Thesis advisor: John Sallis / My thesis attempts to determine the relationship between Homer, Plato, and Nietzsche by tracing Nietzsche's inversion of Platonism with respect to Homer's poetry. I argue that Nietzsche's inversion of Platonism, an inversion that does not just swap the terms of the Platonic hierarchy of intelligible and sensible but subverts the hierarchy itself, entails a specific engagement with Homer. The engagement proceeds with specific attention to the themes of eternal recurrence, nihilism, homelessness and homecoming, and the revaluation of the sensible world. In addition to tracking the threefold of Homer/Plato/Nietzsche, the subtext of the thesis aims at a reconsideration of Heidegger's delimitation of Nietzsche as a metaphysician. My investigation demands a reconsideration of Heidegger's claim that Nietzsche does not return to the beginning as beginning, i.e., Nietzsche's thought remains trapped within Platonism and the metaphysical tradition. Thus Spoke Zarathustra serves as a focal point for this reconsideration since the Zarathustra period contains a preponderant occupation with a revaluation of all prior values, including the Homeric source of many of these values. This direct encounter with the values portrayed in Homer is also prefigured by the Homeric shadow that appears in the aftermath of the overturning of Platonism. / Thesis (PhD) — Boston College, 2009. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Philosophy.

Thesis advisor: Jeffrey Bloechl / In my dissertation I aim to reconstruct the basic principles of Heidegger’s fledgling attempt at a phenomenology of religion in his 1920 and 1921 courses on St. Paul and St. Augustine. In order to understand the parameters and the stakes of that project I consider it light of Husserlian phenomenology as well as broader German trends in “scientific” [Wissenschaftliche] philosophy, theology, and history of religions. The measure of Heidegger’s success is his account of “formal indication,” which endeavors to provide a reflective (i.e. philosophical) articulation of life without privileging a particular theoretical standpoint. This attempt leads him to reconceive phenomenology as a hermeneutics of factical life and to shift his emphasis from a phenomenology of religious consciousness to a phenomenology of religious life. What distinguishes this account is its focus on the “motivated” or “enacted” nature of meaning from out of life. After reconstructing and elaborating Heidegger’s account I note a problematic tendency toward over-formalization that focuses exclusively on the enactment sense (Vollzugsinn) at the expense of the content sense (Gehaltsinn). I enlist the aid of Kierkegaard, whom Heidegger is reading carefully at this point in time, to show why a focus on the appropriative nature of meaning does not require one to ignore its content. I conclude by suggesting some ways that a modified version of Heidegger’s formally indicative philosophy of religion still may prove useful to us today. / Thesis (PhD) — Boston College, 2016. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: Philosophy.

by Hung Suet Yee. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1999. / Includes bibliographical references (leaves 124-129). / Abstract also in Chinese. / Abstract --- p.2 / 撮要 --- p.3 / Table of Content --- p.4 / Abbreviation --- p.6 / Introduction --- p.7 / Chapter A. --- The obvious answer to the who-question --- p.8 / Chapter B. --- The structure of this Thesis --- p.13 / Chapter Chapter I --- "The Question of ""Who"" and the Question of Being" --- p.19 / Chapter A. --- Introduction --- p.19 / Chapter B. --- The Question of Being and Dasein's Understanding of Being --- p.22 / Chapter 1. --- The clarification of the structure of the Question --- p.22 / Chapter 2. --- The circularity of the question --- p.27 / Chapter C. --- Dasein's understanding of Being as its essential characteristic --- p.30 / Chapter 1. --- The preliminary indication of the meaning of Dasein --- p.30 / Chapter 2. --- The analytic of Dasein as distinguished from Anthropology --- p.36 / Chapter D. --- The question of who of Dasein --- p.43 / Chapter E. --- Conclusion --- p.49 / Chapter Chapter II --- "Confronting Descartes´ةand Kant's ""I am´ح" --- p.52 / Chapter A. --- Introduction --- p.52 / Chapter B. --- The Criticism on the Cartesian Ego --- p.54 / Chapter 1. --- Indeterminacy of the sum --- p.57 / Chapter 2. --- Indeterminacy of substantiality --- p.60 / Chapter C. --- The Criticism on the Kantian Cogito --- p.62 / Chapter 1. --- The Paralogism of Pure Reason --- p.64 / Chapter 2. --- The fall back to the indeterminacy of substance --- p.67 / Chapter 3. --- Kant's return to the res cogitans --- p.70 / Chapter D. --- Conclusion --- p.78 / Chapter Chapter III --- "The everyday ""I""一so close yet far away" --- p.81 / Chapter A. --- Introduction --- p.81 / Chapter B. --- Dasein's everyday work-world --- p.83 / Chapter 1. --- "The Heideggerian concept of the ""world""" --- p.85 / Chapter 2. --- The ontico-existentiell explication of Dasein's work-world --- p.87 / Chapter 3. --- The ontologico-existential explanation of worldhood --- p.89 / Chapter 4. --- The work-world and the lack of privilege of Dasein's I-here --- p.93 / Chapter C. --- Dasein's everyday with-world --- p.97 / Chapter 1. --- The primacy of Dasein over the encountering of Other --- p.99 / Chapter 2. --- Dasein's everyday Being-I and the Others --- p.102 / Chapter D. --- Ponclusion --- p.107 / Conclusion --- p.111 / Bibliography --- p.124

