heidegger

Heidegger believes that metaphysical understanding of art and aesthetic theories have a fundamental influence on our relationship with art and works of art. This issue has spread both to the field of understanding of works of art (as an audience) and to the field of creation of works of art (as a creator). The path that Heidegger offers to go beyond aesthetics and even beyond subjectivism is the "hermeneutic phenomenology of great works of art". This path, from his viewpoint, is the only way to approach the essence of art. In this phenomenological path, he reaches a circle. A circle where one side is the truth of art and the other side is the work of art. This paper seeks to examine how Heidegger, through a phenomenological-hermeneutical analysis of some great works of art, shows that it is possible to phenomenologically investigate the essence of art and take a step towards discovering the truth of art. In this regard, this paper tries to recognize some inherent elements of art. "The happening of truth in the work of art" and "set up the world as a result of the work of art" are among these inherent elements.

Existential thinking is a key concept that contrasts with metaphysical-conceptual thinking, which does not rely on representation or imagery, nor does it seek to uncover truth through conceptualization and logical categorization. This mode of thinking is directed toward the truth of existence and invites us to remain open to Being and its manifestations. Existential thinking, described as poetic, can be articulated in light of the teachings of both Ibn Arabi and Heidegger. Hence, the main issue of this paper is to provide a comparative study of poetic existential thinking from the perspectives of Heidegger and Ibn Arabi. This study employs an analytical-comparative approach and yields the following results Both thinkers regard poetic perception as a way of encountering the truth of existence, a perception through which one gains access to a reality beyond the mere appearance of phenomena. Heidegger asserts that art, especially poetry, is the site where truth happens—a poetry in which truth reveals itself and leads to the opening of new horizons in human thought. Similarly, Ibn Arabi introduces art as craftsmanship that reflects the manifestation of divine names in the world. He believes that poetry, as the highest form of art, is a path to the realm of the unseen and can assist humans in their encounter with the truth of existence.

In the fundamental ontology, "being in" is one of the main focuses of Heidegger's words. This word takes meaning with its complement, the world. Martin Heidegger, a German philosopher and phenomenologist, begins the analysis of the meaning of dwelling in his advanced thought of everydayness being-in-the-world and he links it with other concepts in his later treatises. In this article, the author shows the meaning of dwelling from Heidegger's point of view and how it can happen in the age of the world picture, using a library method and in a descriptive-analytical way. By studying Heidegger's works, we can conclude that from the general concept of dwelling, Being aspects and nothingness aspects can be understood, which can be generalized to the concepts of being-in-a-space and being-in-Da. The first syllable, which means being dwelling, has the ability to face " Being ", and the second syllable, which is nothingness dwelling, although it is elusive and does not come into contact, it is "Da" and seeks " nothingness ". This latter aspects of dwelling can be called.

The main subject posited by Heidegger in his philosophy is existence. He believes that this subject has been neglected in the history of Western philosophy after Plato and Aristotle and it that it has been replaced by epistemology. In the modern era, he has made a lot of efforts to the revitalization of the forgotten subject, “existence”. He endeavored to transcend beyond the conceptual realm of existence and get to the objective and concrete depth of existence. To achieve this goal, Heidegger looks for a way of identifying existence; for the same reason, he becomes more inclined toward human beings. From his perspective, humans are the only beings capable of asking about existence and they are the sole manifestations able to grant meaning to all the other phenomena. The question about existence can only come about through the creatures because existence is latent inside all of them and its solution lies in the analysis and investigation of the concrete reality of existence. The present article tries briefly evaluating the thoughts of this German philosopher about the existence.

