditional divide between AI research and continental philosophy, this analysis embarks on an innovative journey, utilizing Lacanian philosophy to unravel the logic of AI, using concepts established in the continental discourse on logic, rather than the analytical tradition. (shrink)

A formal model of metaphor is introduced. It models metaphor, first, as an interaction of “frames” according to the frame semantics, and then, as a wave function in Hilbert space. The practical way for a probability distribution and a corresponding wave function to be assigned to a given metaphor in a given language is considered. A series of formal definitions is deduced from this for: “representation”, “reality”, “language”, “ontology”, etc. All are based on Hilbert space. A few (...) statements about a quantum computer are implied: The sodefined reality is inherent and internal to it. It can report a result only “metaphorically”. It will demolish transmitting the result “literally”, i.e. absolutely exactly. A new and different formal definition of metaphor is introduced as a few entangled wave functions corresponding to different “signs” in different language formally defined as above. The change of frames as the change from the one to the other formal definition of metaphor is interpreted as a formal definition of thought. Four areas of cognition are unified as different but isomorphic interpretations of the mathematical model based on Hilbert space. These are: quantum mechanics, frame semantics, formal semantics by means of quantum computer, and the theory of metaphor in linguistics. (shrink)

. Humans can be described as existing somewhere on a descriptive continuum between the poles expressed by the metaphors “humans are machines” and “humans are animals.” Arguments for these metaphors are examined, and the metaphors are rejected as absolute descriptions of humans. After a brief examination of the nature of metaphor, all metaphors are discovered to mediate between biological and cultural evolution. Contrary to the reductionist program of sociobiologists, religious metaphors that generate transcendent meaning offer a legitimate description (...) of humans. (shrink)

The dream of achieving artificial intelligence and, in particular, artificial consciousness, is reflected in mythologies and popular culture as utopia and dystopia. This article discusses its conceptual possibility. It first relates the desire to realise strong AI to a self-perception of humanity as opposed to nature, metaphorically represented as gods or God. The realisation of strong AI is perceived as an ultimate victory on nature or God because it represents the crown of creation or evolution: conscious intelligence. The paper proceeds (...) to summarise two debates relevant to AI: one educational and one technological. The technological debate, almost invariably presupposing a materialist framework, is related to the mind–body problem of philosophy; the educational one to understanding the concept of intelligence. By proposing a definition of intelligence linked to an idealist conception of reality, postulating mind as participation in Absolute Mind, I attempt a convergence of these debates, rejecting the possibility of strong AI. (shrink)

The mirror metaphor has been an essential asset especially during the pre-modern history of philosophy. The present article is concerned with its use in the philosophy of the German thinker Nicolas of Cusa (1401-1464). Being rooted in the intellectual traditions of Greek antiquity and Medieval Christian philosophy, Nicolas of Cusa has also been hailed as one of the first modern European philosophers. Long before other occidental thinkers, Nicolas of Cusa used the mirror metaphor to describe the foundational logic (...) of self-consciousness on his own terms and in the context of his time and his cultural environment. This article presents the most important passages where Nicolas of Cusa uses the images of the mirror and of mirroring to explain the creative self-relation of consciousness as well as to hint at a way of a transformation of the common forms of reflexivity of the epistemological functions of the mind into its complete form of existence as absolute self-consciousness. In this context, Nicolas of Cusa’s use of the mirror metaphor is also concerned with the question of an all-encompassing humanistic self-perfection, practice as well as with basic anthropological considerations. (shrink)

The article offers an analysis of the concept of the Absolute in Fichte’s philosophy. Despite the difficulty of the definition, this concept receives a rich and creative rethinking in Fichte and will further influence the philosophical systems of thought. Gradually introducing this concept into his philosophical project of Wissenschaftslehre Fichte often changes its interpretation. So, starting with a somewhat vague understanding of the concept of the "absolute I" through Schelling's criticism of the Absolute, he develops the theory (...) of the manifestation of the Absolute, each time choosing new metaphors to denote it, and sometimes filling it with religious content, when the Absolute becomes a substitute for the concept of God. On the one hand, it’s important not to reduce the Absolute to a simple object of thought because this would indicate the limitation of the Absolute. On the other hand, it would be wrong to consider the Absolute as an empty or neutral concept or something completely enclosed in itself. Then, its existence will be doubtful. Fichte is careful about a clear definition of the Absolute. He solves this dilemma through the idea of the manifestation of the Absolute. Manifestation is the exit of the Absolute beyond itself while remaining unchanged. The ability to manifest itself is a prerequisite that the Absolute can be recognized and thought. This is how the Absolute manifests itself in the form of knowledge. Fichte emphasizes that the Absolute is not a projection of our mind, it may not depend on our thinking, however with such peculiarity that truth and knowledge have their basis in it. Thereby, with the theory of the Absolute, Fichte develops the idea of the foundation that is outside of ourselves, has transcendental character, and thus allows knowledge or truth not to be trapped in subjective tenets. Analyzing step by step the process of evolution of this concept, we will be able to see how in the last years of his life, Fichte states the importance of two realities: the “I” and the “Absolute” and how he explains the connection between them. (shrink)

The traditional philosophical metaphors of epistemology, which speak of grounds or foundations, produce a conception of knowledge as fixed and absolute. This paper is not an effort to revive traditional epistemological view of foundations and origins. After a preliminary and cursory discussion of how the metaphors of foundation and ground are employed, principally by Descartes and Heidegger, and what is suggested by such an employment, I sketch the postmodern rejection of these metaphors. However, I further indicate how, as valuable (...) as it is, postmodern criticism leaves us with an inadequate account of how we understand ourselves and how it is that weunderstand in general. I criticize postmodern thinking for ignoring the human elements of feeling and imagination and endorse the more satisfying model suggested by Paul Ricoeur. By understanding the role of feeling and imagination, we can escape the strict sterility of the grapheme. I end with my own suggestion that we gain a better sense of our attachment to and understanding of the world if we change the metaphors of foundations, grounds, and origins and instead employ metaphors of gathering, coalescence, or coagulation. (shrink)

This paper proposes a theory to explain the remarkable emotional power of our response to abstract music. It reviews and rejects metaphysical arguments derived from notions of a divine spiritual realm and from absolute forms of human reason. Its conclusion is that musical experience is always essentially inter-subjective and potentially empathetic, and arises from “action-metaphors,” through which we link musical performances, as forms of action, to subconscious, archetypal dimensions of our awareness of ourselves and of our feelings towards others. (...) It ends with a discussion of the implications of this theory for music education. (shrink)

