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Heidegger's Hut
The intense relationship between philosopher Martin Heidegger and his cabin in the Black Forest: the first substantial account of "die Hutte" and its influence on Heidegger's life and work.
"This is the most thorough architectural 'crit' of a hut ever set down, the justification for which is that the hut was the setting in which Martin Heidegger wrote phenomenological texts that became touchstones for late-twentieth-century architectural theory."
-- from the foreword by Simon Sadler
Beginning in the summer of 1922, philosopher Martin Heidegger (1889-1976) occupied a small, three-room cabin in the Black Forest Mountains of southern Germany. He called it "die Hutte" ("the hut"). Over the years, Heidegger worked on many of his most famous writings in this cabin, from his early lectures to his last enigmatic texts. He claimed an intellectual and emotional intimacy with the building and its surroundings, and even suggested that the landscape expressed itself through him, almost without agency. In Heidegger's Hut, Adam Sharr explores this intense relationship of thought, place, and person.
Heidegger's mountain hut has been an object of fascination for many, including architects interested in his writings about "dwelling" and "place." Sharr's account -- the first substantive investigation of the building and Heidegger's life there -- reminds us that, in approaching Heidegger's writings, it is important to consider the circumstances in which the philosopher, as he himself said, felt "transported" into the work's "own rhythm." Indeed, Heidegger's apparent abdication of agency and tendency toward romanticism seem especially significant in light of his troubling involvement with the Nazi regime in the early 1930s.
Sharr draws on original research, including interviews with Heidegger's relatives, as well as on written accounts of the hut by Heidegger and his visitors. The book's evocative photographs include scenic and architectural views taken by the author and many remarkable images of a septuagenarian Heidegger in the hut taken by the photojournalist Digne Meller-Markovicz. There are many ways to interpret Heidegger's hut -- as the site of heroic confrontation between philosopher and existence; as the petit bourgeois escape of a misguided romantic; as a place overshadowed by fascism; or as an entirely unremarkable little building. Heidegger's Hut does not argue for any one reading, but guides readers toward their own possible interpretations of the importance of "die Hutte."
"This is the most thorough architectural 'crit' of a hut ever set down, the justification for which is that the hut was the setting in which Martin Heidegger wrote phenomenological texts that became touchstones for late-twentieth-century architectural theory."
-- from the foreword by Simon Sadler
Beginning in the summer of 1922, philosopher Martin Heidegger (1889-1976) occupied a small, three-room cabin in the Black Forest Mountains of southern Germany. He called it "die Hutte" ("the hut"). Over the years, Heidegger worked on many of his most famous writings in this cabin, from his early lectures to his last enigmatic texts. He claimed an intellectual and emotional intimacy with the building and its surroundings, and even suggested that the landscape expressed itself through him, almost without agency. In Heidegger's Hut, Adam Sharr explores this intense relationship of thought, place, and person.
Heidegger's mountain hut has been an object of fascination for many, including architects interested in his writings about "dwelling" and "place." Sharr's account -- the first substantive investigation of the building and Heidegger's life there -- reminds us that, in approaching Heidegger's writings, it is important to consider the circumstances in which the philosopher, as he himself said, felt "transported" into the work's "own rhythm." Indeed, Heidegger's apparent abdication of agency and tendency toward romanticism seem especially significant in light of his troubling involvement with the Nazi regime in the early 1930s.
Sharr draws on original research, including interviews with Heidegger's relatives, as well as on written accounts of the hut by Heidegger and his visitors. The book's evocative photographs include scenic and architectural views taken by the author and many remarkable images of a septuagenarian Heidegger in the hut taken by the photojournalist Digne Meller-Markovicz. There are many ways to interpret Heidegger's hut -- as the site of heroic confrontation between philosopher and existence; as the petit bourgeois escape of a misguided romantic; as a place overshadowed by fascism; or as an entirely unremarkable little building. Heidegger's Hut does not argue for any one reading, but guides readers toward their own possible interpretations of the importance of "die Hutte."
