Este texto investiga as implicações éticas pós-metafísicas da concepção heideggeriana da linguagem, partindo de Ser e Tempo para, então, discutir as obras da maturidade de Heidegger, elaboradas nos anos 50. Organiza-se em torno de duas hipóteses complementares: em primeiro lugar, a de que os traços fundamentais da concepção heideggeriana madura da linguagem já se encontravam delineados em Ser e Tempo, a despeito de ainda não estarem plenamente desenvolvidos àquela época. A segunda hipótese é a de que o acolhimento do ser, (...) que constitui o gesto e o impulso fundamental subjacentes à meditação heideggeriana sobre a linguagem, traz consigo implicações de caráter ético, pois permite pensar a possibilidade de um genuíno acolhimento do outro como outro. No período da ontologia fundamental, o acolhimento do ser próprio possibilita uma apropriação do dizer e da escuta que, por sua vez, torna possível o acolhimento do outro com quem coexisto no mundo. Nas obras posteriores, o acolhimento do ser depende da desconstrução da concepção metafísica do homem como animal racional e da linguagem como sistema proposicional lógico, em vista de uma meditação sobre a relação entre o ser dos mortais e o ser da linguagem. Argumento que essa meditação, por sua vez, permite a possibilidade de um ek-sistir "outro" e de uma "outra" relação com o próximo, inspiradas pela aceitação e afirmação da capacidade humana de experimentar a morte enquanto morte.This text investigates the ethical implications of Heidegger's conception of language, starting with Being and Time and then analyzing his mature texts of the fifties. It develops itself around two interrelated hypothesis: the first one is that Heidegger's mature understanding of the essence of language was already defined in its major lines in Being and Time, although at that moment it had not yet received its full development. The second hypothesis is that the welcoming of Being that underlies and constitutes the core of Heidegger's meditation on the essence of language brings with itself intrinsic ethical implications, since it provides the possibility of a post-metaphysical welcoming of the other. In the period of the project of fundamental ontology, the appropriation of one's own being through authentic resolution provided the possibility of appropriating one's own speaking and hearing, which is a fundamental precondition to acknowledging and welcoming the other as other. In his later works, the welcoming of Being depends on a thorough deconstruction of the metaphysical conception of the human being as the rational animal, as well as of the traditional understanding of language as an enclosed system of logic propositions. That process of deconstruction aims towards a meditation concerning the essential relationship between the essence of language and the mortal essence of human beings. I shall argue that it is this essential relationship that provides the path towards the condition for a post-metaphysical ethical encountering and welcoming of the other as other, inspired by the acceptance and affirmation of one's own capacity to experience one's own death as death. (shrink)

ABSTRACTThis article examines Heidegger's assessment of negativity and finitude in the late 1930s and his enlargement of these issues in the name of a leap from one type of philosophy, one type of beginning, to a wholly other beginning. The guiding concerns of this article are negativity, finitude and the leap, and how these overlapping concerns coalesce around Heidegger's attempts to move towards a wholly other type of philosophy; in fact, one which no longer understands itself to be philosophy at (...) all. The article concludes with a discussion of the role of death, sacrifice, and mourning in Heidegger's thought in the 1930s. (shrink)

In this article, I engage with Shawn Loht’s argument concerning film viewing as being-in-the-world, developed in his book Phenomenology of Film: A Heideggerian Account of the Film Experience (2017), focusing on the aesthetics of mood with particular attention to boredom. I elaborate on a phenomenological ontology of the film experience and its perceptual “rules” which hinge on aesthetic choices: what kind of world does the film open up for the viewer? Loht’s account of viewing Dasein enables us to deepen phenomenological (...) approaches regarding the relationship between (cinematic) moods and (filmic) understanding, and through his engagement with Mitsein, to expand on film spectatorship conceived as a relation with a shared film world. I look at how Heideggerian boredom can elicit spectatorial experiences and disclosure of meaning, as well as allowing characters’ being in the film world. A broader engagement with cinematic moods is also conducive to exploring limits and potentialities of a possible Heideggerian film-philosophy. To illustrate some of these points, I discuss Ryusuke Hamaguchi’s Drive My Car (2021), wherein boredom is consistently awakened through aesthetic strategies of dead-time, silence, slowness and repetition. In the film, the mood of boredom, but also that of love and grief as world-disclosing moods which produce a radical change in our being-in-the-world, is a way to establish a sense of our embeddedness, orient our understanding and disclose our finitude and solitude. (shrink)

RÉSUMÉJe m'appuie sur Heidegger et Zwicky pour contester la notion selon laquelle sous-jacente aux perspectives divergentes d'une entité, il doit y avoir quelque chose qui est « le même » ; la mêmeté est plutôt révélée dans des ouvertures particulières. Je me concentre sur les concepts heideggériens du monde et de la vérité en tant qu'ils fondent la réflexion sur différents mondes humains. Je présente le travail de Zwicky sur le gestalt, les relations internes, la vérité comprise comme limite asymptotique (...) et les métaphores ; le concept de métaphoricité de l’Être nous aide à réfléchir à la question suivante : comment se fait-il que rien ne sous-tend les différentes perspectives d'un phénomène, et qu'il y a pourtant des limites aux ouvertures? (shrink)