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Abstract:

The 20th  century, while offering non-classical models of understanding the concept of truth, often coupled them with a rediscovery of the symbolic and mythological archaic stratum in its literary and philosophical pinnacles. A special role here belongs to Martin Heidegger as the author of the treatise “The Origin of the Work of Art” („Der Ursprung des Kunstwerkes“). In the philosopher’s optic, truth (Ἀλήθεια) is an “unconcealment” that, never- theless, dialectically inherits concealedness and mystery as its fundamental trait. In this capacity, it finds its most immediate expression in Art. Heidegger’s interpretation of artistic phenomena in this vein finds striking parallels in the paradigm of Russian religious and philosophical Symbolist criticism of the first half of the 20th century: in the works of Vyacheslav Ivanov, Andrei Bely, Alexei Losev, and others. According to the logic of this aesthetic system, the symbol and myth in Art represent the most natural forms for embodying truth as a dynamic unity of revelation and innerness: the very intuitions through which the Modernist era becomes self-aware by look into the primordial origins of its tradition.