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By Martin Heidegger, Joan Stambaugh (Translator), Dennis J. Schmidt (forward)

A revised translation of Heidegger's most vital paintings.

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This forgetting is not an "error" or a "mistake" that we can simply correct: one does not forget the question of being the way one forgets one's keys, nor is the question of being a question that one can ask in the form that most questions take. Rather, the sources of such a question, as well as the way it is forgotten, are, as Heidegger's analysis shows, rooted in our way of being. Factical life is necessarily bound up in a movement that conceals as well as reveals. The same structures that disclose factical life shroud it in obscurity.

We read, for instance, of "being-in-the-world," "being-with," "worldliness," "thrownness," "attunement," "temporality," "conscience," "facticity," "everydayness," "equipment," "anxiety," "authenticity," "care," "objective presence," "equiprimordiality," and "taking care"-to name just a few of the words that need to be listened to carefully. The language of this text frequently needs to be heard in a different register than the one to which one might be accustomed: meanings are stretched, roots of words are highlighted, small and seemingly insignificant words-"in," for instance-are shown to be complex and in need of careful reflection.

Macquarrie and Robinson's "running forward in thought" seemed a bit awkward. But it may be the better choice. Nahe was consistently rendered as "nearness," whereas in earlier versions I often used "closeness" as well. The word Wiederholung, which I have translated as "retrieval," could also be translated as "recapitulation" since that word is used in music to refer to what Heidegger seems to intend by Wiederholung. In music (specifically in the sonata form) recapitulation refers to the return of the initial theme after the whole development section.

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