FILO-4121 Juego y Arte en la Hermenéutica de Gadamer

Although it isn’t strange to find the concept of "play" associated with diverse philosophical reflections about art and culture, this link appears to take a new turn in H.G. Gadamer’s thought. The play works here as the main train of thought which the German philosopher develops against what he terms to be the "subjectivization of the experience of art", one of whose effects is to reduce the work of art to a simple event for the aesthetic pleasure of the spectator. The efficacy of this critique –particularly targeted against Kant- demands a transformation of the traditional conception of play, which goes from being associated, as is usual, with the ontologically secondary realm of the illusory and superfluous, to taking on a preeminent status as an ontological model for art, model thanks to which the very possibility to legitimate art’s truth claims becomes real. With the purpose of comprehending how this radical displacement of the categories of play, art and truth takes place in Gadamer’s discourse, we will mainly focus on the first part of Truth and Method, his major opus, and its development in other of the author’s essays.




Mu?Oz Gonzalez Diana