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  1. Editors' Introduction.Jussi Backman, Harri Mäcklin & Raine Vasquez - 2017 - Journal of Aesthetics and Phenomenology 4 (2):93-99.
    A brief overview of the current status of the scholarship on Heidegger and contemporary art and of the contributions included in the special issue.
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  • The world in ruins : Heidegger, Poussin, Kiefer.Benjamin Andrew - 2017 - Journal of Aesthetics and Phenomenology 4 (2):101-123.
    The aim of this paper is to begin to respond to the question of how to engage the presence of catastrophic climate change as a locus of philosophical thought. What has to be thought is the end of the world. Central to that project is Heidegger’s “The Origin of the Work of Art,” and in particular, Heidegger’s thinking of the earth/world relation, both in itself and in terms of the limits it encounters. Heidegger’s use of “examples” of artwork, as well (...)
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  • Goddesses and Gods in Rancière and Heidegger: Dialogically Recontextualizing “The Origin of the Work of Art”.Kyle Peters - 2014 - Journal of Aesthetics and Phenomenology 1 (2):149-168.
    ABSTRACTThis article investigates Rancière’s understanding of the Heideggerean conception of art. It argues that Rancière is mistaken in categorizing Heidegger’s philosophy of art within the ethical regime of images, and further that his work corresponds with the central tenets of, and thus should be categorized within, the aesthetic regime of art. This is because art is understood as art, for Heidegger, when it instigates strife between world—the network of associations which constitute the horizons of a given population’s perceptual, conceptual and (...)
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  • Heidegger’s philosophy of art and its relation to the doctrine of Muslim thinkers.Farah Ramin - 2020 - Asian Philosophy 30 (2):160-174.
    At this ‘needy time’ in which humanity has been deteriorated into just dominance over nature through modern technicity, Martin Heidegger introduced art as the only way to overcome this modernity cr...
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  • The socio-historical implications and impersonal understanding of authorship in Heidegger’s philosophy of art.Alexander Yudin - 2012 - Sententiae 26 (1):95-109.
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  • Martin Heidegger: Holzwege.Holger Zaborowski (ed.) - 2024 - Boston: De Gruyter.
    Martin Heideggers Holzwege erschien 1950 und präsentierte dem Publikum seine Überlegungen zum "Ursprung des Kunstwerkes", zur "Zeit des Weltbildes", zu "Hegels Begriff der Erfahrung", zu "Nietzsches Wort 'Gott ist tot'", zur Frage "Wozu Dichter?" und zum "Spruch des Anaximander". Damit liegen in diesem Band einige der wichtigsten Beiträge aus Heideggers Spätwerk vor, in dem er sich kritisch mit der Geschichte der Metaphysik auseinandersetzt und sich in der Begegnung mit Kunst, Dichtung und der vorsokratischen Philosophie um neue Wege des Denkens bemüht. (...)
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  • Auswahlbibliographie.[author unknown] - 2024 - In Holger Zaborowski (ed.), Martin Heidegger: Holzwege. Boston: De Gruyter. pp. 227-232.
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  • Kunstwerk der Wahrheit. Zu Heideggers Ästhetik des Seins in „Der Ursprung des Kunstwerks“.David Espinet - 2024 - In Holger Zaborowski (ed.), Martin Heidegger: Holzwege. Boston: De Gruyter. pp. 19-38.
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  • Heideggerjevski izvori estetike vsakdanjosti.Cristian Hainic - 2015 - Filozofski Vestnik 36 (1).
    Izhajajoč iz hermenevtične fenomenologije Martina Heideggerja, ki pretresa ontološki status umetniških del in se osredotoča na njihov značaj »stvari«, da bi destruirala tradicionalni pomen umetnosti, trdim, da za estetiko vsakdanjosti lahko rečemo, da pripada postheidegerjevski nalogi ponovnega premisleka umetnosti in temeljev estetike. Privzemanje hermenevtičnega pristopa k umetnosti ima za estetiko dvojno posledico: na eni strani širi njen doseg, s tem ko jo razširi onstran območja lepe/visoke umetnosti k vsakdanjim predmetom in izkustvom, in, na drugi strani, meče novo luč na pomen (...)
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  • The un-original Origin of Art has an un-essential Essence: The Heideggerian Issue.Simona Venezia - 2018 - Meta: Research in Hermeneutics, Phenomenology, and Practical Philosophy 10 (1):33-54.
    The paper discusses the possibility of applying Heidegger’s considerations on art to the problematic and multifaceted field of contemporary art. The questions of origin and essence, which we are accustomed to refer to the metaphysical tradition, take on new significance by connecting art not to beauty, but to truth. In this epochal change of position, we can find the identity of contemporary art, which reveals itself not by offering edifying meanings, but by indicating a horizon of comprehensibility in which we (...)
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