Abstract

ABSTRACTAlthough grounded in different philosophical traditions, Alexander Nehamas and Hans-Georg Gadamer each return to Plato's idea of the beautiful, to kalon, in order to reclaim the relevance of beauty for our understanding of art today. Their appeal to Plato challenges the reign of aesthetics that both see inaugurated by Kant's aesthetic theory. Nehamas criticizes the Kantian notion of “disinterest” as a “pleasure bereft of desire” in order to reassert the passionate longing that draws us toward art. Gadamer criticizes Kant's analysis for the way it divides the aesthetic from the cognitive, thereby alienating art and beauty from any claim to knowledge or truth. So Nehamas emphasizes the import of Platonic erōs to a phenomenological account of our experience of beauty. Love, so understood, elides any easy distinction between the sensual and spiritual, between the desire to possess and the passion to know—just as beauty cannot be captured in distinctions between what is and what appears. Gadamer draws out precisely the ontological dimension of the beautiful as self-presentation. In so doing he revives the intimacy of beauty and truth, alētheia, as the movement into unconcealment by which something comes forth into its presence. In the end, I suggest appropriating Nehamas's phenomenological analysis of the erotic to Gadamer's ontological understanding of the alethic in order to renew the relation of erōs and kalon into an account that recalls this Platonic legacy for a contemporary hermeneutics of art.