This article investigates what Hans Blumenberg has in mind when he characterizes his own philosophical activity as a „metaphorology”. An adequate understanding of Blumenberg's work has to consider the author's fundamental change of perspective concerning the relationship between metaphorical and conceptual language. First, metaphorology is considered as an auxiliary discipline of the „history of concepts” as it was developed in the Archiv für Begriffsgeschichte and the Historisches Wörterbuch der Philosophie . Even at this stage, however, Blumenberg already respects metaphors as (...) „basic constituents of philosophical language” which can never be recuperated adequately and completely by conceptual language. In this context, he proposes to comprehend the „truth” of a metaphor as „pragmatic”. Gradually, Blumenberg gives up the priority of the concept and announces his „theory of unconceivability” , which has its starting point in the assumption that reality transcends whatever can be predicated in a clear and distinct way. Blumenberg, however, stresses the predicability of the „mystical” with his notion of „metaphorics of break-up” . Although Blumenberg rejects every form of essentialism in his thinking of man and reality, his view on the functioning of metaphors has its foundation in some anthropological and ontological assumptions, with the central notion of man as a „being of lack who tries to overcome his unability to adapt to reality, by a rhetorical, i.e. indirect and functional relationship to reality. Blumenberg's metaphorology stands midway between pragmatics and metaphysics. It is more than pragmatics because it also implies a statement on the character of reality. It is less than metaphysics because these statements precisely bring into the open the vanity of conceptual language. Therefore, we propose to characterize Blumenberg's philosophy as a kind of „negative metaphysics”. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.2 (2002) 346-353 [Access article in PDF] Stevens after Davidson on Metaphor Clive Stroud-Drinkwater IN "NOTES TOWARD A SUPREME FICTION" 1 Wallace Stevens suggests that the absolute as we imagine that an angel would experience it constitutes the supreme fiction. We conceive the experience of the angel only in a fantasy, but it is our fantasy, and therefore the experience of the angel and (...) its absolute are things that we comprehend in our imagination. Thus, in imagination we can apprehend that which we may at first suppose only angels can apprehend, since "the lapis-haunted air" of the angel's absolute is a creature of our own imagination and nothing more. When Stevens asks, "Is it he or is it I that experience this?," the question is rhetorical, since the angel's "experience" exists only within the poet's imagination. In "Sunday Morning," likewise, Stevens suggests that the concept of paradise is defined only within the limits of human imagination. It is a construct which people can comprehend only in the terms of their essentially finite "passions," "moods," "grievings," "elations," "remembrance" and "desire;" it is a construct which people create in "a chant of paradise, / Out of their blood, returning to the sky." Abstracting from our ordinary feelings will not leave us with a transcendent conception of paradise; on the contrary, it will deprive us of our sense of value. The image of the inhuman god ("Jove in the clouds" with "his inhuman birth") is sterile, remote from all human concern. For Stevens, "The ultimate value is reality." 2 [End Page 346]It is possible to regard this as a sad and resigned affirmation that we have at most this world and its parochial values, since God is "dead" and we cannot really have paradise at all, 3 but it is also possible to regard it as an affirmation of the genuine value of the ordinary and the human. On this interpretation of Stevens, "Sunday Morning" calls us from the shadows of a self-defeating attempt to transcend our own values to a consideration of the place of ordinary values in our conception of paradise: Shall she not find in comforts of the sun, In pungent fruit and bright, green wings, or else In any balm or beauty of the earth, Things to be cherished like the thought of heaven? The question, which is already rhetorical, is answered flatly in another poem, "The Rock"; the imagination can indeed find paradise in reality: In this plenty, the poem makes meanings of the rock, Of such mixed motion and such imagery That its barrenness becomes a thousand things And so exists no more. This is the cure Of leaves and of the ground and of ourselves. In this "cure" we imagine the world as paradise, or the rock as meaningful, or barrenness as a thousand things. There is, however, an unresolved tension between imagining one thing as another and recognizing that the things are, in fact, different. Max Black regards this tension as the greatest weakness in his "interaction" theory of metaphor. 4 In "Notes" Stevens addresses this problem: Fat girl, terrestrial, my summer, my night, How is it I find you in difference, see you there In a moving contour, a change not quite completed? The problem here is the general problem of metaphor: metaphors seem to constitute an "evasion" 5 since they are usually literally false. 6 For example, the "fat girl" is presumably not literally summer or night, and may not even be fat or a girl, metaphors being what they are. To the "fat girl," the poet says, [End Page 347] You remain the more than natural figure. You Become the soft-footed phantom, the irrational Distortion, however fragrant, however dear. His metaphors disguise the object; the object is represented in them as "more than natural"—in other words, not natural, not the thing as it is. "The very thing and nothing else" ("Credences") that Stevens, the poet of the real world, wishes to see thus becomes "obscure," a thing in "an obscure world / Of things that would... (shrink)

The Aymara of the Andes use absolute (cardinal) frames of reference for describing the relative position of ordinary objects. However, rather than encoding them in available absolute lexemes, they do it in lexemes that are intrinsic to the body: nayra (“front”) and qhipa (“back”), denoting east and west, respectively. Why? We use different but complementary ethnographic methods to investigate the nature of this encoding: (a) linguistic expressions and speech–gesture co-production, (b) linguistic patterns in the distinct regional Spanish-based variety (...) Castellano Andino (CA), (c) metaphorical extensions of CA’s spatial patterns to temporal ones, and (d) layouts of traditional houses. Findings indicate that, following fundamental principles of Aymara cosmology, people, objects, and land—as a whole—are conceived as having an implicit canonical orientation facing east, a primary landmark determined by the sunrise. The above bodily based lexicalizations are thus linguistic manifestations of a broader macro-cultural worldview and its psycho-cognitive reality. (shrink)

At the foundation of systematic thinking lie decisive assumptions that cannot be articulated and treated in a theoretical manner. Nonetheless, they are settled practically and metaphorically to orient and provoke the systematic attempts of philosophy. This field of non-theoretical assumptions is the theme of this paper. In the following, I articulate one specific metaphorical and practical answer that defies theoretical and systematic treatment. While it is among the most fundamental and fatal answers that can ever be ventured in the entire (...) field of systematic thinking, they cannot occupy center-stage in theoretical thinking. The problematic concerns the pragmatic or absolute establishment of the edifice of philosophy. In the following, I try to portray a fundamental but irresolvable conflict in a back-and-forth movement between rival answers given to this problematic. This investigation concludes by emphasizing the irremediable failure to settle, once and for all, the conflict portrayed between the two opposed designations of philosophy in principle. (shrink)

Across cultures, people employ space to construct representations of time. English exhibits two deictic space–time metaphors: the “moving ego” metaphor conceptualizes the ego as moving forward through time and the “moving time” metaphor conceptualizes time as moving forward towards the ego. Earlier research investigating the psychological reality of these metaphors has shown that engaging in certain types of spatial-motion thinking may influence how people reason about events in time. More recently, research has shown that people’s interactions with cultural (...) artifacts may also influence their representations of time. Extending research on space–time mappings in new directions, three experiments investigated the role of cultural artifacts, namely calendars and clocks, in the interpretation of metaphorical expressions about time. Taken together, the results provide initial evidence that, in their interpretation of ambiguous metaphorical expressions about time, people automatically access and use spatial representations of absolute time, whereby moving forward in space corresponds with moving later in time. Moreover, asking participants to use a reverse space–time mapping causes interference, which is reflected through their temporal reasoning. (shrink)

The author examines literary sources, takes poets as subjects, and allows their philosophical implications to emerge. Man is thought, but thought is figuring. Hence man is the figure who figures. And good figuring works. Sewell selects six modern figures for man: temple, labyrinth, gambler, laboratory, language, machine, showing the partiality of each, only to lead into a detailed examination of the cosmic figures: the universe itself, as pole of the I; suffering and effort, as capabilities of the I; love and (...) death, as man's absolute reach. Though the book as a whole may not work, its somewhat ragged character may well display the true state of our philosophical methods for coming to grips with man.—D. B. B. (shrink)

The golden mean metaphor is suggested as a key to understanding the universal and the particular in moral philosophy since finding metaphorical links provides a way of seeing different traditions in a manner that does not erect absolute boundaries. The choice of the golden mean is made keeping in mind that all cultures recognize the worth of moderation. The prime reason for that lies in human nature which sets human beings apart from all the other living creatures by (...) a goal-oriented activity. As a rational being endowed with will, a human person cannot move toward a goal without adopting a certain strategy of actions. An instinct for self-preservation and astute prudence, personal experience and that of one's own ancestors are all prompting a human being to moderate and commensurate in dispositions and actions for an optimal attainment of the goals. Yet, the same principle is concretized in a particular cultural context (Ancient Greek, Indian, Chinese, Muslim and Russian cases are considered). Along with cultural distinctions, situational, temporal factors are of importance: much depends on whether it is the human person guided by own free will or a certain driving force, public, government, etc., outside and above defines the content of the golden mean. (shrink)

In this essay I will attempt to show that Derrida not only mistakenly reads the Hegelian text in terms of reflection, but that his own way of thinking could be characterized from a Hegelian perspective as itself reflective. For this I will not focus upon those writings of Derrida which are explicitly “about” Hegel, nor will I compare those places in both the Derridian and Hegelian corpora which seem to present a contiguity in an at least superficial resemblance between concepts, (...) such as Hegelian difference vis-à-vis Derridian différance. Rather, I will focus upon one of Derrida’s texts which indicates his own contributions to the field of thinking and writing and the directions for inquiry initiated in his work, as well as his engagement with Hegel. Such a text is his masterful essay, White Mythology: Metaphor in the Text of Philosophy, a writing overtly concerned with the difficulties posed by metaphoricity in the text of philosophy and the attempt in the latter to domesticate and “interiorize” its tropic reserve or condition of possibility within the concept of metaphor itself, which turns out to be a philosopheme. The problems of philosophy are posed in terms of such mastery and interiorization. Since my concern in this essay is to problematize this kind of reading by showing that it presupposes reflective distinctions, I will not here attempt a positive philosophical account of metaphoricity per se. Indeed, Derrida will indicate what he takes to be the conditions of the impossibility of such an account, but it is precisely his reasons for this impossibility that I find problematic in terms of reflection. (shrink)

Trying to assess Kant's impact on contemporary aesthetics is by no means a straightforward task, for the simple reason that the subject is saturated with his influence. In all aspects of the theory and practice of art, it is possible to observe concepts and attitudes at work which are either a reflection of, or a response to, Kant's thinking. This might seem a rather overblown claim and a difficult one to substantiate but, without going into too much detail at this (...) point, one has only to consider that the central tenets of both modernism and postmodernism can be traced back to Kant's Critical thought. There is the modernist's interest in the conditions of possibility of representation – as evidenced, for example, by the push towards abstraction in the visual arts and the attempt to paint not the world but the process of painting itself – and, responding to this, the postmodernist's concern that these conditions of possibility should not become universal absolutes. (shrink)

