ABSOLUTE AUGENBLICK: ON THE ECSTATICS ALONG THE WORK OF ART IN WAHRHEIT UND METHODE, BY HANS-GEORG GADAMER
SOBRE A EXTÁTICA JUNTO À OBRA DE ARTE EM WAHRHEIT UND METHODE, DE HANS-GEORG GADAMER
Keywords:
Gadamer, Husserl, Time, Reduction, ArtAbstract
This paper revisits and reexamines the temporal experience related to the work of art as formulated by Hans-Georg Gadamer in his magnum opus Truth and Method (1960). The terminology used by Gadamer, as well as the construction of his reasoning, are looked upon closely to shed light on the details of this experience for Dasein. This examination shows that there are modifications to the vulgar conceptions of time and space, and these give rise to an “absolute moment” (absolute Augenblick) in which Dasein opens up to the recognition (Wiedererkenntnis) of itself and the world (Welt). Subsequently, following commentaries by Günter Figal (2021 and 2022) on the relationship between art and reduction, Rudolph Bernet (1994) on the Husserl-Heidegger relationship, and Andrea Satiti (2013) on Husserl, the paper proposes that a reapproach to Gadamer through Husserl’s concept of Überschau allows for a renewed understanding of the temporal experience of art and the concept of play (Spiel) developed by Gadamer in his major treatise.
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