- GenresPhilosophyArchitecture
139 pages, Hardcover
First published January 1, 2006
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January 16, 2016
به نظرم اگر کتاب جذابیتی دارد، این جذابیت وجهه ی رمانتیک و رازآمیز آن است و نه امری فلسفی
الف. توضیح بخش های کتاب
کتاب از چند بخش تشکیل شده: 1) مقدمه ی ایرج قانونی که گزارشی است تقریبا فلسفی از مفهوم کلبه در ذیل مفهوم سکنی گزیدن؛ 2) ترجمه ی دو نوشتار از هایدگر به نام های " منظره ی خلاق: چرا من ساکن روستاهایم؟" - در 4 صفحه - و "ساختن سکنی گزیدن اندیشیدن" - در 18 صفحه؛ 3) دو پیشگفتار به قلم سیمون سدلر و اندرو بنیامین در مورد این کتاب؛ 4) اصل کتاب آدام شار؛ 5) کتابشناسی. بخش اول و دوم افزوده ی ایرج قانونی به کتاب اصلی هستند - یعنی خود کتاب آدام شار مقالات هایدگر را ندارد
ب. قضاوت من در مورد بخش های اولیه قبل از متن اصلی
مقدمه ی ایرج قانونی صرفا به خواننده چند مفهوم را عرضه می دارد و به او می فهماند که این مفاهیم نسبتی با هم دارند اما اینکه این نسبت چگونه است و چرا اینگونه است گنگ می ماند. این مفاهیم تقریبا اینهایند: چیز، نزدیکی و گردآوردن، چهارگانه ی خدایان و میرایان و آسمان و زمین، ساختن، سکنی گزیدن، سکنی گزیدن شاعرانه، مرگ خدا، امر دور از انتظار، خلوت گزینی، مرگ-آگاهی و وقوف به محدودیت
مقاله ی نخست هایدگر - یعنی "چرا ساکن روستاهایم؟" - به دلیل آنکه بیشتر توصیف بود و حرف هایش ادبی، قابل فهم بود اما جنبه ی فلسفی کار نامعلوم مانده بود. اما مقاله ی دوم، برعکس، به شدت فلسفی وار نوشته شده بود. اوایل بخش اول این مقاله را می شد دنبال کرد اما از ورود چهارگانه ی خدایان و میرایان و آسمان و زمین به بعد ربط بحث ها نامعلوم بود. بخش دوم هم از نظر ربط فلسفی مطالب برای من گنگ ماند. اینجا هم می شد فهمید مفاهیمی وجود دارند مرتبط با هم، اما وجه فلسفی این رابطه معلوم نمی شد. مفاهیمی که خودشان و نسبتشان گنگ بودند اینهایند: چهارگانه مذکور، سادگی، نسبت مکان و فضا و فضای مابینی و فضای معین، سکنی گزیدن بارز، اینجا آوردن، پیش کشیدن، نسبت فکر کردن و سکنی گزیدن
پیشگفتارها هر دو ابهام هایی داشتند، خصوصا پیشگفتار اول. اولی به نفس کار شار پرداخته بود و اینکه آیا اصولا انجام چنین پژوهشی حاصلی دارد و اگر دارد آن حاصل چیست. پیشگفتار دوم تذکری بود به اینکه بحث از کلبه را نباید به صرف نزاع بر سر شهرگرایی و روستاگرایی فروکاست؛ بلکه یکی از دلائل توجه هایدگر به روستا آن است که نگاه روستایی از تفردبخشی منفعت طلبانه ( کالا محور ) از یک سو و نگاه زیبایی شناسانه از سوی دیگر فاصله دارد. این فاصله باعث می شود که در روستا امر بنیادی تر مجال بروز بیشتری یابد
ج. قضاوت من در مورد فصول نوشتار ادام شار
خود کتاب شار برخلاف شصت صفحه ی نخست کتاب - که به بخش های پیشین اختصاص یافته است - متنی روان و قابل فهم دارد. از کتاب شناسی و توضحیات منبع شناسانه ی یادداشت ها نباید غافل شد
