查询词典 Heidegger

But to find its self is not all, Dasein still has to accumulate enough courage to retrieve its authentic self, and we shall witness this happening in Dasein's proper understanding of the call of conscience, or the realizing of Dasein's essential Being-guilty—which is termed by Heidegger as"resoluteness"—a kind of choice to make up for not choosing.

但是仅仅发现了自己的本己本真性还不够，此在还需要积聚足够的勇气来收回自己的本己本真性。这一过程将在对良知召唤的确切领会中得以实现：当此在确切地领会了良知的召唤，或者说意识到了自己根本的罪责存在之后，它将会对自己未作选择这一不作为行为而进行补偿，这样，海德格尔说，此在就获得了决断。

Heidegger on Laozi is Rumi, his translation of "moral, as" so often pondering.

海德格尔对老子更是入迷，他翻译《道德经》以便经常琢磨。

As Heidegger put it, the nature of subject constructs subject, the qualification of subject includes: the self-discipline of self-action; the initiative-ness of self-consciousness; the overlapping of freedom which of course sets its feet on right.

如海德格尔所言，主体性建构了主体，主体的适格包括自为的自律性、自觉的能动性和自由的超越性，显然，其着力点在权利上。

Accepting the aesthetic thought of Kant and Schiller, and Heidegger\'s artistic truth view, Marcuse points out in sensibility and morals, i.e. during people\'s the two poles present," the aesthetic dimension " is occupying the status of centre, as the soul ability of person practicing, imagine strength having function mediated and liberated to perception and reason; Aesthetic form, self-containment and truth are identical, art not merely has a function of ideology, have political latent energy criticized , denied even more, it strives for the individual\'s freedom and happiness; Aestheticsis the people\'s life style, therefore has proposed the theory of "not constraining life style", it make up one\'s mind bad smell look at latitude of "remember" emphatically really.

接受康德和席勒的美学思想，以及海德格尔的艺术真理观，马尔库塞指出在感性和道德性，即人的存在的两极之间，"审美之维"占据着中心地位，作为实践的人的心灵能力，想像力对感性和理性有着调和与解放的功能；审美的形式、自律和真理是一致的，艺术不仅具有意识形态的功能，更具有批判、否定的政治潜能，它争取个体的自由与幸福；美学是人的生存方式，"非压抑性生存方式"理论的确立意味着重视"回忆"的纬度。

If the ontological difference by Heidegger is tenable, it will be a fatal blow to western philosophy and history, because it reveals that western culture is self-deceiving and its meaning and value are questionable.

如果海德格尔的存在论区分是确切的，那么，这一区分对西方哲学和历史的打击将是致命的：因为这种区分把整个西方哲学和历史推进了自欺的深渊，两千年的西方文化则因自欺而失去其意义与价值。

This seems conclusive proof of Heidegger's subjectivism.

这似乎确凿地证明了海德格尔的主观主义。

The implications of Heidegger's references, as when he makes approving use of Knut Hamsun for an example of talk about Nothing (IM 20) or when he criticizes Theodor Haecker's What Is Humanity?(IM 109), may well escape the contemporary reader: Hamsun, a Nobel Prize—winning writer, was a Nazi sympathizer; Haecker's book advanced a clearly anti-Nazi argument.

当海德格尔不无赞赏地援引柯特·哈姆逊作为谈论本无的例证时（参见德文版第20页），当他抨击舍特·赫克尔的《人是什么》时（参见德文版第109页），当代读者根本不会留意海氏话中的玄机——身为诺贝尔奖获奖作家的哈姆逊恰恰是纳粹的同路人，而赫克尔则在书中提出了一种直白的反纳粹观点。

Heidegger's analysis, firstly, tried to indicate that the work of art is something different form usual recognitions; for the above-mentioned reasons, this treatise analyses the complicated relations between thingness, equipment and the work of art; then it reveals Heideggor's thought about the relation between art, the work of art and artist, in the relation, art becomes the original foundation of the work of art and artist.

海德格尔的分析，一开始就试图表明，艺术作品不是什么，以与惯常的认识相区分；基于此，本文分析了物性、器具与艺术作品的复杂关联；之后，揭示了海德格尔关于艺术与艺术作品和艺术家三者之间的关系的思想，在这种关系中，艺术成为了艺术作品与艺术家的本源性基础。

Heidegger used the jug as an example and indicated that the thingness of the jug lies in its "standing," not in its "representation."

在「放立场所」当中的「立」，是因「『放』而成『立』」；也就是在「放立场所」当中，强调类似於「放」东西的动作，而且这是比一般制作一件作品来得简化的过程；甚至，将一般平面的材料，透过「放」的动作，让那原本只能平放转为「站立」的物件。

He succeeded in presenting Heidegger's often turgid style in a readable and idiomatic English.

译者成功地用一种朗朗上口的地道英文转达了海氏一贯铺张的写作风格。

With Death guitarist Schuldiner adopting vocal duties, the band made a major impact on the scene.

随着死亡的吉他手Schuldiner接受主唱的职务，乐队在现实中树立了重要的影响。

But he could still end up breakfasting on Swiss-government issue muesli because all six are accused of nicking around 45 million pounds they should have paid to FIFA.

不过他最后仍有可能沦为瑞士政府&议事餐桌&上的一道早餐，因为这所有六个人都被指控把本应支付给国际足联的大约4500万英镑骗了个精光。