Chung-Chi Yu, Professor of Philosophy at the National Sun Yat-sen University, Taiwan, counts as one of the most prominent phenomenology scholars in Asia. He specializes in the works of Edmund Husserl and Alfred Schutz and has translated both the Husserliana IX, Phänomenologische Psychologie, and Der sinnhafte Aufbau der sozialen Welt into Chinese. The philosophy of Bernhard Waldenfels, who was his Ph.D. supervisor at the Ruhr-Universität Bochum during the 1990s, is also included in his field of expertise and has decisively influenced his thought.
Life-world and Cultural Difference, published at the end of 2019 in the collection Orbis Phaenomenologicus, reflects the research work conducted by Yu in the last two decades. The book consists of thirteen chapters, which deal with three main topics that are at the heart of the preoccupations of the author: the relationship between transcendental phenomenology and phenomenological psychology in Husserl’s thought, the discussion of central issues in Schutzian phenomenology, and the analysis of the problem of cultural difference from the perspectives of Husserl, Schutz, and Waldenfels. In this review, I will exclusively focus on the latter topic, which, as the title already reveals, plays the leading role in the structure of the book.
The radicalization of globalization taking place since the end of the 20th century has produced an intensification of contacts among different cultures. This, in turn, brought about the emergence of a number of theoretical debates on issues such as “interculturality”, “multiculturality”, and “transculturality” (69). These discussions, which are at the core of contemporary cultural philosophy and social theory, center around questions such as the following: How can one explain or account for cultural differences? Are all cultures “equal” or some are “better” or “more developed” than others? What is the desirable relation between divergent cultural groups? Is intercultural communication and understanding possible? If so, how does it work? Are there commonalities between cultures beyond their heterogeneities? Should one endorse a universalist or a particularistic and relativistic account of culture? Chung-Chi Yu’s Life-world and Cultural Difference has the merit of showing that phenomenology has much to say concerning these and similar questions.
As Chung-Chi Yu explains, Husserl and Schutz provide illuminating insights on cultural difference qua life-worldly experience which can enhance current discussions on the topic. Interestingly enough, however, Yu does not endorse an orthodox Husserlian or Schutzian position, as many Husserl and Schutz scholars tend to do. Instead, in a critical and original way, Yu resorts to Waldenfels’ reflections on “the alien” [das Fremde] as a corrective for the problematic universalist, foundationalist, and Eurocentric motifs that, to different degrees, permeate the work of both thinkers (ix).
Yu’s argument concerning cultural difference—which is clearly sketched out in the Introduction of the book and unfolded in eight of its thirteen chapters—is structured in three main moments. First (1), Yu expounds upon Husserl’s position, criticizing its Eurocentric, logocentric, and foundationalist motifs. Second (2), Yu scrutinizes Schutz’s account, identifying problematic universalistic traits within it similar to those found in Husserl. And finally (3), Yu presents Waldenfels’ conception of interculturality as a non-Eurocentric and non-foundationalist approach able to overcome Husserl’s and Schutz’s shortcomings. In what follows, I will briefly reconstruct each of these argumentative steps.
Chung-Chi Yu on Husserl
Chung-Chi Yu chooses the Kaizo articles (a set of papers on ethics written between 1922 and 1924) as a starting point for his explanation of the Husserlian position (17-26). Based on an exhaustive analysis of these texts, Yu shows that Husserl’s Eurocentric account of the relationship between European and non-European cultures partly rests upon ethical considerations. For Husserl, an ethical life is one that is lived according to reason: “[t]he content of the categorical imperative is ‘to lead a life based on practical reason’” (19). More precisely, living a rational life entails overcoming the unreflective naivety of the natural attitude and achieving a reflective and self-determined conduct based on well-founded knowledge (18f.). In this way, philosophy plays a key role, insofar as it provides human beings with access to “reason” [Vernunft] (18ff.).
As Yu shows, Husserl conceives ethics on the collective level in a structurally analogous way. A cultural form of life is good, so to speak, when it frees itself from the irrational bonds of religious-mythical “tradition” and commits instead to the demands of Vernunft (22). And this, in turn, is only possible if philosophers get a big say in the organization and regnancy of social life: “the cultural elevation should be achieved through the introduction of philosophy […]. Philosophers provide a method by which society can be conscious of itself” (18, 22). Against this background, Husserl argues that the European culture, as the birthplace and one and only home of philosophical reason, has an ethical supremacy over all non-European forms of life (29f.). More precisely, in this view the birth of Europe, understood not as a geographical location but as a “spiritual world” (30), coincides with that of philosophy in ancient Greece. The emergence of the “theoretical attitude” [theoretische Einstellung] in the 7th Century BC constitutes a turning point in human history, insofar as it marks the advent of the “willingness to live by the ideal of reason” (29). As the unique spiritual carrier of philosophy – “nothing similar developed in other ancient cultures like India or China” (29), – European culture has a “historical mission”, namely, that of rationalizing or enlightening the entire world (44). By this token, the Kaizo papers recommend non-European peoples to embrace the philosophical rationality of Europe, which is deemed to be “universally valid” (17f., 27). Cultures such as Japan, China or India should leave behind their underdeveloped “religious-mythical thought” (29) and Europeanize themselves, as it were, by organizing their collective forms of life according to the demands of absolute reason: “To become European is to advance to a higher level of rationality” (37). As Yu rightly points out, the “Eurocentric arrogance” entailed in his position goes without saying (25).
It is important to emphasize, as Chung-Chi Yu himself does, that the Husserlian discourse on Europe takes shape within the context of his diagnosis of a “cultural crisis” of humanity in the aftermath of the First World War (28, 30). Especially in the Krisis, a classical text from 1935-1936 which takes on some of the arguments from the Kaizo papers (17), the father of phenomenology characterizes this crisis as a crisis of reason and therefore of the European culture in toto. Philosophical Vernunft, he says, has lost its way, being truncated by the overwhelming advance of “objectivism and naturalism.” Accordingly, it is necessary to “recover” its original ethical sense, as founded in ancient Greek, and to accomplish its universal mission (30).
From all this follows that Europe plays a key role in Husserlian thought, while non-European cultures have merely a residual status therein. As Yu claims, Husserl was not interested in seriously understanding other civilizations apart from the European. He only refers to them, in a rather undifferentiated way, as curious examples that serve as a contrasting foil to define Europe (43). “[T]he ‘non-European’ is lumped together into a single category with no room for distinction between India or China, Papua New Guinea or Patagonia” (38). More precisely, in some of Husserl’s writings millenary civilizations such as China or India are denigrated as “mythical-religious”, or even “magical”, cultures that have not developed scientific-philosophical forms of thinking (48f.). Now, as Chung-Chi Yu points out, despite his unacceptable ethnocentric ideas, Husserl never lost sight of the cultural differences among divergent social groups: he “is well aware that all people live in different cultures and that accessing each other’s culture is difficult” (50). Moreover, according to developments on Husserliana XV by contemporary phenomenologists Anthony Steinbock and Berhard Waldenfels, “pluralism” may have a place Husserlian thought insofar as the distinction between “homeworld” [Heimwelt] and “alienworld” [Fremdwelt] is useful for reflecting on intercultural relationships from a non-Eurocentric perspective (38-39, 157ff.).
For Husserl, the concept of homeworld refers to the “normal”—i.e., the established, familiar, and quotidian “world-horizon” which is common to a specific social group (32). The “homecomrades” live and act in one and the same meaningful environment because they share a “tradition” which they have inherited from past generations (32). More precisely, they are an experiential community, or “Erfahrungsgemeinschaft”, insofar as they share a “noetic a priori” (57). What they have in common is a specific “Umwelt-Apperzeption”, that is, a habitualized “mode of apperception” which enables them to “easily understand” the typical meaning of both cultural objects and other people’s actions (32).
By contrast, Husserl characterizes the alienworld as the experiential environment of a foreign group as seen from the perspective of the homeworld. The homecomrades perceive the alienworld as an abnormal and unfamiliar milieu, meaning they have difficulties in grasping the typical meaning of the events, things, and actions they see within it. This is so because they do not belong to the alien group’s generative tradition and therefore do not share the same Umwelt-Apperzeption (32f.). In this sense, “Husserl imagines that he would feel dizzy if he were in a town in China, since all the essential types of people’s behavior and all kinds of objects would be unfamiliar to him” (32).
