Filozofija I Društvo 32 (3):418-427 (2021)

Nebojša Grubor
University of Belgrade
The first part of the text poses the question whether for Heidegger?s aesthetically relevant thought it is better to use older terms, such as?Heidegger?s Doctrine of Art? or?Heidegger?s Philosophy of Art?, or a more recent term?Heidegger aesthetics?? Does the term?Heidegger?s aesthetics? represent an?oxymoron? contrary to the intentions of Heidegger?s own philosophy, or does it signify a relevant aesthetic conception that has its own place in contemporary philosophical aesthetics? In order to answer these questions, the text considers Heidegger?s understanding of aesthetics as a philosophical discipline and also the problems arising in connection with this designation. It argues that Heidegger?s concept of?overcoming aesthetics? represents the interpretation of his own philosophy of art developed in the essay The Origin of the Work of Art. The second part of the text follows the thesis that the Heidegger?s aesthetics contains the definitions of art and work of art, based on Heidegger?s analyses of freedom, basic moods, and emotions. This part of text follows a broader thesis, in which Heidegger?s philosophy as a whole can be understood as the phenomenology of freedom. Also, it discusses a special thesis that the concept of strife of Earth and world in The Origin of the Work of Art should be understood only on the background of the primordial struggle between concealment and unconcealment in the truth as the unconcealedness of beings. Further, the concept of strife is linked on a deeper level with the determination of finite human freedom and basic human moods. In light of that, Heidegger?s aesthetics is not only the heteronomous aesthetics of the work of art, but also the autonomous aesthetics of aesthetic experience articulated with respect to finite human freedom. The conclusion is that Heidegger?s aesthetics of truth understood as the philosophy of freedom, basic moods, and emotions, according to their inner intentions, is closer to the tradition of the aesthetics of sublime than the aesthetics of the beautiful.
Keywords No keywords specified (fix it)
Categories (categorize this paper)
DOI 10.2298/fid2103418g
Edit this record
Mark as duplicate
Export citation
Find it on Scholar
Request removal from index
Revision history

Download options

PhilArchive copy

Upload a copy of this paper     Check publisher's policy     Papers currently archived: 65,683
External links

Setup an account with your affiliations in order to access resources via your University's proxy server
Configure custom proxy (use this if your affiliation does not provide a proxy)
Through your library

References found in this work BETA

Heideggers Kunstlehre.Wilhelm Perpeet - 2005 - Denkmal Verlag.
Heideggers Philosophie der Kunst.F. W. Von Herrmann - 1980 - Tijdschrift Voor Filosofie 44 (2):365-365.

Add more references

Citations of this work BETA

No citations found.

Add more citations

Similar books and articles

Basic Moods.Craig DeLancey - 2006 - Philosophical Psychology 19 (4):527-538.
The Nature of Stimmungen.Otto Bollnow - 2017 - Philosophia 45 (4):1399-1418.
Changing Moods.Hagi Kenaan - 2017 - Philosophia 45 (4):1469-1479.
Moods in Layers.Achim Stephan - 2017 - Philosophia 45 (4):1481-1495.
How is a Phenomenology of Fundamental Moods Possible?Tanja Staehler - 2007 - International Journal of Philosophical Studies 15 (3):415 – 433.
Situating Moods.Dina Mendonça - 2017 - Philosophia 45 (4):1453-1467.
Heidegger's Philosophical Anthropology of Moods.James Cartlidge - 2020 - Hungarian Philosophical Review 2020 (Self, Narrativity, Emotions):15.


Added to PP index

Total views
5 ( #1,183,238 of 2,462,432 )

Recent downloads (6 months)
5 ( #144,280 of 2,462,432 )

How can I increase my downloads?


My notes