Reading, Listening, and Performing in Wilhelm Heinse’s Hildegard von Hohenthal (1796)

2013 ◽  
Vol 30 (4) ◽  
pp. 502-529
Author(s):  
Thomas Irvine

Early in Wilhelm Heinse’s eccentric novel Hildegard von Hohenthal (1796) his characters confront the problem of how music works on the senses. The novel’s hero, Kapellmeister Lockmann, tunes a piano—to an idiosyncratic temperament of his own invention—as he proposes an intensely physical model for musical listening. He uses this demonstration, while simultaneously trying to start a love affair with the novel’s heroine, Hildegard von Hohenthal, to reclaim older ideas about natural temperaments and key characteristics in an era of heightened interest in the anatomy of cognition. But Heinse’s own opinions are not always the same as those of his characters. Drawing on his notebooks, I trace how Heinse struggled to come to terms with opposing views of his friend and colleague, the anatomist Samuel Thomas Soemmering, and of the philosopher Immanuel Kant of how sound affects the body. Soemmering’s Über das Organ der Seele (1796) and Kant’s Critique of Aesthetic Judgment (1790) both act as intertexts and paratexts to the novel, and Heinse more than once splits his own opinions about both books between his characters. The tuning scene addresses important questions about the hierarchy of the senses, the creation of musical meaning, and the freedom of performers and listeners to form their own interpretations of music. Heinse’s naturalist ideas about musical agency rub against the grain of a narrative—still current today—dominated by a transaction between heroic composers on the one side and awe-struck listeners on the other. To re-assess these ideas is to re-imagine a crucial hinge in music history.

2019 ◽  
pp. 466-474
Author(s):  
Olha Kovalenko

In this article was considered genre specifics and motives of the novel “Bieguni” (“Flights”) by polish writer Olga Tokarczuk. On the example of the novel was determined the main genre specifics of postmodern novel-travelogue, where was raised the main issues of present days – life and death, physical and spiritual, workaday and philosophical. “Bieguni” is the novel about modern people, which looking for their goal, situated in a constantly movement just not to come to the Antichrist`s hands. The airports and hotels aren`t only a shelter, it`s a real home, what underline motive of travel in the novel. Representing home in a different ways, the writer consider the human body as a shelter for two components – spiritual and material. The body that was created by God is physical “home” for self-awareness. Herewith the writer doesn`t reject physiological theory of body beginning and consider it as a product of completing, finishing and the signification of human`s death. Address to Biblical, religious, mythological, bibliographic and oniric motives again and again underline anti-utopy world with his own canons and decrees, what doesn`t submit to logical, grounded explanation, but have philosophical elucidation. “Bieguni” it`s a binding of stories, feelings and laws. The main characters of the composition are different aged, nationality and different time period people, but united by just one important thing – searching of sense of life, that is different for everyone of them. Variety of characters, story of everyone`s life, text`s fragmentation give to the reader experience of personal meeting with every literature character. The hidden drama, that attendanted in everyone of them create the aureole of mystique, mysteriousness and feeling of temporarily proximity, that`s the main feeling of traveler. The leitmotif of the novel unite fragments into the one full picture, where we can see the main thesis of the novel: “Movement is a life, life is a travel”, because at the travel we can see a human`s wish to find the salvation out of routine problems, social duties and conditionalities. Characteristic for the novel using of philosophical and Biblical motives and also application to the history and author`s experience are non-textual survey of art of Olga Tokarczuk and her own morally-pscychological skills.


Human Forms ◽  
2019 ◽  
pp. 31-54
Author(s):  
Ian Duncan

This chapter examines how the science of man became the natural history of man, a history not of individuals or nations but of the human species. A new biological conception of species “as an entity distributed in time and space,” released from the synchronic grid of Linnaean taxonomy as well as from a providential cosmology, comprised what Philip Sloan has called the “Buffonian revolution.” That revolution would be as consequential for literary genres, especially the novel, as it was for the natural and human sciences, in part due to Buffon's recourse to a literary style and techniques of “speculative thought experiment,” probabilistic reasoning, “analogical reasoning, and divination” in his scientific method. The chapter then looks at the debate over the history of man that broke out in the mid-1780s between Immanuel Kant and Gottfried Herder. One of the great intellectual quarrels of the late Enlightenment, it signposted the forking paths of Kant's critical philosophy, on the one hand, and the scientific project of natural history on the other.


