This dissertation explores the philosophy of history that Heidegger presents in his early magnum opus, Being and Time. I argue that his philosophy of history differs importantly from several influential philosophical studies of history by his predecessors (particularly Heinrich Rickert and Edmund Husserl), and that it makes a valuable contribution to subsequent philosophy of history. Heidegger’s existential analysis emphasizes the interpretive character of the individual’s relation to history and, as a consequence, the hermeneutical features of any philosophical approach to history. An essential part of his analysis is his insistence on the individual’s frequently shirked responsibility for her interpretations. I argue that this focus on personal responsibility for historical interpretation places a burden upon the individual but also opens a possibility for creative engagement with the world. The value of the future is opened through the individual’s responsible engagement with her history. In the first the two chapters I introduce general sorts of problems that have beset the philosophy of history in the last two centuries, in particular, the problems presented by the prospect of an objective interpretation of history. Since the objectivity of an interpretation implies that the interpretation has some authority over those who understand it, I contend that the prospect of objective historical interpretation raises specific and daunting questions about one’s responsibility with regard to such interpretations. I continue the theme of responsibility and authority in the latter two chapters. There, I am interested in dissuading the reader from the view that Heidegger adopts an irresponsible attitude toward historical interpretation in Being and Time. By way of presenting a defense of Heidegger’s analysis of authenticity and inauthenticity, I argue that his philosophy amounts to a robust defense of historical responsibility. Through his analysis of conscience, guilt and resoluteness, Heidegger demonstrates Dasein’s capacity to recognize itself as a kind of entity that can and, indeed, must take responsibility for its interpretations and thereby for its historicity.

This thesis examines the claim that the existential philosophy of Martin Heidegger's Being and Time necessarily leads to an authoritarian politics. Using the arguments of Jurgen Habermas and Richard Wolin, I examine the contention that Heidegger's dichotomy between "authenticity" and "inauthenticity" is essentially a normative distinction between good and bad, serving to irrevocably split the social world into classes of leaders and followers. Against this, I argue that distinction between “authenticity” and "inauthenticity" is ethically neutral and therefore has no necessary political momentum in any direction. Heidegger's critics argue that Being and Time reflects an "ideologically tinged worldview" that deems everyday social understandings and interaction as worthless "inauthenticity" obstructing the realization of our true "authentic" essence. With no positive valuation of the common social practices that any democratic political framework deems essential, "authenticity" leads inextricably to a detached and arbitrary elitism amenable to an authoritarian politics. I argue, however, that "inauthenticity" embodies a range of positive as well as negative phenomena from which "authenticity" can never extricate itself. Instead of representing a dichotomization of the social body, the split between "authenticity" and "inauthenticity” is an ethically neutral distinction between the awareness and non-awareness of the self. Contrary to the critics' arguments, "authentic" self-awareness is not the repudiation of our everyday social world, but instead is contingent upon how we go about our everyday social projects. Thus, lacking the totalizing critique of our everyday social world and common understandings, Heidegger's existential analytic is better understood as a normatively neutral philosophical perspective that does not necessarily lead in any political or ethical direction. / Master of Arts

Made available in DSpace on 2016-03-15T19:44:06Z (GMT). No. of bitstreams: 1 Francione Oliveira Carvalho.pdf: 1412786 bytes, checksum: 50a3ba04055b8527e0ae414d7a262795 (MD5) Previous issue date: 2011-12-19 / Fundo Mackenzie de Pesquisa / his study is part of the thesis that cultural integration in the social imaginary of Foz do Iguaçu, a Brazilian triple border town in the Western area of the State of Parana, is only a political and ideological construction rather than authentic expression by the citizens of that city. The focus of our investigation is based on the social relationship among Brazilian citizens with immigrants of Arab origin in Foz do Iguaçu, as well as the social relationship among Foz do Iguaçu citizens with their neighbors from Puerto Iguazu, a border town in Argentina. Our investigation took place in the Program for Bilingual Schools of Border Areas (PEBF) and in the Lebanese-Brazilian School. We agree with Charles Taylor when he says that inauthenticity is an alienated action by someone, which means the lack of perception on moral configuration and reference links which form one s authenticity. Self-perception demands cognitive structures, affinities and other qualifications intrinsic to a scenery which is created by the means of interaction among several social groups. Once people do not give much attention to this perception they end up moving in an inaccurate and inauthentic way through the public spaces. It is believed that because of intercultural inauthenticity people from different cultures produce actions or practices concerned with a protocol or institutionalized culture, rather than making a true contact with the other, what leads them to instable relationships based on power and on the necessity of identity recognition / A investigação parte da tese de que a integração cultural presente no imaginário social de Foz do Iguaçu, cidade brasileira de tríplice fronteira localizada no oeste do estado do Paraná, é mais uma construção política e ideológica do que uma expressão autêntica dos habitantes desta cidade. O recorte investigativo se dá a partir das relações sociais estabelecidas entre os habitantes de Foz do Iguaçu e os vizinhos da fronteira argentina, na cidade de Puerto Iguazú, e os moradores da cidade brasileira com os imigrantes de origem árabe. Tendo o Programa Escolas Bilíngues de Fronteira (PEBF) e a Escola Libanesa Brasileira como locais privilegiados da investigação. A partir de Charles Taylor, compreendemos a inautenticidade como ação alienada do sujeito, a falta de percepção sobre as configurações morais e elos referenciais significativos que formam a sua identidade. A percepção que os sujeitos possuem de si mesmos depende de estruturas cognitivas, afinidades comuns e outras qualificações inscritas num cenário que surge das interações com os diversos grupos sociais. Ao ficar alheios a esta percepção, os sujeitos acabam se movendo no espaço público de forma imprecisa e sem autenticidade. Acredita-se que a inautenticidade intercultural faz com os sujeitos de culturas diversas produzam ações ou práticas mais próximas do protocolo e da institucionalização da cultura do que do contato qualificado com o outro, criando relações instáveis e permeadas por poder e pela necessidade de reconhecimento identitário