درآمد کتاب به نظرم مصداق یک متن مختصر و مفید است - با ارجاعات مفید به کتب مربوطه در یادداشت ها. صفحات متعددی بعد از این درآمد به ساختمان کلبه اختصاص یافته است - چینش اتاق ها، مصالح، موقعیت و ... . این بخش ها برای من صرفا از جهت آشنایی با محیط یک کلبه - آن هم کلبه ی هایدگر جالب بودند - وگرنه به درد فلسفه نمی خوردند. بعد از بخش های معمارانه، شار در فصولی به سراغ مطالب فلسفی تر می رود اما در این کار سطحی است - به این معنا که گرهی از فهم خواننده از نسبت هایدگر و کلبه در افق فلسفه نمی گشاید. اگر هم حرفی زده بود همان ابهام حرف های هایدگر را با خود داشت بدون ایضاح
فصل مربوط به گزارش افراد از کلبه ی هایدگر در حد اطلاعات تاریخی و زندگی نامه ای جالب بود اما نسبت پاول سلان و کلبه به شدت گنگ باقی ماند. فصل آخر با عنوان "کلبه همچون بازتاب تفکر هایدگر؟" به نظرم گزارشی مختصر، کلی و جالب بود از انواع نگرش ها به کلبه ی هایدگر و همینطور نوعی نتیجه گیری از حرف های فصول قبل
د. ترجمه ی ایرج قانونی
من بعد از خواندن شصت صفحه ی اول کتاب و ورود به خود کتاب شار متوجه شدم که جاهایی جملات دشواریاب اند برای همین گشتم و اصل کتاب را هم یافتم و تا آخر کتاب همیشه به آن مراجعه می کردم. این رفت و آمدها نشان می داد که ایرج قانونی مترجمی است متوسط. متوسط به این معنا که ترجمه اش را که بخوانی گمراه نمی شوی اما همه جا را نمی فهمی. این نفهمیدن متاسفانه به نظرم حاصل تنبلی است تا بی سوادی. برخی اشتباهات باور نکردنی در متن دیده می شوند: مثلا ترجمه کردن جمله ای که فاعلش یک موقعیت است به جمله ای که فاعلش هایدگر است، یا مثبت ترجمه کردن یه جمله ی منفی یا جا انداختن یک جمله یا ترجمه کردن طبقه ی همکف به طبقه ی دوم و اموری از این دست. اما مشکل واژگانی هم در این میان وجود دارد مثلا درست است که کانسنتریشن تقریبا به معنای تمرکز حواس است اما کانسنتریشن کمپ به معنای "اردوگاه تمرکز حواس" نیست
خلاصه اینکه با یک ویرایش اکثریت قاطع مشکلات ترجمه حل خواهد شد اما تا آن وقت به نظرم بهتر است اصل انگلیسی کنارتان باشد تا هرجا ابهامی بود به آن مراجعه کنید
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February 28, 2021Yoğun bir okuma kritiği ile okuduğum metin; Heidegger ve düşüncesinin kulübe üzerinden nasıl gerçekleştiğine dair çalışma. Mekanın geometrisinde şekil almış düşünce pratikleri. Poetik olarak mesken tutmak. Yaşamın kendisine yoğun katılma hali. Doğa önünde, karşısında ve içinde insan- düşünen insan.
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July 9, 2009I am starting a new booklist to cover my ongoing research into my career goal of becoming a hillbilly.
This cottage, referred to in his essay "Why Do I Stay in the Provinces" is described in detail by architect Adam Sharr. A thin and enjoyable book to dream about making off-grid (no electricity until towards the end of H's life) cabin with a humanure toilet (H had an "earth toilet"). One would of course add rainwater collection and solar panels these days. I found it particularly interesting how H would invite students to camp out over the summer, and engage in long walks through the countryside and fireside chats about the pre-Socratics.
