Download Phenomenology and Aesthetics: Approaches to Comparative by Wolfgang Wittkowski (auth.), Marlies Kronegger (eds.) PDF
By Wolfgang Wittkowski (auth.), Marlies Kronegger (eds.)
and the single within the heart which judges as he enjoys and enjoys as he judges. This latter variety rather reproduces the murals anew. The department of our Symposium into 3 sections is justified via the truth that phenomenology, from Husserl, Heidegger, Moritz Geiger, Ingarden, in Germany and Poland, Merleau-Ponty, Paul Ricoeur, E. Levinas in France, Unamuno in Spain, and Tymieniecka, within the usa, have printed remarkable coincidences in attempting to solution the next questions: what's the philosophical vocation of literature? Does literature have any value for our lives? Why does the lyric second, found in all inventive endeavors, in delusion, dance, plastic paintings, ritual, poetry, raise the human existence to the next and authentically human point of the existential adventure of guy? Our investigations resolution our primary inquiry: What makes a literary paintings a piece of paintings? What makes a literary paintings a literary paintings, if no longer aesthetic leisure? up to the formation of a classy language culminates in inventive production, the formation of a philosophical language lives in the orbit of inventive imagination.
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Extra info for Phenomenology and Aesthetics: Approaches to Comparative Literature and the Other Arts
Sample text
Rhythm generates a specific atunement and atmosphere in which the reader is placed. In Stifter's works, it is an atmosphere of composedness, tranquility, and balance that holds sway over the novel; in Madame Bovary, it is despair, and in La casa verde, it is inescapability and hopelessness. Just as there is a great number of kinds and types of atmospheres for which we find no descriptive terms because our experiences of them are so immediate that no need for their expression comes up, so also there are a great number of kinds of experiences we have of time that allow of no expressive words.
First of all, time is a destructive power with Proust. This is abundantly clear in the last volume of Le temps retrouve. Let us recall one scene in particular, the "Masked Ball of Time". After an extended absence, the narrator has difficulties in recognizing persons who were familiar with him earlier. Let me refer to an earlier analysis of mine in which I stated: "During the process of description, there is an ever more eerie impression we get from what at the beginning is introduced so playfully - the contrast, on the one hand, between the happiness of the masked ball showing persons proud of not being recognized by others and, on the other, the aged who feel embarrassed when they do not recognize people they once knew.
We are, therefore, also attached to the immediate past of receiving the usual breakfast service, which at this juncture is disrupted. I have elsewhere analysed this state of affairs in the following fashion 3 The narrator informs his readers about a state of affairs that has not yet been fully described. The main hero of the narration is ignorant about the state of affairs. Beginning with the second sentence, we are placed into the hero's situation. This situation is presented and described and not just told for the sake of information.