Poetic Dwelling Research Articles

Teaching as Dwelling Between Two Worlds: Reflection of Being an Educator in the Post-Pandemic Era

This paper discusses the impact of COVID-19 on education, focusing on the rapid shift to online learning. It raises concerns about the ethical implications of AI-generated writing and critiques the dominance of technocratic rationality in education. Drawing from Ted Tetsuo Aoki and Martin Heidegger’s works, it explores the notion of technology, poetic dwelling, and the educators’ beingness in a post-pandemic era. This paper challenges instrumental views on curriculum, teaching, and technology through personal reflections and theoretical analysis, advocating for an existential and poetic understanding. This paper urges rethinking educational practices to embrace human complexity and foster genuine engagement with knowledge.

Poetic Dwelling in Landscape: A Cross-Disciplinary Study on the Poetic Evocation in Chinese Landscape Painting

Poetic Dwelling in Landscape: A Cross-Disciplinary Study on the Poetic Evocation in Chinese Landscape Painting

Poetic Dwelling - Ethical Construction of a Green Lifestyle

Poetic Dwelling - Ethical Construction of a Green Lifestyle

The Heideggerian Ontology and The Exposure of The Being in the “Poetic Dwelling”

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.

Wallace Stevens and Martin Heidegger: Poetry as Appropriative Proximity by Ian Tan

Reviewed by: Wallace Stevens and Martin Heidegger: Poetry as Appropriative Proximity by Ian Tan Krzysztof Ziarek Wallace Stevens and Martin Heidegger: Poetry as Appropriative Proximity. By Ian Tan. Cham, Switzerland: Palgrave Macmillan, 2022. Ian Tan’s book is the first extended study of Wallace Stevens devoted almost entirely to the conversation of Stevens’s poetic oeuvre with Martin Heidegger’s ideas about poetry, dwelling, and the event (das Ereignis). What sets the study apart from other scholarly books or essays that explore the relation between Stevens and Heidegger is, first, the comprehensive nature of Tan’s treatment of Stevens, which begins with Harmonium and proceeds all the way to the last poems from 1954–55; and second, the focus on Heidegger’s notion of the Ereignis. It is indeed the Ereignis that constitutes not only the pivot of Tan’s presentation of Heidegger but also the prism for his extensive analysis of Stevens’s poetry. The linchpin of Tan’s argument finds its explicit articulation in the section title “The Appropriative ‘Force’ of Ereignis and Poetry” (15). While many critical texts highlight the proximity (of poetic interests) between Stevens’s late poetry and Heidegger’s thought, Tan argues for adopting the Heideggerian lens for both early and late poems by Stevens. Such a lens does not mean that Heidegger’s work provides a rigid interpretative framework but rather that the understanding of the event as an opening to being (beyond metaphysical ideas and figurations) can be traced throughout Stevens’s poems and his reflections on poetry. Chapter 1, which serves as the Introduction, locates Stevens, and more broadly the relation of poetry and philosophy, in the context of phenomenology [End Page 117] and post-phenomenological thought (Husserl, Heidegger, Merleau-Ponty, Derrida, Nancy, among others), with the emphasis on the quasi-transcendental sense of presence elaborated there. The book patterns its approach after “the phenomenological significance of poetry in order to read Stevens’ poetic output as dramatisations of Heideggerian appropriations of Being” (16). This approach is developed in chapters 2 and 3, first by reexamining how Stevens and Heidegger can be read in conversation and then by outlining the significance of later Heidegger’s thought, especially about the event, for reading Stevens. Subsequent chapters trace the arc from Stevens’s first collection, Harmonium, through the relation between poetry and politics in the 1930s, to the idea of the Supreme Fiction, and the question of being in the late poetry. Some of the most interesting insights come in chapter 4, “Considering Presence and Place in Stevens’ Harmonium,” and in particular the discussion of poems like “Sunday Morning” and “The Comedian as the Letter C,” which are rarely studied in the context of scholarship inspired by phenomenological thought and which are presented by Tan in terms of “poetic appropriations” of being, anchored in Heidegger’s discussion of the event and poetic dwelling. What is novel, at least to my knowledge, is that the reading of those early poems focuses on tracing proximity to being in terms of a non-metaphysical sense of presence evoked in them. Tan’s claim is that these approximations of being eschew the subject-object divide and move away from the representational view of language. Perhaps the most characteristic reading for this chapter comes in the section entitled “‘Sunday Morning’ and the Post-Metaphysical Poem” (73–75), in which Tan characterizes the poem’s crucial theme in terms of freedom toward “an authentic attunement facing Being and our possibilities to be” (75). While I like the emphasis on the relation to being, a more developed analysis of Stevens’s language in the poem, tracing its “post-metaphysical” openings, would be important in this context. Chapter 5 examines the contentious interpretations of Stevens’s relation to politics, trying to nuance the approach to the political dimension of poetic writing, especially given Stevens’s predilection toward abstraction, which is often discounted as divorced from historical reality or uninterested in contemporaneous affairs. Tan’s position is that politics in Stevens does not manifest in terms of commitment, critique, or commentary but makes itself known through transforming our relation to the world by means of the imagination. In this manner, poetry “opens up...

