Metaphor and Continental Philosophy: From Kant to Derrida by Clive Cazeaux

By Clive Cazeaux

During the last few many years there was a lovely development of curiosity in metaphor as a tool which extends or revises our conception of the realm. Clive Cazeaux examines the connection among metaphor, artwork and technology, opposed to the backdrop of contemporary ecu philosophy and, particularly, the paintings of Kant, Heidegger and Merleau-Ponty. He contextualizes contemporary theories of the cognitive strength of metaphor inside of glossy ecu philosophy and explores the effect which the idea of cognitive metaphor has on key positions and ideas inside of aesthetics, epistemology and the philosophy of technology.

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Extra resources for Metaphor and Continental Philosophy: From Kant to Derrida (Routledge Studies in Twentieth Century Philosophy)

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It is not knowledge in the traditional sense: it tells us nothing about the object in itself but, rather, simply represents how the essent must be determined by pure reason for it to be represented by intuition within human finitude. The problem with this arrangement is the central concern of this chapter in Kantian form: precisely how is the essent able to manifest itself as an object within finite experience prior to its being represented in intuition; that is, how is ontological knowledge possible?

This can give the impression that the Critique of Judgment is a book of two halves, and it is certainly true to say that the greater part of Kantian scholarship has concentrated on the account of aesthetic judgment given in the first half. However, there is a very good reason why the third Critique is a combined study of aesthetics and teleology: both forms of judgment, Kant avows, go beyond intuition by invoking concepts which cannot be explained in terms of their application to intuition. 38 The power of judgment Aesthetic judgments or judgments of taste are those utterances where we describe something as beautiful or as having special significance, for example, ‘This is a beautiful landscape’, ‘This is a powerful work of art’.

The relation between the pure and the empirical was explored in Chapter 1 following references made by Hausman and Ricoeur to the first Critique. Here, though, I show that Kant addresses the incongruity between the pure and the empirical in the third 36 The power of judgment Critique through a series of metaphors and analogies, to the extent that (a) his philosophy cannot be rendered systematic without it, and (b) metaphor is situated as a condition of the possibility of judgment. This analysis occupies the first part of the chapter.

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