2017 ◽  
Vol 52 (2) ◽  
pp. 320-345
Author(s):  
Sophie Wennerscheid

AbstractDrawing on Sara Ahmed’s concept of the ‘body not at home’ on the one hand and on the concept of the disturbing ‘foreign body’ (Fremdkörper) as deployed in various trauma studies on the other, this article explores how the traumatized body is to be understood as a disoriented and unstable body. Trauma, however, is not only something that leaves one restless. It also connects one with the trauma of another and leads to mutual understanding. Having been affected by the wound of another, a certain kind of communication among the wounded emerges, which makes traumatic memory accessible. How such an affective impact may look can be shown by examining Lutz Seiler’s award-winning novel Kruso (2014). Set on the isle of Hiddensee shortly before the fall of the Berlin Wall in 1989, Seiler tells the story of two men, Kruso and Ed, both traumatized by the loss of a loved one. As both are East German castaways and equally affected by their loss, they develop an intimate relationship, one not void of suppressed desire, mistrust, and aggression. Only years after Kruso’s death is Ed able to come to terms with the past and find a place for burying the vanished dead.


2019 ◽  
pp. 161-185
Author(s):  
Alan J. McComas

This chapter describes the novel findings of David Hubel and Torsten Wiesel when recording from single cells in the primary visual cortex and how these findings supported the concept that the various features of the observed image underwent independent processing in parallel. Of the various sensory systems, the one about which most is known is the visual one. Vision is also the most complex sensory system, which is reflected in its large cortical territory. The chapter thus focuses on the sense of sight in particular as it explores the findings of Hubel and Wiesel. However, the chapter also presents an alternative to the now-classic Hubel–Wiesel scheme, one that, despite its fundamental differences, seems equally plausible.


2020 ◽  
Vol 26 (40) ◽  
pp. 31-43
Author(s):  
Júlia Machado

O artigo apresenta uma reflexão sobre a vitalidade político-afetiva do corpo feminino na tela a partir da realização de um curta-metragem, Femme (2016). Minha aspiração artística com o filme foi de transmutar os significados afetivos usualmente associados ao corpo feminino e trabalhar com sua visualidade extrema no limiar estético entre o belo e o abjeto. Ao lidar com a exibição de certos conteúdos do corpo visceral, a artista pode enfrentar um desafio duplo: se há o risco de se ser meramente apelativo aos sentidos, há também o risco de se repetir uma certa poética da abjeção que se tornou padrão no artes. Em seu processo, o filme-experimento levou-me a combinar elementos singulares a partir do retrato de uma personagem e a gerar, de modo inesperado e contundente, indícios acerca das forças poéticas do corpo e da imagem no contexto contemporâneo.Palavras-chave: Imagem; Corpo; Poética; Afetos; Cinema.AbstractThe article provides a reflection on the political-affective vitality of the body on-screen based on the making of a short film, Femme (2016). My artistic aspiration with the film was to question the usual affective meanings of the female body and work with extreme visuality at the thresholds of the beautiful and the abject. In dealing with the display of visceral body contents, an artist might face a double challenge: on the one hand, there is a risk of being too appealing to the senses; on the other, one risks repeating a poetics of abjection that has become standard in the arts. This film-experiment led me to gather unique elements in the making of it as a portrait of a character and generate unexpected evidence on the poetic force of the body and image in the contemporary context.Keywords: Image; Body; Poetics; Affect; Film.


Author(s):  
Roman Mnich ◽  
◽  

This article focuses on the issue of the Other/Alien within the conceptual and aesthetic paradigm of modernism. In the context of modernistic ideas, the author analyses the philosophy of dialogue and phenomenological views on the Other as represented in the intellectual heritage of the twentieth century. Taking into consideration these ideas, the author discusses three mainstream aspects of the Other/Alien in Russian modernist literature: 1) mythological tradition, which provokes the image of the enemy through the image of the Other; 2) Romantic tradition of the double (doppelganger), and 3) philosophical / phenomenological notion of the body, which views personality as “me/Self” and “my body”. Conceptual analysis of these aspects is provided with reference to poetic texts by Alexander Blok, Innokenty Annensky, and Osip Mandelstam. The author stresses the conventionality of such a division, on the one hand, and the influence of the analysed aspects of the Other/Alien onto the conceptual system of Postmodernism. Modernism in European culture, in contrast to other historical periods, is characterised primarily by the fact that many of its ideas and concepts were only proclaimed, but not presented in the form of complete theoretical concepts/systems. In this sense, modernism turned out to be open to the future, which allows us to call it an “uncompleted project” (Jürgen Habermas). Previous eras offered solutions to important existential problems in the form of complete philosophical systems (Immanuel Kant or Georg Wilhelm Friedrich Hegel), ideas or concepts (Kant’s concept of “eternal peace” and a moral imperative, Hegel’s idea of state and law). Modernism, influenced by the philosophy of Friedrich Nietzsche, destroyed the systematic nature of thinking, doubted traditional morality, and offered paradoxical solutions to many problems in the form of conceptual questions, which are discussed to this day. One of these uncompleted modernist projects was the concept of the Other/Alien, discussions about which have been going on for over a century.


