This document includes the first English translation of Georg Trakl’s recently discovered poem “Hölderlin,” along with two commentaries on it. Moore’s commentary highlights the significance of this poem for continental philosophy (especially Heidegger and Derrida) by focusing on the German word for madness, Wahnsinn, which Trakl (mis)spells with three n’s. Moore argues that this word resists the sense of gentle gathering that Heidegger locates in Trakl’s poetry and therefore in Hölderlin and his madness. Trakl is, rather, (...) a precursor to Paul Celan. Moore’s commentary concludes with a new translation of Celan’s own poetic response to Hölderlin, titled “Tübingen, Jänner.” Weichselbaum’s commentary discusses the background for the genesis and discovery of Trakl’s “Hölderlin.” Weichselbaum compares this poem with other moments in which Trakl alludes to Hölderlin. (shrink)

Philosopher Martin Heidegger and German poets who evoke nature offer excellent introductions to elemental earth. Those poets privilege earth among the elements using their earthy language. Heidegger views earth as the hidden ground of things. The article approaches elemental earth through Heidegger’s analysis of what he views as Georg Trakl’s crucial line of poetry about earth: “something strange is the soul on earth.” Heidegger stresses the soul as the stranger. In contrast, this article argues that on the basis of (...) a contextual analysis of Trakl’s poetry and some other German poetry, it is the earth that is strange. Forgotten earth is the background out of which and the foundation upon which things manifest themselves. Elemental earth makes possible human experience of space and place. (shrink)

In this article, I analyze Heidegger’s marginalia in his personal copy of the 1946 Zurich edition of poems by Georg Trakl, which I discovered several years ago while conducting research in the castle of Heidegger’s hometown of Meßkirch. Although Heidegger’s marginalia in this volume are not extensive, they are significant for three reasons: they provide valuable insight into his reading of the spirit of Trakl’s poetic work and into the place in which Heidegger situates it; they frequently shed (...) light on topics often left in the shadows by Heidegger and his expositors, topics such as biography, sexual difference, and Christianity; and they bear on Heidegger’s lifelong engagement with the status of being and even, at times, seem to call into question his published positions on it. (shrink)

일반적으로 현존재에 대한 하이데거의 해명은 그의 주저 『존재와 시간』의 현존재분석론에 집약되어 있는 것으로 알려져 있다. 그러나 ‘전회’ 이후의 저작들에서도 분명 현존재에 관한 하이데거의 숙고는 여러 곳에서 발견된다. 특히 언어에 대한 사유에서, 그 중에서도 ‘시’에 대한 논구에서 하이데거는 다른 방식으로 현존재를 해명하고 있다. 이러한 해명을 이 글에서는 ‘현존재에 대한 하이데거의 시적 해명’이란 주제로 다룰 것이다. 시적 해명에서 현존재는 언어의 말함에 거주하며 그 말함에 대한 대꾸, 즉 시 짓기를 통해 자신과 세계를 고유하고 조화롭게 드러내는 자로서 제시된다. 이때 현존재와 존재의 본질적 연관을 보여주는 (...) 것이 시이다. 시는 언어의 말함에 대해 순수하게 말해진 것이다. 이와 관련하여 시 속에 나타난 존재의 울림, 즉 근원적인 언어의 말함에 대한 현존재의 경청과 대꾸로서 게오르크 트라클(Georg Trakl)의 시에 대한 하이데거의 논구를 다룰 것이다. 이 논구는 존재의 밝은 터에 나가 서 있는 현존재의 장소성과 연관되어 있다. 이런 점에서 현존재에 대한 시적 해명은 하이데거의 초기 사유에서 이미 제시한 ‘내던져져 있음’과 연속성을 가진다. 이 글은 이러한 연속성을 제시함과 동시에 그와 관련된 주제들이 트라클의 시-해석에서 어떻게 논구되고 있는지를 보여줄 것이다. (shrink)

"Williams has found an ingeniously indirect method for dealing with powerful and conservative voices in Trakl criticism, a method that unburdens the debate of its weighty pomposity and elicits delight from readers familiar with the critical context."_Francis Michael Sharp, author of The Poet's Madness: A Reading of Georg Trakl 1993. x, 350 pages.