I am reminded of Muso Soseki, the 14th century Zen Buddhist poet, who wrote: "It would be merciful for people not to come calling and disturb the loneliness of the mountains to which I have returned from the sorrows of the world."
This cottage, referred to in his essay "Why Do I Stay in the Provinces" is described in detail by architect Adam Sharr. A thin and enjoyable book to dream about making off-grid (no electricity until towards the end of H's life) cabin with a humanure toilet (H had an "earth toilet"). One would of course add rainwater collection and solar panels these days. I found it particularly interesting how H would invite students to camp out over the summer, and engage in long walks through the countryside and fireside chats about the pre-Socratics.
I am reminded of Muso Soseki, the 14th century Zen Buddhist poet, who wrote: "It would be merciful for people not to come calling and disturb the loneliness of the mountains to which I have returned from the sorrows of the world."
February 2, 2013
Although I enjoyed this book, I would only recommend it to serious Heidegger nerds. You learn extremely little about Heidegger from it, and, as Scharr would admit, the 'hut' in question is not particularly architecturally interesting.
The work is more a sort of architectural vignette than is an exploration of Heidegger's thoughts on 'dwelling'. So if you were, for example, an architecture person interested in learning more about Heidegger's writings on architecture, this is absolutely not the book for you. I don't know what that book would be, but this is not it.
As a brief portrait of one mega-philosopher's desire for a provincial life - with all its affectation, hypocrisy, and kitsch - it's pretty decent.
The work is more a sort of architectural vignette than is an exploration of Heidegger's thoughts on 'dwelling'. So if you were, for example, an architecture person interested in learning more about Heidegger's writings on architecture, this is absolutely not the book for you. I don't know what that book would be, but this is not it.
As a brief portrait of one mega-philosopher's desire for a provincial life - with all its affectation, hypocrisy, and kitsch - it's pretty decent.
May 7, 2014
This is my favorite picture book of my twenties. Well, maybe. It probably ties with Gregory Crewdson.
September 23, 2023
After reading Heidegger’s essay ‘Building Dwelling Thinking’ I figured that I might as well see what some of its real world implications may have been, especially in how they were reflected in Heidegger’s own life and possibly in the field of architecture more generally. Well, lo and behold, it appears that the joke was really on me. Heidegger’s Hut did exactly what it said it would do, and I’ve wasted a good few hours reading an entire goddamn book solely dedicated to a bloody hut. I thought it might have served as an impetus to a larger discussion, and it evokes them at times, specifically at the end when it speaks of the tension between provincialism and cosmopolitism in Heidegger’s life as well as retelling Paul Celan’s notorious visit to Todtnauberg (Totenauberg, haha), but at the end of the day the majority of Sharr’s work is about the number of beds crammed into a bedroom, or whether or not a certain hook or bench was used to hang up Heidegger’s damp clothes to dry in the afternoon sun after one of his many walks. The foreword and prologue respectively do a far more interesting service to Heidegger’s work, and they really do a great job of inflating this really bland piece of work and making it sound like it’s the dog’s bollocks (or the bee’s knees, if you’re squeamish). But then again that blandness may be due in large part to the fact that Sharr himself is an architect and that the majority of his interest stems from that and that alone. On the other hand, I was really rather hoping for something a little more technical and abstract - more on Hölderlin, less on the type of shingles used in construction.
