Abstract

Reading Heidegger’s Being and Time, “The Origin of the Work of Art,” and the 1934-35 lecture courses Hölderlin’s Hymns“Germania” and “The Rhine,” the aim of this essay is twofold. First, the essay attempts to elucidate the manner in which the work of art functions as a superlative event of “ truth -happening”, which facilitates the movement of Dasein into the truth of Being as a legitimate member of a community, serving as, “the origin of a people’s authentic historical existence.”1 Second, it explains why this notion of art as the historical manifestation of Being is crucial to understanding the shift, or “ turn,” in Heidegger’s philosophy of the 1930s and 1940s, i.e., it examines the philosophical problems Heidegger rectified when moving from Being and Time, and the conceptual-linguistic constraints of metaphysics and the subject-centered model of Dasein, to the later works on art and poetry.