The Truth in Heidegger: An Analysis of Martin Heidegger’s Philosophy of Art as It Appears in the Ursprung des Kunstwerkes from the Perspective of Sein und Zeit

  • Simen Andersen Øyen
Part of the Analecta Husserliana book series (ANHU)


This article will approach Martin Heidegger’s philosophy of art as it appears in The Origin of the Work of Art (Ursprung des Kunstwerkes), seen from the perspective of Being and Time (Sein und Zeit). This will concern the question of consistency and whether Heidegger’s philosophy of art can be integrated with, and contribute to, his more general investigation of Being. The article will also problematize whether art could be a realization of truth and whether the aesthetic experience may provide a unique path to comprehension. It will then discuss these investigations in light of Jacques Derrida’s interpretation of Heidegger in The Truth in Painting, in which he questions the legitimacy of Heidegger’s fundamental assumptions. Derrida would criticize Heidegger because of the notion of “aesthetic truth” itself, as it is connected to, and anchored in, Heidegger’s more general thinking. This will represent an alternative perspective to the question of consistency: does Heidegger’s philosophy of art need to be commensurable with his more general thinking?


General Philosophy Poetic Language Risky Play Early Philosophy Peasant Woman 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.


  1. Derrida, Jacques. 1978. The truth in painting. Chicago: The University of Chicago Press.Google Scholar
  2. Derrida, Jacques. 2007. Basic writings. London: Routledge.Google Scholar
  3. Golebiewska, Maria. 2005. Discussion on the notion of “life” and “existentia” in the philosophical conceptions of Heidegger and Merleau-Ponty. In Analecta Husserliana, vol. LXXXIX, ed. A.-T. Tymieniecka, 93–99. Dordrecht: Kluwer Academic Publishers/Springer.Google Scholar
  4. Heidegger, Martin. 1996. Being and time. New York: State University of New York Press.Google Scholar
  5. Heidegger, Martin. 2010. Basic writings. London: Routledge.Google Scholar
  6. Holgernes, Bjørn. 1998. Ut av det hellige kaos. Martin Heideggers kunstfilosofi belyst gjennom et eksempel på gudenes nærvær. Oslo: Høyskoleforlaget.Google Scholar
  7. Iser, Wolfgang. 2006. How to do theory. Malden: Blackwell Publishing.Google Scholar
  8. Jauss, Hans. 1982. Aesthetic experience and literary hermeneutics. Minneapolis: University of Minnesota Press.Google Scholar
  9. Levinas, Emmanuel. 2004. Den annens humanisme. Oslo: Aschehoug.Google Scholar
  10. Næss, Arne. 1965. Moderne filosofer. Stockholm: Almquist & Wiksell.Google Scholar
  11. Richardson, William. 1963. Heidegger: Through phenomenology to thought. Hague: Martinus Nijhoff.Google Scholar
  12. Sartre, Jean-Paul. 2001. Being and nothingness – A phenomenological essay on ontology. New York: Citadel Press.Google Scholar
  13. Schapiro, Meyer. 1994. The still life as a personal object – A note on Heidegger and van Gogh. In Theory and Philosophy of Art: Style, Artist, and Society, New York: George Braziller, 135–142.Google Scholar
  14. Sjklovskij, Viktor. 1966. Theorie der Prosa. Frankfurt am Main: Fischer.Google Scholar
  15. Svendsen, Lars Fredrik, and Simo Säätelä. 2004. Det sanne, det gode og det skjønne. Oslo: Universitetsforlaget.Google Scholar

Copyright information

© Springer Science+Business Media Dordrecht 2012

Authors and Affiliations

  • Simen Andersen Øyen
    • 1
  1. 1.The Centre for the Study of the Sciences and the HumanitiesUniversity of BergenBergenNorway

Personalised recommendations