This mini-thesis attempts to understand what it means to fear death. It does this by first investigating how Heidegger and then Freud explain fear of death. Heidegger believes that the relationship Dasein has towards its own death allows it the possibility of 'authenticity'. Death presents to Dasein its ownmost potentiality for being. Heidegger explains that this means that in facing death Dasein has the possibility of completeness and absolute individuality. Dasein is called to this possibility of authenticity by the anxiety it experiences in the face of its own death. However, Dasein does not necessarily respond to this call. By reducing anxiety to a fear it is possible for Dasein to disregard its fear of death and correspondingly not respond to the call of authenticity. Thus, for Heidegger, fear of death is symptomatic of inauthentic Dasein's relationship towards its own death. For Freud, on the other hand, death cannot be conceptualised without reference to the social world. Freud believes that the relationship we have towards our own death is learnt through living in this world. Furthermore, Freud argues that it is impossible for the human being to ever understand that death can be an annihilation. When the human being dreads, fears or even desires death, Freud believes it does so symbolically. In this regard Freud explains, by way of the death instinct, that the psyche understands death as a return to before birth. One of Freud's explanations of fear of death is that this fear is actually for the loss of Eros. This fear, however, is in conflict with the phantasy to return to before birth. One of the results of this conflict is the arousal of anxiety. The differences and similarities between Freud's and Heidegger's explanations are detailed in the final chapter. Examining these details leads to a closer investigation of Freud's and Heidegger's explanations of anxiety. On this issue this mini-thesis finds that Freud's and Heidegger's explanations of anxiety are in conflict with each other. After attempting to avoid placing Freud and Heidegger against each other, this mini-thesis demonstrates that Heidegger's explanation of anxiety is lacking in detail. / Thesis (M.Soc.Sci.)-University of Natal, 1999.

Evaluation of Heidegger's ethical thinking or "originary ethics" is necessary due to recent ethical questions resulting from Heidegger's biography. According to John D. Caputo, Heidegger does not care for the "other". This thesis analyzes Caputo's basis for those claims along with his rejection of Heidegger's notion that our relation to poetizing is needful for an ethics in a scientific, technological age. Heidegger's ethics of non-objectification offers hope with regard not only to the domination and oppression of humans but also for non-humans as well. Heidegger's understanding of 'technique qua metaphysics' is important for addressing the political claims of Caputo.

No description available.

The thesis enters several under-examined areas. First, improvisatory music will be considered as a human phenomenon in the widest sense (Chapter 1 ), and a phenomenon destined to suffer relative decline in the cultural environment of the modern West (Chapter 2). In consequence, the language in which improvisatory music is now discussed in the West will be shown to carry a negative charge (Chapter 3). Among various philosophies of music in the Western tradition, none appears to have foregrounded improvisatory music specifically. However Heidegger's philosophy, it will be suggested, harbours inner trends which favour the idea of music as a central component in philosophical discourse (Chapter 4) and may be used as a starting point for a re-emergent understanding of musical improvisation as a metaphysical principle (Chapter 5). Improvisation in music will be seen to be linked to the centrality of hope in human experience, and this will be exemplified in relation to certain cultures and twentieth-century composers (Chapter 6). Further to this connection between improvisation and hope, improvisation in a Christian liturgical context will be examined. There is a dearth of existing discussion, not only regarding improvisatory music in Christian liturgy, but liturgical spontaneity in general (Chapter 7).

El presente trabajo da cuenta de la relación que existe entre el pensamiento de Heidegger y el lenguaje como tópico revelante en el quehacer filosófico contemporáneo. Desde esta visión, se expone la caracterización del lenguaje que elabora Heidegger como un existenciario constitutivo fundamental de la existencia humana y el lugar que éste ocupa, desde una perspectiva ontológica y otra óntica, en la forma originaria como el ser se manifiesta y realiza en el mundo que rodea al hombre. En segundo lugar, se describe la contraposición que existe, desde el punto de vista de Heidegger, entre lo que él denomina como lenguaje técnico y lenguaje tradicional o materno, sustentándose en la definición y caracterización del concepto de técnica moderna, interpretando como problemática su relación con las ciencias y los medios de comunicación, que delimitan al lenguaje como un instrumento meramente informativo, frente al lenguaje materno y su finalidad poética. Por último, se complementa la reflexión de Heidegger acerca de la naturaleza y función poética del lenguaje en cuanto a su esencia originaria como “habitar verdadero” y su relación con el hombre que descubre, interpreta y discurre el mundo a través de su verdadera configuración, como real posibilidad de superación ante la limitación impuesta por la concepción instrumental del lenguaje propia de la técnica moderna. / El presente trabajo da cuenta de la relación que existe entre el pensamiento de Heidegger y el lenguaje como tópico revelante en el quehacer filosófico contemporáneo. Desde esta visión, se expone la caracterización del lenguaje que elabora Heidegger como un existenciario constitutivo fundamental de la existencia humana y el lugar que éste ocupa, desde una perspectiva ontológica y otra óntica, en la forma originaria como el ser se manifiesta y realiza en el mundo que rodea al hombre. En segundo lugar, se describe la contraposición que existe, desde el punto de vista de Heidegger, entre lo que él denomina como lenguaje técnico y lenguaje tradicional o materno, sustentándose en la definición y caracterización del concepto de técnica moderna, interpretando como problemática su relación con las ciencias y los medios de comunicación, que delimitan al lenguaje como un instrumento meramente informativo, frente al lenguaje materno y su finalidad poética Por último, se complementa la reflexión de Heidegger acerca de la naturaleza y función poética del lenguaje en cuanto a su esencia originaria como “habitar verdadero” y su relación con el hombre que descubre, interpreta y discurre el mundo a través de su verdadera configuración, como real posibilidad de superación ante la limitación impuesta por la concepción instrumental del lenguaje propia de la técnica moderna.