Made available in DSpace on 2015-03-04T21:01:07Z (GMT). No. of bitstreams: 0 Previous issue date: 20 / Nenhuma / Nesta dissertação, queremos apresentar alguns aspectos quanto à origem e ao desdobramento da questão da técnica na filosofia de Martin Heidegger. O caminho traçado pela dissertação inicia apresentando o pano de fundo da questão da técnica: a crítica à metafísica tradicional explicitada em Ser e tempo, e a crítica acerca da ciência moderna presente nas Contribuições à filosofia: acerca do acontecimento, a fim de compreender o panorama essencial do problema da técnica no pensamento do Filósofo. Segue mostrando o quanto e como o seu pensamento, já esboçado em seus escritos da segunda metade da década de 30, tem um certo apoio no pensamento de Ernest Jünger. Em seguida, o texto elucida a compreensão heideggeriana a respeito da essência da técnica moderna enquanto composição que tudo arrasta (a noção de Gestell). Por fim, evidencia-se a alternativa proposta por Heidegger em relação aos perigos da técnica moderna, resgatando os significados dos conceitos de physis e techne, bem como a contribuição da linguagem poét / In this dissertation is intended to present some aspects about the origin and the unfolding on the question of technique in Martin Heidegger’s philosophy. The development of the dissertation begins by presenting the background on the case of technique: the criticism to the traditional metaphysics as explained in Being and Time and the criticism about the modern science as it has been showed in Contributions to Philosophy: about the happening in order to understand the essential view of the question about the technique in the Philosopher’s thought. It goes on demonstrating how much and how Heidegger’s ideas, already outlined in his writings on the second half of the thirties, have a certain basis in Ernest Jünger’s ideas. Next, the text explains the Heideggerian understanding in the point of view of the essence of the modern technique as a non-personal device that leads everything away (Gestell’s notion). At last, it is rendered evident the alternative that has been suggested by Heidegger in relation to the ri

In this thesis I offer an exegetical account of Martin Heidegger's 1951/1952 lecture course Was Heisst Denken?. My reading of the text is based on two essential tenets Heidegger puts forward in Was Heisst Denken?: that there cannot be a conceptual definition of thinking and that thinking begins by attending to the unfolding of language from the Ereignis. Thus the thesis aims to show how Heidegger's teaching of thinking takes place largely through attending to the unfolding of language, which seeks to interrupt the conceptual and representational thinking of metaphysics through challenging its instrumental use of language. Heidegger's development of a notion of thinking does thus largely take place through a critique of traditional forms of thinking by seeking to find an entry within metaphysics to that which calls forth thinking, which he names as the twofold of being. As Heidegger presents the lecture course as a concerted effort to learn thinking, the structure of the thesis follows the structure of the lecture course itself, in order to show how the momentum of Heidegger's text builds up through a consistent introduction of difference through language, in order to allow the reader to hear the difference at the heart of the Ereignis itself. To show this my reading is based on the German text rather than its English translation, in order to highlight how Heidegger works with the particularity of the German language in order to find and instil difference within the conceptual and representational thinking of metaphysics.

