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Download Bruno o Il divino e naturale principio delle cose by F.W.J. Schelling PDF

By F.W.J. Schelling

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This is one reason why Division Two of Being and Time works over again 31 32 INTRODUCTION the material generated by Division One, deepening its insights on Heidegger’s second tour of his own particular circuit. This awareness of the humanity of all enquirers into Dasein and the meaning of Being leads to a second important methodological principle – the need for a diagnostic element in philosophical criticism. For Heidegger claims both that Dasein is the being uniquely possessed of an understanding of Being, and that its enquiries into Being constantly and systematically misunderstand it – claims which together imply that Dasein is constantly and systematically out of tune with that with which it is nonetheless most fundamentally attuned.

Heidegger does not, however, regard the philosophical tradition purely as something constraining or distorting. What he inherits from the past, that which defines and delimits the possibilities with which he is faced in engaging with his fundamental question, is not simply to be rejected. After all, the complete and undiscriminating rejection of every possibility that his tradition offers would leave him with no orientation for his enquiry, with no possible way of carrying on his questioning. In fact, the philosophical past with which he must live is a positive inheritance in two central respects.

Being and Time shifts the focus of the epistemological tradition away from this conception of the human being as an unmoving point of view upon the world. Heidegger’s protagonists are actors rather than spectators, and his narratives suggest that exclusive reliance upon the image of the spectator has seriously distorted philosophers’ characterizations of human existence in the world. Of course, no traditional philosopher would deny that human life is lived within a world of physical objects. If, however, these objects are imagined primarily as objects of vision, then that world 39 40 SCEPTICISM, COGNITION AND AGENCY is imagined primarily as a spectacle – a series of tableaux or a play staged before us; and the world of a play is one from which its audience is essentially excluded – they may look in on the world of the characters, but they do not participate in or inhabit it.

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