Yeni düşünme biçimi: Sanat yapıtında açımlanan Heidegger'in şey felsefesi
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2010
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Sosyal Bilimler Enstitüsü
Abstract
This dissertation elucidates Heidegger?s radical philosophy of `the thing? in his whole way of thinking as advanced from an extensive critique of Gestell to Geviert. According to Heidegger, in the context of the scientific-mathematical project and the metaphysical-representational thinking that remains within it, things have been made to appear in such a way that it considered the inevitable way to come to be what they are. For Heidegger, things as pragmata are not just objects existing independently from us, but primarily they have special relation to us in our everyday involvement in practical affairs. By the same token, the first and foremost, they are disclosed as one uses or needs them. Heidegger?s neologism made it clear that Heidegger?s ontological phenomenology is rooted not in Husserl?s motto as `back to things themselves? but how do the things disclose themselves. That is, things are revealed in a limited fashion. Heidegger contends that this primordial relation of human being to things has been lost in the age of modern technology. On the other hand, technology with respect to its essence is a mode of truth as Entbergen. Heidegger wants to rectify this double meaning of technology for disclosing any possible path to a primordial accessibility of things. In Heidegger?s radical view, ontological significance of the work of art has a privileged and decisive role for a new beginning. Heidegger claims that artworks open up new horizon to see whatever shows itself as if for the first time. However, this character of the artwork is rooted in poetical language. Heidegger calls this character of that as Gelassenheit and he immediately adds without things there would be no openness and no Gelassenheit.
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Heidegger, şey felsefesi