A imagem da noite é uma constante em diversas tradições místicas, estando associada à necessidade, expressa pela mística apofática, de transcender às imagens, ao conhecimento e ao nome de Deus, bem como a um método ascético que conduziria a uma experiência que não sendo sensível ou inteligível, não é catalogável pelo nosso sistema de cognição. A noite será uma das imagens mais poderosas e de maior expressividade na poesia de São João da Cruz, representante da mística ibérica do séc. XVI. (...) Uma imagem negativa que nos fala de um processo de negação gradual e progressivo que avança até um ponto limite que onde reste a afirmação absoluta do Nome divino. O artigo pretende, pela análise dos poemas Cântico espiritual e Noite escura, ensaiar algumas conjecturas sobre o significado da metáfora noite escura em São João da Cruz e no discurso místico em geral. Palavras-chaves: São João da Cruz. Poesia mística. Cântico spiritual. Noite escura.: The image of the night is a constant in various mystical traditions, and it is generally related to the need, expressed by the mystical apophatic, of transcending the images, the knowledge, and the name of God. Such image is also comprehended as an ascetic method which would lead to an experience that is neither sensible nor intelligible, and because of that it is not understandable by our system of cognition. The night is one of the most powerful and expressive image in the poetry of São João da Cruz, a representative poet of the Iberian mystical poetry of the nineteenth century. The metaphor of the night is a negative image that speaks us of a process of gradual and progressive denial that moves toward a tipping point where the absolute affirmation of the Divine Name remains. The paper develops, through the analysis of the poems “Spiritual Chant” and “Dark Night”, some conjectures about the meaning of the dark night metaphor in São João da Cruz and in the mystical discourse as a whole Key-words : São João da Cruz. Mystical poetry. Spiritual Chant. Dark Night. (shrink)

The article offers an attempt to understand the present state of Kant’s legacy in Russia on the threshold of the Tercentenary. An explanans is found in the metaphors of “ tabula rasa ” and “unplowed virgin soil,” first used by Leibniz in relation to Russia in his letters and memoranda addressed to tsar Peter I and other members of the Russian elite, which became the country’s “absolute metaphors to live by” up to present time. Several known and unknown episodes (...) from the history of the reception of Kantian ideas, his followers in Russia, and the transformation of the urban environment of Kant’s life in Königsberg, as it was becoming Kaliningrad, are presented through the prism of this metaphor. Without hoping to make specific recommendations of any use from such metaphorical grounds, this study aims to emphasize the depth, interconnectedness, and basic, metaphysical tension of the relationship between Europe and Russia, which cannot be terminated at will by either side, or by a third party. In a situation where the sides are doomed to dialog, Kant, appropriated by Russia as its “subject,” occupies the unique position of mediator of philosophical understanding and peaceful action. (shrink)

The text consists of two parts. Part one puts the works of Hans Blumenberg, as far as they tackle the problem of rhetoric, into their historical context. Relevant here in particular is the tradition of topological philosophies of the Renaissance and their different types of revival in the 20th century. Part two analyses three main ‘absolute metaphors’ or ‘topoi’ Hans Blumenberg has investigated, the metaphors of ‘light’, ‘shipwreck’, and ‘book of nature’, in order to add to the philosophical perspective (...) taken by Blumenberg a hidden philological perspective, which shows the shortcomings of conceptualizing rhetorical techne (how does a metaphor work), which does not always account for philological techne (how do we write texts). (shrink)

As well as Vico was the first and most persistent to understand myth as a contemporary phenomenon that, far of being in conflict with reason, is originally the instrument for escaping the loneliness of man against the mutism of a meaningless nature, Hans Blumenberg has been in our age who has spoken most forcefully for the rationality of mythical thought, doing it with arguments that the author finds very similar to Vico¿s ones. "Absolutism of reality", "absolute metaphor" and (...) "principle of insufficient reason", the three main elements, according to this reading, of Blumenberg¿s work, share with Vico the same metaphorical sensibility. (shrink)

This paper examines the Hans Blumeberg’s philosophical program: the metaphorology. My intention is to show the importance of Blumenberg’s ideas into the current debate on the relations between philosophy and metaphor.

The paper “Who Can Question Blumenberg Except for Blumenberg Himself” brings forward the question of which factors and features of the philosophy of this German thinker of the second half of the 20th century make it the case that he has moved away from academic mainstream and given philosophy back the typical characteristics of German philosophical tradition: erudition, cultivated character, adequacy, good taste in the selection of vital problems and their solutions, and, above all, critical thinking, which, on the journey (...) between the peaks of Kant and Blumenberg himself, frequently waned, disappeared in dark gorges of being and time and vanished in polished aesthetics of the hermeneutics of God’s intentions. The study focuses on Blumenberg’s concept of actio per distans, which, combined with the theory of absolute metaphor and cognitive metaphor, gives rise to his historical phenomenology and politically, economically and phenomenologically oriented anthropology. At the end, the author mentions the problem of ‘metametaphorics’, which is newly developed as a project based on a deep misunderstanding of Blumenberg's metaphorology: the paper presents several arguments proving a discrepancy between metaphorology and metametaphorics, derived primarily from Blumenberg's theory of (the constant cultural reproduction of) myth. (shrink)

이 글은 하이데거(M. Heidegger)와 비트겐슈타인(L. Wittgenstein)의 철학체계를 사유의 미침으로 해석한 블루멘베르크(H. Blumenberg) 철학의 비개념적 사유의 고유성을 조명하고자 한다. 사유의 미침은 최초의 철학자 탈레스의 우물추락에서 하이데거의 세계내의 던져진(geworfen) 존재와 비트겐슈타인의 경우(Fall)까지 전승된 철학사적 개념이다. 현대에서 사유의 미침은 프로이트(S. Freud)가 코페르니쿠스(N. Copernicus)의 탈 지구중심우주이래 인간 자의식의 나르시스 성향의 질병으로 지칭하면서 비롯되었고, 프랑스 구조주의는 이를 광기(狂氣)로 취급하면서 전 세계적으로 확산되었다. 블루멘베르크는 20세기 사상을 풍미한 두 철학자가 구축한 철학적 개념체계를 비철학적 언어로 간주되던 수사학적 은유로 접근하였다. 그는 플라톤 철학의 동굴의 비유이래 철학사적 개념상태를 사유의 덫에 (...) 빠진 그림에서 고찰하면서, 철학적 인간학의 웃음으로 해소하고 직립보행으로 조감하는 철학적 방법론을 확립하였다. 그는 두 철학자의 개념적 사유체계를 사유하지 않는 것을 사유하고, 개념적 정의로 전이되기를 거부하고 논리적으로 번역될 수 없는 절대은유로 파악하므로 철학적 사유의 단초에 대한 새로운 이해의 지평을 열었다. (shrink)

Abstract: Spatial metaphors have peculiar prominence in accounts of rationality, such as in the phrase “space of reason” made prominent by Wilfrid Sellars and John McDowell. This article attempts to understand the potential of such comparisons of reason to space, taking Wittgenstein’s metaphor of “logical space” as exemplary. As Hans Blumenberg observes in his reading of Wittgenstein and in contrast to its stated aim, the account of “logical space” in the Tractatus does not achieve a final delimitation of reason. (...) Wittgenstein’s discussion of different forms of rationality rather leads him to consider a plurality of spaces. Asking how these different spaces or fields of meaning can be congruent at all, Wittgenstein is led to consider the indeterminacy of space itself in contrast to the different localizations it allows. (shrink)

This paper examines the Hans Blumeberg’s philosophical program: the metaphorology. My intention is to show the importance of Blumenberg’s ideas into the current debate on the relations between philosophy and metaphor.

In a time imbued with civilisation crisis, José Manuel Naredo's work is of particular relevance. Naredo, one of the most prestigious economists in Spain and a pioneer of ecological economics, first published his most popular book ( La economía en evolución. Historia y perspectivas de las categorías básicas del pensamiento económico) in 1987. This article reviews its most recent and updated version released in 2015. Beyond a brilliant criticism of neoclassical economics, he discusses the underlying ideology and implications of the (...) notion of economic system uncritically endorsed by most schools of economic thought. Transcending the usual dichotomy between ‘orthodox’ and ‘heterodox’ economics, Naredo calls for an economic transition built on the integration of different kinds of scientific knowledge as well as other intuitive, metaphysical and ethical fields in favour of a truly inclusive economics. This is, he warns us, a sine qua non for a socioecological transformation to flourish. (shrink)

The author of the article puts a question about the limits of the 20th century individualism. He expresses a hypothesis about the cyclic nature of the cultural and political theory. In particular, he draws attention to the rhythm of changes of the hedonistic and ascetic ep- ochs, spiritualist and materialist epochs, individualist and holist epochs. The author ana- lyzes holistic doctrines of the 19th century: philosophies of Fabre d’Olivet, Auguste Comte, Pierre Leroux. Although today almost forgotten, the ideas of these (...) authors can be revived again in the 21st century, he says. Based upon the analysis of the 19th century holism which the author did in his book Liquid ideologies, the author makes a hypothesis that the 21st century is becoming much less individualistic and much less materialistic than the 20th century. The metaphors of the “collective body” and “absolute spirit” are coming back in the 21st century, in the new form of the digital reality. (shrink)

Le projet métaphorologique de Hans Blumenberg correspond – répond et s’oppose, comme « la Mythologie blanche » de Jacques Derrida – à l’idée heideggérienne de «l’histoire de l’être ». Le concept de « l’inconceptuabilité » révise cette critique historiquement limitée du logocentrisme, en réduisant le concept d’Etre de Heidegger ad absurdum.

