“In this stimulating work, Lemberger both exemplifies and explicates Wittgenstein's dictum: ‘Whereof one cannot speak, thereof one must be silent.’ Through the work of poets, who constitute their poetic self in the presence of the Divine, Lemberger demonstrates Wittgenstein's Language Game notion. According to Lemberger, Zelda, Amichai, Kosman, and Adaf—each in their own cultural context—display four distinct modes of self-constitution and a unique Language Game. Thus, Lemberger provides a vigorous analysis of Wittgenstein's thought along with an impressive picture of the trends in Modern Hebrew poetry.”
— Tamar Sovran, Chair, Rosenberg School of Jewish Studies, Tel Aviv University

As a lecturer in the unit of interdisciplinary studies in Bar-Ilan University, Dorit Lemberger's researches exemplify the relevance and importance of linguistic concepts to Hebrew literature and Jewish philosophy. Also, I use psychoanalytic insights in order to show the common linguistic ground of literature and psychoanalysis, as 'talking-cure'.

Preface

Chapter One

Poetic Grammar: Three Aspects of Aesthetic Judgment

1. Examination and Judgment of Aesthetic Language: The Fundamental Tension

2. The First Aspect: A Poetic Work as Driving Reflective Introspection

3. The Second Aspect: Conscious Change as the Key to Aesthetic Judgment

4. The Third Aspect: Showing What Cannot Be Said

Summation

Chapter Two

Dialogical Grammar: Variations of Dialogue in Wittgenstein’s Methodology as Ways of Self-Constitution

1. “Family Resemblance” between the Platonic Dialogue and Wittgenstein’s Methodology

1.1. Wittgenstein’s Critique of Socrates

1.2. Similarities between Wittgensteinian and Socratic Dialogue

1.3. Language as a Medium of Thought: Soliloquy as Ordinary Language

1.4. Reflective Dialogue: Dialogue between Sense-Perception and Image

2. Wittgensteinian Dialogical Grammar in the Philosophical Investigations: Rhetorical, Conversational, Reflective

2.1. Dialogism in the Philosophical Investigations: “A Surveyable Representation”

2.2. Aspects of Dialogism

2.3. Dialogue as Technique

2.4. Conversational Dialogue

2.5. Reflective Dialogue

Chapter Three

Self-Constitution through Mystical Grammar: The Urge and Its Expressions

Three Channels of Mystical Grammar

1. Preliminary Considerations: Theology as Grammar and the Metaphysical Subject

2. The Mystical-Religious Channel: The Religious Aspect of Mystical Grammar

3. Who Is Experiencing? The Paradox of the I and the “Solution” of the Mystic Subject

4. I as Object—I as Subject: From James to Wittgenstein

5. From Perfectionism to Confession: Work on Oneself

Chapter Four

Zelda: The Complex Self-Constitution of the Believer

1. Expression and Conversion between Everyday and Poetic Grammar

2. Dialogic Grammar: Internal and External Observations

3. Mystical Grammar: Perfectionism and Metaphysics as Zelda’s Varieties of Religious Experience

Chapter Five

Yehuda Amichai: Amen and Love

1. The Poetics of Change: The Grammaticalization of Experience

2. Dialogic Grammar: The Importance of Otherness

3. Reconstruction of the Subject: The Mystical Grammar of Open Closed Open

3.1. The Mechanism of Change as the Key to Perfectionism

3.2. The Conception of an Individual God: God as Change and as Interlocutor

3.3. The Encounter with Biblical Word-Games as the Key to the Reconstruction of the Self

3.4. The Refashioning of Religious Rituals as an Expression of Intersubjective Change of the Self

Chapter Six

Admiel Kosman: We Reached God

The Popping Self

1. The Poetic Grammar of Revolution: The New Believer

1.1. How to Do Things with Words: The Weekly Torah Portion

1.2. When All the Words Are Finished—All Is Intoxicated from Clarity

2. Dialogical Grammar: Self-Constitution as Conversational Process

3. Mystical Grammar: Private Pain and Manifestation of the Other

Chapter Seven

Shimon Adaf: Poetry as Philosophy and Philosophy as Poetry

The Nobility of Pain

1. Icarus Monologue: The Poetic Grammar of Hybrid Imagination

2. What I Thought Shadow Is the Real Body: The Dialogical Grammar of Place, Time, and Memory

2.1. Poetry as a Chronological and Thematic Point of Departure

2.2. The Subject as the Limit of the World

3. Aviva-No: The Grammar of Mourning

4. The Way Music Speaks

Summation: “As if I Could Read the Darkness”

Index