The self-concealing of being is a primary preoccupation of Heidegger's later thought, but neither Heidegger nor his interpreters have made clear precisely what it is. In this paper, I identify the self-concealing of being as the concealing of the worlding of the world, which is essential to and simultaneous with that worlding. In order to establish this, I sketch a taxonomy of the various phenomena of concealing and concealment in Heidegger's work by building on Mark Wrathall's four ‘planks’ of unconcealing (...) and concealment. Importantly, I distinguish the procedurally prior concealment that all unconcealing presupposes from the simultaneous concealing that Heidegger frequently confuses it with. This distinction not only allows us to get clear on what it means to say that being conceals itself but also reveals various confusions and obscurities in Heidegger's own thought as well as in that of his readers. (shrink)

Straipsnyje analizuojamos nihilizmo įveikos (Verwindung) perspektyvos aptariant Heideggerio santykį su Rytų Azijos mąstymo tradicijomis (pirmiausia čan / zen ir daoizmu). Filosofo apibrėžtos moderniosios technikos esmės po-statos (Gestell, arba Ge-stell) įsivyravimą galime laikyti ir nihilizmo išsipildymo bei Vakarų mąstymo tradicijos pabaigos diagnoze. Atskleidžiant Vakarų metafizinės tradicijos pabaigos ir jos įveikos problematiką siekiama suprasti kitokio mąstymo atsiradimo galimybes žvelgiant į pometafizinio mąstymo horizontą. Heideggerio dialogas su Rytų mąstymo šaltiniais yra nihilizmo įveikos (Verwindung) perspektyvų ieškojimas, kas yra neatsiejama nuo savęs, kito ir abipusio (...) supratimo gilinimo. (shrink)

In this article, I elucidate the significance of Heidegger’s ‘question of being’ from a topological point of view by explaining the relationship between his thought of place and language. After exploring various hermeneutic strategies of reading Heidegger’s oeuvre, I turn to Richard Capobianco’s interpretation of Heidegger and critically engage with his idea of the experience of being itself as the ‘luminous self-showing of logos’. In doing so, I explain the later turn from ‘truth’ to ‘place’ and articulate why logos needs (...) to be conceived as the gathering site of the presencing of being. In arguing against the primacy of passive receptivity and active projection, I put forward the primacy of language as the topos and logos of being. In returning to the Capobianco-Sheehan debate, I conclude by explaining why Heidegger’s place-related notions cannot be thought metaphorically. (shrink)

The philosophy of biomimicry, I argue, consists of four main areas of inquiry. The first, which has already been explored by Freya Mathews, concerns the “deep” question of what Nature ultimately is. The second, third, and fourth areas correspond to the three basic principles of biomimicry as laid out by Janine Benyus. “Nature as model” is the poetic principle of biomimicry, for it tells us how it is that things are to be “brought forth”. “Nature as measure” is the ethical (...) principle of biomimicry, for it tells us that Nature places ethical limits or standards on what it is possible for us to accomplish. And “Nature as mentor” is the epistemological principle of biomimicry, for it affirms that Nature is the ultimate source of truth, wisdom, and freedom from error. Within this overall framework, I argue that seeing Nature as physis—understood as “self-production” or “self-placing-into-the-open”—constitutes the requisite ground for the poetic, ethical, and epistemological principles of biomimicry, and that biomimicry thus conceived involves a new philosophical paradigm, which I call “enlightened naturalism”. (shrink)

The complexities of Heidegger’s early accounts of nature provide a privileged perspective from which to understand the evolution of his thought into the 1930s and beyond. This movement seems largely driven by his response to what Karsten Harries has called “the antinomy of being”. In Heidegger’s early writings, Natur is associated with the “theoretical” and the “intraworldly.” However, less attested is an “unworlded” and thus intrinsically “incomprehensible” sense of nature, as the abyssal ground of worlding. This thread is traced through (...) key Marburg period texts, into Being and Time, and beyond it into the 1928 “metontology” appendix and its surprising transformation in the 1929 inaugural lecture. Finally, some cursory observations are made about how this trajectory unfolds in later Heideggerian thought, taking the 1936 Artwork essay as an example, showing how both sides of the antinomy of being come to be incorporated within a more comprehensive framing of the Seinsfrage. (shrink)

In this article, I argue that what is commonly lamented as the decline of qualitative research might be because of our own inability to reveal something true about being-in-the-world. Four problems with qualitative work are identified: making what is obvious inescapable, confusion around what constitutes qualitative research and phenomenology, uniformed and disrespectful mixing of methods, and devolution into “little t” truth. I finish by calling for bold, evocative interpretation, and posing the question: What is the nature of the revolution that (...) hermeneutics can foment? (shrink)

The main goal of this article is to examine the link between the idea of language, being and nothingness by comparing 16th century Turkish-Azeri poet Fuzûlî’s poetry and 20th century German philosopher Martin Heidegger’s philosophy departing from the latter’s thinking of being. There are similarities between Heidegger and Fuzûlî’s respective thoughts concerning the role of the human being’s relation to finitude which grounds the relationship between being and nothingness. The article consists of three sections. The first section makes sense of (...) Heidegger’s early and late thought in terms of its ontological unity, explaining the ways in which being and nothingness topologically co-determine one another in poetic language. The second section focuses on clarifying the sources that nourish Fuzûlî’s poetry, such as Sufism and the literary style of “Rind” as observed in classical Ottoman poetry, elucidating how these influences underpin the philosophical foundations of Fuzûlî’s poetry. The third section offers a philosophical interpretation of Fuzûlî’s lyric poems by illustrating how and why being and nothingness are not to be thought as mere opposites, pointing out their ontological belonging together. In the concluding section, it is argued that a poetic mode of existence necessitates an authentic experience of human finitude both for Heidegger and Fuzûlî. Although Fuzûlî’s poetry involves onto-theological influences from Sufism, Fuzûli manages to form an original idea of poetic existence, emphasizing that the poetic agent needs to take a step back from the mundane world of multitudes in order to unify with Being itself. As for Heidegger, it is doubtful whether there is such a mystical idea of being. Nonetheless, for both figures the more originary experience of finite human existence lies in the poetic interplay between being and nothingness. The poetic meaning of being comes to manifest itself in the process of one’s existential annihilation, which takes place in the movement of being-towards-death. Accordingly, exploring how the meaning of being requires the poetic experience of nothingness and how such an experience appears through language in Fuzûlî’s lyric poems provides a more comprehensive account of his thinking. (shrink)

Although Heidegger’s explicit account of “poetic dwelling” belongs to his later philosophy, there are important indications that he was already engaging with the core matter of the notion in his early thought. Contrary to the idea that in Being and Time, “dwelling” amounts to mere practical coping with the environment, we would like to demonstrate that the notion is already a poetic issue in his early thought, as it requires the appropriation of our relation to the world via an authentic (...) experience of finitude. Following a topological mode of thinking, the paper thematizes the connections between Heidegger’s early and later thought, and elucidates the following three points: First, “freeing” and “letting” appears as the appropriate ethos of a poetic experience of finitude, one that maintains the “clearing” of meaningfulness. Second, a topological reading of Being and Time can explicate the notions of authenticity and inauthenticity as different disclosures of the clearing where human being-world correlation occurs. Third, the notion of “keeping-still” (Schweigen) can be interpreted as an authentic disposition that frees space for the disclosure of existence. The paper concludes that an authentic experience of finitude through “stillness” appears to reorient human ethos by releasing “discourse” from absorption in “idle-talk” and that such an act of existential re-orientation of one’s disposition towards the world is the essence of “authenticity,” and Heidegger’s early “poetic dwelling”. (shrink)