Ingvild Torsen

Overcoming metaphysics in Heidegger's sense requires that we experience ‘the ground out of which the history of being first reveals its nature (Wesen)’ (Heidegger 2000: 67). What overcoming metaphysics means for Heidegger is not just doing without metaphysics, but getting at the source of our understanding of and relation to what is, to being. He does this by studying the history of Western philosophy and by asking ‘why is it that being lets itself be thought as metaphysics?’ Heidegger finds that the history of philosophy is not a history of a progressively better conceptual grasp of what is, but a history of a prejudice, a story about an oversight and a forgetting, and the philosophy of Hegel is its culmination. Heidegger thinks of his own philosophy as working in the aftermath of metaphysics, and his project has clear affinities with both Hegel's and Pippin's projects, in that a central philosophical task is to figure out what has happened to us.

Hva vil det si å ha kunnskap om noe? Hva slags ting finnes i verden, og hva går det an å vite noe om? Hvordan bør vi leve? Hva er verdifullt? I denne boka søkes svar på disse spørsmålene gjennom eksempler fra filosofi- og vitenskapshistorien og fra etikk. Boka har 20 kapitler fordelt på tre deler. Del 1 – vite – stiller spørsmål om kunnskap. Del 2 – være – tar utgangspunkt i hva som er virkelig. Del 3 – gjøre – er viet etikk. Hvert kapittel har en introduksjon samt én til to originaltekster som er skrevet av tenkere fra vår samtid og fra filosofi- og vitenskapshistorien. Hvert kapittel har også studiespørsmål og en opplisting av det du bør ha lært, etter å ha lest kapittelet. [Dette er den eneste godkjent boken som dekker pensum til examen philosophicum ved Universitetet i Oslo]

What does it mean to possess knowledge about something? What kinds of things exist and can be known? How should we live? What matters and what has value? In this book, we seek to answer these questions by examining contributions from the history of philosophy, science and ethics. The book has 20 chapters divided into three parts. Part 1, Knowing, asks questions about knowledge. Part 2, Being, starts by asking about what is real. Part 3, Doing, is devoted to ethics. Every chapter has an introduction and one or in some cases two original texts written either by contemporary thinkers or by important figures from the history of philosophy and science. Each chapter is accompanied by study questions and learning goals. The aim of this book is twofold: to teach you to become a critical reader, who can identify positions, arguments, and structures in a scientific text; and to introduce you to some important positions and ideas in order to enable you to discuss the big questions raised in the book. [Note: This book has been specifically developed as a textbook for the so-called 'Examen Philosophicum" course; it exists also in Norwegian as 'Vite, være, gjøre']

To understand and begin to answer the question of this article, I compare Heidegger's position to Hegel's, since the two appear structurally similar and Heidegger is explicitly indebted to Hegel's aesthetics. On the basis of this comparison, I argue that abstract art has the potential to play an important role on Heideggerian grounds. I conclude that modernist art should be understood not as a supplement to the project of self-realization that characterizes Hegelian freedom but rather as a disruptive event that could potentially challenge the constraining technological mindset that is characteristic of our time

In this article, I aim to interpret and contextualize Heidegger’s short interpretation of Kant’s Critique of the Power of Judgement. I provide a more accurate picture of Heidegger’s interpretation of Kant, showing that his reading is both appreciative and original, if speculative. I argue that Heidegger’s analysis of Kant’s aesthetics is surprisingly at odds with his general characterization and criticism of modern aesthetics. The latter can be captured by two basic theses—art is determined by a subject’s experience and art reveals metaphysical truth—but neither of these theses applies to Heidegger’s Kant. Instead, Heidegger understands Kant and the third Critique’s notions of disinterestedness and purposiveness as sources of insight, offering an interpretation of Kantian disinterestedness as analogous to his own notion of ‘letting be’. The seeming inconsistency between Heidegger’s general story and his interpretation of Kant is revealing of Heidegger’s twofold use of history, as allowing for a diagnosis of the present, as well as positive inspiration for a future aesthetics.