Poetic Dwelling of the Ocean: Appreciating the Man Who Has Never Seen the Sea from Heidegger’s Poetic View

Heidegger believed that the origin of a nation’s historic existence is art. In the artistic world, we can expose the alienation of reality, uncover the original beauty, and return to poetic human habitation. In Le Clézio’s works The Man Who Has Never Seen the Sea, bystanders, as “intermediaries”, construct virtual dreams to escape from the city’s dreams. In the interaction with the natural ocean field, Daniel, a pure child messenger, is shaped, and his original experience is used to restore the original language, so as to realize the original awakening of human beings and create a poetic dwelling.

A New Paradigm of Home-Mapping for Literary Cartography

A New Paradigm of Home-Mapping for Literary Cartography

The Tree of Life: D.H. Lawrence, Peter Wohleben and Richard Powers

Although Lawrence was clearly a forerunner of ecological awareness, he predated the conscious crisis of planetary destruction and the ecocritical turn retains an ambiguity as to whether it refers to a thematic concern or a distinctive mode of reading and writing. The same ambiguity lurks in Martin Heidegger’s use of Friedrich Hölderlin’s auratic formula “Poetically man dwells upon the earth.” I consider the possible shift between Lawrence’s time and the present on the question of poetic dwelling by comparing Lawrence’s writing on trees in Fantasia of the Unconscious with Peter Wohleben’s The Hidden Life of Trees (2015) and Richard Powers The Overstory (2018).

THIÊN NHIÊN TRONG BẠCH VÂN QUỐC NGỮ THI TẬP CỦA NGUYỄN BỈNH KHIÊM TỪ GÓC NHÌN PHÊ BÌNH SINH THÁI

Nature in literature has been of interest to researchers for a long time, but since the introduction of Ecological Criticism in Vietnam, that relationship has been approached from the other perspective. This study applies the theory of ecological criticism to study nature in Bach Van Quoc phon collection - excellent collection of Nom poetry by Nguyen Binh Khiem. In the perspective of ecocrticism, we point out the concept of the natural world (nature is a poetic dwelling place, being friends, able to listen and understand people); and behavior with nature (appreciation for the beauty of nature, appreciation and listening to nature's voice).

Criminal Law Guilt and Ontological Guilt: A Heideggerian Perspective

The paper deals with the notion of guilt according to Heidegger’s philosophy and its repercussions for the understanding of guilt according to criminal law doctrine and theory. Heidegger’s notion on guilt is tantamount to Dasein’s incapacity to exhaust all its existential possibilities, whereas legal guilt has to do only with man’s legal indebtedness, which is an aspect of inauthenticity, a deficient mode of ontological responsibility. This does not mean, though, sheer amoralism or apologetics to violence. In late Heidegger one may discern traces of an ontological ethics, which refers to Dasein’s attunement to Being and especially to the sparing and healing of the Fourfold as these are coming to presence through poetic dwelling; through, that is, an authentic contact with the Uncanny, meaning a radical exposure to Being’s enigmatic hiddenness, the endurance in front of the abyss of Nothingness. In this framework there remains no space for assuming any moral-juridical responsibility, because Dasein is predestined to err constantly due to the ruptures and turnings of Being’s history. Legal blameworthiness is thus obsolete because, injustice being according to Heidegger the dis-jointure of Being’s order, there is ontologically no imputable ‘legal’ crime; there is only Dasein’s eventful projecting-opening within errancy. Whether though this notion of ‘Being’ is a new ‘arche’ to be superseded emerges then as the crucial question. To regain any non-metaphysical notion of guilt is after Heidegger only possible through a theoretical move which cannot ignore his legacy but also has to go beyond the Master.