In his 1985 lecture, Geschlecht III, Derrida sought to ‘situate Geschlecht within Heidegger’s path of thought’. Having identified a political disclosure of sorts in Heidegger’s discussion of the significance of Trakl’s poetic invocation of the polysemic, German word ‘Geschlecht’, Derrida intimates that Heidegger betrays ideas and presumptions concerning the ‘problematic of philosophical nationalism’. Given the contentious political context of Heideggerian thought, some scholars might hope that Derrida’s intervention here would bear upon the divisive scholarly concern referred to as the (...) ‘Heidegger Question’. While Geschlecht III does not provide a resolution, a close reading betrays productive political implications to his manner of engagement. In this brief study, I will survey the political stakes of various methodological approaches to reading Heidegger, with Derrida’s manner of reading Heidegger’s ‘Language in the Poem’ at the centre. Ultimately, I argue that Derrida and Heidegger both appeal to a particular sense of the political that must be respected, though not necessarily accepted. (shrink)

This essay concerns Heidegger’s assertion that the biography of the poet is unimportant when interpreting great works of poetry. I approach the question in three ways. First, I consider its merits as a principle of literary interpretation and contrast Heidegger’s view with those of other Trakl interpreters. This allows me to clarify his view as a unique variety of non-formalistic interpretation and raise some potential worries about his approach. Second, I consider Heidegger’s view in the context of his broader (...) philosophical project. Viewed this way, Heidegger’s decision to neglect the poet’s biography seems quite reasonable and consistent with his inquiry into the being of language. Finally, I consider Heidegger’s suggestion that Trakl is a kind of mad genius. I recast this paradigmatic figure in terms of what I call the ‘wretched prophet’ and consider some ways in which its appeal sheds light on the crisis of modernity and the aestheticization of politics. (shrink)

El presente texto constituye, por un lado, una continuación de una aproximación materialista al concepto de “raza” a partir de los Cuadernos negros de Heidegger, la cual nos llevó, luego de reconocer su carácter análogo a la “corporalidad”, a pensarla no como una determinación naturalista o biológica, sino como la posibilidad de un “mestizaje ontológico”. Por otro lado, “sexo”, “estirpe” y “estilo” hacen alusión a la polisemia del concepto de “Geschlecht” como una figura de lo que hemos llamado la ambigüedad (...) fenomenológica del eros en términos de una “prohibición y transgresión arquitectónicas”. Ello se traducirá, por un lado, en la prioridad del “estilo” como reunión del decir poético en lo impronunciado del poema, y no, como propondremos, en la “excripción” de una “transposición metonímica”, y, por otro lado, en el silenciamiento por Heidegger de la figura del “incesto” en la poesía de Trakl. (shrink)

This essay traces the pivotal—although largely unspoken—relation between the mother and language in Derrida’s reading of Heidegger’s reading of Trakl in Geschlecht III. Derrida’s gloss of the “idiom” in Heidegger’s text leads to a reflection on the language of gestation through the family of words linking “tragen” to “austragen”. Following Derrida, the essay proposes that Heidegger’s conception of the time of the “unborn” in his essay “Language in the Poem” is the time of the promise and the promise of (...) a future that would not be conceived according to a vulgar conception of time. Heidegger’s idiomatic use of the prefix “un-” in the terms “unspoken” and “unborn” can be read as a temporal inflection that opens up another kind of thinking about birth. The essay concludes by asking how the place of the mother is inscribed otherwise in this unthinking of birth. (shrink)

Derrida’s seminar “The Phantom of the Other”, reads Heidegger’s “Language in the Poem”, which has the poetry of Georg Trakl at its center. Among the principal themes of Derrida’s seminar and/or of Heidegger’s essay are Heidegger’s effort to “place” Trakl’s presumably single, unsung poem; the relation of pain to poetry; the two “strokes” of Geschlecht, a word that in part means the sexes, the first stroke being neutral, the second being evil; the German language and the Heideggerian idiom; (...) philosophical nationalities and nationalisms; Derridean double-reading. (shrink)

The article presents an approach to the problem of evil in the poetry of Georg Trakl. This is done from a reading of the Grodek poem. In the first place, the general problematic of Trakl’s poetry is contextualized, above all the tension between guilt and love. In a second moment, this problem is analyzed in Grodek read in historical and philosophical perspective, that is, the concretion of the evil understood as the destruction of humanity in the experience of (...) the death of God. In a third moment, the paradigmatic and paradoxical figure of said consummation appears; the unborn, an image repeated in the work of Trakl and with which, revealingly, culminates Grodek, his last poem. (shrink)

A reconstruction and critical interpretation of Heidegger's remarkable relationship with to the poet Georg Trakl.

