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Questo saggio riflette sul costitutivo bilinguismo che caratterizza l'autotraduzione in italiano dei poeti dialettali del Novecento. Qui, propone Agamben, la poesia non abita più nell'identità di una lingua, ma trova una vera casa nello spazio bianco che unisce e divide i due testi, spesso stampati su pagine contrapposte. Agamben fa risalire questo bilinguismo poetico a Dante, che contrappone la lingua volgare, "che i bambini acquisiscono da chi li circonda", alla lingua che chiama "grammaticale", che dobbiamo imparare attraverso un lungo percorso di studi. Questa tensione traduttiva tra due lingue non riguarda solo la poesia dialettale, ma, come dimostrano chiaramente le traduzioni di Hölderlin da Pindaro e Sofocle, definisce ogni autentica intenzione poetica. Assumere questo bilinguismo intrinseco è, secondo Agamben, il compito del traduttore e del poeta. [ABSTRACT FROM AUTHOR]

This essay reflects on the constitutive bilingualism that characterizes the self-translation of twentieth-century poets in dialect into Italian. Here, Agamben proposes, the poem no longer dwells within the identity of one language but finds a true home in the white space that joins and divides the two texts, often printed on facing pages. Agamben traces back this poetic bilingualism to Dante, who contrasts the vernacular language, "which infants acquire from those around them," and the language he calls "grammatical," which we have to learn through a long course of study. This translative tension between two languages is not just an issue for poetry in dialect, but, as Hölderlin's translations from Pindar and Sophocles clearly show, also defines every authentic poetic intention. Taking on this inherent bilingualism is, according to Agamben, the task of both the translator and the poet. [ABSTRACT FROM AUTHOR]

Este trabajo investiga el sentido que la cuestión del origen adquiere en el pensamiento de Martin Heidegger, cuestión íntimamente entrelazada con su interrogación por el ser y cuya comprensión exige atender a las variaciones que ésta experimenta en su trayectoria filosófica. Partiendo de esta premisa, se indaga en un primer momento sobre el papel que el concepto de lo originario juega en Ser y tiempo, tanto en la determinación ontológica del Dasein como en la dilucidación del sentido de su ser, identificado con la temporalidad originaria. En un segundo paso, las conclusiones obtenidas conducen a examinar la tematización del problema del origen en la obra heideggeriana posterior. Si ésta se caracteriza por la reflexión sobre la metafísica como acontecimiento clave de la historia occidental, en ella Grecia aparece como un origen ya definitivamente perdido e irrecuperable en su pérdida, pero cuya ausencia no sólo configura la emergencia de la modernidad, sino también nuestra actualidad histórica como última etapa de la misma.

This paper attempts a new reading of Gongsun Long’s “Baima lun”, through comparison with the Heidelberg School’s interpretation of Hölderlin’s “Being and Judgement” as a critique of self-consciousness and its judgmental form. It demonstrates that “Baima lun” correspondingly employs a reflectivity, or logic-transcending, anti-foundational perspective of “Being”, in order to undertake an ironical critique of judgment by a judgment as an illustration and confirmation of the epistemological ideas developed in “Zhiwu lun” and “Mingshi lun”. Consequently, based on the GSLZ, this paper proposes a new nominalist approach which differs from that of Hansen. Derived from further elaboration of the Heidelberg School’s interpretation of Hölderlin’s conception of Being, this paper posits that “things”, as read in “Mingshi lun”, are a specific dimension of “Being”, as singular infinity, and “name”, as superior to “zhi” or judgment in the rendering of things as criticized in “Zhiwu lun” and “Baima lun”.