HEIDEGGER’S WAY TO POETIC DWELLING VIA BEING AND TIME

Although Heidegger’s explicit account of “poetic dwelling” belongs to his later philosophy, there are important indications that he was already engaging with the core matter of the notion in his early thought. Contrary to the idea that in Being and Time, “dwelling” amounts to mere practical coping with the environment, we would like to demonstrate that the notion is already a poetic issue in his early thought, as it requires the appropriation of our relation to the world via an authentic experience of finitude. Following a topological mode of thinking, the paper thematizes the connections between Heidegger’s early and later thought, and elucidates the following three points: First, “freeing” and “letting” appears as the appropriate ethos of a poetic experience of finitude, one that maintains the “clearing” of meaningfulness. Second, a topological reading of Being and Time can explicate the notions of authenticity and inauthenticity as different disclosures of the clearing where human being-world correlation occurs. Third, the notion of “keeping-still” (Schweigen) can be interpreted as an authentic disposition that frees space for the disclosure of existence. The paper concludes that an authentic experience of finitude through “stillness” appears to reorient human ethos by releasing “discourse” from absorption in “idle-talk” and that such an act of existential re-orientation of one’s disposition towards the world is the essence of “authenticity,” and Heidegger’s early “poetic dwelling”.

Heidegger’s Meditative Thinking as a Remedy from the Tragedy of Calculative Thinking Towards Poetic Dwelling

The diversified character of technological dominance causes an intense discomfort to all dimensions of human life which also calls for environmental concerns. It very is evident that technological culture challenges humanity and the world around us, but it also has the potential to help us realize the emergence of another perspective that prepares a way out from humanity’s confinement in a technological, scientific, and manipulated view of nature. Initially, this study contemplates concerning the work of Martin Heidegger on the essence of technology and the extent to which technological advancement has caused existential enframing, and the outcome of which is meditative thinking, as the essence of thinking. It argues that Heidegger’s assertion towards a kind of thinking can be seen as a remedy to the crisis brought by calculative and technological thinking. It enlightens us in dealing with our vulnerable position as it reveals the reality of the technological attitude of “enframing.” Second, this study analyzes that this technological challenge would guide humanity into a new approach thereby leading towards the withdrawal from the dominance of calculative thinking as the essence of technology amid technological culture. Lastly, this study demonstrates that through “poetic dwelling” humanity develops a new disposition that opens up a better perspective that allows humanity’s authentic existence.

Heideggers Conception of Poetic Dwelling through Appropriation of History

Heideggers Conception of Poetic Dwelling through Appropriation of History

The Personality Beauty Thought in New Accounts of Old Episodes

"New Accounts of Old Episodes" is a classic handed down in China, which reflects the personality image and charm of the scholars in the Wei and Jin dynasties with the original ecological narrative technique. The scholars of the Wei and Jin Dynasties were detached, facing the world with an aesthetic attitude beyond secular utilitarianism, etiquette, and real life, establish a graceful social stage of vulgarity, create a unique personality beauty, providing valuable ideological wealth for the cultivation of poetic spirit, poetic dwelling, aesthetic style, transcend personality, and wisdom.

Memory enabling dwelling: remembrance and amnesia in Louis I. Kahn’s design for the Salk Institute for Biological Studies in La Jolla, California

Louis I. Kahn’s reference to historical forms is known as a distinctive characteristic of his architecture. However, Kahn’s reference to the past is more intricate than what has been acknowledged to date. Kahn did not embrace memory as a fixed aesthetic criterion. He referred to memory as a living temporal phenomenon that endows his architecture with an enduring value. The Salk Institute for Biological Studies in La Jolla is recognised as one of his masterpieces. Scholars have pointed out aesthetic similarities of Kahn’s design to several monuments of the past and assessed the aesthetic contribution of these monuments to his work. In light of Kahn’s theory regarding memory, as expressed in his writings, together with Jonas Salk’s ideas on modern research and its relationship to traditional thinking, this article shows how Kahn creatively referred to the memory of religious monastic structures to express constitutive ideas and beliefs of modern research. His refences to memory in the Salk Institute embody the notion that memory can serve as a basis for belonging, encourage mediation, and inspire meaningful participation. In this sense, memory plays a role in architecture conceived as a living phenomenon that transcends aesthetic concerns. It is an architecture of cognitive and habitual associations and connotations in which remembrance and amnesia coexist. In conclusion, the article points towards the value of referring to memory in architecture. As this enables poetic dwelling, it also summons the importance of the built environment in serving societies as places to both recollect our past and redefine our aspirations for the future.