Fortunately, however, Sharr does somewhat manage to redeem his project by bringing up perhaps one of the greatest, yet curiously unspoken, controversies in all of Heidegger’s corpus. Sharr unravels that pernicious kernel in what Heidegger's legacy has left for us, and keenly diagnoses that around which many Heideggerian scholars still have to orbit if they ever wish to get a true grasp of his thought. In an ironic twist of fate Heidegger’s own Destruktion of the history of ontology, his sweeping away of that bothersome-millennia-old-ontic-sedimentation, his intimidation of the great thinkers of Western history, have all been sadistically turned against him by Sharr - and the results he manages to glean by such a cruel operation are truly incredible. Perhaps in the grand scheme of things Sharr’s formulations may prove decisive in answering one of life’s most perennial and essential questions. In the same way that Foucault predicted that this century would be Deleuzian, I too hold a peculiar yet undeniably steadfast belief that the 22nd century will be distinctly Sharrist (or Sharrean, or whatever suffix is most appropriate, blow me).
What is the question you may ask?
Did Heidegger actually buy and own specific furniture for when it was sunny out? Or did the philosopher just repurpose the furniture he already had in his hut for when the climate got more agreeable and temperate? Crazy stuff guys. I apologise in advance for writing this fatuous review and for me wasting your time, you are all allowed to leave now, pleasant travels.
Fortunately, however, Sharr does somewhat manage to redeem his project by bringing up perhaps one of the greatest, yet curiously unspoken, controversies in all of Heidegger’s corpus. Sharr unravels that pernicious kernel in what Heidegger's legacy has left for us, and keenly diagnoses that around which many Heideggerian scholars still have to orbit if they ever wish to get a true grasp of his thought. In an ironic twist of fate Heidegger’s own Destruktion of the history of ontology, his sweeping away of that bothersome-millennia-old-ontic-sedimentation, his intimidation of the great thinkers of Western history, have all been sadistically turned against him by Sharr - and the results he manages to glean by such a cruel operation are truly incredible. Perhaps in the grand scheme of things Sharr’s formulations may prove decisive in answering one of life’s most perennial and essential questions. In the same way that Foucault predicted that this century would be Deleuzian, I too hold a peculiar yet undeniably steadfast belief that the 22nd century will be distinctly Sharrist (or Sharrean, or whatever suffix is most appropriate, blow me).
What is the question you may ask?
Did Heidegger actually buy and own specific furniture for when it was sunny out? Or did the philosopher just repurpose the furniture he already had in his hut for when the climate got more agreeable and temperate? Crazy stuff guys. I apologise in advance for writing this fatuous review and for me wasting your time, you are all allowed to leave now, pleasant travels.
March 5, 2020
Four stars for this insightful analysis of the relationship between place and philosophy.
Heidegger is a favorite of mine, albeit this book is too easy on Heidegger as an unrepentant Nazi. "More forthright critics will find the hut a suspicious and objectionable place, seeing continued interest in it only as grim fascination" (109).
Still has anything ever been written that is better than "Living towards death with resolute acceptance of my guilt and my finitude?"
I am on a roll: this is the fourteenth book I have finished this year.
"What takes Sharr to Todtnauberg is a curiosity about Heidegger's program to quell the anxiety of existence by giving the subject physical and temporal certainties" (viii).
"The activity in question centers on the question of how 'place' is to be understood" (xv).
"Note that the hut, rather than involving a merely literal commitment to the countryside of the provinces, involves a commitment to a particular relationship between philosophy and place" (xix).
"A direct relationship is apparent between purpose and arrangement" (34).
"Heidegger seems to have considered Todtnauberg partly as somewhere to escape from family life" (55).
"It indicated Heidegger's attribution of a special legitimacy to his relationship with the hut and its enveloping seasonal movements" (64).
"To him, there was an ethical contrast between the city--absorbed in its own dellusions--and a pastoral life which he perceived as more straightforward. The provincial had a special authority and a unique voice" (66). Heidegger would love our Electoral College.
"When the evening light, slanting in the woods somewhere, bathes the tree trunks in gold . . ." (72). I have always been captivated by that. Often I can see it from my sunroom.
". . . . yet its origin remained unseen. To Heidegger, water, giver of life at Todtnauberg, had a mysterious provenance. He felt this to be physical reality and also metaphor: the source of life was itself mysterious" (73).
