Re: "Letter on Humanism"--Reading 4

In message Tue, 4 Apr 1995 11:54:49 +0000 (GMT),
Christopher Rickey <[email protected]> writes:

> I see you have swallowed the Otto Poeggeler line concerning the
> Beitraege. :) In truth, I'm not certain why he continues to insist that
> this is is second Hauptwerk, because he himself has indicated since 1972
> in his argument with Alexander Schwan that the stuff from the '30's
> cannot be read as pure phenomenology because of their contamination by
> the thought of the "great poetic instauration" derived from Nietzsche.
> That there was no sudden change around 1930 is certainly true: it took
> Heidegger over a decade to finally think through the problem of
> subjectivity, which is actually to take Heidegger's own assessment more
> literally than it perhaps deserves. The Beitraege are interesting, but
> by no means a second major work.

The idea that >the beitraege zur phil.< are the second hauptwerk isn't
so undiscriminated, should i say; the principal idea of these work is the
revelation that the truth or -wesung der wahrheit- of the >Sein< would be
think and speak now as an event -ereignis- from
the truth of being, something that has not been thought in this radicality
from his independency from beings or dasein since >sein und zeit<.

poeggeler, schwan and fr.v.herrmann follow these work as an important work, the
most important work of the thirties, because in the structure -gefuege- of
the beitraege you can follow all the phases from the second heidegger thought,
und articulate the truth in all the 'fugungen'- assemblages- of one another inicial
thought that heidegger is trying to develope since the turning-kehre...
we can and must read in the beitraege the themes from the whole heidegger
since sein und zeit, also after the phenomenological period... that is for
me the conflictive heidegger, since we know that one of the most interesting
themas for the actual philosophy here are art and technology; die beitrage
is a work that we can consider the skelet of the seinsdenken, of the
seinsgeschichtliches denken m.hs.; the rezeption for it is on the road...
schwan for example oversees any theological function or ziel from this work,
he reads the politicalk side from it and think that heidegger stop just
right know with his political failures, for he read the nazism as it is, an
metaphisical weltanschauung in combat for the worldconquest...

Since 1929 in the lesson from 1929/30 grundbegriffe der metaphysik we know
that heidegger is reading the epoque, punctually: the place of human kind
with words of nietzsches apollos-dionysos-duality; at the beginning of the
thirties is he under the influence of nietzsches >wille zur macht< what we
can read clearly in the 'rektoratsrede'...but also - and these are my conclusions for
my investigations here in germany- the textual-presence from h!lderlin is not only a
singular turn-around from the nazi-regime in 1934, but a precised
fundamented legal lecture that he 1929, which means for him, considering
philosophy and religion, an ontological roof from same range.

i'm agree that it took a decade heidegger to overcome the subjectivity in
which he himself has been involved such we know in >sein und zeit<,
where the first reception of the fifties was also totally blind for discover
the seinsfrage, und heidegger try to explain this early on the >humanismus
brief<.
the overcoming from metaphysics was also >verwirrt und verstrickt<
with political ambitions and theological conflicts that nietzsche with
hoelderlin give the time to develope...
holderlin is the theological-political motiv from the thierties; the
continuity from the first lesson 34/35 through the beitraege until the
second and third poetical lessons are indiscutible; the subject there is the
poetical himnes from a poet that can not be considered literarelly, from his
aesthetic; the poet gives the thinker the stuff of thinking, that
heimischwerden in the unheimlichen -so like the home-search in the endemic
state from human beeing that is the inhospit place on earth; in this actually
time -so heid- the auftrag und message for the knew history of the german
position respect from the greek volk, is to gain the control of a new
world-position, to found history as the a new inicial wohnen as the greek
volk it one time it has realized, home coming in an inhospit world
unessential world that only human beeings can make essential;
problematic became here the prevalence of the german volk that make the
thinker for a long time the fascist face, sogar nach dem krieg...

> I raise this in part because as far as I know, the fourfold only comes
> into Heidegger's writings around 1950 and disappears about 5 years
> later. Earth and World appeared around 1934, and showed a little more
> duration, but it should not be lost that the various designations that
> Heidegger applied to this are precisely this: variations on a theme,
> whose main phrase is concealing/unconcealing. The thought of being as
> concealing/unconcealing takes on many poetic forms. This should be taken
> quite literally: poetry gives form to and points to the fundamental
> experience of being.

ok we can really read the most of it in terms concealing/unconcealing, but
you must accepted that for the most of the art-problematic, this is
unsuficient; the art became a problem in front of a titanical techne that
destroy every single relation with the beings; the intent of heidegger the
thing, das ding in other terms zu denken, gives hi,m the opportunity to use
poetical images for descriptions that for him aren't so poetical, for he
cannot be agree with the lenguage as simbol, or zeichen for another, that is
for a metaphysical consideration of lenguage; he uses poetical language
cause as the same as thinking words, they're grounding knew sein oder boden
wurde ich sagen...
we must also see that these art of new language is since the holderlin lesson
of 34/35 not innocently, is the mean vehicle for the overcoming from the
metaphysical way of thinking or from the methaph. concepts -if you want-
that knew language which in humanismus brief is as he self gives the reason
why sein und zeit was an holzwege, without escape.

