"Ronald Bruzina’s superb translation... makes available in English a text of singular historical and systematic importance for phenomenology." —Husserl Studies "... a pivotal document in the development of phenomenology... essential reading for students of phenomenology twentieth-century thought." —Word Trade "... an invaluable addition to the corpus of Husserl scholarship. More than simply a scholarly treatise, however, it is the result of Fink’s collaboration with Husserl during the last ten years of Husserl’s life.... This truly essential work in phenomenology should find (...) a prominent place alongside Husserl’s own works. For readers interested in phenomenology—and in Husserl in particular—it cannot be recommended highly enough." —Choice "... a thorough critique of Husserl’s transcendental phenomenology... raises many new questions.... a classic." —J. N. Mohanty A foundational text in Husserlian phenomenology, written in 1932 and now available in English for the first time. (shrink)
Eugen Fink is considered one of the clearest interpreters of phenomenology and was the preferred conversational partner of Edmund Husserl and Martin Heidegger. In Play as Symbol of the World, Fink offers an original phenomenology of play as he attempts to understand the world through the experience of play. He affirms the philosophical significance of play, why it is more than idle amusement, and reflects on the movement from "child's play" to "cosmic play." Well-known for its non-technical, literary style, this (...) skillful translation by Ian Alexander Moore and Christopher Turner invites engagement with Fink's philosophy of play and related writings on sports, festivals, and ancient cult practices. (shrink)
This lecture from 1946 presents Eugen Fink’s interpretation of Nietzsche’s metaphysics. Fink’s aim here is twofold: to work against the trend of psychologistic interpretations of Nietzsche’s work and to perform the philosophical interpretation of Nietzsche he finds lacking in his predecessors. Fink contends that play is the central intuition of Nietzsche’s philosophy, specifically in his rejection of Western metaphysics’ insistence on being and presence. Drawing instead from Heraclitus, Nietzsche argues for an ontology of becoming characterized by the Dionysian as the (...) temporalization of time and the Apollonian as temporalized in time. The play of becoming is thus the cosmic coming to be and passing away of appearance. Playing, as the creative projection of such a play-world of appearing and concealing, is central to understanding the Nietzschean theme of the will to power as the revaluation of values. (shrink)
Nietzsche's Philosophy traces the passionate development of Nietzsche's thought from the aestheticism of The Birth of Tragedy through to the late doctrines of the "will to power" and "eternal return".Inspired by the phenomenological method of Edmund Husserl and by the work of Martin Heidegger, Fink exposes the central themes of Nietzsche's philosophy, revealing the philosopher who experiences thinking as a fate and who ultimately searches for an expression of his own ontological experience in a negative theology.
1) vgl.,,50phistes" 248c4 - 253c3 und 254b7-257aI2. 2) Heidegger, Brief über den "Humanismus"; s. in "Platons Lehre von der Wahrheit", Bern 1947,5.53. 3) 5. Diels "Fragmente der Vorsokratiker"6, Berlin 1951; Parmenides B l. 4) Reinhardt "Parmenides und die Geschichte der griechischen Philosophie", Bonn 1916, 5.32 ff.; zu dem Verhältnis der beiden "Teile" des Gedichts ist u.a. zu vergleichen: Fränkel "Parmenidesstudien", Abschnitt IV und V; Calogero, 5tudi sull' Eleatismo, Rom 1932; Riezler "Par menides", Frankfurt 1934 ; Jaeger "Die Theologie der frühen (...) griechischen Denker", 5tutt gart 1953,5.123 f.. 5) B 8,1 '"!J.6~o~ i3't;,~ t-'"ü'&?~ o~?,Io A€L7tE'Tct,L w~, €,O'''n~.. ~., 6) B 8,2... "t"lXu··nJI Il zm. (shrink)