Siberian Federal University

Issue

Journal of Siberian Federal University. Humanities & Social Sciences. 2025 18 (2)

Authors

Koptseva, Natalia P.

Contact information

Koptseva, Natalia P.: Siberian Federal University Krasnoyarsk, Russian Federation; nkoptseva@sfu‑kras.ru; ORCID: 0000‑0003‑3910‑7991

Keywords

Martin Heidegger; Friedrich Hölderlin; Ontology of Art; Theory of Art; Philosophy of Truth

Abstract

The theory of culture and art is based on philosophical concepts, including aesthetics, ontology and the theory of knowledge. The theory of contemporary art and culture is conceptually based not only on the philosophy of art of the 20th‑21st centuries, to a large extent it is an invariant of aesthetic and philosophical concepts associated with the theory and philosophy of romanticism, with the pathos of freedom of both the artist, master, and the viewer, recipient. The ontology and theory of knowledge of Martin Heidegger (1889–1976), created in the mid‑1920s, turned philosophical thinking upside down not only in its “guild” version, but also in the receptions of Heidegger’s philosophy in the field of art theory and even artistic practices of the 20th‑21st centuries. The article reveals those features of Heidegger’s ontology and theory of knowledge of the period of the so‑called “late” Heidegger, which had a significant impact on the formation of the aesthetics of modern art. The style of philosophy itself changes. From now on, it is not a philosophy of theories and systems, but a philosophical reflection on the instructions of “chosen” poets, chosen masters of art, whose pathos of freedom as allowing‑being‑to‑be‑ itself accompanied them throughout their earthly life

Pages

205–214

EDN

NZHSWV

Paper at repository of SibFU

https://elib.sfu-kras.ru/handle/2311/154841

This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License (CC BY-NC 4.0).