However, although the father of phenomenology acknowledges the divergences among cultures and the difficulties entailed in intercultural understanding, his main theoretical interest lies in the possibility of “overcoming” cultural difference (vii ff.). To put it in Yu’s terms, Husserl’s position is closer to “cultural universalism” than to “cultural particularism” (vii) in that he is mainly concerned with answering the following questions: “Are cultural differences to be surpassed or overcome? Is there a common core shared by both the homeworld and the alienworld?” (57). Husserl answers these questions positively by resorting to the idea of “the one world” [Die eine Welt] (159). Behind the surface of cultural differences, he says, there is “an underlying commonality”, namely, the “universal structure of the life-world”, which is equally experienced by all persons, irrespective of their sociocultural provenience (viii, 34). Arguing from a questionable Eurocentric and logocentric perspective, he suggests that only those subjects able to adopt a philosophical or “theoretical attitude”, i.e., Europeans, can access this “common ground” (50). Only philosophy qua “universal science”, a distinctly European endeavor, can work out the basal dimensions of “the one world” (37). As Yu shows, Husserl identifies this “common ground” with “pure nature”—not in the positivist-objectivist sense but, rather, as the world of nature as it is (inter)subjectively lived by pre-scientific subjects (36, 58). “If we keep to […] what in the world is perceptually accessible to everyone, then we come to nature” (Husserl on p. 58). More precisely, the spatiotemporal world of nature, which is structurally perceived in the same way by everyone, is that what constitutes the “core of human experience” (60) and thus the most basal stratum of the life-world (30).
In Husserl’s own terms, despite cultural differences, “there is commonality, earth and heaven, day and night, stones and trees, mountain and valley, diverse animals…” (Husserl on p. 58). For instance, the hardness of marble is an experiential fact universally valid, regardless of cultural differences (p, 97). Thus understood, universal nature is “composed of the world of space-time and natural objects, which are not yet culturally interpreted and reconstructed” (31). Far from being amorphous, this pre-cultural layer of the world shows a certain typicality, i.e., a stable and regular style of manifestation (60). Now, although concretely experienced by all pre-scientific subjects, these fundamental structures can only be unearthed philosophically, that is, by means of reflective, rational, and abstractive procedures such as the ones developed by transcendental phenomenology (30). To use Yu’s own words, the “world-nucleus of nature is to be distilled by abstraction” (30). For Husserl, this can only be carried out by Europeans, since they and only they, as unique inheritors of Greek Reason, are able to perform the necessary switch from the natural to the theoretical attitude.
Husserl argues that cultural objects are composed of two strata, namely, the “sinnliche Unterlage” and the “aufgestufte Kultur-Bedeutung”, i.e., a material substratum that can be sensually perceived just like natural things and a layer of non-sensual meaning, which is founded upon the former (54). Both strata are equally “essential” dimensions of a cultural thing. On the one hand, without a certain materiality a book would not be “readable”; and, on the other hand, if it did not support some kind of spiritual content, e.g., a novel, it would not be a “book” at all (54). To be sure, in everyday life we experience both layers together in an undifferentiated manner: we immediately see a “book” as a corporeal-spiritual object. The distinction between these two strata is a product of abstractive activities (54).
When characterizing the respective modes of manifestation of these two layers, Husserl draws upon the differentiation between “real” and ideal or “irreal” objectivities developed in Logische Untersuchungen (54). The material substratum of the cultural object counts as a “real physical unit” [reale physische Einheit] which is “individualized” in spatio-temporality, while its cultural stratum constitutes an “irreal, ideal unit of significance” [irreale, ideale Einheit von Bedeutung] that does not occupy a specific location in the spatiotemporal world (54). For this reason, one and the same novel as ideal unit, say, Herman Hesse’s Demian, can be embodied in different material books qua real objects produced in divergent times and places.
Yu points out that the distinction between Husserl’s two strata of cultural objects plays a crucial role in Husserl’s account of cultural difference. The physical substratum of a particular cultural object, as a part of material nature, is perceptually available for people from all cultures (56). By contrast, its ideal-irreal layer, i.e., its meaning and purpose, can only be seen and understood by those belonging to the culture that produced and uses it. In this sense, Husserl says that, for the Bantu people, the “aesthetic or practical ‘meaning’” of our cultural things would be “beyond comprehension” (56). When examining Husserl’s take on cultural difference, Chung-Chi Yu gives special attention to his analysis of the mode of manifestation of so-called “cultural objects”—i.e., of things that were created by human beings for certain purposes, such as books, tables, maps, computers, football balls, etc. (ix, 53ff). According to Husserl, cultural objects have a double ontological status: they constitute “corporeal-spiritual objects” [körperlich-geistige Gegenständlichkeiten], meaning they belong both to “material reality” and to the ideal-intellectual realm (53). On the one hand, they are real things but, on the other hand, they carry a non-sensual meaning. A book, for instance, has a certain hardness, weight, color, smell, etc. just like trees or rocks, but, at the same time, it supports ideal-spiritual objectivities that cannot be seen, touched or smelled: poems, stories, theories, and so on.
Chung-Chi Yu on Schutz
In a second argumentative step, Chung-Chi Yu expounds Schutz’s account of cultural difference, focusing especially on his analysis of cultural objects as presented in the 1955 paper “Symbol, Society and Reality” (61). As Yu shows, Husserl’s notion of “appresentation” plays a key role in the Schutzian approach (viii, 61, 80). More precisely, Schutz maintains that the “in-group” has a different objectual environment than the “out-group”, and this because they operate with different “system[s] of appresentational references” (viii).
According to Yu, Schutz adopts the Husserlian concept of “appresentation” [Appräsentation] as developed in the 5th Cartesian Meditation. By this notion, Husserl means a “mediated intentionality” [Mittelbarkeit der Intentionalität] that makes empathy possible (62). It is, more specifically, a passive synthesis of consciousness thanks to which something directly experienced, i.e., the body of the other, makes “co-present” something which is non-perceivable: the other’s inner life (62). In our actual experience, however, the alter ego appears as a unitary psycho-physical phenomenon: “appresentation is coupled with presentation and together they make a ‘functional community’ [Funktionsgemeinschaft]” (70).
In line with his teacher, Schutz understands appresentation as a “pairing association between appresenting and the appresented” (62). As he argues, however, this passive synthesis is not only at work in empathy but in all kinds of experiences of “transcendence”, i.e., of phenomena that cannot be directly experienced (62). Going beyond Husserl, and arguing from a sign-theoretical approach, Schutz uses the concept of “appresentational references” for depicting all “means” used by everyday subjects for overcoming transcendences, namely, “marks”, “indications”, “signs”, and “symbols” (64, 80). “These so-called appresentational references”, he thinks, “are rooted in the consciousness structure of appresentation” (80).
Furthermore, Schutz argues that both the “appresenting item” and the “appresented item” (70) always appear as embedded within “horizon[s]” or “orders” of phenomena (63). “Each side of the appresentational relationship must rely on its background or order” (63). Take, for instance, the case of a flag as a symbol of a country. The appresenting item, say, a piece of light blue and white fabric, belongs to the physical-material world, while the appresented item, e.g. the idea of Argentina as a country, is part of a horizon of cultural-spiritual notions.
As Yu has it, Schutz argues that cultural objects are characterized by bearing specific appresentational references only visible to those belonging to the in-group that produce and use them on a daily basis (viii). Differently put, the members of a certain group share a “system of appresentational references” that allows them to immediately understand the meaning of their objectual environment (viii). These appresented meanings manifest themselves as “inherent” to the objects and are thus perceived as “real components of the ‘definition of situation’” (Schutz in p. 99). In this sense, according to Schutz, “[t]he world of everyday life is […] permeated by appresentational references which are simply taken for granted” (Schutz in p. 65).
In a similar vein to Husserl, Schutz seems to think that the appresenting item of cultural objects, i.e., their material layer, is able to be perceived by all human beings regardless of their cultural origin, while the appresented side is only available for the in-group members (p. 70). Consider, for example, a message in Chinese language written in black in a piece of white paper. Everyone can see the black-ink figures against the white background and even interpret them as some kind of linguistic signs, but only those who speak or understand the language, and hence belong to some extent to the Chinese culture, can comprehend the meaning of the message, i.e., that what those signs appresent.
Schutz, thus, understands cultural difference primarily as a result of divergent systems of appresentational references. More specifically, in his view the system of appresentational references is an essential component of the particular cultural pattern or “Kulturmuster” of each in-group, i.e., of the “guiding principle of cognition and behavior” in light of which its members define quotidian situations (98f.). Operating in natural attitude within this interpretive framework, in-group members see the appresented items without further ado and take them for granted as immanent aspects of the objects. By contrast, outsiders do not perceive this surplus of meaning or only consider it as something externally “added” to material things (ix).
Against this background, Yu points out that “the pure experience of the life-world” in Husserl’s sense, that is, the experience of pure nature as described above, is also possible from a Schutzian perspective (ix, 64). According to Schutz, this experience emerges “automatically” when, lacking the adequate system of appresentational references, out-group members are incapable of understanding the meaning and purpose of an object (ix, 64). This happens, for instance, when someone unfamiliar with modern art cannot grasp the appresentations “normally” awaken by a certain painting, that is to say, when the “appresentational scheme” does not function properly (64). In this case, says Schutz, what the person perceives are merely real-material phenomena such as shapes, lines, and colors (64).