Le « Cycle de l’invisible » d’Éric-Emmanuel Schmitt est une série de huit romans publiés entre 1997 et 2019. Il se compose de courts récits qui ont la particularité de questionner chacun une spiritualité sous le prisme d’un parcours initiatique propre à chaque personnage. Ceux-ci entreprennent alors de quitter leur statut de profane pour acquérir celui « d’initié » : ils quittent l’indifférence religieuse ou l’athéisme qui les caractérise pour acquérir la foi et adhérer à la religion ou spiritualité à laquelle ils ont été confrontés. Ainsi, cet article se propose de mettre ce cycle romanesque en perspective avec la notion d’habitation poétique du monde énoncée par Friedrich Hölderlin dans « En bleu adorable » et largement commentée par Martin Heidegger. L’enjeu est ainsi de parvenir à rendre plausible l’hypothèse suivant laquelle le « Cycle de l’invisible » de Schmitt est un appel à une réhabitation poétique du monde au sens donné par Heidegger à cette expression, c’est-à-dire une habitation du monde qui ne peut être envisagée sans la prise en compte de l’existence du divin. Une existence au monde tournée vers la vie spirituelle.

This essay argues that Hölderlin develops a new understanding of canonicity by way of related concepts such as law, measure, and harmony. The final version of his novel Hyperion "bends" the straight rule of the canon—the metaphor underlying the notion of a literary canon—against itself, transforming it into a Heraclitean bow: a dynamic play of conflicting tones or voices. Diotima, the novel's female protagonist, has an especially important role in this transformation: not simply through her diffuse physical beauty, which flows out into her surroundings rather than being concentrated into a plastic form, but through her voice and above all her words, which correct Hyperion's own Platonizing interpretation of the Heraclitean doctrine—an interpretation that tries to conceive of the discordant unity as visual rather than radically acoustic and musical. This counter-Platonic reading of Heraclitus contributes to the political radicalness of Hölderlin's novel, which regards the agonistic polis, ultimately extended to include the relationship between human beings and nature, as itself representing the highest unity. [ABSTRACT FROM AUTHOR]

This article examines the way Heidegger's account of the unique spiritual mission of the German people is haunted by certain conceptions of the election of Israel. I argue that Heidegger's political ontology is informed by three conceptions of the mission of Israel: biblical salvation history, kabbalistic panentheism, and Germany literary Hebraism. To link these disparate historical phenomena to Heidegger's account of the mission of being German, I develop a methodological approach for understanding Heidegger's "free use of the national" that accounts for the way it binds different sources into a new figure that is haunted by the spirit of Israel. [ABSTRACT FROM AUTHOR]

This article situates Herder's little-read essay 'Das Fest der Grazien' (1795) in the conceptual history of grace between Schiller and Hölderlin. All three authors champion grace as an answer to modern conflict and division. But while Schiller articulates his theory of grace on the basis of Kantian dualisms, Herder and Hölderlin both turn to ancient Greek conceptions of charis and to an emphasis on the gratuitousness of grace, or of grace as gift and as gratitude. Herder argues implicitly against Schiller's isolated observers of grace in order to emphasize interdependence rather than autonomy, participation rather than observation, and he stages a fictionalized scene of persuasion as a strategy to help persuade us of his claims. Hölderlin presents a similar understanding of grace but avoids strategies of persuasion, replacing them with a discourse of invitation, fidelity, and hope. Thus if for Herder grace in its gift-quality is always already present and need only be recognized, for Hölderlin grace is an event that happens to us, perennially unexpected and yet also surprisingly often even in a time of conflict and war. [ABSTRACT FROM AUTHOR]

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This article considers the work and reception of Friedrich Hölderlin with regard to the impact of German Idealism on religion. To this end, two questions must be clarified in advance: can Hölderlin, who is known primarily as a poet, also be placed in the context of German Idealism, and does his work have a significant relationship to religion? I argue that both questions should be answered in the affirmative. Ernst Cassirer's study Hölderlin und der deutsche Idealismus (1918/19) clearly laid the foundation for appreciating Hölderlin's place within German Idealism, and the question of God is a leitmotif of Hölderlin's entire oeuvre. I seek to trace Hölderlin's influence on understanding religion in three steps: First, I want to show that Hölderlin, in a critical continuation of Kant, does not consider religion solely within the matrix of practical reason, but brings into play the dimension of aesthetics. By situating religion in relation to the two focal points of ethics and aesthetics, a fundamental question of the philosophy of religion is addressed. Second, I employ several examples to show the various conceptions of the divine that the poet elucidates and juxtaposes in his work (Christian motifs, Greek mythology, pantheistic concepts, etc.). This leads to a philosophy of religion that is not determined by dogmatic boundaries. Third, I point out how religion plays a major role in the reception of Hölderlin. [ABSTRACT FROM AUTHOR]

