|
Showing 1 - 6 of
6 matches in All Departments
From medieval contemplation to the early modern cosmopoetic
imagination, to the invention of aesthetic experience, to
nineteenth-century decadent literature, and to early-twentieth
century essayistic forms of writing and film, Niklaus Largier shows
that mystical practices have been reinvented across the centuries,
generating a notion of possibility with unexpected critical
potential. Arguing for a new understanding of mystical experience,
Largier foregrounds the ways in which devotion builds on
experimental practices of figuration in order to shape perception,
emotions, and thoughts anew. Largier illuminates how devotional
practices are invested in the creation of possibilities, and this
investment has been a key element in a wide range of experimental
engagements in literature and art from the seventeenth to the
twentieth century, and most recently in forms of "new materialism."
Read as a history of the senses and emotions, the book argues that
mystical and devotional practices have long been invested in the
modulating and reconfiguring of sensation, affects, and thoughts.
Read as a book about practices of figuration, it questions ordinary
protocols of interpretation in the humanities, and the priority
given to a hermeneutic understanding of texts and cultural
artifacts.
From medieval contemplation to the early modern cosmopoetic
imagination, to the invention of aesthetic experience, to
nineteenth-century decadent literature, and to early-twentieth
century essayistic forms of writing and film, Niklaus Largier shows
that mystical practices have been reinvented across the centuries,
generating a notion of possibility with unexpected critical
potential. Arguing for a new understanding of mystical experience,
Largier foregrounds the ways in which devotion builds on
experimental practices of figuration in order to shape perception,
emotions, and thoughts anew. Largier illuminates how devotional
practices are invested in the creation of possibilities, and this
investment has been a key element in a wide range of experimental
engagements in literature and art from the seventeenth to the
twentieth century, and most recently in forms of "new materialism."
Read as a history of the senses and emotions, the book argues that
mystical and devotional practices have long been invested in the
modulating and reconfiguring of sensation, affects, and thoughts.
Read as a book about practices of figuration, it questions ordinary
protocols of interpretation in the humanities, and the priority
given to a hermeneutic understanding of texts and cultural
artifacts.
The emotional and sensual, religious and erotic excitement of the
whip, a crucial instrument of stimulation in devotional and sexual
practices, as seen in religious, literary, and medical texts and
images. In Praise of the Whip: A Cultural History of Arousal is a
new history of voluntary flagellation in Europe, from its invention
in medieval religious devotion to its use in the modern
pornographic imagination. Working with a wide range of religious,
literary, and medical texts and images, Niklaus Largier explores
the emotional and sensual, religious and erotic excitement of the
whip, a crucial instrument of stimulation in devotional and sexual
practices. From early modern pornography to the Marquis de Sade and
the fantasies of Swinburne and Joyce, the erotic and devotional
imagination drew on the whip. Largier explores how the Reformation
and Counter-Reformation problematized the medieval culture of
arousal. The stimulating qualities of medieval visual displays,
especially flagellant practices, processions, and spectacles, were
subjected to a criticism that sought to control the imagination. In
modern bourgeois life the practice, effects, and imagery of
flagellation became a central site of investigation into concerns
and anxieties about exercising emotional self-control and censoring
fantasy. Modern references to flagellant practice in the works of
Swinburne, Proust, and Joyce testified not only to a "decadent"
fascination with "medieval" cultures or "perverse sexuality," but
also to a fascination that nineteenth-century censorship, informed
by psychopathological discourses, had obliterated. Such evocations
of flagellation, Largier explains, were attempts to recover a
culture of stimulation and imagination-both erotic and
devotional-that transcended the modern boundaries of sexuality.
The figure of the Cynic philosopher Diogenes is not only a source
of recurrent fascination for authors of classical Antiquity and
modernism, but also - and especially - for the Middle Ages and the
early modern era. Here the philosopher figures as a critical spirit
inspiring a large number of apocryphal stories and above all a
whole series of exempla. The various narrative forms taken by these
latter and the poetological status of the exemplum genre are the
central focus of the volume. It delineates and analyzes the various
reception traditions by which the Diogenes narratives have come
down to us and also functions as an edition of these narratives as
a collection of sources. A further concern of the study is to
understand the significance of Diogenes as an 'exemplary' figure
for authors ranging from Erasmus to Nietzsche, Walter Benjamin and
Foucault, the main focus here being on his role in the modernist
context.
Wie redet man uber Liebe und vor allem - wie redet man uber das
Reden uber Liebe? Diese Fragen stellen sich zwei narrative
Grossformen des 14. Jahrhunderts: Hadamars von Laber 'Jagd' und die
anonym uberlieferte 'Minneburg'. Sie entwerfen in der komplexen
Konstellation der zeitgenoessischen, liebesthematischen Dichtung
zwei jeweils unterschiedliche Antworten darauf, die ihnen selbst
einen Sonderstatus zukommen lassen. Ihre Positionen innerhalb des
poetologischen Diskurses stehen zueinander in direkter Konkurrenz.
Insbesondere mithilfe verschiedener Schreibweisen, die von
(Klang-)Rhetorik, Intertextualitat und Metaisierung gepragt sind,
arbeiten sie an einer eigenen Metasprache, die gleichzeitig
verschiedene Diskurse und Genera miteinander verschrankt. Sie
verhandeln damit nicht mehr nur allegorische Modelle fur das
Lieben, sondern sie ziehen eine zusatzliche Metaebene in ihre Texte
ein und beteiligen sich am poetologischen Diskurs ihrer Zeit uber
das angemessene, affektgetreue und affektgesteigerte Sprechen uber
die Liebe. Damit kommunizieren sie ihre jeweils eigene Poetologie
im Spannungsfeld von Inhalt und Form, von Tradition und Innovation.
Dinge bewegen die Welt fruhneuzeitlicher Prosaromane. Sie werden
getauscht, verschenkt, gehen verloren und werden gefunden. In der
Melusine wird eine tafel mit der ganzen Familiengeschichte
gefunden, Fortuna schenkt Fortunatus im gleichnamigen Roman einen
glucksseckel, in der schoenen Magelona werden ringe genutzt, um die
adlige Herkunft zu beglaubigen, und im Gabriotto und Reinhart
dienen rosen Liebenden als heimliches Liebeszeichen. Werden diese
Dinge in die Lekture und Analyse der fruhen Prosaromane einbezogen,
so zeigt sich, dass ihr Aufbau keineswegs simpel und alleine vom
Ende her bestimmt ist, wie ihnen oft vorgeworfen wird, sondern dass
diese fruhen Romane ganz einfach mit einem anderen Koharenzsystem
arbeiten als mit jenem, welches uns von den hoch artifiziellen
hoefischen Romanen der hochmittelalterlichen Blutezeit oder von
modernen Romanen vertraut ist. In der Auseinandersetzung mit der
Melusine, dem Fortunatus, der schoenen Magelona und dem Gabriotto
und Reinhart zeigt sich, dass jeder dieser Romane auf seine ganz
eigene Art und Weise Dinge nutzt, um verschiedene Handlungswelten
zu verbinden und Koharenz herzustellen.
|
You may like...
Hampstead
Diane Keaton, Brendan Gleeson, …
DVD
R66
Discovery Miles 660
Loot
Nadine Gordimer
Paperback
(2)
R398
R330
Discovery Miles 3 300
The Wonder Of You
Elvis Presley, Royal Philharmonic Orchestra
CD
R71
R60
Discovery Miles 600
Loot
Nadine Gordimer
Paperback
(2)
R398
R330
Discovery Miles 3 300
|