نوع مقاله : مقاله علمی- پژوهشی

نویسندگان

• بهروز الیاسی ¹
• محمدجواد صافیان ²

¹ دانشجوی دکتری گروه فلسفه هنر، واحد علوم و تحقیقات، دانشگاه آزاد اسلامی، تهران، ایران

² دانشیار گروه فلسفه، دانشگاه اصفهان، اصفهان، ایران

چکیده

هنراندیشی محصول دورۀ دوم اندیشۀ هیدگر است که در آن رویداد‌‌اندیشی بر هستی‌شناسی بنیادین سیطره می‌یابد. در بادی امر به نظر می‌آید که از نقش ویژۀ دازاین در هنراندیشی کاسته شده است؛ اما به واقع می‌توان گفت وجود و دازاین برای هیدگر دو رویِ یک سکّه‌اند. هر جا که اندیشیدن به وجود ممکن است دازاین نیز به شکلی ناگزیر حضور می‌یابد و اهمیت هنر برای هیدگر از آن روست که هنر، حقیقتِ وجود را به آشکارگی می‌آورد. در این مطالعه تلاش می‌شود نقش‌های متفاوت دا-زاین در هنراندیشی به دید آید. نقش دا-زاین از آن رو اهمیت می‌یابد که به عنوانِ گذرگاه هنر اجازه می‌دهد رویدادِ هنر روی بدهد و از خلال آن، خودِ وجود زبان‌آور شود. سپس جایگاه دا-زاینِ هنرمند و شاعر (آفریننده)، مخاطب یا نگاه‌دار، بررسی می‌شود. پس از طرح پرسش از شیوۀ بودن دا-زاین در هنراندیشی به نقش‌های مختلف دا-زاین به عنوان هنرمند، مخاطب و نگاه‌دار پرداخته می‌شود. دا-زاین در هنراندیشی اگرچه نیوشای "وجود" و قابلی بدونِ فعلیت است اما مسئولیت‌پذیری و پروا سبب می‌شود بارِ امانتِ وجود را بر دوش بکشد، پیش‌آمدِ حوالت یک ملّت (قوم) از طریقِ او شکل می‌گیرد. از این وجهۀ نظر پس از ابداع و سرودن، دازاین نابود نمی‌گردد بلکه در کسوت مخاطب و نگاه‌دار، موردِ خطابِ وجود قرار می‌گیرد  و در نهایت به این پرسش پاسخ داده می‌شود که چه چیزی سبب تحول در اندیشۀ هیدگر شده و او را به سوی هنر‌اندیشی جذب کرده است.

تازه های تحقیق

1-Introduction

Throughout his thought, the main problem of Heidegger is Being thinking. Heidegger''s way of thinking in his two periods of thought is one of two major parts. The horizontal transcendental part that revolves around the Da-Sein axis, and the event-thinking part in which Being itself is sway (wesen). With all his efforts in “Being and Time” he couldn''t rid thought from the domination of metaphysics. The efficient vocabulary of “Being and Time” such as conditions of possibility, time, horizon, and so on is still reminder idealism philosophy, especially Kant. Art is the product of Heidegger''s second period of thought, in which event-thinking dominates fundamental ontology. Heidegger''s art thinking is Being thinking through the event. Heidegger does not consider the language of metaphysics to be an ontological one, so after trnuning, he chooses the language proportionally to an ontology which is the language of poetry and art. 

2-Dasein and historical root

Some Heidegger commentators have recognized Hegel and Kirkgard''s bottom line in his thought about open design. In their view, Heidegger is influenced by Kierkegaard in the work of personalizing the experience of God or the absolute. It must be remembered, however, that the subject of "objective mind" in Wilhelm Dilthey''s hermeneutics had a profound effect on the formation of Dasein in Heidegger''s mind. One of the important influences that Heidegger receives from Kierkegaard is the subject of care (sorge). For Heidegger, care is one of Dasein''s most important characteristics. Care is an experience of possibility. As for the influence of other thinkers, Heidegger''s formulation of Dasein''s thought emerges as a result of his critical encounter with Husserl''s phenomenology and Max Schler''s philosophical anthropology. There are also concepts such as Existence, care, derived from Kierkegaard''s, and Jasper''s thought, although Heidegger himself follows in the footsteps of care to Luther and Augustine.

3- Heidegger''s evolution of thought and his tendency for art according to Dasein''s role 

 In the turning, Heidegger record the word Sein with a multipication sign on it to prevent it from being considered "something" somewhere. Besides, the archaic form of “Sein” is also used, Syen. Following this “turning”, Dasein is also generally spelled Da-sein. By focusing on the Short dash, we focus on the Being itself. Sein''s focus is on "in-stand" Being of human in openness to avoid understanding Da-sine as being. In the event (Ereignis) and Heidegger''s art thinking, Da-sein is no longer transcendental being but is "in-standing" in openness.