El objetivo fundamental de este artículo es realizar un acercamiento al estudio de la presencia de la filosofía platónica en los escritos del joven Hegel, y en concreto en los significativos fragmentos del período de Frankfurt. La primera parte del trabajo se la dedicaremos a Hölderlin como interlocutor ineludible de estas primeras intenciones filosóficas de Hegel. Nos ayudará a constatar la importancia que este platonismo estético tuvo para la elaboración de su pensamiento poético y, en concreto, de la "filosofía de la unificación". Posteriormente, analizaremos los textos hegelianos del período de Frankfurt en conexión con conceptos platónicos como los de Amor, Belleza y Anámnesis, para terminar, recogiendo sintéticamente algunas conclusiones en las que se cuestiona que en esta etapa juvenil de Hegel estén ya perfiladas las claves especulativas de la dialéctica, aunque si su germen.

This paper highlights the limitations of narrative logic in mental health care, and in particular of "narrative vigilance"—the tendency to watch over experience via narrativisation, and to tether the concrete particulars of experience to the hypothetical structure of a narrative signification. Narrative logic is grounded in hypotaxis—the syntactic structuring whereby a discourse is characterised by different levels of subordination using linking words that connect, especially in terms of temporal and explanatory consequentiality. I offer an alternative approach based on parataxis—the practice of placing phrases or parts of speech next to each other without subordinating conjunctions. Sentences are juxtaposed without a clear connection; the contrast may generate novel and unexpected combinations between these dissimilar fragments. After distinguishing between parataxis and psychopathological phenomena like disturbances of association, I take inspiration from the work and life of a poet, Johann Christian Friedrich Hölderlin (1770–1843), considered among the greatest. He suffered for half his life from a severe form of mental illness that would perhaps, today, be diagnosed as schizophrenia. In the poems written during his illness, hypotaxis and narrative vigilance seem to blur, and parataxis takes centre stage. The fading of narrative structure in no way coincides with the absence of meaningfulness. Rather, meaningfulness is left to parataxis itself, that is, to the recombining power of words, sentences, and images. Parataxis itself can provide meaningfulness or, at least, provide the soil in which it can germinate. The void of narration opens the door for the fullness of "emergent" connections. In the final part of the paper, with the help of Freud's ideas on the relationship between "analysis" and "synthesis" in psychoanalytic treatment, some implications are derived about the relevance of parataxis to the logics of discovery in psychotherapeutic care, especially that of persons with severe mental conditions. [ABSTRACT FROM AUTHOR]

At the end of his essay "The Origin of the Work of Art," Heidegger quotes a verse from Hölderlin's poem "The Journey (in German: Die Wanderung)." The verse reads as follows: "Reluctant to leave the place / Is that which dwells near the origin. (Schwer verläßt / Was nahe dem Ursprung wohnet, den Ort.)" For the elucidation of its meaning, the poem itself as well as Heidegger's lecture Hölderlin's Hymn "Remembrance" are investigated, because the same verse is cited in the lecture. This investigation will reveal the reason why it is difficult to leave art as an origin. [ABSTRACT FROM AUTHOR]

This paper aims to shed light on the characteristics of Heidegger's later thinking on language, which we can illuminate by examining his interpretation of Hölderlin's poetry. Poetic language differs from everyday language, such as statements (Aussagen). It speaks of imageless thinking. With the help of a priori understanding of its beingness (Seiendheit), we routinely state a being (Seiende) as something. However, the appearing of a being or an appearing being cannot be determined through a statement of "S is p." An appearing being indeed does exist; however, it disappears once the beingness of a being is given. Hölderlin's "The Rhine" is a poem that says the appearing of a being. In this regard, the poem is a language of the ineffable, which cannot be said in ordinary language. Therefore, the interpretation of Hölderlin's poetry presented by Heidegger is an elucidation of a language of the ineffable. It is the task of this paper to uncover this fact. [ABSTRACT FROM AUTHOR]

