Veronique Foti delves into the whole variety of Heideggerian texts to tricky the problematics of historicity, language, and the constitution of disclosure or "manifestation" in reference to the Herman poets whom Heidegger invoked alongside his course of pondering. Foti’s interpreting of those ports (Morike, Trakl, Rilke, Holderlin, and Celan) is a probing inquiry into the cultured, moral, and political implications of Heidegger’s suggestion. She is aware how technicity (techne) and poetizing (poiesis) are adverse but introduced jointly in Heidegger’s hermeneutic phenomenology, how they're either politicized and associated with moral praxis, and the way technicity, poetizing, and praxis can't be dissevered from Heidegger’s crucial pondering.
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Extra info for Heidegger and the Poets: Poiesis/Sophia/Techne (Philosophy and Literary Theory)
GA five. five. Cf. Heidegger, "Der Spruch des Anaximander," GA five, 206-243. English translation through David Farrell Krell and Frank Capuzzi, "The Anaximander Fragment," in Early Greek pondering, 13-58. 6. For a dialogue, see Edith Wyschogrod, Spirit in Ashes: Hegel, Heidegger, and Man-Made Mass loss of life (New Haven and London: Yale collage Press, 1985), ch. 6. 7. "Wozu Dichter," 278. See additionally Veronique M. Foti, "Representation and the picture: among Derrida, Heidegger, and Plato," guy and international, 18 (1985), 6S-78. eight. Werner Hamacher, "The moment of Inversion: activities of a determine via Celan's Poetry," The Lesson of Paul de guy, ed. Peter Brooks, et al. , Yale French reports, sixty nine (1985), 276-311. nine. From a letter via Rilke to Countess Sizzo, dated through Heidegger 6 January 1923, yet in reality dated 1 June 1923. See Materialen zu Rainer Maria Rilkes "Duineser Elegien," U. Fiillborn and M. Engel, ed. (Frankfun a. M. : Suhrkamp, 1980), 280-284. 10. Paul de guy, "Tropes (Rilke)," Allegories of analyzing, 20-56. eleven. Cf. M. Heidegger, "Vom Wesen der Wahrheit," Wegmarken, GA 9,73-97, and "Der Ursprung des Kunstwerkes," GA five, 7~8. 12. "All is vast-, and nowhere does the circle shut. 1 See within the bowl, upon the gaily laid desk, 1 [how] unusual the faces of fish. /1 Fish are mute----one used to imagine. Who is familiar with? yet is not there ultimately a spot the place what will be 1 the language of fish is spoken, with out them? " R. M. Rilke, Sonnets to Orpheus, II:20. pointed out from Siimtliche Werke, Ernst Zinn, ed. (Zurich: Insel Verlag, 1956), I, 764f. i've got consulted A. Poulin, Jr. 's, translations, Rilke: Duino Elegies and the Sonnets to Orpheus (Boston: Houghton Mifflin Co. , 1977), yet have depaned from his renderings, typically within the curiosity of literality. thirteen. de guy, Allegories of analyzing, forty seven. 14. See Friedrich W. Wodtke's dialogue, near to Hoffmannsthal and Klopstock, in "Das challenge der Sprache bein spiten Rilke," in Riidiger Gorner, ed. , Rainer Maria Rilke (Darmstadt: Wissenschaftliche Buchgesellscaft, 1987), 78-130. 15. Rilke to Ellen Delp, 27 November 1915, in Materialen zu Rainer Maria Rilkes "Duineser Elegien," 132f. sixteen. Maurice Merleau-Ponty, The obvious and the Invisible, a hundred and fifty five. 17. de guy, Allegories of examining, forty nine. Notes to Pages 38-46 I 121 18. Wodtke, "Das Problem," ninety seven. 19. " ... you, nonetheless nearly a baby, entire I for an quick the dance-figure I into the sheer constellation of 1 of these dances I in which we brief. Iy surpass II nature's boring ordering ... " Sonnets, 11:28, Werke, I, 769f. 20. de guy, Allegories of interpreting, 32, 37. 21. Ibid. , 31. 22. Ibid. , forty nine. 23. "That projective spirit which masters all thin"gs earthly I loves, within the figure's sweep, not anything however the turning element. " Sonnets, 11:12, Werke, I, 758. 24. " ... if you see it, the evenly reserved I midst of the cashmere scarf which, out of the gap of plants, I renews itself in blackness, clarifies itself from out of the border's edges, I and which creates a natural house for area ... : I you event this: that names are I ceaselessly wasted on it: for it's the midst.