By Reinhard May
Contributor note: Translated with complimentary essay through Graham Parkes
Publish 12 months note: First released in 1996
Heidegger's Hidden Sources records for the 1st time Heidegger's striking debt to East Asian philosophy. during this groundbreaking learn, Reinhard may possibly indicates conclusively that Martin Heidegger borrowed many of the significant principles of his philosophy - sometimes virtually be aware for be aware - from German translations of chinese language Daoist and Zen Buddhist classics.
The discovery of this remarkable appropriation of non-Western resources can have vital outcomes for destiny interpretations of Heidegger's paintings. in addition, it exhibits Heidegger as a pioneer of comparative philosophy and transcultural considering.
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Additional info for Heidegger's Hidden Sources: East-Asian Influences on his Work
3 Let us now turn briefly to the content of the ‘Conversation’. Heidegger treats two main topics in this pseudo-dialogue: first, the idea of iki, in connection with questions about the aesthetics and special nature of East Asian (Japanese) art; and second, the nature of language, in connection with the Japanese word for language, kotoba. By the way, as it were, large parts of the text present the reader with a striking mixture of biographical self-portrayal and wide-ranging self-interpretation, often looking back far into the past, in which discussions of East Asian thinking play a not insignificant role.
There can be no doubt that in both cases we are dealing with passages that Heidegger has modified slightly and skilfully integrated into his pseudo-dialogue. Third, for his interpretation of iki Heidegger apparently looked to Benl for assistance, but in an inappropriate text. For Heidegger’s interpretation of iki can hardly be squared with Kuki’s understanding of the idea. Heidegger, with the poet working more than the thinker, has his ‘Japanese’ say: ‘Iki is the gracious [das Anmutende]’ (43/140).
65 These kinds of obvious correspondences, which are easily to be found throughout Heidegger’s work and represent essential factors in its design, always concern his major thought, namely ‘Nothing’, which constitutes unmistakably (as we have seen already in the case of Being and Time) the ‘meaning of Being’. Thus Heidegger makes a clear distinction between this idea and what he calls ‘empty nothing’66 or also nugatory nothing [das nichtige Nichts]. By contrast: ‘This [true] Nothing…is nothing nugatory [nichts Nichtiges].