ISBN:
9789400950672
Sprache:
Englisch
Seiten:
Online-Ressource (264p)
,
digital
Ausgabe:
Springer eBook Collection. Humanities, Social Sciences and Law
Serie:
Phaenomenologica, Collection Fondée par H.L. van Breda et Publiée sous le Patronage des Centres D’Archives-Husserl 99
Serie:
Phaenomenologica, Series Founded by H. L. Van Breda and Published Under the Auspices of the Husserl-Archives 99
Paralleltitel:
Erscheint auch als
Paralleltitel:
Erscheint auch als
Paralleltitel:
Erscheint auch als
Schlagwort(e):
Philosophy (General)
;
Phenomenology
Kurzfassung:
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 -- II. Modern Aesthetics -- III. Hegel -- IV. The Century after Hegel -- 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 -- II. The Thing and The Work -- III. Art Work and Truth -- IV. Truth and Art -- V. On the Essence of Art. Its Coming-to-Presence and Its Abidance -- Notes.
Kurzfassung:
This book grew from a series of lectures presented in 1983 in the context of the Summer Program in Phenomenology at The Pennsylvania State University. 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. The participants in these seminars consisted of faculty members and graduate students concerned with the sciences, the arts, literature, literary criticism, art history, art education, and philosophy. On both occasions I made a special effort to introduce those who did not yet have a specialized knowledge of Heidegger's philosophy, to his later way of thinking. In this effort I was guided by the conviction that we, as a group, had to aim for accuracy, precision, clarity, faithfulness, and depth, while at the same time taking distance, comparing Heidegger's views with ideas of other philosophers and thinkers, and cultivat ing a proper sense of criticism. Over the years it has become clear to me that among professional philoso phers, literary critics, scholars concerned with art history and art education, and scientists from various disciplines, there are many who are particularly interested in "Heidegger's philosophy of art". I have also become convinced that many of these dedicated scholars often have difficulty in understanding Heidegger's lectures on art and art works. This is understandable.
DOI:
10.1007/978-94-009-5067-2
URL:
Volltext
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