碩士 / 國立清華大學 / 哲學研究所 / 105 / People think that work of art is beautiful, that beauty can be found in each and every piece of artwork. Hence, the knowledge of work of art belongs to the realm of aesthetics. Within this realm, a work of art is considered to be an aesthetic object, a beautiful artifact. Parallel to the objectification of the artwork, its audiences or viewers are taken as “subjects”. Against this understanding of modern aesthetics, Heidegger claims that what actually prevails in work of art is not beauty as sensible quality, but “truth”. The artwork is capable of “opening up Being” prior to its sensible impacts on people.
A work of art has many aspects, such as its sensible properties, social functions, its relation to artists, historical position, etc. The main points of Origin of the Work of Art, as its title suggested, is to trace back the origin of work of art. The present thesis has the aim to find out what prevails in work of art, what makes it to be itself, to be what it is. Heidegger’s investigation does not intend to explore all the aspects of work of art; it focuses rather solely on the basis of work of art. By observing the work of art in the context of ontology and comparing it with equipment and mere things, Heidegger attempts to underline the major characteristics of artwork. According to him, it is the setting up of a world and the setting forth of the earth that constitute the upsurge of an artwork. World and earth are dimensions of Being which conflict with each other explicitly through the phenomenon of artwork. This oppositional event makes truth happens in the work. Heidegger called the happening of truth “the opening up of Being”.
| Identifer | oai:union.ndltd.org:TW/105NTHU5259004 |
| Date | January 2017 |
| Creators | Hsieh, Chia-Hsin, 謝家欣 |
| Contributors | Ng, Chon-Ip, 吳俊業 |
| Source Sets | National Digital Library of Theses and Dissertations in Taiwan |
| Language | zh-TW |
| Detected Language | English |
| Type | 學位論文 ; thesis |
| Format | 92 |
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