The essay provides an interpretation of the specific concept of ”ruinance” (Ruinanz), as this is introduced and developed by Heidegger in his 1921/22 lecture series on ”Phenomenological Interpretations of Aristotle” (GA 61). Instead of accepting this subsequently abandoned concept as a marginal excursus on Heidegger’s part, the interpretation uses it as a lever to explore the interconnectedness of intentionality, falling, destruction, history and finitude, and also the proclaimed necessity of so called ”formally indicative concepts”, of which ruinance itself is a (...) supreme example. (shrink)

This article explores the consecutive modifications that phenomenology underwent in the works of Heidegger and Levinas. In particular, it discusses their importance for contemporary attempts to expand — and transcend — phenomenology in philosophy and the social sciences. Heidegger and Levinas responded to the problem of subjectivity — and intersubjectivity — in diametrically opposed ways and consequently the exposition of their thoughts involves focusing on conceptual dichotomies like finitude and infinity, time and eternity. Ultimately, it is argued that the very (...) conceptions of the human being that the two thinkers furnish under the guise of Dasein and Autrui reveal the impasses associated with western metaphysics and pave the path for the development of more adequate theorizations of subjectivity, radical otherness and communal being. (shrink)

Martin Heidegger was convinced that we can learn something about the way we inhabit the world by turning attention to our fundamental moods. It was one important theme of his fundamental ontology in the 1920s. There is, according to Heidegger, an intricate connection between awakening our moods and developing a reflexive stance. He provides us with a rich phenomenological description of different forms of boredom. In this article I approach Heidegger’s conception of boredom from an educational point of view. I (...) am suggesting a reading where the experience of boredom has transformative potentialities that also can illuminate our cultural situation as a whole. By turning away from boredom there is always a possibility of turning away from ourselves. (shrink)

Um dos principais resultados da analítica existencial de Ser e Tempo é a prioridade dopossível sobre o efetivo no modo de ser da existência humana. A possibilidade tem um significadofundacional na estruturação modal da existência. Neste artigo, apresento o esboçode uma noção existencial de necessidade. Seguindo um caminho aberto por Oskar Becker,identifico o existencialmente necessário nos limites da projeção em possibilidades existenciais,isto é, na historicidade autêntica do Dasein. Concentrando-me na noção de destino,apresento um conceito de necessidade existencial baseado na simplicidade (...) e na obrigaçãode uma existência condicionada por finitude e liberdade finita. (shrink)

This study is a philosophical work on Martin Heidegger's thinking. Its primary purpose is to study Heideggerian concepts. Secondly, it brings into focus two other thinkers who play with Heidegger 's thought, and thirdly, it applies Heideggerian thinking to truth and art. The study is compilation of eight articles, which are divided under three titles: I Heidegger and the Truth. II Heidegger and Truth in the Horizon of Nietzsche and Foucault, III Art in the Heideggerian Light. The main themes in (...) this study are truth and art. The first part of the study is comprised of research work on Heid egger's theory and the concept of truth, which he present in his main work Sein und Zeit. Another important theme is the Heideggerian concept of world, which is the foundation of Heidegger's Alethetical truth. Heidegger uses the concept in the phrase "being in the world." This "being in the world" is a situation in which Dasein always exists, and Heidegger claims that there is no truth without Dasein. Art, especially the work of art and poetry, are connected with the truth in Heidegger's philosophy. Art has played a central role throughout the entire tradition of western philosophy, and the same is true in Heidegger's philosophy. But Heidegger does not follow the traditional aesthetic theory of art. He formulates the question of the essence of art as an ontological question. Art is the place where the truth occurs. This kind of understanding of truth and art needs to overcome metaphysics. Heidegger regards Friedrich Nietzsche as the last representative of metaphysics, which is why Nietzsche's philosophy as nihilism must be overcome. I deal with these questions in the second part of my study. In the third part of the study I examine what is left of the truth and art in the postmodern era. In his later writings, Heidegger leaves out Dasein and changes his style of writing. The concept of the world is still essential, but it now lives its own life along with earth, gods and mortals. The main aim of this study is to bring Heidegger's theory of the truth into focus and into the Finnish philosophical discourse. Secondly, it shows what happens to the work of art in the postmodern era. (shrink)