Author(s):  
Ganna Stovba

The paper presents the research of poetics of the fourth novel «Stump» (2004) written by contemporary Welsh Anglophone author Niall Griffiths. The early works of Niall Griffiths have long been associated with the off-center tendency in contemporary British fiction, with novels written by Scottish authors such as Irvine Welsh, James Kelman, John King. This study attempts to demonstrate that Welsh writer doesn’t merely articulate the problems of the fringe groups of the society as well as shocking and taboo topics. Also to overcome the common postcolonial approach to Griffiths`s works which focuses on the concepts of «colonial othering», «forms of disability» etc. in the novels, the author of the article proposes the existential philosophy as methodological basis for this research. The study concentrates over the central problem of the human Being-in-the-world, the human life in the world of everydayness in Griffiths`s novel «Stump». Understanding «the everyday life», «everydayness» as common, routine life, full of daily automatic human actions (according to B. Waldenfels) the author aims to consider the boundaries of everyday life and the experience of overcoming the borders of everydayness in the novel discussed.The analysis demonstrates that narrative structure of the novel combines several modes and forms of narration. Interior monologue with steam of consciousness fragments is the form of representing the first plot line focusing on the one day of nameless recovering alcoholic who has lost his left arm to gangrene. «Style indirect libre» in first person plural form is used to finish each of the chapter devoted to one-armed hero and expresses his contradictory point of view on the «12 steps addiction recovery» program. The non-diegetic impersonal narrator (according to V. Shmid classification) introduces the second plot line devoted to the two gangsters who have set out from Liverpool on a mission to find and punish the one-armed man for a past misdeed. Their continual dialog sometimes is interrupted by the omnipresent narrator voice who conveys in form of indirect speech one of the gangster`s thoughts and his perceptive and ideological «point of view». A Griffiths`s fictional space can be divided on close/open, secular/sacral, everyday/non-everyday types. In the novel Wales natural world is opposed to any closed and narrow spaces. One-armed protagonist fills himself free and happy in the open space, where he communicates with birds, animals and meets a pantheistic God. Oppositely, two gangsters are afraid of open space in the middle of dangerous nature of Wales, when they leave native Liverpool. Having the works of K. Jaspers and M. Merleau-Ponty as the basis for our research, we conclude that the body for one-armed hero is an existential and temporal border, which transforms each moment of his life into an endless «boundary situation» (germ. Grenzsituation, according to K. Jaspers). A journey to unknown Wales gives a start to personal transformations for one of the gangsters – Alastair. Crossing the geographical border becomes a time of «boundarysituation» in Alastair`s existence. Consequently, the motives of the real Being, existential self-identity, meeting with the transcendent are concerned with the experience of overcoming the everydayness, crossing its boundaries.


2021 ◽  
Vol 98 (1) ◽  
pp. 23-37
Author(s):  
CHRISTINA COLE

As many Cervantistas have explained, Don Quixote’s imagined reality in Part II of Don Quixote is markedly different from the one presented in Part I of the novel. His adventures are no longer solely the result of his own imagination, but rather carefully crafted and manipulated by secondary characters in the work, perhaps most notably by the duke and duchess. One thing that has not been so well explained in prior criticism, however, is that intimately tied to this manipulation is the production of marvels and spectacular performances. These marvels are objects that arouse the emotion of wonder in their audiences. Each of the three episodes under study involves inanimate objects that seem to possess animacy. Through the presentation of these marvels, Cervantes shows that the intentional manipulation of the senses is an important aspect of producing wonder, for it helps to keep hidden the cause behind the seemingly marvellous object.


