L'A. donne une interprétation radicalement nouvelle des «Beiträge zur Philosophie» de Heidegger en en faisant une «contribution» à une christologie. Il fait reposer son interprétation sur l'utilisation du terme ancien «seyn» et non «sein» qui, chez Fichte, désigne Dieu, tandis que «Daseyn» désigne Jésus-Christ. Dès lors se trouve reposée la question de l'ontothéologie selon Heidegger.

There is something very flattering, to the artist, in Schelling’s view of creativity. Put simply: the creativity of the artist is like the creativity of God. There can, however, be something disturbing, not so say embarrassing, about flattery. Even if one can be certain of the complete seriousness of the flatterer—and German philosophers tend to take themselves very seriously—one may feel a little uncomfortable in the face of what could be overflattery. Of course, the creativity of the artist may tell (...) us something about the creativity of God, if, indeed, God created the artist; however, to argue successfully the similarity between the two will require at least one assumption: namely, a similarity in the concept of person or personality in God and in the artist. (shrink)

Heidegger revisits German idealism after the “turn” in his thought in the mid-1930’s. There are a couple of reasons for this. One is philosophical, if not “theological” in his sense of that term. The other is personal. This later reason is emphasized by Otto Pöggeler, who suggests that after 1945 Heidegger sought to understand what had gone wrong in the tragic European debacle. Heidegger will lay the blame at the doorstep of what he terms onto-theology and the subjectivism he sees (...) as endemic to the German idealist tradition, above all as exemplified in Hegel’s “onto-theo-ego-logy.” The article explores Heidegger’s reading of this tradi­tion of German philosophy as it begins with Leibniz and culminates in Nietzsche. It is the Event itself that makes possible the overcoming of metaphysics and its onto-theology. As Heidegger says in Contributions to Philosophy (From the Event), the ens realissimum (das Seiendste) “is” no more. It is the Event (Ereignis) that is the “most real,” since it is the Event that shows up and manifests itself as the revelation of the truth of Beinge in Da-sein, the being that is there in the Event. (shrink)

Sous le terme « politique » il faut inclure l’imbroglio de Heidegger avec le National-Socialisme au début des années 1930, une analyse de son discours de rectorat, et sa démission comme recteur. On tente ici de rendre compte de cette implication. En outre, sous « politique » il y a lieu d’entendre les propres tentatives de Heidegger, sommaires et en grande partie sans succès, de forger une philosophie de la politique, dont quelques-unes sont examinées et critiquées de manière détaillée. Il (...) y a aussi une section touchant l’« antisémitisme » de Heidegger, tel qu’illustré spécialement dans les Cahiers Noirs, lesquels ont donné lieu à une controverse considérable dernièrement. On tente de replacer cela dans son contexte historique et culturel. S’y ajoutent également les nombreuses remarques, allant du curieux au bizarre, qui apparaissent dans les Cahiers Noirs concernant les événements sociaux et politiques du temps entre 1931 et 1948. L’article conclut sur ce que l’auteur voit comme les plus importants thèmes à découvrir dans ces volumes, qui font écho aux thèmes qu’on trouve dans les Beiträge zur Philosophie (Vom Ereignis) ainsi que dans les traités non publiés de la troisième partie de la Gesamtausgabe. (shrink)

This volume first contrasts the emphasis on the author and that of the text -- two emphases that concentrate primarily upon the intention of the author and the ..

The paper deals with the meaning of the transcendental imagination in Kant’s Critique of Pure Reason, comparing it with the productive imagination proposed by Fichte in his Wissenschaftslehre of 1794. It also presents Heidegger’s views concerning both Kant and Fichte. Regarding Kant there is also a discussion of the difference between the first and second editions of the First Critique. It may be noted that Heidegger prefers the first edition to the second, since, in his view, the latter leads into (...) German Idealism. In Fichte’s philosophy the imagination plays a considerably larger role than it does in Kant. And Heidegger early on recognizes the importance of Fichte as a philosopher in its own right, and not just, as was customary in the period, a mere transitional figure between Kant and Hegel. The paper concludes with a critique of Heidegger’s views regarding both Fichte and Kant. Though there is an addendum discussing the function of the imagination in the aesthetics of Kant, in that of Fichte, and a brief comparison with Heidegger’s own aesthetics. (shrink)

The paper deals with the meaning of the transcendental imagination in Kant’s Critique of Pure Reason, comparing it with the productive imagination proposed by Fichte in his Wissenschaftslehre of 1794. It also presents Heidegger’s views concerning both Kant and Fichte. Regarding Kant there is also a discussion of the difference between the first and second editions of the First Critique. It may be noted that Heidegger prefers the first edition to the second, since, in his view, the latter leads into (...) German Idealism. In Fichte’s philosophy the imagination plays a considerably larger role than it does in Kant. And Heidegger early on recognizes the importance of Fichte as a philosopher in its own right, and not just, as was customary in the period, a mere transitional figure between Kant and Hegel. The paper concludes with a critique of Heidegger’s views regarding both Fichte and Kant. Though there is an addendum discussing the function of the imagination in the aesthetics of Kant, in that of Fichte, and a brief comparison with Heidegger’s own aesthetics. (shrink)

The last Heidegger consists of a series of treatises unpublished in the philosopher’s lifetime, constituting Part III of his collected works, which Heidegger insisted should be published only after all the lecture courses he gave over the years had been published.

The article deals with the recently published Besinnung, a work dating from 1938–1939, one among the unpublished treatises in Part III of Heidegger's Gesamtausgabe. It follows the Beiträge zur Philosophie (Vom Ereignis) (1936–1938), taking up the same themes as that work, such as the last God, the first and the other beginning, etc. But whereas the earlier work, especially the notion of the last God, relates more to Schelling, this one muses on Kierkegaard. The article sets Besinnung within the context (...) of related works of the same period, not only the Beiträge but also Metaphysik und Nihilismus and Geschichte des Seyns. However, Besinnung also breaks new ground, finding a deeper ontological distinction between Seyn and Sein as the basis for the earlier ontological difference between being and beings. The work is part and parcel with Heidegger's destructuring of metaphysics, which he sees as really a freeing up of the beginning, as also the issue of onto-theology. Thus it is integral with Heidegger's program of getting God out of metaphysics and being out of theology. It is in virtue of the meaning he attaches to Seyn (Logos) in Da-sein that it is possible for him not only to retrieve the meaning of the other beginning, the en-owning (Er-eignis) of Da-sein, and with it the meaning of the first beginning (in the two senses the phrase has in this work), but also thereby to recover the forgotten meaning of being (Sein). The approach to Seyn, with Kierkegaard, is not through the thinking (Denken) that thinks being, which cannot really get beyond beings and/or the Supreme Being of metaphysics, but through a thinking, a musing, that thinks through to (Er-denkt) Seyn. The article concludes with some reflections on the significance of Heidegger as theo-logian. (shrink)

Following upon his Soundings in St. Augustine's Imagination, O'Connell is sensitive to the "image-clusters"--images moving on and into each other--found in the discursive language of St. Augustine's classic work. In the Confessions, the overarching image of conversion he finds to be wayfaring, departure, being in the wrong direction or upside down, and return. It is the image of the prodigal rising up and returning to his father. Along the way, the author teases out the meaning of many a controverted passage (...) from the rhetor's terse Latin style. (shrink)