Journal of Literary Theory (JLT)

Mosselaer, Nele Van de

How Can We Be Moved to Shoot Zombies? A Paradox of Fictional Emotions and Actions in Interactive Fiction [Abstract]

Schruhl, Friederike

Disziplingeschichte der Germanistik als Beobachtung dritter Ordnung [Christina Riesenweber, Die Ordnungen der Literaturwissenschaft, 2017]

Eldridge, Hannah Vandegrift

 1 
Hannah Vandegrift Eldridge 
Towards a Philosophy of Rhythm: Nietzsche’s Conflicting 
Rhythms 
(Abstract) 
• Full-length article in: JLT 12/1 (2018), 151–170. 
In recent years, theories of rhythm have been proposed by a number of different disciplines, 
including historical poetics, generative metrics, cognitive literary studies, and evolutionary 
aesthetics. The wide range of fields indicates the transdisciplinary nature of rhythm as a 
phenomenon, as well as its complexity, highlighting the degree to which many of the central 
questions surrounding rhythm remain extraordinarily difficult even to state in terms that can 
traverse the disciplinary boundaries effortlessly transgressed by rhythm as a phenomenon. In 
particular, any theory of rhythm, whether in music, dance, sociology, or language, must grapple 
with two quandaries. First, the precise site of rhythm remains opaque: rhythms occur in, affect, 
and are produced by all of bodies, cultures, and universals (whether metaphysical or species-
physiological). What is the relation between species-wide characteristic, individual body, 
cultural context, and the history of art making in the experience of rhythm? Second, rhythm is 
simultaneously a phenomenon of fixed, organizing form and one of dynamic, changing flow. 
How can rhythm encompass both the measurement of regular recurrences across time and the 
organizing of temporal phenomena as they unfold? 
In this article, I draw on Emile Benveniste and Henri Meschonnic to elucidate these quandaries 
or conflicts before turning to Friedrich Nietzsche’s work on rhythm. I argue that Nietzsche’s 
work with rhythm provides a historically situated model for how we might continue to take the 
questions and conflicts within rhythm seriously, rather than privileging an abstract and 
universally applicable theory of rhythm. This model is especially crucial for our own historical 
moment, when cultural-political emphasis on science and technology at the expense of 
aesthetics devalues all insights not presented in the form of countable data points or empirically 
testable facts. Nietzsche is, of course, one of the great critics of positivist-scientistic 
epistemologies, part of a long tradition questioning the naturalness of natural-scientific 
paradigms and alerting us to the metaphors at play even in the ›hard sciences‹. I use rhythm as 
one paradigmatic place to resist the importation of scientistic thought into discussions of 
language, literature, and culture. I show how Nietzsche’s writings on rhythm prove illuminating 
for contemporary understandings of rhythm because the tensions in his work are shaped by the 
quandaries inherent to rhythm that I have used Benveniste and Meschonnic to elaborate, namely 
the question of rhythm’s site as individual, cultural, or universal, and the conflict between 
rhythm as form and as flow. The question of the site of rhythm appears in Nietzsche’s 
discussions of Greek and Latin meters both in his philological works, in his aphorisms, and in 
his letters: on the one hand, he argues that Greek and Latin metrical and rhythmic resources are 
irrevocably lost to modern cultures (indicating that rhythm is a product of culture), while on the 
other, he emphasizes the impact of rhythm on the body and offers advice for replicating Ancient 
metrical and rhythmic techniques (suggesting that rhythm is based on physiological universals). 
And the conflict between flow and form appears as Nietzsche praises both the productive 
constraint created by large-scale, architectonic, or macro-formal rhythms and the freedom from 
such constraint enabled by small-scale, leitmotiv-based, or micro-formal rhythms. 
 2 
The conflicts in Nietzsche’s work between the loss and recovery of Ancient rhythms and 
between rhythm as small scale freedom vs. large scale constraint thus represent one particular 
unfolding of the dilemmas for rhythmical theory worked out by Benveniste and Meschonnic. 
The various modern disciplines engaged with rhythm will answer different sets of these 
questions in different ways. Most practitioners of, e. g., evolutionary aesthetics, 
neuroaesthetics, or cognitive poetics would no doubt contend that they are using the tools of 
the natural sciences to investigate long-standing humanistic inquiries. Nietzsche, as a critic of 
his own era’s scientific positivism who allows tensions inherent in these questions to remain 
open in his own work, is an ideal interlocutor with whom to ask whether even the adoption of 
these tools ends up placing excessive faith in natural-scientific paradigms and undercutting 
other—affective, bodily, metaphorical, poetic, etc.—ways of knowing, as I demonstrate briefly 
in the examples of evolutionary aesthetics and generative metrics. 
Because Nietzsche leaves open the conflicts over rhythm’s site and its qualities as form or flow, 
he can use individual bodily experience to make physiological arguments about the effects of 
rhythm on culture and vice versa: Nietzsche takes his bodily response to be an index of cultural 
values inherent to rhythmical practices. The particular values that Nietzsche critiques shift 
across his career—early on he condemns German musical and poetic rhythms for being too 
rigid, while later he sees them as pathologically heightening affect and emotion. In both cases, 
detrimental rhythmic practices lead to detrimental bodily practices and to the degeneration of 
culture, while rhythmic practices work as a bodily and cultural corrective. In his critiques of 
German forms and praises of Greek forms, and in the moments in which he brings them 
together, Nietzsche thus asserts the complex interrelation of culture, body, and history. 
 