"Although Heidegger's affair with Hannah Arendt, his student, later a philosopher and political scientist, has been well documented, it is unclear whether she ever visited Todtnauberg" (79).
"The hut manifests this continuing tension: it appears at one with the landscape; its study, kitchen, and dinning area have the compressed utility of a place where life is lived intensely; yet always apparent are the shutters and bars, provisions made for the building to be locked up and left behind" (105).
"While any provincialism invites such questions, because of Heidegger's involvement with Nazism they haunt in a special way both his writings on dwelling and place and any appreciation of the hut at Todtnauberg" (109).
Heidegger is a favorite of mine, albeit this book is too easy on Heidegger as an unrepentant Nazi. "More forthright critics will find the hut a suspicious and objectionable place, seeing continued interest in it only as grim fascination" (109).
Still has anything ever been written that is better than "Living towards death with resolute acceptance of my guilt and my finitude?"
I am on a roll: this is the fourteenth book I have finished this year.
"What takes Sharr to Todtnauberg is a curiosity about Heidegger's program to quell the anxiety of existence by giving the subject physical and temporal certainties" (viii).
"The activity in question centers on the question of how 'place' is to be understood" (xv).
"Note that the hut, rather than involving a merely literal commitment to the countryside of the provinces, involves a commitment to a particular relationship between philosophy and place" (xix).
"A direct relationship is apparent between purpose and arrangement" (34).
"Heidegger seems to have considered Todtnauberg partly as somewhere to escape from family life" (55).
"It indicated Heidegger's attribution of a special legitimacy to his relationship with the hut and its enveloping seasonal movements" (64).
"To him, there was an ethical contrast between the city--absorbed in its own dellusions--and a pastoral life which he perceived as more straightforward. The provincial had a special authority and a unique voice" (66). Heidegger would love our Electoral College.
"When the evening light, slanting in the woods somewhere, bathes the tree trunks in gold . . ." (72). I have always been captivated by that. Often I can see it from my sunroom.
". . . . yet its origin remained unseen. To Heidegger, water, giver of life at Todtnauberg, had a mysterious provenance. He felt this to be physical reality and also metaphor: the source of life was itself mysterious" (73).
"Although Heidegger's affair with Hannah Arendt, his student, later a philosopher and political scientist, has been well documented, it is unclear whether she ever visited Todtnauberg" (79).
"The hut manifests this continuing tension: it appears at one with the landscape; its study, kitchen, and dinning area have the compressed utility of a place where life is lived intensely; yet always apparent are the shutters and bars, provisions made for the building to be locked up and left behind" (105).
"While any provincialism invites such questions, because of Heidegger's involvement with Nazism they haunt in a special way both his writings on dwelling and place and any appreciation of the hut at Todtnauberg" (109).
July 1, 2024
After reading almost all of English-translated Heidegger's books over the last few years, I decided that it is time to see the hut where he wrote them. Thus, I added 2 extra days to a short European trip and visited Freiburg and Todtnauberg. Immediately after this trip, I bought and read this short book to see what others have to say about “Heidegger's Hut” up there in the Black Forest.
Seeing the hut immediately after seeing Heidegger's bourgeois house in Freiburg, was quite an interesting experience. The hut is remote (even these days it takes a train, a bus, and a lot of hiking to reach it; it seems that Heidegger used to hike to the hut early in the morning directly from Freiburg), it is high in the mountains and rather isolated, it is small and simple, it is a peasant and primitive house (well, eventually was connected to electricity when Heidegger was old), has an amazing view of the Alps and the valley below, it is at the edge of the Black Forest, and similar. I was there midday in the summer and it was rather cold and windy; I cannot imagine how it must be in the winter. At a superficial and immediate glance, it looks like a romantic prospect; but after a close consideration there is nothing romantic about it.
Both the house in Freiburg and the hut in Todtnauberg belong to Heidegger's children; and as private properties no access is allowed inside. I did not care much for not seeing the inside of the house in the city, but it is a pity that his family is not opening the hut for visitors - at least at some per-specified times.