The thesis deals with the issue of authentic or inauthentic work of art in the context of philosophy of authentic / inauthentic mode of existence (Dasein) as it was developed by Martin Heidegger in his Time and Being. The reason for addressing this issue is an effort to open the possibility of understanding authenticity or inauthenticity of individual Dasein in the manner which grasps it in the act of its performance, i.e. as a singular event. Thinking of authentic / inauthentic work of art demonstrates the limits of approach which understands authenticity only as certain originality or "selfness" which should belong to something authentic or inauthentic, almost like its accident. This thesis is therefore concerned with what is revealed if the concept of authenticity is transposed to a work of art. Since it is the subject who can make the act of performance of authenticity happen, the author and the recipient of the authentic / inauthentic work of art are problematized as well. When dealing with the work of art with respect to its temporality (historicality) or its being, the thesis also provides room for the issue of perception of the work of art. The resemblance of the author and the recipient is thus revealed and so is the necessity to learn to see not only artworks as such but to see them...

Ce mémoire de maitrise s’intéresse à l’être-vers-la-mort dans Être et temps de Heidegger afin de montrer dans quelle mesure la pensée heideggérienne de la mort peut être comprise comme une manière d’affirmer la vie. En effet, une réflexion dirigée sur la mort permet à la réalité humaine de se comprendre à partir de la fin, selon sa finitude. C’est une caractéristique de la réalité humaine que d’être toujours « en devenir », la mort étant la possibilité limite qui vient mettre fin à ce caractère de possible. Une telle compréhension de soi permet alors le dévoilement de l’ensemble des possibilités de la vie en vue de la fin. Il s’agit de se comprendre et de comprendre nos possibilités pour ce qu’elles sont, c’est-à-dire finies. Dès lors, leur sens se trouve transformé, voire révélé. L’inauthenticité et l’authenticité sont pour Heidegger les deux façons d’affronter la mort, deux manières de vivre sa finitude. C’est dans l’authenticité que la réalité humaine sera elle-même et pourra vivre dans la pleine conscience de sa finitude. Il reste que la réalité humaine est d’abord et le plus souvent inauthentique. Ce mémoire se proposera donc en un premier temps de présenter ces deux modes d’être et de compréhension de l’être-là de la réalité humaine et accordera, en un deuxième temps, une attention particulière aux concepts d’angoisse et de fuite. La trajectoire suivra celle des paragraphes 46 à 54 d’Être et temps consacrés à l’être-vers-la-mort. La tâche finale sera de montrer en quoi une pensée de la mort permet de voir dans une nouvelle affirmation de la vie la conséquence d’un être-vers-la-mort authentique. / This master’s thesis examines being-towards-death in Heidegger’s Being and Time in order to show to what extent the Heideggerian thought of death can be understood as a way of affirming life. Indeed, a reflection directed towards death allows human reality to be understood from its end, i.e., according to its finitude. It is a characteristic of human reality to always be "in the making", death being the limiting possibility which puts an end to this character of possibility. Such an understanding of oneself then allows the unveiling of the full range of possibilities of life with a view to the end. It is about understanding ourselves and our possibilities for what they are, that is, limited and finite. Consequently, their meaning is transformed, even revealed. Inauthenticity and authenticity are for Heidegger the two ways of facing death, two ways of experiencing one’s finitude. It is in authenticity that human reality will be itself and can live in full awareness of its finitude. On the other hand, human reality is initially inauthentic. This thesis will therefore start by recalling the basic characteristics of these two modes of being and of understanding the being of human reality and will then pay particular attention to the concepts of anxiety and flight. The trajectory will follow that of paragraphs 46 to 54 of Being and Time devoted to Being-towards-death. The final task will be to show how a thought of death makes it possible to see in a new affirmation of life the consequence of an authentic being-towards-death.

