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The purpose of this paper is to examine the philosophies of the late Heidegger and the young Marx side by side to show how, while differing radically in some important aspects, both philosophies are motivated by similar concerns and are not so different as to preclude a productive dialogue between them. In so far as both thinkers can be said to have thought, taking the word in a Heideggerian sense, the "same", the way both philosophies diverge from each other can be especially illuminating when it comes to offering a clear interpretation of them (a task which is especially important to gain an understanding of Heidegger's philosophy which is often obscure). We'll see how Heidegger's notion of finitude implies a series of criticisms of Marx's philosophy. Finally, I'll pose a question regarding the limits of Heidegger's criticism of Marx, considering that this criticism goes as far as to criticize the idea that all human beings are equal and so implies a rejection of the idea of human rights. [ABSTRACT FROM AUTHOR]

In this paper I offer a critical reading of some aspects of Heidegger's late philosophy and evaluate how these relate to his nationalist claim that we need to stay rooted in the soil of our homeland. In response to this claim, Žižek suggests thet being-rootless is the primordial state of being-human and that what we represent as our roots are secondary attempts to obfuscate this dimension. First, I will present Heidegger's philosophy of technology to elucidate his thesis that the essence of modern technology (Gestell) determinates the way we come to experience the totality of beings in our times as "standing reserve". In the second section, I expound his aesthetics where art is seen as a mode of approaching entities that follows a different logic to that of the Gestell. However, this analysis of Heidegger's philosophy of art will reveal a political dimension to the concept of earth which I take to be a reactionary attempt to neutralize the eventual dimension of the Gestell. In the third section, I offer a critical re-interpretation of Heidegger's philosophy following Žižek's clue. I argue that modern art is characterized by its self-reflexive character which can be deemed transcendental once we accept the ontological dimension of art following Heidegger. These works offer a rooting in our own rootless condition analogous to the grounding in the Abgrund of Hegel's absolute knowledge. Finally, I offer an analysis of Quentin Tarantino's Inglorius Basterds from the perspective of the conceptual framework developed in the previous pages. [ABSTRACT FROM AUTHOR]