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of ‘art’ which still stands before the threshold of what we call ‘science,’ it is obviousthat the art of healing occupies an exceptional and problematic position. For here thereis no ‘work’ produc<strong>ed</strong> by art, and no ‘artificial’ product. Here we cannot speak of amaterial which is already given in the last analysis by nature, and from which somethingnew emerges by being brought into an artfully conceiv<strong>ed</strong> form. On the contrary,it belongs to the essence of the art of healing that its ability to produce is an ability tore-produce and re-establish something. This signifies a special modification of what ‘art’means, and one which is unique to the knowl<strong>ed</strong>ge and practice of the physician. 30We should acknowl<strong>ed</strong>ge that health is certainly a rather special thing to produce,<strong>com</strong>par<strong>ed</strong> to, say, shoes, loaves of bread, or buildings. Inde<strong>ed</strong>, according to Aristotle --as well as to Plato, Hippocrates and other ancient philosophers -- health is not somethingthat the doctor can bring about by himself, but something that can only be brought aboutby the doctor helping nature heal itself. Health is a self-restoring balance, and what th<strong>ed</strong>octor does is to provide the means by which a state of equilibrium can re-establish itselfby its own powers.Gadamer’s aim is to investigate the ancient philosophy of m<strong>ed</strong>icine in order to findguidance for contemporary m<strong>ed</strong>ical practice. This is not (only) a nostalgic appeal for apremodern, “humane” m<strong>ed</strong>icine, which was not dominat<strong>ed</strong> and controll<strong>ed</strong> by technoscience,but rather a strategy that rests, on Gadamer’s insistence, upon the importance ofGreek philosophy for our contemporary thinking and our contemporary way of life. Wene<strong>ed</strong> to address and make explicit this influence in order to elucidate the structure andgoals of contemporary m<strong>ed</strong>ical practice, just as we ne<strong>ed</strong> to do so in order to elucidate thestructure and goals of the Geisteswissenschaften. The reason for this is inde<strong>ed</strong> that modernm<strong>ed</strong>ical practice is not appli<strong>ed</strong> m<strong>ed</strong>ical science only, but a hermeneutic activity, whichenvelops the theories and technologies of science. 31The second way chosen by Gadamer, in The Enigma of Health, for addressing m<strong>ed</strong>icalpractice philosophically, is the way of phenomenology. Phenomena central to clinicalpractice, such as death, life, body and soul, anxiety, fre<strong>ed</strong>om and health, are analyz<strong>ed</strong> byGadamer for the most part in accordance with the phenomenological framework develop<strong>ed</strong>by Heidegger in Sein und Zeit. We have already confirm<strong>ed</strong> the importance of Heidegger’sphilosophy for Gadamer in Truth and Method, and the same holds good for The Enigmaof Health. Since the phenomenological hermeneutics of Heidegger and Gadamer is itselffirmly root<strong>ed</strong> in Aristotelian patterns of thought, the marriage between the historical, philologicalapproach and the phenomenological attitude in The Enigma of Health should <strong>com</strong>eas no surprise at all. What might be more surprising is that Gadamer relies on the patternof understanding develop<strong>ed</strong> in Truth and Method to such a small extent, when analyzingthe dialogue essential to m<strong>ed</strong>ical practice. He focuses, instead, upon the phenomenon thatis central to the goal of clinical practice: health. Since this goal is what distinguishesm<strong>ed</strong>icine from other hermeneutic activities (which have other goals), it seems in many30Gadamer, The Enigma of Health, 32. “‘Techne’ ist jenes Wissen, das ein bestimmtes, seiner selbstsicheres Können im Zusammenhang eines Herstellens ausmacht. Es ist von vornherein auf Herstellenkönnenbezogen und aus diesem Bezug erwachsen. [...] Innerhalb eines solchen Begriffs von “Kunst”, dervor der Schwelle zu dem steht, was wir “Wissenschaft” nennen, nimmt nun offenbar die Heilkunst eineexzeptionelle und problematische Stellung ein. Hier gibt es kein Werk, das durch Kunst hergestellt undkünstlich ist. Hier kann man nicht von einem Material r<strong>ed</strong>en, das zuletzt in der Natur vorgegeben ist undaus dem etwas Neues wird, indem es in eine kunstvoll ersonnene Form gebracht wird. Zum Wesen derHeilkunst gehört vielmehr, dass ihr Herstellenkönnen ein Wi<strong>ed</strong>erherstellenkönnen ist. Dadurch kommt indas Wissen und Tun des Arztes eine nur ihm eigene Modifikation dessen, was hier “Kunst” heisst.”Gadamer, Über die Verborgenheit der Gesundheit, 51-52.31Svenaeus, The Hermeneutics of M<strong>ed</strong>icine and the Phenomenology of Health, part 3.180

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