Hans Blumenberg is celebrated for demonstrating that metaphors have had a more foundational influence than concepts on European intellectual history. Many acknowledge that his insights might have achieved even greater impact if he had articulated a more explicit theory of metaphor. In 1960 Blumenberg discusses the historical formation of metaphors that have given rise to meaningful discourses on metaphysical abstractions, like God, existence, or Being, but he does not develop a general model of metaphoric language, and his work rarely engages (...) with other contemporary theories of metaphor. During Blumenberg’s lifetime, French and German postwar philosophers rarely cited one another. Yet French hermeneutics, and the work of philosopher Paul Ricoeur in particular, may have strongly influenced Blumenberg’s research group, Poetik und Hermeneutik. This paper is an attempt to recuperate intellectual affinities between Blumenberg and Ricoeur, in order to demonstrate that Ricoeur’s claims about metaphor provide the theoretical background for a fuller appreciation of Blumenberg’s metaphor analyses. (shrink)

In the so-called “erotic dialogues”, especially the Symposium and the Phaedrus, Plato explained why erotic desire can play an epistemic function, establishing a strong connection between erotic desire and beauty, “the most clearly visible and the most loved” among the Ideas. Taking the erotic dialogues as a background, in this paper I elucidate Plato’s explanation in another context, the one of the Phaedo, for discussing the epistemic function of erotic desire in relation to the deficiency argument and the affinity argument. (...) My claim is that the erotic desire of the philosopher is activated by the recognition of traces of the Ideas as something that the material world lacks and that, nevertheless, his soul is familiar with. This desire for the Ideas triggers the process of recollection, and thus erotic desire acquires a decisive role in the acquisition of knowledge in the Phaedo. In the final section of the paper, I highlight the contemporary relevance of Plato’s epistemology of erotic desire. (shrink)

Eschatologies often associate this world with darkness and the beyond with light, seeking a move from the former to the latter. This article rethinks the importance of darkness through a reading of Heidegger’s concept of Augenblick, a blink of an eye, which exhibits a moment and site of a “beyond” coming to presence. Thus, the article contributes to approaches that seek to explore the ontological and poetic dimensions of politics. An onto-poetics of darkness draws attention to the presence of the (...) concealed in each moment of actualization and it highlights the way in which the beyond created in the Augenblick involves relation both to other beings and to Being itself. The conceptual problematic of a “beyond” is further explicated through an engagement with Marina Abramović’s performance “The Artist Is Present.” Instead of a move from darkness to light, such eschatology implies inhabiting the darkness of the blink of an eye. (shrink)

This paper critiques enlightenment notions of representation and rehearses an alternative model of mapping that is grounded in performance. Working from her own practice as a landscape painter, Bolt argues that the particular experience of the “glare” of Australian light fractures the nexus between light, form, knowledge, and subjectivity. This rupture prompts a move from shedding light ON the matter to shedding light FOR the matter and suggests an emergent rather than a representational practice.

Philosophical anthropology emerges, partly at least, by dissatisfied and critical followers of Husserl’s phenomenology, such as Max Scheler and the young Martin Heidegger. They were dissatisfied with what they saw as a disregard of the concrete human being as an essential part of phenomenological analysis. They tried instead to claim that philosophy must search for, and anchor, its foundations exclusively in the human being, not as an abstract entity, but as an existential, concrete, physical being. In this specific philosophical, as (...) well as historical, context this paper suggests to locate Hans Blumenberg’s philosophical project by reconstructing his unique version of philosophical anthropology. The main aim of the paper is to describe and understand the way Blumenberg combines his theory of metaphors together with his anthropological considerations regarding the origin and emergence of human culture into his own version of philosophical anthropology. A version that can be seen as joining the original attempt of philosophical anthropology to overcome the deficiency in Husserl’s phenomenological project. (shrink)

Modern Western thought and culture have envisaged their task in terms of a metaphorics, a metaphysics and a technics of 'enlightenment'. However, the ethical and environmental implications of this determination to dispel all shadows have become increasingly pernicious as modernity both extends and alters the conceptualization and employment of (a now artificial) light as a tool of discovery and control. Drawing on the work of Foucault and Benjamin amongst others, this paper seeks to illustrate, through a critical ethopoietics, the 'speculative (...) aporia' of contemporary society from the perspective of radical ecology. The world does not just reflect our own instrumental interests: it has an elusive, shadowy existence of its own that can impinge upon our ethical perceptions. (shrink)

Heidegger’s thinking, according to his own testimony, is rooted in two traditions of philosophy: Platonic-Aristotelian ontology and Husserl’s phe­nomenology. Heidegger’s claim that the original understanding of Being is lost and has to be rediscovered conjoins the phenomenological claim that there is a certain mode of seeing that enables a revelatory philosophical insight. I would like to show how Heidegger combines both these claims in his supposition that the original philosophical conceptuality, as developed by Plato and Aristotle, was lost but can (...) be retrieved by means of applying the phenomenological method to the interpretation of texts. Furthermore, I would like to interpret this retrieval in the context of Heidegger’s project of “overcoming metaphysics” and Nietzsche’s suggestion that “Plato was essentially a pantheist, yet in the guise of a dualist”. (shrink)

