نوع مقاله : مقاله پژوهشی
نویسندگان
1 گروه سینما، دانشکده هنر، دانشگاه سوره
2 دانشیار گروه تلویزیون، دانشکده تولید رادیو وتلویزیون، دانشگاه صدا و سیما
چکیده
کلیدواژهها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
Martin Heidegger (1889–1976), a German philosopher and thinker of the 19th and 20th centuries, raised topics in his famous work Being and Time and other writings that have placed him among the most important—or, according to some, the most important—thinkers in philosophy during his era. He was one of the best students of Edmund Husserl (1859–1938), the founder of phenomenology. However, Heidegger did not follow his teacher’s path and disagreed with him on many issues, particularly in ontology, the transcendental subject, and several other concepts.
This study, relying on Heidegger’s ideas and views in the first part of Being and Time, analyzes and examines the film Perfect Days (2023). Heidegger introduces the concept of being-in-the-world, which he considers an inherent characteristic of Dasein. For him, being can be either authentic or inauthentic. He outlines several components, which this research also employs and explains in order to analyze and study the main character of the film with regard to existential authenticity.
In fact, despite struggling with everyday tasks, the protagonist of the film exhibits a kind of being-in-the-world consistent with Heidegger’s meaning, and a form of existential awareness that prevents the collapse resulting from the human subject’s alienation in relation to the world.
Other components such as the type of relationship Dasein has with other Daseins—meaningful to Heidegger only under the notion of authentic relation—are discussed. Heidegger mentions three types of Dasein’s care or “attunement” toward others: indifference and neglect; opposition and hostility; and passing one another by. These represent a kind of defective coexistence and pertain to the everyday “they-self” (the ‘they’ of others). From Heidegger’s perspective, Dasein distances itself from authenticity through this kind of coexistence.
Another type is when Dasein takes responsibility for the other, which Heidegger says mostly leads to domination. The kind of authentic coexistence Heidegger means—and which Hirayama somewhat adheres to—is a mode in which Dasein neither ignores nor opposes the other, nor “handles” them as a tool to establish dominance. Rather, this mode of care attempts to bring Dasein to its own authentic concern. In other words, this form of being-with-others pertains to the existential self of the person and helps them clarify and free their concern authentically.
Another topic addressed in the article is the notion of “the they” (das Man), which Heidegger believes Dasein follows and obeys in its everyday being-with-others. The “they” are indefinite and general others. In Heidegger’s language, the “they” are those who are “there” in everyday coexistence but are neither this one nor that one, neither all nor some, nor oneself. The “they” is essentially a neutral, anonymous presence.
The article also discusses idle talk , which Heidegger considers the lowest level of language that blocks the opening of the world to Dasein, obscuring and clouding Dasein’s understanding of its own possibilities. The character Hirayama is analyzed from this perspective.
All these features ultimately provide the foundation for Dasein’s choosing and retrieving itself, ultimately realizing existential authenticity. This study aims to analyze this process and examine the mentioned components with regard to the main character of the film.
کلیدواژهها [English]
)