This book is an architect's view of the hut. However, Heidegger influenced architecture especially with his “Building Dwelling Thinking”. There are a lot of great details about the construction of the hut and its characteristics in this book along with pictures; but in the end this is the author's main take on the hut: “Here is the philosopher's curious yearning for hardness and rigor - given shape by the mountains. Heidegger's Todtnauberg was no aesthete's romance: it was an arena for solitary sparring.” And as an alternative view on the hut and also from this book, here is Hannah Adendt's (student, lover, and life-long friend): “That life in Todtnauberg, this railing against civilization, and writing Sein/Being with a y is in reality a mouse hole into which he withdrew...”
Seeing the hut immediately after seeing Heidegger's bourgeois house in Freiburg, was quite an interesting experience. The hut is remote (even these days it takes a train, a bus, and a lot of hiking to reach it; it seems that Heidegger used to hike to the hut early in the morning directly from Freiburg), it is high in the mountains and rather isolated, it is small and simple, it is a peasant and primitive house (well, eventually was connected to electricity when Heidegger was old), has an amazing view of the Alps and the valley below, it is at the edge of the Black Forest, and similar. I was there midday in the summer and it was rather cold and windy; I cannot imagine how it must be in the winter. At a superficial and immediate glance, it looks like a romantic prospect; but after a close consideration there is nothing romantic about it.
Both the house in Freiburg and the hut in Todtnauberg belong to Heidegger's children; and as private properties no access is allowed inside. I did not care much for not seeing the inside of the house in the city, but it is a pity that his family is not opening the hut for visitors - at least at some per-specified times.
This book is an architect's view of the hut. However, Heidegger influenced architecture especially with his “Building Dwelling Thinking”. There are a lot of great details about the construction of the hut and its characteristics in this book along with pictures; but in the end this is the author's main take on the hut: “Here is the philosopher's curious yearning for hardness and rigor - given shape by the mountains. Heidegger's Todtnauberg was no aesthete's romance: it was an arena for solitary sparring.” And as an alternative view on the hut and also from this book, here is Hannah Adendt's (student, lover, and life-long friend): “That life in Todtnauberg, this railing against civilization, and writing Sein/Being with a y is in reality a mouse hole into which he withdrew...”
March 7, 2024
LA CABAÑA DE HEIDEGGER (2016) de Adam Sharr fue una tesis de doctorado que, como tantas otras, se transformó en libro. Lo interesante de este pequeño libro de poco más de 100 páginas es que estudia la relación que existe entre filosofar en un lugar y habitar en un lugar.
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Asistimos entonces a los largos paseos por el bosque, los veranos en la reposera, las visitas de los discípulos, filosofos y poetas que se dirigen por un dormido sendero de montañas a la cabaña del maestro. Y por supuesto también observamos el testimonio del mismo Martín Heidegger para quien ese espacio sacro, mezcla de refugio y zona de trabajo, donde pasó tantos años, y su contraposición con lo que significaba para él la vida en la ciudad (una vida baja, inferior, absolutamente sometida a la novedad y la técnica y obviamente mucho más tediosa que la vida superior en las montañas).
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Un punto alto de este libro es que también da detalles de su construcción y de lo que tenía adentro. Por ejemplo siempre pensé que en esa cabaña había una gran biblioteca, pero realmente la gran biblioteca estaba en la casa de la ciudad. En la cabaña, en medio de un mobiliario reducido, Martín solo llevaba los libros con los que trabajaba (Nietzsche, sus amados Presocráticos) o los poetas que sentía que lo interpelaban en sus estancias (Trakl, o Celan, o Hölderlin). Este es un libro muy bonito, pero para fans... únicamente fans de este señor.
