The Kantian outline behind 'The origin of the work of art'

BELGRANO, MATEO

Hagen

Jornada; Doktoranden Colloquium Hagen; 2022

FernUniversität in Hagen

Heidegger proposes that artistic representation can be understood as a schematization, that is, he extends the Kantian notion of schema. This idea appears seven years before the first version of ?The Origin of the Work of Art? and in the midst of writing Being and Time. Around this moment, Heidegger was reading, and at some point rediscovering, the Critique of Pure Reason. ?I am often in Königsberg?, Heidegger wrote to Hannah Arendt in 1925 (2013, 45). How should we take this comment he makes ?only in passing? about art in the 1925/26 seminar? How relevant is it to ?The Origin of the Work of Art?? Is it schematism what impelled Heidegger to reflect on art? Is he still ?often in Königsberg? in the mid-1930s? The hypothesis that I will try to defend is that the notion of schema will be fundamental to understand the role of the work of art in Heidegger´s thought. The work will appear as a hybrid, amphibious entity, capable of mediating between the ontic dimension and the ontological dimension, and thus bridging the gap between being and entity.