There is much debate on how to understand Kant’s transcendental idealism in the context of the Critique of Pure Reason. Heidegger’s Kant and the Problem of Metaphysics offers an innovative reading of Kant’s Critique of Pure Reason, but is often overlooked due to the violence it allegedly does in its interpretation. This paper offers a Heideggerian-inspired phenomenological or ontological interpretation of transcendental idealism by drawing on Heidegger’s interpretation of the Critique. First, I draw a connection between the two uses of (...) noumena in the Critique and, in doing so, draw attention to how the noumena relies on a concept of the proper which gains its meaning from outside the system. I then bring together Kant and Heidegger on the question of the place of truth and the role of the noumena. I claim not only that the ‘noumena’ reveals a ‘shrinking back’ from the ontological release of aletheia; but also, and as a consequence, that the ‘noumena’ does not represent ‘another world,’ but rather is the grounds of the constitution of the phenomenal world itself. Thus, I argue that the noumena is the being of the phenomena, and I do so through looking at objects, faculties, and ethics in the Critique. Finally, I claim that the understanding and reason must both be receptive: even the self-given is ultimately being given. (shrink)

This essay engages ways in which the manifestation of ‘world’ occurs in poetry specifically through images, and how we can conceive of the imagination in this regard without reducing the imagination to a mimetic faculty of consciousness subordinate to cognition. Continental thought in the last century offers rich resources for this study. The notion of a ‘world’ is related to the poetic image in ways fundamental to the Heidegger’s theory of language, and may be seen in Continental poetics following Heidegger, (...) including Blanchot’s examination of poetry in his account of the space of literature. By means of images, I shall demonstrate, poetic language is exemplary in relation to ‘world’ in two ways. (1) Images, poetically arranged, generate and open up a sense or experience of a world, specific to that poem, for its reader. Poetic images then, exhibit a generative evocation of world. (2) Through images, a poem may evoke the way in which space and time are inhabited as a world of human dwelling in an ontologically or existentially meaningful way. The relation of images to world is, then, an illumination or a disclosure of world. The first of these relations remains, to a large extent, immanent to the poem, but may be seen as an analogue of the essentially human experience of inhabiting a world. The second relation transcends the poem and relates the poem immediately to the existential framework of human dwelling. (shrink)