Abstract

This paper claims that Heidegger’s confrontation with poetry and with Hegel’s end of art thesis can be read as an attempt to restore the highest function of art by deconstructing the ‘modern’ conception of truth underlying Hegel’s thesis. First, I discuss Heidegger’s interpretation of art following his assessment of the failure of metaphysical language to ‘unconceal’ the truth of Being. Second, I analyse, with specific reference to his interpretation of Hölderlin, what I reckon to be the core thread of Heidegger’s philosophy of art, namely his antisubjectivism. Third, I turn to Hegel’s end of art thesis, showing how for him, as well as for Heidegger, the highest function of art is necessarily connected to antisubjectivism, and hence, under the conditions of modernity, is a thing of the past. Finally, I address Heidegger’s reference to Hegel’s thesis, and claim that, while Hegel fully remains within the horizon of modernity, thus affirming the irreversible pastness of art, Heidegger envisages the possibility of abandoning the fundamental orientation of modernity, and hence of revoking the thesis of the pastness of art.