Un concepto cruza transversalmente este trabajo de investigación bibliográfico, el de la verdad. Principalmente en Heidegger, aunque también en Ortega. Intentando recuperar su sentido prístino, griego, que lo entiende como a1-lh’qeia, des-ocultación, des-velamiento. De modo que, lo que se privilegia es la perspectiva ontológica por sobre la lógica o epistemológica. También se aborda la dimensión social del hombre —el dominio del estado interpretativo público— a través del concepto del uno [das Man] que Heidegger desarrolla en el capítulo IV de Ser y Tiempo y que, en consecuencia, está circunscrito por la analítica existencial que sirve a la elaboración de la ontología fundamental que nos propone esta obra. Por otra parte, se encontrará en este informe un capítulo dedicado a lo que Heidegger denomina la época técnica —la era atómica— que intenta responder por lo que sea la técnica moderna esencialmente. Así, para el pensador alemán la esencia de la técnica no es de ningún modo algo técnico, sino una figura del ser, lo dis-puesto [das Ge-stell], la im-posición, que se ha traducido también como estructura de emplazamiento o com-posición y, a la vez, un modo de la verdad, el des-ocultar pro-vocante. Por último, también encontrará el lector una sección dedicada a Ortega, que comenta un pequeño pero significativo texto que ocupa un lugar relevante en la exposición de su doctrina. Son los Apuntes sobre el pensamiento, su teurgia y su demiurgia, en donde el pensador español analiza varios conceptos; el ser, la verdad, el conocimiento, el pensamiento, proporcionándonos una perspectiva original y reveladora de ellos. Finalmente, incorporamos algunas reflexiones en torno del ámbito de lo público, concretamente en torno al ser-con [Mitsein] heideggeriano, que impulsan al pensador chileno Humberto Giannini, a partir y en diálogo y disputa con Heidegger, a transformar la perspectiva ontológica del ser-con en una propiamente ética, la experiencia moral, que denomina ser-ante-otro.

Este trabalho procura analisar o conceito de cuidado no Heidegger dos anos 20. Os textos examinados são da década de 20, período em que Heidegger desenvolve a hermenêutica da faticidade. O trabalho apresenta as diversas leituras elaboradas por Heidegger sobre o conceito de cuidado, cobrindo o início da década de 20 até 1927, quando é lançada a obra principal de Heidegger: Ser e Tempo. A tese procura investigar como o cuidado é apresentado nos diversos cursos e conferências até atingir a importância central de Ser e tempo. Nessa obra o cuidado é o ser do Dasein. Ressaltamos nesse trabalho que a conceitualidade específica de Heidegger é comparada e criada em paralelismo com os conceitos da Ética Nicomaquéia, obedecendo a um modelo de método. Apresentamos algumas posições de comentadores sobre esse tópico bem debatido da literatura secundária, salientando que o trabalho toma posição sobre as diferentes interpretações da relação Heidegger- Aristóteles, seja para concordar com algumas (Volpi; Escudero; Kisiel) seja para discordar de outras (Sadler, Gonzalez e Leduc e Larivée). / This paper analyses the concept of care in Heidegger in the twenty’s. The texts examined are from the 20’s, the period in which Heidegger develops the hermeneutics of facticity. The paper presents the various readings produced by Heidegger about the concept of care that takes place from the beginning of the 20th until 1927, when the main work of Heidegger is launched, Being and time. The thesis investigates how the care is presented in the various courses and conferences until reaching the central importance of Being and Time. In this work, care is the being of Dasein. We emphasize that Heidegger’s specific concept is compared and created in parallel with the concept of the Nicomachean Ethics, according to a model of method. Here we presented some views of commentators about this well discussed topic from the secondary literature, emphasizing that the work takes a position about the different interpretations of this relationship between Heidegger-Aristotle, in order to agree with some (Volpi, Escudero and Kisiel) or to disagree with others (Sadler, Gonzalez e Leduc e Larivée).