Consciousness confronts itself with the aim of achieving absolute knowing. This is the first commentary to regard metaphor, irony, and memory as keys to the understanding of Hegel's basic philosophical position.

The journal continues to publish translations of individual chapters of the book by the famous phenomenologist Michael Marder “The Philosopher’s Plant. An Inteellectual Herbarium”. Of the twelve stories, the fourth, “Augustine’s Pears”, and sixth “Maimonides Palm Tree” are selected. In the chapter “Augustine’s Pears” the first avowal in the Confessions of St. Augustine concerns the episode with the theft of pears, which he committed in the company of teenage friends. Today, most of us will perceive this theft as a relatively (...) innocent teenage prank. However, for Augustine, this act is symbolic, since, according to him, he did not crave pears, but forbidden fruit and the thrill of breaking the law. Whether these events actually took place is irrelevant. To demand to separate the real from the imaginary is to ignore the main message of Augustine and his method. The world for him is a matter of interpretation, an intermediate step towards the God. Everything empirically real pales in comparison with the “fictions” of faith, hope and love that pave the road to heaven. The separation of plant processes from plants themselves, life from continuous growth, and physiological activity from the mortal organism prevents their vitality. The fruit that does not rot in the guise of a good deed, and the memory that is eternally stored in God are theological and metaphysical fantasies that destroy the essence of the metaphor that carries them in itself. If the characteristic philosophical gestures of Augustine are spiritualization, interiorization and the use of allegories, then his ethics, although seeking legitimization in the discourse of natural law, is based on the obvious deprivation of life of its natural properties. By suppressing the plant within himself, Augustine excludes real plants from the sphere of moral significance. Although the fruits of the earth allegorically represent works of mercy, a merciful approach to plants is considered inappropriate. It is not surprising that Augustine shows almost no interest in the plants themselves, treating them as translucent screens through which the divine order shines through. If we want Augustine’s philosophy to remain relevant today, it is necessary to extract the ethical core from the shell of its theological denial of the world. Now that the transcendent absolute is no longer immune from questions, the certainty that the world exists for the sake of something external inevitably collapses. In the process of mourning the loss of the absolutes, one should remember the meaning of Augustine’s modified motto: Mundo frui! Enjoy the world! The chapter “Maimonides’ Palm Tree” is dedicated to Rabbi Moses Ben Maimon –Maimonides – presented a unified worldview based on the theories of his predecessors, and systematized religious laws in a code of fourteen volumes – “Repetition of the Torah”. Maimonides pays attention to everyday details, for example, what is allowed and what is forbidden to those who observe Sabbath; describes in detail the rules governing the sale, gifts and the right to use property. He demands that the stump with two shoots be left untouched from the olive tree. But palm trees can be uprooted because they do not give shoots – that is, these trees can be subjected to unlimited violence. The author calls the palm arbor sacra, thus referring to the concept of homo sacer introduced by J. Agamben. The statement of Maimonides – “man has an erroneous idea of himself and believes that the whole world exists only for his sake” – could well serve as a unifying slogan in today’s struggle against the domination of man over nature. “The Guide for the Perplexed”, the main philosophical work of Maimonides, contains clear and strict information about plants. Maimonides prefers to combine plants with inorganic substances rather than grouping plants together with animals. His “The Book of Cleanness” praises the cleansing properties of the soil, or, more precisely, the attachment of the plant to the soil. Regardless of the contamination of the seeds, their sprouts are purified as soon as they take root, reviving their original connection with the divine origin of existence. But the growth of plants threatens the very integrity of the Law. In order to control the excess of plant raw materials, Maimonides defends the purity of species. Plants are trivial and therefore unworthy of divine interest. A chain reaction occurs: plants are neglected, left to themselves, and subsequently they become more and more mysterious. Their freedom is still more radical than that inherent in the free will of man. (shrink)

Commenting David Hume’s metaphor of the “wall” of benevolence and the “vault” of justice in the third Appendix of his Enquiry Concerning the Principles of Morals, the paper compares those two “social virtues”, and thus describes two forms of social links, corresponding respectively to the “natural virtue” of benevolence and to the “artificial virtue” of justice. I also examine Hume’s enhancing of the possible contradictions between those two virtues, when he remarks that some isolated acts of justice, though absolutely (...) necessary to the cohesion of the “vault” of justice, actually constitute a “form of evil”; an observation that other authors such as Francis Hutcheson, Adam Smith and John Rawls, have somehow neglected. (shrink)

Tao and Trinity treats the Trinity as a philosophical notion coming to birth in Heraclitus, Parmenides, and Plato. All three attempt to treat the idea of an absolute source or unity of all things, and are driven in the direction of a first principle which is an instance of itself, an identity and a contradiction at once. The Trinity later on in Aquinas is also such a principle, one characteristically Western, with consequences for art and metaphor, image and (...) symbol, comedy, tragedy, and religion. The consideration of Aquinas forces a rewriting of the history of Western philosophy from Parmenides to Heidegger, Whitehead, and Derrida. The Tao is an Eastern version of such a principle - less dependent on dialectic, reason, logic, hierarchy, and more on nature, mysticism, and transcendence."--Back cover. (shrink)

Since some time the metaphor of logical space has been used to open new approaches to Hegel’s “Science of Logic”. Frequently it is noticed that in such an interpretation logical space must be understood as dynamic. However, as far as I can see, nobody has done yet the step to introduce the concept of logical time into the discussion, even though this step seems to suggest itself. The following contribution seeks to develop this thought and arrives at some new (...) conceptions, such as the curvature of logical space, logical actuality and semantic present, which may seem strange at first sight, but which follow consistently from the explication of the fundamental idea. The first aim in doing this is to broaden our conceptual repertoire do deal with Hegel’s Logic. This may open new perspectives of interpretation which may prove inspiring. Secondarily, the article also defends a systematic thesis which stands on its own and lays claim to truth. This claim goes far beyond a mere interpretation of Hegel and implies a fundamental critique of his philosophy. The comprehension of logical time-space leads to the requirement of logical chance event – and not only real chance. This goes against Hegel claim to absolute necessity in the dialectical development of his Logic and leads to a new philosophic comprehension of logic as such. (shrink)

An investigation of the views on space and time of the Russian polymath Pavel Florensky. After a brief account of his life, I study Florensky’s conception of time in The Meaning of Idealism, where he first confronts Einstein’s theory of special relativity, comparing it to Plato’s metaphor of the Cave and Goethe’s myth of the Mothers. Later, in his Analysis of spatiality and time, Florensky speaks of a person’s biography as a four-dimensional unity, in which the temporal coordinate is (...) examined in sections. In On the Imaginaries in Geometry, Florensky argues that the speed of light is not, as in Relativity, an absolute speed limit in the universe. When bodies approach and then surpass the speed of light, they are transformed into unextended, eternal Platonic forms. Beyond this point, time runs in reverse, effects precede their causes, and efficient causality is transformed into final or teleological causality, a concept on which Florensky elaborates in his Iconostasis. Florensky thus transformed the findings of Einsteinian relativity in order to make room for Plato’s intelligible Ideas, the Aristotelian distinction between a changing realm of earth and the immutable realm of the heavens, and the notion of teleology or final causation. His notion that man can approximate God’s vision of past, present and future all at once, as if from above, is reminiscent of Boethius’ ideas. (shrink)

North by Northwest -- Metaphor and the cultivation of intimacy -- Notes on metaphor -- What's special about photography? -- Sports and art -- Clay for contemplation -- There are no ties at first base -- A driving examination -- Objects of appreciation -- And what if they don't laugh? -- Liking what's good: why should we? -- Language games -- Ethics class -- Kings and salesmen -- One way to think about popular art -- Caring -- The (...) idea of absolute gin -- Playing by the rules -- Freedom from rules. (shrink)

