By Hans Blumenberg
During this wealthy exam of the way we inherit and remodel myths, Hans Blumenberg maintains his examine of the philosophical roots of the fashionable international. paintings on fable is in 5 components. the 1st learn the features of fantasy and the levels within the West's paintings on delusion, together with lengthy discussions of such authors as Freud, Joyce, Cassirer, and Val?©ry. The latter 3 components current a accomplished account of the background of the Prometheus delusion, from Hesiod and Aeschylus to Gide and Kafka. This part contains a specific research of Goethe's lifelong war of words with the Prometheus delusion, that's a different synthesis of "psychobiography" and heritage of ideas.Hans Blumenberg is Professor of Philosophy at the collage of M??nster. paintings on delusion is integrated within the sequence reviews in modern German Social proposal, edited by way of Thomas McCarthy.
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Extra info for Work on Myth (Studies in Contemporary German Social Thought)
As the text on the dust jacket of the original German edition (which, by its style, is dearly the work of the author) says, "The book proceeds from the cautious assumption that one may learn to see more if one leaves the great questions alone, without disdaining them. " But isn't the model of myth as a means of overcoming the "absolutism of reality" a theory of the origin of myth? How can Blumenberg claim that he is bracketing out this question when he devotes his first chapter to a dramatically new answer to it?
Indeed, many readers must have found it rather unsurprising. For (and this is what I wanted to bring out with this digression) there is a very familiar "commonsense" version of rationalism that follows Cassirer's example here in categorizing whatever is resistant to rationality as "myth," much as Descartes once spoke of "prejudice," or Bacon of "idols,"the only difference being that "myth" lends itself more readily to demonization than prejudice or "idols" didno doubt because, since an epoch of our past history is associated with it, its 'reappearance' has the dan- Page xxvi gerous flavor of atavism.
For, despite the apparent conflict between the two ideas as possible explanations of myth (original 'revelation' versus original 'poetry'), they are in fact both cornerstones of Romanticism, which probably secretly hopes, by uniting them, to unite myth with poetry, the 'origins' with the present, and 'reality' with the imaginationthus overcoming the aggravating contingency of our experience of history. By providing an alternative account of the phenomena of myth and art, of the durability of inherited cultures, and of cultural diversity, that give each of these key Romantic ideas their plausibility, the "Darwinism of words" helps to overcome, from the Romantic side, the Enlightenment-versus-Romantic antinomy of attitudes that is so pervasive in our thinkingjust as the "absolutism of reality" model helps to overcome it from the side of the Enlightenment.
Work on Myth (Studies in Contemporary German Social Thought) by Hans Blumenberg