As Yu suggests, although Schutz deals with the issue of cultural difference more exhaustively than Husserl and does not share the latter’s Eurocentrism, he seems to endorse a cultural universalist and foundationalist position as well (ix, 66). That is, he does not abandon Husserl’s ideas of “universalism” and “grounding” [Grundlegung] (ix, 66). To begin with, Schutz also postulates a pure experience of the life-world as the common experiential ground for all cultures. However, in contrast to Husserl, he believes this layer of experience only comes up in abnormal cases, namely, as a result of intercultural divergences or misunderstandings (pp, ix, 66).
But this is not all. Especially in his later writings, the Viennese phenomenologist speaks of a “universal symbolism” shared by all cultures, which would be ultimately rooted in the conditio humana (ix). As Chung-Chi Yu emphasizes, Schutz argues that certain features of the life-world are common to all cultures because “they are rooted in the human condition” (66). In this sense, “Schutz’s idea of universalism is similar to that of Husserl” (ix). Both postulate a common ground underlying the different homeworlds or in-groups (69).
Chung-Chi Yu on Waldenfels
The final pages of the book show that Bernhard Waldenfels’ phenomenology of the alien can serve as a corrective to the deficits of both Husserl’s and Schutz’s accounts of cultural difference. In the two last chapters, Yu exhaustively reconstructs Waldenfels’ criticism of the universalist and foundationalist “idea of grounding” [Grundlegungsidee] which is at the heart of the Husserlian approach and also informs the Schutzian one (162).
Bernhard Waldenfels objects to Husserl’s ethnocentric and logocentric claim that European philosophy can overcome cultural divergences, insofar as it is able to reach a plane of “universality” with the help of Reason (163). For Waldenfels, this idea reflects one of the main deficits of European culture, namely, its systematic neglect and underestimation of the “otherness [Fremdheit] of non-European cultures” (164). Europe sees the alterity of other cultural groups as an obstacle to be surmounted, and not as a voice worthy to be heard and understood.
More precisely, Waldenfels criticizes the European notion of universality at work in Husserlian thought. As he argues, “no culture”, not even Europe, the alleged birthplace and home of Vernunft, “can ever claim to have created the universal order”, since it is impossible to observe and compare all different cultures from an acultural perspective, as it were (164). In other words, all conceptions of universality, the European one included, are inevitably particular accounts, meaning they are always the result of “processes of universalization” in which something particular is presented as universal (163ff). However, “Europeans have not always been conscious of their position-taking” (163). That is to say, they do not always acknowledge that their conception of universality is inescapably particular. According to Waldenfels, this is the main deficit of “philosophical Eurocentrism” as paradigmatically embodied in Husserl’s position. According to Waldenfels, it miraculously “‘starts from the self, goes through the other and ends in totality’” (Waldenfels in p. 175). Waldenfels also argues, however, that it is still possible and even useful to work with the notion of universality, as long as one recognizes its insurmountable limits. First and foremost, one has to admit that no particular social group has access to the universal ontological, moral, and epistemological order of the universe (164). As paradoxical as it sounds, “[u]niversality must remain contextual”, since it is always a cultural product. In this sense, Waldenfels suggests the interesting idea of a “universalization in plural”, i.e., of divergent “processes of universalization” performed by different cultures (Waldenfels in p. 164).
Yu gives special attention to the Waldenfelsian criticism of Husserl’s account of interculturality. Within the framework of his phenomenology of the alien, Waldenfels understands interculturality in a structurally analogous manner as intersubjectivity (171). In many of his writings, he rejects classical accounts of intersubjective relationships, such as the one developed by Husserl in the 5th Cartesian Meditation, for starting from a false premise, namely, the absolute separation between self and other. In this classical view, the self has a pure “sphere of owness” [Eigenheitssphäre], which is not contaminated by otherness (167). And, accordingly, intersubjectivity is not conceived as preceding but as following the existence of monadological subjectivities.
Against this account, Waldenfels emphasizes that the self is always already and inescapably mediated by otherness, being this what makes intersubjectivity possible in the first place. My own subjectivity, thus, has moments of “inner otherness” (171). And this not only because I am, from the outset, interconnected with that of other persons, but also because I am neither totally aware nor completely in control of my own thoughts, feelings, actions, and perceptions (167). For this reason, the “between-world” [Zwsichenwelt] of intersubjectivity precedes individual subjectivities (171).
For Waldenfels, interculturality, i.e., the relationship between the homeworld and the alienworld works in a very similar way. Just like there are no absolutely separated and independent subjects, there are no pure cultures that are not hybridized with others (171) – and this holds true even for Europe (51). The homeworld is essentially intertwined with the alienworld and therefore full of otherness. Accordingly, the primary form of interculturality is to be found in the “borderline-play” [Grenzspiel] taking place in the Zwischenwelt that emerges between cultures. According to Waldenfels, this intercultural borderline-play produces experiences of anxiety, “shock”, and “amazement” (173). Husserl’s idea of a universal common ground, which is partly adopted by Schutz, can be interpreted as an attempt by the (European) homeworld to evade this uneasiness by rationally domesticating the alienness implied in cultural difference (172f.). It is, in other terms, an egocentric/Eurocentric process of universalization that entails an imperial expansion of the homeworld into the territory of the alienworld (173).
The final pages of Life-world and Cultural Difference make clear that Chung-Chi Yu’s own position on cultural difference draws heavily on Waldenfels’ thinking. According to the Taiwanese scholar, a non-Eurocentric account of interculturality must operate within the so-called “Zwischenwelt”. True intercultural communication is only possible if one abandons the egocentric/Eurocentric stance of “appropriation”, or Aneignung, and adopts a humble, respectful, and comprehensive attitude towards other cultures, that is, if one is willing to “learn from others” and “broaden” one own’s “horizon” (ix).
The Aesthetic Dimension of Life and the Freedom of Thought: A Hans Blumenberg Reader Review
The Cornell University Press edition of the History, Metaphors, Fables: A Hans Blumenberg Reader is a first of its kind volume, masterfully edited and translated by Hannes Bajohr, Florian Fuchs, and Joe Paul Kroll. Continuing to widen the Hans Blumenberg (1920 – 1996) readership in the English-speaking world, the wide-ranging collection includes Blumenberg’s “most important philosophical essays, many of which provide explicit discussions of what in the large tomes often remain only tacit presuppositions and often act as précis for them, as well as selections of his nonacademic writings” (5). The editors organize Blumenberg’s writings thematically, beginning in Part I with Blumenberg’s accounts of the historical significance of secularization and his assessment of the concept of the real. Part II encompasses select writings on language and rhetoric including Blumenberg’s seminal and groundbreaking conceptualization of metaphoricity (e.g., Introduction to Paradigms for a Metaphorology 1960 and Observations Drawn from Metaphors 1971). Unique in his thinking about the metaphorical process, Blumenberg is a contemporary of Ricoeur, whose own analyses of metaphor begin to appear in the mid-seventies in French (e.g., La Métaphore vive 1975). Moving from Blumenberg’s examination of new modes of poetic, rhetorical, and metaphoric thinking and writing (what Blumenberg refers to as “nonconceptuality”), Part III of the book offers several key compositions on the meaning of technology and nature. The volume closes with Part IV that contains Blumenberg’s literary varia and more whimsical pieces that reflect Blumenberg’s interest in playfulness and riddles as entryways to a revivified philosophical reflection that breaks free from canonical meaning and form.
There are “two criteria” that the editors of the Reader cite as determining their “selection: the centrality of the texts for Blumenberg’s oeuvre as such—the core canon, as contestable as this notion is—and their illustrative value for the genres, topics, or types of question he was engaged in but for which no such canon has yet crystallized” (20). The editors situate their selections in the historical background of Blumenberg’s intellectual development, which they discuss in the Introduction. There Bajohr, Fuchs, and Kroll remind us that Blumenberg’s father worked extensively on the philosophy of Edmund Husserl and that Blumenberg’s 1950 Habilitation thesis, Ontological Distance, an Inquiry into the Crisis of Edmund Husserl‘s Phenomenology, examined Husser’s ideas at length. Being half-Jewish (Blumenberg’s mother was Jewish) just as Husserl, Blumenberg suffered during the reign of the National Socialists in Germany. This background makes Blumenberg’s criticism of Carl Schmitt’s take on law, politics, and exceptional power (The Legitimacy of the Modern Age, originally published in 1966) all the more poignant.
