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Répétition et destruction dans Sein und Zeit de HeideggerLeduc, Alexandra January 1998 (has links)
Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.
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Le concept de "phénomène" dans Être et le temps de HeideggerRoy, Martin January 1999 (has links)
Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.
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Ouverture et vérité dans Être et temps de Martin HeideggerSchürch, Franz-Emmanuel January 1999 (has links)
Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.
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A Crushing Truth for Art: Martin Heidegger's Meditation on Truth and the Work of Art in Der Ursprung des KunstwerkesKnudsen, Donald L. January 1987 (has links)
No description available.
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Relationships with others : insights from the work of Martin Heidegger for feminism, ethics and careBowden, Peta Lyn January 1987 (has links)
No description available.
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A arte e o pôr-se-em-obra da verdade na filosofia de Martin Heidegger / The art and the setting up of work-in-fact in the philosophy of Martin HeideggerSiqueira, Ana Carla de Abreu January 2014 (has links)
SIQUEIRA, Ana Carla de Abreu. A arte e o pôr-se-em-obra da verdade na filosofia de Martin Heidegger. 2014. 109f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Filosofia, Fortaleza (CE), 2014. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-10-20T16:08:41Z
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Previous issue date: 2014 / The main aim of this dissertation is to state that the truth is set in artworks. We use the perspective of Martin Heidegger as the base of our argument. Firstly, we display how Heidegger interprets aesthetical themes and their key concepts. After questioning art as mimesis, Heidegger inspects the course of inputting art in the horizon of aesthetics. His investigation lengthens the Nietzsche’s thought that while maintaining the aesthetic debate around the subjects who contemplate the art subject; one would not have meditated on the artwork itself. Then, we follow promoting a review of the conference The Origin of the Work of Art’s guiding concepts, when the philosopher analyzes the origin as a founding leap. By situating artworks in a site where they are considered further than ordinary things and utensils, it gives them the character of carrying within themselves the time of a historical people. Finally, we analyze the deconstruction of truth as suitability, interpreting it as unconcealment, the recognition consisted in the removal of an entity’s veiling. The truth would be conquered in the struggle between World and Earth, that which is manifested against that which is hidden. This tension is effected in the artwork, be it figurative, architectural or poetic. Without the intention of drafting a new artistic theory or placing it in an aesthetic, Heidegger believed that art is essentially a originator and foundation of the truth. / O propósito geral desta dissertação consiste em defender, sob a perspectiva de Martin Heidegger, que a verdade põe-se em obra na arte. Em um primeiro momento, mostramos como Heidegger interpreta os temas da Estética e seus principais conceitos. Após questionar a arte como mímesis, ele examina o processo de entrada da arte no horizonte da Estética. Sua investigação se estende ao pensamento de Nietzsche que, ao manter o debate estético em torno do sujeito, não teria meditado sobre a própria obra. Em seguida, promovemos uma revisão dos conceitos norteadores da conferência A Origem da Obra de Arte, quando o filósofo analisa a origem como um salto fundador. Ao situar as obras de arte em uma posição além das meras coisas e dos utensílios, confere a elas o caráter de resguardar em si a época de um povo histórico. Por fim, iniciamos uma análise da desconstrução da verdade como adequação, interpretando-a como desvelamento, que consiste na retirada de um ente do velamento. A verdade seria conquistada no combate entre Mundo e Terra, o que está manifesto e oculto. Essa tensão é efetivada na obra de arte, seja figurativa, arquitetônica ou poética. Sem a pretensão de esboçar uma nova teoria artística ou de se situar em uma Estética, Heidegger acredita então que a arte é essencialmente uma origem compositora e instauradora da verdade.
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Relationships with others : insights from the work of Martin Heidegger for feminism, ethics and careBowden, Peta Lyn January 1987 (has links)
No description available.
