Download Ellipsis: Of Poetry and the Experience of Language After by Independent Researcher William S Allen PDF

By Independent Researcher William S Allen

Examines poetic language within the paintings of Heidegger, Hölderlin, and Blanchot.

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Extra resources for Ellipsis: Of Poetry and the Experience of Language After Heidegger, Holderlin, and Blanchot (S U N Y Series in Contemporary Continental Philosophy)

Example text

For it is said in every word of language, and nevertheless discourse and writing talk for the most part only about beings. This comes to articulation. Even where we actually say the “is” and thus name being, we say the “is” only to assert a being about a being. Beings are said. Being is kept silent about. But not by us and on purpose. For we are unable to discover any trace of an intention not to say being. Hence, the keeping silent must indeed come from being itself. Hence, being is a keeping silent about itself, and this is certainly the ground of the possibility of keeping silent and the origin of silence.

And otherwise—nothing” might seem to be arbitrary or contrived, it is apparent from a closer examination that Heidegger is attempting a very specific dislocation of language that is akin to the mechanisms at work in some poetic experiences with language. Also, as this phrase is examined, it shows itself to be a genuine encounter with language; in other words, Heidegger has brought about the experience of nothing that he is discussing. The rhetorical dislocation experienced when the discussion of “beings” becomes the discussion of “beings only and otherwise—nothing,” is not just a contrived play on words but a dislocation of the ordinary thinking experience of language into an experience with language itself in its relation to thinking.

It is to this abyssal retreat that the repetition of language directs us and that this work will attempt to sketch out, as the manifold of inapparence brings an entirely different imbrication of concealment and unconcealment to Heidegger’s thinking, one that deflects his understanding of the relation of time and language into an other relation, an inordinate relation. ” As he does so, it becomes apparent that the truth of a work relates to its essence, but that its essence relates to its truth: “A curious entanglement shows itself here.

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