El concepto de tiempo: tratado de 1924 by Martin Heidegger

By Martin Heidegger

No resulta ninguna novedad afirmar que el rasgo que outline el pensamiento de Heidegger es l. a. pregunta por el sentido del ser. Él mismo confirmó este hecho en múltiples declaraciones autobiográficas. Sin embargo, lo que todavía despierta el interés del lector de Ser y tiempo es observar cómo el horizonte de esa pregunta se va perfilando en el contexto de un rico juego de superposiciones filosóficas que, de una u otra manera, recorre el camino que conduce de los angeles vida humana a l. a. cuestión del ser. En este sentido, el presente tratado El concepto de tiempo (1924), que amplía considerablemente los angeles conferencia homónima dictada el mismo año ante los angeles Sociedad Teológica de Marburgo, ofrece una excelente aproximación a los angeles temática heideggeriana que conducirá al lector a través de un sugestivo análisis de los diferentes modos de existencia impropia hasta los angeles posibilidad extrema de los angeles muerte como antesala que coloca al hombre ante el horizonte histórico y temporal de su propio ser.

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The French novel in the nineteenth century is well into adultery, casual fornication, prostitution, homosexuality, and all varieties of sexual obsession, tragic or kinky, at a time when sexual relations could barely be alluded to in the English novel. ’’ James, writing in —a decade after Zola had been banned in Britain— believes that things have changed. ‘‘The novel is older, and so are the young’’: the young are demanding fiction no longer wholly anodyne. For James, the English novel has failed to acknowledge sufficiently the elasticity and freedom of the novel form.

Like Raphaël de Valentin in Balzac’s La Peau de chagrin, he wields phantasmatic power. Notice how the journalistic sign in this understanding is fully comparable to money in the emergent capitalist economy: tied to no referent (such as land), it is defined only by its exchange-value, by its circulation. This suggests the problem of a world where sign and referent stand in no stable relation. Balzac portrays a world in which representation is on everyone’s mind —where self-representation is a central project—but where the signs used to represent are highly unstable.

He is initiated into the double nature of the theater: the illusion on the stage and the backstage mechanisms that create it. ‘‘After having seen in the Galeries de Bois the strings controlling the book trade and the kitchen where glory is prepared, after strolling in the wings of the theatre, the poet perceived the underside of consciences, the play of the cogwheels of Parisian life, the machinery behind it all’’ () []. The backstage metaphor returns frequently in Balzac: this is the hidden region, both ugly and more deeply erotic and fascinating, where the spectacle of appearing is prepared and controlled.

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