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From an epistemology of unerstanding to an ontology of understanding: Heidegger’s hermeneutical shift / From an epistemology of understanding to an ontology of understanding: Heidegger’s hermeneutical shiftBoleko, Bienvenu Benketo 10 1900 (has links)
Text in English / The current investigation explores the possibility of surpassing or subordinating epistemology to ontology by focusing on the hermeneutics of Heidegger. Based on his works, which consider the understanding as a way of being and therefore offering the foundation for all knowledge, this study will underline the decisive shift concerning the question of being (l’être) in the works of modern hermeneutics fathers.
A critical move made by Heidegger's philosophical perspective underlines the epistemology of understanding. The question of the ontology of understanding is investigated differently from his predecessors Schleiermacher and Dilthey, and culminates in a revolution in hermeneutics. The understanding is not knowledge, but a behavioural Dasein. His main contribution to hermeneutics consists of subordinating the methodological and epistemological questions to the ontological ones. The problem of understanding is no longer linked to “other” but is extended to the world. There is therefore a mundanisation of understanding, which overlaps its depsychologisation. Understanding is a mode of being of Dasein that extends in interpretation, which leads to language. The interpretation is only a development of understanding, which is articulated in language. The phenomenological method and critical analysis are used for this investigation. / Philosophy, Practical and Systematic Theology / M.A. (Philosophy)
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L'évolution du concept de vérité et l'interprétation critique de Platon chez Heidegger de 1927 à 1943Côté, Gabriel 27 September 2018 (has links)
Ce mémoire se donne pour objectif de montrer le lien entre le développement de la thèse de Martin Heidegger au sujet de l’essence de la vérité et son interprétation critique de la philosophie de Platon au cours de la période du « tournant ». Pour ce faire, nous retracerons dans une première partie la genèse de la thèse heideggérienne sur l’essence de la vérité d’Être et Temps (1927) à « De l’essence de la vérité » (1930). Nous nous intéresserons ensuite dans une deuxième partie aux diverses interprétations de Heidegger de la philosophie de Platon entre 1931 et 1943. Nous chercherons alors à montrer la complémentarité de ces interprétations par-delà leurs nombreuses différences. L’ensemble de ce parcours fera ressortir que la matrice de l’évolution de la thèse de Heidegger sur l’essence de la vérité réside dans l’évolution de son rapport à Platon, lequel vacille toujours entre l’admiration et la reconnaissance d’une dette, et la nécessité d’un dépassement.
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El aparecer de la vida : la determinación de ser vivo en el proyecto filosófico de ser y tiempo (1927/1930)Grasset B., Jean-Paul January 2012 (has links)
No autorizada por el autor para ser publicada a texto completo / Doctor en filosofía con mención en estética y teoría del arte / Esta investigación estudia la determinación del modo de ser de la vida y la animalidad efectuada por Heidegger en el marco del proyecto filosófico de Ser y Tiempo. ¿Cuál es la dificultad específica que este problema comporta en ese contexto? ¿Qué es, cómo se determina y se accede a la vitalidad de lo vivo? ¿Hacia dónde dirigen los resultados de la interpretación heideggeriana respecto a su propio proyecto filosófico? Sostenemos que con el aparecer o venida a presencia del ente vivo, enfrentamos un fenómeno en que se da un cruce de accesibilidad e inaccesibilidad. Hablamos de ‘aparecer’, pues desarrollamos este asunto entendiéndolo como perteneciente al despliegue del problema del mundo. Por este camino, vemos que la vida comparece evidenciando una dinámica de mostración y retracción. El viviente aparece en el mundo como simultáneo estar privado de mundo y prescindir de mundo. Este prescindir revelaría una estructura de opacidad, que indica aquello que en ese modo de ser se retrae parcialmente en su aparecer; que en su venida a presencia es parcialmente inaccesible en su contenido fenoménico. Esa dinámica de manifestación y auto-ocultamiento sería estructural y no eliminable. De lo contrario, habría que suprimir el principio heideggeriano del abismo infranqueable entre existencia y vida.
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