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The article aims to shed light on the connection between rhetoric and politics, and its dissemination in the sophistic and philosophical tradition. The argumentation is based on the conceptions of two contemporary philosophers – Barbara Cassin and Hans Blumenberg, who appear as the protagonists of positions according to which rhetoric takes up a significant place in political life. Since Plato, the sophists were treated as other pre-Socratics, as demagogs, who do not hold the truth but spread a false opinion. The philosophers share a conviction that speech immediately expresses reality, and they also prohibited following the way of non-Being (Parmenides). The sophists (Gorgias, Protagoras) shared the position that speech expresses only itself, but not reality. Two opposite (but related) ways of thinking are best seen in M. Heidegger's and H. Arendt's philosophies. Keeping in mind the main theme, Blumenberg's philosophical position includes logos as the mean of distancing, the art of politics is determined by the ability to delay decisions and soften conflicts by rhetorical means, while Cassins' logology is understood as the ontology.

Using the method of H. Blumenberg (metaphorology) the article focuses on 'a dialectics of distance and nearness' in philosophy and everyday life of G. Fr. Hegel and L. Feuerbach (let us say – another two examples of the biography of 'distance' and 'nearness') and here lies the novelty of the article. These metaphors 'distance' and ''nearness' are not just a simple decoration of philosophical language, but rather they are indicators of the phenomenological approach to the world. Blumenberg in his work Das Lachen der Thrakerin. Eine Urgeschichte der Theorie analysed the reception of the old story about Thales and Thracian women in the philosophical tradition. The story metaphorically shows the relationship between invisible proto-theory and practical wisdom. It also projects a very significant feature of theory – the exotic behaviour of the observer (absentmindedness). The laughter of practical wisdom means the disappearance of distance and the emergence of everyday importance (nearness). Unfortunately, Blumenberg's methodological approach is not developed further by other philosophers.

The paper focuses on the elaboration of an opposition to the consumer commodity market which is recognised as a sovereign by British sociologist Zygmunt Bauman. For Bauman, consumerism is an archetype of loneliness, and besides the question of alternative to consumerism, there shows up the question of communication. Odo Marquard insists that a modern man experiences inauthentic loneliness and, in fact, he lost an ability to be alone in a positive sense. Loneliness gives us a perfect distance for a sober evaluation of reality and ourselves. In this article skeptical loneliness, among other forms of positive loneliness, is considered as freedom from all dogmas and the wishes of consumers, and as an opposition to a sovereign in the form of the consumer commodity market.

Walter Benjamin, in his fundamental work The Arcades Project, distinguished three types of relation­ships with time: the gambler (to pass time, to kill time, expel it; time spills from his every pore); the flâneur (to store the time as battery stores energy) and the third type: he who waits. "He takes in the time and renders it up in altered form – that of expectation." When describing the third type, Benjamin is mainly talking about Auguste Blanqui, French socialist and political activist, who had spent most of his life in prison. In his text L'Eternité par les astres, written while imprisoned in Fort du Taureau, first appears the myth of the eternal return. Later, philosopher Friedrich Nietzsche also discovers this melancholic myth ("the eternal return of the same events"). Both the myth of the eternal return and the belief in progress is the return of the mythical consciousness, as Benjamin claims. Mythical because it does not reflect and does not have an experience. So, it is a modern consciousness without experience, will and time. Does the same repetition mean an empty waiting? Does it mean a nihilistic consciousness and nihilistic waiting? There is no doubt that the third type of relationship with time marks the secular society, or, as Benjamin writes, post-auratic. Aura is the manifestation of the sacred and authenticity. In this article, the modern mythic consciousness is analysed through the concept of a myth by Hans Blumenberg. According to it, the myth is not a form of cognition but rather a way to overcome the "absolutism of reality." This article attempts to show that the third figure – "he who waits" – can be seen as Nietzsche's "Superman" – the modern world nihilistic figure that correlates to the reality of "eternal return". ; Straipsnyje laukimo tema sekuliarioje visuomenėje nagrinėjama remiantis Walterio Benjamino išskirta santykio su laiku tipologine figūra, kurią jis įvardija kaip "laukiantįjį". Šios figūros prototipas yra XIX amžiaus prancūzų socialistas ir revoliucionierius Louis Auguste'as Blanqui, savo kosmologiniame traktate iškėlęs "amžinojo sugrįžimo idėją", kurią keleriais metais vėliau iškėlė ir Friedrichas Nietzsche. "Amžinąjį sugrįžimą" Benjaminas traktuoja kaip modernų mitą. Moderni mitinė sąmonė straipsnyje nagrinėjama pasitelkiant Hanso Blumenbergo mito sampratą, pagal kurią mitas yra ne pažinimo forma, o būdas įveikti "tikrovės absoliutizmą". Straipsnyje bandoma parodyti, kad Benjamino "laukiantįjį" galima traktuoti kaip Nietzsche's "antžmogį" – modernaus pasaulio nihilistinę figūrą, koreliatyvią "amžinojo sugrįžimo" pavidalą turinčiai tikrovei.