The Heideggerian metaphysical ontology aims, above all, to reconceptualise the relationship between Being and being and to relate this founding corellation to human existence. For Heideggarian analysis, the authentic school of thought of the ancient Greeks has been forgotten, discarded, with this very act, itself, being silenced. Thus, the initial concept of Being, as thought up by Plato or the pre-Socratic philosophers, was replaced with that of being, resulting in the confusion of the two. Therefore, for more than two thousand years, the tradition of Western philosophy would discuss Being, but in reality the concept at stake was that of being. The Being, as a primordial reality without which absolutely nothing can be thought and uttered, not even Nothingness itself, was excluded from the exercise of meditation, being confused with beings, with ephemeral existences, be they material or animated. While looking for answers regarding the inquiry into the nature of Being, beings were wrongly looked at. But the Being continued to manifest its luminosity, in the sense evoked by Heideggerian metaphysics, especially around man, the only being of a special type, located in the opening of the Being, (Da-Sein) which can be reoriented from beings to Being, becoming, according to Heidegger, the shepherd of Being. Only in this way does he realize that his existence is a poetic one, that is, open to the non-hiding of the Being, in the sense of Heideggerian terminology. What is this type of poetic universally-human existence, so that it does not belong only to the poet, why was it forgotten along with the Being and what danger threatens modern man through this forgetfulness evoked by Heidegger? This article aims to capture some aspects of the conceptual area of these topics. [ABSTRACT FROM AUTHOR]

This article considers the work and reception of Friedrich Hölderlin with regard to the impact of German Idealism on religion. To this end, two questions must be clarified in advance: can Hölderlin, who is known primarily as a poet, also be placed in the context of German Idealism, and does his work have a significant relationship to religion? I argue that both questions should be answered in the affirmative. Ernst Cassirer’s study Hölderlin und der deutsche Idealismus (1918/19) clearly laid the foundation for appreciating Hölderlin’s place within German Idealism, and the question of God is a leitmotif of Hölderlin’s entire oeuvre. I seek to trace Hölderlin’s influence on understanding religion in three steps: First, I want to show that Hölderlin, in a critical continuation of Kant, does not consider religion solely within the matrix of practical reason, but brings into play the dimension of aesthetics. By situating religion in relation to the two focal points of ethics and aesthetics, a fundamental question of the philosophy of religion is addressed. Second, I employ several examples to show the various conceptions of the divine that the poet elucidates and juxtaposes in his work (Christian motifs, Greek mythology, pantheistic concepts, etc.). This leads to a philosophy of religion that is not determined by dogmatic boundaries. Third, I point out how religion plays a major role in the reception of Hölderlin.

En este artículo me propongo discutir algunos puntos de la interpretación de la Ciencia de la lógica delineada por F. Martínez Marzoa en Hölderlin y la lógica hegeliana. La premisa de este opúsculo es que Hölderlin sería el «interlocutor no declarado» de esta obra, la cual habría sido concebida por Hegel como una asunción de su crítica a Fichte en Juicio y ser. En el seno de esta interpretación, la «Doctrina del Concepto» aparece como el lugar lógico de la autosupresión de la reflexión que Hölderlin había considerado originaria e irreductible. A lo largo de estas páginas, me propongo probar: 1) que la mencionada autosupresión no implica la simple negación de la reflexión y la consiguiente afirmación de un absoluto arreflexivo, sino más bien la afirmación de lo absoluto como reflexión; 2) que la negatividad del Concepto se distingue tanto de la nada del Ser, como de la negación de la Esencia, configurando una suerte de «tópica de la reflexión»; 3) que ello no impide entender la reflexión como algo presente en el comienzo mismo de la Lógica, si bien no en la categoría del Ser como tal. Asumir estos tres puntos implica aceptar que la posición de Hölderlin no quedaría simplemente integrada en la Ciencia de la lógica (convirtiendo al poeta en una suerte de «crítico esencial (no externo) de la obra)», sino superada en el genuino sentido de la Aufhebung hegeliana la Aufhebung hegeliana.