Blumenberg’s own understanding of the task of thinking – and especially philosophical thinking – arrives early on, in one of the opening selections in Part I, entitled World Pictures and World Models (1961), where Blumenberg writes, “countless definitions that have been given for philosophy’s achievements in its history have a basic formula at their core: philosophy is the emerging consciousness of humans about themselves” (42). However, this externalizing power of philosophical reflection, which takes us out of our cultural and historical belonging in order to allow us to examine both, according to Blumenberg, results if not in utter alienation, then at least in a loosening of national and political convictions. Paradoxically, the pluralism of cultures and views, and the resultant inability “to adopt one of these worlds obviously and unquestionably as our own” (42), makes us all the more malleable when it comes to political manipulation. On Blumenberg’s view, “beneath the competing world pictures, interests stemming from rather less rarefied spheres interpose themselves imperceptibly. World pictures are becoming pretexts under which interests are advanced. This type of substitution is implied when one speaks of world pictures as ideologies” (50). Blumenberg contrasts the world picture with a more theoretical and scientific construction such as a “world model” (43), and which he defines as an “embodiment of reality through which and in which humans recognize themselves, orient their judgments and the goals of their actions” (43). The possibility of a successful substitution of a world picture for an ideology makes Blumenberg’s critique of the sort of political theory that Schmitt proposes all the more salient. For Blumenberg, “Whoever campaigns for the state as a “higher reality” and whoever identifies himself with the state thinks it as a subject of crises—and is easily inclined to think it into crises” (84), and as we know already from Plato’s Republic, which both Blumenberg and Schmitt studied at length, a tyrant, who identifies with and as the state is “always stirring up war” (567a).
However, the observation that Blumenberg fails to make is that his own take on the meaning of the Republic makes this dialogue out to be, precisely, the kind of tool of ideological manipulation against which he warns us to start, i.e., in his remarks on the world picture. Blumenberg reads the dialogue literally, which is clear from his own gloss on the supposed function of the Kallipolis. He writes, “Plato had derived his Republic from the three-tiered structure of the human soul; at the center of the work stood the theory of ideas, and the famous cave allegory illustrated the necessity of binding the state to the knowledge of absolute reality” (87). Blumenberg directly attributes to Plato those images and ideas that are a part of the city in speech that is a construct and a product of the dialogical exchanges between the interlocutors. Any product of the discussions among the dialogical characters cannot be directly identified with what Plato may have thought or believed. If Plato wanted us to think that a surface and literal reading was the correct one, he would have written in the first person, and straightforwardly recommended his ideas as being correct and true. Instead, Plato writes dialogues and there is not a single dialogue of Plato’s where we have him address us in the first person. Blumenberg’s claim about Plato’s alleged prescription of the “necessity of binding the state to the knowledge of absolute reality” (87) allows Blumenberg to set Plato up as a subject of Machiavelli’s discontent and attacks, but it makes Plato’s thought out to be much too simplistic and brings it in the vicinity of ideology. Another problematic set of connections that Blumenberg makes has to do with his swift excursus through the history of ideas – from Aristotle to Husserl. Blumenberg’s take on this tradition in The Concept of Reality and the Theory of the State chapter is set in the epistemological key. In other words, Blumenberg omits the ontological register. This omission allows him to establish a clean and clear-cut, but mistaken view of the conceptual continuities between ancient philosophy, the Middle Ages, Renaissance, and then also late 19th Century German thought. Blumenberg thinks that
Aristotle’s dictum that, in a way, the soul is everything, was the maximally reduced formula that was still prevalent in the Middle Ages and the Renaissance. To this formula corresponds the expectation that experience is, in principle, finite and can be reduced to a catalog of distinct Gestalten, each of which communicates its reality in the instantaneous self-evidence of a confirmed ought-to-be. The Platonic theory of ideas and the notion of anamnesis [recollection] are merely consistent interpretations of the basic fact that such instantaneous self-evidence, such confirmation in propria persona [Leibhaftigkeit], might exist. Even Husserl tried to rediscover this self-evidence in his phenomenology by choosing the metaphor of an experience in propria persona for the original impression. (122)
Blumenberg misses the fact that, for Aristotle, psyche ta onta pos esti panta (Peri Psyche 431b20) – the “soul somehow is all beings” – is a hard ontological claim. In Aristotle, the soul is not a totality of knowledge in terms of a faculty of the mind, but in terms of the very reality and being of things. This oversight skews Blumenberg’s interpretation in the direction of an epistemic clarity, rather than in the direction of thinking about a nascent possibility. In other words, Blumenberg thinks of the soul as something that both undergirds and grants access to the always already existing and knowable noetic reality. Given Blumenberg’s direct attribution to Plato of the “Theory of Ideas,” he then establishes a simple continuity between the reality and the world-forming status of the “Ideas”; the epistemic status of the soul in Aristotle; the hypostatization of divine and noetic reality in the human world (the Middle Ages and Renaissance); and lastly, Husserl’s philosophy. The last, being an epistemologist, misunderstands Aristotle in his own right. Husserl treats psychology as phenomenology, i.e., as a mode akin to Wesensschau. It is Heidegger, who in a sense, offers a corrective to Husserl’s program and sounds out the ontological significances of the Greek language and, in particular, of Aristotle’s thought. Blumenberg’s interest in establishing philosophical continuities that inform the history of the Western world from antiquity to the modern era is a leitmotif of The Concept of Reality and the Theory of State (1968/69), which along with the Preliminary Remarks on the Concept of Reality (1974) concludes Part I.
Part II, which is entitled Metaphors, Rhetoric, Nonconceptuality, showcases Blumenberg’s interest in rethinking the traditional notion of concept-based philosophy through the lens of poetry, rhetoric, and the power of metaphor. It opens with a chapter on Light as a Metaphor for Truth: At the Preliminary Stage of Philosophical Concept Formation (1957). In this essay, Blumenberg takes the Schellingian idea of mutually belonging, but opposing tendencies or states, i.e., light and darkness, as being at the heart and at the beginning of the all. Following Wilamowitz-Moellendorff, Blumenberg claims that “despite an abundance of gods of nature, Greek religion did not have a deity of light” (129). The intimation is that this designation is saved for the monotheistic god and especially of a Christian religion. However, this is an oversight, because the ancient Greeks not only had Apollo Phanaios or Apollo of Light, but also in the Orphic cosmogonies we have an androgynous god, Phanes – a deity of light. In any case, Blumenberg’s consequent analysis of the way in which light, as a metaphor, operates in the history of Western thought is fascinating. For example, turning to modern thought, Blumenberg sees that
in the idea of “method,” which originates with Bacon and Descartes, “light” is thought of as being at man’s disposal. Phenomena no longer stand in the light; rather, they are subjected to the lights of an examination from a particular perspective. The result then depends on the angle from which light falls on the object and the angle from which it is seen. It is the conditionality of perspective and the awareness of it, even the free selection of it, that now defines the concept of “seeing.” (156)
This is Blumenberg’s conclusion, i.e., that with the onset of modern thought we experience a reversal in the dynamic of revelation. Heretofore, things revealed and presented themselves to human beings, but now we engage in the kind of experimental and scientific examination whereby human beings control the revealing potency of light and use this power at will. The next step, as Blumenberg sees it, is the pervasive and subjugating power of technology, which speeds up our work, extends our work-day well into the night, and depends – largely – on “artificial light” (156). Technology subjugates us and permeates our lives through and through. Blumenberg wonders whether we can find an opposing power to counterbalance this advance of technicization. He sees this opposing force in metaphors. According to Blumenberg, they can loosen the hold of technocracy on our thinking and on our lives. The Reader offers Blumenberg’s ideas on this theme in the chapter entitled, Introduction to Paradigms for a Metaphorology (1960).
Blumenberg seeks to uncover the “the conditions under which metaphors can claim legitimacy in philosophical language” (173). In the first place, he wants us to note that “Metaphors can first of all be leftover elements, rudiments on the path from mythos to logos; as such, they indicate the Cartesian provisionality of the historical situation in which philosophy finds itself at any given time” (173). In other words, just as Descartes’ Discourse on Method offers provisional Maxims of Morality, likewise Blumenberg wants metaphors to fulfill a similar function. Metaphors would serve as a temporary measure of thought or as a passage from the already by-gone to the not-yet established way of philosophizing and living. It is questionable whether Descartes means for us to take his Maxims of Morality – of which the thinker famous for his discoveries in geometry and algebra tells us there are “three or four” (Discourse on Method Part 3) – as provisional. An alternative reading of Descartes, which does not undermine Blumenberg’s comparison, is that morality and its maxims are always only provisional; subject to re-examination and re-valuation depending on the place and time we find ourselves in. Descartes’ insistence that we continuously seek to rejuvenate our ethical outlook and relations agrees with Blumenberg’s interest in finding a surreptitious element that would allow us to undermine, undo, and then recast outmoded ways of thought. “Metaphorology,” he writes, “would here be a critical reflection charged with unmasking and counteracting the inauthenticity of figurative speech. But metaphors can also—hypothetically, for the time being—be foundational elements of philosophical language, ‘translations’ that resist being converted back into authenticity and logicality” (173). It is this “resistance” to the structure of accepted, logically-sound language and presentation that attracts Blumenberg to the metaphorical process.
