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  1. Totentanz : Operationalizing Aby Warburg’s 'Pathosformeln'
    Erschienen: 01.11.2017

    The object of this study is one of the most ambitious projects of twentieth-century art history: Aby Warburg's 'Atlas Mnemosyne', conceived in the summer of 1926 – when the first mention of a 'Bilderatlas', or "atlas of images", occurs in his journal... mehr

     

    The object of this study is one of the most ambitious projects of twentieth-century art history: Aby Warburg's 'Atlas Mnemosyne', conceived in the summer of 1926 – when the first mention of a 'Bilderatlas', or "atlas of images", occurs in his journal – and truncated three years later, unfinished, by his sudden death in October 1929. Mnemosyne consisted in a series of large black panels, about 170x140 cm., on which were attached black-and-white photographs of paintings, sculptures, book pages, stamps, newspaper clippings, tarot cards, coins, and other types of images. Warburg kept changing the order of the panels and the position of the images until the very end, and three main versions of the Atlas have been recorded: one from 1928 (the "1-43 version", with 682 images); one from the early months of 1929, with 71 panels and 1050 images; and the one Warburg was working on at the time of his death, also known as the "1-79 version", with 63 panels and 971 images (which is the one we will examine). But Warburg was planning to have more panels – possibly many more – and there is no doubt that Mnemosyne is a dramatically unfinished and controversial object of study.

     

    Hinweise zum Inhalt: kostenfrei
    Quelle: CompaRe
    Sprache: Englisch
    Medientyp: Arbeitspapier
    Format: Online
    DDC Klassifikation: Literatur und Rhetorik (800)
    Sammlung: Stanford Literary Lab
    Lizenz: Veröffentlichungsvertrag für Publikationen
  2. Tears falling on goosebumps : Co-occurrence of emotional lacrimation and emotional piloerection indicates a psychophysiological climax in emotional arousal

    This psychophysiological study is the first to examine the relationship between emotional tears and emotional piloerection (i.e., goosebumps). Although both phenomena have been related to peak states of being moved, details about their temporal... mehr

     

    This psychophysiological study is the first to examine the relationship between emotional tears and emotional piloerection (i.e., goosebumps). Although both phenomena have been related to peak states of being moved, details about their temporal occurrence and the associated levels of physiological arousal have remained unknown. In our study, we used emotionally powerful film scenes that were self-selected by participants. Our findings show that even within peak moments of emotional arousal, a gradation of intensity is possible. The overlap of tears and goosebumps signifies a maximal climax within peak moments. On the side of the stimulus, we found that displays of prosocial behavior play a crucial role in the elicitation of tears and goosebumps. Finally, based on the results of a formal film analysis of the tears-eliciting clips provided by our participants, as compared to randomly extracted, equally long control clips from the same films, we show how the technical and artistic making of the clips was optimized for the display of social interaction and emotional expressions.

     

    Hinweise zum Inhalt: kostenfrei
    Quelle: CompaRe
    Sprache: Englisch
    Medientyp: Wissenschaftlicher Artikel
    Format: Online
    DDC Klassifikation: Literatur und Rhetorik (800)
    Sammlung: Max-Planck-Institut für empirische Ästhetik
    Lizenz: Creative Commons - Namensnennung 4.0
  3. Brinkmann's 'Passio' : 'Rom, Blicke' and Conceptual Art
    Erschienen: 12.01.2017

    The three 'Materialienbände' - 'Schnitte'; 'Rom, Blicke'; and 'Erkundungen für die Präzisierung des Gefühls für einen Aufstand' - that Rolf Dieter Brinkmann produced in the early 1970s have, in the last decade, gradually come to be recognized as... mehr

     

    The three 'Materialienbände' - 'Schnitte'; 'Rom, Blicke'; and 'Erkundungen für die Präzisierung des Gefühls für einen Aufstand' - that Rolf Dieter Brinkmann produced in the early 1970s have, in the last decade, gradually come to be recognized as central statements of a radically new cultural formation. A peculiar feature of this recognition, though, is the relative puzzlement that lingers over the question as to the 'form' of these volumes. That the three objects resist generic classification is by now a truism of the Brinkmann literature; yet even the construction of a cultural field within which the volumes might be compared to other works has remained elusive. The essay that follows, based largely on a reading of 'Rom, Blicke', is an attempt to construct precisely that cultural field.

