الحقيقة و الفن : البراديغم الهرمينوطيقي بين هيدغر و غادامير

Abstract EN

In the context of attitude calling for the rehabilitation of philosophical discourse on the basis of art from a hermeneutic phenomenological perspective, as opposed to the development of the methodological natural sciences paradigm, the paradigm which reduces art in subject/object relationship compared at his expense ontological human dimension is included the reading of artwork of Martin Heidegger (1889-1976) and his student Hans George Gadamer(1900-2002).

Given the links between Heidegger's thought and Gadamer's thought, which may at first glance suggest the dependence of the Gadamer reading of artwork on Heidegger's point of view, we will try through this study to search for the authenticity and distinctiveness of the two readings by adopting the method of comparison as a systematic option that allows to highlight the points of intersection and difference between the two readings, We will focus on that on the first chapter of the book "Truth and method", in which Gadamer deals with the interpretation of artwork, and we opposed him to the conference of Heidegger "The Origin of Artwork" published in his book "labyrinth." So If the Ghadamer’s reading of the artwork is dependent to the ontological context drawn by his teacher Heidegger, in calling to extract the artwork from the subjectivity and establish his relationship with the truth, and if the two readings - the reading of Heidegger and Gadamer – owes to the phenomenological heritage and the think of wilhelm Delthey, does that mean that the interpretation of Gadamer of the artwork is just An extension of Heidegger's interpretation? And if it is established that Gadamer owes a lot to his teacher Heidegger, and that he did not explain to us what he took from him regarding Hermeneutic in the artistic work, is this a reason to conclude that Gadamer only adopted the heideggerian conception?