By Aubrey L. Glazer
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Extra resources for A New Physiognomy of Jewish Thinking: Critical Theory After Adorno as Applied to Jewish Thought
What is other to the “I” then is itself determined as manifest spirit. 24 However, that emptiness sought to be restored by the thinker is first and foremost vis-à-vis divine absence. The guiding thread of this pathmark to inceptual thinking is clarified by way of the Hölderlin-Kierkegaard-Nietzsche triad proffered by Heidegger. ”25 In intimating their god most intimately, these two thinkers and one poet take leave of their living luminescence before their time. What is remarkable here is how Heidegger first of all effectively sees no distinction between thinker and poet—each is of equal influence within the given triad.
68 Musicality is embodied in song. The word shir in Hebrew is a wondrously diaphanous moment—at once both song and poem. 69 This desire dwelling within the song emanates from the world of creatures yearning to reunite with their Creator through the singing of poems. 70 Words, however, may not be enough to convey the power of this experience of the interworld that nourishes the radical imaginary. Rather an image or a sound oftentimes contains a more direct experience of the supra-rational within this imaginal realm.
Calling into question an individual’s situatedness, there is an inevitable collapse as the transcendental imagination attempts imagining anything. The radical imaginary is battling against the Kantian legacy of an inert creative imagination. This stagnation New Imaginal Thinking 25 leads to ontological limitation, unless thinking cultivates new by-paths that can arouse once again the first imagination. 62 Harnessing the radical imaginary is crucial for the dialectical process to achieve its aims.