The present analyzes Kant's subjectivist understanding of the concept of the event in the way aesthetic judgments are issued under the aesthetic experience. Heidegger returns to the original position of Ereignis or event in the way of finding the question about understanding the inner foundations of language. An event is a situation in which language reveals itself through speech and speaks about itself, and in this way, other beings also enter the field of presence. But in Kant, the subjectivist view of the event is revealed in the free play between imagination and understanding. Kant does not directly use the concept of event in explaining the beautiful thing. However, the examination of his view on the validity of aesthetic judgments indicates the cognitive interaction between understanding and imagination, which beyond epistemological rules and foundations is revealed in a general, necessary, and universal way in the situation of the event. From Kant's point of view, because the understanding is faced with difficulties in how to issue reflective judgments, and the understanding lacks prior categories that can formulate the sensory impressions contained in the imagination, therefore, the issuing of judgments outside of the cognitive rules is manifested in an event-like way. The subject goes beyond their subjectivity in relation to the object to beyond the object at the moment of encounter, they interact through the event of the game. It is the first interaction of the subject with the world and then the free play between imagination and understanding.

The matter of death has been and is always one of the greatest and major questions of the man. “What is death and how we can escape from or even having philosopher's stone” have been always one of the important subjects in the literature. The matter of death had and has also certain position in philosophy. Hence, this philosophical issue has been emerged in different forms in literary and artistic works. Samuel Beckett as one of the founders of absurdism in theater literature has coped to this important philosophical matter in his works. This article tries to review Heidegger’s perusal of the death matter in the play of “Endgame” by Beckett. In this research, the content of anguish and its relation with the matter of death in the play of Endgame which is resulted to prolonged ennui and absurdity has been reviewed on the strength of Heidegger’s opinions. Whereas, in this article the point is Endgame play with the theme of death, we should say the Heidegger’s philosophy could make us clear the philosophical sights of Beckett about death in this play. This matter could not just help the audiences of Beckett theater to better understand his hidden philosophy in his theater works, but could be a clear practical example to understand the phenomenological meaning of death from the Heidegger’s opinion. This article has been written by citing to librarian resources and references.

The purpose of this article is to create a link between ontology and musical forms. To achieve this goal, Heidegger's fundamental ontology is posed against Deleuze's differential ontology so that the possibilities of this contrast can be used. In this article, with a descriptive-analytical method and a comparative approach, we tried to explain the two types of Heidegger's and Deleuze's ontology by applying it to two musical forms: one fugue and the other ritornello. Thus, Heidegger's world is a fugue that presents the same despite all the variations of the performance of a main musical subject (or a singular voice). Being in this attitude is homogenous and unique. The difference in this way of considering the phenomenon is considered secondary to Being. In this ontology and related concepts, experiences of becoming other, subject movement, becoming a subject due to deterritorialization, the possibility of active participation of people in the whole destiny, and the possibility of changing and reforming the way of life of people are limited. Deleuze's world brings the most different people together in his ontology by resorting to the rhythm and musical form of ritornello. So that at the same time they harmonize, their tonal differences are preserved. Being is the differential. In Deleuze's ontology, with the possibility of territorialism, the way to the subject movement and the possibility of becoming is available. A subject movement in society based on rhythm creates changes in the individual and social relations in which one can expect active participation in determining the destiny of all people. Conditionally, a society is created where people can correct their way of life. The results of this reading and connection show the different social functions of the ontology of the two thinkers.

Focusing on Heidegger's and Derrida's interpretations of Plato, this paper highlights a line of interpretation in which Plato is seen as the origin of a philosophical understanding that dismisses the hidden aspect of Being and truth. Against this line, Foucault's interpretation of Plato and Greek philosophical practices is elaborated. Considering this interpretation, it becomes clear that we are dealing with two distinct descriptions of Greek philosophical practices and their relation to the rise of modernity: one that views modernity as an extension of the deepest meanings embedded in Greek metaphysics and another that interprets the foundations of modern philosophy in opposition to the basis of Platonic thought, seeing Plato and the ancient philosophical approaches influenced by him as an avenue for resisting modern domination. Although Foucault's project on the art of living owes much to Heidegger's ideas about care of the self and the work of art, it allows Foucault to offer a different interpretation of Plato. We show the methodological considerations that enable Foucault to present this distinct interpretation. To achieve such an interpretation, Foucault focuses on the practices of writing, logos, and truth as parrhesia in Plato's thought and Greek philosophy. Following Foucault's path, we offer an analysis of forms, Agathon, and dialogue that emphasizes their living, engaging, aesthetic, and political aspects. This conceptual and methodological toolkit helps us to introduce and develop an alternative interpretive line of Plato's thought.

