This essay concerns Heidegger’s assertion that the biography of the poet is unimportant when interpreting great works of poetry. I approach the question in three ways. First, I consider its merits as a principle of literary interpretation and contrast Heidegger’s view with those of other Trakl interpreters. This allows me to clarify his view as a unique variety of non-formalistic interpretation and raise some potential worries about his approach. Second, I consider Heidegger’s view in the context of his broader (...) philosophical project. Viewed this way, Heidegger’s decision to neglect the poet’s biography seems quite reasonable and consistent with his inquiry into the being of language. Finally, I consider Heidegger’s suggestion that Trakl is a kind of mad genius. I recast this paradigmatic figure in terms of what I call the ‘wretched prophet’ and consider some ways in which its appeal sheds light on the crisis of modernity and the aestheticization of politics. (shrink)

This article was initially written (in 2020) for a private collection gifted to Alexander García Düttmann on the occasion of his 60th birthday. It explores themes of education and the transmission of knowledge in relation to figures of youth and extinction. Georg Trakl's poem "Abendlied" serves as the essay's centerpiece and is brought into dialogue with comments made by Levi-Strauss on a 'prima material'. Certain ecological overtones appear when an overzealous Prometheanism is contrasted with a labor of re-creation.

When Kant begins his judgements of beauty in several step eventually, we reach a nexus to which taste and a certain subjectivity is taken into account. But at the end of the day we ask ourselves why is it beautiful? There are certain objects such as tragic poems and video games that are beautiful deemed beautiful. In this essay I will explore the tension created by Kant’s judgements of beauty and the beauty of tragedy through the medium of poetry and (...) video games. Mary Mothersill’s (2004) Beauty and the Critics Judgment: Remapping Aesthetics article brings together how word itself authorizes the notion of beauty from which Kant’s own struggle with this tension is further unresolved. This important development is brought into the forefront when we treat art as an epistemic experience much like how John Dewey (1934) wrote in his book Art as Experience. By framing this with Georg Trakl’s poem Grodek and Hideo Kojima’s video game Death Stranding, we see that Kant’s judgments show an understanding of the beauty of tragedy. (shrink)