Cookies Policy
X

This site uses cookies. By continuing to browse the site you are agreeing to our use of cookies.

I accept this policy

Find out more here

The Evanescent Thing: Heidegger and Ozu

No metrics data to plot.
The attempt to load metrics for this article has failed.
The attempt to plot a graph for these metrics has failed.
The full text of this article is not currently available.

Brill’s MyBook program is exclusively available on BrillOnline Books and Journals. Students and scholars affiliated with an institution that has purchased a Brill E-Book on the BrillOnline platform automatically have access to the MyBook option for the title(s) acquired by the Library. Brill MyBook is a print-on-demand paperback copy which is sold at a favorably uniform low price.

Access this article

+ Tax (if applicable)
Add to Favorites
You must be logged in to use this functionality

image of KronoScope

A fundamental consequence of Heidegger’s destruktion of classical metaphysics consists in a radical rethinking of the sense of presence. Nowhere is the verbal and processual sense of presence as strongly articulated as in Heidegger’s work. For Heidegger, things are never merely present. Rather, they must be ceaselessly brought into presence. Herein lies Heidegger’s non-onto-theological thinking of continuous creation: the world must be born anew from out of the anonymous event of presence at each moment of time. Such understanding of presence, in turn, opens into a phenomenology of evanescence or transience wherein every entity repeatedly vanishes and is produced again through the es gibt of being. Things can no longer be taken as persisting tenaciously throughout all that happens. Things are nothing but continuous ex nihilo creation; they exist as verbs and never as nouns. What sustains entities in presence is their perpetual passing away and coming to be. The permanence or constancy of things, then, only lies in their impermanence or, better, in their permanent evanescence. In this way, the article argues for a new understanding of transience: transience must be grasped as grounded not only in the inevitable future disintegration of a certain thing but also in the permanent evanescence or withdrawal of this thing in its very presence. In this respect, the article performs a close reading of the vase sequence from Yasujiro Ozu’s 1949 film Late Spring. As this article argues, what is presented in Ozu’s vase sequence is the continuous passing away and renewal of the thing, the affecting image of permanent evanescence.

Affiliations: 1: Philosophy Department, DePaul Universityk.t.kerimov@gmail.com; 2: Philosophy Department, Ural Federal Universitykerimovt@gmail.com

10.1163/15685241-12341305
/content/journals/10.1163/15685241-12341305
dcterms_title,pub_keyword,dcterms_description,pub_author
10
5
Loading
Loading

Full text loading...

/content/journals/10.1163/15685241-12341305
Loading

Data & Media loading...

http://brill.metastore.ingenta.com/content/journals/10.1163/15685241-12341305
Loading

Article metrics loading...

/content/journals/10.1163/15685241-12341305
2014-08-26
2018-06-25

Sign-in

Can't access your account?
  • Tools

  • Add to Favorites
  • Printable version
  • Email this page
  • Subscribe to ToC alert
  • Get permissions
  • Recommend to your library

    You must fill out fields marked with: *

    Librarian details
    Your details
    Why are you recommending this title?
    Select reason:
     
    KronoScope — Recommend this title to your library
  • Export citations
  • Key

  • Full access
  • Open Access
  • Partial/No accessInformation