Articulates an imaginationist solution to the question of how purely instrumental music can be perceived by a listener as having emotional content. Both musicians and laypersons can perceive purely instrumental music without words or an associated story or program as expressing emotions such as happiness and sadness. But how? In this book, Saam Trivedi discusses and critiques the leading philosophical approaches to this question, including formalism, metaphorism, expression theories, arousalism, resemblance theories, and persona theories. Finding these to be inadequate, he (...) advocates an “imaginationist” solution, by which absolute music is not really or literally sad but is only imagined to be so in a variety of ways. In particular, he argues that we as listeners animate the music ourselves, imaginatively projecting life and mental states onto it. Bolstering his argument with empirical data from studies in neuroscience, psychology, and cognitive science, Trivedi also addresses and explores larger philosophical questions such as the nature of emotions, metaphors, and imagination. Saam Trivedi is Associate Professor of Philosophy at Brooklyn College, City University of New York. (shrink)

In this paper is studied the relationship between finite and infinite, creator and creature, in the metaphysics of Nicolaus of Cues; with this aim, the Cusano texts dealing with the transcendence of the Absolute´s infinity are highlighted, as well as the texts dealing with the inmanence of the finite in the Infinite. On the other hand, the relations of inmanence and transcendence, of finite and infinite, are made explicite through three kinds of affirmations or metaphores of Cusa: a) The (...) Absolute as Non aliud of the finite; b) The correlativity of the finite and infinite looks; c) Infinite intellect and human mind: relation as image. The paper finishes pointing out the impossibility of a reciprocal relation between finite and infinite, and emphasizing that the speculative horizon should be aimed at an analogy of the relation. (shrink)

The goal of this work is to popularize the philosophy of the German philosopher Hans Blumenberg (1920–1999) in Czech context. Even though he is gradually becoming one of the most discussed authors in the Anglo-Saxon world, Blumenberg is still largely ignored here. This work focuses on a key theme from Blumenberg’s theory of metaphorology and analyzes the history and development of human defensive reactions against alleged expressions of cosmic powers and their impact on human lives: heavenly signs, unnatural signs at (...) birth or death of important figures, religious miracles, etc. In order to defend themselves against absolute forces of the universe, people have developed magic (homo magus occurred in human history) as a tool of prevention from cosmic interference, created new myths and escaped into their mythical shelters by means of further metaphors. In the final part, the work deals with the phenomenology of the metaphor of „stream“, used by E. Husserl. (shrink)

Luca Castagnoli, Ancient Self-Refutation. The Logic and History of the Self- Refutation Argument from Democritus to Augustine, Cambridge: Cambridge University Press 2010, pp. XX+394. Hardback, ISBN 9780521896313. In his book Ancient Self-Refutation L. Castagnoli rightly observes that selfrefutation is not falsification; it overturns the act of assertion but does not prove that the content of the act is false. He argues against the widely spread belief that Sextus Empiricus accepted the self-refutation of his own expressions. Castagnoli also claims that Sextus (...) was effective in answering to the self-refutation charge. The achievement of the book is the discovery that in passages where Sextus seems to embrace the selfrefutation of his expressions (PH 1.14-15), he does not use the term peritropé, technical for self-refutation, but the term perigraphé, which means self-bracketing. Selfbracketing is weakening one’s own thesis, but not overturning it. Castagnoli claims that Sextus embraces the self-bracketing of his expressions, but never accepts their selfrefutation. However, Castagnoli is not right in saying that self-refutation is a shameful mistake for everybody. The mature skeptic cannot even think that self-refutation is wrong, because it would be a dogmatic view. Sextus seems to accept self-refutation at the end of Against the Logicians, where he presents the argument against proof and the metaphor of the ladder (M 8.480-1). Regardless of Sextus’ declarations, we have reason to think that he does not avoid self-refutation in a pragmatic sense. Self-bracketing of his position is not a consistent dialectical strategy, as Castagnoli writes, but the end of a rational discussion. Sextus avoids absolute self-refutation (we cannot falsify what he suggests), but he is unable to avoid pragmatic self-refutation (there is no way to assert his position without contradiction). This is the case even if Sextus refuses to assert his position. (shrink)

If we disscuss imaginary syncretism, we will do this by taking some caution measures: we are used to general speculations, to metaphors, but we have to acknowledge that the present article values specific statements, namely, when discussing religion, dogma, the absolute truth, we are actually taking into consideration the individual behind all these. It involves to state the intercultural dialogue (defined as openess toward the other), having as bases several solutions likely to be traced, because when we discuss the (...) great concepts of culture, such in the case of Humanism, we may not be able to grasp their meaning without putting value on the specificities it presupposes. Further more, multiculturalism announces umanism without taking into account that the equivalence between syncretism and the former is the creation of the imaginary in modernity. Multiculturalism being specific to the secular cultures is actally specific to religious cultures rendered secular, where secular can return to religious, yet it is a one-way, the other way round being impossible. (shrink)

Wonderful Knowledge. Aquinas on the Immutability and Eternity of God’s Knowledge The general concept of knowledge is a kind of concept closely akin to transcententals: its use is not restricted to a certain kind of being, and it does not itself designate a kind of entity. Such concepts may be applied to God not as metaphors: when we grasp (through the analysis of cases of finite knowledge) some general traits of knowledge as such, we can show that God has knowledge, (...) and his knowledge, as opposed to ours, is infinitely perfect. We have no insight into this realization of knowledge as opposed to ours, but as far as we know what general traits of knowledge are, it is important to know that God has infinitely perfect knowledge. To grasp the general traits of knowledge, I focus on the topic of mutability and immutability of knowledge analyzed systematically by Aquinas, and thus on the topic of identity criteria specific for knowledge in general: the question of when knowledge that p and knowledge that q are (in a certain knower) one and the same knowledge; the criteria of identity of knowledge vary according to natures of knowers. I think that the problem of the criteria of identity of knowledge is rather neglected in omniscience-immutability discussions. I analyze Aquinas’ arguments for the thesis that human knowledge is mutable, and God’s knowledge is absolutely immutable (they concern the role of tense). The analysis sheds light on some general traits of knowledge: it is always something formulated by the knower which manifests some truth to him, and in general the way it is formulated corresponds to (i) the way it manifests some truth, (ii) its identity criteria, (iii) the way it is propositional, (iv) the way it is related to tense, and finally (v) the nature of the knower. Focusing on the criteria of the identity of knowledge shows that God’s knowledge is absolutely immutable, and that time and change in its objects are nevertheless undoubtedly real. Keywords: God’s knowledge, knowledge, criteria of identity of knowledge, immutability; tense; transcendentals; omniscience-immutability arguments. (shrink)

The purpose of the dissertation is to present a philosophical reading of Balthasar's teaching on the polarity of expression and form in beauty. ;Chapter I, "Expression," presents the concept of expression in the context of the aesthetic doctrine of Wahrheit. It confronts Balthasar's teaching about expression with an alternate view. On the basis of the clarification achieved in this confrontation, the chapter turns to some major texts from Herrlichkeit in which Balthasar unfolds the structure of expression. ;Chapter II, "Form," presents (...) Balthasar's concept of form and develops it by a presentation of some historical sources. The results of the presentation are then summarized in an exposition of some of the main metaphors used by Balthasar to describe form. ;Chapter III, "Beauty," turns to Balthasar's thesis that beauty implies the polarity of expression and form. It gives an exposition of the central metaphor of light and compares Balthasar's teaching with that of Dionysius the Areopagite, St. Thomas, and St. Bonaventure. The chapter ends with an introduction to two major developments which converge in the doctrine of participation. ;Chapter IV, "The Expression of Free Interiority in Man," presents Balthasar's analysis of the aesthetic structure of man. The two main questions discussed are how free interiority can be preserved in expression, and whether free interiority necessarily gives rise to a conventional medium of expression. ;Chapter V, "The Expression of God in Creatures," turns to the summit of Balthasar's philosophical aesthetics. It present his teaching on the apprehension of an absolute horizon of free love that lies in the awakening of the human spirit. This teaching is unfolded in a presentation of Balthasar's interpretation of the Thomistic doctrine of participation in existence . The chapter ends by pointing to the center of Balthasar's philosophical aesthetics, developing especially his thesis that the center of the light which appears in beauty remains inchoative and open to a final revelation of God's glory. ;The "Theological Epilogue" of the dissertation presents Balthasar's teaching on the appearing of trinitarian love in the expressive form of Jesus. It describes, thus, the apex of the whole of his aesthetics. (shrink)

