La Doctrine de la science à l’usage des artistes
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This paper addresses some of the figurative properties of Fichte’s philosophical discourse. In many texts from the so-called Spätphilosophiethe WL is depicted as an ≫image of knowing≪. In keeping with this idea, the author examines how figureand discourseare inextricably bound up in the space of Fichtean philosophy. The 1794 lectures Concerning the Difference Between the Sprit and the Letter Within Philosophyare particularly telling in this respect, for they foreground metaphor as the necessary vehicle for philosophical expression. Thus, Fichtean philosophy, understood both as discourse(in the sense of pragmatic linguistics) and as ≫material image≪, openly embraces figural modes of knowing, for knowing itself is fundamentally an imagistic activity. In the final analysis, Fichte’s discourse does not separate concept and figure, philosophy and metaphor; instead, it opens up philosophy to the space of the figural – a space from which it ultimately stems and which constitutes the medium of the Wissenschaftslehreas such. In closing, the author reconsiders one of Fichte’s most striking metaphors, i.e., philosophy as Eucharist, in order to shed new light on a famous portrait of Fichte from 1812. He argues that the latter sustains in painterly form a meditation on the place of the figurative in philosophical discourse.
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La Doctrine de la science à l’usage des artistes
In: Fichte-StudienSearch for other papers by Eduardo Ralickas in
Current site
Google Scholar
PubMed
This paper addresses some of the figurative properties of Fichte’s philosophical discourse. In many texts from the so-called Spätphilosophiethe WL is depicted as an ≫image of knowing≪. In keeping with this idea, the author examines how figureand discourseare inextricably bound up in the space of Fichtean philosophy. The 1794 lectures Concerning the Difference Between the Sprit and the Letter Within Philosophyare particularly telling in this respect, for they foreground metaphor as the necessary vehicle for philosophical expression. Thus, Fichtean philosophy, understood both as discourse(in the sense of pragmatic linguistics) and as ≫material image≪, openly embraces figural modes of knowing, for knowing itself is fundamentally an imagistic activity. In the final analysis, Fichte’s discourse does not separate concept and figure, philosophy and metaphor; instead, it opens up philosophy to the space of the figural – a space from which it ultimately stems and which constitutes the medium of the Wissenschaftslehreas such. In closing, the author reconsiders one of Fichte’s most striking metaphors, i.e., philosophy as Eucharist, in order to shed new light on a famous portrait of Fichte from 1812. He argues that the latter sustains in painterly form a meditation on the place of the figurative in philosophical discourse.
| All Time | Past 365 days | Past 30 Days | |
|---|---|---|---|
| Abstract Views | 97 | 59 | 7 |
| Full Text Views | 15 | 4 | 0 |
| PDF Views & Downloads | 27 | 8 | 0 |
