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This dissertation consists in a hermeneutical-phenomenological and being-historicalinvestigation of the time-play-space of “the festival” in the Collected Works of thephilosopher Martin Heidegger (1889-1976). After introducing the scope and limits of theresearch within the primary and secondary literatures, followed by an interpretation of thefestival in the 1920s, I show how the festival becomes prominent in the mid-1930s byway of Heidegger’s first sustained reading of Hölderlin, where the theme of the “bridalfestival” of humans and gods first emerges, and next in “The Origin of the Work of Art”essay, which mentions “the festival of thinking.” From these two texts the festival thenextends its resonances throughout the later writings, and culminates after 1946 in athinking of the “round dance.” I focus on the bridal festival as a) the initiatory event oftragic being; b) the fissuring clasping of unbound demigods; and, c) the central thought ofHeidegger’s being-historical thinking of the Greek gods and possible future for Hesperia.