This volume presents two important lecture cycles delivered after WWII, exploring the poetry of Hölderlin and the nature of thought itself. Heidegger delivered his lecture series, Insight into That Which Is, at Bremen in 1949. It was his first speaking engagement after World War II, when he was officially banned from teaching. Here, Heidegger openly resumes thinking that deeply engaged him with Hölderlin’s poetry and themes developed in his earlier works. In the Freiburg lectures, delivered in 1957, Heidegger ponders thought itself and freely engages with the German idealists and Greek thinkers who had provoked him in the past. Andrew J. Mitchell’s translation allows English-speaking readers to explore important connections with Heidegger’s earlier works on language, logic, and reality.

Offering the first full assessment of Heidegger’s philosophy in the fields of International Studies and International Political Theory, this important volume provides a fresh intervention into the debate on globalization from a critical theory perspective.

In volume I, Kleinberg-Levin interprets five key words in Heidegger’s project. In this second volume, he illuminates their significance for Heidegger’s phenomenology of perception and his philosophy of history. At stake is the possibility of a new experience and understanding of being. Taking us beyond the metaphysical understanding of being, Heidegger proposes to introduce a new key word Seyn (beyng). Beyng is the Da-sein-appropriating event in which a clearing occurs as an open dimension for the time-space interplay of concealment and unconcealment, an interplay within which beings are experienced in regard to the various modes and inflections of presence and absence that the grammar of temporalities articulates. Concentrating on the appropriation of seeing and hearing as capacities and capabilities bearing promising potentialities that could be developed, Kleinberg-Levin examines seeing and hearing in the context of Heidegger’s critique of the history of metaphysics, wherein vision has served as paradigm for knowledge, truth, and reality. He shows that, in Heidegger’s philosophy of history, seeing and hearing are given a role in the transformation of the character of humanity, redeeming their own inherent potential. Perceptual experience has undergone accelerating processes of deformation and reification, encouraging a disposition that makes it serve technological and technocratic imperatives; but we might begin to redeem the promising potential in seeing and hearing, turning their damaged and dehumanized character, and their violence, towards the creation of a new planetary existence—what Heidegger imagines through the topology of the fourfold: earth and sky, mortals and the gods who embody our ideals. In this project, we are put in question by a responsibility that summons us, in our seeing and hearing, to the response-abilities most befitting our historically shared sense of an achieved humanity.

An Insurrectionist Manifesto contains four insurrectionary gospels based on Martin Heidegger's philosophical model of the fourfold: earth and sky, gods and mortals. Challenging religious dogma and dominant philosophical theories, they offer a cooperative, world-affirming political theology that promotes new life through not resurrection but insurrection. The insurrection in these gospels unfolds as a series of miraculous yet worldly practices of vital affirmation. Since these routines do not rely on fantasies of escape, they engender intimate transformations of the self along the very coordinates from which they emerge. Enacting a comparative and contagious postsecular sensibility, these gospels draw on the work of Slavoj i ek, Giorgio Agamben, Catherine Malabou, François Laruelle, Peter Sloterdijk, and Gilles Deleuze yet rejuvenate scholarship in continental philosophy, critical race theory, the new materialisms, speculative realism, and nonphilosophy. They think beyond the sovereign force of the one to initiate a radical politics "after" God.

Heidegger’s later thought is a thinking of things, so argues Andrew J. Mitchell in The Fourfold. Heidegger understands these things in terms of what he names “the fourfold”—a convergence of relationships bringing together the earth, the sky, divinities, and mortals—and Mitchell’s book is the first detailed exegesis of this neglected aspect of Heidegger’s later thought. As such it provides entrée to the full landscape of Heidegger’s postwar thinking, offering striking new interpretations of the atomic bomb, technology, plants, animals, weather, time, language, the holy, mortality, dwelling, and more. What results is a conception of things as ecstatic, relational, singular, and, most provocatively, as intrinsically tied to their own technological commodification. A major new work that resonates beyond the confines of Heidegger scholarship, The Fourfold proposes nothing less than a new phenomenological thinking of relationality and mediation for understanding the things around us.