Blumenberg probes and pivots our understanding of the philosophical value of poetic, metaphoric, and rhetorical expression in the consequent selection that the Reader offers, which is entitled An Anthropological Approach to the Contemporary Significance of Rhetoric (1971). Blumenberg’s claim about rhetoric is that its “modern difficulties with reality consist, in good part, in the fact that this reality no longer has value as something to appeal to, because it is in its turn a product of artificial processes” (202). There is a need, in other words, to get to the underlying truth-structure of reality, which moves past the artificiality of social engineering, the technocratic state, or simply the sedimentation of interpretive layers that dictate what reality is supposed to be for us. However, this need in the guise of an imperative (and here Blumenberg again recalls Husserl and his “Zur Sache und zu den Sachen!” 202) and issued as “an exhortatory cry” (202) itself becomes rhetorical. The latter is a technology in its own right, i.e., that of language, of shaping opinions, and influencing emotions. In this estimation, Blumenberg comes close to a Derridean position, which offers us both the elemental and complex nexuses of the world, including the world of nature, in terms of the techniques, expressions, and formations that can only be reached because of and by means of language. Thus, both for Derrida and for Blumenberg (at least on this presentation in An Anthropological Approach to the Contemporary Significance of Rhetoric), as central as the logos is, it must be displaced to give way to a possibility of re-interpreting our relation to our thinking and to our world. This insight, along with his thinking about metaphors, allows Blumenberg to proceed to a discussion of “nonconceptuality.” This discussion, which concludes the selections in Part II of the Reader is preceded by two other pieces: Observations Drawn from Metaphors (1971) and Prospect for a Theory of Nonconceptuality (1979).
In the very last essay in Part II, which is an excerpt from the 1975 Theory of Nonconceptuality, Blumenberg outlines his program. Prior to giving us this outline, he entertains the meaning and pitfalls of theoretical reflection in the context of ancient Greek theoria. Blumenberg’s take on theoria, which equates it with motionless and stilling contemplation of eternal reality written in the starry sky, misses the important sense that the Greeks themselves attributed to theorein (at least prior to the arrival of Pythagorean thought). This term, theorein—to contemplate or to spectate—includes spectatorship of various religious, theatrical, and athletic events. As such, it is much more immersive and emotionally engaged than the purified, rarified sense of theorein, which comes into play after Pythagorean beliefs and practices take hold. The self-possessed, reserved, and calm theoretic practice (although we have allusions to it made by various characters in Plato’s dialogues, e.g., Timaeus, Republic, Symposium, Phaedrus, and Phaedo) is not a good representation of the originary meaning of theorein. Nonetheless, Blumenberg takes the meaning of theoria, which is already purified of its sensual alloys, to be representative of the Greek understanding of this practice. He writes, “for the Greeks, contemplating the sky meant not only contemplating a special and divine object of the highest dignity, but the paradigmatic case of what theory ought to be, what is at stake for it. The ideal of theory is the contemplation of the sky as an object that cannot be handled” (260). Blumenberg then takes this sense of theory as what has been handed down through the history of Western thought and what must be counteracted by a new engagement with the non-conceptual, emotional, sensible, sensitive, and intuitive dimension of life. It is this latter recommendation that we must heed in order to follow Blumenberg’s intimations on the point of nonceptual philosophizing.
To state the key moments of his program briefly, 1) “The turn away from intuition is wholly at the service of a return to intuition. This is, of course, not the recurrence of the same, the return to the starting point, and certainly not anything at all to do with romanticism” (262). This interest in re-inscribing thinking by retracing the intuitive dimension – a retracing, which is not a simple repetition, but a deepening of our reckoning with it – is the first postulate. Then comes a key aesthetic and emotional attunement 2) “Pleasure [which] requires the return to full sensibility [Sinnlichkeit]” (262). This call to pleasure hearkens us back to the Greek beginnings of contemplation as both a mental and an emotional immersion in and an attunement to the world – the kind of activity that pleasure properly completes (e.g., Aristotle, Nicomachean Ethics, esp. Bk. X). And finally, a medium or passage that must go between the noetic and the aesthetic, for Blumenberg just as for Riceouer, is 3) “Metaphor [which] is also an aesthetic medium precisely because it is both native to the original sphere of concepts and because it is continually liable and has to vouch for the deficiency of concepts and the limits of what they can achieve” (262). This, then, is the basic outline of Blumenberg’s program in the excerpt from Theory of Nonconceptuality with which Part II of the Reader ends.
Part III, entitled Nature, Technology, and Aesthetics, begins with Blumenberg’s The Relationship between Nature and Technology as a Philosophical Problem (1951), and proceeds historically to show how a distinction between nature and being insinuates itself in philosophical reflection. Blumenberg then traces out a further divide between nature and divinity in Christian thought. A short section on enjoyment in this essay is reminiscent of Hegel’s analyses in the Phenomenology of Spirit (VI. B. II. b. § 581 – Spirit, Culture, Truth of Enlightenment). In Hegel, this section on the totalizing function of “utility” leads to a situation in which “heaven is transplanted to earth below” (§ 581), which are the last words of the section that precedes Hegel’s discussion of “Absolute Freedom and Terror” – a discussion that is informed by Hegel’s reflections on the French Revolution. Blumenberg’s analyses, too, lead up to a revolution, but of a different kind, i.e., to the revolutionazing, but also totalizing, and not altogether salubrious power of technology.
In part 7. Of The Relationship between Nature and Technology as a Philosophical Problem, entitled “The ‘Second Nature’ of the Machine World as a Consequence of the Technical Will,” Blumenberg speculates about the way in which the displacing effect of technology or the “technical ‘out-of-itself’” (302) can be understood as “second nature” (302) for us. Blumenberg frames his reflections on this possibility in terms of Heidegger’s thinking and poses them in the form of a question. He asks:
does the concept of a “second nature” really carry the implications of the modern age’s understanding of nature to their conclusion, to the end of all its possible consequences? Is the claim to “unconditioned production,” as Heidegger has called the technical will, enacted in the “second nature” of a perfected machine-world? Or does such unconditionality imply that it will suffer nothing else alongside it—which is to say that not only has “second nature” provided the potency for the nullification of the first nature but that the former’s essence also pushes toward the latter’s realization? Man’s experience of this ultimate stage of possible technical fulfillment is only just beginning. (302)
This prescient formulation and the possible danger it expresses is all the more worth exploring in our world – today – permeated, navigated, run, and shaped by a heretofore unseen proliferation of virtual communication and technology. Blumenberg, having offered for us this portentous problem, then goes on to lay out its roots in the relationship between nature, divinity, and creative power – both divine and human, the latter of which is largely a power to imitate. These reflections appear in the essay that follows in the Reader next and which is entitled Imitation of Nature: Toward a Prehistory of the Idea of the Creative Being (1957).
In the immediately following essay, entitled Phenomenological Aspects on Life-World and Technization (1963), Blumenberg traces out the transformation of the intuition of life into a totalization of world-horizon and the consequent objectification of the life-world. This transformation sets the stage for the thoroughgoing displacement of nature by the “second nature.” The displacement that Blumbenberg outlined in The Relationship between Nature and Technology as a Philosophical Problem. Concretely, Blumenberg explains that “the intentionality of consciousness is fulfilled in the most comprehensive horizon of horizons—in the ‘world’ as the regulative pole-idea of all possible experience, the system that keeps all possibilities of experience in a final harmony, and in which alone what is given to experience can prove itself to be real” (356). This unification and fulfilment of intentionality as and in the world prepares the stage for the transformation of the world into an object. This happens because of the identification that takes place between the world-totality “in which alone what is given to experience can prove itself to be real” (356) and the fact that, for Husserl, according the Blumenberg, it is “in the ‘world’ as the horizon of all horizons [that] objecthood is likewise isolated and stressed” (356). Not only that, but also “’Nature,’ [which] is essential for our topic—is the result of such emphasis. It is thus not equiprimordial to world but a derivative, already constricted objective horizon. Nature, so much can already be seen, cannot be the counterconcept to technology, for already in the concept of nature itself we find a deformation—an emphasis—of the original world-structure” (356). Since the latter is object-skewed, also nature is not free from objectification and is already prepared for being worked over and substituted with or nullified through the “second nature,” i.e., through the all-encompassing technological transformation. However, Blumenberg does not assign to Husserl the blame for this transformation, instead Blumenberg’s “Husserl is only concerned with making visible in exemplary fashion how disastrous in the broadest sense human action can be where it no longer knows what it is doing, and with exposing what one might call active ignorance as the root of all those disoriented activities that have produced human helplessness in the technical world” (367). The counterpoint and a saving force to this onslaught of “active ignorance” and in the face of a thoroughgoing technicization, has to do with our reorientation toward the intuitive, sensible, and aesthetic dimension of life.
