1. A version of this paper was first presented at a conference on 'Theater of Life' at the American Society of Phenomenology. Aesthetics, and Fine Arts, held in Cambridge, Massachusetts in April 1999.
2. Immanuel Kant, Critique of Judgment. trans. Werner S. Pluhar (Indianapolis: Hackett Publishing Co. 1987). pp. 53-4. Cf. The Second Moment of a Judgment of Taste, S.6, 'The Beautiful is What is Presented without Concepts as the Object of a Universal Liking.' Kant says. 'It follows that, since a judgment of taste involves the consciousness that all interest is kept out of it. it must also involve a claim to being valid for everyone, but without having a universality based on concepts. In other words, a judgment of taste must involve a claim to subjective universality' (p. 54).
3. Martin Heidegger. 'The Origin of the Work of Art', in Poetry, Language, Thought, trans. Albert Hofstadter (New York: Harper and Row Publishers. 1971). Hereafter I will refer to this essay as OWA.
4. Jacques Taminiaux discusses the shifts in Heidegger's discussion of art: in the earlier. 1935. version of the 1936 Origin of the Work of Art' essay, Heidegger isn't interested in the 'enigma of art' but in Dasein's basic stand towards art. Jacques Taminiaux. Poetics, Speculation and Judgment: The Shadow of the Work of Art from Kant to Phenomenology (Albany: State University of New York Press. 1993). p. 164.
5. A few months after his conferences on the origin of the work of art. Heidegger gave a lecture course in the winter semester of 1936-7 on 'The Will to Power as Art'. I will examine this in terms of Heidegger's discussion of Nietzsche in Nietzsche; The Will to Power as Art, Vol. 1. trans. David Farrell Krell (New York: HarperCollins Publishers, 1979). Hereafter I will refer to this as TV. Vol. 1.