Being and Time was a hasty composition, albeit profoundly inspired by its Moment of composition at The Hut (over several months?—for job application to Marburg University), in light of years of rehearsal through lectures (at Freiburg, era 1), culminating in History of the Concept of Time, 1925—then return to Freiburg (era 2) in spring of 1929.
Having gone “too far too soon” in Being and Time, he clearly intended, after the war, that Being and Time should be taught in light of later published work by him. (This seems clear to me from his letter to Wm. J. Richardson, 1962, same year as “Time and Being.”) In his exemplificative readings of others, he’s implicitly teaching how to teach Being and Time as a “pathmark.” Indeed, the “poetic thinking” of his post-war years was already ongoing before his conceptually aspiring composition of Sein und Zeit, since poetic thinking in-and-for Heidegger’s life preceded his career in philosophy (re: “Recollection,” mid-page here). Being and Time is a grand instance of emancipatory interest as conceptual artistry.
The only time in his life where he taught Being and Time overtly was with a group of psychiatrists (Zollikon Seminars). His emancipatory interest sought to be historical art, portending his view at the end of “Origin of the Work of Art” (c1936): “Art is history in the essential sense that it is the ground of history.” That, by the way, was written contemporaneous with his composition of Contributions to Philosophy.
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