The remaining essays in Part III, as well as Blumenberg’s engagement with various literary and philosophical figures and thinkers such as Socrates, Valéry, Kafka, Freud, Faulkner, Goethe, Nietzsche, and Aesop (among others) point the way to this aesthetic reorientation. For example, in Socrates and the Object Ambigu: Paul Valéry’s Discussion of the Ontology of the Aesthetic Object and Its Tradition, Blumenberg engages with Valéry’s Eupalinos or the Architect and the accounts of noetic construction and the role of necessity in the Timaeus; Aristotle’s unmoved mover; as well as reflections on beauty and finitude from the point of view of the Phaedrus. Blumenberg concludes that “the Socrates of Valéry’s dialogue does not arrive at an aesthetic attitude toward the objet ambigu because he insists on the question, definition, and classification of the object—thereby deciding to become a philosopher. The aesthetic attitude,” Blumenberg continues as he contrasts it to the Socrates of Valéry, “lets the indeterminacy stand, it achieves the pleasure specific to it by relinquishing theoretical curiosity, which in the end demands and must demand univocity in the determination of its objects. The aesthetic attitude,” in the final analysis, “accomplishes less because it tolerates more and lets the object be strong on its own rather than letting it be absorbed by the questions posed to it in its objectivation” (434). The attitude for which Blumenberg argues, then, is a kind of intuitive, aesthetic, deeply pleasurable – and having offered a reconstruction of theoria, I can also say – an originary contemplative attitude that immerses us into the world and thereby allows the world to show itself to us anew.
The closing set of selections in Part IV of the Reader offers Blumenberg’s analyses of philosophically significant literature, which I see as a kind of propaedeutic to the aesthetic, metaphoric, nonconceptual, but originarily theoretical thinking and being in the world. Thus, in The Concept of Reality and the Possibility of the Novel (1964) essay, Blumenberg examines the relationship between truth, poetry, nature, and imitation in its literary and historical unfolding. This multi-disciplinary and cross-historical examination is characteristic of Blumenberg’s style of analysis. He moves through Plato, Aristotle, Scholasticism, the Renaissance, and on to the emergence of the concept of the absurd. In the final analysis, Blumenberg claims about the novel that it does not need to take on the guise of the absurd or be guided by it as a concept (502). The sphere of possibilities that the novel encompasses and iterates surpasses the straightforward mimetic schema where culture seeks to imitate nature. Because of this, the novel does not run aground once this schema shatters against the absurdity of life where nature has become infused with culture through and through; subtended in the conceptual delimitation of its object within a world-horizon; or displaced by means of technological dissolution of the natural being of the world. These latter eventualities call for a break-through and an overcoming by means of the absurd, but the novel circumvents this need, because the novel serves as “the extension of the sphere of the humanly [and not naturally] possible” (502). What does this mean concretely in terms of the philosophical mode of reflection and thought? Blumenberg’s answer is forthcoming in the essay entitled Pensiveness (1980), which is both a prelude to the more whimsical selections in this Reader and also offers Blumenberg’s estimation of the task and value of philosophy. Blumenberg first lets us know that “pensiveness is … a respite from the banal results that thought provides for us as soon as we ask about life and death, meaning and meaninglessness, being and nothingness” (517). In this formulation, pensiveness evokes both Descartes’ resolve to waver and to be of a wandering, instead of a weak mind (Discourse on Method Part 3) and also Heidegger’s call to authentic openness in anticipatory resoluteness or Entschlossenheit (Being and Time Sect. 54). Blumenberg goes on to offer us his “conclusion—since I must present one because of my profession—is that philosophy has something to preserve, if not revive, from its life-world origin in pensiveness” (517). This is both lyrical and evocative, as well as a methodologically rigorous a conclusion.
Although the Reader does not end here, I would like to close my review with the following quotation that expresses both a recommendation and a challenge that Blumenberg issues to us. “Philosophy must not be bound, therefore, to particular expectations about the nature of its product. The connection back to the life-world would be destroyed if philosophy’s right to question were limited through the normalization of answers, or even through the obligation of disciplining the questions by beginning with the question of their answerability” (517).
While Adorno and others maintained that, after the Second World War, poetry and philosophy are impossible, Blumenberg belonged to that group of post-war, German philosophers committed to exploring what would be possible in and with philosophy. Did Blumenberg succeed in this endeavour, and is that why some today find his work inspiring?
This new volume by Felix Heidenreich examines the operation of the work of Blumenberg, focusing on the operation of his metaphorology as political metaphorology. Yet he does not merely inquire into Blumenberg’s metaphorology. Indeed, there is a certain ambiguity in the title Politische Metaphorologie Hans Blumenberg heute. Hans Blumenberg heute is surely a more expansive topic than his metaphorology. What is the book about?
The book is structured as follows. In chapters 1-6 the author approaches metaphorology as philosophy, or more broadly as thought movement, thinking style. Chapter 6, on myth, is transitional, with chapters 7 and 8 being explicitly about political metaphorology. In chapter 9 the relationship of politics, morals, and truth is the central theme, with a focus on the political character of metaphorology. Chapter 10, the closing chapter, returns to the core question: What can we do with or make of Blumenberg’s philosophy and with his metaphorology?
The first chapter elaborates the core question: What is the operation of Blumenberg’s work? Thus it is clear that the book will not be an introduction to Blumenberg’s work (enough manuals are already available) nor an argument for a single thesis. Rather, it is a search for an answer to the question of what we are able to make of Blumenberg. Instead of a doxography, the author prioritizes investigation as a style of thinking. He wants to offer something other than the usual perspective, moving away from the question “What does Blumenberg say?” and towards the questions, “How does Blumenberg operate?” and “Is it possible to continue this operation?” By investigating these questions as paradigms, as examples of a working style and thinking style, the book attempts to contribute to the self-understanding of philosophy, as well.
The second chapter focuses on Die Legitimität der Neuzeit (1965), the book that made Blumenberg famous. Blumenberg examines European intellectual history, arguing that the modern representation of the self-assertion of the human, the representation that the human uses to take his fate into his own hands, is that by which he can and must transform his world. European modernity is thus not opposed to the Christian world, but procreated by it. The author refers to Anselm Haverkamp, who argues that Blumenberg at the end of the 1960s was conceived as left or progressive philosopher not least because of this book. In Die Legitimität der Neuzeit, the concept of rearrangement is important. Blumenberg’s conception of rearrangement suggests that themes and arguments exist in a functional coherence, in which separate elements can be exchanged and altered, but that there is no absolute “point zero,” an originary place from which new interpretations spring. Since every new idea arises from combinations of existing narratives, concepts, and metaphors, intellectual history becomes a series of changes, rearrangements, and bricolages.
In the third chapter the central question is whether there are any constants in innovation dynamics. What connects the contemporary person to the human being of the Middle Ages, to the ancients, or even to primitive times? Classically, philosophical anthropology gives the answers here. For instance, Kant’s question, “What is man?”, establishes a telos of the human being: Man is substantially social, substantially seeking knowledge, substantially gifted with reason. But according to Blumenberg, this essential determination cannot be continued today. As opposed to the essentialism of traditional European philosophy, he asks the question of man in his own, narrative way. The author points to two strategies in this context. First, in Blumenberg’s narrative philosophy, in place of attributions of being come stories and histories; second, there is Blumenberg’s plea for the generation and use of descriptive categories. In stories and descriptions, Blumenberg’s goal is also to produce distance, not a vision of the absoluteness of reality. He aims for an integration of the phenomenological, first-person-perspective on the one hand and natural-anthropological, third-person perspective on the other. In doing so, his descriptions are strongly bound to historical and personal circumstances, so that culture becomes a shield against the absolutism of reality. To describe this project, Blumenberg uses the metaphor of “caves” that are not built of stone, but of histories, texts, theories woven into houses. Thus, in his last major monograph, Höhlenausgänge (1989), the history of European philosophy becomes a series of cave metaphors. Yet, in contrast to Blumenberg’s emphasis on distance, Heidenreich argues that man is a being who alternates between distance and intimacy, and aligns one with the other.
In the fourth chapter the author discusses the relationship between culture and technology in Blumenberg’s anthropological variations. Not only do humans have means to anticipate danger and to prevent it, but animals also have rudimentary forms of technology: they build nests, communicate, and reap the benefits of their labour. Technology does not contrast with the world, but comes from it. The author applies Blumenberg’s concepts to phenomena that Blumenberg himself never described: digitisation, the Internet, development of self-learning machines. What do these technologies mean for people? They affect us by transforming us into data-producers and consumers. So, here, there appears to be a fruitful way to build on Blumenberg’s anthropological approach to technology.
