4C Theories and Philosophies of Transcodification/3
Session 4 – July 2, 15:30 – 17:30
Philosophies of Transcodification: The Concept of “Meditation” and “Mediation” By Gadamer’s Ontology of the Work of Art and Its Hermeneutic Significance
In his major work truth and method published in 1960, the german philosopher hans george gadamer attacks the Kantian figure of “genius”, he criticizes the Kantian aesthetic – and his heirs –
their subjective and abstract dimension. Rather than resorting to the enigmatic notion of “genius”, gadamer invites us to consider the historical dimension of aesthetic consciousness. He also emphasizes the importance of the context of the work: the role of the library, museum, theater or concert hall. Through these critical analyzes, gadamer emerges a universal thesis. Its purpose is
therefore not to propose a new aesthetic but to bring out a characteristic proper to any understanding which manifests itself in the aesthetic experience: “to see is to articulate”. Thus are announced the fundamental theses in the second part of gadamer’s work: the experience of art is endowed with Bedeutsamkeit (“richness of meaning”, to use the translation or “significance”) and
it draws this richness itself. It is for this reason that the vision of a work of art, the hearing of a piece of music and, more generally, any perception requires an understanding (Verstehen). But this understanding, also specifies gadamer, still in Heidegger’s heritage, is first of all an ontological understanding. It is not limited to the subjective self-understanding of the artist’s “lived experience” [Erlebnis]. gadamer indeed emphasizes the universal and ontological dimension of the “art game”. By the mobilization of the concepts of “play” (which has its own essence, regardless of the consciousness of those who play), the first concept is “Meditation”
according to Heidegger’s thesis on art (Heidegger was gadamer’s professor): Meditation on what art is entirely and decisively determined by the sole question of being. And of “mediation”, gadamer shows that in aesthetic “representation”, aesthetic being comes to presence.
In my presentation I would like to mention the role of meditation and mediation concepts in gadamers notion of “play in aesthetics”
Abderrahim Trebak is Associate Professor at the University Hassan II Casablanca, morocco. He is coordinator of the languages and communication module and is also affiliated with the German
Studies programs. He earned his Ph.D at TU-D University of Dresden in Germany, with a speciality in modern German Literature. He has published a number of articles on German
Language, Translation, and education system. He is currently working on German Language and literature for graduate school.