| Popis: |
This article offers a fresh exegesis of Heidegger’s philosophy of art, focusing on his conceptualization of artwork as the reproduction of the thing’s general essence. Grounding the analysis in Heidegger’s revisit of Kant’s Transcendental Aesthetic, this study explores Heidegger’s interpretation of a thing as a “composed homogeneity” that reveals inherent determinations of temporality and spatiality in the self-presence of beings as a phenomenon grasped within finite human cognition. This is inextricably linked to the ecstatic temporality of Dasein, elucidating a cyclical human–thing dynamic integral to Heidegger’s ontology. Going deeper, I draw parallels between Kant’s “supersensible” realm and Heidegger’s “earth”, revealing a teleological (ethical) design manifested in art that captures the dual essence of Nature—using Kantian terminology, its purposiveness and contrapurposiveness—intersecting with Heidegger’s notion of the counter-essence of ἀλήθεια in relation to freedom. Finally, I show how the manifold aesthetic metamorphoses of this existential scheme within the existentiell ordinariness through nonradiant φαίνεσθαι, such as equipmentality, emerge as the everyday incarnation of this design. |
