Online research in philosophy

Although Martin Heidegger is undeniably one of the most influential philosophers of the twentieth century, among the philosophers who study his work we find considerable disagreement over what might seem to be basic issues: why is Heidegger important? What did his work do? This volume is an explicit response to these differences, and is unique in bringing together representatives of many different approaches to Heidegger's philosophy. Topics covered include Heidegger's place in the 'history of being', Heidegger and ethics, Heidegger and theology, and Heidegger and Nazi concepts of race. More generally, the contributors also address their respective visions of the nature of philosophy and the presuppositions which guide their understanding of Heidegger.

It is often argued that there is a connection between certain forms of environmental or place-oriented thinking and conservative or reactionary politics. Frequently, the philosopher Martin Heidegger is taken to exemplify this connection through his own involvement with Nazism. In this essay, I explore the relations between Heidegger's thought and that of certain other key thinkers, principally the ethologist Jakob von Uexküll, and the geographers Friedrich Ratzel and Paul Vidal de la Blache, as well as with elements of Nazi ideology. While Heidegger, Ratzel and Vidal de la Blache are shown to have a similar commitment to a holistic conception of the relation between human being and the world, and to also give priority to ideas of geographic space, or, as we may also say, to place, this is shown to run counter to the essentially subjectivist and biologically determinist position that is associated with Nazi thinking on these matters, and that can also be seen as a key element in the work of von Uexküll. It is argued that the clarification of these issues is not only important for matters of intellectual history alone, but also to ongoing discussions about the role and significance of place. Given the influence of geographical considerations on contemporary historiography, as well as in a number of other disciplines, and given also the role played by Ratzel and Vidal de la Blache, as well as Heidegger, in the rise of such 'place-oriented' thinking, the exploration and clarification of the differences at issue here is especially important.

Derrida's reading of Heidegger in Of Spirit provides an excellent opportunity to assess the ethical and political value of each of their works. Derrida uncovers a slippage in Heidegger during the 1930s in which Heidegger ?forgot to forget? the dangers of the ?spirit? he had disavowed in Being and Time. This reveals a substantial early investment in the National Socialist project from which Heidegger never adequately recovered. Even in his attempts to distance himself from his Nazi past, Heidegger was still caught up in a metaphysical, though not a racial?biological, gesture and while Heidegger may have written at the end of philosophy, it was an end never come. One cannot stop reading Heidegger on this account. Rather, one is all the more compelled to read him, and after him Derrida. In Derrida's reading of Heidegger, we see the ways in which Heidegger opened up for Derrida an alternative space for the ethical ? in ?The call of Being? before any decision ? in the obligation to the other. However, this ethical possibility of deconstruction is only a space of undecideabiliry and questioning, never a space for political comportment; that is, it is ontological?existential, not ontical?existentiell. In this, while deconstruction opens up a space for ethics, it is never to guide, only to expose.

In a recent paper on Heidegger, Frederick Olafson attacks Hubert Dreyfus for prioritizing our “social” existence (under the notion of das Man) over the individual. In a reply, Taylor Carman, defending Dreyfus, criticizes Olafson for his “subjectivist” notion of Dasein. This paper pursues the implication of this disagreement in the context of Heidegger’s theory of space. Dreyfus’ discussion of Heideggerian spatiality nicely displays the tension between the “public” vs. “individual” domains of being, and consistent with his overall approach, Dreyfus claims that public space should be prioritized. Dreyfus concludes, however, that Heidegger is confused and prioritizes individual space. This paper argues that the categories of “public” and “individual” are inappropriate for analyzing Heidegger’s sense of the shared and personal characters of space. Heidegger’s “indexical” theory of space in fact saves both of these domains without raising the question of priority and without presupposing a “subjectivist” Dasein. On this reading, Olafson’s “individualized” account of presence does not commit him to subjectivism. The confusion Dreyfus attributes to Heidegger is cleared up by an indexical account of spatiality in Heidegger’s text.

My aim is to explore how the notion of personhood is tied to the notion of space--both physical and moral space. In particular, I argue against the Cartesian view of the disengaged/disembodied self and in favour of Charles Taylor's and Martin Heidegger's view of the engaged and embedded self. I contend that space, as the transcendental condition for the possibility of human agency, is the place where questions of identity are possible and answers, if any, are to be found. Thus, personal identity and space are inexorably tied and dependent on one another.

This paper is concerned with the conceptualisations of space which underlie debate of gentrification-related displacement. Using Derrida's concept of the spatial metaphor, the paper illuminates the Cartesian understandings of space that act as architecture for displacement debate. The paper corrects this through arguing that the philosophy of Heidegger and Lefebvre better serves to understand displacement. Emphasising the topology of Heidegger's Dasein and, following Elden, relating this to Lefebvre's understanding of space, the paper 'constructs' displacement in a way that avoids the abstraction of displacement-as-out-migration and instead emphasises the lived experience of space.

What is distinctive about sculpture as an artform? I argue that it is related to the space around it as painting and the other pictorial arts are not. I expound and develop Langer's suggestive comments on this issue, before asking what the major strengths and weaknesses of that position might be.

With a focus on the question of visuality in Heidegger's sustained involvement with Daoist and Zen thought, this paper discusses the interchange between Heidegger and Hisamatsu at a 1958 colloquium. In light of the key concerns – visuality, art, and the empty origin of manifestation – it interrogates three texts,The Origin of the Work of Art,Parmenides, andArt and Space,concerning visuality, the play of the glance, writing, space and place, and the Graeco-Asian though of phainesthai. In conclusion, it addresses the opening for a philosophical consideration of abstract painting that these analyses provide.

Introduction : a material space of radiance -- Ernst Barlach : materiality and production -- Bernhard Heiliger : the erosion of being -- Excursus on the goddess Athena -- Eduardo Chillida : the art of dwelling -- Conclusion : the taste of us.

G.W.F. Hegel's aesthetics, or philosophy of art, forms part of the extraordinarily rich German aesthetic tradition that stretches from J.J. Winckelmann's Thoughts on the Imitation of the Painting and Sculpture of the Greeks (1755) and G.E. Lessing's Laocoon (1766) through Immanuel Kant's Critique of the Power of Judgment (1790) and Friedrich Schiller's Letters on the Aesthetic Education of Man (1795) to Friedrich Nietzsche's Birth of Tragedy (1872) and (in the twentieth century) Martin Heidegger's The Origin of the Work of Art (1935–6) and T.W. Adorno's Aesthetic Theory (1970). Hegel was influenced in particular by Winckelmann, Kant and Schiller, and his own thesis of the “end of art” (or what has been taken to be that thesis) has itself been the focus of close attention by Heidegger and Adorno. Hegel's philosophy of art is a wide ranging account of beauty in art, the historical development of art, and the individual arts of architecture, sculpture, painting, music and poetry. It contains distinctive and influential analyses of Egyptian art, Greek sculpture, and ancient and modern tragedy, and is regarded by many as one of the greatest aesthetic theories to have been produced since Aristotle's Poetics.