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 3 
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 4 
2018-04-06 
JLTonline ISSN 1862-8990 
Copyright © by the author. All rights reserved. 
This work may be copied for non-profit educational use if proper credit is given to the author 
and JLTonline. 
For other permission, please contact JLTonline. 
How to cite this item: 
Abstract of: Hannah Vandegrift Eldridge, Towards a Philosophy of Rhythm: Nietzsche’s Conflicting Rhythms. 
In: JLTonline (06.04.2018)  
Persistent Identifier: urn:nbn:de:0222-003899 
Link: http://nbn-resolving.de/urn:nbn:de:0222-003899 


English

Towards a Philosophy of Rhythm: Nietzsche’s Conflicting Rhythms [Abstract]

for 14:1 (2020) Interpretation and/as/or Aesthetic Experience, JLT Contributions; Universität Würzburg

Beiträge für JLT 14:1 (2020): Interpretation und/oder/als ästhetische Erfahrung (Manuskripttermin: 01.09.2019)

13:2 (2019): Time, JLT Contributions for

Beiträge für JLT 13:2 (2019): Zeit (Manuskripttermin: 01.03.2019)

Salgaro, Massimo

Tourhout, Benjamin Van

Why Does Frank Underwood Look at Us? Contemporary Heroes Suggest the Need of a Turn in the Conceptualization of Fictional Empathy [Abstract]

Mueller, Timo

The Benefits of Bringing Cognitive Sciences into Ecocriticism [Alexa Weik von Mossner, Affective Ecologies, 2017]

