In mid-later Heidegger’s thought, polemos, an idea he borrows from Heraclitus’ Fragment 53, prevails in his works as that which creates the possibility of a fundamentally metaphysical decision of to-be-or-not-to-be. This decision clearly corresponds to the primal conflict between the “world” and the “earth” (the concealment and the unconcealment of Being) in a “rift-design” that he depicts in “The Origin of the Work of Art.” Based on a textual analysis of “The Origin” and related writings, which follows a phenomenological examination of the guiding questions in Heidegger’s progression from the study of Dasein to the study of being as such, I provide an exegesis that clarifies how, in Heidegger’s conception of art, polemos preserved by thinghood is entangled with other elements in his entire metaphysical inquiry. I show that polemos is a re-enchanting path in the light of which Heidegger ontologically uncovers the predetermined ethical connection between the human and the sacred, having as its medium the thing and as its end freedom, with the potential of bringing salvific power to a destitute age characterized by positivistic machination. Moreover, by interpreting Heidegger’s concept of beauty as phainesthai engaged in and with aletheia conditioned by polemos, I illustrate Heidegger’s reconfiguration of the history of Western metaphysics in order to illuminate its repetitive moments through which he overcomes it.

Dès sa découverte en 1962, le Papyrus de Derveni, le plus ancien manuscrit d'Europe, n'a pas cessé de soulever des interrogations majeures relatives à la transmission, à l'interprétation et à la fonction des textes orphiques. Le Papyrus de Derveni nous fournit aussi un témoignage de premier ordre quant à l'influence de la philosophie présocratique sur les doctrines orphiques. Cette thèse est la première édition critique française du Papyrus de Derveni. Celle-ci comprend un apparat critique complet ainsi que des notes au texte. Ce travail de recherche propose aussi une étude monographique du Papyrus de Derveni. Nous avons porté une attention toute particulière à l'analyse du poème orphique, aux techniques exégétiques employées et aux thématiques philosophiques de l'écrit contenu dans le Papyrus de Derveni. Nous avons, en outre, comparé les doctrines cosmologiques et philosophiques proposées par son auteur avec les théories d'Héraclite d’Éphèse, d'Anaxagore de Clazomènes, de Diogène d'Apollonie et Archélaos d’Athènes. / Since his discovery in 1962, the Derveni Papyrus, the most ancient manuscript of Europe, has rase full of major questions about the transmission, the interpretation and the function of the orphic texts. The Derveni Papyrus offers us an emblematic testimony about the influence of Presocratic Philosophy on the orphic doctrines. This thesis is the first french critical edition of the Derveni Papyrus with a critical apparatus and notes on the text. This research paper also provides a monographic study of this document. We especially focused our attention on the orphic poem quoted by the author of the Derveni Papyrus, on the exegetical technics he employed and on the philosophical doctrines he proposed. We particularly compared the cosmological and philosophical theories of the Derveni Papyrus author with that of Heraclitus of Ephesus, Anaxagoras of Clazomenae, Diogenes of Apollonia and Archelaus of Athens.