This study investigates Phillipe Lacoue-Labarthe's claim in "The Caesura of the Speculative" that Hölderlin is a "modern" writer. Its aim is to establish what is at stake in this claim and to evaluate whether it can be substantiated. In Chapter One I discuss the relationship between tragedy and philosophy. I show that the uneasy relationship between philosophy and the arts is premised upon Plato's understanding and judgement of mimesis. I contrast Plato and Aristotle's treatment of poetry by examining how they (...) understand the mimetic process. In Chapter Two I focus on Hölderlin's understanding of the relationship between Ancient Greece and 18th Century Germany. After discussing the background to Hölderlin's work I provide detailed readings of two texts, The Perspective from which We Have to Look at Antiquity, (1799) and the first letter to Böhlendorff, dating from 1801. I argue that in these texts Hölderlin, through his acknowledgement of the divided nature of Greek culture, offers a unique understanding of the relationship between Greece and Germany which isolates him from his contemporaries. In Chapters Three and Four, I examine Hölderlin's understanding of tragedy. After establishing the centrality of the aesthetic presentation for Hölderlin's project I examine the "poetological" writings which date from 1798-1800. I give a close analysis of the implications of Hölderlin's statement that the tragic "is the metaphor of an intellectual intuition" which occurs in the text On the Difference of the Poetic Modes, (1800), showing why the tragic form is central to Hölderlin's poetological project. To illustrate the problems inherent in this project, in Chapter Four I examine Hölderlin's attempts to write a tragic drama which corresponds to his theoretical beliefs. I discuss the two theoretical texts - The Ground to Empedocles and Becoming in Dissolution - which accompany Hölderlin's drama Empedocles. In analysing these texts I argue that there is an inherent tension between the presuppositions of the theory and the way they can be realised in the drama. In Chapter Five, I turn to Hölderlin's final work, his project to translate Sophocles' tragedies. Through close analysis of the theoretical Remarks which accompany the translations, I show how Hölderlin's theoretical and poetological interests in Greece and Tragedy are brought together through this project. I argue that these texts give an insight into the problems which confront Hölderlin's poetological project. However, simultaneously, these texts provide an alternative way of understanding the function of the tragic form. In this discussion I show how the questions concerning the status of dramatic mimesis and the "mimetic" relation between Greece and Germany coincide in the analysis of Sophocles' dramas. In conclusion I return briefly to the questions that I raised in the introduction concerning the status of tragedy in the present time, and assess the accuracy of the claim that Hölderlin is a "modern" thinker. (shrink)

Heidegger’s engagement with the poet Friedrich Hölderlin often dwells on the issue of temporality. For Heidegger, Hölderlin is the most futural thinker (zukünftigster Denker) whose poetry is necessary for us now and must be wrested from being buried in the past. Heidegger frames his reading of Hölderlin in terms of past, present, and future and, more importantly, describes him as being able to poetize time. This paper examines what it means to poetize time and why Hölderlin’s poetry in particular allows (...) us to understand temporality as the interplay of presence and non-presence. (shrink)

Resumen: En La actualidad de lo bello, Gadamer hace una referencia reveladora a la improvisación musical y a la importancia de la escucha musical, además de poner en primer plano la necesidad de justificación del arte. Situando este debate a través de Goethe y Platón, junto con las Lecciones de Estética de Adorno de finales de la década de 1950 y una discusión sobre Nietzsche y la Antigüedad, es posible establecer que lo que está en juego es la afinación, así (...) como una tensión que invita a un debate ulterior tanto sobre la detención del amante en Carson como el demorarse en Heidegger. Al revisar la hermenéutica gadameriana de la programación y la interpretación musical, incluida la improvisación y el desafío de la nueva música, las reflexiones de Gadamer sobre la cultura musical en el contexto de la cultura social y su reflexión no solo pueden ser leídas a través de Platón y Goethe, sino también a partir de las concepciones de "lo bello" en Hölderlin y Rilke. Se trata de una "conversación" cultural en la que la contribución del público puede estar en tensión con la programación musical progresiva, además de la dinámica de respuesta que surge en la energeia de la improvisación tanto para el intérprete como para el oyente.// Abstract: Gadamer’s On the Relevance of the Beautiful makes telling reference to musi-cal improvisation and the importance of musical listening in addition to fore-grounding the need for justification. Situating this discussion via Goethe and Plato along with Adorno’s late 1950s lectures on Aesthetics together with a discussion of Nietzsche and antiquity, what is at stake is attunement and a tension which invites a discussion of Carson on the lover’s arrest and Heidegger on tarrying. By reviewing Gadamer’s hermeneutic of musical pro-gramming and performance, including improvisation and the challenge of new music, Gadamer may be read on music culture in the context of social culture and his reflection not only via Plato and Goethe but Hölderlin and Rilke on ‘the beautiful.’ At work is a cultural ‘conversation’ where audience input can be in tension with progressive musical programing along with the dynamic of response emergent in the energeia of improvisation for performer and listener. (shrink)

