NDLI: Heidegger’s Temple: How Truth Happens When Nothing is Portrayed

Content Provider	Springer Nature Link
Author	Mackinlay, Shane
Copyright Year	2010
Abstract	In his essay The Origin of the Work of Art, Martin Heidegger discusses three examples of artworks: a painting by Van Gogh of peasant shoes, a poem about a Roman fountain, and a Greek temple. The new entry on Heidegger’s aesthetics in the Stanford Encylopedia of Philosophy, written by Iain Thomson, focuses on this essay, and Van Gogh’s painting in particular. It argues that Heidegger uses Van Gogh’s painting to set art, as the happening of truth, in relation to ‘nothing’, which is a key term in Heidegger’s essays leading up to The Origin of the Work of Art. This paper extends a similar analysis to the Greek temple as a way of offering an exposition of Heidegger’s concerns in the essay. It begins by briefly outlining Thomson’s argument that Heidegger relates Van Gogh’s painting to ‘nothing’, and indicating the way this argument can be extended to the Greek temple. It then discusses three ways in which ‘nothing’ can open up the significance of the temple as a work of art in which truth happens: (1) it is not concerned with objective representation; (2) it depicts the primal strife of earth and world, concealing and unconcealing; (3) it is fundamentally historical.
Starting Page	499
Ending Page	507
Page Count	9
File Format	PDF
ISSN	00381527
Journal	Sophia
Volume Number	49
Issue Number	4
e-ISSN	1873930X
Language	English
Publisher	Springer Netherlands
Publisher Date	2010-12-18
Publisher Place	Dordrecht
Access Restriction	One Nation One Subscription (ONOS)
Subject Keyword	Heidegger Aesthetics Truth Nothing Temple Humanities Non-Western Philosophy Philosophy Religious Studies Philosophy of Religion
Content Type	Text
Resource Type	Article
Subject	Philosophy Religious Studies

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A Note on ‘Heidegger’s Temple: How Truth Happens when Nothing is Portrayed’, by Shane Mackinlay, in Sophia 49, No.4 (2010): 499–507

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A Note on ‘Heidegger’s Temple: How Truth Happens when Nothing is Portrayed’, by Shane Mackinlay, in Sophia 49, No.4 (2010): 499–507

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