Heidegger and the Poets: Poiesis/Sophia/Techne (Philosophy and Literary Theory)

Heidegger and the Poets: Poiesis/Sophia/Techne (Philosophy and Literary Theory)

Language: English

Pages: 192

ISBN: 0391038885

Format: PDF / Kindle (mobi) / ePub


Veronique Foti delves into the full range of Heideggerian texts to elaborate the problematics of historicity, language, and the structure of disclosure or "manifestation" in connection with the Herman poets whom Heidegger invoked along his path of thinking. Foti’s reading of these ports (Morike, Trakl, Rilke, Holderlin, and Celan) is a probing inquiry into the aesthetic, ethical, and political implications of Heidegger’s thought. She knows how technicity (techne) and poetizing (poiesis) are opposed yet brought together in Heidegger’s hermeneutic phenomenology, how they are both politicized and linked with ethical praxis, and how technicity, poetizing, and praxis cannot be dissevered from Heidegger’s essential thinking.

The Practices of the Enlightenment: Aesthetics, Authorship, and the Public (Columbia Themes in Philosophy, Social Criticism, and the Arts)

A Companion to Ancient Aesthetics (Blackwell Companions to the Ancient World)

Iranian Cinema and Philosophy: Shooting Truth

Art as Experience

How to Read a Poem

 

 

 

 

 

 

 

 

 

 

 

 

"twofold" of Being and beings, or presencing and what presences, in their "onefold," that is, of the Differing. Hermeneuein is thus a name for the way in which mortallegein participates responsively in logos understood as the saying-together of hen/panta or irolku. This sharing is not the imitation of some hypostatized logos (as surmised by those who charge Heidegger with "linguistic absolutism") but rather has its essential provenance in what Heidegger calls "the simple midst" between legein and

with the plural meanings of ruhren, the "crystal forehead" of the protagonist is not only "touched" but also moved and, like an instrument, caused to sound forth by the young leaves and flower-branches, while the risen sun itself "softly resounds." The emphasis on pure, exalted sound and the connotation of the poet's crown in the figure of the "crystal" forehead touched by the branches and leaves supports the suggestion that the thematic concern of the poem is poetry itself-not, as Heidegger

"lets all the movement (Bewegen, way-making) of the saying flow back into the ever more concealed origin."14 The origin and gathering point concealed in the "unsaid" becomes the locus of the interlocution between poet and thinker; and the thinker's "severity" is called upon to "establish" it and render it firm. To enter into interlocution, the thinker must set into play the hermeneutic reciprocity between "situating" (erortern) and elucidating (erliiutern), thus making possible the release of

meaning at the crux of their chiasm. Heidegger's interpretive approach is 82 / CELAN-HEIDEGGER governed throughout by the project of and search for differential unification, and by the need to construe such unification as post-metaphysical and thus post-Hegelian, which is to say, as no longer functioning within the "closed economy" (Bataille's term) of the self-unfolding of the Absolute. Heidegger reads both Holderlin and Trakl out of this search for a post-metaphysical and differential

Holderlin essay also illumines Heidegger's understanding of Schein in its relation to the beautiful. Concerning Holderlin's "divinely beautiful nature" as the very element of the poet, Heidegger writes: And nature is called "divinely beautiful" because a god or a goddess are most likely to awaken, in their appearing (Erscheinen), the semblance (Schein) of ravishment and transport. But in truth they are not capable of the beautiful in its purity, for their particular appearing (Erscheinen) remains

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