This thesis offers a genealogical-exegetical account of Heidegger's phenomenology of mood (Stimmung), focusing on his Freiburg and Marburg lectures from 1919 to 1925. In Being and Time, moods manifest the transcendental factical ground of “thrownness” (Geworfenheit) in which an understanding of Being is constituted. However, throughout Heidegger's work, moods have operated as the ground for disclosure, the origin of authentic ontological understanding, the defining character of each historical epoch and as the enactmental urgency that will bring about an ‘other' beginning. This thesis contextualizes Heidegger's accounts of mood within the broader phenomenological project concerning the constitution and grounding of meaning. The first part of the thesis examines the neo-Kantian challenges to philosophy as well as Husserl's response. It further explores the problems Heidegger identifies in Husserl's phenomenology and shows how Heidegger offers a grounding of phenomenological understanding in lived experience, in order to provide a concrete account of a phenomenological “beginning” (Anfang). Heidegger's turn to affects constitutes a radicalization, rather than a repudiation, of Husserlian insights. The second part of the thesis explores Heidegger's earliest accounts of affective phenomena in his interpretations of St. Augustine and Aristotle, where the terminology of Being and Time is developed for the first time. This involves an analysis of Heidegger's accounts of love (Liebe) and joy (Freude) as they figure in the 1920 lecture course Phenomenology of Religious Experience, and analyses the emergence of Angst and other grounding moods (Grundstimmungen). The thesis then looks at Heidegger's early interpretation of Plato and Aristotle in the lecture courses immediately prior to Being and Time, where the technical notion of disposition (Befindlichkeit) emerges, as well as his first analysis of fear (Furcht).

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The study developed in this thesis investigates the relationship between the question of art and the "history of Being", as it will progressively be built on the work of Martin Heidegger, especially after the works from the mid- 1930s. Thus, we sought to identify and highlight the key role that the work of art has to the so-called "turn" that happened in his thinking, leading his work beyond the limits of the existential analysis undertaken in Being and Time (1927) and towards the construction of a "history of Being", the last phase of his thought, developed in works as Beiträge zur Philosofie (1938). In order to accomplish this, the investigation was started at the book The origin of work of art (1935), due to the main role (not only in a chronological sense) that this text has to the problem, since in it Heidegger undertakes the review of concepts as Zuhandenheit and Vorhandenheit, making room in his ontology for a work of art, thus allowing the Being to be thought in a new historical-hermeneutic basis. / O estudo desenvolvido nesta tese teve por intenção investigar a relação entre a questão da arte e a história do ser, tal como esta irá progressivamente se construir na obra de Martin Heidegger, sobretudo a partir de meados da década de 1930. Com isso, pretendeu-se identificar e destacar o papel fundamental que a abordagem desta questão deteve para a chamada viragem (Kehre) e os rumos posteriores da obra deste filósofo, conduzindo seu pensamento para além dos limites da analítica existencial empreendida em Ser e Tempo (1927) e em direção à construção da chamada "história do ser" e à questão do acabamento da metafísica como niilismo, na última fase de seu pensamento e em obras como o Beiträge zur Philosofie (1938). Para tal, partimos da investigação do ensaio A origem da obra de arte, publicado em meados da década de 1930, devido ao caráter central (não apenas em sentido cronológico) que esse texto ocupa para a abordagem do problema, posto nele Heidegger empreender a revisão de conceitos como Zuhandenheit e Vorhandenheit, de modo a assim abrir lugar, em sua ontologia, para este ente que a obra de arte é, com isso permitindo que o acontecimento do ser pudesse vir a ser pensando em novas bases e em perspectiva histórico-hermenêutica.

