Metaphor in Heidegger

Whereas Heidegger relates metaphor to metaphysics and metaphysics to the "forgetfulness of Being" we encounter a web of metaphors when we come to the works written after Being and Time. The thesis attempted to make sense of this dilemma and first discovered that what has been objected is the conventional notion of metaphor rather than metaphor per se. The objection in question is divided into the branches of ontology, epistemology and linguistics in the First Part. Since metaphor is thought to be the expression of the abstract via concrete, it presumes a distinction between sensible and intelligible fields. Secondly conventional metaphor that has a subjectivist background, relies on the idea that subject can objectify and instrumentalise words. Thirdly when we define metaphor as transfer of a meaning from one group of sounds to the other, we end up believing that meaning and sound are separable identities. The primary finding of the thesis is that Heidegger has objected the notion of metaphor since it posits the dichotomies of sensible-intelligible, subject-object and sound-sense. Thus, what was aimed at is reaching an explanation that survives those. The thesis made use of "ontological difference", (offered by Heidegger instead of "metaphysical difference") in order to rethink metaphor, subsequently sought answer for the following question: What goes on between sensible-intelligible, subject-object and sound-sense realms when Heidegger or a thinker/poet uses a metaphor? The answer given within Heidegger's corpus departed from ontological difference. Therefore hypothetically there is a rift (Riss) between those fields that does not let the opponents burst apart, but calls them into a union. Whereas the Second Part tests this hypothesis and search for the possibility of a non-metaphysical notion of metaphor, departing from same three divisions, the Third Part offers an Heideggerian alternative to the conventional notion of metaphor. Keywords: Heidegger, Metaphor, Metaphysics, Poetry, Art