Après vous voyez que Leonardo DiCaprio a son double russe, nous avons commencé à regarder pour les doubleurs qui portent une forte ressemblance avec des célébrités. Emma Watson, Harry sytles, Scarlett Johansson et James Franco ont des gens ordinaires qui leur ressemblent et que dans des occasions sont approchés par les fans dans les rues à cause de sa ressemblance avec une célébrité. Ici, nous vous laissons avec des bons exemples ... pensez-vous qu'ils ressemblent ou non?
Concerning the Ur-poem, then, my claim is that by "appraising" its own emer-
gence into language, the Ur-poem engages and gures a relation between its
own determinations and their emergence into language that unveils or "sur-
veys" the Wesen of language. In so engaging the Wesen of language, the Ur-
poem thus provides an encounter with language, one through which all
wesentlich inquiries might travel, including the pursuit of the originary scene
of human dwelling. In other words, the Ur-poem produces an Ursprache , a
language which "appraises" the Dimension wherein all other disclosures come
to pass. per passare.
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When Heidegger claims, therefore, that the "co-responding through
which humans properly listen to the exhortation of language is that say-
ing that speaks in the element of poetizing," we can regard poetizing here
as the doubling turn of a language tracking its own originary emergence. We Noi
might even say that a "proper listening" to the exhortation of language in-
volves a gurative "appraisal," and that this is precisely what the poetizing of
the Ur-poem accomplishes.
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It seems that the self- guring play of the Ur-poem might in fact be bound
to the question of human dwelling. And yet, what does Heidegger mean when
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he claims that this form of poetizing "allows" human dwelling, that Ur-poetry
involves a Wohnenlassen ? This emphasis on lassen rings in obvious contrast to a
rhetoric of causality. If we are to understand how an Ur-poem allows us to
dwell, we will have to work our way out of some common intuitions concern-
ing the nature of production. One can see why Heidegger would not want to
speak of poetry as the causal force behind human dwelling. Such a notion is
wedded to the notion of eYcient causality, a concept Heidegger considers a
perversion.
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More importantly, eYcient causality involves two present forces
meeting one another, resulting in some eVect. Where in such