This paper explores the reception of Kant's understanding of consciousness by both Romantics and Idealists from 1785 to 1799, and traces its impact on the theory of religion. I first look at Kant's understanding of consciousness as developed in the first Critique, and then looks at how figures such as Fichte, Jacobi, Hölderlin, Novalis, and Schleiermacher received this theory of consciousness and its implications for their understanding of religion.

Singularity has been a concern of the developers of cybernetics and artificial intelligence (AI) since the pioneering writings of such thinkers as Norbert Weiner. Yet many accept the inevitability of systems of AI surpassing human control and are optimistic that machine intelligence will harmonize human life with our environment. This essay examines this optimism against a reading of two poets: Richard Brautigan and Friedrich Hölderlin. Through these readings, it will attempt to show that the eclipse of nature by human beings (...) can be used to examine the eclipse of the human being by machine intelligence. Thus, what is missing in machine intelligence is a dimension related to the experience of pain and joy that reconnect us to reflect on what has been severed or lost in the movement of humanity through history. This demonstrates that the very categories of optimism and pessimism concerning the future of AI points to the value of life, one that can never be encoded into our machines. (shrink)

This paper explores the deep philosophical affinities between Martin Heidegger and Friedrich Nietzsche, focusing on their shared understanding of the Apollonian and Dionysian dichotomy and its implications for the essence of human existence. The analysis begins by examining Nietzsche's concept of the unity of the Apollonian and Dionysian as a fundamental aspect of human identity, despite Nietzsche's own unawareness of its metaphysical significance. Heidegger, in turn, recognizes this insight as an epochal breakthrough in Nietzsche's thought, surpassing the boundaries of traditional (...) meta-physics. The discussion further explores the role of Hölderlin as a crucial figure in both Nietzsche's and Heidegger's philosophical trajectories. It argues that in the co-appropriation of the Apollonian and Dionysian and the concept of Ereignis (the Event), both philosophers reveal a profound engagement with the interplay of foundation and abyss. This interplay, according to Heidegger, constitutes the historical-epochal opening of being and provides a perspective for understanding the essence of Dasein as the Ek-sistence (existential being). The paper challenges Heidegger's reductionist interpretation of Nietzsche as merely the completion of metaphysics and suggests a closer affinity between Nietzsche and Hölderlin. It concludes by emphasizing the transformative potential of embracing the interplay of the Apollonian and Dionysian and the reevaluation of human essence based on existence, which enables a new understanding of the world and its inherent mysteries. (shrink)

Artykuł przedstawia pojęcie „czasu marnego“ Friedricha Hölderlina i jego odniesienia: aksjologiczne, egzystencjalne, religijne. Martin Heidegger, badacz jego twórczości poetyckiej jest autorem jednej z najlepszych interpretacji elegii Chleb i wino. Jego zdaniem „czas marny” to czas bez Boga, zapominanie nawet śladów boskości. Według Heideggera powinnością poezji jest nie tylko diagnoza takiego stanu, ale i jego transformacja.

