Following Wittgenstein, this book investigates the dialogic, aesthetic and mystical language-games of Zelda, Yehuda Amichai, Admiel Kosman, and Shimon Adaf based on their family resemblance of intertextuality in their language-games. It resists common social-cultural categorizations while focusing on Wittgenstein's universal concepts.
Following Wittgenstein, this book investigates the dialogic, aesthetic and mystical language-games of Zelda, Yehuda Amichai, Admiel Kosman, and Shimon Adaf based on their family resemblance of intertextuality in their language-games. It resists common social-cultural categorizations while focusing on Wittgenstein's universal concepts.
As a lecturer in the unit of interdisciplinary studies in Bar-Ilan University, Dorit Lemberger's researches exemplify the relevance and importance of linguistic concepts to Hebrew literature and Jewish philosophy. Also, I use psychoanalytic insights in order to show the common linguistic ground of literature and psychoanalysis, as 'talking-cure'.
Inhaltsangabe
Preface Chapter One Poetic Grammar: Three Aspects of Aesthetic Judgment 1. Examination and Judgment of Aesthetic Language: The Fundamental Tension 2. The First Aspect: A Poetic Work as Driving Reflective Introspection 3. The Second Aspect: Conscious Change as the Key to Aesthetic Judgment 4. The Third Aspect: Showing What Cannot Be Said Summation Chapter Two Dialogical Grammar: Variations of Dialogue in Wittgenstein s Methodology as Ways of Self-Constitution 1. Family Resemblance between the Platonic Dialogue and Wittgenstein s Methodology 1.1. Wittgenstein s Critique of Socrates 1.2. Similarities between Wittgensteinian and Socratic Dialogue 1.3. Language as a Medium of Thought: Soliloquy as Ordinary Language 1.4. Reflective Dialogue: Dialogue between Sense-Perception and Image 2. Wittgensteinian Dialogical Grammar in the Philosophical Investigations: Rhetorical, Conversational, Reflective 2.1. Dialogism in the Philosophical Investigations: A Surveyable Representation 2.2. Aspects of Dialogism 2.3. Dialogue as Technique 2.4. Conversational Dialogue 2.5. Reflective Dialogue Chapter Three Self-Constitution through Mystical Grammar: The Urge and Its Expressions Three Channels of Mystical Grammar 1. Preliminary Considerations: Theology as Grammar and the Metaphysical Subject 2. The Mystical-Religious Channel: The Religious Aspect of Mystical Grammar 3. Who Is Experiencing? The Paradox of the I and the Solution of the Mystic Subject 4. I as Object I as Subject: From James to Wittgenstein 5. From Perfectionism to Confession: Work on Oneself Chapter Four Zelda: The Complex Self-Constitution of the Believer 1. Expression and Conversion between Everyday and Poetic Grammar 2. Dialogic Grammar: Internal and External Observations 3. Mystical Grammar: Perfectionism and Metaphysics as Zeldäs Varieties of Religious Experience Chapter Five Yehuda Amichai: Amen and Love 1. The Poetics of Change: The Grammaticalization of Experience 2. Dialogic Grammar: The Importance of Otherness 3. Reconstruction of the Subject: The Mystical Grammar of Open Closed Open 3.1. The Mechanism of Change as the Key to Perfectionism 3.2. The Conception of an Individual God: God as Change and as Interlocutor 3.3. The Encounter with Biblical Word-Games as the Key to the Reconstruction of the Self 3.4. The Refashioning of Religious Rituals as an Expression of Intersubjective Change of the Self Chapter Six Admiel Kosman: We Reached God The Popping Self 1. The Poetic Grammar of Revolution: The New Believer 1.1. How to Do Things with Words: The Weekly Torah Portion 1.2. When All the Words Are Finished All Is Intoxicated from Clarity 2. Dialogical Grammar: Self-Constitution as Conversational Process 3. Mystical Grammar: Private Pain and Manifestation of the Other Chapter Seven Shimon Adaf: Poetry as Philosophy and Philosophy as Poetry The Nobility of Pain 1. Icarus Monologue: The Poetic Grammar of Hybrid Imagination 2. What I Thought Shadow Is the Real Body: The Dialogical Grammar of Place, Time, and Memory 2.1. Poetry as a Chronological and Thematic Point of Departure 2.2. The Subject as the Limit of the World 3. Aviva-No: The Grammar of Mourning 4. The Way Music Speaks Summation: As if I Could Read the Darkness Index