This essay concerns Heidegger’s assertion that the biography of the poet is unimportant when interpreting great works of poetry. I approach the question in three ways. First, I consider its merits as a principle of literary interpretation and contrast Heidegger’s view with those of other Trakl interpreters. This allows me to clarify his view as a unique variety of non-formalistic interpretation and raise some potential worries about his approach. Second, I consider Heidegger’s view in the context of his broader (...) philosophical project. Viewed this way, Heidegger’s decision to neglect the poet’s biography seems quite reasonable and consistent with his inquiry into the being of language. Finally, I consider Heidegger’s suggestion that Trakl is a kind of mad genius. I recast this paradigmatic figure in terms of what I call the ‘wretched prophet’ and consider some ways in which its appeal sheds light on the crisis of modernity and the aestheticization of politics. (shrink)

This article was initially written (in 2020) for a private collection gifted to Alexander García Düttmann on the occasion of his 60th birthday. It explores themes of education and the transmission of knowledge in relation to figures of youth and extinction. Georg Trakl's poem "Abendlied" serves as the essay's centerpiece and is brought into dialogue with comments made by Levi-Strauss on a 'prima material'. Certain ecological overtones appear when an overzealous Prometheanism is contrasted with a labor of re-creation.

I shall speak of ghost [revenant], of flame and of ashes.And of what, for Heidegger, avoiding means.What is avoiding? Heidegger on several occasions uses the common word Vermeiden: to avoid, to flee, to dodge. What might he have meant when it comes to “spirit” or the “spiritual”? I specify immediately: not spirit or the spiritual but Geist, geistig, geistlich, for this question will be, through and through, that of language. Do these German words allow themselves to be translated? In another (...) sense: are they avoidable?Sein und Zeit : what does Heidegger say at that time? He announces and he prescribes. He warns [avertit]: a certain number of terms will have to be avoided . Among them, spirit . In 1953, more than twenty-five years later—and this was not just any quarter-century—in the great text devoted to Georg Trakl, Heidegger notes that Trakl always took care to avoid the word geistig. And, visibly, Heidegger approves him in this; he thinks the same. But this time, it is not Geist nor even geistlich that is to be avoided, but geistig.How are we to delimit the difference, and what has happened? What of this meantime? How are we to explain that in twenty-five years, between these two warning signals , Heidegger made a frequent, regular, marked use of all this vocabulary, including the adjective geistig? And that he often spoke not only of the word “spirit” but, sometimes yielding to the emphatic mode, in the name of spirit? Jacques Derrida is Directeur d’Études at the École des Hautes Études en Sciences Sociales and also teaches at the University of California, Irvine. His most recent contribution to Critical Inquiry is “Like the Sound of the Sea Deep within a Shell: Paul de Man’s War” . An English translation of De l’espirit: Heidegger et la question is forthcoming from the University of Chicago Press. Geoff Bennington, author of Lyotard: Writing the Event, is a lecturer in French at the University of Sussex. Rachel Bowlby, author of Virginia Woolf: Feminist Destinations, is a lecturer in English at the University of Sussex. (shrink)

Derrida states at the beginning of Geschlecht III that at stake is the question of sexual difference, one that is referred in Heidegger’s 1953 essay on Trakl to a twofoldness that precedes the opposition of sexual duality, a duality which, according to Derrida, neutralizes sexual difference. I follow the development of what Derrida also called the “dream” of “another sexual difference,” one that would not be ruled by the opposition of the two. Derrida’s guiding interpretation in Geschlecht III is (...) that Heidegger privileges “gathering” and the reference to the “one” in this thinking of difference, and of sexual difference, thereby neutralizing difference. Drawing a contrast between difference as polysemy and difference as dissemination, I attempt in what follows to discuss Derrida’s interpretation, raising questions concerning some of his readings with respect to the motifs of dispersion, dissemination, polysemy, and gathering. (shrink)

