Abstract

Human history is in a process of flux as is the rest of nature; creativity appears here as a "self-conscious" purposeful activity, and this characteristic differentiates the transformations of "self" from other "natural" processes. The "self" is linguistically determined, thus there is no "self-consciousness" without language. Hence self-transformation is directly determined by the systems of linguistic categories. If one believes in religion, one's vision of oneself and the world is "religious"; however if one believes in Marx's totality of categories, one sees the natural flux of nature, society, and mind in a radically different form. Self-transformation, then, is a "categorical flux," since nothing is "given" in and for the human mind without the mediation of language. For example, the category called the "I", is a word, a concept, and no "one" can become conscious of oneself as an "I" but through a system of categories, through "language". Language, however, is neither the "only" nor the "final" determinant of subjectivity. ;Metamorphosis is a categorical, radical flux of a self-conscious entity from form to form. The metamorphosing entity does not "die" once and for all in spite of the flux. Metamorphosis and inspiration are taken as "examples" of self-transformation. Inspiration is a familiar phenomenon: A poet or poetess for example, attributes his/her creativity to an outer agency such as The Muses, gods or goddesses, or demons. ;The text is written "experimentally" rather than in a dry quasi-logical style. It is written poetically and surrealistically giving a living experience of self-transformation and avoiding any attempt to "fuse" diverse systems of categories into "one" final system that acts as a terminal or point of anchoring. The text is unorthodox. It is an unfamiliar, deconstructive discourse and thus demands a different form of reading, neither monothematic nor polythematic, but a disseminating form of reading