La rehabilitación ontológica de la imagen: Heidegger lector de Kant

Abstract

image, ontology, exhibitio originaria, Heidegger, Kant KEYWORDS Among Heidegger's interpreters predominate a reading that highlights the negative stance of Heidegger for the production, the exhibition (Darstellung and the image. In this reading the center of attention is occupied by the Heideggerian critique to the production model made during the twenties, as well as his emphatic critique to exhibition in conference on the origin of the work of art, and specially the notion of image or picture presented in conference "The age of world picture". +RZHYHU WKLV LV MXVW RQH DVSHFW RI WKH KHLGHJJHULDQ HODERUDWLRQ RQ WKH SKHnomenon of image. So to speak, it is the pars destruens RI D ODUJHU SURMHFW 7KH interpreters overlooked precisely the pars construens, that is, the propositional PRPHQW ,Q WKLV DW ZRUN , ZDQW WR VKRZ LQ ¿UVW SODFH WKDW WKH +HLGHJJHULDQ FULtique to the production and image is in reverse a positive task of appropriation, WKDW LV WKH GHYHORSPHQW RI KLV RZQ RQWRORJ\ RI WKH LPDJH RU ¿JXUH Secondly, I will show how Heidegger carried out his ontology of image by a creative reception of Kant, focused in the question of the exhibition originaria.

La reciente filosofía de la imagen. Análisis crítico del debate actual y consideración de posibles aportes

“…Mi propuesta se funda en dos razones: en primer lugar, porque Heidegger, en su apropiación de la doctrina kantiana del esquematismo trascendental efectuada a fines de los años veinte, utiliza el término dichtend en el sentido de "productivo/a" o "productivamente" (cf. Rubio 2013). En segundo lugar, porque la noción de producción corresponde al sentido amplio del término griego poiesis.…”