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  1. "The Origin of the Work of Art" (German: Der Ursprung des Kunstwerkes) is an essay by the German philosopher Martin Heidegger. Heidegger drafted the text between 1935 and 1937, reworking it for publication in 1950 and again in 1960.

    • Martin Heidegger
    • Germany
    • 1950
    • Der Ursprung des Kunstwerkes
  2. how there is art at all, we will attempt to discover the nature of art where there is no doubt that art genuinely prevails. Art presences in the art-work [Kunst-werk]. But what and how is a work of art? What art is we should be able to gather from the work. What the work is we can only find out from the nature of art. It is easy to see that we

  3. 4 de feb. de 2010 · In “The Origin of the Work of Art,” Heidegger suggests that modern subjectivism and late-modern enframing can be understood as symptoms of Western humanity’s continuing inability to accept our defining existential finitude.

  4. En torno a El Origen de la obra de arte de Martin Heidegger1. On Heidegger’s The Origin of the Work of Art. François Fédier2. Resumen. Es necesario distinguir entre útil, cosa y obra de arte. Lo que nos circunda en la óptica de un "para" apunta al conjunto de los útiles. La cosa es aquello de lo que se habla.

  5. “The Origin of the Work of Art”, begun in 1935 but not published in full until 1960 – in other words, it spans the whole of the period in question – is Heidegger's most sustained treatment of art, and it is that text that this chapter focuses on.

    • Jonathan Dronsfield
    • 2009
  6. At first, the essay, Heidegger departed from earlier theories concerning the essence of art, re- such a question appears elementary; the source of the art work, of course, is the art- jecting the notion of art as reflection or imi- ist.

  7. ‘The Origin of the Work of Art ’: Heidegger. Patrick Hutchings. Published online: 13 September 2012 Springer Science+Business Media B.V. 2012. Abstract. Professor Max Charlesworth and I worked, at Deakin University, on a course, 'Understanding Art'. Max was interested in the Social History of Art and in art as: 'giving form to mere matter'.