Heidegger and the Origin of the Work of Art: An Explication.
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Heidegger, Art, and Postmodernity offers a radical new interpretation of Heidegger’s later philosophy, developing his argument that art can help lead humanity beyond the nihilistic ontotheology of the modern age. Providing pathbreaking readings of Heidegger’s “The Origin of the Work of Art” and his notoriously difficult Contributions.
For these lectures I made use of notes and short essays which I had written between 1978 and 1982 during interdisciplinary seminars on Heidegger's later philosophy in general, and on his philosophy of language and art in particular.
Having secured an understanding of the problem we turn to several of Heidegger's essays on art wherein we undertake to extract the meaning of Heidegger's conviction that it is through art that we are able to overcome modern technology.
At stake is the future of art. But more importantly, if we are to accept Heidegger’s argument, at stake is the future of humanity. But all who are eager to find in Heidegger’s essay pointers concerning where not just art, but we should be heading, should be made wary by Heidegger’s politicizing of art and aestheticizing of politics.
Heidegger’s later courses and publications develop several areas only touched on in Being and Time: works of art seen not as imitative, expressive, or abstract but as revealing or placing us within a world of meaning; the characteristics of things that are neither objects of science or merely useful means to ends but, rather, stand out as the very bridges, buildings, or sacrificial jugs that.
The descriptions of the Greek world in Heidegger’s art-essay seem on the surface almost to reiterate a Hegelian interpretation: Greek architecture, sculpture, tragedy and religious rite can all be said to form a concrete expression of Greek consciousness which allows the Greek to be and to know who they are.