At first, it seems that Dasein''s special role in art has diminished, but in fact, for Heidegger''s, Being and Da-sein''s are two sides of the same coin. Wherever one may think of Being, Da-Sain may inevitably be present, and for Heidegger, the importance of art is that art reveals the truth of Being. So it can be said that Heidegger''s totality of thought is inevitably involved in the Dasin problem.

4- Preserver, artists, and audiences

We try to look at Dasein''s different roles in art. Dasein''s role in art thinking is important because it allows art as a crossroads to become an art event and, through it, Speak Being itself. Then the status of the Dasein artist and the poet (the creator), the audience or the preserver, is examined. The "way" of the event, in the sense of openness, goes beyond "Da-sein", in that it becomes the artist, the poet and the audience, the home and the dwelling place for art and poetry. Like the artists and poets, the attentive audience begins with the artwork. Beyond that, we can say, artists and poets, either in the form of the invention or in the face of their artistic work and others, are “preserver” of the opposite of "audience response" in its subjective sense. Da-Sein''s openness and determination, whether artist or preserver, allow the artwork to reveal the truth of itself. This openness is the openness of the truth of Being that sits itself-in-the-work. Therefore, the event does not occur until the artist or the preserver who is both Da-Sein (being-present) hears the sound of Being. The prerequisite for this hearing is the abandonment of everyday work, the day-to-day sputter, and the entrance to the holiday (Festival). The holiday cannot be established without the audience and observer.

5- The artist and the poet in relation to collective Dasein

Heidegger''s aspiration for art thinking is to enter the collective Da-sein in the sense of nation-state to this holiday. Dasein in art thinking, although is a listener to "being" and she/he, is a being without action, but responsible and care cause him to bear the burden of Being, the outcome of the fate of a nation being formed through him.

6- Conclusion

After creation and compose, Da-sein is not destroyed but is addressed as an audience and preserver. Finally, one can say with Heidegger: Being for its innate event requires man and man belongs to Being. This man is not a man of any kind, but this man is an artist and thinker Dasein. Therefore, diminishing the importance of Da-sein in art thinking does not mean abandoning it, but means changing its role. Determined Dasein, he decides to be "let-be" which means to allow things to be as they are. 

However, Dasein''s decisive role in the fundamental ontology is not left out in the second period but is complicated by the event (ereignis). Dasein is thrown into the universe and is born into the crowd. So it does not start with itself, but in its original state ends with its own “loneliness” and “silence”. It is possible to hear the sound of being in silence, a necessity of poetry and art. The original Da-sein is determined, but it is these individual decisions that provide the collective Da-saine that sets the depth of history (geschite). Quitting the action and "let it be" is an important role that Dasein, the artist, and preserver, is responsible for. Poets projecting of truth do not come into the vacuum. Preserving occurs by the thinker artist. In Heidegger''s view, thought Being thinking. 

References

-      Heidegger, Martin (1995) Being and Time, trans. John Macquarrie & Edward Robinson, New York.

-      Heidegger, Martin (1999) Contribution to Philosophy (From Endowing), trans. P. Emad and K. Maly, Indiana University Press.

-      Heidegger, Martin (1977) The origin of the work of Art, in Basic Writing, trans. & ed. D. F. Krell, Harper San Francisco. 

-      Heidegger, Martin (1977) The Age of the World Picture, trans. William Lovitt, Harpe & Row, New York.

-      Heidegger, Martin (1971) Poetry, Language, Thought, trans. Albert Hofstadter, Harper& Row, New York.

کلیدواژه‌ها

• دازاین
• هیدگر
• هنراندیشی
• هنرمند
• شاعر
• رویداد

عنوان مقاله [English]

The Role of Dasein in Heidegger''''s Art Thinking

نویسندگان [English]

• Behrooz Elyasi ¹
• mohammad javad safian ²

¹ 1 Ph.D. Candidate in Philosophy of Art, Islamic Azad University, Tehran branch of Science Research

² Associate Professor, University of Isfahan

چکیده [English]

Art thinking produs in second period of Heidegger thinking, where in event thinking (Ereigins) dominate to fundamental ontology. Therefore, seems reduced special role of Dasein in art thinking. But in fact, it can be said that there is Dasein and Being (Sein) are both sides of one coin. Anywhere think of Being is possible, essentially Dasein is presence and importance of art is that bring out the truth of Being. In this paper attempts to clarify different role of dasein in Art thinking. Role of Dasein as passage of art let bart event happens and Being itself speaks. Then investigate place of artist Dasein and poet (creator), audience (recreator) and preserver. After asking question about how to be Dasein in art thinking, determine different role of Dasein in Dasein role as artist, audience and preserver. Dasein in art thinking is Being listener and he is passive, but he is responsible and care. He is trustee of meing and the destiny of nation is formed through it. Then it is destroyed himself after gathering a nation. In this aspect after create and compose infact Dasein not destroyed in fact but in place of audience, he addressed by Being. At the end this question is answerd, what make change in Heidegger,s thinking and why he attracted to Art thinking.

کلیدواژه‌ها [English]

• Dasein
• Heidegger
• art thinking
• artist
• poet
• Ereignis