In this paper, I examine how and why Heidegger's early conception of freedom as the ground of the self-appropriation of Dasein had been gradually transformed after 1930. The approach of Heidegger to the issue of human freedom displays how his thinking proceeds from Kant's formulation of the problem in "The Third Antinomy" of the first Critique to Sophocles' tragedy of Antigone. I argue that the reason behind this transformation resides in the attempt of thinking the relation between freedom and natural (...) necessity over and beyond the constraints of critical philosophy. What seems pivotal in this transformation is Heidegger's growing concern with the "tragic" in which he envisages the possibility of a genuine exposure to the "truth" of the conflict between freedom and necessity and, more primordially, to the "abode" wherein the encounter between man and Being {Sein) occurs. Here, the "tragic" is pointing to the limits of representation and what is presented. In other words, it exhibits the limits of human freedom in its relation to the truth of Being. In the passion for disclosure of Being {aletheia), man is driven into the freedom of instituting its truth. In Heidegger's late thinking, human freedom is determined not any more by the obligation of choosing oneself but by the necessity of clearing the truth of Being. Human freedom is tragic in the face of this necessity that it has to answer. Therefore, man is envisaged as having no right or mastery over his freedom for there is no total clearing of its origin. Finally, I argue that it seems impossible to understand the transformation in Heidegger's concept of freedom without an appeal to his emphasis on the "tragic" as being an attempt to deepen and to transfigure the problem as treated in Kantian critical philosophy. In its tragic sense, Heidegger's concept of human freedom displays what lies beneath the Kantian antinomy: the incomprehensible origin of human freedom conceived as the event of the historical appropriation of Being {Er-eignis). (shrink)

In this paper, I examine how and why Heidegger's early conception of freedom as the ground of the self-appropriation of Dasein had been gradually transformed after 1930. The approach of Heidegger to the issue of human freedom displays how his thinking proceeds from Kant's formulation of the problem in "The Third Antinomy" of the first Critique to Sophocles' tragedy of Antigone. I argue that the reason behind this transformation resides in the attempt of thinking the relation between freedom and natural (...) necessity over and beyond the constraints of critical philosophy. What seems pivotal in this transformation is Heidegger's growing concern with the "tragic" in which he envisages the possibility of a genuine exposure to the "truth" of the conflict between freedom and necessity and, more primordially, to the "abode" wherein the encounter between man and Being {Sein) occurs. Here, the "tragic" is pointing to the limits of representation and what is presented. In other words, it exhibits the limits of human freedom in its relation to the truth of Being. In the passion for disclosure of Being {aletheia), man is driven into the freedom of instituting its truth. In Heidegger's late thinking, human freedom is determined not any more by the obligation of choosing oneself but by the necessity of clearing the truth of Being. Human freedom is tragic in the face of this necessity that it has to answer. Therefore, man is envisaged as having no right or mastery over his freedom for there is no total clearing of its origin. Finally, I argue that it seems impossible to understand the transformation in Heidegger's concept of freedom without an appeal to his emphasis on the "tragic" as being an attempt to deepen and to transfigure the problem as treated in Kantian critical philosophy. In its tragic sense, Heidegger's concept of human freedom displays what lies beneath the Kantian antinomy: the incomprehensible origin of human freedom conceived as the event of the historical appropriation of Being {Er-eignis). (shrink)

The aim of this article is to investigate the ways in which memory and imagination operate in and through the development of consciousness in literary texts. Itsguiding theme shall be the double consciousness in modern life which sets the plot for one of the masterpieces of Henry James, The Ambassadors (1903). Thus The Ambassadors artfully crafts the “inwardness of the modern mind” by plotting it as a process of maturity and of becoming mindful through the powers of imagination, recollection and (...) memory. The prospect of the novel consists in the possibility of envisioning a sense of freedom or of life that is one’s own making. The interpretation that I endorse here is guided by the question of intimacy and its relation to freedom, and is made in the light of what Hegel says in his Philosophy of Mind with regard to the development of mind’s powers. This assessment may disclose a way of learning and growing through becoming mindful of the oppositions that pervade the modern mind. Henry James and Hegel, each in their unique way, recollect this lesson that modern life teaches by raising it to a higher consciousness as we find in the form of their art and philosophy. (shrink)