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The author reads Rimbaud, Mallarme. Holderlin, and Trakl in relation to philosophy, and in particular to Heidegger.Is the age of poets past, or are we just on the verge of its coming in a farewell to poetry? When Rimbaud claims: "One must be absolutely modern!" what does he ask for? Is modernity really already finished, before it has even fully arrived?Is this the paradox of our present time? What if, as Mallarme said, a present does not exist?Is there any place for what Heidegger called "building, dwelling, thinking?" Why did Heidegger himself in the end need an ultimate God, after the failure of his political expectations?To keep questioning is already a way of responding. Perhaps the traditional philosophical gesture is not sufficient. If language, culture, and the history of the West have come to the point of no return as shown by Auschwitz, everything has to be rethought— without a "turn" or a return.
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This is the first authoritative, book-length study of what Heidegger called "thinking poetics." That Is to Say conducts its analysis of Heideggerian poetics by expounding the sense of language from the perspective of fundamental ontology. This project is carried out in readings of the pertinent chapters of Being and Time, the lectures on Hölderlin, "The Origin of the Work of Art," and On the Way to Language. The book is guided by a question that no other writer on Heidegger has yet asked: Why should poiesis provide a privileged access to the specificity of the poetic?With this question guiding his quite unorthodox analyses of Heidegger's texts on poetics and the work of art, the author sheds new light on every aspect of Heidegger's philosophy. The analyses devoted to Heidegger's idea of a proximity between thinking and poetry, his conception of Hölderlin as the poet, of poetic experience, and of the privilege he accords the name reveal a series of presuppositions and necessary assumptions in Heidegger's conception of poetry that not only remain unthought by Heidegger himself, but that, strictly speaking, cannot be thought in terms of what Heidegger understood by thinking.That Is to Say points to the limits of poetics with regard to the work of art, and in particular the literary work. In doing so, it gestures toward new ways of doing justice to the literary and to art in general.