Poetry and Experience (Wilhelm Dilthey : Selected Works)

Poetry and Experience (Wilhelm Dilthey : Selected Works)

Wilhelm Dilthey, Rudolf A. Makkreel, Frithjof Rodi

Language: English

Pages: 206

ISBN: B00DBF558I

Format: PDF / Kindle (mobi) / ePub


This is the fifth volume in a six-volume translation of the major writings of Wilhelm Dilthey (1833-1911), a philosopher and historian of culture who has had a significant, and continuing, influence on twentieth-century Continental philosophy and in a broad range of scholarly disciplines. In addition to his landmark works on the theories of history and the human sciences, Dilthey made important contributions to hermeneutics and phenomenology, aesthetics, psychology, and the methodology of the social sciences. This volume presents Dilthey's principal writings on aesthetics and the philosophical understanding of poetry, as well as representative essays of literary criticism. The essay "The Imagination of the Poet" (also known as his Poetics) is his most sustained attempt to examine the philosophical bearings of literature in relation to psychological and historical theory. Also included are "The Three Epochs of Modern Aesthetics and its Present Task," "Fragments for a Poetics," and two final essays discussing Goethe and Hlderlin. The latter are drawn from Das Erlebnis und die Dichtung, a volume that was acclaimed on publication as a classic of literary criticism and that continues to be a model for the geistesgeschichtliche approach to literary history.

Figures of Simplicity: Sensation and Thinking in Kleist and Melville (SUNY series, Intersections: Philosophy and Critical Theory)

Finding Beauty in a Broken World

The Fate of Art: Aesthetic Alienation from Kant to Derrida and Adorno (Literature and Philosophy Series)

The Aesthetics of Cultural Studies

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

among all feelings of pleasure, is inde- 207 2.08 POETICS of life, can he carried away by greatness. In this way, it is possible to grasp the intensification of the powers of apprehension, the expansion of the psyche, its discharge, and its purification as it produces a great artwork. Admittedly, psychology, given its current level of development, can derive only a few general truths about the creative imagination. The aesthetician must proceed from the creative processes in the particular

Schulpforta, he was to present a report about his favorite poet, he chose HOlderlin, and again later he came back to Hyperion. HOlderlin's philosophical novel exerted its influence on the poetic development of Nietzsche's view of life in Zarathustra from the basic idea to the form, indeed, down to the individual words. The style of both writers is musical. They both write for readers who read not "merely with the eyes." They coin new words for that which they want to express because they abhor

to conceive of his standpoint as developmental, In agreement with Kant, Goethe and Schiller undertook to derive a universally valid technique for all poetry from a foundation of aesthetic concepts. In the same vein, we find Schiller's ideal human being realizing the highest freedom by means of the beautiful in himself. Further, this ideal person then emerged in Goethe, though not without Schiller's influence, as the goal of development in his two great literary works, Faust and Wilhelm Meister,

into a unity, and the power of this unity—combine, the result is an intensity of total effect which we feel as a unity. It is highly noteworthy that a considerable poetic effect is elicited when what are in themselves small effects of a particular sound, rhyme, and rhythm are combined with the aesthetic effects of the content. If one reduces the most beautiful poem to prose, its aesthetic effect is almost entirely lost. Fechner believed that this warranted the derivation of the following

poet's insights. It is not subsequent reflection, but rather intense lived experience that makes a good critic as well as a good poet. The capacity to make a profound judgment about a poet, therefore, is akin to creative ability. Lessing's greatness as a poet cannot be explained by the fact that he was our greatest critic. Rather, the energy of his creative ability and the acumen of his analytical understanding combined to make him the greatest critic, and as a poet Lessing then utilized the

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