At an important moment in his reading of Heidegger in Geschlecht III, Derrida wields a pair of semi-technical terms from his own earlier work, and uses them to identify a classical, indeed Aristotelian, vein in Heidegger’s reading of Trakl. This gesture is complex, both in that, in spite of appearances, the Mehrdeutigkeit Heidegger identifies in Trakl is not essentially to do with the term Geschlecht, and in that Derrida’s presentation of Aristotle’s views about polysemia is perhaps over-simplified, or (...) at least leaves open the possibility of a more generous reading. Derrida’s notion of dissemination is shown not to entail a mere exacerbation of polysemia, but a quasi-semantic re-marking of the “syntax” that allows for any semantic effects at all. It is suggested that the fact that this marking can be described by Derrida as “monotonous” might open onto a slightly different reading both of Aristotle’s understanding of pollachos legomenon and pros hen, and Heidegger’s understanding of the Einklang of Trakl’s poetry. (shrink)

Der Briefwechsel zwischen Lotte Tobisch, Mitglied des Wiener Burgtheaters, und Theodor W. Adorno begann im September 1962 und setzte sich bis zum Tod des Philosophen 1969 fort; er umfaßt etwa 280 Briefe, Ansichtskarten und Telegramme. Der Briefwechsel ist das Dokument einer Freundschaft über die Generationen, über die sozialen Positionen, die Formen der Intellektualität und die Temperamente hinweg. Lotte Tobisch von Labotýn, ein Vierteljahrhundert jünger als der Philosoph, hatte den sozialen Hintergrund, den er schätzte: >nicht bürgerlich, vielmehr adelig, nonkonform, mit der (...) Gesellschaft auf ironische Distanz vertraut. Durch ihren verstorbenen langjährigen Gefährten, den um fast 40 Jahre älteren Chefdramaturgen des Burgtheaters Erhard Buschbeck, Trakls Jugendfreund, war sie zugleich indirekte Zeitgenossin des Wien nach der Jahrhundertwende - jener heroischen Zeit der großen musikalischen Revolution durch Schönberg und seine Schule, der sich Adorno als Komponist und Philosoph verbunden fühlte. Lotte Tobisch, bekannt als Schauspielerin und durch ihre literaturkritischen Beiträge, war auch mit Günter Anders, Gershom Scholem, Fritz Hochwälder, Carl Zuckmayer, Ludwig von Ficker, Elias Canetti, Richard Neutra und anderen Größen des geistigen Lebens verbunden und befreundet. Sie erschloß für Adorno eine Beziehung nicht nur zum zeitgenössischen Wien, sondern zugleich, und emotional bedeutsamer, zum Wien seiner Jugend und seiner musikalischen Lehrzeit. (shrink)

Veronique Foti delves into the full range of Heideggerian texts to elaborate the problematics of historicity, language, and the structure of disclosure or "manifestation" in connection with the Herman poets whom Heidegger invoked along his path of thinking. Foti’s reading of these ports (Morike, Trakl, Rilke, Holderlin, and Celan) is a probing inquiry into the aesthetic, ethical, and political implications of Heidegger’s thought. She knows how technicity (techne) and poetizing (poiesis) are opposed yet brought together in Heidegger’s hermeneutic phenomenology, (...) how they are both politicized and linked with ethical praxis, and how technicity, poetizing, and praxis cannot be dissevered from Heidegger’s essential thinking. (shrink)

In this paper I demonstrate that the analysis supporting Derrida’s identification of the desire for a pure, originary idiom in Heidegger’s reading of Trakl in Geschlecht III provides a framework with which we can understand the call for a new language in Monolingualism of the Other. While acknowledging how his interpretation of Heidegger provides important insights that guide Derrida’s later negotiation with the dual dangers of nationalism and colonialism, I argue that the proximity to Heidegger, manifest in Derrida’s articulation (...) of a desire for language in the singular, threatens to close down possibilities latent in the promising definition of deconstruction as plus d’une langue—both more than a language and no more of a language. (shrink)