The concept of Logos has undergone a complicated process of development. This term was used for the first time by pre-Socratic philosophers as a fundamental concept in relation to the universal and regulative intellect. Heraclitus granted Logos an original status in philosophy. After him, some other philosophers used this term in different meanings and functions in Greek. In Christianity, Logos turned into a divine power and Christ himself. In the contemporary era, Heidegger used this concept in order to explain his perception of language and its relation to Dasein. In this paper, the authors aim to propound and investigate the meanings and concepts that the Greek tried to express using the term Logos based on available evidence in the history of philosophy in ancient Greece. Next, they analyze Heidegger’s standpoint on this old concept and his interpretation and use of Logos in revealing his intentions in terms of linguistic ontology. After comparing the Greeks’ ideas of Logos and Heidegger’s understanding of this term, they conclude that Heidegger chooses Logos because it allows things to be seen. This is because in his view language is not only a tool for communication but also a revealer of the truth of existents. Therefore, he has paid greater attention to this aspect of Logos.

In his philosophical studies, Heidegger opens a new approach to thinking, which is different from metaphysical thinking, and he refers to it as "existential thinking". According to him, "existential thinking" is a thinking arising from existence and about it, and the source of that existence is as an event. The event itself, as a historical description, is actually a gift of existence in the ages, and thought must be receptive to it. This gift shows itself in poetry; Because language is a condition for the emergence and revelation of the existence of beings. Poetry opens a magazine for the emergence of the truth of existence, and it is the poet and thinker who must protect this emergence. Therefore, "existential thinking" is the same as the essence of poetry, despite the special insight that Heidegger's existential thinking is a way to meditate on existence. It is open to us, there seem to be ambiguities and criticisms of his approach, including the suspicion of limiting the truth of existence to the horizon of time, ambiguity about the stability or modernity of existence, the possibility of any tasteful perception of existence without rational criteria, and finally, the diminution of the role of will and Human free will and submission to a type of predestination and determinism. In this article, we intend to first analyze Heidegger's late "existential thought" foundation and its coordinates with descriptive-analytical method and then criticize Heidegger's approach with a critical approach.

The present article with the aim of interpretation and reviving the meaning of forgiveness is reading Ricoeur’s “Thereness” of forgiveness. Therefore, according to hermeneutical understanding, Being is interpreted as forgiveness and giveness and by using hermeneutics method and an ontological perspective, the findings of the research illustrated that the conditions of possibility in understanding is Being-in–the-world and projecting in the future possibilities. As well, I found that understanding as a possible Being-ness, is the possibility of forgiveness. According to this theoretical view and by using Ricoeur’s narrative structure we are going to answer to these main questions that how can forgiveness be possible as Being-ness and how human can understand his possibilities in the arena of “I can” and give meaning to them? In order to illustrate the manifestation of forgiveness in the world of the text and  showing how the “Thereness” of Dasein can be possible, we project ourselves in the narrative possibilities of Time of Love movie through re-figuration to achieve a reading of forgiveness and new understanding of ourselves. According to Ricoeur’s view as each interpretation is an understanding of ourselves through the other, by placing ourselves in the possibilities of the story’s hero and emphasizing on “I can”, we’ll pass our present self and enter to the arena of love and forgiveness; we’ll place “there”.

Although the background of the correspondence theory as a criterion of truth goes back to the Plato's doctrine of ideas, the proposing and development of this theory takes place in Aristotle's philosophy. According to Aristotle, truth means the correspondence of a judgment or statement with reality, and untruth and falsehood mean non-correspondence. Since the time of Aristotle, the correspondence theory, despite its ups and downs, has always been one of the dominant theories in the field of epistemology. Of course, some philosophers, while paying attention to the correspondence theory, have pointed to something prior to this theory, which basically made it possible to be proposed. Heidegger and Suhrawardi, while criticizing the philosophical traditions before themselves, have emphasized that the basic understanding of man and his relationship with objects and phenomena is not a matter of proposition and judgment. Now important question arises: what is prior to the propositional truth that provides the possibility of truth in the meaning of correspondence? With a descriptive-analytical method, this article tries to investigate this question from the point of view of Suhrawardi and Heidegger. Heidegger believes that the truth in the sense of unhiddenness (Aletheia) is the primary meaning of truth, and the forgetting of this meaning has caused truth to be proposed in the meaning of correspondence. Suhrawardi also believes that truth in the sense of the intuition of objects precedes the correspondence theory. Heidegger and suhrawardi believe that the correspondence theory does not have the necessary efficiency for the disclosure of truth.

