Paul Kluckhohns Arbeiten zur Romantik orientieren sich an Wilhelm Diltheys Bestimmung des Verhältnisses von ›Erlebnis‹ und dessen Ausdruck in Dichtung. Mit diesem Konzept ist der Wunsch nach der Wiederkehr der Einheit des ›Lebens‹ in der Moderne verbunden. Kluckhohn deutet die Romantik im Rahmen dieser kulturkritischen Vorstellung, indem er für den Bereich intimer Beziehungen die romantische Auffassung von ›Liebe‹, für Staat und Gesellschaft das romantische Ideal von ›Gemeinschaft‹ als Orientierungsmodell für die Gegenwart anbietet. Die Romantik wird dabei als Gegensatz zur (...) französischen und englischen Aufklärung und damit als deren deutsche ›Überwindung‹ interpretiert. Der Beitrag analysiert Kontinuität und Wandel dieser Romantik-Deutung von 1910–1947 und geht dabei auch auf das ambivalente Verhältnis dieses Konzepts zur Ideologie des Nationalsozialismus ein. (shrink)

Der thematisch scharf umgrenzte Sammelband ist von grundlegender Bedeutung füuuml;r die Ästhetik der Gegenwart und vervollstäauml;ndigt Ingardens großen Entwurf einer philosophisch begründeten Theorie des Kunstwerks. Im Mittelpunkt der Eröouml;rterungen stehen das ästhetische Erlebnis, das Form-Inhalt-Problem im literarischen Kunstwerk und vor allem der Fragenkomplex des ästhetischen Wertes.

The ‘turn’ to emotion and affect in film and media studies may take its distance from earlier ways of understanding spectatorial involvement. But such approaches, whether cognitivist in intent, or inspired by phenomenology, also return to an earlier interest in bodily sensations and somatic responses when exposed to sudden motion and moving images. The essay proposes to bring Walter Benjamin into the debate, with a term central to his idea of modernity, namely ‘experience’, and to revive his distinction between Erfahrung (...) and Erlebnis. Noting certain features of excess and liminiality in contemporary cinema, and mapping them across the three distinct domains of body, time and agency, Benjamin's own attempt to locate the emotional core of the technical media is reappraised. Grounded in the peculiar variability but also interdependence of place, narration and perception, the cinema would then appear to provide Erlebnis without Erfahrung, a state formerly associated with trauma, but now the very definition of the media event. (shrink)

The landscape descriptions in the ‘Commentarii’ of Pius II represent a characteristic element of this autobiographical text. One might ask whether his depictions of nature stem from own experience and encounters, or whether the landscapes depict a fictitious and literary world and are thus a construct of a humanist whose text abounds with classical citations. The following article addresses this topic from two directions. On the one hand the Pope’s physical presence in the open landscape is verified through reference to (...) other sources; on the other hand his specific way of perceiving and describing nature is investigated. The letters of his entourage and the dispatches of diplomats do show that excursions took place as described by Pius, and that the journeys of this gout-ridden pope even into impassable areas convinced them of his love for nature. Pius’ companions affirm, often with a certain critical distance, his intimate bond with the landscape; they speak of picnics on the banks of a brook rather than in the neighbouring villa, of work-sessions in the forest instead of the palace, and of spectacular views from arduous mounted heights. All of this implied a logistical organization on the part of the courtiers, to which they were not accustomed. Pius’ description of views both near and far, and his desire to be in the midst of nature attest directly to a certain feeling characteristic of the early Italian Renaissance feeling, an epoch whose art too perceives landscape in a new form. (shrink)

O objetivo deste artigo é analisar o conceito de vivência (Erlebnis) na filosofia de Nietzsche, desde o seu primeiro emprego em língua alemã, seu significado e a recepção que Nietzsche faz da palavra no interior da sua filosofia. O conceito de Erlebnis, particularmente caro à filosofia de Nietzsche, mas também à fenomenologia, possui originariamente uma tríplice significação: a) a imediatez (Unmittelbarkeit) entre homem e mundo; b) a significabilidade (Bedeutsamkeit) para o caráter global da existência; e c) a incomensurabilidade (...) (Inkommensurabilität) do conteúdo da própria vivência, conferindo a ela também uma dimensão estética. A tríplice significação de Erlebnis implica na sua estreita associação a pathos. This paper aims to analyze the concept of experience (Erlebnis) in the Nietzsche's philosophy, since its first use into the German language, its meaning and reception of Nietzsche inside his philosophy. The concept of Erlebnis, especially dear to the philosophy of Nietzsche, but also to phenomenology, originally has a triple meaning: a) the immediacy (Unmittelbarkeit) between man and world, b) meaningfulness (Bedeutsamkeit) to the global nature of existence and c) incommensurability (Inkommensurabilität) of the experience's content itself, giving it also an aesthetic dimension. The threefold meaning of Erlebnis implies its close association with pathos. (shrink)

The article aims to offer a few hypotheses on an analysis of the phenomenology of moral action in Nietzsche, especially in relation to Nietzsche’s formula “become who you are”, through two crucial concepts to the creation of man by the action: experience (Erlebnis) and ‘cultivation’. Man becomes what he is only in life and under the concrete conditions of his existence, without the remote suspicion of, as Nietzsche wrote, “what he is” and in this case, it is a process (...) that unfolds through his experiences. Understood as pathos or counter-concept of reason, experience acts cultivating the man in a phenomenological process of human ‘cultivation’ toward ‘becoming what one is’. (shrink)

Keine ausführliche Beschreibung für "Erkenntnis und Erlebnis" verfügbar.

This paper focuses on the notion of experience, whose conceptual analysis seems to be often neglected or at least not sufficiently made explicit in the current discourse on Everyday Aesthetics. In our investigation this notion will be tackled, in particular, through the lens of such concepts as _Erlebnis, Erfahrung_, and _Lebenswel_t, which are drawn from the continental philosophical tradition. Purpose of the paper is to present a provisional framework aimed at clarifying that a more accurate conceptualization of experience allows for (...) a better contemporary reflection on the aesthetics of everyday life. (shrink)

This paper focuses on the notion of experience, whose conceptual analysis seems to be often neglected or at least not sufficiently made explicit in the current discourse on Everyday Aesthetics. In our investigation this notion will be tackled, in particular, through the lens of such concepts as Erlebnis, Erfahrung, and Lebenswel t, which are drawn from the continental philosophical tradition. Purpose of the paper is to present a provisional framework aimed at clarifying that a more accurate conceptualization of experience (...) allows for a better contemporary reflection on the aesthetics of everyday life. (shrink)

« Événement et vécu » est un article du philosophe et psychiatre suisse Ludwig Binswanger initialement paru en 1931 puis secondairement repris en 1955 dans le deuxième volume des Ausgewählte Vorträge und Aufsätze. Notre traduction se base sur la version publiée en 1994 chez Asanger dans les Ausgewählte Werke,...