The article sketches a view of nature as a movement undermining totality. Awareness of our entanglement in an inherently incomplete movement forces us to rethink or reinvent our relationship to nature. The view provided here has been developed by drawing heavily from the later work of Martin Heidegger, moving with and beyond it in an examination of the limitations of Western philosophy in approaching questions of nature and ecology. Thinking ecologically becomes a question of grammar and the binding (and unbinding) (...) force of language as it pertains to human thought and (or in) its physical environment. (shrink)

Blanchot’s rejection of vision as the fundamental philosophical metaphor is well known: “Seeing is not speaking” (The Infinite Conversation (Minneapolis: U of Minnesota P, 1993) 25). Furthermore, his central idea of the limit-experience (borrowed from Bataille) is a “detour from everything visible and invisible” (210). As part of his Heideggerian heritage, the increased importance of hearing (and aurality in general) lacks the critical appraisal it deserves. Pari passu for voice. Blanchot’s investigation of voice, spoken, interior, literary, is extensive. Various works (...) of fiction, notably The One Who Was Standing Apart From Me, explore the meme, which is intensified in critical essays on Hölderlin, Kafka, Rilke, and Valéry, where the voice’s musicality is given to performance. The studies exemplify the operation of “pure voice,” voice no longer in relation to and under the constraints of the interlocutor: its rhythm, tempo, and melody. His clearest, though lapidary, remarks on voice appear in discussion of the Narcissus mythomeme. There, voice is related not only to Narcissus’ love of an (unrecognized) self but also to the intrigue of Echo and her mimetic reproduction of voice. I give a close reading of Blanchot’s rendition of Ovid’s story to show the central role that voice plays in his “great refusal” of philosophy and concomitant opening to the outside, the “beyond being,” its nomadism and messianism. (shrink)

Heideggers Der Ursprung des Kunstwerks ist einer der wichtigsten Beiträge zur philosophischen Ästhetik, zudem ein Schlüsseltext für Heideggers gesamtes Denken. Aber nicht ganz zu Unrecht gilt die Lektüre bei Studierenden und Anfängern im Denken Heideggers als schwierig. Dieser Band soll das Verständnis des Kunstwerkaufsatzes anleiten und erleichtern: In 18 Beiträgen stellen die Autoren in ihren Interpretationen die Grundgedanken und philosophischen sowie literarischen Quellen des Textes vor, verorten ihn in Heideggers Werk und und skizzieren seine philosophische Wirkung. Dieser erste kooperative Kommentar (...) zum Kunstwerkaufsatz schließt an das Vorwissen und die Interessen seiner Leser in vielerlei Hinsichten an, ermöglicht so einen leichteren Einstieg in die Lektüre und erschließt den Text aus verschiedenen Perspektiven der Philosophie und der Kunstwissenschaft. -/- Einen ersten Schwerpunkt bilden dabei thematische Einführungen, die das Verhältnis von Kunstwerken zu anderen Dingen, zur Technik, zur Natur, zu Wahrheit und Geschichte bestimmen. So erläutern die Beiträge Heideggers Bestimmung der Gestalt von Kunstwerken und seine These vom Vorrang der Dichtung. Ein zweiter Teil geht den Quellen des Kunstwerkaufsatzes in der Philosophie (Aristoteles, Heraklit, Hegel) und in der Literatur (Hölderlin, Meyer, Rilke) nach. Ein dritter Teil erläutert, wie Der Ursprung des Kunstwerks Heideggers eigenes Denken beeinflusst: seine Auseinandersetzung mit Nietzsche, seine Faszination für Paul Klee, sein nachdenken über Phänomenologie und über Sprache. Ein vierter Teil schließlich ist der Wirkung von Heideggers Text auf andere Autoren gewidmet: Adorno, die französische Phänomenologie (Lévinas, Derrida u.a.) sowie Gadamer und andere Autoren der hermeneutischen Tradition (Sallis, Figal). (shrink)

A central element of Hölderlin’s poetic project was to find a new language for transcendence in an age of immanence. To do so, he turned not to philosophy or theology, but to poetics. Its rhythmic nature, he argued, was capable of re-presenting the transcendent. This examination will begin with a brief historical consideration of the relation of transcendence and immanence, with particular attention to the influential philosophies of Spinoza and Fichte. It then proceeds to Hölderlin’s consideration of the loss of (...) the language of transcendence, and his project to develop a new one. The final section will examine how Hölderlin aimed to achieve this in his poetics. (shrink)

