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page066from Building Ideas
plines like history, philosophy and science
could also be seen as languages in themselves. In the Philosophy of Symbolic
Forums published in three volumes in the 1920s, he set out the basic principles
of this theory, but it was only with his later publication, his Essay on Man,
that he applied them to this much broader field. This general study of
linguistics in other fields of cultural expression will be developed further in
the following two chapters where the language model is considered in detail. In
the more recent theories of architecture this notion has been widely
influential whether inspiring strong allegiance or provoking opposition.
&nbs... more ...
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page065from Building Ideastendency in his thought that appears to limit individual freedom. This acquiescence to a kind of “historical destiny” proved to be troubling for later critics, as did Heidegger’s support for German nationalism during the 1930s and beyond.
Where Heidegger’s search for the “truth” of Being led him, like Hegel, to favour poetry and language, Ernst Cassirer, on the other hand, began from a different set of assumptions and this led him to an alternative conclusion. Cassirer sidestepped the metaphysical questions of Heidegger’s philosophy of Being and instead took up the problem of knowledge. It was this more than anything that caused their difference of opinion which Heidegger expressed in a review of Cassirer’s work. By deali... more ...
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page064from Building IdeasHeidegger’s work and it is here that he departs from Cassirer and shows his adherence to the philosophy of Hegel. Being is not an entity as such but an underlying force, like Hegel’s Spirit, and it manifests itself in the work of art much more distinctly than in everyone objects. This idea that art “condenses” reality into a truer representation of Being echoes Aristotle’s view that the artist must idealise the individual, in order to attempt to produce an image of the universal from the particular. When Heidegger discusses this, in the essay called The origin of the Work of Art, written in the 1930s but not published until 1950, he describes it as a process of revealing a world that is implied within the work itself. The famous example that he describes, of a van Gogh painting of... more ...
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page063from Building IdeasAs part of this rationalizing process, the beautiful was defined in terms of intelligible, with drama dismissed as irrational and even dangerous for “susceptible souls”. The limits of this “traditional” philosophy were Nietzsche’s real and abiding interest, and in this he echoed the Romantics before him, as well as anticipating many more recent debates. He was against the idea that science expressed the truth about an “objective” world and he made a claim for the continued importance of the artist, when he questioned the very limits of logic itself:
Might there be a realm of wisdom from which the logician is excluded?
Might art even be a necessary correl... more ...
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