This study explores the intersection of the philosophy of Martin Heidegger and Spanish literature. The study examines the Heideggerian authenticity and inauthenticity of two characters in the literature: Melibea in La Celestina by Fernando de Rojas and Grisóstomo in Don Quijote de la Mancha by Miguel de Cervantes. Heidegger’s concept of authenticity is the ability of the individual to live in the world according to her own desires, outside of the influence of others. Both die by suicide, but Melibea is an authentic character in Heideggerian terms and Grisóstomo is inauthentic. At the end of her life, Melibea has resolved all anxiety into resoluteness and is determined to live life in her own terms. Grisóstomo, however, dies inauthentically, full of anxiety and subject to the will of Others. He never leaves the influence of others to live a life of his own determination.

When I write I, I also write we (say we also write that we’re momentarily in possession of the possibilities, and as for the possibilities: they have us), as in my hyperbolic twin brother and I, and from that point on (as well as before) in company with the gaps between us. The auto-corrections, the imposed circumstances, the complicities, and some conspirationalist copings within a system with no clearly identifiable nemesis. Here, the act of resistance to whatever is playing us, also enacts the playing of that which plays us. The heinous power of family and narrative insists. Two lead narratives are interwoven during the course of time it took for a pizza to be delivered (from pizzeria Marco Polo): Looping on a Panasonic Viera TX-55AX630E, the  search for a/my lost and/or hidden dad arrives through the mispronunciation of the word “that” during a negotiation in a park. Where a tangled hypothesis, along the lines of “what if the plot device of a shot of a moon in a video used to forward time (as in an alternative to ‘later that night’) was a graphic representation of an analog clock recognized in a to-be sliced pizza that is eventually consumed as a means to induce a food coma?” takes place (and time, as saved time is always already lost). It’s almost dark already. Also it's not, and the future held hostage by the river of the forest of the woods is followed by the sense of not being able to tell if there’s an emotion or a feeling present. Visits from passed pasts. It all starts to feel originatory. Thanks to X, this keeps on happening, thoughts and behaviours about suspicious timing and holistic systems keep on happening. This keeps on happening, and it works its way into physical works in an exhibition space with no reference to an infirmary, where parrot tulips are emotional flowers, a print is printed using a temperamental printer, sawdust creates glossy eyes, and all locked doors are eventually keyed out. An investigation into conditions of influence, co-authorship, connectivity, all within a space cohabited by comedy, sentimentality, and other states subject to flatness.

This thesis explores the most basic purpose of education and how it can be advanced. To begin to analyze this fundamental area of concern, this thesis associates notions of education with notions and experiences of truth and authenticity, which vary historically and culturally. A phenomenological analysis, featuring the philosophy of Heidegger, uncovers the basic conditions of human experience and discourse, which have become bent upon technology and jargon in the West. He draws on Plato's account of the 'essence of education' in the Cave Allegory, which underscores human agency in light of truth as unhiddenness. Heidegger calls for ontological education, which advances authenticity as it preserves individuals as codisclosing, historical beings.

This thesis explores the most basic purpose of education and how it can be advanced. To begin to analyze this fundamental area of concern, this thesis associates notions of education with notions and experiences of truth and authenticity, which vary historically and culturally. A phenomenological analysis, featuring the philosophy of Heidegger, uncovers the basic conditions of human experience and discourse, which have become bent upon technology and jargon in the West. He draws on Plato's account of the 'essence of education' in the Cave Allegory, which underscores human agency in light of truth as unhiddenness. Heidegger calls for ontological education, which advances authenticity as it preserves individuals as codisclosing, historical beings.

Tato diplomová práce předkládá podrobnou interpretaci koncepce základních nálad v Heideggerově fundamentální ontologii. Postup napříč klíčovými texty (Bytí a čas, Co je Metafyzika? a Základní pojmy metafyziky) sleduje vývoj této koncepce a zachycuje ji v její často přehlížené členitosti. Důraz je proto kladen na odlišné role různých základních nálad a na exkluzivní postavení úzkosti jako "nejzákladnější" základní nálady. Centrální tezí práce je, že úzkost představuje klíč k Heideggerově celkovému pojetí naladěnosti i k výkladu ostatních základních nálad, zejména hluboké nudy. Předvedení úzkosti jako exkluzivní základní nálady zároveň nabízí cestu k samotnému jádru Heideggerova myšlení - k problému bytí. Klíčová slova Martin Heidegger, rozpoložení, základní nálady, Grundstimmungen, latentní úzkost, explicitní úzkost, hluboká nuda, rozumění bytí, bytí jako možnost, nic, každodennost, autenticita, neautenticita Abstract This master thesis offers a detailed interpretation of the concept of fundamental attunements in Heidegger' s fundamental ontology. Progression through the key texts (Being and Time, What is Metaphysics? and The Fundamental Concepts of Metaphysics) retraces the evolution of this concept and captures its often overlooked complex structure. This account emphasizes the different roles of...