Poetic Language of Philosophy

Abstract

The artistic image is a special form of reflection of reality, different from the concept. These two words can be considered as two models of cognition. Science fixes the results of its activities in terms of concept. It is through them that science selects certain objects from a certain subject area and collects them into the class to indicate their common and distinctive feature. Thus, science provides the rigor of the theoretical search. The concept is one of the main forms of reflection of the reality of the world on the rational, logical stage of knowledge. As for the image, its features are different. First of all, it is a product of imagination. In that way in philosophy and aesthetics is called the ability to create, hold and reproduce the image of the object in the absence of the object itself as an individual, unique phenomenon or process. Traditionally, there is a “division of labour” between concept and image. The concept serves science, the image is the privilege of art. In philosophy, the image is considered as a universal category of artistic creativity. The image is an element or part of an artistic creation that usually has its own life. Art is unthinkable without an image.

In the article it is emphasized that the concept and the image, despite the difference of essence and functions are sometimes drawn to each other. To convey a thought more accurately, philosophers often search for a metaphor, for a symbol to express a theoretical thought more accurately. Thus, a scientist sometimes resorts to poetry to emphasize those aspects of his work that need a metaphorical language.

The author draws attention to the current trend, which is expressed in the fact that the convergence of philosophy and poetic language becomes obvious. And the appeal to poetry is particularly clearly found among those philosophers who seem to be least in need of poetic interventions. This applies, for example, to M. Heidegger. The article notes a certain evolution in the work of this philosopher. To express the subtle shades of thought, the shimmering meaning of a concept without poetic imagery is impossible. Moreover, according to Heidegger and Husserl, the rationality of philosophy often emasculates thought, makes it abstract, deprives of brightness and attractiveness. That is why big thinkers began to look for new resources in poetry to enrich the language of philosophy. M. Heidegger began a deep study of German poets, finding in their insights unconditional harmony with his own thoughts and poetic search. Of course, we are not talking about how to decorate the philosophical reflection by a bright image, a symbolic analogue. The treatment of the language suggests its deeper comprehension. Heidegger, for example, deliberately refuses all the scientific. He follows W. Humboldt, who sought to find the ground in the language. That is why W. Humboldt showed a special interest in the roots and basics of natural language. Appreciating this tradition, Heidegger looks for the origins of life in the root foundations of language. So in the characterized searches there was also a renewal of philosophy. In particular, ontology has become a teaching about the being.

The article analyzes specific examples that allow to penetrate through the language into the essence of a problem. The language itself has undergone a certain transformation. If a few centuries ago it was interpreted only as a pragmatically useful system of communication, in the last century this approach was replaced by a transcendent-hermeneutic one. The evaluation of the poetic language has also changed. It increasingly became seen as a proto-language, inextricably associated with being and truth.