The overlooked work of art in “the origin of the work of art”
International Philosophical Quarterly 48 (2):143-153 (2008)
| Abstract | In this essay I call attention to the fact that there is a work of art in Heidegger’s “The Origin of the Work of Art,” and yet almost no one talks about it: the C. F. Meyer poem “Roman Fountain.” This critical silence is all the more ironic, since (1) it is a self-sufficient artwork, and not just described or mentioned in the text; and (2) the poem’s fountain, as man-made spring, seems to speak to—if not speak of—Heidegger’s thesis concerning the Ur-sprung of the artwork itself. I argue that the poem illuminates a central problem or question concerning the status of art as mimesis, and I suggest that the reason why this poem tends to be overlooked amid the “obsessive” critical attention that it otherwise attracts can be found within the essay itself | |||||||||
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Similar books and articlesMartin Heidegger (2010). Nietzsche's Overturning of Platonism : The Origin of the Work of Art. In Christopher Want (ed.), Philosophers on Art From Kant to the Postmodernists: A Critical Reader. Columbia University Press.
Theodore D. George (2003). Specifications. Epoché 8 (1):27-41.
Tom Huhn (1996). The Movement of Mimesis: Heidegger's 'Origin of the Work of Art' in Relation to Adorno and Lyotard. Philosophy and Social Criticism 22 (4):45-69.
Julian Young (2004). Heidegger's Philosophy of Art. Cambridge University Press.
Shane Mackinlay (2010). Heidegger's Temple: How Truth Happens When Nothing is Portrayed. Sophia 49 (4):499-507.
Andrea Rehberg (2009). The World and the Work of Art. Epoché 14 (1):131-142.
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