Schutz’s references to literature and arts in his theoretical works are manifold. But literature and theory are both a certain kind of a finite province of meaning, that means they are not easily accessible from the paramount reality of everyday life. Now there is another kind of referring to literature: metaphorizing it. Using it, as may be said with Lakoff and Johnson, to understand and to experience one kind of thing in terms of another. Literally metapherein means “to carry over”. (...) Metaphorizing in this view is then a specific kind of border-crossing between different provinces of meaning. That poses two questions: 1. What means finiteness of those provinces of meaning, what kind of border crossings are possible? What is the ground for metaphorizing meaning? 2. Could this concept used for founding a theory of the constitution of the societal and of society, that overcomes the dichotomy of structure/agency? These questions will be answered with one example in view: Schutz’ report to Kaufmann of his first visit of Husserl describing his experience as feeling like Wilhelm Meister at the Society of the Tower. In a first step this metaphor is presented together with some crumbs of metaphor theory. In a second step these crumbs will be connected to Husserl’s concept of experience. After developing a short overview over Schutz’ “finite provinces of meaning,” the relation of experience, metaphors to the intersubjectivity of these provinces in their dependence from writing and printing is discussed. (shrink)

‘‘Quid est ergo tempus? si nemo ex me quaerat, scio; si quaerenti explicare velim, nescio’’. Augustine’s statement made 1,600 years ago still rings true. Paul Ricoeur goes so far as to assert that it is impossible to grasp time conceptually (Ricoeur 1984: 11 ff.). Nevertheless, or perhaps due to these aporias, time remains one of the most significant and intriguing themes for human imagination and philosophy. Nearly a century ago Edmund Husserl raised the hopes for a comprehensive philosophy of time (...) with his Phenomenology of the Consciousness of Internal Time, published much later in 1928 by Martin Heidegger (but put together in most part by Edith Stein). Husserl’s subsequent steps on the stairway to a philosophy of time remained unpublished until the recent volumes Husserl (2001, 2006). These publications have awakened new interest in Husserl’s philosophy of time, and two recent monographs reconstruct and interpret it with a focus on subjectivity. (shrink)

Der Band untersucht das durch die Begriffe Musik, Kultur und Gedächtnis abgesteckte Feld in einer zweifachen Bewegung: Zum einen wird Musik als eine wichtige soziokulturelle Ausdrucksform quer durch alle Kulturen gefasst, ihre Bestimmung und Funktion ändern sich mit den jeweiligen soziokulturellen Kontexten und Praxen. Jedes Musikstück steht in spezifischen kulturell entwickelten Traditionen und Formen, die von ihm aktualisiert werden. Musik wirkt als "gemeinschaftsbildende Macht" (Adorno), als Ausdrucksmittel individueller oder kollektiver Identität. Zum anderen ist den vielfältigen Formen von Musik die mehrfache (...) Verbindung von Musik und Zeit gemeinsam: Die jeweilige musikalische Darbietung oder Reproduktion ist ein zeitlicher Ablauf und als solcher gedächtnishaft organisiert. Die ästhetische Erfahrung von Musik ist konstitutiv auf Gedächtnisleistungen angewiesen und Musik selbst eine temporale Kunstform. Neben dieser elementaren Zeitlichkeit zeigen sich in der Musik aber viele weitere Aspekte subjektiver und sozialer Zeit: die Geschichtlichkeit der einzelnen Stücke bzw. Werke selbst, die soziokulturelle zeitliche Lagerung von Ordnungsprinzipien wie Gattungen, Kunstformen, Stilen etc., der Wandel von basalen Formen des Musikmachens (etwa unter dem Einfluss von Medientechnologien). Der Band enthält auch die deutsche Erstveröffentlichung eines Artikels von Maurice Halbwachs zu diesem Themenfeld. Der Inhalt: Theoretische Überlegungen, "Analytische Betrachtungen. Die Herausgeber: PD Dr. Christofer Jost lehrt und arbeitet am Zentrum für Populäre Kultur und Musik der Universität Freiburg. PD Dr. Gerd Sebald ist am Institut für Soziologie der Universität Erlangen-Nürnberg tätig. (shrink)

Within a sociological framework, the concept of memory is detached from its privileged link to consciousness and a concept of body memory is developed as it is effective in social processes. As a first step, some principles and distinctions of a sociology of memory are outlined. As a second step it is necessary to analyse the processing of the present into generalized forms of experiences, remnants, which can be used for recollections. As a third step, the process of integrating these (...) remnants of the past into the present processes of meaning construction is analysed. After building such a conceptual scaffolding for memory, a notion of body is delineated, differentiated into four layers with reference to classical sociological texts. The conclusion is made by interweaving the different threads of body memory, which operates in social processes, thereby including all four layers of the body. (shrink)