8,333 research outputs found
Replication Data for An Institutional Perspective on Genres. Generic Subtitles in German Literature from 1500-2020
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Benjamin Gittel: An Institutional Perspective on Genres. Generic Subtitles in German Literature from 1500-2020. In: Cultural Analytics 2021
In the Mood for Paradox? Das Verhältnis von Fiktion, Stimmung und Welterschließung aus mentalistischer und phänomenologischer Perspektive
No full textAbstractIt 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 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
Zur Verschränkung von Gegenwartsdiagnostik, Poetologie und Literaturwissenschaft
No full textAbstractLiterary Studies of contemporary works of literature, in the absence of a canon, are largely directed by order-making umbrella terms. Using the umbrella term ‘new realism’ as an example this study examines (1) its relationship with poetological discourses and discourses of a diagnosis of the present, (2) how the umbrella term’s attractiveness corresponds to its conceptual underdetermination, and (3) which different forms text analytical concepts of ‘new realism’ can take
Antonius Weixler / Matei Chihaia / Matías Martínez / Katharina Rennhak / Michael Scheffel / Roy Sommer (Hgg.), Postfaktisches Erzählen? Post-Truth – Fake News – Narration. (spectrum Literaturwissenschaft 71) De Gruyter, Berlin – Boston 2021. VII/331 S., € 99,95.Nicola Gess, Halbwahrheiten. Zur Manipulation von Wirklichkeit. (Fröhliche Wissenschaft 174) Matthes & Seitz, Berlin 2021. 157 S., € 14,–.
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Theorie und Geschichte referenzialisierender Lektürepraktiken 1870–1910
No full textWas ist Literatur? Was ist Fiktion? Was ist der Charakter eines bestimmten Genres? Solche Fragen lassen sich nicht essentialistisch beantworten, sondern es kommt darauf an, die sozialen Praktiken zu untersuchen, in denen Menschen agieren, wenn sie literarische Texte lesen. Eine eingehende empirische Untersuchung der Geschichte der miteinander verknüpften Literatur-, Fiktions- und Genrepraktiken wurde bisher jedoch nicht unternommen. Die Arbeit nimmt sich dieses Desiderats an, indem sie anhand exemplarischer Konstellationen untersucht, wie bestimmte Genrepraktiken charakteristische Text-Welt-Verhältnisse herstellen. Zu diesem Zweck rekonstruiert die Untersuchung auf breiter empirischer Basis Lektürepraktiken von Literaturkritikern mithilfe qualitativ-hermeneutischer und quantitativ-statistischer Methoden. Mit Studien zum historischen Roman, Tendenzroman und Zeitroman sowie zum Schlüsselroman bietet die Arbeit nicht nur eine neue Sicht auf die Beziehung von Literatur und Wirklichkeit in Vergangenheit und Gegenwart; Analysen zu Wechselwirkungen zwischen unterschiedlichen Typen literarischer Praktiken eröffnen eine neue Perspektive auf literarische Kommunikation im Allgemeinen und die Geschichte der Fiktionalität im Besonderen
„Niemals aber sagt ein lebendiger Mensch zu einem anderen … ‚Sei mein Erlöser!‘“
No full textDer Aufsatz beschreibt die im ersten Drittel des 20. Jahrhunderts zu beobachtende Konjunktur der Fiktionalisierung von Reflexion am Beispiel des Erlösungsdiskurses. Dazu werden anhand von Werken Georg Lukács’, Hermann Brochs und Robert Musils drei Stufen der Fiktionalisierung von Reflexion unterschieden, die sich durch wachsende Distanz zu einem nicht-fiktionalen, primär an Wahrheit orientierten Diskurs auszeichnen: (a) die Radikalisierung bei gleichzeitiger Relativierung von Erlösungsvorstellungen, (b) ihre erzählerische Funktionalisierung zur Figurenkonstruktion und -charakterisierung und (c) die ‚Mumifikation‘ des Erlösungsdiskurses. Ferner werden verschiedene Arten und Dimensionen der Relativierung von Reflexion in fiktionalen Texten beschrieben und kategorisiert.The article uses the example of redemption discourse to describe the increasing fictionalisation of reflection which can be observed in the first third of the 20th century. The works of Georg Lukács, Hermann Broch and Robert Musil reveal three stages of the fictionalisation of this reflection, which are characterised by increasing distance to a non-fictional discourse oriented primarily toward truth: (a) radicalisation, accompanied by the relativisation of ideas of redemption, (b) narrative functionalisation in the direction of the construction and characterisation of fictional characters, and (c) the ‘mummification’ of the redemption discourse. The article then goes on to describe and categorise different types and dimensions of the relativisation of reflection in fictional texts
Implizite literarische Assertionen, Weltanschauungen und ideologiekritische Interpretationen
No full textAn Institutional Perspective on Genres: Generic Subtitles in German Literature from 1500-2020
No full textUsing a custom-designed database of 388,000 first editions of German Literature this paper investigates the long-term development of genre-indicating subtitles over more than 500 years of literary history. This approach adds a social-institutional perspective to recent work in the field of genre theory, and is a first step towards combining historical testimony, i.e. historical actors’ classifications, and textual features in a single model. Starting from the fundamental question of how many books have generic subtitles, the paper analyses the use of the most common genre labels, the relation between generic subtitles and genre production, periods of the permanent presence of generic terms (institutional cycles) and periods of generic differentiation. It identifies recurrent patterns in the development of generic subtitles using K-Means-Clustering and Dynamic Time Warping (DTW) and sheds light on literature’s changing relation to history and truth, thereby underpinning recent theoretical work on the practices of poetic invention
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