In recent years several scholars have wrestled with the term “poetic thought,” suggesting in various ways there is something distinctive about the nature of meaning as it occurs/unfolds through poetry. In this paper I suggest, in part following the lead of Simon Jarvis, that one of the most fruitful lines of inquiry for exploring this idea lies in a consideration of poetic works through the lens of Heidegger’s early phenomenology. Specifically, I argue that one of the keys to understanding poetic (...) thought lies in a flaw within Heidegger’s ontological divisions between substances, equipment and Dasein, as presented in Being and Time. Through an analysis of three poems by Frank O'Hara, I argue poetry that examines and represents the physical world presents a problem for Heidegger when he suggests equipment in the world must necessarily “withdraw” in order for us to engage with it authentically. To address this, the term environment-at-hand is introduced to describe the relationship between art... (shrink)

In this article, I elucidate Martin Heidegger’s interpretation of Soph-ocles’ tragedy Antigone from a topological point of view by focusing on the place-character of Antigone’s poetic ethos. Antigone’s decision to defy Creon’s order and bury her brother Polynices is discussed as a movement that underpins her poetic disposition as a demigod. Antigone’s situatedness between gods and hu-mans is identified as the place of poetic dwelling, and the significance of Antig-one’s relation to the polis is explained. The main argument of the (...) article is two-fold: 1) When we read Antigone focusing on the notion of dwelling, we can better make sense how Heidegger’s engagement with the question of finitude closes the envisioned gap between ontology and ethics. 2) The idea of poetic dwelling is a confrontation with spatio-temporal limits of human existence, and requires a more holistic way of thinking about the place of humans in the world, thinking beyond being-action dichotomy. (shrink)

_ Source: _Volume 47, Issue 1, pp 60 - 84 This article takes up Heidegger’s commentary on Rimbaud’s _Lettres du voyant_ as the starting point for an exploration of the question of rhythm in Heidegger’s thought, and an attempt to situate it within his understanding of technics and Being. Besides pursuing a historical study of the concept of rhythm in Heidegger’s work, this article proposes to understand rhythm through the concept of individuation. It responds to the French philosopher Jacques Garelli’s (...) critique of Heidegger that the latter ignores the question of individuation and always starts with beings that are already individuated. On the contrary, this article attempts to sketch a theory of individuation of rhythm in Heidegger’s proper thinking through a re-interpretation of the _Fug_—a word he used to translate the Greek word δίκη and words derived from it: joint, structure, submission, etc. (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)

Kwestia języka w filozofii Martina Heideggera pojawia się zarówno we wczesnym projekcie ontologii fundamentalnej, jak i w tak zwanym myśleniu po zwrocie. Problematyczność tego zagadnienia wyraża się choćby w mnogości stosowanych terminów. Bycie i czas to w wybranych fragmentach wyczerpujące studium „mowy” (Rede) jako swoistego ekstatycznego, a zatem otwartego i transcendującego bycia jestestwa, które buduje i potwierdza poprzez ów modus bycia przestrzeń wspólnotowości. Późny Heidegger podejmuje kwestię języka w kontekście metafory czwórni świata, wiążąc ją ściśle z tzw. myśleniem poetyckim – (...) wywód ten daleko odbiega od analiz egzystencjalnych jestestwa. „Język” (Sprache) to – jak pisze Heidegger – domostwo ludzkiego bycia, w którym uprzywilejowane miejsce zajmują poeci, jedynie oni potrafią bowiem czytać znaki, jakie w otwartej przestrzeni między Niebem i Ziemią pozostawiają Śmiertelnym Bogowie. Topografię owej wieści (Sage) prezentuje Heidegger w wielu miejscach swej drogi do „innego myślenia”. (shrink)

This essay poses and responds uniquely to the following crucial questions: Does Rilke’s poetry poetize the event of Being for Dasein? Does Rilke indicate that the human being can yet achieve such a mode of “historical” existence in relation to the Earth or the holy? Heidegger responds to the first query in the affirmative; Rilke does poetize this event, albeit through a “tempered” and somewhat traditional view of Western metaphysics. To the second query, it appears that Heidegger responds in a (...) slightly cryptic and ambiguous manner, and to clarify this response, I turn to Heidegger’s interpretation of Rilke’s “Angel” as a prophetic “metaphysical” figure of futural hope. (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)