En este artículo, examino la transformación del gesto hermenéutico de Heidegger respecto a los grandes textos de la filosofía occidental. Defiendo que, entre 1920 y 1939, Heidegger pasa de un trabajo de «destrucción fenomenológica», donde la interpretación se mide a partir de la experiencia de fenómenos positivos (la historia, el sí-mismo, la fe, la existencia) a un trabajo de «destrucción poiética», dirigido hacia una historia «por venir», ligada a una «experiencia originaria» de la cual tan solo el poeta (Hölderlin) y el pensador (Heidegger) parecen tener la llave. Sin embargo, el pensar heideggeriano amenaza así con hundirse en una forma de hybris (o de desmedida), al sobrepasar la finitud constitutiva de toda hermenéutica digna de ese nombre.

Rousseau's importance for the postkantian idealism has been poorly researched. Hidden by the Kantian interpretation, the work of the Geneva thinker seems to have no relevant influence. Departing from an interpretative analysis of the literary sources and a comparison of the literary sources, our paper aims to show, using Hölderlin and Hegel's Tubingen and the immediately subsequent works (1791-1795), that Rousseau's influence has a decisive importance to understand the artistic and religious program of our authors. This analysis will allow us to understand that Rousseau is not a philosopher, nor an enlightenment figure, but rather a wise man, the bringer of a practical doctrine whose main principle consisted in supreme human dignity and the idea of freedom interpreted as autonomy. [ABSTRACT FROM AUTHOR]

This article argues that the works of Ludwig Tieck—specifically the fairy tales collected in Phantasus—and the poems of Friedrich Hölderlin operate according to an aesthetics of impotentiation. Impotentiation designates the coexistence of seemingly opposed operations: on the one hand, the generation of forms that can be developed further in unexpected directions; and on the other hand, impotence, a condition whereby processes of emergence are brought to a standstill. The works of Tieck and Hölderlin draw on these operations to imbue sites of deviant emergence with uncertainty, albeit directed toward different ends. Tieck dramatizes the shifting of states in which everyday forms of intelligibility are briefly suspended, thereby allowing individuals to explore alternative forms of being, some of which are transgressive, some of which are redemptive, if but for a short while; his tales gesture at impotent forms not capable of development, but nevertheless invested with a critical force over and against problematic reality. Hölderlin situates his poetic voice on the cusp of an emergent order that would entail a revolutionary suspension of cultural norms; poised between the possibility of renewal and the danger of annihilation, his poetry invests such inflection points with an increased sense of urgency. [ABSTRACT FROM AUTHOR]

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The sudden flourishing of reflections on light, nature and poetry that occurred from the mid-80s onwards in the cinema of Jean-Luc Godard, Danièle Huillet and Jean-Marie Straub, could not fail to surprise. Between their reputation as Brechtian, materialist filmmakers and these seemingly apolitical reflections, developed in conjunction with their appeal to Hölderlin's "idealist" poetry, there seems to be an insurmountable rift. By situating their aesthetics in the broader framework known as "aesthetic modernity", i.e. art and philosophy of art since the end of the 18th century (cf. J.M. Schaeffer, J. Rancière), I demonstrate how films such as Der Tod des Empedokles (1986) and Allemagne année 90 neuf zéro (1991), not so much exhibit a shift to conservatism with this "sudden" interest in nature and poetry, but, rather, the manifestation of a Romantic contradiction characteristic of modern aesthetics. In a period of disillusionment, these "Brechtian" filmmakers increasingly turned to a German literary and philosophical tradition that praised the "revelationist" potential of poetry, while they, simultaneously and still with revolutionary fervour, reflected on Germany's troubled political past and present. I will argue that we can understand this alignment of revolution and revelationism from the perspective of their indebtedness to an antimodern worldview that perceives of the modern age as being in decline, to which these filmmakers oppose a utopian striving towards a "new world", captured in a Romantic discourse of light and vision. [ABSTRACT FROM AUTHOR]