An interesting feature of the language of many Daoist texts is their atypical idealization of Darkness and Obscurity, which contrasts with the positive connotations of Light and Clarity in virtually all great philosophical traditions. This article highlights a formerly unnoted difference between the received and the excavated Guodian 郭店 versions of the Laozi 老子, which reveals an interesting change in the use of Light/Darkness symbolism through the evolution of the text: while the received Laozi uses both metaphorical schemes to roughly (...) the same extent, the presumably earlier Guodian Laozi lacks almost all of the “bright” references that appear in later recensions, thus constituting a much “darker” version of the text. The article discusses the philosophical meaning of this terminological shift and the possible reasons for its occurrence, and closely analyzes three cases in which this process of “textual illumination” seems to have taken place during the transition between the Guodian and received version of the text. Alongside more specific implications such as the formerly unknown linkage between ming 明 and chang 常, a suggested stratification of chapter 55, and the possible relationship between the proto-Laozian materials and the Zhuangzi 莊子, this article also proposes a more general hypothesis according to which the absence of light metaphors in the Guodian version represents the jargon of an earlier “dark” stratum of Daoism, traces of which were preserved in some of the texts known to us today. (shrink)

Quasi things come and go and we cannot wonder where they've been (starting from the wind) -- Quasi-things assault and resist us: feelings as atmospheres -- Quasi things are felt (though not localized): the isles of the felt-body -- Quasi-things are proofs of existence: pain as the genesis of the subject -- Quasi-things affect us (also indirectly): vicarious shame -- Quasi-things communicate with us: from the gaze to the portrait (and back) -- Quasi-things are the more effective the vaguer they (...) are: twilightness. (shrink)

This article argues that the figure of Oedipus lies at the heart of Horkheimer and Adorno's Dialectic of Enlightenment. Oedipus is the prototypical Aufklärer as no one can rival him in his courageous attempt to employ his own autonomous reason `without direction from another'; yet self-knowledge remains beyond his grasp. Indeed, Oedipus' obsessive drive to bring the truth to light ultimately leads him to put out his own eyes because he is unable to bear the sight of the catastrophe that (...) this drive engenders. Oedipus' demise represents in allegorical form the self-destruction of enlightenment itself. Enlightenment is similarly driven to illuminate the world in its totality by reducing it to philosophical concepts. In the process, however, it becomes blind to the question of its dependence upon that which it purports to possess. In its attempt at total illumination, therefore, enlightenment does not effectuate an exit or Ausgang from the opacity of myth, as Kant had held, but rather is blinded, paradoxically, by the radiance of its own projections. Reading the dialectic of enlightenment through the tragedy of Oedipus leads back to the enigmatic question of art as the means by which the rationalization and disenchantment of the world can be reflected upon critically. (shrink)

ABSTRACTThe notion of metaphor has been broadly discussed during the twentieth century as an essential and necessary part of language and history. This article examines the theoretical dialogue that links the centrality of the metaphor of light in the work of María Zambrano with reflections on this topic by Jacques Derrida and Hans Blumenberg. Through various formulations of this metaphor across different works, Zambrano presents the metaphor linked to poetic reason as not reducible to a mere rhetorical ornament or to (...) a concept. By articulating alternative metaphors to the imperative of clarity as the blinding light of Occidental reason, Zambrano introduces a solid critique to rationalism and introduces the metaphor of the Dawn as a new form of knowledge. This new intonation of the metaphor of light opens up an unexplored direction in Spanish thought not only by thinking the metaphor of light through poetic reason and its critique to the philosophical tradition, but also by assuming the political implications of this metaphor and criticizing its heliopolitical configuration. Indeed, Zambrano states the significance of the metaphor of the sun linked to the sacrificial structure of history, particularly of Spain, and its necessary overcoming as the possibility of a radical democracy. (shrink)

The light metaphor is a perpetual favorite for philosophers, both East and West. I seek to revaluate its opposite, darkness. I claim that there are good reasons to favor darkness over light, or at least to not see them as mutually incompatible or in hierarchical fashion. In recent Western philosophy, both Heidegger and Derrida argue that what the light metaphor represents, the promise of clarity and objectivity, is exactly what makes Western metaphysics problematic. In Chinese philosophy, classical Daoism offers a (...) thinking that does not favor the light metaphor over its opposite. Daoists have the good sense to acknowledge darkness as a positive contribution to human life, at the very least on par with light. I argue that both the Western criticism of the light metaphor, and the Daoist approach to light and darkness, can be read as challenging the metaphysics of presence and providing an alternative way of thought. (shrink)

This paper revolves around the question of how we can phenomenologically interpret the application of the mirror metaphor to intersubjectivity. To answer this question, we must first clarify the phenomenon of the mirror itself, and specifically its function and how the objects it reflects appear, as well as the modes of self- and other-relations that it makes possible. We can compare these properties with the characteristics of intersubjectivity in order to find out how sound or significant the mirror metaphor is (...) here. Our goal then is not to show whether the mirror metaphor is a ‘correct’ or ‘false’ descriptive determination of intersubjectivity. Redeeming the metaphor in the phenomenological sense would require that we elucidate which aspects of the mirror phenomenon permit an analogy with the Other and which do not. If the metaphor were to conform perfectly with the analogy, and if one could transform it into a verifiable and complete description, it would no longer be a metaphor. In other words, metaphors live by the dialectic of their resolvable and irresolvable descriptive elements. We must preserve this tension in our phenomenological analysis while bracketing any overarching assessments of the metaphor. Only when we have worked out the individual aspects of the core of the matter, can we examine the adequacy of its application to the sphere of intersubjectivity. In the following, then, our task is a critique of the metaphor, in the sense of unpacking its specific phenomenal features, on the basis of which we may then discuss whether or not we can carry out a metaphorical translation of those features. Indeed, even though the metaphor is such a prominent one, the paper demonstrates its limitations when it comes to determining social relations. (shrink)

Fugue and chaos are used in their contemporary meaning. Elements of the fugue, albeit a ‎small number of universals, will be demonstrated in the area of visual and verbal colors. ‎Chaos dominates the internet, fashion, and everyday life. The visual and verbal colors are ‎differentiated and their communicative potential is indicated alongside the diachronic changes. The prototypes of colors are the interface between visual and verbal colors.‎.