Heidegger on Art and Art Works / Edition 1

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Product Details

  • ISBN-13: 9789024731022
  • Publisher: Springer Netherlands
  • Publication date: 4/30/1985
  • Series: Phaenomenologica Series , #99
  • Edition description: 1985
  • Edition number: 1
  • Pages: 264
  • Product dimensions: 6.50 (w) x 9.58 (h) x 0.81 (d)

Table of Contents

I. Some Observations on the History of Aesthetics and on the Manner in which Heidegger Has Tried to Retrieve Some of its Essential Moments.- § 1. Introduction. Aesthetics: The Discipline and the Name.- I. The Classical Conceptions of Beauty and Art.- § 2. Plato’s Conception of Beauty and Art.- § 3. From Aristotle to the Middle Ages.- § 4. The Middle Ages and the Renaissance.- a) Medieval Aesthetics. Aquinas.- b) The Renaissance.- II. Modern Aesthetics.- § 5. Baumgarten, Burke, and Herder.- a) Rationalism. Baumgarten.- b) Empiricism. Burke.- c) Romanticism. Herder.- § 6. Kant and Goethe.- III. Hegel.- § 7. Hegel’s Aesthetics. Aesthetics and Art History.- § 8. On Beauty and Art in Hegel.- § 9. The Beauty of Art and its Particular Forms.- IV. The Century after Hegel.- § 10. Richard Wagner.- § 11. Nietzsche’s Concern with Aesthetics.- a) Nietzsche’s Metaphysics. Will-to-Power. The Basic Questions of Philosophy.- b) Five Basic Theses on Art and their Implication.- § 12. Nietzsche on the Essence of Art.- a) On Rapture (Rausch).- b) Rapture and the Form-Creating Force.- c) Art in the Grand Style.- d) On Truth and Art.- § 13. Neo-Kantianism and the Hermeneutic Tradition.- II. Heidegger’s “On the Origin of the Work of Art”.- I. Introductory Reflections. — The Historical Context of the Lectures. — Their Subject Matter and Method.- Art. I. The Historical Context and the Character of the Lectures.- § 14. The Historical Context of the Holzwege Essay on Art.- a) From Being and Time to “The Origin of the Work of Art”.- b) The Epilogue and its Implications.- § 15. How Is Heidegger’s Essay on the Art Work to Be Interpreted?.- Art. II. The Subject Matter and the Method of the Lectures.- § 16. Origin and Coming-to-Presence. Hermeneutic Phenomenology.- a) Origin and Coming-to-Presence. — The Question of Method.- b) Destructive Retrieve.- c) Phenomenology: The Method of Ontology.- 1. Phenomenon.- 2. Apophantic Logos and Truth.- 3. The Preliminary Conception of Phenomenology.- d) Hermeneutic Phenomenology.- § 17. The Hermeneutic Circle.- a) From Work to Art and from Art to Work. The Circle.- b) Understanding, Interpretation, and the Hermeneutic “As”.- c) The Hermeneutic Circle in Being and Time.- d) The Circle in Hegel and Heidegger.- II. The Thing and The Work.- Art. I. The Ontological Question Concerning the Thing-Being of the Thing.- § 18. The Art Work Does Have a Thingly Character.- a) Art Works Are Things.- b) Traditional Interpretations of the Thing-Being of the Thing.- § 19. Toward the Genuine Origin of the Hylemorphic Structure. — Retrospect.- a) Equipment between Thing and Work.- b) Retrospect on the Critical Reflections on the Three Thing-Conceptions.- Art. II. From Equipment to Work of Art.- § 20. Elucidation of the Equipment-Being of Equipment by Means of a Work of Art.- a) A Pair of Farmer’s Shoes as an Example of a Piece of Equipment.- b) The Illumination of the Equipment-Being of Equipment with the Help of an Immediate Experience with a Work of Art: van Gogh, Schapiro, Derrida.- § 21. The Truth Establishes Itself in the Work.- a) Reliability and the Hylemorphic Structure.- b) The First Characterization of the Work-Being of the Work: In It the Truth Establishes Itself. On the Essence of Art and the Artistically Beautiful.- c) Summary and Prospect.- III. Art Work and Truth.- Art. I. Some Essential Characteristics of Art Works.- § 22. How to Unfold the Essential Characteristics of Works of Art?.- a) The Art Work Stands on Its Own (Eigenständigkeit).- b) The Coming-to-Pass of the Truth of Beings in a Greek Temple.- § 23. The Setting-Up and the Opening-Up of a World.- § 24. The Second Characteristic of the Work-Being of the Work. — The Unity of the Two Essential Characteristics.- a) The Making-Present of the Earth.- b) The Intimacy of the Battle between World and Earth.- Art. II. The Coming-to-Pass of the Truth in the Work of Art.- § 25. Heidegger’s Conception of the Essence of Truth.- § 26. Truth as Correspondence and Truth as Non-Concealment. Truth and Work.- a) Truth as Non-Concealment.- b) The Strife between Truth and Untruth and the Battle between World and Earth. The Beautiful versus the True.- c) From Work and Truth to Truth and Art.- IV. Truth and Art.- Art. I. Artistic Production. The Work as Having-Been-Produced.- § 27. Artistic Production and the Clearing of the Openness in the Work.- a) Toward the Essence of Artistic Production.- b) The Establishment of the Clearing of the Openness of the Truth in the Work.- § 28. The Coming-toPass of the Truth Is Fixed as Gestalt. Having-Been-Produced.- a) The Coming-to-Pass of Non-Concealment Becomes Fixed as Gestalt.- b) Having-Been-Produced Is an Integral Aspect of the Work of Art.- Art. II. The Art Work Is to Be Kept in the Truth.- § 29. Art Works Are to Be Preserved.- a) Preservation as the Standing within the Coming-to-Pass of the Truth.- b) Preservation and Experiencing Works of Art.- § 30. Once More the Thingly Character of the Work.- a) From the Thingly Character to the Earthy Character of the Work.- b) Why Does the Thing Belong to the Earth?.- V. On the Essence of Art. Its Coming-to-Presence and Its Abidance.- § 31. Toward the Essence of Art.- a) Art as the Origin of the Work, the Artist, and the Preserver.- b) Poetizing Is the Essence of Art.- c) The Essence of Art, Language, and Truth.- § 32. On the Coming-to-Presence of Poetizing.- a) Poetizing as the Originating, Founding, and Granting Institution of the Truth.- b) Art as Original Leap (Ur-Sprung).- § 33. On Thinking and Poetizing.- § 34. The Relevance of these Reflections for Contemporary Art.- Conclusion: Heidegger on Art.- Notes.

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