Fin de siecle Vienna was once memorably described by Karl Kraus as a "proving ground for the destruction of the world." In the decades leading to the World War that brought down the Austro-Hungarian empire, the city was at once an operetta dream world masking social and political problems and tension, as well as a center for the far-reaching explorations and innovations in music, art, science, and philosophy that would help to define modernity. One of the most powerful critiques of (...) the retreat into fantasy was that of the philosopher Ludwig Wittgenstein, whose early career in Vienna has helped frame debates about ethical and aesthetic values in culture. In Wittgenstein's Vienna Revisited Allan Janik expands upon his work Wittgenstein's Vienna (co-authored with Stephen Toulmin) to amplify a number of significant points concerning the genesis of Wittgenstein's thought, the nature of Viennese culture, and criticism of contemporary culture. Although Wittgenstein is the central figure in this volume, Janik places considerable emphasis on other influential figures, both Viennese and non-Viennese, in order to break down some of the persistent stereotypes about the philosopher and his surrounding culture, especially the myths of "carefree" Vienna and Wittgenstein the positivist. The persistence of these myths, in Janik's view, stems in part from the inability of many historians to differentiate past from present in the evaluation of intellectual currents. Janik reviews a number of figures overlooked in assessing Wittgenstein: Otto Weininger, Kraus, Schoenberg, Nietzsche, Wagner, Ibsen, Offenbach, and Georg Trakl. All of these, Janik demonstrates, are absolutely necessary to understand what was at stake in the debates on aestheticism and the critique of a modern culture. Wittgenstein's efforts to recognize the limits of thought and language and thus to be fair to science, religion, and art account for his place of honor among critical modernists. These essays elucidate Wittgenstein's perspective on our culture. (shrink)

This article suggests that the deconstruction of Heidegger’s reading of Hölderlin in the Letter on Humanism is a precondition for what Derrida attempts to do in his commentary of Heidegger’s reading of Trakl in Geschlecht III. This preliminary deconstruction, through a constellation of Hölderlinian motifs, controls the topology of Geschlecht III and determines Derrida’s approach to the themes of “nationality” and “philosophical nationalism”.

This article suggests that the deconstruction of Heidegger’s reading of Hölderlin in the Letter on Humanism is a precondition for what Derrida attempts to do in his commentary of Heidegger’s reading of Trakl in Geschlecht III. This preliminary deconstruction, through a constellation of Hölderlinian motifs, controls the topology of Geschlecht III and determines Derrida’s approach to the themes of “nationality” and “philosophical nationalism”.

This essay considers together two recent posthumous publications by Derrida: Geschlecht III, and La vie la mort, both of which raise questions concerning translation. In Geschlecht III that is first of all the problem of how to translate the German word, how Heidegger’s reading of Trakl profits from, or loses in its translation, and how Derrida’s reading of Heidegger either does or does not translate Heidegger’s own interpretive practice. Reference to La vie la mort enables analysis of Benjamin’s concept (...) of translation as a form of life that is “not limited to organic corporeality,” and consequently allows me to understand how Derrida’s thinking, very different from that of either Benjamin or Heidegger, takes us way back to something like originary inorganic lifedeath. (shrink)