Preface Chapter One Poetic Grammar: Three Aspects of Aesthetic Judgment 1. Examination and Judgment of Aesthetic Language: The Fundamental Tension 2. The First Aspect: A Poetic Work as Driving Reflective Introspection 3. The Second Aspect: Conscious Change as the Key to Aesthetic Judgment 4. The Third Aspect: Showing What Cannot Be Said Summation Chapter Two Dialogical Grammar: Variations of Dialogue in Wittgenstein s Methodology as Ways of Self-Constitution 1. Family Resemblance between the Platonic Dialogue and Wittgenstein s Methodology 1.1. Wittgenstein s Critique of Socrates 1.2. Similarities between Wittgensteinian and Socratic Dialogue 1.3. Language as a Medium of Thought: Soliloquy as Ordinary Language 1.4. Reflective Dialogue: Dialogue between Sense-Perception and Image 2. Wittgensteinian Dialogical Grammar in the Philosophical Investigations: Rhetorical, Conversational, Reflective 2.1. Dialogism in the Philosophical Investigations: A Surveyable Representation 2.2. Aspects of Dialogism 2.3. Dialogue as Technique 2.4. Conversational Dialogue 2.5. Reflective Dialogue Chapter Three Self-Constitution through Mystical Grammar: The Urge and Its Expressions Three Channels of Mystical Grammar 1. Preliminary Considerations: Theology as Grammar and the Metaphysical Subject 2. The Mystical-Religious Channel: The Religious Aspect of Mystical Grammar 3. Who Is Experiencing? The Paradox of the I and the Solution of the Mystic Subject 4. I as Object I as Subject: From James to Wittgenstein 5. From Perfectionism to Confession: Work on Oneself Chapter Four Zelda: The Complex Self-Constitution of the Believer 1. Expression and Conversion between Everyday and Poetic Grammar 2. Dialogic Grammar: Internal and External Observations 3. Mystical Grammar: Perfectionism and Metaphysics as Zeldäs Varieties of Religious Experience Chapter Five Yehuda Amichai: Amen and Love 1. The Poetics of Change: The Grammaticalization of Experience 2. Dialogic Grammar: The Importance of Otherness 3. Reconstruction of the Subject: The Mystical Grammar of Open Closed Open 3.1. The Mechanism of Change as the Key to Perfectionism 3.2. The Conception of an Individual God: God as Change and as Interlocutor 3.3. The Encounter with Biblical Word-Games as the Key to the Reconstruction of the Self 3.4. The Refashioning of Religious Rituals as an Expression of Intersubjective Change of the Self Chapter Six Admiel Kosman: We Reached God The Popping Self 1. The Poetic Grammar of Revolution: The New Believer 1.1. How to Do Things with Words: The Weekly Torah Portion 1.2. When All the Words Are Finished All Is Intoxicated from Clarity 2. Dialogical Grammar: Self-Constitution as Conversational Process 3. Mystical Grammar: Private Pain and Manifestation of the Other Chapter Seven Shimon Adaf: Poetry as Philosophy and Philosophy as Poetry The Nobility of Pain 1. Icarus Monologue: The Poetic Grammar of Hybrid Imagination 2. What I Thought Shadow Is the Real Body: The Dialogical Grammar of Place, Time, and Memory 2.1. Poetry as a Chronological and Thematic Point of Departure 2.2. The Subject as the Limit of the World 3. Aviva-No: The Grammar of Mourning 4. The Way Music Speaks Summation: As if I Could Read the Darkness Index
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