A recordação do vínculo originário entre arte e técnica no pensamento de Martin Heidegger
| Ano de defesa: | 2024 |
|---|---|
| Autor(a) principal: |
Silva, Frrancisco Wiederwild da
 |
| Orientador(a): |
Kahlmeyer-Mertens, Roberto Saraiva
|
| Banca de defesa: |
Acevedo Guerra, Jorge Cecilio
,
Fogel, Gilvan Luiz
,
Cardoso Neto, Libanio
, |
| Tipo de documento: | Dissertação |
| Tipo de acesso: | Acesso aberto |
| Idioma: | por |
| Instituição de defesa: |
Universidade Estadual do Oeste do Paraná
Toledo |
| Programa de Pós-Graduação: |
Programa de Pós-Graduação em Filosofia
|
| Departamento: |
Centro de Ciências Humanas e Sociais
|
| País: |
Brasil
|
| Palavras-chave em Português: | |
| Palavras-chave em Inglês: | |
| Área do conhecimento CNPq: | |
| Link de acesso: | https://tede.unioeste.br/handle/tede/7642 |
Resumo: | The recording of the original link between art and technique forms the central theme of this dissertation. The recovery of this link presupposes a conceptual reconstruction, through the confrontation established by Martin Heidegger with the metaphysical tradition and his criticism of conventional representations regarding the phenomena that configure technique and art. In this sense, this research is developed in response to the following problem: what does the original link between art and technique consist of according to Heidegger's thought? Our objective, therefore, aims to determine how advances in metaphysical thought obscure the link between art and technique. Based on Heidegger's dialogue with pre-Socratic Greek thinkers, we intend to remember the link between art and technique through the experience of uncovering these phenomena. To undertake this task, we make use of a bibliographic theoretical methodology, prioritizing the analysis of texts written after “the turn” (die Kehre) of Heideggerian thought, such as Introduction to Metaphysics (1935), The Origin of the Work of Art (1935-1937), the lectures and essays on Nietzsche's thought (1939-1944), Into the Wood (1950), Lectures and Essays (1954), etc. We deduce from this research that, according to Heidegger, pre-Socratic Greek thinkers called both art and artisanal technique with the word techne, a knowledge like episteme. Techne, in this sense, consists of knowledge that illuminates, that gives birth in the sense of making the entity visible (present, accessible) from an original concealment, therefore configuring a mode of unconcealment (Unverborgenheit). With the metaphysical transfiguration of original thinking, techne is conceptually characterized by Plato and Aristotle as mimesis, that is, as an imitation of the appearance of supersensible reality. Consequently, the original link between techne and episteme has been completely obscured. The metaphysical tradition inherited from Platonic-Aristotelian thought preserved the dissociation between techne and episteme fixed and unchanged, degrading the creative production of being (poiesis) to the level of artisanal activity, from its instrumental and anthropological representation. In Modernity, today's technical phenomenon is conventionally represented considering only this practical dimension, although it characterizes an original phenomenon and, therefore, radically different from ancient technique. In the conference The Question Concerning Technology (1953), Heidegger proposes the task of founding a meditation space in which it becomes possible to carry out the experience of uncovering the essence of modern technique. How to find this space? From the dialogue with the philosophical tradition, reconstructing the original experiences of what constitutes the imperialism of technology that essentially characterizes our time. Art, according to Heidegger, offers such a space, because, although the mode of unconcealment that constitutes modern technique does not develop into a creative production of being (poiesis), characterizing a phenomenon radically different from art, the experience of the determination of its essence depends on remembering its link with the artistic phenomenon. Finally, it is concluded that art provides us with a space of refuge (Hort) and consecration (Weihe) of truth as unconcealment, if we have the experience of remembering the original link between technique and the artistic phenomenon in its meaning higher. |