> In The Origin of the Work of Art, Heidegger emphasizes that the
> opposition world/earth cannot be assimilated to concealing/unconcealing,
> although both appear to describe the same process and movement. The best
> explanation I have seen for this point is that the two oppositions take
> place on parallel but different planes (to use a spatial metaphor). The
> Streit of being takes form in the Streit of world and earth in the work
> of art itself, while the latter Streit points to the "higher" Streit
> within being itself.

the strategy of saying that sort of thing about world/earth relation is
clear: heidegger repeat always his arguments for maintening separate the
poetical plane from the thinking plane, what's for me in this case is not too
easy to realize; in the holderlin lesson, you have the impresion that the
only thing that the thinker can do is to listen to the poet, the stuff
which this poet has lived and suffer in the middle -das zwischen- of those
encounters from mortals and gods, in the opening place called the sacred -das
heilige-, where we find the new opportunity for another history...
the human being is the place where these encounter and streit of the mortals
and gods take place, for he is the only one who is appropiated or destinated
from being for this task; the place for the man in that opening place which
is now the truth of being must be cleared for a poetical living in this
world; that means for heidegger: we must listen to the poet who brings the
announcement of the desappering of the gods but he also stared and stay
bewared for the expectation in the coming from the new ones...in this waiting for a new
place of poetical living we must hear the poet and prepare the place by
using a not subjetivical thinking; that leads you open for a new kind of
encounter with the beings in the world what means, for example an not utilitary
point of view in any encounter with beings; that is the subject of all his
occupation also with poets and painters in the fifties: technology leave us
without things then we must search an experienced where be find them in the
original way, i.e. where we can perceve beings from himselves and integrated
them in the fourfold of their diferential determinities.

> While this may seem to imply a difference between thinking and artistic
> production, I think it rather implies an equivocation on what "poetic
> existence" means. The peasant woman trudging home after a hard days
> labour inhabits of world that is set back on the earth; as inhabiting a
> space defined by world and earth, that is to say an artwork, she dwells
> poetically. She does NOT, however, recognize being as
> concealing/unconcealing.

The dictintion of artistic production and thinking production
For your example its for me clear that we normally mortals can not put the
truth on work so easely like a thinker or a poet...
if we maintain those art of reason you must understand why that tired woman
can even unconceal the practical world around her so easily: maybe can
rather look her world around with a bit tired curiosity, instead of dwellin
poetically, but the matter is, that we are not in the place of putting so
easily a new kind of truth in our sight of the things like you certainly
will; i guess heidegger identifies himselve also with the poet; and his
position is for him not to far to say that he intented with these tree
ontological places an revival of the greek polis where potitics, poetry and
arts are in a same plane, before the democratics institution and socratical
knowledge destroy that tragical historical era; the point of view come from
nietzsche und jakob burkhardt and heidegger only uses from that stuff for
his own argumentation;

> though, I am still not certain if in the end Heidegger maintains a
> distinction between the thinker (himself) and the poet (Holderlin) in
> their essential tasks, for the thinker cannot institute a world whereas a
> poet can. This latter point is one that Poeggeler rejects because it
> rests on a romantic understanding of the artist which he claims Heidegger
> rejected in the '50's.

that in heidegger not only a rest of romanticism gives, come clear also if
you put atention to the new rol for art, since hegel, where the art
finishes. philosophy became if you will again a ancillae theologia, the
slave from theologie thats not easy to read, but kisiel has a script with
such a thema, the religion of the thinker was not a beginning, it has
determinated for the rest of his life, and his philosophical work search not
only a new logos for philosophy also a new theo-logos, so an k.loewith in
brief on: zur aktualitaet martin heidegger, edited by poggeler und
pappenfu!: klostermann 1992...
and so is long enough, ok? hope you can understand me, im not a english
speaker, my mother lenguage is spanish... and can better german than
english, if you 're in berlin in june i can make a treff with you stay in
contact, bye!
breno...


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