Aesthetics and Ontology


i) reading and analysis of fundamental modern and contemporary philosophic texts on art
ii) identification of categories, concepts, and problems implied in the philosophic reflection about aesthetic experience and artistic creation
iii) understanding the context of the origins of Aesthetics within modern philosophic thinking
iv) critical understanding of the contribution of Aesthetics to the questioning of Western culture about its own developments

General characterization





Responsible teacher

António Jorge de Castro Caeiro


Weekly - 3

Total - 280

Teaching language



Does not apply.


Heidegger GA 4. Erläuterungen zu Hölderlins Dichtung (1936-1968) [1981]

Heidegger GA 5. Holzwege (1935-1946) [1977]

Heidegger GA 6.1 Nietzsche 1 (1936-1939) [1996]

Heidegger GA 12. Unterwegs zur Sprache (1950-1959) [1985]

Heidegger GA 39. Hölderlins Hymnen "Germanien" und "Der Rhein" (WS 1934-1935) [1980]

Heidegger GA 52. Hölderlins Hymne "Andenken" (WS 1941-1942) [1982]

Heidegger GA 53. Hölderlins Hymne "Der Ister" (SS 1942) [1984]

Hölderlin, Friedrich. Sämtliche Werke und Briefe, 3 vols. Michael Knaupp (2019). München, Carl Hanser Verlag.

Píndaro. Odes Olímpicas. (2017). Trad. António Caeiro. Lisboa, Abysmo.

Píndaro Odes. (2010). Trad. António Caeiro. Lisboa, Quetzal.

Safo, in Poesia Grega. (2020). Trad. Fred. Lourenço. Lisboa. Bertrand.

Theunissen, M. (2008). Pindar: Menschenlos und Wende der Zeit. C.H. Beck.

Teaching method

The seminar sessions consist of a mixture of oral presentations, reading and discussion of the proposed texts. Assessment will take into account students' personal participation throughout the seminar sessions and will be based on a written assignment.

Evaluation method

Trabalho escrito até 12000 caracteres sobre tema a escolher.

Subject matter


The lyric (archaic - Sappho, Alceus and Pindar - and contemporary - Trakl, Rilke and Hölderlin) is not a literary style with an aesthetic. It projects itself from an understanding of life. Its ontological elements will be identified. "Sound', 'rhythm', 'beat' and 'melody', 'consonance' and 'dissonance' are polysemic words. Literally they have one meaning. But figuratively or dispositionally they occur in another, radically different dimension. For Nietzsche and Heidegger (GA 6.1), we are moving in a dispositional, affective, musical atmosphere. What happens to the auditory sensation-absence of sound correlation remains to be seen. When we realise that every acoustic manifestation has a sound volume, from audible to complete silence, as well as qualitative variations in timbre. But are there any objects that go beyond the acoustically "audible" and sensitive matter? The way in which we hear or listen to a song is different in the course of time for the same person and at the same time for different people. But aren't we musically tuned throughout a day? Aren't all of life's situations the "object" and "subject" of a "symphony"? After the first chords have sounded, on the way to the last chords? To what does this music without sound correspond to? The rhythms of life, speeding up and slowing down, interrupting and restarting. These are examples. Lyrical representation (mimēsis) is different from what Plato has in mind. Nietzsche and Heidegger rehabilitate the archaic lyric. With Heidegger's readings of Trakl (GA 12), Rilke (GA 5) and Hölderlin (GA 4, 39, 522, 53) we will try to see this. Between philosophy and poetry there is a thin wall. The poet thinks just as the thinker makes music. Where meaning makes itself heard, constituted and made to be, and made to be understood as yet to come, the lyric is the operator of openness to the radical and extreme element.