NotaBene е електронно списание за философски и политически науки. Повече за нас
The article discusses the epistemological question of truth as a projection of language and of language as a sign of reality in the broad sense of the Western mentality, including the natural/formal/exact sciences and philosophical metaphysics both understood as language. The Eastern idea of language opposes this – the language in its absolute state, ie as merged with reality itself (thing, gesture, phenomenon), not as a sign/name of the reality. This western-eastern epistemological plot is organized around the philosophical figures of early Hegel and late Heidegger with Nietzsche’s central, switching role.
But the whole philosophical formulation of the case leads to a story by the Bulgarian writer Emilian Stanev (1907–1979) – “The Death of a Bird” (1942), in which the thesis is presented in a spontaneous way. The figure of the animal is central as a philosophical figure, synthesizing Heidegger’s idea of Sein-zum-Tode, on the one hand, and the Eastern idea of the fusion of language and ‘world’ (Weltbild).
Key words: Language – reality; Hegel–Nietzsche–Heidegger; Weltbild; Sein-zum-Tode; Emilian Stanev – “The Death of a Bird”
In a narrow sense, the article examines one characteristic of haiku – of being a “pure deictism” (R. Barthes). This is done through Heidegger’s conception of language, developed in the essay “From the Dialogue about Language. Between one Japanese and one asking” (1953/54), one of the few places in the work of the philosopher where he himself acknowledges and discloses the special proximity of his late philosophy to Eastern thinking, and only place, to my knowledge, where he talks directly about haiku. The philosophical focus of the article is a basic, substantial aporia: the relation between mysteriousness as the differential quality of the Japanese ‘image of the world’, linguistically formatted, and the extreme closeness to concrete natural intuition/Anschauung (‘This!’) – an aporia maximally contained in the linguistic nature of haiku. – More broadly, the article, a chapter in monographic research, discusses the “eastern” component in Heidegger in general.
In a narrow sense, the article examines one characteristic of haiku – of being a “pure deictism” (R. Barthes). This is done through Heidegger’s conception of language, developed in the essay “From the Dialogue about Language. Between one Japanese and one asking” (1953/54), one of the few places in the work of the philosopher where he himself acknowledges and discloses the special proximity of his late philosophy to Eastern thinking, and only place, to my knowledge, where he talks directly about haiku. The philosophical focus of the article is a basic, substantial aporia: the relation between mysteriousness as the differential quality of the Japanese ‘image of the world’, linguistically formatted, and the extreme closeness to concrete natural intuition/Anschauung (‘This!’) – an aporia maximally contained in the linguistic nature of haiku. – More broadly, the article, a chapter in monographic research, discusses the “eastern” component in Heidegger in general.
The paper considers a specific aspect of young/new poetry of 1980s, especially typical of its collective language – its situated between and in both disparate poetical-philosophical Weltanschauungs – in course of western Anglo-Saxon “high” Modernism and the eastern zen sensitiveness. Despite of its opposite, both enters into the Bulgarian poetry simultaneously just during the 1980s… But all this is only the big subject matter. The situation in its details is more dynamical and relative. And just this dynamic is object of research study. The problem is examined both in diachronous literary-historical and synchronous poetical aspects. From the other hand – both in universal socio-cultural, philosophical, and cultural historical context and in the context of the Bulgarian poetic tradition.
Key words: young/new poetry of 1980s; late socialism; Anglo-Saxon Modernism; Zen; „deep figurativeness”; counterculture of the 1950-60s; the Аpril Poetry and Quiet Lyric.