Writing, the exigency of writing: no longer the writing that has always (through a necessity in no way avoidable) been in the service of the speech or thought that is called idealist (that is to say, moralizing), but rather the writing that through its own slowly liberated force (the aleatory force of absence) seems to devote itself solely to itself as something that remains without identity, and little by little brings forth possibilities that are entirely other: an anonymous, distracted, deferred, (...) and dispersed way of being in relation, by which everything is brought into question – and first of all the idea of God, of the Self, of the Subject, then of Truth and the One, then finally the idea of the Book and the Work so that this writing (understood in its enigmatic rigor), far from having the Book as its goal rather signals its end: a writing that could be said to be outside discourse, outside language. – Maurice Blanchot ( The Infinite Conversation , xi) The Compendium * Beginning with the idea and practice of writing, and moving to the subject or self, then to truth and the One, and arriving at the Book and the Work, Blanchot’s words reflect the trajectory of the following work of writing. True to the embeddedness of the subject in the work of writing, the term “Compendium” has been a metonym for me over the past few years as I have thought about the concept of totality alongside its expression in figures such as the One, the Whole, or the All. In the following I aim to share some of the content of this metonym, and to enrich it by making some distinctions. 1 Here the term “Compendium” will refer to a concept of totality that is ontological (pertaining to being, and the copula) and also textual (pertaining to the symbolic, and the signifier-signified relationship). The Compendium is a figure for thinking the world as a Book, in the broadest sense—an approach to reality that is by no means new, but one that is due for renewal. 2 In partial answer to the question of the Compendium we will say that the word ‘Compendium’ stands in for expressions which seek to totalize, or concepts which seek to approach the concept of ‘everything,’ particularly when these expressions are bound up in the question of the Book (both the book as a physical object and the Book as a metaphysical figure: a way of thinking about the work in and of writing). The question of the Compendium is strongly associated with the physical and metaphysical form of the Book, like the mysterious and symbolic books which are opened in the Biblical book of Revelation, the book of life and the book of death, which together constitute an important couplet. 3 Parataxis & Hypotaxis There are two helpful distinctions that will bring us closer to an answer to the question “What is a Compendium?” The first distinction is between two figures in and for writing: parataxis and hypotaxis . Typically paired in contrast to one another as literary techniques, with parataxis indicating a side-by-side placement of textual elements and hypotaxis referring to subordinate arrangements of textual elements, the two figures can be understood as having a philosophical significance in addition to their practical function as devices for writers. For us these two terms will remain between philosophical theory and writing practice, and serve as a perspective for our writing and creation of texts. Here I take texts to refer to anything from the concrete written words in a book, to the ontological text of the world that we experience. Parataxis , as a figural way of thinking about the ontological structure of texts, refers to texts which are tightly woven and interdependent – texts within which each sentence bears the weight of the entire work. Parataxis often involves repetition, great density, and fragility. One of the best examples of this sort of text is Theodor Adorno’s posthumous magnum opus , Aesthetic Theory . In addition to the text itself, the translation history of the book may also help us to better understand parataxis and its relation to hypotaxis . The final published version of Aesthetic Theory , in German, was a text that Adorno intended to revise and rewrite, but this intention was never realized because of his untimely death. Where the German text of Aesthetic Theory certainly exemplifies the concept of parataxis , the first English edition took this densely woven text and carved Adorno’s lengthy paragraphs and lengthy sentences into manageable ‘bite-sized’ pieces of English text. The first translator took further liberty and inserted headings and new paragraph breaks where there were none in the original. Aesthetic Theory was eventually retranslated by Robert Hullot-Kentor and is now available in a form that is much more faithful to the original work. 4 The pertinent idea that this translation history points to is the distinction between parataxis and hypotaxis . Where parataxis describes texts which are repetitive, densely woven, and often fragile, hypotaxis describes texts which are hierarchical and in which the primary relation is linear – the latter of which is very similar to the first English translation of Aesthetic Theory . On the other hand, the original German text that Adorno wrote was very dense, often repetitive, and contained long sections of text unbroken by paragraphs or headings. This example of parataxis was then turned towards hypotaxis through the initial translation which took a text that was, in many ways, nonhierarchical and nonlinear, and artificially subjected it to a hierarchy that was not its own (and here I take the word of Fredric Jameson who comments on the two translations in a note at the beginning of his book Late Marxism ). 5 The point here is not about translation, but rather the distinction between parataxis and hypotaxis precisely as they are figures for discourse, written or otherwise. The concept of parataxis looks far more postmodern and rhizomic than the concept of hypotaxis which remains very modern and arborescent. This is a more figural way of talking about the distinction. However, if we wanted to take a more precise and analytical approach we could say that on the level of form parataxis involves a relationship between sentences and paragraphs in which each part bears an equally crushing responsibility to present the whole content of the text. As well, on the level of content, parataxis requires that each concept in a work take on the full conceptual weight of the total work. Continuing the analysis, we could say that parataxis describes texts in which there is no (or very little) linear or causal move from antecedent to consequent, whether in content or form. Instead, parataxis describes texts which weave together concepts via conjugations or associations. The concept of hypotaxis , on the other hand, requires that texts submit themselves to hierarchy, one example of which is logical argumentation. The contingency of the conclusion upon premises in hypotaxis is certainly distinct from the repetition, re-presentation, and conjugation of concepts in parataxis , and I think that this is evident in the difference between the writing styles prevalent in contemporary Analytic philosophy and Continental philosophy. It is not the case that the distinction between parataxis and hypotaxis absolutely corresponds with the writing styles of Continental and Analytic philosophy (respectively). There are thinkers who take exception to this pattern, such as Badiou’s more formal approach in the discourse of Continental philosophy to give one example. However, when Analytic philosophy takes its writing lessons from the sciences, and seeks to do philosophy via the clean linear move from antecedent to consequent, then I think that Analytic philosophy writes with hypotaxis in mind. On the other hand, when Continental (particularly German and French) philosophy takes its writing lessons from narrative or poetry then Continental philosophy writes with parataxis in mind. It is not fair to say that all those writing Continental philosophy are looking to narrative and poetry for stylistic direction, just as it is not the case that all those writing Analytic philosophy have mathematics and science as their writing format, however there are some striking ways in which the differing epistemologies of Continental and Analytic philosophy encourage writing with parataxis and hypotaxis in mind (respectively). For some, writing with parataxis or hypotaxis in mind is a conscious decision and a product of stylistic self-consciousness, and for others it is an unconscious discursive and epistemic requirement that must be met in order to be involved in a particular discourse. Before moving on to our second distinction, and then an examination of the question of the Book, it is important to point out that both totality and figurations like the One, the Whole, and the All, come out of very human desires to totalize or to actualize our being-towards-totality. The relationship between identity and totality then can be construed, with Heidegger in mind, as striving toward wholeness, completion, or fulfillment, each of which is a quality of compendia. 6 Compilation & Selection The first distinction between parataxis and hypotaxis pertains to both form and content, and to both the mechanics of writing and the ideas to which writing refers. The second distinction pertains to both as well. In the process of writing and in the process of perception as well, there is a tension between compilation and selection . To begin with, in the work of theory-writing there is compilation, and this is because writing theory requires a broad perspective and certain measure of totalization. On the other hand, writing theory requires that the writer select an idea or a combination of ideas to individuate out of a radical and infinite multiplicity of identities and combinations. The concern here is not primarily for the writing of a theory about a specific idea, like a secondary work or a reference text. But rather the concern is with the writing of grand theories: Marx and Marxism, Derrida and Deconstruction, Husserl and Phenomenology, Sartre and Existentialism, Saussure and Structuralism —each of which strives along a trajectory towards being all-encompassing, whether it intends to or not. Today, we could even say that Speculative Realism has embarked on this journey, and perhaps now we could say that the discourse of Speculative Realism has reached the inevitable point after which a grand theory leaves the hands of its writer or writers and becomes a possession of the collective consciousness of the academy, or (perhaps now) the mass consciousness of the blogosphere—and this is a true pharmakon , a poison and a cure, a blessing and a curse. 7 When we write theory, whether the scope is that of a grand theory or a particular theory, we write in the tension between compilation (making good on the desire to be all encompassing) and selection (being required to decide and discern and to judge what is included in the work and what is deleted or appended or abridged or given over to ellipses). Generally speaking, the work of theory-writing often comes out of a desire to totalize, that is, to develop a theory of everything that is able to apprehend new experiences and ideas while still remaining whole. I grant that this is not a universal desire, and that not everyone who sits down to write a work (or book) of theory does so because of their will-to-totality, but it remains that this drive to totalize does condition a great many writers of theory (especially those who seek to develop grand theories like those mentioned previously). At the beginning of his book of interviews, Between Existentialism and Marxism , Sartre is quoted as saying, after completing the first volume of his Critique of Dialectical Reason : “I no longer feel the need to make long digressions in my books, as if I were forever chasing after my own philosophy. It will now be deposited in little coffins, and I will feel completely emptied and at peace—as I felt after Being and Nothingness . A feeling of emptiness: a writer is fortunate if he can attain such a state. For when one has nothing to say, one can say everything .” 8 This is where our two initial distinctions come to bear on the being-towards-totality as it is expressed in the concrete practice of writing: the first being between parataxis and hypotaxis , and the second being between compilation and selection. Where this second distinction is concerned there is a certain paradox at play given that selection is inescapable, and compilation is unachievable. Selection is inescapable (with the figure of the Compendium in mind) because, even when the imperative to compile is followed to excruciating lengths, selection still has the last word. This is why the Compendium is a figure rather than some material thing that can actually be accomplished or actualized. No matter how far one goes along with the will-to-archive and the will-to-compile, it is only ever a question of minimizing selection and never eliminating it. This leads to the second point, which is that total compilation is unachievable. The closest thing to total compilation that we have before us is the ontological and textual fabric of the world. Even in the case of the world, compilation cannot be enacted in a total fashion because of the need to include both the sphere of the actual and the sphere of the possible or potential. This as another way in which compilation is always-already selection, and further evidence that total compilation is practically impossible. Discursive Figuration and Total Writing Rather than figuration referring to a figure of speech or an image, here the term points to a way in which to think about the work of writing, both the work put into writing, and the work that is the result of writing: the finished yet incomplete final piece. As figures or figurations, the Book and the Compendium are ways of thinking about the work of writing and the human desire for the wholeness, completion, and fulfillment that are made manifest in the completed form of the book (whether a published or printed or saved document put to rest by the author). These two figures bear more strongly upon works that seek to be all-encompassing, and works that strive towards expressions of totality such as the One, the Whole, or the All. Moving on to the topic of the subtitle, and on a more prescriptive note, I would say that there is more hope for theory-writing to be found in parataxis than hypotaxis . Part of the reason for this claim is the poststructuralist critique of hierarchies, and yet another part is the compelling line of thinking called “weak thought” (in theology by John D. Caputo, and in philosophy by Gianni Vattimo, among others). 9 The consequences of these two convictions are such that if one is to strongly assert the truth of a grand theory without leaving the realm of hierarchy-critique and weak thought, then one must write paradoxically with parataxis in mind, and in so doing write weakly and non-hierarchically. This does not mean avoiding a sort of topography or topology when writing theory, rather it means avoiding both subjugation and oppression in thought by pursuing a nonviolent sort of ontology. In order to do this, theory writing does not present itself as an exercise in logical analysis where one mechanically moves from a set of premises (via contingency) to the inevitable conclusion (via necessity). Instead, theory approaches the idea of a Compendium. Given that the figural Compendium places parataxis and compilation above hypotaxis and selection, then the question becomes: is placing one part of a binary term before another not just another way of selecting, or another expression of hypotaxis ? Counter to the urge to resign oneself to the reign of selection, with some qualification one can nonetheless write without deciding whether selection and hypotaxis should be subservient to compilation and parataxis (which is to say that writing-without-decision is somewhere between and beyond possibility and impossibility). This dilemma can be disarmed by stating that theory writing is not about primacy, and not about having-decided-beforehand, both stylistically and also where content is concerned. This is the paradox of writing: always striving along a trajectory ( telos ) towards totality via parataxis and compilation, but always being drawn back to finitude and making selections, and placing one idea before another with hypotaxis in mind. In light of this paradox, the question of the Compendium as a figure for discourse and a figural Book has resonance with Jacques Derrida’s essay on Edmund Jabès’ Book of Questions , found in his Writing and Difference . The Question of the Book “Little by little the book will finish me.” 10 Derrida quotes Jabès, and proceeds to outline the reflexive relationship between the author of the book and the book itself, each of which are subjected to the other through a sort of chiasmus, both ontological and textual (not that the two are entirely separable). The Book, for Derrida like Blanchot in the introductory quotation, “infinitely reflects itself” and “develops as a painful questioning of its own possibility”, and in light of this we can draw an association with the painful tension between the practical reality of selection and the ideal trajectory of compilation. 11 This tension in writing, between the will to total compilation and the necessity of abridgment, is an ontological tension between part and whole just as it is a textual tension between signifier and signified. The ontological tension in writing that Derrida expresses in his essay on Jabès is between everything and nothing – a contradiction which Derrida finds in Jabès’ Book of Questions and also in the divine, in God. When one writes between compilation and selection one writes towards totality, and here we can follow Derrida who states that the lapse in signification, presumably in the signifier-signified discrepancy, is a “ rupture with totality itself” and furthermore that this lapse cannot be rectified through deductive reason or even philosophical discourse. 12 This rupture with totality, found in the troubled relation between signifier and signified, can also tell us a lot about the Book and about writing. Given an understanding of writing as an ontological act that strives towards (but never accomplishes) totality, we can see the written book as the manifested and given body of that striving. Perhaps in other disciplines or even other schools of philosophy there is a cultural climate within which the article is prized above the book, but I am fairly confident, especially when referring to the grand theories of Continental thought, that there is a respect for the book as a uniquely meaningful object capable of apprehending totality. Derrida writes, Between the too warm flesh of the literal event and the cold skin of the concept runs meaning. This is how it enters into the book. Everything enters into, transpires in the book. This is why the book is never finite. It always remains suffering and vigilant. 13 Here the vitality of the literal event is compromised by the deadening weight of the concept, and the figure of the Book assists in this lapse of meaning. The Book is a totalizing object, much like the figure of the Compendium, and yet this totalization lacks its final object of completed totality both because the figural Book is necessarily incomplete, and because the physical book is always-already a product of selection. Instead of achieving its end of being a place where everything takes place, it suffers from the lapse of writing, the discrepancy between event and concept. Derrida continues his exposition on Jabès by bringing to light yet another reflexive relation, a reversal of the relationship between the Book and the world. Derrida writes that, for Jabès, “the book is not in the world, but the world is in the book.” 14 In addition to what was stated before, I take figuration to mean that the concepts employed, such as the Book or the Compendium, are not subject to the supposed rigor of analysis that is so prized by Enlightenment or Capitalist realisms. The figure of the Book and the figure of the Compendium cannot be held accountable to standards imported from scientific method, given an understanding that these standards require a concept to be replicable, consistent, falsifiable, measurable, and so on… This is an important point to make, especially in the present atmosphere within which theory must justify itself under conditions that are not its own. Instead of being held to these standards, figuration serves as a way in which to think about writing that leaves thought open to idealistic speculation, imperfect analogies, and most importantly the ever-present gain and loss that occur in the relationship between thought and being. By extension the figural way of addressing writing indulges in enough generalization to accommodate the excess/lack relationship between the ideal form of the Book or the Compendium, and the manifested and given body of a text (as it is practically completed and closed). Here we speak against the hostile atmosphere which would have theory submit itself to hierarchical rigor, rather than Blanchot’s “enigmatic rigor”, by being explicit about the discursive conditions and epistemic conditions under which theory operates. To write with parataxis in mind is, to a certain degree, to write with weakness as one’s methodology (with weak thought being in opposition to hypotaxis and hierarchy as much as weak thought can be in opposition to anything). Rather than asserting the strength of hierarchical theory, and rather than employing antagonistic argumentation with the goal of refutation different discursive and epistemic conditions for theory writing must be cultivated (and these are by no means new). First the critical and theoretical spirit reveals itself as being concerned with the task of complication—especially the complication and critique of binaries, dichotomies, dualities, polarities, paradoxes, parallaxes, hybridities, and especially antinomies. Second, theory positions itself as a sort of showing or revealing, rather than being ultimately focused on coming to full agreement or disagreement. This is where figuration can help theory-writing, both by placing emphasis on teleologies and trajectories (like parataxis and compilation), and by shifting focus away from pure primacy, power, or absolute origin. Figuration then, assists theory writing by placing the concern of theory outside of the concerns of the hard or soft sciences, and into the realm of thought or the idea. To speak of ‘the’ Compendium or ‘the’ Book, here, is to generalize not regarding the perfect form of the Compendium or Book, but to engage speculatively with an abstract idea which remains singular and yet complicated by multiplicity. The question of the Book that Derrida asks through Jabès is a question of everything and nothing, totality and nonbeing, and this question is a concern for writing and a concern for the figure of the Compendium so defined by the tension between compilation and selection, and parataxis and hypotaxis . On the note of nonbeing, we can look to the final page of Derrida’s first essay on Jabès in Writing and Difference and notice the introduction of his neologism, différance (with an ‘a’). Derrida writes: Life negates itself in literature only so that it may survive better. So that it may be better. It does not negate itself any more than it affirms itself: it differs from itself, defers itself, and writes itself as différance . Books are always books of life (the archetype would be the Book of Life kept by the God of the Jews) or of afterlife (the archetype would be the Books of the Dead kept by the Egyptians). 15 This introduction of différance into the equation of the Book, alongside ontological affirmation and negation, hearkens back to the discussion of the symbolic lapse earlier in his essay. Differing and deferring, the Book is always a Book of Life and a figure for the intersection of the vital (life) and the total in writing. In a way, the writer of the Book may be someone who lives life, and in another way the writer of the book-as-object may be someone who engages in the act of writing, both practically (by inscribing words on paper, or typing script on a computer) and ontologically or symbolically (by investing their existence and inexistence into a work worthy of the figural Book). In addition to the writer as writer, the writer also serves as an editor, and the editorial role alongside the idea of the Compendium shows the editor to be one who collects and compiles, while being restrained by eventual selection and decision. Beyond this the editor of works and texts, in both the Book and the world, is engaged in a process of inscribing notation—of annotating (on) the Compendium. Eternal commentary is a feature of the textual Compendium, just as open-ended totality describes the ontological Compendium. The writer as writer does not simply write texts, but rather engages in a profoundly ontological act of inscribing their existence into the world, and the writer as editor does not merely annotate or alter texts as they are, but rather comments upon the text of the world. In/Conclusion So as we create texts, and as we write and create theory, let us be and remain attentive to the figure of the Compendium and the figure of the Book. These two concurrent metonymies are essential for total writing (grand theories, etc.), and may be forgettable for those concerned with fragmentary or hierarchical writing (which are valid in their own right). From the ontological and symbolic text of the world and phenomenological experience, to concrete texts such as books or mixed media, the figure of the Compendium and the figure of the Book are important for the actualization of the human will to be all-encompassing. The figure of the Compendium teaches writers of theory that the repetition, density, and fragility of parataxis offers a strong sort of weakness which does not become yet another variety of oppressive and hegemonic thought. Rather than write with hypotaxis in mind, subjugating one thought to another via cause and effect or antecedent and consequent, I would hope that theory-writing could guiltlessly indulge in the dialectical and contradictory conjugation of ideas, and take this as a legitimate methodology. Rather than being ashamed of showing resonances or giving way to abridgment or ellipses, it is my own authorial (but not authoritative) conviction that one need not give up on totalizing and constructing grand theories because of the fact that complete totalization is impossible, and one need not give up on totalizing and constructing grand theories because of the worry of violence, for the Book and the Compendium lack their completed object and are ever incomplete trajectories. NOTES * UPDATED 7/19/13: we've updated the HTML version to reflect the (correct) PDF version. Our apologies to the author—eds. 1. I would like extend thanks to Dr. Peter Schwenger of the University of Western Ontario for his comments on this paper and his hospitality as it was presented as a Theory Session at the Centre for Theory and Criticism on October 26th 2012. I would also like to thank Andrew Weiss for conversation and critique. 2. I should clarify my use of the term ‘figure’ at the outset. Given the use of the term by Jean-Francois Lyotard in Discourse, Figure (and also Gilles Deleuze in Francis Bacon ), I should state clearly that my use of the term will not correspond to the term ‘figure’ understood as the representation of an object. Instead, my use of the term ‘figure’ and its variations (‘figural’, ‘figurative’, ‘figuration’) will refer to the illustrative or metaphorical use of the Compendium or the Book as models or ways of thinking about writing and discourse. 3. Cf. Revelations 20:12-15. 4. Theodor Adorno, Aesthetic Theory , Trans. Robert Hullot-Kentor (London & New York: Continuum Press, 1997). 5. Fredric Jameson, Late Marxism: Adorno, or the Persistence of the Dialectic (London & New York: Verso, 1990), ix-x. 6. I have written about this concept of being-towards-totality elsewhere in two pieces of writing: the first is called Notes on the Compendium (an unfinished draft) which addresses some very wide theoretical concerns, being structured as a sort of itinerary or archive, and the second is Dialectics Unbound (Punctum Books, 2013) which outlines a concept of totality without the violence of totalization. While these works are more concerned with ontological totality, here I would like to focus on the idea of the Compendium as a textual totality. 7. Cf. Louis Morelle, “Speculative Realism: After Finitude and Beyond, A vade mecum” in Speculations: Journal of Speculative Realism . Issue 3 (Brooklyn, New York: Punctum Books, 2012), 241-272. 8. Jean-Paul Sartre, Between Existentialism and Marxism . Trans. John Matthews (London & New York: Verso, 1974), 9. 9. Cf. John D. Caputo, The Weakness of God (Indiana: Indiana University Press, 2006). 10. Jacques Derrida, “Edmond Jabès and the Question of the Book” in Writing and Difference . Trans. Alan Bass (Chicago: University of Chicago Press, 1978), 65. 11. Ibid, 65. 12. Ibid, 71. 13. Ibid, 75. 14. Ibid, 76. 15. Ibid, 78. (shrink)

