Browsing by Subject "Heidegger, Martin, 1889-1976 -- Criticism and interpretation"

Now showing 1 - 4 of 4
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    Bonds Beyond Heidegger
    (2015) Crawford, Charlie; Wright, Kathleen, 1944-
    Our modem world is one ever increasingly dominated by technology. As such, our relationship to it has become more complicated than one would normally assume. As a byproduct, modernity has conditioned us to value practicality and efficiency above all else, an idea that encourages those involved to miss out on opportunities to create meaningful bonds with entities in both the material and social worlds. It is the goal of this thesis to explore how history suggests that the way we are, our way of being, can be thought of as a fluid phenomenon that need not stay the same. From there I explore how the physical spaces themselves are part of brings a way of being into existence and how engaging with risk and ritual is what opens us to these meaningful connections. I then turn to how Heidegger understands ourselves as beings alongside technology, how the essence of modern technology has done something detrimental to our current way of being, and lastly, how to save ourselves from this condition by engaging with risk and ritual appropriately.
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    "In This it Moves and Speaks:" Heidegger, Stevens, and Truth's Performance in Poetry
    (2009) Bisceglio, Paul; Wright, Kathleen, 1944-; Gangadean, Ashok K., 1941-
    Focusing on Martin Heidegger's later essay that deals explicitly with the nature of poetry, "The Origin of the Work of Art," and a modest selection of Wallace Stevens's shorter poems, this essay aims to allow Heidegger's and Stevens's deployments of a number of shared terms, namely "obscurity," "listening," "nothingness," and "conflict," to encounter each other and reveal the writers' shared understanding of poetry's performative nature. Performativity, in their view, means that poetry communicates meaning through a dialectic exchange with its reader. Poetry reveals truths that speak beyond the poem's stated propositions, and demands its reader's own performance in attending to its revealing. Poetry, in other words, necessitates a specific kind of reading that refrains from the imposition of meaning and reposefully allows for an encounter with poetic language that transforms the reader's self-understanding. Heidegger and Stevens find this performative exchange essential to resisting falsely universalizing truth propositions because it opens the readet to an attentiveness to his or her specific cultural locality. If we consider critical comparison in light of poetry's performativity, I believe we can abolish most of the comparative anxiety that characterizes critical works on these two writers. An understanding of truth as arising in the local moment of exchange between poem and reader suggests that comparison is only superficial when it aims to maintain the supposed integrity of distinct philosophical and literary traditions. Comparison fails, in other words, when it seeks to impose parallels between two static fields. Comparison succeeds when it promotes a more productive exchange. When engaging disparate works in a generative encounter that exceeds traditional disciplinary boundaries, comparison uncovers new truths, and deepens our understanding of our relation to literature and meaning.
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