Martin Buber and Martin Heidegger in Dialogue

2014 ◽  
Vol 94 (1) ◽  
pp. 2-25 ◽  
Author(s):  
Paul Mendes-Flohr
Keyword(s):  
Martin Heidegger ◽  
Martin Buber

scholarly journals Poza słowami – Marcela Marceau koncepcja milczenia

2020 ◽  
pp. 85-101
Author(s):  
Anna Krzyżak ◽  
Mirosław Michalik
Keyword(s):  
Martin Heidegger ◽  
Philosophical Anthropology ◽  
Martin Buber ◽  
Philosophical Perspective ◽  
Cognitive Framework

The article deals with the concept of silence developed by Marcel Marceau, one of the founders of contemporary mime. An analysis of the concept of silence is proposed, starting from a broader research, linguistic and philosophical perspective, encompassing the ideas of Martin Heidegger, Maurice Merlau-Ponty, Józef Tischner and Martin Buber, which aims at an interpretation of Marceau’s theatrical concept, which is presented in his work and statements and contains many elements of philosophical anthropology. For Marceau, the human stands in the center, working in a world where words fail. Mime artist and spectator conduct a distinctive dialogue without using words, thus giving rise to reflections and leading to catharsis. Because the scope of the concept is wide, it has been included in the cognitive framework of the anthropology of silence, proving that Marceau’s concept enriches the debate on the anthropology of silence and opens the perspective for further research on his concept of theater.

scholarly journals El silencio como destino de la poesía occidental

2018 ◽  
pp. 102-116
Author(s):  
Hugo Echagüe
Keyword(s):  
Martin Heidegger ◽  
Samuel Beckett ◽  
Martin Buber ◽  
Paul Celan

Según Martin Heidegger, la filosofía se consuma (finaliza) en la época actual en el pleno desarrollo de las ciencias particulares. Estas se ocupan del ente. Pero ya desde su inicio pensó la filosofía al ente en tanto ente, ya como fundamento del todo; ya como ente supremo, relegando al Ser. Filosofía y poesía, pensar y poetizar, son modos paradigmáticos del decir, dialogan, se co-responden. En la consumación de la filosofía, finaliza un modo del decir y del pensar, hasta ahora excluyente: el del ente en cuanto tal. En la consumación de éste, acontece la falta de fundamento, percibida como angustia y silencio. Esto leemos en Samuel Beckett. Una temporada en el infierno de Rimbaud dice la historia de Occidente desde el punto de vista del fundamento en tanto ente supremo: esto es, Dios. En el decir de Rimbaud se patentiza el ser religioso cristiano de Occidente. El callar del poeta se corresponde con el ocultamiento del fundamento poéticamente pensado como ente supremo. En Persona de Bergman se representa el drama del silencio como vacío de las palabras, a la vez que como abismo en el sentido de la ausencia del ente supremo en tanto fundamento, experimentado desde la inmanencia de la conciencia, con lo que se suma la problemática del sujeto de la Modernidad, ahora desfondado por la ausencia. Otra raíz tiene en primera instancia el poetizar de Paul Celan: arranca del pensamiento de Martin Buber y tiende deliberadamente al silencio como modo privilegiado de la relación con un Tú que es Otro absoluto. Sin embargo, su pertenencia a la poesía en lengua alemana implica un cuño metafísico y lo lleva a la órbita de la poesía europea finalizante como silencio. El decir debería entonces detenerse en este destino de la poesía occidental: dejar callar al silencio. Oír y escuchar su voz sin palabras. Acaso diga de otro modo que las irrestaurables palabras vacías.

Introduction: Plato’s Nightmare

2018 ◽  
Author(s):  
John Marmysz
Keyword(s):  
Immanuel Kant ◽  
Martin Heidegger ◽  
Friedrich Nietzsche ◽  
Objective Reality

This introductory chapter examines the “problem” of nihilism, beginning with its philosophical origins in the ideas of Plato, Immanuel Kant, Friedrich Nietzsche and Martin Heidegger. It is argued that film is an inherently nihilistic medium involving the evocation of illusory worlds cut loose from objective reality. This nihilism of film is distinguished from nihilism in film; the nihilistic content also present in some (but not all) movies. Criticisms of media nihilism by authors such as Thomas Hibbs and Darren Ambrose are examined. It is then argued, contrary to such critics, that cinematic nihilism is not necessarily degrading or destructive. Because the nihilism of film encourages audiences to linger in the presence of nihilism in film, cinematic nihilism potentially trains audiences to learn the positive lessons of nihilism while remaining safely detached from the sorts of dangers depicted on screen.

The Political Theology of Schelling

2016 ◽  
Author(s):  
Saitya Brata Das
Keyword(s):  
Martin Heidegger ◽  
Jacques Derrida ◽  
Political Theology ◽  
The Political ◽  
Franz Rosenzweig ◽  
Political Works ◽  
The Way

This book rigorously examines the theologico-political works of Friedrich Wilhelm Joseph von Schelling, setting his thought against Hegel's and showing how he prepared the way for the post-metaphysical philosophy of Martin Heidegger, Franz Rosenzweig and Jacques Derrida.

Waste and Welter: Derrida's Environment

2010 ◽  
Vol 32 (1) ◽  
pp. 37-49 ◽  
Author(s):  
Roy Sellars
Keyword(s):  
Martin Heidegger ◽  
Jacques Derrida ◽  
Environmental Issues ◽  
Wallace Stevens ◽  
The Earth

At first sight, environmental issues do not seem to feature prominently, if at all, in the work of Jacques Derrida. This essay aims to take a closer look, and thereby to issue a challenge to the burgeoning discipline of eco-criticism. Instead of promoting the Beautiful Soul who is equipped to save the planet by virtue of reading poetry, I argue for the ethical primacy of waste and welter (to recycle a phrase from Wallace Stevens). Jonathan Bate's The Song of the Earth, a powerful but pious work of eco-criticism, ends with a test proposed to the reader; I take the test, which entails reading Stevens's late poem ‘The Planet on the Table’, and fail. Bate's invocation of Martin Heidegger is briefly examined, as are traces of Derrida. What remains of Derrida, I propose, is neither method nor concept but rather remainders that trouble the grounding of environment (Umwelt) as such.

How Dialogical Are We Really? Insights Gleaned from Un-Dialogical Moments

2017 ◽  
Vol 6 (4) ◽  
pp. 47-69 ◽  
Author(s):  
Dongjing Kang ◽  
Chigozirim Utah Sodeke
Keyword(s):  
Mikhail Bakhtin ◽  
Research Process ◽  
Martin Buber ◽  
Crucial Step ◽  
Research Reporting

This essay emphasizes the writing of dialogical research as a crucial step in the dialogical research process. Dialogical research accounts should not suppress the ongoing struggles that accompany a genuine desire to engage dialogically in research contexts. Thus, we advocate and model evocative retellings of these struggles. Questioning our own fieldwork based on the work of Martin Buber and Mikhail Bakhtin, we highlight principles of dialogue that also serve as guidelines for dialogical research reporting: unfinalizability, engaging paradoxes, and creative (critical) transformation.

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