Martin Heidegger was not only one of the greatest philosophers of the twentieth century but also a supporter of and a contributor to one of the most discriminatory ideologies of the recent past. Thus, "the Heidegger's case" gives us philosophers an opportunity to work on discrimination from a philosophical perspective. My aim in this essay is to question the relationship between freedom and discrimination via Heidegger's philosophy. I will show that what bridges the gap between Heidegger's philosophy and a discriminatory (...) ideology such as the National Socialist ideology is Heidegger's conceptualization of freedom with the aid of a monolithic understanding of history--one that refuses to acknowledge the plurality and heterogeneity in the socio-historical existence of human beings. Accordingly, I will claim that the Heideggerian freedom depends on the social, if not literal, murder of the marginalized segments of a given society. However, I will refuse to conclude that Heidegger's philosophy is a Nazi philosophy and that it should never be appropriated as long as we want to purify our thoughts from discriminatory ideas. Rather, I will re-appropriate Heidegger, against Heidegger, to read and interpret Michel Foucault's and Judith Butler's philosophies. My aim here is to construct a social ontology that may justify anti-discriminatory policies. More specifically, through my Heideggerian readings of Foucault and Butler, I will argue that one's freedom is dependent on the cultural resuscitation of socially, and sometimes literally, murdered racial, sexual, ethnic, religious, and sectarian/confessional minorities. (shrink)

Heidegger’s essays “The Origin of the Work of Art” and “The Question Concerning Technology” provide a revealing insight into the importance of exemplarity to artworks. Originally the notion that exemplarity is essential to art is Kantian: As Kant puts it, since originality can produce “original nonsense, [beautiful art’s] products must be models, i.e. exemplary.” However, what Heidegger recognizes is that even if exemplarity allows us to take art seriously in spite of its excesses, it exposes the artwork to new dangers: (...) on the one hand, to the “world withdrawal of the work” as occurs in consignment to the museum shelf, and on the other, to the conditions of Enframing as “challenging-forth,” under which art is taken as a means to an end—dangers which point to the division of artworks between “fine” art and “popular” art. Since Heidegger’s approach favors the former, we will try to gain new critical insight by considering his arguments in the light of a “popular” work that allows us to formulate an exemplarity of popular art as the necessary complement to that of traditional art. By means of an understanding of the exemplarities (in the plural) of artworks, we will be able to reconsider the significance of Heidegger’s notions of reliability, Enframing, and poiesis for our current technological conditions. (shrink)

In this paper, I offer an analysis of evil in Friedrich W. J. Schelling’s Philosophische Untersuchungen über das Wesen der menschlichen Freiheit (1809). Schelling develops an account of the sui-genesis of God out of the two principles. These principles are 1) the dark ground (dunkler Grund) that belongs to God and 2) the self-revelation of God, who actualizes the dark ground, which grounds God antecedently. These two principles also contain in themselves the possibility and the intelligibility of the human world. (...) In order to elucidate the ontological account of the possibility of evil in Schelling, I turn to Martin Heidegger’s analyses of Schelling’s Freiheitsschrift and especially to Heidegger’s account of self-will (Eigenwille) and put these analyses in conversation with Heidegger’s own thinking about αλήθεια. I establish a conceptual affinity between Schelling’s presentation of the dark ground, which for him is the ground of selfhood, and Heidegger’s insights into the prioricity of concealment (Verborgenheit). (shrink)