In the fifth chapter the author points out something more explicitly about Blumenberg’s approach to anthropology and to rhetoric. Anthropological arguments always carry the danger of a certain reductionism. How does Blumenberg face this danger? As already indicated, for Blumenberg, description constants replace essence determinations. And while Blumenberg follows Kant in directing his thinking against a certain pathos of reason, his more powerful contribution is to rehabilitate a justification for rhetoric. Such rehabilitation is necessary because rhetoric has for too long been perceived primarily as an art of seduction. In contract, for Blumenberg, rhetoric is a technique of delay, a substitute for violence. Blumenberg is not so much interested in the rationality of rhetoric as he is in its formalising, delaying, and deflecting effect. In this context, Blumenberg’s understanding of education or Bildung as a kind of distancing or refusal to be impulsive is important. For Blumenberg, political education is not about rhetoric as display or framing, but about rhetoric as a kind of exercise in slowness and thoughtfulness. Nevertheless, rhetoric and metaphor do not always slow down, but can make things more complex, confuse, enthuse, but also oversimplify, leading to questionable cognitive “shortening.”
Criticism of an “essentializing anthropology”, which is based on a given being of man, cannot neglect to hold on to description constants, as already indicated. Chapter 6 starts with Blumenberg’s central thesis of the complexity reduction via narrative by man: Man likes to keep the world off the body and live with the things he experiences by telling himself and others a history. In this view, anthropology is systematically intertwined with myth. The foundational hypothesis here is that man as a narrative, myth-forming, myth-gathering being can never fully outgrow the premodern techniques of world-conquering. From chapter 6 onwards, the book moves towards Blumenberg’s political metaphorology. This chapter, not yet explicit about this, functions as a transition.
In German-language post-war philosophy, myth is a major field of study, and Blumenberg plays a central role in the intense struggle concerning how to understand myth and its function (the origins of this discussion are found in Carl Schmitt, Ernst Cassirer, and Albert Camus). According to Blumenberg, myths organize chaos. The first detailed and explicit presentation of the theme of myth theory can be found in Blumenberg’s contribution to the band on Probleme der Mythenrezeption (1968) under the title “Wirklichkeitsbegriff und Wirkungspotential des Mythos”, on how myth production and myth reception relate to each other. Yet it is Blumenberg’s monograph Arbeit am Mythos (1979) that dogma becomes central, and with it a questioning of the Christian tradition. Unlike Plato, Blumenberg does not pit myth against logos, but instead opposes it to dogma. In particular, he conceives myth as liberal and open in the face of the closedness and authoritarian character of dogma. At the end of the 1960s, this view produced the Blumenberg –Taubes controversy. Whereas Jacob Taubes stressed that the myth can also become anti-liberal, even becoming a means of spreading terror, Blumenberg has no plausible reply. He does write about the Hitler myth, but simply assumes that myth must be ambiguity-tolerant and ambiguous. Nevertheless, even ambiguity can be dangerous, as evidenced by the ideological promiscuity of the national socialist elite. Heidenreich concludes, I think quite rightly, that the outlining the form of thought and presentation of myth does not yet say anything about its content, a point Blumenberg largely missed.
In the seventh chapter, Blumenberg’s investigation of metaphor, as developed in his Paradigmen zu einer Metaphor (1960), takes centre stage. Indeed, Paradigms is Blumenberg’s methodically most important text, and perhaps the one for which he is most famous. Heidenreich argues that with this text Blumenberg opened up an entire field of research within philosophy, its important offshoot emerging, for example, in Ralf Konersmann’s Wörterbuch der philosophischen Metaphern (2007).
What is the core of metaphorology? The author indicates that this question is not easy to answer. The term suggests that it is a scientific treatment of metaphors, so that metaphorology relates to metaphor formation as a kind of reflexive science. But the significance of the project only becomes clear when it is placed in relation to the history of understanding, something that Blumenberg himself never accomplished. When concepts shape our thinking, the historically informed handling of these concepts becomes a requirement of controlled thinking. I think this implicitly shows a focus on the content of metaphors, but that is not yet an answer to the question of what metaphorology is. So, the question arises again: is metaphorology just the history of metaphors (akin to the history of concepts, which includes the history of their content) or a theory of metaphor and its function?
Another important question arises in this connection: Are metaphors ornaments or are they more fundamental? The view that metaphors should be understood not as an appendage but as a foundation of human language, is usually traced back to Nietzsche’s text Über Lüge und Wahrheit im aussermoralischen Sinne (1896). This is a central question about metaphor, but is it addressed by metaphorology? Blumenberg refers to Nietzsche, but offers no extended discussion, nor is Heidenreich clear on this point.
Heidenreich does point out that Blumenberg’s metaphorological texts have been compared to topos research. A classic objection to topos research is its associative character. One jumps among text types, eras, and reception contexts, to compare similar usage modes. But this purely associative linking counters Blumenberg’s approach, which looks to a structuring background narrative, as in Licht als Metapher der Wahrheit (1957). The decisive distinction between a metaphor-collecting topos-research and a metaphorological study is the presence in the latter of an historical thesis, which organizes the material. The concept of “Leitfossile” (leading fossils) is significant here. It means that metaphorology must assume significant cases in any given period, without which it would become a collection of bare materials.
The detection of analogies itself leads to thinking in analogies, for Blumenberg. Thus, the question arises: do people constitute metaphors or do metaphors constitute people? For Blumenberg, the study of metaphor shows that texts know more than their writers, since reality speaks through them. According to Heidenreich, this observation means that people do not have ideas, but ideas have people. But this leads to a methodological difficulty concerning the capacity of metaphorology to oversee the context of its research objects. This question about the relationship of metaphors and people, which appears in various places, seems to be a blind spot in the book, since the author never makes it thematic nor takes any real position on it.
Chapter 8 raises the key issue: what is political metaphorology? In Blumenberg, the word combination of political metaphorology does not occur. Heidenreich wants to investigate how metaphors themselves become political, and hence to understand how metaphors exercise power. His concern is not so much about metaphors within the history of ideas as it is about intellectual martial art, which keeps out questionable ideas. But it seems to me that one need not choose between the polemical function of metaphors, and metaphors as guiding fossils. Again, as far as I am concerned, the author does not offer a lucid treatment of this ambiguity in the functions of metaphor.
The author points out that the dimension of power in Blumenberg’s metaphorology remains implicit, but the next chapter considers political, military, and violent metaphors in the work of Blumenberg and of his pupils. It has long been acknowledged that such metaphors can lead from the point of view of theoretical knowledge. But, then, why is this discussion of violent metaphor necessary? Do these metaphors have depth, or do they serve as merely collective concepts? The same question can be asked about the author’s digressions about Brexit and about the French yellow jackets. Heidenreich even says that metaphors can at once be deadly and guiding. But the point of this observation eludes me. Perhaps we are once again asking whether metaphors form us or whether we form metaphors, but the discussion here does not gain any clarity on that question.
Though they do not resolve this crucial question, the author mentions several valuable features of Blumenberg’s approach. First, Blumenberg’s work clarifies the great relevance of cultural contexts and historical connotations to understanding metaphor: as a phenomenologist, Blumenberg knows that we always “see more than we see.” Second, Blumenberg’s approach makes it possible to consider the mixing of metaphors and myths. Indeed, metaphors can be understood as “micro-myths” insofar as they already have a narrative structure and are in many cases woven into larger narrative, which may even have its own mythical connections. Third, we learn something from Blumenberg about the dynamics of realignment.
The author then elaborates on the metaphorology of “the ship of state” and the question of the democratic “captain,” following Blumenberg’s Schiffbruch mit Zuschauer (1979). Here he refers in passing to Blumenberg’s analyses of the nautical metaphors that unfold in a Bundestag debate. The discussion of this example shows mainly how difficult a good political metaphor can be to unpack.
The author raises another methodically decisive question in this context: do these metaphors guide political relationships ornamentally, or do they have a real, channeling effect? How exactly should the relationship between expression and the expressed be understood here? Metaphors are plastic, so even the limited image of the state ship branches into a variety of theories and themes. Do metaphors really form our thought and action, or do we form metaphors as ornaments to our pre-existing ideologies and decisions? Could it be that metaphors are not deep guide fossils but rather a kind of surface foam?
The author tends somewhat towards the surface foam view. He holds, in a stronger way than Blumenberg himself, that one must assume the incoherence of human metaphor use. Blumenberg imagines that leading metaphors fundamentally pre-structure our view of the world, of which we ourselves are parts. In this view, metaphors are incoherent in the sense that they do not push our thinking through a single compelling channel, but rather through a complex network as in Venice, with side arms, dead-ends, main and side canals. Modernisation also contributes to this pluralisation, since in the absence of an absolute metaphor, there is rather a horizon of meanings, that terminate in one another. Our use of metaphors, including those that form political communication, is a bricolage.
