ABSTRACT

Recent efforts to engage with Heidegger’s Origin of the Work of Art have focused on its development in the context of Heidegger’s corpus at a key interval in his political ascendancy to, and subsequent decline from, the Rectorship. This article explores the ambiguous role Nietzsche plays in delimiting Heidegger’s engagement with art by tracking the relation between art and truth in two of the four lecture courses Heidegger offered on Nietzsche between 1936 and 1940. Having tracked the shift in this relation, I turn to the 1956 Addendum to Heidegger’s Origin to bring his retrospective reflections on the human to bear on the congruence between his diagnosis of Nietzsche and his own efforts to pose the question of art in terms of the evental happening of truth.

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