     

    Hinweise zum Inhalt: kostenfrei
    Quelle: CompaRe
    Sprache: Englisch
    Medientyp: Teil eines Buches (Kapitel)
    Format: Online
    ISBN: 978-3-7705-5006-7
    DDC Klassifikation: Literatur und Rhetorik (800); Literaturen germanischer Sprachen; Deutsche Literatur (830)
    Sammlung: Leibniz-Zentrum für Literatur- und Kulturforschung (ZfL)
    Lizenz: Veröffentlichungsvertrag für Publikationen
  4. Bild und Leidenschaft
    Erschienen: 18.01.2017

    This experience, listening to the radio version of "The Green Hills of Earth" was the first form in which I encountered a problem that in the following years continued to haunt much of the work I have done ever since. This problem has a double... mehr

     

    This experience, listening to the radio version of "The Green Hills of Earth" was the first form in which I encountered a problem that in the following years continued to haunt much of the work I have done ever since. This problem has a double aspect, since it involves both 'the visibility of the invisible' and, inseparably linked to it, that of the 'invisibility of the visible'. Far from excluding each other, as opposites are commonly expected to do, 'visibility' and 'invisibility' seem here to be inextricably linked, although not simply the same. The prominence, in the story, of repetition and recurrence, indeed of doubling, suggests that another term should be introduced to describe this curious relationship of non-exclusive opposition, that of 'divisibility'. Visibility divides itself into what is visible and what is invisible. And given the fact that this is also a question of life and death, of living and dying, the process of divisibility can be said to produce not just appearances, but 'apparitions' (which in English, unlike its 'false friend' in French, signifies 'ghosts' and not just appearances). Listening to the radio in that darkened bedroom, I think what I experienced was something like the apparition of such divisibility, by which the invisible seemed to become visible, but only by making the visible invisible. Much later I learned that this was a phenomenon - if one can call it that - quite familiar to philosophers and aestheticians who generally tried to interpret it with the use of words such as "fantasy" and "imagination": what Kant, for example, in 'Kritik der reinen Vernunft' calls "productive" as distinct from "reproductive imagination", which does not merely reproduce what one sees but which produces representations of things that were never seen (and perhaps could never be seen). But I never felt that such concepts were capable of accounting for the strange capacity of those invisible 'images' to produce feelings whose intensity seemed in direct proportion to their indistinct and relatively indeterminate - non-objective - quality.

     

    Hinweise zum Inhalt: kostenfrei
    Quelle: CompaRe
    Sprache: Englisch
    Medientyp: Teil eines Buches (Kapitel)
    Format: Online
    ISBN: 978-3-7705-5006-7
    DDC Klassifikation: Öffentliche Darbietungen, Film, Rundfunk (791)
    Sammlung: Leibniz-Zentrum für Literatur- und Kulturforschung (ZfL)
    Lizenz: Veröffentlichungsvertrag für Publikationen
  5. The Rational and the Impossible
    Erschienen: 19.12.2017

    I shall take a look at a cluster of problems: the relation between fictional and actual worlds, between fictionality and narration, between action and rationality, between action and agent or subject, and between world, enunciation and subject in... mehr

     

    I shall take a look at a cluster of problems: the relation between fictional and actual worlds, between fictionality and narration, between action and rationality, between action and agent or subject, and between world, enunciation and subject in light of two important theoretical works, both from 1991. My choice of references is not entirely arbitrary: their basic approach shows certain similarities that underline the shortcomings of both in dealing with literature, in spite of the stimulating arguments they unfold. But they also show marked differences that allow us to develop their argument further. The books are Paisley Livingston's 'Literature and Rationality' and Marie-Laure Ryan's 'Possible Worlds, Artificial Intelligence, and Narrative Theory'.

     

    Hinweise zum Inhalt: kostenfrei
    Quelle: CompaRe
    Sprache: Englisch
    Medientyp: Wissenschaftlicher Artikel
    Format: Online
    DDC Klassifikation: Literatur und Rhetorik (800)
    Sammlung: Synchron. Wissenschaftsverlag der Autoren
    Lizenz: Veröffentlichungsvertrag für Publikationen