Martin Heidegger’s critique of modernity, and his vision of what may come after it, constitutes a sustained argument across the arc of his career. Does Hans-Georg Gadamer follow Heidegger’s path of making possible “another beginning” after the modern age? In this article, I show that, in contrast to Heidegger, Gadamer cultivates modernity’s hidden resources. We can gain insight into Gadamer’s difference from Heidegger on this fundamental point with reference to his ambivalence toward and departure from two of Heidegger’s touchstones for (...) postmodernity, namely, Friedrich Nietzsche and Friedrich Hölderlin. We can appreciate and motivate Gadamer’s proposal to rehabilitate modernity by juxtaposing his rootedness in Wilhelm Dilthey and Rainer Maria Rilke with Heidegger’s corresponding interest in Nietzsche and Hölderlin. This difference in influences and conceptual starting points demonstrates Heidegger and Gadamer’s competing approaches to the modern age, a contrast that I concretize through a close reading of Gadamer’s choice of a poem by Rilke as the epigraph to Truth and Method. (shrink)

Johann Joachim Winckelmann (1717–68) was not a philosopher. In fact, Winckelmann had a strong interest in distancing himself from academic philosophy as he knew it. As Goethe reports, Winckelmann “complained bitterly about the philosophers of his time and about their extensive influence.” Still less was Winckelmann a Kantian philosopher; the first edition of Immanuel Kant’s Critique of Pure Reason did not appear until 1781, thirteen years after the fifty-year-old Winckelmann was shockingly murdered in Trieste. Nevertheless, many of Winckelmann’s ideas were (...) philosophically rich and suggestive and interestingly relevant to the philosophical problems that were later to be addressed by Kant and his philosophical contemporaries. It is no wonder, then, that Winckelmann’s influence can be detected in the works of some of the most important philosophically oriented thinkers of Germany in the late eighteenth and early nineteenth centuries. In addition to Kant himself, these thinkers included Gotthold Ephraim Lessing (1729–81), Johann Gottfried von Herder (1744–1803), Johann Wolfgang von Goethe (1749–1832), Friedrich Schiller (1759–1805), Friedrich Hölderlin (1770–1843), Friedrich Wilhelm Joseph Schelling (1775–1854), and Georg Wilhelm Friedrich Hegel (1770–1831). (shrink)

Within Hegel's system of science, judgement(Urteil)is thought's original dividing from identity into difference. In the same context, judgement is also an act of predication where “subject” must be understood in both a grammatical and psychical sense. Thus, judgement expresses a language act that is a self-positing into the difference of being. This article looks at two examples where Hegel's ontological notion of judgement obtains, then finds, the roots of this notion in Hölderlin and Fichte.

Estudaremos a investigação heideggeriana procurando mostrar o papel central nela desempenhado pela questão da medida do habitar humano. Nosso estudo terá como marcos principais os cursos sobre Hölderlin que discutem de maneira mais aprofundada o poema “No azul adorável”, que introduz essa questão no início de sua segunda estrofe: o curso de 1934- 1935, sobre a “Germânia” e “O Reno”, e o de 1942, sobre “O Ister”. Veremos que o encontro de Heidegger com essa questão determinará uma mudança decisiva no (...) sentido de sua investigação. (shrink)

Heidegger has created a new philosophical genre: poetric and philosophical thought by his paters on Hölderlin and other poets. Philosophy and poetry a two tops of human thought, each of which can be seen from the other one. The book contains essays in that genre and tradition.