The problem of translation confronts every English, or French-language reader of Geschlecht III, from its title page on, by way of Derrida’s decision not to translate the German noun Geschlecht. In this paper, I explore the stakes of Derrida’s refusal to translate, by situating it within the context of the 1984–5 seminar, ‘Philosophical Nationality and Nationalism’, from which the text of Geschlecht III was taken. I show that the question of translation is already at the heart of that seminar, which (...) concerns the place of the idiom in philosophy, and why approaching the difficulty posed by the untranslatability of a term like Geschlecht might be the very objective of Derrida’s reading of Heidegger on Trakl. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Bookmarks When most of us think of the losses for literature, music, and art caused by the First World War, the names that typically spring to mind are Rupert Brooke, WUfred Owen, and perhaps George Butterworth. This is conventional Anglocentrism. The millions of young victims of that conflict included many of the most promising artistic and literary talents from across Europe and beyond. The magnitude of this loss is (...) brought home by a new book edited by Tim Cross, TL· Lost Voices of World War I: An International Anthology of Writers, Poets, and Playwrights (University of Iowa Press, $17.95, paperbound). The idea is simple, the result moving. Cross has brought together fifty-nine biographical sketches of poets or writers who died in the war, with relevant illustrations and samples of their work. The two-column, 406-page book ranges from the American Alan Seeger and more famous British names, through the Breton poet Jean-Pierre Calloc'h, Germans such as Georg Trakl and Franz Janowitz, the Alsatian Ernst Stadler, the Hungarian Géza Gyóni, and the Armenians Grigor Zohrab, Daniel Varouzan, and Siamant'o. There are Czechs, Bulgarians, Serbs, and Slovenes. It would be difficult tooverestimate the richness of TL· Lost Voices of World War I. As a random taste, here's a tart little piece by the German Gustav Sack, killed in 1916 during the advance on Bucharest. As with the other poetry in the book, this translation (by Anthea Bell) of Piffle (Quark) appears side by side with the original. Year after year, you gnaw your way through life, the years elude your clutch, and in the end, your hair is gray and still you don't amount to much. You eat and drink and court a girl, get chUdren too, the Lord knows why, whUe Time, pursuing its mad whirl, faster and faster rushes by. You lay you down to end your days a penitent; you thus obtain fine tributes to your worthy ways, and so chalk up one last net gain. Philosophy and Literature, © 1990, 14: 446-454 Bookmarks447 An appendix lists, with their major works, eight hundred creative artists known to have died as a result of the war. If this book is a record of the genius and aesdietic sensibUity of the human race, it is also a monument to its brutal stupidity. It is a war memorial like none other in my experience. The Heidegger-Hitler cauldron continues to boil, and the appearance in English of Victor Farias's Heidegger and Nazism (Temple University Press, $29.95) wUl further stoke the fire. Editors Tom Rockmore andJoseph Margolis provide a perceptive foreword to this American edition of the book in which they identify four strategies for dealing with Heidegger's involvement with Nazism. We have (1) the plain position that there is "an intrinsic link between Heidegger's thought and Nazism"; (2) the beUef that the link is purely contingent ; (3) the "learned" form of (2), according to which "Heidegger's detractors are insufficiently aware of the entire body of his thought to criticize it"; and (4) the view which concedes (1) but—watch out!—holds that "the uninitiated, those whose philosophical being is not bound up with Heidegger in an essential way, cannot really measure the importance or full significance of Heidegger's work." Tedious to have to say it, but people whose being is so "bound up" with Heidegger are quite possibly the least qualified to comment on his fascism. The old official stance—Heidegger was naive, guilty only of a temporary "political error," worked from within to protect the university, actuaUy wanted to defend Jews, and, my favorite, must have felt real bad, etc.—is demolished by the documentation in Farias's book. Different readers will be impressed by different items in the mass of material Heidegger and Nazism collects, but the overall case is conclusive. OccasionaUy I have the sense that this book contains too many diversions about characters connected with Heidegger. WhUe people Heidegger was friendly with—for example, the Freiburg mayor, Franz Kerber —may have had unimpeachable Nazi credentials, it is not always clear what this teUs us about Heidegger himself. In general, there is a... (shrink)

The author reads Rimbaud, Mallarme. Holderlin, and Trakl in relation to philosophy, and in particular to Heidegger.

ABSTRACT This article explores the proliferation of “feminine” language in Heidegger's “Die Sprache.” Through a close reading of the text, I trace Heidegger's use of certain terms such as Austragen, gebären, and Schied to show the manner in which Heidegger's reading of Trakl's poem is implicitly guided by a certain understanding of the feminine. I ultimately argue that the ontological difference is understood by Heidegger in terms of the carrying to term and birth of the world that comes about (...) through the intercourse between human beings and things. (shrink)

What will philosophy of technology be as its practitioners depart from the cross- roads of the ideas of Don Ihde and Bernard Stiegler? Their two lines of thought confront and cross each other, giving rise to different ways of understanding technologies. Rather than following one or the other of these directions, I propose an Erörterung of such crossroads. As Heidegger’s commentary on Georg Trakl’s poetry insists, Erörterung means, first, “to point out the proper place or site of something to (...) situate it,” and, second, “to heed that place or site ”. This Erörterung has to be conducted at multiple times, on multiple levels, as each of them hermeneutically identifies its own site. I proceed first through an Erörterung of the crossroads of the thinking of technology after Ihde and Stiegler, and second through an Erörterung of the Ort or the site of the first Erörterung, where the Ort for Heidegger is the land of the evening, the Occident [Abendland], in the throes of globalization, or more precisely Americanisation, a form of disorientation, that obscures the unconcealment of the essence of the human-technology relationship central to Heidegger. In the third part, I propose that the way to integrate and extend Heidegger, Ihde, and Stiegler is to acknowledge the importance of historical, cultural, and geopolitical difference in the interrelationship between the cosmos, morality, and technical activities, what I call cosmotechnics. (shrink)

