PhaenEx 7 (1):162-194 (2012)

This article explores Heidegger’s ambivalent philosophical relationship with Richard Wagner. After showing how Heidegger situates Wagner within his larger critique of aesthetics, I will explain why Heidegger believes that Wagner’s operas, due to the dominance of music, could not attain the status of “great art.” Because music can do no more than stimulate or intensify feelings, it becomes, for Heidegger, the paradigm of what art has become under the influence of aesthetics. Heidegger’s views on music even motivate him to contest Nietzsche’s thesis that music was the origin of Greek tragedy. Heidegger dismisses Nietzsche’s developmental account and argues instead that poetry is the essence of tragic drama. To conclude, I will show that Heidegger’s exclusive focus on Wagner’s theoretical work is too narrow, for his music reveals ontological concerns that cannot be easily assimilated into Heidegger’s history of aesthetics, and in fact suggest possible affinities with Heidegger’s own philosophical insights
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DOI 10.22329/p.v7i1.3361
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The Artworld.Arthur Danto - 1964 - Journal of Philosophy 61 (19):571-584.
The artworld.Arthur Danto - 2012 - Problemos 82:184-193.
The Greatness of the Work of Art.Robert Bernasconi - 1999 - In James Risser (ed.), Heidegger Toward the Turn: Essays on the Work of the 1930s. State University of New York Press. pp. 95--117.

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