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mus-e-journal

mus-e-journal - Online Journal

The online mus-e-journal  presents research papers of musical disciplines and arts such as musicology/ethnomusicology, theory, technology, education, in addition to composition and performance.  
"mus-e-journal" was founded in January 2008 as a non-profit online magazine in order to promote the musical arts and sciences and is published semiannually by the Muse Institute in English and Greek.   Submissions are welcome for evaluation at: mus-e-journal@muse.gr

Editorial Board

Editorial Board

The Editorial Board is comprised of internationally recognized musicologists, theorists, composers and performers, most of whom hold doctoral degrees, teach in leading universities, or direct music ensembles and institutes in Europe and the US.

Honorary Advisory Board

Honorary Advisory Board

Dinos Constantinides, PhD: Professor, School of Music, Louisiana State University

Frederick Hemke, DMA: Professor, School of Music, Northwestern University

Dimitris Themelis, PhD: Emeritus professor, Department of Music, Aristotelian University

Stephen L. Syverud, PhD: Professor, School of Music, Northwestern University

Mike Vaughan, PhD: Professor, Director of the School of Humanities, Keele University 
Anastasia Ladopoulou: The Origin of the Work of Art as an Alternative to Traditional Aesthetics Print E-mail

Anastasia Ladopoulou (PhD Essex) is a researcher in aesthetics and art history
specializing in 20th century theory and practice ( This e-mail address is being protected from spambots. You need JavaScript enabled to view it )





Introduction

The 1936 essay “The Origin of the Work of Art” is an attempt to break with traditional aesthetic theories and this is one important philosophical aspect of the essay. The essay derived from a lecture delivered several times from 1935-1936, including an art historical society.
It was addressed to an art historical audience and that perhaps accounts for the less rigorous philosophical aspects of the essay.
I believe that this essay can be also criticized from within1. Moreover, as it is often noticed, this is not an easy task. The discouraging process of reading Heidegger’s obscure language is one reason, the seemingly obligatory engagement with his whole philosophical system is another.
One needs a point of entry, a fissure, in order to read Heidegger and criticize him on his own ground. What I suggest is that two things are important to do this:first to take into account Heidegger’s intention to break with the tradition of aesthetics and second that it is precisely the examination of its artistic examples that brings this essay to its interpretative limits...


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