This thesis argues that a poetics of Being is evident in the literary, cultural and philosophical texts chosen for analysis. It traces the aspects of this poetics in three main areas of representation it considers to be implicated in questions of metaphysics: writing, photography, and so-called "virtual technologies". Beside these main areas there is also input from the fields of painting, music and the cinema. The theoretic framework for this project relies primarily on Martin Heidegger's work on ontology in Being and Time, but also the shorter writings he produced on aesthetics and metaphysics. The thesis also draws on the work of Jacques Derrida, Gilles Deleuze, Roland Barthes, Susan Sontag, Alec McHoul and Ned Lukacher.
The introduction opens the argument with a definition of the topic and the main tropes that will be used throughout the thesis. Chapter One will consider the process of this
poetics primarily in the aestheticisation of sensation and memory in Marcel Prousf's In Search of Lost Time, but also in the poetry of William Wordsworth and Matsuo Bashō. These works are read in the context of Heidegger's conception of a primordial poetics that acts as a dynamic element in the production of being-in-the-world, as outlined in "The Origin of the Work of Art." Chapter Two outlines the relationship between Being and representation in the photographic image starting with Roland Barthes's meditation. Camera Lucida, and moving onto a consideration of photography's implication in the life and death of HRH the Princess Diana. This chapter concludes with a consideration of Jacques Derrida's concept of the "spectral" in relation to recently emerging technologies of representation. Chapter Three deals with computer-mediated representation and the discourses surrounding the concepts of cyberspace and
virtual technology. It includes a discussion of the "virtual idol" phenomenon in the Japanese pop-music industry and William Gibson's novel, Idoru. The thesis concludes that our access to Heidegger's origin or groimd of Being is always necessarily mediated by Da-sein's entanglement with language and representation.