" About Heidegger's interpretation of a fragment by Heraclitus."

“思考海德格尔对赫拉克利特某段文字的诠释。”

Heidegger's ambition was to move away from philosophy as an overly anemic and intellectual endeavor.

海德格尔的野心是要摆脱哲学这种过于贫乏和理智的努力。

Plato, Socrates, Habermas, Heidegger. I was raised on them.

柏拉图、苏格拉底、哈贝马斯、海德格尔。我是靠他们长大的。

This tyre is a Dunlop, but Heidegger's bicycle had Palmer tyres.

这个轮胎是邓禄普， 但海德格尔的自行车有帕尔默轮胎。

Let's see how the work of Terrence Malick not only captures, but also clarifies and contributes to Heidegger's ideas.

让我们来看看泰伦斯·马利克的作品是如何不仅抓住，而且澄清和推进海德格尔的思想的。

They capture the fundamental break that Heidegger made with Descartes, and to a lesser extent, his own teacher Edmund Husserl.

他们抓住了海德格尔与笛卡尔，以及他自己的老师埃德蒙·胡塞尔之间的根本决裂。

As Heidegger explained; anxiety is the only human emotion that is unbound from our world.

正如海德格尔所解释的；焦虑是人类唯一不受世界束缚的情感。

Heidegger argued that philosophy, since the Ancient Greeks, had avoided what he sees as the most fundamental question, that of the meaning of being.

海德格尔认为，自古希腊以来，哲学一直在回避他认为最根本的问题，即存在的意义。

As a university student, he was particularly drawn to the work of one of the most influential philosophers of the 20th century: Martin Heidegger.

作为一名大学生，他特别被 20 世纪最有影响力的哲学家之一马丁·海德格尔的作品所吸引。

This is where we can re-introduce Heidegger's conceptualization of human existence, which he referred to as our Dasein, our Being-there.

在这里，我们可以重新引入海德格尔对人类存在的概念化，他将其称为我们的此在，我们的存在。

For Heidegger argued that our default experience of the world is not based on knowledge or reason, but on a pre-existing sense of practicality.

因为海德格尔认为，我们对世界的默认经验不是基于知识或理性，而是基于预先存在的实用性。

Again, we are back at Heidegger's most important and often neglected question on the meaning of being, and his notion of Dasein.

再一次，我们回到海德格尔关于存在的意义和他的此在的概念的最重要的和经常被忽视的问题。

It exemplifies what Heidegger meant when he said that our default state is not one that questions the meaning of being, and portrays what its consequences are.

它例证了海德格尔的意思，当他说我们的默认状态不是质疑存在的意义，并描绘其后果是什么。

And this shift from philosophy to cinema, I think, should be taken into account, lest we make a mere overview of Heidegger's ideas as they are represented in Malick's films.

我认为，这种从哲学到电影的转变应该被考虑在内，以免我们仅仅只对海德格尔的思想进行概述，因为它们在马力克的电影中得到了体现。

It dulls us into a kind of unconsciousness, and for Heidegger as well as for Malick, this seems to be the great illness of who we are.

它使我们陷入一种无意识，对于海德格尔和马力克来说，这似乎是关于我们是谁的一大疾病。

But for Heidegger, this was the result of a wrong perspective on the concept of being, one that is too concerned with consciousness, with traits of being, and not the meaning of being.

但对于海德格尔来说，这是对存在概念的错误看法的结果，这种观点过于关注意识，关注存在的特征，而不是存在的意义。

He was particularly critical of Descartes, whose separation of body and soul, of the world and the mind, created what for Heidegger was a needless abstraction of the way we relate ourselves to existence.

他尤其批评笛卡尔，认为笛卡尔将身体与灵魂、世界与心灵分离，在海德格尔看来，这是对我们与存在的关系的一种不必要的抽象表达。

In his magnus opus Being and Time, Heidegger carries out his fundamental ontology by introducing the notion of 'Dasein', or 'being-there'; the distinctive mode of Being particular to humans, the beings for whom being matters.

在他的巨著《存在与时间》中，海德格尔通过引入“此在”或“在那里”的概念来实现他的基本本体论；人类特有的存在模式，对人类来说存在很重要。

For a disposition that does not engage with the meaning of being, that does not relate itself to our mortality, to our 'thrownness' as Heidegger called it, has no real connection to life and death, and renders both insignificant.

因为一种不涉及存在的意义，不涉及我们的必死性，不涉及海德格尔所说的我们的“被抛弃性”的倾向，就与生与死没有真正的联系，而使两者变得无足轻重。

Heidegger uses the example of a hammer to point out that before we've intellectually questioned the attributes of such an object, let alone pondered the meaning of its existence, we already have an engrained idea of how to use it.

海德格尔用锤子的例子指出，在我们理智地质疑这样一个物体的属性之前，更不用说思考它存在的意义了，我们已经对如何使用它有了一个根深蒂固的想法。