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Asistimos entonces a los largos paseos por el bosque, los veranos en la reposera, las visitas de los discípulos, filosofos y poetas que se dirigen por un dormido sendero de montañas a la cabaña del maestro. Y por supuesto también observamos el testimonio del mismo Martín Heidegger para quien ese espacio sacro, mezcla de refugio y zona de trabajo, donde pasó tantos años, y su contraposición con lo que significaba para él la vida en la ciudad (una vida baja, inferior, absolutamente sometida a la novedad y la técnica y obviamente mucho más tediosa que la vida superior en las montañas).
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Un punto alto de este libro es que también da detalles de su construcción y de lo que tenía adentro. Por ejemplo siempre pensé que en esa cabaña había una gran biblioteca, pero realmente la gran biblioteca estaba en la casa de la ciudad. En la cabaña, en medio de un mobiliario reducido, Martín solo llevaba los libros con los que trabajaba (Nietzsche, sus amados Presocráticos) o los poetas que sentía que lo interpelaban en sus estancias (Trakl, o Celan, o Hölderlin). Este es un libro muy bonito, pero para fans... únicamente fans de este señor.
November 17, 2023
A good introduction to Heigger as a man & a philosopher. His hut was in the Blackforest, where my Fehrenbach & Allgaier relatives came to the USA. More the residence of an academic/writer than of a hermit, but very basic & close to the land. You can compare to the varied 'huts' such as the Tubingen Tower of Holderin, Goethe's 'Gartenhaus' in Weimar, & Nietzsche's mountain convalescent home at Sils Mara in the Austrian Alps. Or Thoreau's cabin at Walden Pond, Wittgenstein's cabin in Skjolden, Norway., or Carl Jung's tower on the shores of Lake Zurich.
July 23, 2021
I’ve often wondered how it would be to live in a hut or cave or mountaintop and meditate. Heidegger did this in his own hut albeit near his university job and with his wife. But this book is fascinating and helps me understand Heidegger II or the later heidegger after his linguistic turn to philosophical language as poetically “dwelling.” Both he and Wittgenstein—the philosophers I studied the most as a philosophy student were obsessed with minimalist architecture and this knowledge is helpful in understanding their asceticism.
January 5, 2022
“Doğrusunu söylemek gerekirse ben kır manzarasını asla seyretmem. Onun sürekli değişimini, gündüz ve geceyi, mevsimlerin muazzam geliş ve gidişlerini deneyimlerim”
Münzevi hayatı için inşaa ettiği kulübenin tasvirlerini okurken Heidegger’in zihnine giden yollarda yürüyor gibiydim.
Münzevi hayatı için inşaa ettiği kulübenin tasvirlerini okurken Heidegger’in zihnine giden yollarda yürüyor gibiydim.
This entire review has been hidden because of spoilers.
September 16, 2024
does the job
December 23, 2016
Where is some sort of authentic rootedness is claimed, must there not be outsiders inevitably doomed to inauthenticity? Where toughness and rigor are sought, might intolerance be encouraged? Is hostility to the fashions of cultural debate the beginning of a dangerous totalitarianism? Where the transcendence of "nature" is evoked, might it not allow an unhealthy detachment from human responsibility? Moreover, might not biological determinism and the rhetoric of blood and soil follow close behind? While any provincialism invites such questions, because of Heidegger's involvement with Nazism they haunt in a special way both his writing on dwelling and place and any appreciation of the hut at Todtnauberg.
March 3, 2014
The book explores the relationship between Heidegger and his hut in Todtnauberg. While it explores that relationship, it also discusses the difference of province and city lives. It discusses how dwelling and living are two different things, and somehow had the hint of differing "home" and "house". The solitary experience was thoroughly discussed, and it inspired me to have my own solitary hut someday.
November 16, 2013
A few interesting insights into Heidegger's life in the mountains and it's relationship to his thinking on location and presence. But don't expect a lot in terms of learning about his work--it's a very cursory discussion.
July 16, 2013
Interesting look at the hut where Heidegger did most of his work. Offers some good insights in to how place affects our being.
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