This essay investigates the way in which dying and dead bodies resist poetic incorporation and the way in which such bodies can be fugitively attested to through fictive prose. It examines Heidegger's treatment of dead and dying bodies from Being and Time to his later work on poetry and language, and it offers as a counterpoint another mode of addressing these bodies found in the fiction of Poe. It also shows how even the poetry of Trakl, heralded by Heidegger (...) as an exemplar of poetic address, can be fruitfully understood in prosaic terms, terms which more faithfully reveal both the content of his poetry itself as well as the true nature of the wounds of dying life. (shrink)

This essay considers together two recent posthumous publications by Derrida: Geschlecht III, and La vie la mort, both of which raise questions concerning translation. In Geschlecht III that is first of all the problem of how to translate the German word, how Heidegger’s reading of Trakl profits from, or loses in its translation, and how Derrida’s reading of Heidegger either does or does not translate Heidegger’s own interpretive practice. Reference to La vie la mort enables analysis of Benjamin’s concept (...) of translation as a form of life that is “not limited to organic corporeality,” and consequently allows me to understand how Derrida’s thinking, very different from that of either Benjamin or Heidegger, takes us way back to something like originary inorganic lifedeath. (shrink)

_ Source: _Volume 48, Issue 1, pp 1 - 28 This paper is an attempt to think through Derrida’s newly discovered _Geschlecht III_, the third and missing installment of Derrida’s four part series on Heidegger and _Geschlecht_. I argue that Derrida’s reading of Heidegger in _Geschlecht III_ needs to be situated within the philosophico-political context of Derrida’s 1984–85 seminar—given under the general title _Philosophical Nationality and Nationalism_—from which _Geschlecht III_ is extracted. In the first part of the paper, I reconstruct (...) Derrida’s general problematic of national-humanism as he lays it out in the opening sessions of the seminar, before arriving at his reading of Heidegger, who will be part of “a sequence of German national-philosophism,” as Derrida calls it. In the second part, the paper turns explicitly to _Geschlecht III_ where, as I show, Derrida’s thoroughgoing denunciation of a national-humanism in Heidegger becomes all the more telling when seen through the theoretical matrix of the seminar. (shrink)

Complex Pleasure deals with questions of literary feeling in eight major German writers—Lessing, Kant, Hölderlin, Nietzsche, Musil, Kafka, Trakl, and Benjamin. On the basis of close readings of these authors Stanley Corngold makes vivid the following ideas: that where there is literature there is complex pleasure; that this pleasure is complex because it involves the impression of a disclosure; that this thought is foremost in the minds of a number of canonical writers; that important literary works in the German (...) tradition—fiction, poetry, critique—can be illuminated through their treatment of literary feeling; and, finally, that the conceptual terms for these forms of feeling continually vary. The types of feeling treated in Complex Pleasure include wit (the startling perception of likeness) and the disinterested pleasure of aesthetic judgment; Hölderlin’s “swift conceptual grasp,” in which “the tempo of the process of thought is stressed”; “artistic imagination,” mood, sadistic enjoyment, rapturous distraction, homonymic dissonance, and courage as a mode of literary experience. At the same time, through the deftness, range, and surprise of its execution, the book itself conveys complex pleasure. The reader will also find fascinating, hitherto untranslated material by Nietzsche (“On Moods”) and Kafka (important sections from his journals and from his unfinished novel The Boy Who Sank Out of Sight). (shrink)

This volume of essays by internationally prominent scholars interprets the full range of Heidegger's thought and major critical interpretations of it. It explores such central themes as hermeneutics, facticity and Ereignis, conscience in Being and Time, freedom in the writings of his period of transition from fundamental ontology, and his mature criticisms of metaphysics and ontotheology. The volume also examines Heidegger's interpretations of other authors, the philosophers Aristotle, Kant and Nietzsche and the poets Rilke, Trakl and George. A final (...) group of essays interprets the critical reception of Heidegger's thought, both in the analytic tradition and in France. This rich and wide-ranging collection will appeal to all who are interested in the themes, the development and the context of Heidegger's philosophical thought. (shrink)