Dissertação (mestrado) - Pontifícia Universidade Católica do Paraná, Curitiba, 2007 / Bibliografia: f. 131-137 / Nos exercícios espirituais propostos pelos antigos greco-romanos para o cuidado de si(epiméleia heautoû), destacam-se aqueles relacionados à escuta. Escutar caracterizouse, no interior de uma série de práticas, como ler, escrever, memorizar e meditar, a f / Dans les exercices spirituels proposés par les anciens greco-romains pour un souci de soi (epiméleia heautoû), sont soulignés ceux liés à l'écoute. Ecouter s'est caractérisé, à l'intérieur d'une série de pratiques, telles lire, écrire, mémoriser et médite

xii, 259 p. Print copy also available for check out and consultation in the University of Oregon's library under the call number: B105.L45 A76 2008 / The question of freedom has been a present and constant concern since the inception of the occidental philosophical tradition. Yet after a certain point the manner in which this question is to be asked has been canonized and sedimented: do humans (subject) have the capacity (predicate) for free and spontaneous action? The third antinomy of Kant's Critique of Pure Reason, I argue, demonstrates the necessary failure, the perpetual aporia, of continuing to discuss whether humans conceived of as subjects possess the predicate freedom. I argue that if we do not want to fall either into the Third Antinomy, we must steer away from thinking of freedom as a predicate of a subject and reconfigure it as an experience or a comportment. Following suggestions from Jean-Luc Nancy's The Inoperative Community, Being Singular Plural, and The Experience of Freedom, my dissertation argues that re-thinking of freedom as an experience simultaneously requires a re-thinking of identity, in terms of ecstasy, ek-stases, or ex-position, and accordingly a re-thinking of the activity of thinking itself. Nancy cites Schelling and Heidegger as the thinkers who have made an attempt to think about ecstasy seriously as a fundamental ontological fact about the constitution of things. This reconfiguration of the constitution of things as either parts of organic structures (Schelling) or beings in a world (Heidegger), demands that we recognize how our identities are perpetually being constituted in all of our acts of relating with the world. We are constituted and constituting by our engagement with the things that environ us, and this environing is active and alive. If this is accepted as an ontological fact, this requires that we reconsider what it would mean to think, as all of our engagements with the world would be creative-both of ourselves and of what it is that we encounter. This would also mean that the meaningfulness of all things is wildly contingent, in fact necessarily, so. Accordingly, I defend that freedom, as the experience of possibility through our awareness of this contingency due to the lack of an origin, emerges for us in the experience of thinking. / Adviser: Peter Warnek

Made available in DSpace on 2016-08-03T12:20:39Z (GMT). No. of bitstreams: 1 Antonio Almeida Rodrigues.pdf: 3061373 bytes, checksum: 9cafb066e616ab69b11ea71e8fb06cad (MD5) Previous issue date: 2008-03-05 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / Art has been always a great mystery to human beings. Its polissemic characteristic challenges us to think it as something always opened. That s to say, as something that allows people to experience art in diverse manners. By choosing de paint of Cândido Portinari, titled Menino morto (Dead boy), we pretend to show that the meeting with a work of art is forcefully actual, alive, surprising and extraordinary Rather than a mere object of pleasure, it helps human beings to unveil original experiences by opening an array of meanings so that they could fine significance to their own being. In order to go on with this investigation, this thesis focuses on studies done by the theologian Paul Tillich and the philosofer Martin Heidegger regarding to art. According to Tillich, in a work of art, we must seek what is hidden by the unapparent, because is there that its substance lies. Thus, in art, as in any cultural expression, no matter how secular it could seems, an ultimate concern is always expressed. According to Heidegger, art is a source through which truth is revealed. However, this revelation bears itself the concealment of its same truth, for both, truth and non-truth simultaneously take place in Art. Therefore, in the light of the studies done by these two authors, we attempt to undress the Dead boy . (AU) / A arte sempre esteve presente entre os humanos como um grande mistério. Sua característica polissêmica nos desafia a pensá-la como algo sempre aberto. Isto é, livre para que os indivíduos a experimentem de formas diversas. Nossa intenção, ao escolher a tela Menino morto do pintor Cândido Portinari, é mostrar que o encontro com uma obra de arte é forçosamente atual, vivo, surpreendente, extraordinário... Não apenas como um mero objeto de prazer, mas, sobretudo, como possibilidades de desvelar experiências originárias, abrindo gamas de sentidos que ajudam os seres humanos a significar a própria existência. Para seguir na investigação, privilegiam-se, nesta dissertação, os estudos sobre as artes do teólogo Paul Tillich e do filósofo Martin Heidegger. Para Tillich, numa obra de arte deve-se buscar o que se esconde no inaparente, pois é aí que reside a sua substância. Assim, na arte, como em qualquer manifestação cultural, por mais secular que aparente ser, se expressa sempre uma preocupação última. Para Heidegger, a arte é fonte de revelação da verdade. Todavia, essa revelação traz em si o ocultamento da mesma verdade, posto que a verdade e a não-verdade acontecem simultaneamente na obra de arte. Portanto, à luz dos estudos feitos por esses dois autores, tentamos captar o desnudar de Menino morto .(AU)