1967 ◽  
Vol 12 (5) ◽  
pp. 477-496
Author(s):  
Jean-François Saucier

For centuries the excessive reactions of mentally ill subjects to the death of one parent have been noticed. Bowlby (3, 4) was struck by the similarity of these reactions to those of young children separated from their mother. According to him, the child reacts first by a vehement protest, expressed in many-different forms (confusion, negation, efforts to recover the lost one, crying, rage against her, self-mutilation and introjection). The following phase is that of despair, manifested by apathy, disorganization of behaviour, loss of appetite, solitary rumination and isolation. At last, the third phase is the one of gradual detachment from the mother, followed by a reattachment to the surrounding persons and to the mother-substitute. This behaviour sequence of the young child following the mother's departure is hypothetically considered here as the prototypical sequence of mourning behaviour in adults (following the final departure of a parent), not only in our western culture, but in all human societies. A brief investigation is made to verify the presence throughout the world of institutionalized funeral rituals similar to the many separation reactions of the young child. Phase one: Protest As an example of negation of death, one has the mummification used by the Egyptians to prevent the putrefaction of the corpse, or the belief (48) in the reincarnation of the dead one in a grandchild. As equivalent to efforts to recover the mother, one has the custom in Trobriand (50) to visit the Island of the Dead and to talk with them. The practice of crying is ritualized in many societies, for example the ‘paid’ weepers. Rage against the dead one is expressed among the Kurnai (30) through violent protest, or through aggressive behaviour against the corpse (63). Self mutilation among the bereaved, through guilt, has been observed with the Hottentots (11), where the relatives have to cut off their little finger to be placed with the body in the grave. Introjection of the dead one is facilitated among the Armas (61) by the custom of putting on the deceased's clothes or, in Melanesia (51), by the ritual of piously eating the deceased's flesh, sarco-cannibalism. Phase two: Despair Not only do most societies allow the bereaved to abandon themselves to grief by temporarily excusing them from their social duties, but often they prescribe precise behaviours, as in Bengal (64), the prohibition against washing, shaving and combing one's hair, or among the Warramunga (80), the custom for the widow to keep silent for years. Phase three: Detachment Detachment is favoured in many societies through the beliefs in integration of the deceased into another world (41) through rituals forbidding the dead ones to come back among the living (28), or through preventing them from doing so by building symbolic barriers around the house (55), or in Africa leaving wooden monuments to the dead to rot (34), or putting into the coffin all their belongings (73). Finally, many ceremonies are provided to reintegrate the bereaved into society after a certain period of time, through banquets (93), steps to facilitate the remarriage of the widowed (85), etc. In conclusion, it is confirmed that the spontaneous, purely psychological reactions of the young child following separation from his mother, although sometimes strange and unexpected, have been found institutionalized, that is imposed as normal in many human societies. Then contrary to what Durkheim had thought, there is not a chasm between psychology and socio-anthropology, but a differential continuity in the sense that each society chooses, among the large field of possible behaviours of the child to separation, a few of them which it prefers, and institutionalizes them as rituals to be followed by the community. The following stage of this study would be to investigate the causes of these choices, for example why certain societies dramatize mourning so much, whereas others try to minimize it.


Author(s):  
Małgorzata Bugaj

In the recent decades ample attention within the study of cinema has been paid to the human body, yet few films deal so directly with our physical nature as Hungarian director György Pálfi’s Taxidermia. This 2006 surreal family saga presents three generations of men obsessed with their corporeal needs. In its reflection on the body, the film juxtaposes the extremes of the human form. On the one hand, it probes the inside and the outside of the body. On the other hand, it investigates Bakhtin’s carnivalesque corporealities and considers Baudrillard’s notion of the body ‘as the finest of the consumer objects’. In contemplating the corporeal exterior, Taxidermia celebrates the senses as well as the varied textures and hues of the skin. Revisiting the visceral depths of the body, it imposes its own aesthetics as it exhibits the interior anatomy. Furthermore, while the film begins with grotesque depictions of the corporeality and its urges, in its conclusion these are replaced with the image of a modern, constructed physicality whose enslavement to its needs is rebuked. Such a body, emptied of its organic connections and ultimately likened to a taxidermist mount, constitutes a commentary on the contemporary perception of our own physical nature. Tracing Taxidermia’s exploration of the human body, this chapter analyses the film’s references to different theories revolving around the human corporeality.


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