By Hans Ulrich Gumbrecht
Reading, we find, is an experiencing of particular moods and atmospheres, or Stimmung. those moods are on a continuum similar to a musical scale. They current themselves as nuances that problem our powers of discernment and outline, in addition to language's strength to seize them. possibly the simplest we will be able to do is to indicate of their path. Conveying own encounters with poetry, tune, portray, and the radical, this booklet hence gestures towards the intangible and within the method, constitutes a daring safety of the subjective event of the arts.
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Extra info for Atmosphere, Mood, Stimmung : On a Hidden Potential of Literature
May no one separate crown and crown. More than an allegory of political legitimacy, the image of the crown on Philipp’s head was Walther’s way of expressing certainty on a cosmic scale; by this means, he told himself—as well as the Hohenstaufen court—that such an ordering of the temporal world matched the designs of God. A year later, he described the Christmas celebrations at the Hohenstaufen seat in Magdeburg from the same perspective: King Philipp stepped forth, visible to all, In the threefold dignity of King, Son of the Emperor, and Brother of the Emperor.
However, the hero is not just a clever ruffian. After serving a priest who is avaricious to the point of sadism, Lázaro hires himself out to a third master—a petty nobleman. He soon discovers that his patron is even poorer than he is; because of his social station, however, the noble is not free to employ strategies of survival such as begging and stealing. Lázaro resolves to help “Escudero” and his kind with all the generosity he can muster: “This man,” I said, “is poor and nobody can give what he hasn’t got.
In the interest of brevity, three theses may serve as a response: In the first place, it is significant that, in the early modern period, collections of literary narratives and poems were accompanied by indications concerning the space where they were to be enjoyed and the music that was to accompany them. Boccaccio’s Decameron provides the most well known example, but the works of María de Zayas (to be discussed) offer another. ” By this, he meant that, as literature became increasingly autonomous and independent of specific contexts and sites of performance, authors specified frameworks of communication (and I would add: frameworks of atmosphere) for their recitation and reception.