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This paper highlights the limitations of narrative logic in mental health care, and in particular of “narrative vigilance”—the tendency to watch over experience via narrativisation, and to tether the concrete particulars of experience to the hypothetical structure of a narrative signification. Narrative logic is grounded in hypotaxis—the syntactic structuring whereby a discourse is characterised by different levels of subordination using linking words that connect, especially in terms of temporal and explanatory consequentiality. I offer an alternative approach based on parataxis—the practice of placing phrases or parts of speech next to each other without subordinating conjunctions. Sentences are juxtaposed without a clear connection; the contrast may generate novel and unexpected combinations between these dissimilar fragments. After distinguishing between parataxis and psychopathological phenomena like disturbances of association, I take inspiration from the work and life of a poet, Johann Christian Friedrich Hölderlin (1770–1843), considered among the greatest. He suffered for half his life from a severe form of mental illness that would perhaps, today, be diagnosed as schizophrenia. In the poems written during his illness, hypotaxis and narrative vigilance seem to blur, and parataxis takes centre stage. The fading of narrative structure in no way coincides with the absence of meaningfulness. Rather, meaningfulness is left to parataxis itself, that is, to the recombining power of words, sentences, and images. Parataxis itself can provide meaningfulness or, at least, provide the soil in which it can germinate. The void of narration opens the door for the fullness of “emergent” connections. In the final part of the paper, with the help of Freud’s ideas on the relationship between “analysis” and “synthesis” in psychoanalytic treatment, some implications are derived about the relevance of parataxis to the logics of discovery in psychotherapeutic care, especially that of persons with severe mental conditions.

The sudden flourishing of reflections on light, nature and poetry that occurred from the mid-80s onwards in the cinema of Jean-Luc Godard, Danièle Huillet and Jean-Marie Straub, could not fail to surprise. Between their reputation as Brechtian, materialist filmmakers and these seemingly apolitical reflections, developed in conjunction with their appeal to Hölderlin’s “idealist” poetry, there seems to be an insurmountable rift. By situating their aesthetics in the broader framework known as “aesthetic modernity”, i.e. art and philosophy of art since the end of the 18th century (cf. J.M. Schaeffer, J. Rancière), I demonstrate how films such as Der Tod des Empedokles (1986) and Allemagne année 90 neuf zéro (1991), not so much exhibit a shift to conservatism with this “sudden” interest in nature and poetry, but, rather, the manifestation of a Romantic contradiction characteristic of modern aesthetics. In a period of disillusionment, these “Brechtian” filmmakers increasingly turned to a German literary and philosophical tradition that praised the “revelationist” potential of poetry, while they, simultaneously and still with revolutionary fervour, reflected on Germany’s troubled political past and present. I will argue that we can understand this alignment of revolution and revelationism from the perspective of their indebtedness to an antimodern worldview that perceives of the modern age as being in decline, to which these filmmakers oppose a utopian striving towards a “new world”, captured in a Romantic discourse of light and vision.

Após uma breve apresentação de Hölderlin e de sua poesia, o texto examina traduções de seus poemas no Brasil, considerando as formas métricas, dada a significância que certos metros têm para a caracterização de gêneros líricos, odes e elegias, praticados pelo autor, determinantes para sua compreensão. A análise leva em conta as diferenças no sistema de versificação (al. Verssysteme) (KAYSER 1964: 82-85) nas línguas de partida e de chegada, bem como reflexões e práticas tradutórias concebidas no Brasil no âmbito dos estudos clássicos, em que se lida, por sua vez, com outro sistema de versificação, diverso tanto do que é utilizado em língua portuguesa quanto alemã. Em especial desempenham papel reflexões de J. A. OLIVA NETO (2017; 2020) e a proposta de estabelecimento de equivalências entre formas, no que diz respeito ao metro da tradução e obra a ser traduzida. A escolha das traduções para a análise baseou-se em sua circulação e na apresentação de poemas em conjunto, o que foi considerado importante para a percepção de recorrências entre eles. Como resultado, correspondências sistemáticas na metrificação não puderam ser encontradas nas traduções analisadas. Porém, percebem-se nelas, de modo geral, possibilidades para um tal procedimento, delineadas de maneira incipiente.

