Return To The Site Where The Dialogue Between Thinking And Poetry Happens

As one of the most important philosophers,Heidegger explained many works of art in the process of expressing his philosophical thoughts.These interpretations have a huge impact,but they have also caused a lot of controversies,of which the focus is if Heidegger’s interpretations are violent interpretation.In order to explore the reasons for the great influence of Heidegger’s art criticism and to respond to these controversies,this dissertation attempts to return to the dialogue scene between Heidegger’s thoughts and art works as poetry,and to explore Heidegger’s art criticism in the form of case studies.We select Heidegger’s interpretation of "farm shoes" by Van Gogh,Greek temples,"Sistine Madonna" and Holderlin’s poetry based on the influence of the case,the amount of Heidegger’s words and the types of critical objects in the case.Along with these four Cases is also a study of other smaller cases,such as Heidegger’s criticism of modern sculpture art and abstract painting.Based on the previous research results,this dissertation holds that,the art criticism methods of Heidegger is a combination of phenomenological and hermeneutic methods,and uses these two complementary criticism methods as clues to analyze each case.The first chapter combs the research status of Heidegger’s art criticism at home and abroad with the three critical cases selected in this paper,and points out the importance and necessity of this theme.The second chapter first analyzes why Heidegger explains the painting by Van Gogh,and then speculates that the one Heidegger interpreted is probably the work of No.332a in the complete collection of Van Gogh’s Painting by De la Faille,rather than the Work No.255,which is generally recognized.On this new basis,we find that the interpretation of the "peasant woman" is entirely following the phenomenological intuition and reasonable pre-understanding from the impressing of Van Gogh’s other works.In addition,the "peasant woman" also contains a deeper hermeneutic meaning:one is the mother who symbolizes the earth and makes the world historical,and the other is the metaphor of the poet and thinker as the awakening and survivor of the emergency.The third chapter points out that Heidegger uses the method of "formale Anzeige"to make the phenomenological intuition of the Greek temple,and the special meaning of the critical term is placed in the interpretation.Through these two methods,Heidegger constructs the new way of truth generation,"the dispute between the world and the earth",and the Greek temple is understood as a representative of the exemplary art that can help the German nation achieve its revival.Heidegger carried out this interpretation mainly to criticize Hegel’s metaphysical aesthetic thoughts and responded to his "final conclusions of art".Heidegger’s comments on modern sculpture art in the 1960s are a continuation of this response and a development of criticism of the temple.The fourth chapter believes that Heidegger firstly made a phenomenological intuition on the Sistine Madonna based on "formale Anzeige" and interpreted the painting as a Christian icon that can point to God,thus refuting the Iconoclam.On this basis,Heidegger also gave the meaning of its face as a "time-game-space" through the interpretation of the thoughts of Seinsgeschichte,interpreting it as the place where the Seinsgeschichte exists,in contrast with Marion’s thoughts on icon,we also see the lack of ethical dimensions of Heidegger’s thoughts on the Seinsgeschichte.The fifth chapter first explores the reasons why Heidegger speaked highly of H?lderlin.Then we take Heidegger’s interpretation of Holderlin’s poem "Germania" in the 1930s as an example to reveal the phenomenological and hermeneutic methods of Heidegger’s poetry criticism and the political implications for the German nation.After the outbreak of World War Ⅱ,Heidegger’s interpretation of Holderlin’s poetry introduced the dimension of the other,Greece,standing from the German nation to the whole of Europe,and gradually abandoned the emphasis on nationality.In addition,this chapter also discusses Heidegger’s interpretation of Rilke and Georg’s poetry.Based on the analysis of the above four cases,the dissertation draws the conclusion:Although Heidegger’s interpretation violates the artist’s original intention,he does follow the phenomenological and hermeneutic methods.The problem of Heidegger’s interpretation lies not in violent interpretation,but comes from the lack of ethical dimension,which results in the association with Nazi and thus dangerous fruit.