Atmosphere, Mood, Stimmung: On a Hidden Potential of by Hans Gumbrecht

By Hans Gumbrecht

What are a number of the atmospheres or moods that the examining of literary works can set off? Hans Ulrich Gumbrecht has lengthy argued that the functionality of literature isn't really loads to explain, or to re-present, as to make current. the following, he is going one step additional, exploring the substance and truth of language as a fabric section of the world—impalpable tricks, tones, and airs that, up to they're elusive, are not any much less concerns of exact fact.

Reading, we find, is an experiencing of particular moods and atmospheres, or
Stimmung. those moods are on a continuum corresponding to a musical scale. They current themselves as nuances that problem our powers of discernment and outline, in addition to language's capability to trap them. maybe the simplest we will do is to indicate of their path. Conveying own encounters with poetry, music, portray, and the unconventional, this ebook therefore gestures towards the intangible and within the approach, constitutes a daring safeguard of the subjective event of the humanities.

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Extra resources for Atmosphere, Mood, Stimmung: On a Hidden Potential of Literature

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But in this case the author just mildly Prolegomena to Stylistic Timbrology 21 says that he is not the artist (in the very general sense, as the Dictionary. com (2015) shows it, ‘a person who produces works in any of the arts that are primarily subject to aesthetic criteria’), and that this is all right. It is not a piece of ‘self-explanation’ of course, neither is it ‘self-revelation’, though; but, rather self-justification in doing what Stephen Fry believes to be normal. The author does this by interlacing the three distinct epistemic canvases, drawn mainly between the qualifying elements of the text – the adjectives and also some fragments of the author’s vision of the world that is only hinted upon in the text: the first canvas draws the ‘true artists’, who should ‘be all fierce, fearless and forthright’ and mainly uninterested in the opinion of the world and wholly unconcerned with self-explanation.

The worst of having a romance is that it leaves one so unromantic. Lord Henry was famous for his philosophical paradoxes and a passage like this could be viewed as yet another riddle where it is most significant to trace the evasive definition of the words when they are updated by the speaker in every new phrase in a dialogue. ‘Summer’s day’ is overtaken by ‘Days in summer’, ‘linger’ is overtaken by ‘last longer’. ‘Lingering’ g refers to the ‘summer’s days’, and at the same time to ‘genius ‘ ’.

If the potential for such broader mapping is realized by the author, the image created would have rather clear ‘edges’ and the forming gestaltt will have clear timbre characteristics. However, the author may wish to leave an emotionally expressive element alone in the context of speech without supporting it with wider semantic associations in the text. Then, however powerful and expressive, its potential in terms of timbre will be largely unrealized and the reader will hardly remember it by the end of reading an extended piece of writing.

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