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The article considers Heidegger's reflections on Holderlin's poetic thought from the perspective of fundamental intention to the other. After the departure of Western philosophies from their original application, these issues came to the forefront of Western thinkers. If it is no longer possible to defend the application of Western philosophy and civilization, how can one see the other? Western thinkers, including Heidegger, took the question so seriously that after asking it, they began to take new ways of thinking in order to seek more original beginnings. In this article, we follow Heidegger's efforts to follow this path in the light of what he himself called “Holderlin's poetic thinking”. Undoubtedly, from Heidegger's point of view, poetry, contrary to the notion of metaphysical thought, which places it at a lower level than philosophical conceptualization, is the original position in which the genuine revelation of the world is possible. In this original revelation, Heidegger seeks the possibility of transcending the dominant criterion of Western tradition, the subject-object criterion. As long as the other is presented as inanimate object devoid of any kind of distinction, what remains of the encounter with the other is merely a pale specter of otherness that hardly signifies the other's truth. So the guiding questions of this article are how to reside beside the other in the light of Holderlin's poetic thinking? What possibilities does poetic thinking provide for the original intention to the other? [ABSTRACT FROM AUTHOR]

This Essay is an ontological contemplation of the phenomenon of not-being-at-home, which has characterized the most immediate way in which Dasein unfolds in its daily life of its being-in-the-world. This contemplation is originally based on the Hölderlin´s and Georg Trakl´s Poetics, insofar as we conceive them as the most essentials discourses of the phenomenon in question here, and it takes the direction of its foundation from the categorical-existential determinations of the facticity of life, which Heidegger elaborates in his Essay Phenomenological Interpretations of Aristotle -- Introduction to Phenomenological Research, which has the character of a propaedeutic for the Phenomenological Investigation of Aristotle's Philosophy. The question here will be the determining the Principles of facticity of existence and its modes of consummation. With this approach, we intend to present the ontological-existential foundations of the affirmations of both Poets in their contemplation of the historical-spiritual course of our Dasein, Hölderlin´s affirmation : In the beginning the spirit is not at home, and the affirmation of Trakl: "The soul is a stranger upon the Earth". [ABSTRACT FROM AUTHOR]

This Essay is an ontological contemplation of the phenomenon of not-being-at-home, which has characterized the most immediate way in which Dasein unfolds in its daily life of its being-in-the-world. This contemplation is originally based on the Hölderlin´s and Georg Trakl´s Poetics, insofar as we conceive them as the most essentials discourses of the phenomenon in question here, and it takes the direction of its foundation from the categorical-existential determinations of the facticity of life, which Heidegger elaborates in his Essay Phenomenological Interpretations of Aristotle -- Introduction to Phenomenological Research, which has the character of a propaedeutic for the Phenomenological Investigation of Aristotle's Philosophy. The question here will be the determining the Principles of facticity of existence and its modes of consummation. With this approach, we intend to present the ontological-existential foundations of the affirmations of both Poets in their contemplation of the historical-spiritual course of our Dasein, Hölderlin´s affirmation : In the beginning the spirit is not at home, and the affirmation of Trakl: "The soul is a stranger upon the Earth". [ABSTRACT FROM AUTHOR]

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According to Heidegger (1889-1976), the most primordial unity of a people is founded upon poetry. He claims Hölderlin (1770-1843) to be the greatest poet for the Germans. For the Chinese, it is Li Bai 李白 (701-762) who enjoys this status. This paper aims to show that Li’s poems signify a “harmonious response” to dao 道. They can hence be characterized as the poetry of dao. More specifically, such poetry can concretely exemplify Heidegger’s thesis that “Language is the house of Being” in Chinese. Structurally, this paper starts with a clarification of Heidegger’s Hölderlin interpretation and then, by means of comparison, will work out the essential characteristics of Li’s poetry of dao. Finally, as Heidegger sees Hölderlin’s poetry as being constitutive of “German-ness,” we argue that Li’s poetry of dao is representative of “Chinese-ness.” [ABSTRACT FROM AUTHOR]

