Stimmversagen, Sprachinfarkt und Zungenbremse? Posttridentinische Betrachtungsliteratur Italiens zwischen orazione mentale und orazione vocale

In the following, the literary potential of a counterreformation-minded uncertainty will be in focus which in turn resulted from the distinction in orazione orale and orazione mentale made in the context of the Council of Trent. The differentiation of inner-mental and external-vocal voice as well as one’s own word and the prescribed or appropriated word was accelerated by the Council and lead to a self-reflection of prayer literature and meditations concerning their voice and voicing. Whose voice speaks in prayers and contemplation and by which aesthetic qualities are they characterized? The literary crystallisation of standardization, domestication but also the emancipating obstinacy of the meditation-voice ought to be made visible hereafter in an exemplary way. Promoted by the Council of Trent, the revaluation of the spiritual ‘inner’ prayer, in comparison to the textual prayer spoken with an external voice, has become effective in the Catholic counterreformation literature as creative-conceptual freedom, but also as a practical-aesthetic challenge. Literary and lyrical meditations – as will be shown here using the example of Antonio Grillo, Gabriele Fiamma and Loreto Mattei – not only implement the spiritual voice of contemplation discursively and thematically, but also textually and performatively. The specific relationship between production aesthetics (meditating lyrical self) and reception aesthetics (meditating contemplative poetry appropriating self) has a supporting function. Conflicting voice-discourses do not become effective in the sense of reciprocal prevention, but in the sense of symbiotic coexistence. The lyrical considerations analysed here do not solve the interferences of vocal regimes conceptually-fundamentally, but performatively-concretely.

Introducing quantitative reception aesthetics: Television reception and textual engagement

This article introduces quantitative reception aesthetics as a method and demonstrates how big data derived from social media services and textual analysis can be employed to uncover hitherto hidden processes of media spectatorship. It demonstrates how mixing quantitative and qualitative methods allows us to understand textual engagement and how media spectatorship evolves over time. Taking the Norwegian web series, Skam (2015–2017), as its case study, the article demonstrates how (web)television engagement on Instagram is linked to aesthetics and narrative events and how textual engagement is more universal than perhaps post-structuralist reception studies of media reception might have us believe.

Transient Bodies in Hard Topographies: a guide for life together in Raimund Hoghe's Sans-titre

ABSTRACT This paper argues that Sans-titre, by the choreographer Raimund Hoghe (2009), proposes that it is through a movement of release from the static forces of cultural representation that the subject may become closer to others as humans. In other words, the subject may thus build a relationship based on ethics. The analysis draws on a subjective interpretation that unfolds according to the narrative sequence of the performance, therefore trying to free itself from the neutral (and potentially simplistic) look commonly associated with traditional academic models, while at the same time raising new critical possibilities around reception aesthetics.

Epilogue

The epilogue takes stock of the volume’s insights, reflects on the connections and tensions between the contributors’ individual approaches, and delineates how the kinds of critical intervention and conceptual recalibration offered here can set the scene for future interdisciplinary work. It sums up and explores the variations in perspective that remain in the light of the volume as a whole, while also sounding out the emerging common ground that can be established in spite of the sometimes irreducible—and productive—differences. It also draws out and comments on the recurring concerns of this volume—which cluster in particular around the issues of historically contingent reception aesthetics, dynamics of performance, affect, intermediality, narrative ontology, and differences between genres—in order to show how the volume as a whole advances the developing theoretical field of historical narratology. In doing so, it makes the case for the importance of expanding the scope and methods of narrative theory through incorporating specifically classical parameters of narration to confront and address some of the unsatisfactory dimensions of structuralist narratology. In this way, the epilogue also sketches avenues for future research and points out the ways in which the present volume seeks to set an agenda for new directions in classical and interdisciplinary scholarship.

Phenomenolological review v. cierer of reading proceedings in the context of its «litery anthropology»

The phenomenological review of V. Izer's reading process in the context of «literary anthropology» is analyzed. The philosopher makes a distinction between interpretation and reception. The first, in his opinion, gives the imagination a «semantic definition», and the second – a sense of aesthetic, object. The first passes within the limits of the «semantic orientations» of the literary theory, and the second – within the limits of the cultural and anthropological context. The article deals with the philosophical analysis of the reception aesthetics. For the supporters of this theoretical direction, there is an inherent shift of attention from the problems of creativity and literary work to the problem of its reception or, in other words, from the level of psychological, sociological or anthropological interpretation of the creative biography, to the level of perceived consciousness. Receptive aesthetics gives the reader privilege in the «text/reader» paradigm and gives him the cognitive and affective ability to create his own text from this text.