The meaning of life is one of the most important concepts in the history of philosophy, which has preoccupied many philosophers. In modern era, the traditional concept of meaning has lost its credibility due to the explosion in every field of knowledge and technology, and subsequently, the migration of the Gods. Martin Heidegger, as the most important philosopher of the Twentieth Century, focused his attention on the meaning of life in modern thought in the absence of metaphysical Gods. In the first period of his intellectual gestation, he sought to dream up a meaning for life by rejecting any kind of idealistic approach based on the concept of his fundamental ontology.  Therefore, the aim of this study was to analyze the hermeneutic phenomenology of Dasein in order to get  a  better understanding of the meaning of authentic existence, which is the main mission of  early Heidegger's philosophy. Heidegger's thought and his fundamental ontology focused on the human beings as Dasein. Heidegger believed that the truth of existence could be understood by  Dasein because the existence could be observed in the human beings. Accordingly, to obtain the meaning of life, Heidegger unravels the mystery of the fundamental structures of Dasein which are related to each other, including being-in-the-world, fear and the consciousness of death using his hermeneutic conception of language. He concluded that Dasein could obtain an authentic life as a meaningful life using the consciousness of death of and freedom from the Daesin's domination through free choices. However, Heidegger believed that the will is not  the only solution, and also  we should always open up the new perspective in this regard  that existence itself provides for us.

Heidegger in Being and Time represents death as the culmination of Dasein in his life possibilities and considers it as a criterion in defining the totality of Dasein, its suspension of being and its stretching from birth to death, a problem that apparently has no connection with the Christian tradition. However, the explanation of death, especially in Section 48 of his magnum opus, refers to a humanistic conception of death in the late Middle Ages which was first introduced by the Czech poet Johannes von Tepl in the 15th-century poem The Plowman from Bohemia (Der Ackermann aus Böhmen). Heidegger’s particular use of a quotation from this poem in explaining Dasein’s death in Being and Time on the simultaneity of Dasein’s birth and death builds upon the humanist interpretation that Johannes presents in his poem. Johannes’ Christian humanism in rendering the relationship between humanity and death was not only gave a new interpretation of death in line with late Medieval philosophy but also played a significant role in the development of humanist thought at the beginning of the European Renaissance. Exploring Heidegger's use of Johannes’ poem in processing the concept of Dasein’s death not only makes it possible to better understand this phenomenon but also reads Heidegger's non-religious philosophical framework in defining Dasein in light of Christian humanism.

The present study aims to compare the ideas of Heidegger and earlier Soroush’s thought on technology. The study employed a comparative research technique. The relationship between subjectivism and modern technology was first analyzed, as well as Heidegger’s approach to technology for advancing the study. It was emphasized that, according to Heidegger, technology was not a mere tool but a kind of development, ontology, and way of thinking that changed modern man’s view of the world and man. According to Heidegger, the only way to correctly face modern technology is to meet it with discontinuity-connection. In the continuation of the research, Soroush’s young and advanced thought about technology was analyzed with an emphasis on the article “Art and Contentment.” It was pointed out that the primary and fundamental finding of Soroush’s approach in the article “Industry and Contentment” about modern technology was a negative approach based on the complete negation of contemporary technology. The final results of the research indicated that by comparing Soroush’s and Heidegger’s views on technology, Heidegger’s encounter with modern technology was based on separation and connection. This is while occurs when early Soroush adopted a negative attitude towards modern technology and could not establish a dialogical and dialectical encounter with modern technology.

