Sophia 53 (1):145-150 (2014)

Patrick Hutchings
University of Melbourne
He’s a terrible fellow, but at least he’s got substance.—Erich Auerbach on HeideggerMy esteemed colleague Purushottama Bilimoria drew my attention to Shane Mackinlay’s ‘Heidegger’s Temple: How Truth Happens when Nothing is Portrayed’. My friend wondered whether my piece on ‘The Origin of the Work of Art: Heidegger’ in Sophia 51, no.4 (2012): 465–478 was a reply to Mackinlay. It was not.I had not in fact read Shane Mackinlay’s elegant essay. Having read it now, I do not entirely agree with it: Nor he, with my essay, no doubt. The Republic of Letters is wide open.The point perhaps that Bilimoria wanted to me to consider was that Mackinlay makes much of ‘nothing’, as did Bilimoria himself in his arrestingly titled, ‘Why is there Nothing rather than Something?’ (Sophia 51, no.4 (2012): 509–530). He, in conversation, has wanted me to make more of—the concept of?—nothing than I am accustomed to do. I doubt if I can rise to the challenge, beyond the Oxbridge ‘I don’t quite understand…’. If ev
Keywords Heidegger  Mackinlay  Nothing  van Gogh  Work of art  Shoes
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DOI 10.1007/s11841-014-0421-5
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