For Heidenreich, the toolbox of Blumenberg’s political metaphor, unlike its pure framing analysis, provides an historically grounded analysis of primary philosophical leading metaphors. Against this background, the author indicates what he believes an integrative political metaphorology should look like. He makes a attempt at systematization, guided by a maxims of political metaphorology:
- Analyse the entire network of image fields! Metaphors are semantic compactions, or nets of concepts that refer to one other. For instance, consider the field of architectural metaphors such as buildings and houses, foundations, pillars or struts, and so on. Each metaphor in the network is constituted as a member of a metaphor family, the members of which, in Wittgenstein’s sense, bear a certain family resemblance to one another.
- Familiarize yourself with important matters! A broadening of the metaphorological programme concerns the exposure of technical historical and social contexts. For example, light can become a metaphor for truth because people see in light but not in the dark. When Blumenberg analyses the ‘Licht als Metapher der Wahrheit’, this analysis gains depth by examining the history of the luminous agent at the same time.
- Ignore media boundaries! This is not Blumenberg’s, though today it is trivial. It is precisely the manifestations of metaphor in the mass media that have the greatest political effect.
- Specify the character of the metaphor’s leadership! The most difficult step in political metaphorology is to show that there is not only strategic use of ornamental metaphors, but also a leading function in metaphor itself. Yet, according to Heidenreich, even Blumenberg often fails to show this.
In the end, the author also stresses that a political metaphor in the continuation of Blumenberg’s work has a deconstructive character: Metaphorology is hardly focused on the question of whether metaphor is “correct”, but will only make explicit what connotations and implications are built in; the metaphors of people in the struggle for the appropriate expression must be understood analytically.
Chapter 9 focuses on the relationship between politics, morality, and truth, based on Hannah Arendt’s writing on the Eichmann trial. The question of truth here is focused on the truth of the existence of evil, while Arendt emphasizes the banality of evil. Though it takes effort to see what relevance this has to metaphorology, the link seems to be that political metaphorology must be guided in terms of power and democracy, and therefore also in terms of good and evil. Blumenberg blames Hannah Arendt for creating the myth of everyday – and thus innocent – evil, by portraying Eichmann as a stupid pawn. I will not go into the discussion between Blumenberg and Arendt about Eichmann, because recent research on Eichmann has shed new light on her assessment of the man and his crimes.
What is important is how we value myth-making. According to Blumenberg, collective myths can have a function. The unsustainability of their imagination does not have to be presented to the weak. As a means of defensive self-confidence, community-forming myths can be legitimate. Myths and truth thus become pharmaka, substances whose use presupposes a context-related clarity. But how can myth distinguish between right and wrong? When is a political myth useful for self-defence and when does it become hegemonic? Blumenberg lacks an answer to these questions, according to Heidenreich, for principled reasons. These questions depend on common sense and practical experience that is indicated in traditional philosophy with the concept of phronesis or prudentia. Because these are eminently practical questions, there is no rule that can be used to answer them. So, Heidenreich argues, there is no moral philosophy in Blumenberg, or at least nothing that solves these practical questions. But if that’s right, does this disqualify Blumenberg’s metaphorology from being political?
Chapter 10 turns to a key question in Blumenberg’s thinking: Where can philosophy still be practiced? As Heidenreich portrays it, Blumenberg gets rid of hard dividing lines of classical philosophy: the image of rhetoric as the enemy of philosophy disappears, myth is no longer directly opposed to reason. Blumenberg is taken as a representative of a soft, empathetic, deconstructive philosophy that allows authors, theories, and perspectives to manifest their metaphorical, time-bound and literary assumptions. But what does Blumenberg have to say about the mission of academic philosophy? Does philosophy disappear into scholarly writing, argument and insight into essayistic commentary?
For Blumenberg himself, it was internal philosophical doubt that makes a certain representation of the profession questionable. He is also clear in his rejection of the usefulness or applicability of philosophy. Heidenreich agrees that the current culture puts research projects under heavy time pressure, a problem already stressed by Blumenberg. Blumenberg opposed the instrumentalization of philosophy by industry, its economization. But since for him, theory was already form of praxis, he also saw little interest in the left-wing thinkers’ demand for the coherence of theory and revolutionary political praxis. The idea that theory could produce solutions to social problems, must have struck him as naïve.
One problem that presents itself in interpreting Blumenberg is that he left few programmatic texts in that set out his intentions. Yet Blumenberg clearly has a narrative style intended to allow one to consider objects from different perspectives, to explore detours and side roads, and to slow down and to express doubts. He allows for impressions to be processed in freedom without immediately reaching a judgment. Blumenberg is therefore very much in a phenomenological tradition. But according to Heidenreich, this narrative style is not dialogical, so the reader is left wondering how any statement could be contradicted or corrected. Perhaps narrative and dialogical philosophy could indeed develop further together, without contradiction, but for further answers about Blumenberg’s philosophy, a lot of research is needed.
But could Blumenberg’s ideas nevertheless help us understand the leading metaphors of the present day? According to Heidenreich, the great potential of Blumenberg’s approach lies in the careful deconstructive effect of a consistent survey of unselected background metaphors and narrative structures, and the apparent plasticity of meanings within that structure. Analysis should focus not only on dramatic metaphors, such as “struggle” but also on less conspicuous metaphors. With Blumenberg, we can initiate the questioning of those images, which in Ludwig Wittgenstein’s words “hold us captive.” Metaphorology is thus at once a cultural techniques and a reflective approach to meaning that may ultimately be more than a deconstructive act.
Although the book contains much of interest, its investigation of the main question, about the politics of Blumenberg’s metaphorology, makes no real reference to Blumenberg’s own conception of politics. The author writes as if Blumenberg approached politics as a necessary evil, about which philosophy does not have to make much of a fuss. And to be sure, we rarely find an explicit discussion of the political in Blumenberg. It does arise, however, in his discussions of political theology, in which he questions traditional views on human nature. Similarly, in his posthumous book Beschreibung des Menschen (2007) (Description of the Human), he treats the state not so much as representing the citizens, but as prevailing over them. That’s a little different than seeing the politics as a necessary evil. Perhaps Blumenberg does politicize philosophy, just in a very different way than Heidenreich would like.
A few other criticisms I made in passing can also be made more explicit. First, no clear definition of metaphor is offered. Since metaphorology is a reflection on metaphors, this makes it a little difficult to grasp what the book is reflecting on. More importantly, in Heidenreich’s argument, metaphor and metaphorology are often mixed, which leads to ambiguities, particularly when he asks about the political operation of metaphor. In many places in the book, he wants to draw on the politically operational nature of metaphors as understood by Blumenberg. But a politically operative metaphor need not depend on politically-operational metaphorology, nor would a non-politically-operational metaphor detract from a politically-operational metaphorology. By the end of the book, the author seems to agree with Blumenberg’s broad understanding of the political dimensions of metaphor, as thinking routines. But since this emerges only at the end of the book, much of the earlier discussion remains ambiguous.
Another criticism is that the author is not always sharp about which point he wants to make, especially when he asks whether we form metaphors or whether metaphors form us. This question is regularly run together with the question of whether a metaphor is a superficial ornament or a guiding or channeling idea, e.g.
The methodically decisive question now is: do these metaphors guide purely ornamental world and political relationships or do they actually have a channeling effect? How exactly should the relationship between expression and the expressed be understood here? …… Do metaphors really channel or do we form metaphors? (90)
We see that the author shifts to the second question, without the first question being answered. But whether a metaphor is ornamental or channelling, does not seem to bear on whether man determines it.
If humans are creators of language, they can produce both superficial metaphors and channeling ideas. But perhaps the author has a different view, and he believes that a metaphor can be a guiding idea, only if man is guided, and not creative himself. The author could have offered a clearer argument by drawing on the extensive French philosophical discourse on this subject (e.g. the work of Lacan, Kristeva, and Ricoeur).
Ultimately, it could be the case that Heidenreich fails to find unity in Blumenberg’s work simply because it is not there. Blumenberg hardly mentions metaphorology in his later work, perhaps because Gadamer in Wahrheid und Methode (1960) has sharply worked out this theme. Blumenberg moved on to myth and incomprehensibility, themes that mark a deepening of his phenomenology. The connection with the earlier work is increasingly loose and unclear, and it becomes increasingly difficult to see the political significance in his later work. Nevertheless, despite these concerns, with Politische Metaphorology: Hans Blumenberg Heute, Heidenreich has produced a rich book that provides a welcome, fresh look at Blumenberg’s work.