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Heidegger's Philosophy (heidegger + philosophy)

Distribution by Scientific Domains
Humanities and Social Sciences75%

Selected Abstracts

On Making Sense (and Nonsense) of Heidegger

PHILOSOPHY AND PHENOMENOLOGICAL RESEARCH, Issue 3 2001
TAYLOR CARMAN
Herman Philipse's Heidegger's Philosophy of Being is an attempt to interpret, analyze, and ultimately discredit the whole of Heidegger's thought. But Philipse's reading of the texts is uncharitable, and the ideas he presents and criticizes often bear little resemblance to Heidegger's views. Philipse relies on a crude distinction between "theoretical" and "applicative" interpretations in arguing that Heidegger's conception of interpretation as a kind of projection (Entwurf) is, like the liar's paradox, formally self-defeating. But even granting the distinction, the charge of reflective incoherence is fallacious and question-begging. Finally, Philipse advances the astonishing "interpretive hypothesis" that the seemingly morbid existential themes in Being and Time were part of a deliberate "Pascalian strategy" to win converts to Heidegger's own idiosyncratic "postrnonotheist worship of Being." In short, notwithstanding its nearly comprehensive coverage of Heidegger's works, the book does not represent a sufficiently serious effort to understand the complexities and obscurities of Heidegger's thinking. [source]

Dismantling the Built Drawing: Working with Mood in Architectural Design

INTERNATIONAL JOURNAL OF ART & DESIGN EDUCATION, Issue 1 2010
Randall TealArticle first published online: 15 MAR 2010
From the late Middle Ages onward an emphasis on the rational and the technical aspects of design and design drawing gained hold of architectural practice. In this transformation, the phenomenon of mood has been frequently overlooked or seen as something to be added on to a design; yet the fundamental grounding of mood, as described in Martin Heidegger's philosophy, is anything but secondary to our experience of the world. In fact, other facilities such as embodied experience, tactile and spatial awareness, and temporal perception all spring from the basic encounter with mood. In this article I describe how a lack of attunement to, and limited ability with, the various manifestations of mood perpetuates a disconnection between the architectural drawing and real buildings. I argue that as long as educational frameworks relegate the emotional and experiential to the place of a supplement, then our design processes will continue to unconsciously promote environments of thinness and superficiality. [source]

HEIDEGGER AND TEILHARD DE CHARDIN: THE CONVERGENCE OF HISTORY AND FUTURE

MODERN THEOLOGY, Issue 1 2008
TODD S. MEI
The intent of this essay is to place the thinking of Martin Heidegger and Pierre Teilhard de Chardin in dialogue with one another in order to thresh out the latent aspects of each thinker's work that are often seen to be problematic. I argue that Teilhard's discussion of unity that differentiates illuminates a positive teleology in Heidegger's notion of Appropriation, while Heidegger's conception of retrieval/repetition discloses the significance of historical reinterpretation in Teilhard's Christology. I therefore reply to accusations that Heidegger's philosophy succumbs to relativism and reduction into Being and that Teilhard neglects history in his treatment of Omega Point. [source]

ED RUSCHA, HEIDEGGER, AND DEADPAN PHOTOGRAPHY

ART HISTORY, Issue 5 2009
ARON VINEGAR
The word most often used to describe Ed Ruscha's photographic books , and a good stretch of conceptual and post-conceptual photography in the wake of his practice , is ,deadpan'. The ambition of this essay is to see if this term has any purchase on what makes this photographic work so compelling. I pay particular attention to the vocabulary of indifference, fact, and facticity that is raised whenever Ruscha's books are under discussion. This vocabulary is also central to Martin Heidegger's philosophy, and plays a crucial role in his consideration of the way mood reveals and modulates our way of being in the world. I explore how these thoughts intersect with Stanley Cavell's intriguing account of the ,philosophical mood' of Buster Keaton's deadpan humour and vision of the world , marked by his peculiar openness and evenness of response to it , and what that might reveal about Ruscha's photography and its vision of the world. [source]