This article takes a critical look into Heidegger’s reading of Nietzschean metaphysics in the context of art and finds certain discrepancies in Heidegger’s texts. Heidegger’s claim is that Nietzsche has had some difficulty in discussing the problem of truth, being, and becoming in terms of how the Western tradition of philosophy has understood it. In the context of art, Magrini traces the path that Heidegger took in understanding Nietzsche’s notion of nihilism and finds that Heidegger’s reading of Nietzsche is actually (...) an attempt to elevate the latter as a timely philosophical force whose thought moves away from the rote and dogmatic tradition of Western philosophy. Magrini is also able to point out that Heidegger’s reading moves through the usual rational and structured philosophy via a sensuous use of metaphors that is much closer to life, which is a noticeable change in the writing style of Heidegger from his Nachlass lectures and his posthumous work the Beiträge zur Philosophie. Despite some misgivings, Magrini lauds Heidegger’s work as a strict close reading of Nietzsche that brings out the best of the thinker’s radical thoughts. (shrink)

James T. Hong’s experimental documentary, The Denazification of MH is neither anapology for Heidegger’s involvement with National Socialism nor a condemnation of thatinvolvement. Rather, the film is a critical philosophical confrontation with Heidegger’s thought and the issue of his involvement withNational Socialism. The film addresses the perennial concern as old as philosophy itself: therelationship between the philosopher’s life and his philosophy. While the film does notadopt a definitive position regarding Heidegger, Nazism, and the issue of personalresponsibility, it does suggest an (...) affirmative response to the question posed by bothLevinas and Blanchot regarding the possibility of philosophizing after Auschwitz.Considering Heidegger’s influence on contemporary philosophy and literary studies,inspiring such films as The Denazification of MH and The Ister , it appears as though it is not only possible, but necessary, to carefully andcritically approach Heidegger in the effort to continue to philosophize in the wake of themost catastrophic event of the 20thcentury, the Holocaust. In his thoroughly researched biography of Martin Heidegger, Rudiger Strafaski states the following regarding thepotential of Heidegger himself to do philosophy in the wake of the German death camps, amatter about which Heidegger remained conspicuously silent. (shrink)

Reading Heidegger’s Being and Time, “The Origin of the Work of Art,” and the 1934-35 lecture courses Hölderlin’s Hymns“Germania” and “The Rhine,” the aim of this essay is twofold. First, the essay attempts to elucidate the manner in which the work of art functions as a superlative event of “ truth -happening”, which facilitates the movement of Dasein into the truth of Being as a legitimate member of a community, serving as, “the origin of a people’s authentic historical existence.”1 Second, (...) it explains why this notion of art as the historical manifestation of Being is crucial to understanding the shift, or “ turn,” in Heidegger’s philosophy of the 1930s and 1940s, i.e., it examines the philosophical problems Heidegger rectified when moving from Being and Time, and the conceptual-linguistic constraints of metaphysics and the subject-centered model of Dasein, to the later works on art and poetry. (shrink)