This is the third volume to appear in an edition that will be the first complete, critical, and annotated English translation of all of Nietzsche's work. Volume 2: _Unfashionable Observations_, translated by Richard T. Gray, was published in 1995; Volume 3: _Human, All Too Human _, translated by Gary Handwerk, was published in 1997. The edition is a new English translation, by various hands, of the celebrated Colli-Montinari edition, which has been acclaimed as one of the most important works of (...) scholarship in the humanities in the last half century. The present volume provides for the first time English translations of all of Nietzsche's unpublished notebooks from the summer of 1872 to the end of 1874. The major works published in this period were the first three _Unfashionable Observations_: "David Strauss the Confessor and the Writer," "On the Utility and Liability of History for Life," and "Schopenhauer as Educator." Translations of the preliminary notes for these pieces are coordinated with the translations of the published texts printed in Volume 2: _Unfashionable Observations_. The content of these notebooks goes far beyond the notes and plans for published and unpublished _Unfashionable Observations_, encompassing numerous sketches related to Nietzsche's major philological project from this period, a book on the pre-Platonic Greek philosophers. The ideas that emerged from Nietzsche's deliberations on these early Greek thinkers are absolutely central to his thought from this period and contribute in significant ways to the development of several of his major themes: the role of the philosopher vis-à-vis his age and the surrounding culture; the relationships among philosophy, art, and culture; the metaphorical nature of language and its relationship to knowledge; the unmasking of the modern drive for absolute "truth" as a palliative against the horror of existence; and Nietzsche's "unfashionable" attack on modern science and modern culture, especially on the Germany of the Bismarck Reich. These notebooks represent important transitional documents in Nietzsche's intellectual development, marking, among other things, the shift away from philological studies toward unabashed cultural criticism. (shrink)

