Heidegger’s aesthetics. The philosophy of finite human freedom and basic moods and emotions

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

Abstract

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.

Links

PhilArchive



    Upload a copy of this work     Papers currently archived: 91,164

External links

Setup an account with your affiliations in order to access resources via your University's proxy server

Through your library

Similar books and articles

Basic moods.Craig DeLancey - 2006 - Philosophical Psychology 19 (4):527-538.
The Nature of Stimmungen.Otto Friedrich 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.

Analytics

Added to PP
2021-11-04

Downloads
16 (#847,064)

6 months
6 (#403,662)

Historical graph of downloads
How can I increase my downloads?

Author's Profile

Nebojša Grubor
University of Belgrade

Citations of this work

No citations found.

Add more citations

References found in this work

Heideggers Kunstlehre.Wilhelm Perpeet - 2005 - Alfter: DenkMal Verlag. Edited by Frank-Lothar Kroll & Otto Pöggeler.
Heideggers Philosophie der Kunst.F. W. Von Herrmann - 1980 - Tijdschrift Voor Filosofie 44 (2):365-365.

Add more references