The Place of The Sacred with Regard to Gadamer's Ontology, of Art

AbstractThe experience of art-work is, for Gadamer, related to ınıılı which goes beyand the metlıodologicalknowledge. Hence discovering of truth is possible through the antology of art, and the experienceof art is an experience of truth that can be applied to the hermeneutic problem in its wholedimension. The work of art is, in this respect, the experience of truth as an 'event'. Opposing tothe aesthetic differentiat'i on which abstracts the work of art from its possibilities of content (religious,moral, culrural), Gadamer tries to overcome this distinction of consciousness through theconcept of game. The reason of Dasein's inner rensian towards the "unknown" is the fact of remainingof the sacred/infinite as non-understanding. Gadamer argues that the work of art transformsthe tension into the relaxation by means of the ontological hermeneutics of it. Therefore,the distinction between sacred and profane is relative in Gadamer; and all the works of art havealways sacred about it and the sacred speeches ro us via the work of art. In this article, it will beseen how Gadamer establishes this togethemess with regard to the antology of art.Key W ords: sacred, the work of art, experience, truth, hermeneutic, game, rransfom1ation in tostructure, contemporaneity,ÖzetGadamer'e göre sanat eserinin tecrübesi metodolajik bilgiyi a§an lıakikate ili§kindir. Bu bakımdanhakikatin ke§fi sanat eserinin ontolojisi üzerinden mümkündür ve sanat eserinin tecrübesi, tümboyutİanyla hermenötik probleme uygulanabilecek bir hakikat tecrübesidir. Sanat eseri, buyönüyle, hakikatin bir "olay" olarak tecrübe edilmesidir. Sanat eserini, onun içerik §artlanndan(dini, ahlaki, kültürel) soyurlayan estetik farklılaşmaya kar§ı olan Gadamer, bu bilinç ayrunuu oyıınkavramı üzerinden a§mayı dener. Dasein'ın "bilinmeyen"e yönelik içsel gerilinlinin nedeni de,kutsahn/sonsuzun anla§ılamayan olarak kalmasıdır. Gadamer sanat eserinin ontolojik hermeneutiğiaracılığıyla bu gerilimin "rahatlama"ya neden olduğunu savunur. Dolay1Siyla kutsal ile profanarasındaki ayrım Gadamer'de nisbidir ve her sanat eseri daima kendisine has kutsal bir §eyipayla§tr ve kutsal bize sanat eseri üzerinden hitap eder. Bu makalede Gadamer'in bu birlikteliğisanat ontolojisi açısından nasıl tesis ettiği görülecektir.Anahtar Kelimeler: kutsal, sanat eseri, tecrübe, hakikat, hermenötik, oyun, yapıya dönü§üm, e§zamanhhk.

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