Heidegger's Estrangements: Language, Truth, and Poetry in by Professor Gerald L. Bruns

By Professor Gerald L. Bruns

This booklet matters the connection among language and poetry in Heidegger's later writings, the texts accumulated in his Unterwegs zur Sprache (On the right way to Language). Gerald L. Bruns illuminates those tough and unusual writings via interpreting Heldegger's type and shape and via reflecting at the philosopher's primary insights into the non-humanness of language.

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Extra info for Heidegger's Estrangements: Language, Truth, and Poetry in the Later Writings

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That stability can last as long as the species; it will nonetheless be a question of fact to know if it will last for a long time or forever. Is it definitively human to make war? No one knows. Likewise, it is vain to make a distinction between historical and anthropological explanations; it is but a question of greater or lesser duration. Are the revolutionary attitude and the freedom of antireligious minds phenomena proper to the Enlightenment, or are they found in every age under a thousand avatars, as natural to man?

As soon as it is no longer valorized, the singularity is obliterated, because it is incomprehensible. Among the go,ooo epitaphs contained in the corpus of Latin inscriptions, here is that of a man named Publicius Eros, who was born, died, and in between married one of his freedwomen; peace to his ashes, and he falls back into the nothingness of oblivion-we are not novelists, and our job is not to take an interest in Dupont for the sake of Dupont and to interest the reader in Dupont. Only it happens that we can, without too much difficulty, understand why Publicius had married one of his freedwomen-formerly a public slave himself (we would say a municipal employee), as his name reveals, he married among his own; his freedwoman must have been his concubine for a long time, and he had only freed her to have a wife worthy of him.

History Is Interested in the Specific It will be objected, with some appearance of reason, that there is a difference between Brigitte Bardot and Pompidou; the latter is historic for himself alone, the former only serves to illustrate the star system, as the tailors of Frederick William do the history of costume. We are here at the heart of the problem, and here we shall discover the essence of the historical genre. History is interested in individualized events-none of which, as far as it is concerned, serve a dual purpose-but it is not interested in their individuality; it seeks to understand them-that is, to find among them a kind of generality or, more precisely, of specificity.

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