Gittel, Benjamin

 1 
Benjamin Gittel 
In the Mood for Paradox? Das Verhältnis von Fiktion, Stimmung 
und Welterschließung aus mentalistischer und 
phänomenologischer Perspektive 
•  Full-length article in: JLT 12/2 (2018), 300–320. 
It is widely acknowledged that responses to fiction can be divided into two categories: emotions 
or moods. Research on the paradox of fiction, however, solely focused on emotional responses 
to fiction. This paper analyses the different potentials of the mood concept with regard to the 
paradox of fiction: its potential to avoid the paradox on the one hand and its potential to rise a 
new paradox of fiction, a paradox of fiction for moods, on the other. To this end, the paper 
distinguishes two different meanings of the everyday concept of mood and two different 
paradigms in the research on moods. 
The mood concept can designate not only affective states of an individual (moods1), but elusive, 
nuanced atmospheres of objects, places or situations (moods2). The mentalistic paradigm, 
widespread in psychology and analytic philosophy, generally assumes that moods are mental 
states with a certain quality of feeling (and physical symptoms). Moods2 are regarded by such 
approaches, if they discuss them, as a secondary phenomenon based on subjective perception. 
In contrast, the phenomenological paradigm focuses on moods2 and, if it accommodates moods1 
as well, often postulates a characteristic connection between the two: moods1 reveal extra-
individual atmospheres (moods2) that are assumed to exist in some ontologically robust sense. 
Therefore, moods1 can be said to have a world-disclosing function within the phenomenological 
paradigm. 
Researchers in the mentalistic paradigm deal, among other issues, with the difference of 
emotions and moods1. One way in which moods1 differ from emotions is that they lack an 
intentional object and it is for that reason that the concept of mood1, at first glance, seems to 
offer a solution to the paradox of fiction. The paradox of fiction presumes that we have emotions 
with regard to fictional objects. If it were possible to redescribe the alleged emotions as more 
subtle mood1 responses without clear intentional objects, this would undermine a central 
premise of the paradox and dissolve it. However, such a redescription seems not equally 
plausible for all cases discussed in the debate (e. g. the green slime case). Therefore, moods1 
can only be one element of a more subtle ›phenomenology‹ of affective reactions towards 
fiction and the »paradox avoiding potential« of the mood concept is limited. 
The paradox creating potential of the mood concept emerges if one takes into account the 
outlined complex semantics of the concept »mood« and the postulated world-disclosing 
function of moods1. It seems possible to construct a new paradox, the paradox of fiction for 
moods: (a) Only real entities or representations of real entities can evoke moods1 with world-
disclosing function (because this mood1 evocation is actually immersion in an atmosphere). (b) 
Many entities in fictions are not real. (c) Nevertheless, fictions can evoke moods1 with world-
disclosing functions (e. g. with regard to places, situations) in the recipient. 
The paper argues that the outlined paradox can be dissolved by pointing out that the expression 
»moods1 with world-disclosing function« in sentence (a) means something different than in (c). 
While the expression in (a) relates to the idea of grasping an atmosphere (mood2) that somehow 
 2 
is »in the world«, it means acquiring a non-propositional form of knowledge, namely 
knowledge of what-it-is-like to be in a certain situation, in (c). The idea that it is possible to 
acquire knowledge of what-it-is-like by means of fiction has often been postulated in the 
research literature, but rarely been spelled out in greater detail. The paper argues that such an 
acquisition can occur, among other possibilities, on the basis of mood1 evocation, but that the 
conditions for the acquisition of knowledge of what-it-is-like by means of fiction are more 
demanding than under usual circumstances: A recipient of fiction can reasonably be said to 
acquire knowledge of what-it-is-like to be in a certain situation if the fictional representation 
evokes a mood1 which is characteristic of a situation S and the recipient understands this mood1 
as an affective reaction to a situation of the type S. Please note that moods2 play no explanatory 
role in the second interpretation of »world-disclosing function«. 
Since assumption (a) and assumption (c) concern different world-disclosing functions or, in 
other words, different mechanisms of world-disclosure, there is no paradox. Although moods1 
evoked by fictional representations (with some limitations pointed out in section 4) do not 
possess a world-disclosing function in the sense the phenomenological tradition postulated, it 
is possible to ascribe these moods1 a world-disclosing function, even within a non-
phenomenological framework: They allow the recipient the acquisition of a knowledge of what-
it-is-like to be in a certain situation or in a certain place. 
Ultimately, for the paradox of fiction for moods seems to hold what could be said about the 
classical paradox of fiction as well: Even if the paradox ultimately dissolves, its analysis can be 
instructive for related research fields like the debate on knowledge from fiction which takes 
moods rarely into account until now. 
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 5 
2018-09-16 
JLTonline ISSN 1862-8990 
Copyright © by the author. All rights reserved. 
This work may be copied for non-profit educational use if proper credit is given to the author 
and JLTonline. 
For other permission, please contact JLTonline. 
How to cite this item: 
Abstract of: Benjamin Gittel, In the Mood for Paradox? Das Verhältnis von Fiktion, Stimmung und 
Welterschließung aus mentalistischer und phänomenologischer Perspektive. 
In: JLTonline (16.09.2018)  
Persistent Identifier: urn:nbn:de:0222-004048 
Link: http://nbn-resolving.de/urn:nbn:de:0222-004048 


In the Mood for Paradox? Das Verhältnis von Fiktion, Stimmung und Welterschließung aus mentalistischer und phänomenologischer Perspektive [Abstract]

Langkau, Julia

German

Von literarischer Vergegenwärtigung fürs Leben lernen [Íngrid Vendrell Ferran, Die Vielfalt der Erkenntnis, 2018]

Pahlke, A. Florian

Die Schmuddelecke der Literatur(wissenschaft) [Johannes Franzen, Indiskrete Fiktionen, 2018]

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