As with so many mystics, Alexis karpouzos intuitively know the oneness of cosmic creation and historic humanity as part of all that is and all there isn't. So, the originality of Alexis Karpouzos thought is that it crosses the most diverse fields, the most opposing philosophies, to unite them into an often contradictory and broken whole. Marx and Heidegger, Nietzsche, Freud and Heraclitus, poets and political theorists all come together in the same distance and the same unusual proximity. Alexis karpouzos (...) use Pre-Socratics philosophy and generally the ancient Greek philosophy, as well as the pre-philosophical thinking of The Upanishads, the Vedas and Buddhism in India, of Lao Tzu, of Zen Buddhism and the Taoist tradition in China, of the Arab mystics and poets, with their metaphysical religiosity as the metaphysical basis for the interpretation and understanding of the world and existence. At the same time the ancient metaphysics is connect with Hegel’s dialectical ontology and with the modern thinking of Marx, Nietzsche, Freud, Heidegger, and others as the interpretive context for understanding the central problems of the technical and scientific world during his time. Novalis, Hölderlin, Rimbaud, Whitman, Eliot and others show the dreamy nature of existence, the transcendence of the Cosmos, welcome the infinity. For Alexis karpouzos the combination of ancient and modern thought creates the holistic experience of universal space-time and the consciousness of the unity. The poetic thought of Alexis karpouzos is a expressions of soul's inner experiences, expression of universality. The inspiring visual images and the symbolic use of language offer a description of elevating experiences of consciousness, a glimpse of higher worlds. The philosophy of Alexis karpouzos speak to the human experience from a universal perspective, transcending all religions, cultural and national boundaries. Using vivid images and a direct language that speaks to the heart, his philosophy evokes a sense of deep communication with the collective unconscious, a sense of connection to all the creatures of the world, compassion for others, admiration for the beauty of nature, reverence for all life, and an abiding faith in the invisible touch of world. Alexis karpouzos thoughts are often terse and paradoxical, challenging us to to break out of the box of limiting beliefs and see things from a new perspective. Above all, Alexis karpouzos continually calls to us to wake up and explore the mysteries within our own selves, i.e the mysteries of universe. (shrink)

Heidegger’s main interest was ontology or the study of being. In his fundamental treatise, Being and Time, he attempted to access being (Sein) by means of phenomenological analysis of human existence (Dasein) in respect to its temporal and historical character. After the change of his thinking (“the turn”), Heidegger placed an emphasis on language as the vehicle through which the question of being can be unfolded. He turned to the exegesis of historical texts, especially of the Presocratics, but also of (...) Kant, Hegel, Nietzsche and Hölderlin, and to poetry, architecture, technology, and other subjects. Instead of looking for a full clarification of the meaning of being, he tried to pursue a kind of thinking which was no longer “metaphysical.” He criticized the tradition of Western philosophy, which he regarded as nihilistic, for, as he claimed, the question of being as such was obliterated in it. He also stressed the nihilism of modern technological culture. By going to the Presocratic beginning of Western thought, he wanted to repeat the early Greek experience of being, so that the West could turn away from the dead end of nihilism and begin anew. His writings are notoriously difficult. Being and Time remains his most influential work. (shrink)

