409 KB63 KB197820252013Gudović, Milosavštevilka:3letnik:36str. 19-40, 235ISSN:0351-1189COBISSID:53613666URN:URN:NBN:SI:doc-EZ5KLZOWslSlovensko društvo za primerjalno književnostPrimerjalna književnostAristoteles, 384-322 pr.n.š.dušafilozofija literatureHeidegger, Martin, 1989-1976hermenevtikaliterarne študijemitmythologyontologijaontologyteorija tragedijetragedijaMartin Heidegger in bistvo tragedije|This article discusses one of the most representative parts of Heideggers philosophy of literature. In the first section, the author presents the difference between ideas of the fundamental ontologist and Aristotles model of interpretation. In the center of this, a hermeneutical analysis treats the problem of myth perceived as the soul of tragedy and the arrangement of events. Hermeneutical penetration into the truth of the tragic requires an overcoming of the aesthetic oblivion or, in other words, a declination of the mythical frame of life; it also requires a return to the origin of the tragedy as an artistic and religious work. Instead of the sensible purification of individual existence through the experience of fear and pity, in this theoretical milieu the emphasis is more on the primary glade (Lichtung) of Being and the singular arrangement of Event (Ereignis), which seize (er-eignet, er-greift) and comprise the work, the artist, and the recipient. The second aspect of Heideggers hermeneutics of drama is the tragedy of the soula declinatory movement of the tragic man as the most terrible and most powerful being (Seiende) against Being (Sein)Članek obravnava eno imed najbolj značilnih poglavij v Heideggerjevem mišljenju pesništva. V prvem delu članka je izpostavljena razlika med idejami fundamentalnega ontologa in Aristotelovim obrazcem tolmačenja drame. V ospredje hermenevtičnega razlaganja stopi problem mita kot duše tragedije in zgradbe dogodkov. Hermenevtični prodor k resnici tragičnega zahteva prevladanje estetske pozabe oziroma deklinacije mitskega življenjskega okvira in vrnitev k izvoru tragedije kot umetniško-religioznega dela. Namesto čutnega očiščenja posamične eksistence prek doživetja groze in sočutja v tem miselnem okolju izstopita prvotna jasnina biti in enotna, singularna zgradba Dogodka (Ereignis), ki si pri-lašča umetnino, umetnika in recipienta. Drug vidik Heideggerjeve hermenevtike drame pa je tako imenovana tragedija duše, deklinativno gibanje tragičnega človeka kot najbolj groznega, najbolj (na)silnega bivajočega proti bitiTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaSlovensko društvo za primerjalno književnost