Complex Pleasure: Forms of Feeling in German Literature

Přední strana obálky
Stanford University Press, 1998 - Počet stran: 243
Complex Pleasure deals with questions of literary feeling in eight major German writers Lessing, Kant, Hölderlin, Nietzsche, Musil, Kafka, Trakl, and Benjamin. On the basis of close readings of these authors Stanley Corngold makes vivid the following ideas: that where there is literature there is complex pleasure; that this pleasure is complex because it involves the impression of a disclosure; that this thought is foremost in the minds of a number of canonical writers; that important literary works in the German tradition fiction, poetry, critique can be illuminated through their treatment of literary feeling; and, finally, that the conceptual terms for these forms of feeling continually vary.

The types of feeling treated in Complex Pleasure include wit (the startling perception of likeness) and the disinterested pleasure of aesthetic judgment; Hölderlin s swift conceptual grasp, in which the tempo of the process of thought is stressed ; artistic imagination, mood, sadistic enjoyment, rapturous distraction, homonymic dissonance, and courage as a mode of literary experience. At the same time, through the deftness, range, and surprise of its execution, the book itself conveys complex pleasure. The reader will also find fascinating, hitherto untranslated material by Nietzsche ( On Moods ) and Kafka (important sections from his journals and from his unfinished novel The Boy Who Sank Out of Sight).

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Obsah

Introduction
1
Proem
22
What Is Radical in Kants Critique of Aesthetic
48
Hölderlins Swift Conceptual Grasp
59
Nietzsches Moods
79
Telling Sadism in Musils Young Törless
103
Kafkas The Boy Who Sank
121
Hearing Homonymy in Trakls De Profundis
139
Benjamins Affective Understanding of Hölderlins
150
Notes
173
Index
237
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O autorovi (1998)

Stanley Corngold is Professor of German and Comparative Literature at Princeton University. He is the author, most recently, of Franz Kafka: The Necessity of Form and Borrowed Lives (with Irene Giersing.)

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