This paper has attempted to characterize “Zhiwu lun” as the presentation of the incapacity of object-oriented knowledge to represent the realm of “things”, highlighting Gongsun Long’s epistemological and ontological value beyond a logical one. This paper proposes that only based upon this assumption does “Zhiwu lun” allow a thorough interpretation of “Mingshi lun”, whereby the intuitive function of “names” provides a better solution to the cognitive limits imposed by object-oriented (self-)consciousness. Methodologically, this paper mainly considers the Heidelberg School’s interpretation of Hölderlin’s critique of judgment in “Judgment and Being” to be both a complementary justification and reconstruction of the implicit structures of Gongsun Long’s view. This paper has presupposed the interpretation of Gongsun Long’s key concept of 指 as “judgment” in Hölderlin’s sense, in contrast to “things” (物) and “name” (名), then verified this hypothesis, as well as the relationships amongst these translations, by a close textual analysis and new translation of “Zhiwu lun”.

Significance and peculiarity of the appearance and influence that Friedrich Hölderlin had with his poetic work, both on the whole thematic-motive structure of later poetry (indications of this turn were already present in theoretical form with Diderot, but completely deprived of their true poetic articulation until Lamartine), as well as the character of the philosophical foundation of the new dialectical reversal of thought, brought by German classical philosophy, are thematised in this paper as an organically consistent and continuous process within the framework of the indicated problem, from attempts to enter the world of Hellenism, as a fundamental source of creative unity of poetry and reality, thought and action, battle and truth, to the disappointment in the possibility of objectifying the poetic experience into a coherent basis for reconciling the contradictions of the then social and political situation, which was expressed in the existential gap between alienated everyday life and his spiritual essence, which, in the end, led to Hölderlin's insight into the futility of his own poetic testimony and the role of poetry as a harbinger of the oncoming deduction-out-of-the-oblivion of the being of the existent in its original unity.

Este artigo propõe uma análise do conceito benjaminiano do sem-expressão [Ausdruckslose] e da crítica a bela aparência expostos no ensaio sobre as Afinidades eletivas de Goethe a partir de uma compreensão aprofundada da origem hölderliniana do conceito. Com isto, pretende-se questionar leituras como as de Jan Urbich e Winfried Menninghaus, que associam, respectivamente, o conceito do sem-expressão às influências de Hegel e Kant na obra de Benjamin. Reforçando a importância de Hölderlin para a crítica benjaminiana, pretende-se demonstrar como a crítica do ideal clássico de beleza em Benjamin é herdado de uma crítica análoga à bela aparência que se desenvolve na obra do poeta alemão e encontra no conceito de cesura sua forma mais acabada.

El presente ensayo se propone comprender el lenguaje de la literatura en el pensamiento de Maurice Blanchot, y su relación con nociones como lo “sagrado”, el fundamento, la ley y el origen. El hilo conductor será la lectura de la obra de Friedrich Hölderlin que el autor realiza en el ensayo “El habla ‘sagrada’ de Hölderlin” (1946), texto que se ocupa del poema “Como cuando en un día de fiesta” (1799), también comentado en 1941 por Martin Heidegger en un ensayo del mismo nombre, respecto del cual Blanchot se posiciona. Se dará cuenta de una persistente insistencia en Blanchot por pensar el lenguaje antecedido por un desgarramiento y una imposibilidad, cruzado por un cuestionamiento a la idea de ley y a la relación de fundamentación que esta idea implica. Se entenderá de qué manera es relevante la pregunta por la legitimidad de la reflexión filosófica y de la literatura. El intrigante y polémico “derecho a la muerte” al que Blanchot alude en “La literatura y el derecho a la muerte”, podrá ser mejor comprendido si se tienen en cuenta las consideraciones que se expondrán.

For nearly a century the Ode to Vanini remained unpublished and is still largely ignored in anthologies and research. This article strives to underline the central meaning of the poem for Hölderlin’s work. Indeed, an in-depth reading shows that in this ode and in the conception of nature outlined here—closely related to that of the “despiser of God”—a major and recurring key-theme is emerging which identifies Hölderlin as a militant poet, as an advocate of a “natural philosophy” that requires a radical reassessment of values and contains a message harmful to both the church and the state. A commitment to which he remained faithful all his life. Because, according to certain testimonials little researched so far that invalidate the thesis of Hölderlin’s madness, this “freest spirit” remained a fighter for the “idea of humanity” and the coming of a “new era” until the end of his life.