1、 Introduction: Blumenberg's tortuous path of subject construction

Hans Blumenberg's philosophical thought integrates anthropology, cultural studies, rhetoric, and philosophy, and his interpretation of literary texts complements theoretical practice. Although Blumenberg and Ernst Jung have different positions, they are deeply influenced by their works, especially in the exploration of subjectivity as the axis. Blumenberg's writing process is unique, often organized through oral recordings, and his works often feature proverbs and anecdotes, giving people a sense of detachment. He holds a critical attitude towards the neglect of subjectivity in modern science, while not fully agreeing with phenomenological views on prior subjectivity. He tends to seek traces of self construction from human attempts to construct the objective world. Blumenberg focuses on the underlying needs of human self assertion and self preservation, attributing modern legitimacy to self assertion against theocracy rather than simple secularization. His "Mythology Research" regards mythological narration as a labor, emphasizing the arduous process of mythological creation and narration. Blumenberg understands subjectivity as a space that is both real and virtual, and focuses more on its maintenance and support. Studying Blumenberg's texts on Ronger can help to gain a deeper understanding of his underlying motivations and the poetic background of historical writing.

2、 A paradigm of hyper nihilism: Young Blumenberg reading Jung

Blumenberg first systematically discussed Ronger in his 1949 and 1950 Kiel reports, which were closely related to his personal experiences, particularly his experience of interrupting theological studies due to his mother's Jewish heritage. Blumenberg regards nihilism as a 'void caused by fullness', believing that what the era lacks is the self justification and legitimacy that gives meaning to action guidelines. He regarded Jung as a fellow traveler facing a crisis of legitimacy, supporting the transcendence and exemplary nature of individual paths through writing. Blumenberg divided Junger's artistic personality development from "adventurer of life impulse" to "new theologian", and analyzed Junger's main works, such as "Steel rainstorm", "Heart of Adventure", "Worker - Rule and Shape" and "On the Dali Cliff". He paid special attention to how Jung used his diary as a medium to use his war experiences as a means of self-examination, and how Jung gave himself legitimacy when the issue of meaning was undecided. Blumenberg believed that the characteristic of Jung's ideological style is not to presuppose any ideology or worldview, but to maximize the experimental nature of life. He interpreted Jung's 1932 theoretical work "The Worker" and believed that the book maintained a nihilistic tone, as it abandoned the questioning of the meaning behind "shape" and regarded destruction itself as a prerequisite for "creating from nothing". Blumenberg appreciates Jung's transition from "labor" to "prayer" and selects the term "new theology" in Jung's works to define this attitude. Ronger's novel "On the Marble Cliff" left a deep impression on Blumenberg, although he was critical of some of Ronger's later tendencies, especially his tendency towards Platonism.

3、 Disenchantment of Rong'er: The Trap of Platonism and Spiritualism

Explored the transformation of Blumenberg's attitude towards Ronger's thought, from initial admiration to later skepticism, contradiction, and criticism. Blumenberg defined Ronger as a "metaphysician disguised as an empiricist" and believed that he was a Platonist, more wary of his tendency towards spiritualism. Spiritualism is a belief that the world is a flawed cage, and that human spirit needs to return to the breath of the Supreme God in order to be redeemed. Blumenberg believed that spiritualism is a potential opponent that modernity must overcome, representing a "de legitimization" ideological schema that challenges the legitimacy of this world. He understood Rong'er's theological connotation as a "refined will to power", because the unity of knowledge and power allowed Rong'er to calmly overlook the incomplete creation. Blumenberg's change in attitude towards Ronger stems from his feeling of "betrayal", believing in the connection between Ronger's nihilism and spiritualism, as well as Ronger's tendency to lead the world towards pure nothingness and annihilation. It was not until after 1990 that Blumenberg once again recorded his reading of Ronger, expressing his conflicting attitude towards Ronger's works.

