References
- Martin Heidegger, Nietzsche, Vol. 1, trans. D. F. Krell. Routledge and Kegan Paul (London, 1981) p. 78.
- Ibid. p. 78.
- One might cite here such theorists as Clive Bell, Roger Fry, Monroe Beardsley, Harold Osborne, and Robin Collingwood.
- Martin Heidegger, ‘On the Essence of Truth’ included in Heidegger: Basic Writings, trans, and ed. D. F. Krell, Routledge and Kegan Paul (London, 1978) pp. 117–141. This reference p. 123.
- Heidegger, ‘Letter on Humanism’, Ibid. pp. 193–242. This reference p. 239. 239.
- ‘On the Essence of Truth’, Ibid. p. 132.
- Ibid. p. 135.
- For an extended discussion of this see Heidegger's essay on ‘The Thing’ included in Poetry, Language, Thought, ed. and trans. Albert Hofstadter, Harper and Row (New York, 1971) pp. 165–186.
- ‘On the Essence of Truth’, op. cit. p. 128.
- Heidegger, Nietzsche, op. cit. pp. 83–84.
- Ibid. p. 80.
- Ibid. p. 84.
- Hans-Georg Gadamer, Truth and Method, trans. W. Doepel, Sheed and Ward (London, 1978) xii.
- Heidegger, ‘The Origin of the Work of Art’ in Poetry, Language, Thought, Ibid. p. 32.
- Ibid. pp. 33–34.
- Ibid. pp. 34–35.
- Ibid. p. 36.
- Ibid. p. 39.
- Ibid. p. 40.
- Ibid. p. 43.
- Ibid. pp. 43–45.
- Ibid. p. 46.
- Ibid. p. 49.
- Ibid. p. 64.
- Ibid. p. 65.
- Ibid. p. 66.
- Ibid. p. 66.
- Ibid. p. 75.
- Clive Bell, ‘The Aesthetic Hypothesis’ included in Aesthetics: An Anthology, ed. George Dickie and Richard Sclafani, St. Martin's Press (New York, 1977) pp. 36–48. This reference p. 41.
- ‘The Origin of the Work of Art’, op. cit. p.71.
- Wittgenstein, Lectures and Conversations on Aesthetics, Psychology and Religious Belief, ed. Cyril Barrett, Basil Blackwell (Oxford, 1970) p. 8.
- Bell, indeed, regards the transporting character of aesthetic feeling as akin to religious ecstasy—but without explaining how this is possible. See for example ‘The Aesthetic Hypothesis’, op. cit. p. 47.
- I explore these two dimensions of interaction with the artwork in Part Three of a paper entitled ‘Alienation and Disalienation in Abstract Art’—forthcoming in Seeing and Abstracting: Philosophy and the Visual Arts, ed. Andrew Harrison, Reidel (Dordrecht).
- Quoted in ‘Indirect Language and the Voices of Silence’ included in Maurice Merleau-Ponty, Signs, trans. Richard McLeary, pp. 39–83. This reference p. 53.
- In my article ‘The Experience of Art: Some Problems and Possibilities of Hermeneutical Analysis’, Philosophy and Phenomenological Research, March 1983, pp. 347–362, I note the kinship between Heidegger's alētheia and aesthetic experience, but rather confuse the issue by describing the former as ‘non-aesthetic’. A better term would be ‘neo-aesthetic’. One might then say that the aesthetic domain is characterised by varying degrees of disinterestedness, with the experience of formal qualities the most disinterested of all. I discuss this matter further in Part Two of a paper entitled ‘The Claims of Perfection: A Revisionary Defence of Kant's Theory of Dependent Beauty’ in the International Philosophical Quarterly, March 1986.