Philosophy Dictionary of ArgumentsHome
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Paul Valéry on Artworks - Dictionary of Arguments
Gadamer I 100 Artworks/Work of Art/Valéry/Gadamer: But how should one conceive the standard for the completion of a work of art? No matter how rational and soberly one looks at the artistic, much of what we call a work of art is not intended for use, and none at all receives the measure of its completion from such a purpose. Does the being of the work then only represent itself like the termination of a creative process that virtually points beyond it? Is it in itself not at all "completable"? Valéry: Paul Valéry did indeed see things that way. Nor has he shied away from the consequence that results for those who face a work of art and try to understand it. For if it is to be true that a work of art is not perfect in itself, then what is to be the yardstick by which the appropriateness of reception and understanding is to be measured? The accidental and arbitrary termination of a design process cannot contain anything binding(1). Reception/Understanding: It follows from this that it must be left to the recipient to decide what he/she in turn makes of what is present. One way of understanding a structure is then no less legitimate than the other. There is no standard of appropriateness. Not only that the poet himself does not possess one - the aesthetics of the genius movement would also agree with that. >Genius/Gadamer. Rather, each encounter with the work has the rank and right of a new production. GadamerVsValéry: That seems to me an untenable hermeneutic nihilism. Whenever Valéry has occasionally drawn such conclusions(2) for his work in order to escape the myth of the unconscious production of the genius, it seems to me that he has in fact become even more entangled in it. For now he transfers to the reader and interpreter the authority of absolute creation, which he himself does not want to perform. Aesthetic experience/Gadamer: The same aporia results if one starts from the concept of aesthetic experience instead of the concept of genius. >Aesthetic experience/Erlebniskunst/Lukacs. 1. Gadamer: Es war das Interesse an dieser Frage, das mich in meinen Goethe-Studien leitete. Vgl. »Vom geistigen Lauf des Menschen«, 1949; auch meinen Vortrag »Zur Fragwürdigkeit des ästhetischen Bewußtseins«, in Venedig 1958 (Rivista di Estetica, Ill-Alll 374-383). Vgl. den Neudruck in „Theorien der Kunst“ hrsg. von D. Henrich und W. Iser, Frankfurt 1982, dort S. 59—691. 2. Valéry, Variété Ill, Commentaires de Charmes: »Mes vers ont le sens qu'on leur prete«._____________Explanation of symbols: Roman numerals indicate the source, arabic numerals indicate the page number. The corresponding books are indicated on the right hand side. ((s)…): Comment by the sender of the contribution. Translations: Dictionary of Arguments The note [Concept/Author], [Author1]Vs[Author2] or [Author]Vs[term] resp. "problem:"/"solution:", "old:"/"new:" and "thesis:" is an addition from the Dictionary of Arguments. If a German edition is specified, the page numbers refer to this edition. |
Valéry I P. Valéry Cahiers Vol. I Frankfurt/M. 1987 Gadamer I Hans-Georg Gadamer Wahrheit und Methode. Grundzüge einer philosophischen Hermeneutik 7. durchgesehene Auflage Tübingen 1960/2010 Gadamer II H. G. Gadamer The Relevance of the Beautiful, London 1986 German Edition: Die Aktualität des Schönen: Kunst als Spiel, Symbol und Fest Stuttgart 1977 |
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Ed. Martin Schulz, access date 2024-04-24