Vol 2, No 8 2001 pp. 569 - 592
UDC 18.01+19 Hajdeger
AN AESTHETICS
HELDEGER AND THE OVERCOMING OF AESTHETICS
Vladimir Djokić
Abstract. Traditionally, art has been defined as essentially mimetic.
Indeed, making things ever more complicated, mimesis (as a difference between
the original and the copy) iz constitutive of the very possiblility of
philosophy as thinking of (ontological) difference as a difference between
Being and beings - origin, ground, principle, idea, on the one hand; and
being, appearance, etc., on the other. In his project of overcoming aesthetics
or what I call, recalling the movement back (ANA) or against (A), 'anaesthetics.'
Heidegger tries to rethink art without recourse to the traditional determination
of art as mimessis but, instead, in terms of his conception of truth which
itself already attempts to exclude the mimetic dimension of the traditional
conception of truth as agreement. I attempt to demostrate that by so radically
excluding mimesis Heidegger reaffirms it. More concretely, in his efforts
at thinking Being as such, in its properness and purity, Haidegger reinscribes
(translates, mimetizes) a properly metaphysical gesture of identification
which, by necessarily passing through and always already appropriated and
indifferent Other, reestabliches the well-known subordinations and hierarchies.
And all this, on a 'textual level,' through a constant (yet unaddressed
and unacknowledged) recourse to tropes and metaphores, illustrations and
analogies - in a word, 'mimesis'. He thus - as if aneasthesized - falls
victim to his own (an)aesthetics.
ESTETIKA
HAJDEGER I PREVAZILAŽENJE ESTETIKE
Umetnost je, tradicionalno gledano, tvrdi Hajdeger, u suštini mimeza. Mimeza,
međutim, ne definiše samo umetnost već, kao razlika između originala i
kopije, kostituiše samu mogućnost filozofije kao promišljanja (ontološke)
razlike kao razlike između bitka i bića - porekla, osnove, principa, ideje,
s jedne strane; i bića, pojave, itd., s druge strane. Projekat Hajdegerovog
prevazilaženja estetike stoga se mora sagledati u okviru opšteg projekta
prevazilaženja metafizike. Prevazilaženje estetike Hajdeger nastoji da
izvrši jednim novim promišljanjem umetnosti - ovog puta ne oslanjajući
se na tradicionalno uslovljavanje umetnosti kao mimeze već, umesto toga,
na svoju koncepciju istine koja sama po sebi već isključuje mimetičku dimenziju
tradicionalne koncepcije istine kao slaganja. Osnovna teza ovog rada sastoji
se u tvrdnji da, i pored tolikog njenog isključivanja, Hajdeger ponovo
utvrđuje mimezu. Preciznije govoreći, u svom nastojanju da (pro)misli bitak
kao takav, u svojoj osobenosti i čistoti, Hajdeger ponovo ispisuje metafizički
gest identifikacije koji, nužno prolazeći kroz (od)uvek aproprijatizovano
i indiferentno Drugo, opet uspostavlja dobro poznate subordinacije i hijerarhije.
I sve ovo, na 'tekstualnom nivou,' uz pomoć stalnog (ali nikada eksplicitnog
ili priznatog) oslanjanja na trope i metafore, ilustracije i analogije
- rečju, 'mimezu'.
