Beiträge zur Philosophie (vom Ereignis)

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V. Klostermann, 1989 - 521 pages
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Die zentrale Figur, die das zum Verständnis des Seyns bei Heidegger nötigen Phänomene zusammenstellt und in Beziehung zueinander setzt, findet sich auf Seite 476 (Verlag Vittorio Klostermann, Gesamtausgabe Bd. 65):
"Das Seyn west als das Zwischen für den Gott und den Menschen, aber so, daß dieser Zwischenraum erst dem Gott und dem Menschen die Wesensmöglichkeit einräumt, ein Zwischen, das seine Ufer überbrandet und aus der Brandung erst als Ufer erstehen läßt, immer zugehörig dem Strom des Er-eignisses, immer verborgen im Reichtum ihrer Möglichkeiten, immer das Herüber und Hinüber der unerschöpflichen Bezüge, in deren Lichtung Welten sich fügen und versinken, Erden sich erschließen und die Zerstörung dulden."
 

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MARTIN HEIDEGGER
ART AND SPACE
Translated by
CHARLES H. SEIBERT
Loras College
Translator's note
"Die Kunst und der Raum" by Martin Heidegger was originally published
by Erker Verlag, St. Gallen, 1969. Also available from Erker Verlag is
Heidegger's recording of this lecture.
Marginal pagination of this translation corresponds to the original
German text. The translation was made in completion of a doctoral
dissertation, On Being and Space in Heidegger's Thinking.
"If one thinks much, one finds much wisdom inscribed in language.
Indeed, it is not probable that one brings everything into it by himself;
rather, much wisdom actually lies therein, as in proverbs."
G. Chr. Lichtenberg
Ao~e~ ~ fz&a zt dva~ na~
zalenbv anqoO#val a T&zor
"It appears, however, to be something overwhelming and hard to grasp,
the lopof' -- that is, place-spaoe. Aristotle, Physics, Book IV
The remarks on art, space and their interplay remain questions, even
if they are uttered in the form of assertions. These remarks are limited
to the graphic arts, and within these to sculpture. Sculptured structures
are bodies. Their matter, consisting of different materials, is variously
formed. The forming of it happens by demarcation as setting up an
inclosing and excluding border. Herewith, space comes into play. Becoming
occupied by the sculptured structure, space receives its special character
as closed, breached and empty volume. A familiar state of affairs, yet
puzzling.
The sculptured body embodies something. Does it embody space ? Is
sculpture an occupying of space, a domination of space ? Does sculpture
match therewith the technical scientific conquest of space ?
As art, of course, sculpture deals with artistic space. Art and scientific
technology regard and work upon space toward diverse ends in diverse ways.
 

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