Aestharsis, aesthetic, Affirmation, Albert Camus, Allegory, Angst, Asethopic, Beatific, Existentialsim, Extended Metaphor, Figurality of Language, Gratification, History of Language, History of Metaphors, History of Tropes, Literary Theory, literature, Mysticism, Negation, Occult, Ontology, Phenomenology, philosophy, Plato, Plato's Cave, Poetic, Religion, Sartre, Sisyphus, Structuralism, Subjective, Theism, Transcendental
I am proceeding to dissect the Philosophy of Figuration in Ontological terms. I do not really know the roads which this article would take but I am taking the plunge as my mind makes me swim to ocean depths. While reading Derrida’s Of Grammatology, I became puzzled by the quotation of an Egyptian scribe: “Oh Sun God Samas let my writing be an illumination like yours (it’s a simile but I read it as a metaphor)”. This statement has astonished me! I would like to connote that there is an occult, theistic, and thaumaturgical aspect to this symbolism. A metaphor of this sort has made its creation in a society that is reverentially theistic and extends its symbolism to transmogrify the transcendental. The occult aspect would be a rendition of the mystical, the enigmatic, and the magical to a process of symbolization. The manifestation of the thaumaturgical would be the mental possession of the scribe of symbolization of the transcendental, a magic-mythological interference of symbolism and its merger in the subjective and transcendental realms. The metaphorization of the scribe of wanting his writing to be illumined by the Sun, in the Philosophy of the trope has an ejaculation of theism of religion, wrapped up in the subjective imagination. Here I would like to use I. A. Richard’s Language, the transfer of the image—the writing (which forms the tenor of the metaphor) is an act of the occult and it is transferred to a transcendental realm of wanting to be merged with the illumination of the Sun ( which becomes vehicle of the metaphor). The creation of this metaphor by the scribe of Egypt is imagination coupled with the mystical sense of being devoted to the religious. A metaphor of this sort having religious significance would be in ontological terms: trans-phenomenological and transcendental in beatific deism. Once the aesthetic image is created and its meaning of symbolism transferred to the occult realm of the uncanny, the symbolization attains a magnitude of being realized as a ritual in a religious function by the scribe. But let’s also analyze the metaphor of the Egyptian scribe in structuralist terms. The term: writing to be illuminated like the Sun carries the signifier writing, with the signified, illuminated Sun. The signified, illuminated Sun is religious, mythical and transcendental and has an objective purpose to maintain the anthropological and sociological ethos of the society. The signified: ‘illuminated Sun becomes’ empty and non-existent when put in the garb of structuralism. However for the Scribe the coinage of the metaphor in ontological sense is in one way transcending the self from the subjective to a subjection of transcendental consciousness. I am fascinated by an enquiry whether the creation of the metaphor by the scribe would involve the transmigration to an aesthesis of experience? The fetish for imagination would fuelled by the spiritual. However the scribe is experiencing the aesthetic through a spiritual manifestation. This is an interesting thought in the ontology of evolution of the metaphor. Next I would like to utilize Plato’s allegory of the Cave (an extended metaphor) for scrutiny. In Plato’s metaphor of the Cave, an extended metaphor, the metaphoric excursion is intensified to a newer realm of intellectualization, identification with transcendental in a more erudite sense. Let’s examine Plato’s allegory of the cave. There are hordes of people who are blind to the sunlight; on the other side of the cave, there are some who are standing on the wall of the projecting cave and who can see shadows of the sunlight. What Plato meant to depict in the allegory of the cave was that the cave has a semblance of form, of an external perfect reality and the cave is its imperfect copy. In an ontological sense, Plato has also resorted to the symptom of bad faith, when he tries to exorcise the existentiality of consciousness to a projection of a glorified transcendental realm. In the allegory of the cave as an extended metaphor, Plato also experiences the metaphoric in a beatific spiritual sense of the occult. There is a refined sense of the Platonic, without a carnival of seeking gratification of the senses to be in the dialectic of the aesthetic. Plato’s extended metaphor of the cave when analyzed structurally, translates the ideal in the signified to a death in the rational sense. The decoration of language in metaphoric terms to an idealized other as an objective state can be his Hellenism to pursue an ideal to a transcendental other. It’s a very long time that in the history of metaphors that the metaphor emerged from the spiritism of the transcendental other to exult a creative anarchy of the existential in a dystopia of nihilism where the subjective as the chaotic and the transcendental become existentially aesthetic and nihilistic. This transition to experience the Diaspora of the human mind in nihilistic yet aesthetic terms without an exodus to a promised land of the transcendental other has taken place in the writings of Philosophers Camu and Sartre. For further exposition, I would like to analyze Camu’s retranslated metaphor: ‘The Myth of Sisyphus’. Camu in his epoch making work: ‘The Myth of the Sisyphus’ transcends the Philosophical problem of Suicide evokes a realistic, nihilistic authentic experiential and aesthetic mode of human living. The irony of angst can be yet an experiential autonomy and the pleasure of gratification can be an aesthesis of affirmation. Though Sisyphus is condemned by the gods to carry a heavy boulder uphill and to find it miserably rolled down and to be rolled up—Sisyphus has to overcome the problem of Philosophical Suicide and authenticates his life in an angst of negation or a surplus of gratified affirmation. Metaphorization within the trajectory of existential literature and philosophy transcends the sense of the metaphysical sublime to a lyrical intensity of the body and the being to experientialize—I use a new term AESTHARSIS a combination of aesthetics and catharsis. I define aestharsis to an experientialism of angstual negation of an experience or a gratified affirmation of an experience. I would like to also post-structuralize the term aestharsis. Sartre in his existential literature was more concerned about negation of the being. But the being can also experience gratification and affirmation. Aestharsis in post-structuralist terms would have a transcendentality of artopic (term coined from poetry dystopia) a subjective, beatific realm of the personal to an experience and it can be never be void but a nihilism which affirms or negates.