Martin Heidegger, Hölderlin’s Hymn “Remembrance by Martin Heidegger

Reviewed by: Martin Heidegger, Hölderlin’s Hymn “Remembrance by Martin Heidegger Véronique M. Fóti (bio) Martin Heidegger. Martin Heidegger, Hölderlin’s Hymn “Remembrance,” translated by William McNeill and Julia Ireland Bloomington: Indiana University Press, 2018. 210 pages. Heidegger devoted three lecture courses, over a span of some seven years, to Hölderlin’s hymnic poetry, offering his course on Remembrance [Andenken] in the winter semester of 1941/42. His intensive and sustained engagement with Hölderlin, beginning in the early 1930’s (and thus near the conclusion of his rectorship at Freiburg University under Nazi auspices), attests to the profound impact that his encounter with Hölderlin’s poetry had on his thought—an impact still urgently in need of interpretation. Indications are that Remembrance held special importance for him. Furthermore, its exegesis in the lecture course was followed, in 1945, by the essay “Andenken” [“Remembrance”], which came to form part of his Elucidations to Hölderlin’s Poetry.” 1 One is grateful to McNeill and Ireland for their scholarly and thoughtful translation, which opens up the lecture course to Anglophone readers and which is also helpful for Anglophones seeking to participate in a needed comparative reading of both lecture course and essay. McNeill and Ireland follow the translation with an Epilogue, Translators’ Notes, and a German/English and English/German Glossary, which makes for terminological consistency. There is no index, and its absence is regrettable, but it may be a concession to Heidegger’s personal aversion to scholarly apparatus. McNeill and Ireland translate the German dichten, which verbally expresses what a poet does (and which does not figure in the Glossary) with the neologism “to poetize,” which serves also (according to the Glossary) to translate Dichtung, which is generally translated as “poetry” but has a wider scope. Although it is difficult to suggest an alternative translation, (other than perhaps leaving dichten explicated but untranslated, given that English lacks an equivalent verb), “to poetize” is problematic. It inappropriately suggests a secondary activity carried out with the materials of language, whereas Heidegger holds that dichten and Dichtung characterize the originary character of language which, moreover, enables the poetic dwelling of mortals upon the earth. [End Page 795] In contrast to the essay “Remembrance,”2 which is densely argued and brings into focus Heidegger’s, by this date, key concern with essential historicity (Seinsgeschichte), leading him to interlace the poet’s diction with his own articulation, the lecture course is, though similarly focused, more wide-ranging and also more defensive or tentative. It prominently addresses questions of language and of the perils of inadequate bases for interpretation. It also includes, besides discussions of Hölderlin’s two important letters to Casimir Ulrich von Böhlendorff, framing his 1801/02 journey to Bordeaux, consideration of Sophocles and Pindar (both of whom Hölderlin translated). One discerns in the lecture course Heidegger’s striving to articulate, in dialogue with Hölderlin, what was truly at issue for him, treating Hölderin’s Dichtung as preparatory for (but not equivalent to) his own task of thinking. In the poem’s first two strophes, Heidegger focuses, in the lecture course, on the reciprocities and distances involved in greeting, and on an essential (if esoteric) understanding of holidays and festivity. In particular, he highlights how holidays (or “days of celebration”) call attention to the sheer “miracle” of being (often written in the pre-contemporary spelling of Seyn, which Hölderlin still used quite naturally), rather than non-being, as well as of the arising of world-configurations. The festivity (Fest) thus prepared for reveals itself as the essentiality (Wesen) of history (section 27:2). Hölderlin’s poetic articulation anticipates and guides, for Heidegger, his own understanding of Seinsgeschichte. He finds an important basis in Hölderlin’s “Empedocles complex” (three fragmentary tragedies and a corpus of theoretical essays, dating roughly to the last three years of the 18th century), in which the poet reasons that the free use of a culture’s ownmost gift (which is, for Hesperia or the West, the clarity of presentation) must laboriously be acquired through an immersion into what is alien, (such as the Greek “fire...