In the upcoming research, relying on the descriptive-analytical method, we are trying to answer the question that does the Heidegger's phenomenology of religious life have an epistemological infrastructure? It seems that the basis of the phenomenology of Heidegger's religious life is based on the understanding of Dasein from the reality of religious life and gaining awareness of the essence of religious life based on the mechanism of Dasein's understanding. Investigating the role of human existence (= Dasein) in reaching the truth of religious life in the form of Heidegger's phenomenological approach to religious life is the main motivation of the researcher, which introduces us to the epistemological basis of Heidegger's phenomenology. Based on the evaluation, Dasein is a conscious agent in confronting religious life, and the knowledge that is produced in this way is a certain knowledge that depends on the essence of religious life through the understanding mechanism of Dasein.

The Philosophical investigations in to the Essence of Human freedom (1809) is an ontological research about freedom as human nature, which acknowledges the positive and determining aspect of evil in the nature of human freedom. Schelling mentions the ontological distinction of "ground" and "existence" to establish the possibility of freedom (evil) in the totality of beings, as a whole. Heidegger considers this distinction to be one of the innovations of Schelling's philosophy, and in Schilling's treatise on the Essence of human freedom (1936), he calls it "The distinction of being". In his opinion, the position of freedom in Schelling's system is realized in an ontological foundation, and his question of freedom can be transferred to the question of existence, as the fundamental question of philosophy. the important goal of this article is to analyze Heidegger's interpretation of the distinction between ground and existence as an ontological condition for the possibility of evil in Schelling's system of freedom. This research seeks answers to these two questions: How does this distinction pave the way for explaining the ontological basis of the possibility of evil? And why, in order to know these two principles, it is necessary to examine the human spirit and its essence as freedom? We will show how in Heidegger's interpretation of Schelling's reading, despite his accepted proximity to this fundamental distinction, he still fails idealist philosophy, including Schelling's philosophical system, in taking the final step beyond the fundamental structures of metaphysics of will and true liberation from metaphysical tradition.

At the beginning of Being and Time, Bergson's name comes alongside Aristotle’s name when Heidegger tried to distinguish the concept of temporality from traditional time. Now, the question is why after Aristotle, the name of Bergson comes? If he meant to name the last philosopher, why didn’t he mention Husserl, who was Heidegger’s professor and was supposed to have a lecture about Time-consciousness? Why not Hegel, whose interpretation of the concept of time is the subject of the penultimate chapter in Being and Time? Why not Dilthey, whose thoughts are the focus of Heidegger’s most critical early investigations of time? However, in the footnote near the end of Being and Time, Heidegger admits that he only wanted to distinguish his thoughts from Bergson about the concept of time. But our investigations show something different. It shows that Heidegger used Bergson’s concept of time to build his theory in Being and Time. Although, recently, researchers gave a great interest to Bergson's work and his influences on Gilles Deleuze's philosophy, but the questions about Bergson's influence on phenomenology and Heidegger's philosophy had been unanswered. The increasing attention of scholars toward these questions is promising, but not enough. This article tries to answer some of these questions.

In their discussion of knowledge (science) and the criticism of the philosophical traditions before them, both Shahabu al-Din Suhrawardi and Martin Heidegger argue that the authentic perception is a part of direct and intuitive knowledge of the truth and the very essences of things, rather than the impression of the form or concept of an object in the mind. Relying on the luminous-natured identity of self and knowledge, Suhrawardi considers the entire states and types of perception to be of direct and intuitive knowledge. With his theory of man (Dasein) as a "being in the world", while emphasizing the inherent openness of man, Heidegger holds that in the course of practical communication, man removes the veils from himself, the beings and the world and thus man's authentic understanding is of intuitive existence and of presence cognation. While both thinkers emphasize the pre-conceptual nature of the authentic perception, they also embrace conceptual (acquired) perception at a later stage. However, viewing the difference in culture and intellectual tradition of the two thinkers, there naturally are differences of opinion between them. Through an analytical-comparative method, this article has determined the similarities and differences of the two philosophers as to direct perception.