Luca Castagnoli, Ancient Self-Refutation. The Logic and History of the Self- Refutation Argument from Democritus to Augustine, Cambridge: Cambridge University Press 2010, pp. XX+394. Hardback, ISBN 9780521896313. -/- L. Castagnoli in his book Ancient Self-Refutation rightly observes that self-refutation is not falsification; it overturns the act of assertion but does not prove that the content of the act is false. He argues against the widely spread belief that Sextus Empiricus accepted the self-refutation of his own expressions. Castagnoli also claims that (...) Sextus was effective in answering to the self-refutation charge. The achievement of the book is discovery that in passages where Sextus seems to embrace the self-refutation of his expressions (PH 1.14-15), he does not use the term peritropé , technical for self-refutation, but term perigrafé , which means self-bracketing. Self-bracketing is weakening one’s own thesis but not overturning it. Castagnoli claims that Sextus embraces the self-bracketing of his expressions but never accepts their self-refutation. However, Castagnoli is not right that self-refutation is shameful mistake for everybody. The mature skeptic cannot even think that self-refutation is wrong, because it would be a dogmatic view. Sextus seems accept the self-refutation at the end of Against Logicians where he presents the argument against proof and the metaphor of the ladder (M 8.480-1). Regardless of Sextus declarations, we have reasons to think that he does not avoid self-refutation in pragmatic sense. Self-bracketing of his position is not a consistent dialectical strategy, as Castagnoli writes, but the end of rational discussion. Sextus avoids absolute self-refutation (we cannot falsify what he suggests) but he is unable to avoid pragmatic self-refutation (there is no way to assert his position without contradiction). It is the case, even if Sextus refuses asserting his position. (shrink)

Not so long ago phenomenon of death was fundamental dimension of human being for continental philosophy. After Second World War postmodern culture deconstructed the “Subject” and the Age of Enlightenment’s values and the phenomenon of death also. It turned into the language game, metaphor, in other words, moved into the space of texts and linguistic. Now people in developed societies behave as if death does not exist. The main hidden barrier to the investigation of human mortal nature – “shame (...) of death” (F. Aries). People shame of aging and therefore death and avoid them. In the modern world there is a domination of technological immortality’s logic, i.e. aging/death is considered as a fatal mistake of Nature, which may be and must be corrected. Collapse of the Soviet communist system was the accomplished logic of immortality of limit-less man, who encountered inevitability of absolute historical and cultural limit. Unfortunately, phenomenon of death of the Soviet and post-Soviet person remained without serious attention of both Russian and West culture. However, from my point of view, logic of Soviet “mangod”, Soviet ideology and empire’s collapse hold answers on most cardinal issues of modern period of world history. The matter is not the returning to the religious values, but next step to the image of mortal being and, therefore, to the mortal human being, who is aware and demand human limits in practice. (shrink)