ENOWNING, WORLD AND INNERWORLDLY ENTITY: SOME ISSUES IN MARTIN HEIDEGGER'S PHILOSOPHY OF ART

The aim of the article is to characterize Martin Heidegger's philosophy of art, as accurately as possible, through what he wants to take distance from; and then we seek to outline a problem that seems structural. With the notion of enowning [Ereignis] Heidegger intends to distinguish his perspective on art especially from two other ones, namely that of Neokantian tradition and Hegel's. This allows us to have a dimension of Heidegger's conceptual radicalism, insofar as the enowning aims to point to a poetic moment which is prior to language. This moment is conceived as a world disclosure. However, it escapes the reference relations foreseen in the notion of world, and becomes basically unspeakable. In addition, the work of art that opens up a world can also be identified as something innerworldly, thus entangling Heidegger's own perspective in a series of seemingly unsurmountable difficulties.