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By Elliot R. Wolfson

This long-awaited, magisterial study-an extraordinary mix of philosophy, poetry, and philology-draws on theories of sexuality, phenomenology, comparative faith, philological writings on Kabbalah, Russian formalism, Wittgenstein, Rosenzweig, William Blake, and the very physics of the time-space continuum to set up what is going to without doubt be a highwater mark in paintings on Kabbalah. not just a research of texts, Language, Eros, Being could be the fullest war of words of the physique in Jewish stories, if now not in non secular reviews as a whole.Elliot R. Wolfson explores the advanced gender symbolism that permeates Kabbalistic literature. concentrating on the nexus of asceticism and eroticism, he seeks to outline the function of symbolic and poetically charged language within the erotically configured visionary mind's eye of the medieval Kabbalists. He demonstrates that the normal Kabbalistic view of gender was once a monolithic and androcentric one, during which the female used to be conceived as being derived from the masculine. He doesn't lower from the unfavourable implications of this doctrine, yet seeks to make a decent acknowledgment of it because the first step towards the redemption of an historical wisdom.Comparisons with different mystical traditions-including these in Christianity, Buddhism, and Islam-are a outstanding function through the ebook. they're going to make it vital well past Jewish stories, certainly, a needs to for historians of comparative faith, particularly of comparative mysticism.Praise for Elliot R. Wolfson:Through a Speculum That Shines is a crucial and provocative contribution to the learn of Jewish mysticism by way of one of many significant students now operating during this field.-Speculum

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To say that semblance is reality is to imply that being is determined as ‘‘perspectival lettingshine,’’ that is, what is shows itself in the multiple perspectives by which it is named. ’’128 For Wittgenstein, life-forms (Lebensformen) of experience are reducible to language games (Sprachspiele), that is, propositional statements whose meaning is determined by grammatical rules that are socially constructed. 129 To maintain this, one must accept that truth does not yield a standard by which real appearance is distinguished from the apparently real, an illusion, a lie.

Is language given along with man or man along with language? Or does one become and be, through the other, not at all two different things? And why? Because both belong equally to be-ing. Why [is] man ‘essential’ for determining what is ownmost to language—man as? 103 The intimate proximity of origin and language suggests that the latter is the (un)veiling that allows beings to appear in the veil of their unveiling. 106 But how does one recover the ground engrounded in the disswaying of the sway?

A word shows something. 116 I digress momentarily from the main path to bring to the surface the challenge to the dichotomy of image and word implicit in the correlation of showing and saying. 118 I will cite two passages from the published volume based on the notes for the 1936-to-1937 lecture course ‘‘Nietzsche: Will to Power as Art’’ that are especially 14 L AY I N G I N T E R P R E TAT I V E G R O U N D relevant to the topic. In the first, in a section that bears the title Der Rausch als formschaffende Kraft, ‘‘Rapture as Form-Engendering Force,’’ Heidegger comments on Nietzsche’s statement that the artist ‘‘accords no value to anything that cannot become form’’:119 But by way of a commentary on Nietzsche’s definition let us say only this: form, forma, corresponds to the Greek morphe¯.

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