Informe de Seminario para optar al grado de Licenciado en Filosofía / El presente ensayo está dirigido por la siguiente pregunta: qué son los sentimientos. Mi tarea, humilde y acotada, no pretende definir qué es todo sentimiento, algo que por ahora me parece imposible. Sino que pretendo algo mucho más limitado: esclarecer la constitución esencial que desempeñan en nuestra existencia. Para ello, recurriré al texto de Heidegger Los conceptos fundamentales de la metafísica. Discutiendo los elementos centrales contenidos en el texto, siempre con vistas a mi propio preguntar. En este sentido es importante considerar que el discurso de Heidegger surge en un contexto específico, con una tarea específica, a saber, despertar un temple de ánimo fundamental que haya de portar nuestro filosofar, para desde éste, interrogar por los problemáticos conceptos mundo, finitud y aislamiento. Me distanciaré por lo tanto de la tarea general en que se enmarca el discurso heideggeriano, no para hacer caso omiso de su verdadero preguntar, sino para esclarecer mí auténtico preguntar.

This thesis describes the way in which sound is taken up and subsequently suppressed within the visual arts. The idealisation and development of sound as a plastic material is able to be traced within the modernist trajectory, which, reflecting a set of cultural practices and having developed its own specific terminologies, comes to regard any material, or anything conceived of as material, as appropriate and adequate to the expression of its distinctive and guiding concepts and metaphors. These concepts and metaphors are discussed as already having at their bases strongly visualist biases, the genealogies of which are traced within traditional or formal philosophies. Here, the marginalising tendency of ocularcentrism is exposed, but the very nature and contingency of marginalisation is found to work for the sound artist (where the perpetuation of the mythologised 'outsider' figure is desired) but against sound which is positioned in a purely differential and negative relation. In this epistemological and ontological reduction, sound becomes simply a visual metaphor or metonymic contraction which forecloses the possibility of producing other ways of articulating its experience or of producing any markedly alternative 'readings'. Rather than simply attempting to reverse the hierarchisation of the visual over the aural, or of prefacing sound within a range of artistic practices (each which would keep the negative tradition going) sound's ambiguous relation to the binarism of presence/absence, system and margin, is, however oddly, elaborated. The strategy which attempts to suspend sound primarily within and under the mark of the concept is interrogated and its limits exposed. The sound artist, the 'margin surfer' is revealed as a perhaps deeply conservative figure who may in the end desire the suppression of sound, and who, actually rejecting any destabilising and threatening notion of 'radical alterity' anxiously clings to the 'marginalised' modernist pretence. It is the main contention of this thesis that the marginalisation of sound obscures the more pressing question of its ambiguous relation to notions of sameness and difference, and that its conceptualisation suppresses the question of the ethical. That the ethical question should (and always does) take 'precedence' over purely epistemological and ontological considerations, and that more genuinely open attitudes should be assumed with respect to sound studies are forwarded in this thesis / Master of Arts (Hons)

The relationship between teacher and student has always been a central interest of the educational process. While the nature of this relationship can be understood from various theoretical frameworks, research that seeks to understand the “lived experience” of this relationship is less prevalent. This research explores the phenomenological nature of the teacher-student relationship in the context of teacher education. Stories of the lived experience of this relationship were hermeneutically interpreted against the philosophical writings of Heidegger, Gadamer, and Buber. The research answers the question: what is the meaning of the teacher-student relationship? Relationships are essential to the educational experience whether this is recognised or not, and whether we are consciously aware of this or not. Once established, relationships continue to exist beyond the time and space of the individuals influencing future relational experiences. In addition, a teacher’s comportment has been found to have a communicative aspect that is felt and sensed by others. A further essential understanding opens the play of relating. That is, the teacher and student experience their relationship as a play that is unscripted, uncertain, and lived beyond the rules of engagement. In this play, teachers who are attuned to relationship show a phronesis, or practical wisdom, as they relate moment by moment. The outcomes of this research call into question technicist and instrumental models of teacher education which are presently underpinned by the dominant neoliberal ideology. Consistent with critical and humanistic approaches to education, this research calls for the humanising of the educational experience through the educating and re-educating of teacher educators and teachers towards essential understandings of relationship.