The article deals with the reflection of Western cultural crisis in Czesław Miłosz's creativity expressed as "catastrophism". The experience of crisis must be linked with the political situation between the two World Wars, but Miłosz perceives it as a crisis of culture and first of all a crisis in the changed social sphere. His view is close to the opinion of the Spanish philosopher Ortega y Gasset: "the rebellion of the mass" is one of the signs of cultural crisis. Miłosz rejects Ortega's idea of "dehumanization of art" because, according to Miłosz, a contemporary artist reflecting himself as a single individual and seeking to avoid the man of mass in fact is part of that mass. "The Captive mind" is the analysis of Polish writers' timeserving policy after World War II. In this book, Miłosz tried to find some kind of justification of writers' position and introduced a concept of "ketman". Miłosz practiced "ketman" himself when he worked in diplomatic service of the Polish People's Republic and later in West emigration.

The article deals with the reflection of Western cultural crisis in Czesław Miłosz's creativity expressed as "catastrophism". The experience of crisis must be linked with the political situation between the two World Wars, but Miłosz perceives it as a crisis of culture and first of all a crisis in the changed social sphere. His view is close to the opinion of the Spanish philosopher Ortega y Gasset: "the rebellion of the mass" is one of the signs of cultural crisis. Miłosz rejects Ortega's idea of "dehumanization of art" because, according to Miłosz, a contemporary artist reflecting himself as a single individual and seeking to avoid the man of mass in fact is part of that mass. "The Captive mind" is the analysis of Polish writers' timeserving policy after World War II. In this book, Miłosz tried to find some kind of justification of writers' position and introduced a concept of "ketman". Miłosz practiced "ketman" himself when he worked in diplomatic service of the Polish People's Republic and later in West emigration.

The article deals with the reflection of Western cultural crisis in Czesław Miłosz's creativity expressed as "catastrophism". The experience of crisis must be linked with the political situation between the two World Wars, but Miłosz perceives it as a crisis of culture and first of all a crisis in the changed social sphere. His view is close to the opinion of the Spanish philosopher Ortega y Gasset: "the rebellion of the mass" is one of the signs of cultural crisis. Miłosz rejects Ortega's idea of "dehumanization of art" because, according to Miłosz, a contemporary artist reflecting himself as a single individual and seeking to avoid the man of mass in fact is part of that mass. "The Captive mind" is the analysis of Polish writers' timeserving policy after World War II. In this book, Miłosz tried to find some kind of justification of writers' position and introduced a concept of "ketman". Miłosz practiced "ketman" himself when he worked in diplomatic service of the Polish People's Republic and later in West emigration.

The article deals with the reflection of Western cultural crisis in Czesław Miłosz's creativity expressed as "catastrophism". The experience of crisis must be linked with the political situation between the two World Wars, but Miłosz perceives it as a crisis of culture and first of all a crisis in the changed social sphere. His view is close to the opinion of the Spanish philosopher Ortega y Gasset: "the rebellion of the mass" is one of the signs of cultural crisis. Miłosz rejects Ortega's idea of "dehumanization of art" because, according to Miłosz, a contemporary artist reflecting himself as a single individual and seeking to avoid the man of mass in fact is part of that mass. "The Captive mind" is the analysis of Polish writers' timeserving policy after World War II. In this book, Miłosz tried to find some kind of justification of writers' position and introduced a concept of "ketman". Miłosz practiced "ketman" himself when he worked in diplomatic service of the Polish People's Republic and later in West emigration.

Straipsnyje analizuojamos dvi skirtingos tikrovės sampratos, atsispindinčios I. Kanto ir J. L. Borgeso požiūryje į E. Swedenborgo "anapusinę" patirtį. Vos tik pasirodžius E. Swedenborgo anapusybių aprašymams, jo mistinė patirtis tapo kvestionuojama. Vienas pirmųjų į šios patirties abejotinumą atkreipė dėmesį Kantas, užėmęs radikaliai kritinę poziciją švedų mistiko atžvilgiu. Pagrindiniu tikroviškumo kriterijumi Kantas laiko juslinę patirtį. Straipsnyje mėginama parodyti, kad tikrovės samprata, aptinkama tokiuose Kanto traktatuose kaip "Visatos teorija, remiantis Newtono principais" (1755) bei "Fizinė geografija" (1802), šio kriterijaus netenkina ir kad Kantas čia remiasi greičiau "sveiku protu", kuris gali būti laikomas pamatiniu modernaus mąstymo principu. Postmoderniam požiūriui į Swedenborgą atstovauja argentiniečių rašytojas J. L. Borgesas, kuris, remdamasis G. Berkeley filosofija, neribotai išplečia tiek patirties, tiek tikrovės sąvokas.

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