Making the claim that reality is more like memory than a permanent substance, this original work draws on Derrida and Malabou to suggest a picture of the world as an assemblage of spectral resonances and disseminations. In Memory Assemblages, Hilan Bensusan combines elements of continental and analytic philosophy to advance a theory of realism which insists on the reality of spectres, an ultrametaphysical approach departing from metaphysics while attending to the problems that triggered metaphysical investigation. In doing so, Bensusan builds on the reception of Derrida's hauntology, particularly by Latin American scholars in disciplines such as media studies, history, and political theory, and engages with currents of speculative realism as well as contemporary work on idealism and logic. Challenging the correlationist view in which being and time cannot be considered independently of subjectivity, Bensusan gives an account of exteriority where thought and reality share a common logic of addition. Central to the book is this philosophy of addition, where addition structures the insufficiency and incompleteness of whatever seems to be present: it is an operation that dismantles what has been before in a way that depends on that past consigned to memory. Addition is explored in light of the Derridian supplement, the Epicurean Swerve, Jean-Luc Nancy's notion of struction and the Marxist notion of forces of production. A coda further elaborates the notion of production in this context, arguing for a spectral Marxism and drawing on Deleuze and Guattari's Anti-Oedipus.

Martin Heidegger (1889–1976) is considered one of the most influential philosophers of the twentieth century in spite of his well-known transgressions—his complicity with National Socialism and his inability to show remorse or compassion for its victims. In The Duplicity of Philosophy’s Shadow, Elliot R. Wolfson intervenes in a debate that has seen much attention in scholarly and popular media from a unique perspective, as a scholar of Jewish mysticism and philosophy who has been profoundly influenced by Heidegger’s work. Wolfson sets out to probe Heidegger’s writings to expose what remains unthought. In spite of Heidegger’s explicit anti-Semitic statements, Wolfson reveals some crucial aspects of his thinking—including criticism of the biological racism and militant apocalypticism of Nazism—that betray an affinity with dimensions of Jewish thought: the triangulation of the concepts of homeland, language, and peoplehood; Jewish messianism and the notion of historical time as the return of the same that is always different; inclusion, exclusion, and the status of the other; the problem of evil in kabbalistic symbolism. Using Heidegger’s own methods, Wolfson reflects on the inextricable link of truth and untruth and investigates the matter of silence and the limits of speech. He challenges the tendency to bifurcate the relationship of the political and the philosophical in Heidegger’s thought, but parts company with those who write off Heidegger as a Nazi ideologue. Ultimately, The Duplicity of Philosophy’s Shadow argues, the greatness and relevance of Heidegger’s work is that he presents us with the opportunity to think the unthinkable as part of our communal destiny as historical beings.

We inhabit a time of crisis—totalitarianism, environmental collapse, and the unquestioned rule of neoliberal capitalism. Philosopher Jean Vioulac is invested in and worried by all of this, but his main concern lies with how these phenomena all represent a crisis within—and a threat to—thinking itself. In his first book to be translated into English, Vioulac radicalizes Heidegger’s understanding of truth as disclosure through the notion of truth as apocalypse. This “apocalypse of truth” works as an unveiling that reveals both the finitude and mystery of truth, allowing a full confrontation with truth-as-absence. Engaging with Heidegger, Marx, and St. Paul, as well as contemporary figures including Giorgio Agamben, Alain Badiou, and Slavoj Žižek, Vioulac’s book presents a subtle, masterful exposition of his analysis before culminating in a powerful vision of “the abyss of the deity.” Here, Vioulac articulates a portrait of Christianity as a religion of mourning, waiting for a god who has already passed by, a form of ever-present eschatology whose end has always already taken place. With a preface by Jean-Luc Marion, Apocalypse of Truth presents a major contemporary French thinker to English-speaking audiences for the first time.

The Making of Things is about effect and intention in the schematic architectural model, a deep dive into the nature of architectonic form as the underlying syntax for all architectural work. By focusing on primitive geometries alongside fundamental principles of architectural thinking and making, this book enhances the reader’s capacity to intellectually and physically craft models that effectively communicate intention. With over 650 diagrams, this book acts as an expansive visual glossary that reveals the underlying structure of architectonics and acts as an encyclopedia of formal possibilities. Supporting essays in the book explore the nature of perception, abstraction, and metaphor to provide a theoretical basis of formal effects in architecture. This structure enables readers to make clear and direct connections between the things you construct and the reasons you construct them. This book is a bridge from the what to the why of form-making. It is a pedagogical notebook, a design primer that prompts discourse about the nature of objects. This is a must-have desk reference for beginning architecture and interior design students to stimulate their creative approaches and gain foundational knowledge of the underlying effects of formal typologies and how they manifest themselves in built forms around the world.