This book’s goal is to give an intellectual context for the following manuscript. -/- Includes bibliographical references and an index. Pages 1-123. 1). Philosophy. 2). Metaphysics. 3). Philosophy, German. 4). Philosophy, German -- 18th century. 5). Philosophy, German and Greek Influences Metaphysics. I. Hegel, Georg Wilhelm Friedrich -- 1770-1831 -- Das älteste Systemprogramm des deutschen Idealismus. II. Rosenzweig, Franz, -- 1886-1929. III. Schelling, Friedrich Wilhelm Joseph von, -- 1775-1854. IV. Hölderlin, Friedrich, -- 1770-1843. V. Ferrer, Daniel Fidel, 1952-. [Translation from (...) German into English of the-- Das älteste Systemprogramm des deutschen Idealismus.]. -/- Note: the manuscript is in the handwriting of G.W.F. Hegel, but the actual authorship is disputed. No date is given. Franz Rosenzweig made up the title as it is known today. He published the text in 1917. At that time, F. Rosenzweig thought F.W.J. Schelling was the author. No one has read this book for errors. As always, any errors, mistakes or oversights etc. are mine alone. Given a couple more years, I could improve this book. This is a philosophical translation and not a philological translation. Martin Luther who did the famous early translation of the Bible into German wrote in a letter, “If anyone does not like my translation, they can ignore it… (September 15, 1530)”. There are no ‘correct’ translations. Some are just better than other translations. -/- The Oldest Systematic Program of German Idealism. The German title is: Das Älteste Systemprogramm Des Deutschen Idealismus. This title was made up by Franz Rosenzweig in 1917, when he first published the manuscript. He found the manuscript in the Royal Library in Berlin in 1913. The manuscript suggested date is around 1796 and was done by handwriting research. However, the manuscript is not dated. The Prussian State Library auctioned in March 1913 from the auction of the house Liepmannssohn in Berlin a single sheet on the front and back with Hegel's cursive handwriting. The manuscript was lost during WWII. But Dieter Henrich found it again in 1979 in the “Biblioteka Jagiellonska” in Krakow (Poland), where it is today. Address: Jagiellonian Library, Jagiellonian University, al. Mickiewicza 22, 30-059 Cracow, Poland. Later research suggests that manuscript had come from the estate of Hegel’s student Friedrich Christoph Förster (1791-1868). He was one of the editors of Hegel’s posthumous works and most likely had access to a number of Hegel’s manuscripts. This text actually being one of them. Hegel traveled around Bohemia with Marie and Friedrich Christoph Förster around the year 1820-21 (see Klaus Vieweg). -/- Philosophical mystery -- who is the author or authors of this text? -/- Take a plunge into the deep and cold waters. Maybe a quagmire or quandary, but decidedly interesting. This project is to contextualize an old handwritten manuscript which is about 225 years old. The actual author is a mystery. I offer my own assessment. You can make your own assessments. The mystery has continued to unfold since 1917. There is plenty to read. Otherwise, think about the authorship and read more of the German philosophers and authors from this period and enjoy the depth of thinking and philosophizing. On one hand, there is just the sheer fun in the puzzle of the authorship questions; and on the other hand, these are the alluring thoughts that lead to the nascent stage of German Idealism and our intellectual heritage. There is no end to the accolades for this group of philosophers. A heritage that we still hear in in our attempts to move forward into our future. -/- Do your own astute exegesis (ἐξήγησις) as all paths are still open. Let your thought take to the wings of what is called thinking with this text. Critical encounters (Auseinandersetzung, or a Gegenüberstellung) with at least: Friedrich Hölderlin (1770-1843) Friedrich Wilhelm Joseph Schelling (1775-1854), and Georg Wilhelm Friedrich Hegel (1770-1831) --- starts here! German Idealism. We are not going to study this situation endlessly, instead we make some broad strokes and provide you a general context. You are allowed to read between the lines too. Goal: to understand the overall affinity and differences between the intellectuals of this period in German history; and to come to grips with this demanding text within its large scholarly context in the last 100 years. There are no final answers. (shrink)

There are numerous books which seek to interpret Martin Heidegger’s seminal text, Beiträge zur Philosophie (Vom Ereignis), and others which address the question of how to translate his writings. By joining these two tasks, Translation and Interpretation: Learning from Beiträge, stands out from other such books in the field of Heidegger studies. The volume begins with Parvis Emad’s translation of an original essay by Martin Heidegger, “Contributions of Philosophy. The Da-sein and the Be-ing (Enowning).” -/- Through six carefully crafted essays, (...) Emad then takes the reader through a journey which examines the relationship between Heidegger’s being-historical thinking and such key figures—including Friedrich Nietzsche, Rainer Maria Rilke, and Friedrich Hölderlin—who either occupy the forefront at the end of metaphysics or mark the “crossing” to the “other beginning.” -/- This book will be of special interest to scholars and graduate students alike, whether in philosophy or such diverse fields as poetry and linguistics. (shrink)