This volume of essays by internationally prominent scholars interprets the full range of Heidegger's thought and major critical interpretations of it. It explores such central themes as hermeneutics, facticity and Ereignis, conscience in Being and Time, freedom in the writings of his period of transition from fundamental ontology, and his mature criticisms of metaphysics and ontotheology. The volume also examines Heidegger's interpretations of other authors, the philosophers Aristotle, Kant and Nietzsche and the poets Rilke, Trakl and George. A final (...) group of essays interprets the critical reception of Heidegger's thought, both in the analytic tradition (Ryle, Carnap, Rorty and Dreyfus) and in France (Derrida and Lv̌inas). This rich and wide-ranging collection will appeal to all who are interested in the themes, the development and the context of Heidegger's philosophical thought. (shrink)

ZusammenfassungTrakl konfrontiert ein materialistisches und ein idealistisches Wirklichkeitskonzept, um die Alltagsrealität als defizient zu kritisieren und auf poetische Weise eine geistige Gegenwirklichkeit orphischer Innerlichkeit zu gewinnen. Er benutzt dazu in Anlehnung an antike und christliche Vorbilder eine traditionelle Bildlichkeit, wonach der Tod als Schattenwelt, das Leben als Traum oder Theaterspiel erscheint, und eine in sich stimmige Symbolik. Zuletzt aber scheitert auch diese rein subjektive Sinnsuche der Erinnerung an bessere Zeiten an der unheilbaren Sinnlosigkeit der sozialen und kulturellen Gegenwart.Trakl confronts (...) a materialistic and an idealistic concept of reality in order to criticize everyday life as deficient and to poetically gain a spiritual counter-reality of orphic inwardness. He uses, based on antique and christian models, a traditional imagery, according to which death appears as a world of shadows, life as a dream or play, and a coherent symbolism. Ultimately, however, this purely subjective search for meaning through the memory of better times fails because of the incurable senselessness of the social and cultural present. (shrink)

This essay traces the pivotal—although largely unspoken—relation between the mother and language in Derrida’s reading of Heidegger’s reading of Trakl in Geschlecht III. Derrida’s gloss of the “idiom” in Heidegger’s text leads to a reflection on the language of gestation through the family of words linking “tragen” (carrying) to “austragen” (carrying to term). Following Derrida, the essay proposes that Heidegger’s conception of the time of the “unborn” in his essay “Language in the Poem” is the time of the promise (...) and the promise of a future that would not be conceived according to a vulgar conception of time. Heidegger’s idiomatic use of the prefix “un-” in the terms “unspoken” and “unborn” can be read as a temporal inflection that opens up another kind of thinking about birth. The essay concludes by asking how the place of the mother is inscribed otherwise in this unthinking of birth. (shrink)

Taking off from the Flügelschlag or coup d’aile in Trakl’s poem to which the ‘ Ein’ of ‘Ein Geschlecht’ responds with the Grundton (fundamental or tonic) of the Gedicht (poem), the article tracks the figure of this noisy wing-flap as a metaphor for the force of reading (aloud) from Geschlecht III to exchanges between Derrida and Cixous in Voiles, Insister, ‘ Fourmis’ and other texts. Alongside figures of take-off, there are also repeated images in these texts of frozen flights (...) and broken or belimed wings which may be connected with the quasi-methodological remarks about the irreducible violence of reading in Glas. This more rigorously deconstructive thought of the coup d’aile moreover implicates a certain sonorousness in reading and thus ought to be understood in tension with the silencing of the gathering ‘Ein Geschlecht’. In conclusion — making a series of leaps within Derrida’s writing — a connection is made between this force of reading and the Cixousian puisse that Derrida analyses as the deconstruction of possibility. (shrink)

The article pursues the theme of “the unborn” in the poetry of Georg Trakl and in the commentaries on Trakl’s poetry by Heidegger and Derrida. It continues a decades-long conversation with Trakl, Heidegger, and Derrida developed most recently in Phantoms of the Other: Four Generations of Derrida’s Geschlecht and in “Derrida, Heidegger, and the Magnetism of the Trakl House,” Philosophy Today, 64:2, 1–24.