Heidegger’s Aesthetics. The Philosophy of Finite Human Freedom and Basic Moods and Emotions

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 (self) 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 (Streit) 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 (relatively) 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.

U prvom delu teksta postavlja se pitanje: da li je za Hajdegerovu estetički relevantnu misao bolje upotrebljavati starije termine kao to su “Hajdegerovo učenje o umetnosti” i “Hajdegerova filozofija umetnosti” ili savremeniji termin “Hajdegerova estetika”? Da li termin “Hajdegerova estetika” predstavlja ‘oksimoron’ suprotstavljen intencijama Hajdegerove sopstvene filozofije ili označava relevantnu estetičku koncepciju koja ima svoje sopstveno mesto unutar savremene filozofske estetike? Da bismo odgovorili na ova pitanja razmatraćemo Hajdegerovo razumevanje estetike kao filozofske discipline kao i probleme koji su povezani sa tim odredjenjem. Stojimo na stanovištu da Hajdegerova koncepcija “prevazilaženja estetike” predstavlja (samo)interpretaciju njegove sopstvene filozofije u raspravi Izvor umetničkog dela. Drugi deo teksta sledi tezu da Hajdegerova estetika sadrži definiciju umetnosti i umetničkog dela, koja je bazirana na Hajdegerovim analizama slobode, osnovnih raspoloženja i emocija. U ovom delu teksta sledimo širu tezu da Hajdegerova filozofija u celini može da bude shvaćena kao fenomenologija slobode. Diskutujemo posebnu tezu da bi pojam spora (Streit) zemlje i sveta u Izvoru umetničkog dela trebalo da bude shvaćen na pozadini izvorne borbe izmedju skrivanja i raskrivanja unutar istine kao neskrivenosti bivstvujućeg. Nadalje, smatramo da je pojam spora na dubljem nivou povezan sa odredjenjem konačne ljudske slobode i osnovnih ljudskih raspoloženja. Posmatrano iz ove perspektive Hajdegerova estetika nije samo heteronomna estetika umetničkog dela, nego i (relativno) autonomna estetika estetskog iskustva artikulisanog s obzirom na konačnu ljudsku slobodu. Rezultat istraživanja predstavlja uvid da je Hajdegerova estetika istine razumljena kao filozofija konačne ljudske slobode, osnovnih raspoloženja i emocija, prema svojim unutrašnjim intencijama, bliža estetici uzvišenog, nego estetici lepog.