Martin Heidegger on the Greeks: An Index. -/- Cataloging: -/- 1. Heidegger, Martin, -- 1889-1976. 2. Heidegger, Martin, -- 1889-1976 -- Concordances. 3. Heidegger, Martin, -- 1889-1976 -- Indexes. 4). Metaphysics. 5). Philosophy, German. 6). Philosophy, German – Greek influences. 7). Heidegger, Martin; -- Wörterbuch. I. Ferrer, Daniel Fidel, 1952-. -/- First step: 18 whole volumes from Martin Heidegger’s collect writings (Gesamtausgabe) were combined into one file and then indexed. The 18 volumes were selected for their emphasis on Greek philosophy. (...) The Greek words start on page 5667, ΐpiάρχοντα. But all words are included in this Main Index (see below). -/- Because of sorting problems it is best to use the FIND FUNCTION. Nota Bene: use umlauts because the letters sort different as well!! Greek letter may not sort as you might expect. So, again use the FIND FUNCTION to look for words or names (Dignum memoria). Please note the German words that start with umlauts are at the end of the index because of machine sorting of the words. Starting with the German word “ßA” on page 5553 page of this book (see in Main Index). -/- This is a machine created index for 18 volumes of Martin Heidegger’s collected writing (Gesamtausgabe, “Wege – nicht Werke”). -/- Martin Heidegger's Gesamtausgabe (GA) indexed. This group of 18 GA volumes were combined into one file and machine indexed. -/- GA 5. Holzwege (1935–1946). GA 7. Vorträge und Aufsätze (1936–1953). GA 9. Wegmarken (1919–1961). GA 15. Seminare (1951–1973). GA 18. Grundbegriffe der aristotelischen Philosophie (Summer semester 1924 GA 19. Platon: Sophistes (Winter semester 1924/25. GA 22. Grundbegriffe der antiken Philosophie (Summer semester 1926) GA 33. Aristoteles, Metaphysik J 1-3. Von Wesen und Wirklichkeit der Kraft (Summer semester 1931). GA 34. Vom Wesen der Wahrheit. Zu Platons Höhlengleichnis und Theätet (Winter semester 1931/32). GA 35. Der Anfang der abendländischen Philosophie (Anaximander und Parmenides) (Summer semester 1932). GA 51. Grundbegriffe (Summer semester 1941). GA 54. Parmenides (Winter semester 1942/43). GA 53. Hölderlins Hymne "Der Ister" (Summer semester 1942) GA 55. Heraklit. 1. Der Anfang des abendländischen Denkens (Summer semester 1943) / 2. Logik. Heraklits Lehre vom Logos (Summer semester 1944). GA 61. Phänomenologische Interpretationen zu Aristoteles. Einführung in die phänomenologische Forschung (Winter semester 1921/22). GA 62. Phänomenologische Interpretation ausgewählter Abhandlungen des Aristoteles zu Ontologie und Logik (Summer semester 1922). GA 78. Der Spruch des Anaximander (1946). GA 83. Seminare: Platon - Aristoteles – Augustinus. -/- Total pages created by these volumes is 6799. (shrink)

The essay examines Alain Badiou's concept of ‘anabasis’ and its disclosure in the poetry of Paul Celan. As a conceptualisation of the process of subject formation, anabasis is read as a rejoinder to that of ‘homecoming’, found in Martin Heidegger's appropriation of Friedrich Hölderlin's poems. Following an excursus on the philosophical and the ethical stakes at the heart of these movements, the essay close-reads two of Celan's poems in order to reveal poetry's own attempts to think through trajectories of emergent (...) subjectivities in the wake of twentieth-century violence, as well as the as yet understated centrality of Celan's poetry to Badiou's wider philosophical project. (shrink)

A comprehensive reading of Heidegger's work from the mid-1930s to the 1960s that seeks to develop an ecological thinking rooted in reflections on the Heraclitean 'hen', relationality, and the impossibility of totality. An elaboration of the structural homology between Heidegger's use of the terms 'Technik' and 'metaphysics' sets the stage for his later work or topology. The Spätwerk is presented as an irresolvable polarity between 'Technik' and 'Ereignis', between a totalizing movement and a movement of disruption. This serves as the (...) basis for reflections on human experience of and as the ecological. Nature as Limit serves as a contribution to both eco-philosophy and to philosophical methodology more broadly, with philological and hermeneutic excursions that engage the relationship between language and the ecological motifs being developed in the work. (shrink)

The purpose of this thesis is to examine the significance of the 'joinings' [Fugen] in Martin Heidegger's 'Contributions to Philosophy (from the Event)'.