ABSTRACT
The aim of the article is to characterize Martin Heidegger’s philosophy of art, as accurately as possible, through what he wants to take distance from; and then we seek to outline a problem that seems structural. With the notion of enowning [Ereignis] Heidegger intends to distinguish his perspective on art especially from two other ones, namely that of Neokantian tradition and Hegel’s. This allows us to have a dimension of Heidegger’s conceptual radicalism, insofar as the enowning aims to point to a poetic moment which is prior to language. This moment is conceived as a world disclosure. However, it escapes the reference relations foreseen in the notion of world, and becomes basically unspeakable. In addition, the work of art that opens up a world can also be identifed as something innerworldly, thus entangling Heidegger’s own perspective in a series of seemingly unsurmountable difficulties.
Keywords:
Art; Enowning; Heidegger; World; Innerworldly