4、 From Template to Deconstruction: Blumenberg's Critique of Ronger in His Late Years

Blumenberg's evaluation of Jung in his later years followed a predetermined framework, no longer focusing on changes in Jung's worldview, but on changes in writing goals and strategies. His works no longer interpret Jung as a whole, but focus on fragmented details, with a jumping of ideas that are difficult to solve, and the discussion shifts from "reconstruction" to "deconstruction". Blumenberg believed that Jung's travelogues were related to Platonism, and Jung observed insects to perceive "non accidental chance" and confirm the preference of creation. But as he grew older, Ronger's blind confidence and Platonic recollection led to "dogmatic Platonism". Blumenberg believed that in his later years, Jung had reservations about the practice of Platonism, believing that memory survived through forgotten parts and that forgetting made memory an idea. Although Blumenberg did not directly refute Platonism, he held a reserved attitude towards Jung's practice. He believes that Rong'er's writing is paradoxical, using a large number of images, myths, and metaphors, giving people a lot of room for interpretation. Jung's worldview is different from Platonism, as he prefers to see himself as a lens that harmonizes light and color, possessing a higher level of creativity. Rong'er is obsessed with the process of annihilation and sees it as a work of art. The plot of "Marble" breaks the protagonist's initial Platonic vision, revealing the dimensions of history and prompting the protagonist to contemplate eternity from other dimensions. The construction of the novel world is complex, forming a metaphor in the sense of Benjamin, and completing the subversion of the so-called Platonic worldview.

5、 Rhetoric, Metaphor, and the Vacuum of Subjectivity

Blumenberg sacrificed the accuracy of his arguments in his research to reduce the complexity of his research subjects. Later, he used Ronger as an introduction to his thinking, weakening the self referential nature of words. However, the combination of the writing of intellectual history and personal cultivation remains an important issue. His complex attitude towards Rong'er stems from viewing other people's words as a mirror of self-care, criticizing Rong'er's obsession with excessive meaning in his later years, and believing that it created "false and profound meanings". Blumenberg believed that the production of meaning without leaning towards spiritualism was a thorny issue, and his ideas were therefore vague and contradictory. He criticized Rong'er's travelogue techniques and taste for being ineffective, but did not hold a critical attitude towards the "profound meaning" itself, which is an important pivot in his mythology. Blumenberg's advocacy of 'profound meaning' is a balance between ascension and restraint, in contrast to Jung's praise for Goethe's portrayal of 'profound meaning', which is directly related to the important position he assigned to rhetoric. His rhetoric acknowledges the absence of clarity in philosophical practice and rejects the use of new paradigms to fill this vacuum. His metaphorical studies believe that metaphor is an indispensable part of philosophical language, representing the deep structure of ideas that cannot be restored. Blumenberg explores the boundaries of metaphor through Jung's diary and responds to Adorno's question about whether poetry is possible after Auschwitz, arguing that the masking and beautifying effects of metaphor are sometimes necessary. He maintains the legitimacy of metaphorical techniques, but also points out the ambiguity and dilemma of metaphors. Blumenberg's analysis of metaphor's never-ending and inevitably unsuccessful process holds true on both macro historical and personal life scales. His writing strategy is summarized as "creative rebellion", tending to shape literati into artistic images, using Ethopoetik to describe this technique. This technique shapes characters through language, simulating their behavior and thoughts in specific contexts, providing readers with a novel like reading experience. Blumenberg's writing style is magnificent and intricate, challenging readers' acceptance level and concealing the clarity of his own words. He knew it did not conform to mainstream academic norms, but he persisted in this writing style, concealed his viewpoints and positions, and used it as a strategy for researchers to "passively" construct themselves. He compared the metaphors studied by scholars to "reference fossils," existing in the ancient layers of theoretical curiosity. Blumenberg's phenomenology of history examines the methods used by predecessors to establish clarity, but once it becomes the object of archaeological research, it means that the tricks behind it have been debunked. His work results can only become "semi-finished products", unwilling to abandon grand meaning questions, even if he knows all the answers, he will eventually remain silent. Blumenberg later focused on the weakened forms of meaning production behavior, shifting from a learning attitude to a systematic and constructive abandonment of meaning. This kind of abandonment is not a cynical belief that all meaning is illusory, but a productive process, a healing writing. He understands subjectivity as a creative vacuum, and his later literary ideas are profound, difficult, and tricky. He did not intend to invent concepts or entities to fill this vacuum, but to heal the pain caused by the gap and coexist with it.