Abstract
This article deals with Ingeborg Bachmann’s doctoral dissertation on the critical reception of Martin Heidegger’s Being and Time. The aim of the article is to demonstrate the exceptional position of Bachman’s dissertation in academia after the Second World War, which celebrated Heidegger as a master-thinker even though he was deeply engaged in the Third Reich. On the basis of Rudolf Carnap’s thinking Bachmann draws a sharp line between philosophy and Heidegger’s “Seinsmystik”. This leads her to a short, but profound, reflection on the essence of fine art.
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