After aesthetics: Martin Heidegger and the end of art.

摘要

The dissertation offers an interpretation and defense of Heidegger's thinking on art, in light of his endorsement of the "end of art" thesis; the thesis that art is over because it has lost its traditional significance. The dissertation attempts to answer the question, "what sort of philosophical treatment of art is consistent both with Heidegger's criticisms of traditional philosophy and his version of the end of art thesis?" The dissertation argues that, unlike Hegel's classic formulation and Arthur Danto's contemporary reinterpretation, Heidegger's endorsement of the thesis entails not a philosophical disenfranchisement of art, but rather a reassessment of philosophical aesthetics, so as to allow art a future. Taking Heidegger's endorsement of the end of art seriously makes clear that he cannot have a philosophy of art in the traditional sense, since such an enterprise would be in conflict with his own recommendations for philosophy.; The starting point of my argument is the apparent contradiction in "The Origin of the Work of Art" between the account of art as a "happening of truth" and Heidegger's surprising acceptance of Hegel's end of art thesis in the afterword. Two central questions emerge from this apparent conflict: first, does Heidegger have a general philosophical account of art? And second, is traditional aesthetics legitimate? According to Heidegger, the end of art derives not from art as such, but from philosophy's appropriation of art. This makes Heidegger grow increasingly wary of philosophy's tendency to subordinate art through aesthetics. Given this wariness, Heidegger's mature thinking on art aims, the dissertation argues, at a philosophical encounter with art that is neither systematic nor disenfranchising. Art can be a genuine resource for philosophical thought, though philosophy cannot determine the nature of art in advance. The dissertation concludes by surveying Heidegger's reflections on the modernist art of Cezanne, Klee and Chillida as examples of genuinely philosophical encounters with art.