“[I]t is a word unsaid”

This study attempts to trace the aesthetic of the act of naming in Walt Whitman’s poem “Song of Myself”. It tries, furthermore, to approach America as a geo-poetic concept and formation in the earlier American poetics of being. The literary geography of Whitman’s poetry might here be measured against the poeticity of the American con(text) or poetic dwelling, with all the nuances of the question of identity being implicated. The poet as a namer is the one who re-invents his linguistic-poetic gear to re-signify his existence in the act of renaming the second creation. Building on the Emersonian pseudo-philosophical premises, the poet Whitman thus sets himself the task of mapping out his Eden, or this terra incognita, by creating his textual geography and by Whitmanizing the American scene for that matter.

A Poetics of Church: Reading and Writing Sacred Spaces of Poetic Dwelling. By Jennifer Reek

<i>A Poetics of Church: Reading and Writing Sacred Spaces of Poetic Dwelling</i>. By Jennifer Reek

Who is Heidegger’s Hölderlin?

The question of Hölderlin’s influence on Heidegger’s thinking has long preoccupied philosophers. In this essay I attempt to situate the Hölderlin-reception in Germany during the 1930s and show how (despite all the strong political currents running through Heidegger’s Hölderlin lectures) he comes to offer his own reflections on poetic dwelling that open an ethical relation within his work. There are deeply ethical moments that emerge in Heidegger’s reading of Hölderlin, moments marked by polarities between an assertion of the German Volk’s exceptionalist singularity and an awareness of the need to authentically encounter the “other,” the “alien,” the “foreign,” and the “stranger.” The Hölderlin lectures take place in this space of contention, strife, and upheaval. In and through his conversation with Hölderlin, Heidegger begins to think an originary ethics of dwelling attuned to the poietic power of beyng. It is in this ethos of poetic dwelling, one that comes to language in Hölderlin’s late hymns, that Heidegger rethinks Dasein as Aufenthalt, abode, and ἦθος.

Vernacular architecture and the amazon landscape: a path in search of a poetic dwelling

espanolInformara de la busqueda es el objetivo principal de este texto. Esta investigacion se refiere a la tesis de maestria (Programa de Graduados en Arquitectura y Urbanismo - UFF) se ha convertido en uno de los lugares en los que la imaginacion humana invade las profundidades de la tierra. Asi que Amazon es el lugar donde se revelo el fenomeno estudiado: el habitar poetico a traves del cual el rio es-vivo en la Tierra, la captura de ella una relacion visceral. Tomando como enfoque metodologico de los principios fenomenologicos com base en la ontologia heideggeriana y tener la poetica Bachelard como medio de apertura al mundo, el trabajo se desarrolla, y tambien lo ha hecho la forma en que las personas fluviales en la vida de Amazonas, habitan esto podemos ver revelado a traves de la materialidad de sus hogares, - desde su Arquitectura-escritura y completar el paisaje que rodea e invade por completo. EnglishReport a search is the main objective of this text. This research refers to the master's thesis (Graduate Program in Architecture and Urbanism - UFF) has developed into one of the places in which the human imagination invades the depths of the earth. So Amazon is the place where the studied phenomenon was revealed: the poetic dwelling through which the river habitant is-live on Earth, catching her a visceral relationship. Taking as methodological approach the phenomenological principles proposed by Hurssel is based on Heideggerian ontology and having the Bachelard poetics as a means of opening to the world, the work unfolds, and so has the way the riverine people in Amazonas lives , inhabit this we can see revealed through the materiality of their homes, -from his Architecture-writing and completing the landscape that surrounds and invades completely. portuguesRelatar uma pesquisa e o principal objetivo deste texto. Tal pesquisa refere-se a dissertacao de mestrado (Programa de Pos Graduacao em arquitetura e Urbanismo - UFF) se desenvolveu em um dos lugares no qual o imaginario humano invade as profundezas da Terra. Assim a Amazonia e o lugar no qual o fenomeno estudado se revelou: o habitar poetico atraves do qual o ribeirinho se demora sobre a Terra, travando com ela uma relacao visceral. Tomando como abordagem metodologica os principios fenomenologicos, e com base na ontologia Heideggeriana e tendo a poetica de Bachelard como meio de abertura para o mundo, que o trabalho se desenrola, e apresenta assim a maneira como o povo ribeirinho no Amazonas habita, habitar esse que podemos ver revelado atraves da materialidade de suas casas - de sua arquitetura - compondo e completando a paisagem que os cerca e os invade por completo.