03591nam 2200613Ia 450 991046237010332120211209004705.00-8047-8345-410.1515/9780804783453(CKB)2670000000242650(EBL)1029219(OCoLC)813004705(SSID)ssj0000755080(PQKBManifestationID)12318024(PQKBTitleCode)TC0000755080(PQKBWorkID)10730010(PQKB)11424810(MiAaPQ)EBC1029219(DE-B1597)564641(DE-B1597)9780804783453(Au-PeEL)EBL1029219(CaPaEBR)ebr10604677(OCoLC)1178769961(EXLCZ)99267000000024265020111216h20122012 uy 0engurnn#---|u||utxtccrAtmosphere, mood, Stimmung[electronic resource] on a hidden potential of literature /Hans Ulrich Gumbrecht ; translated by Erik ButlerStanford, California Stanford University Pressc20121 online resource (149 p.)Description based upon print version of record.0-8047-8121-4 0-8047-8122-2 Includes bibliographical references.Front matter --Contents --Reading for Stimmung --Fleeting Joys in the Songs of Walther von der Vogelweide --The precarious existence of the pícaro --Multiple layers of the world in Shakespeare’s sonnets --Amorous Melancholy in the novellas of María de Zayas --Bad weather and a loud voice --Harmony and rupture in the light of Caspar David Friedrich --Beautiful sadness in Joaquim Machado DeAssis’s last novel --The freedom of Janis Joplin’s voice --The iconoclastic energy of surrealism --“Tragic sense of life” --Deconstruction, asceticism, and self-pity --Acknowledgments --Bibliographical referencesWhat are the various atmospheres or moods that the reading of literary works can trigger? Hans Ulrich Gumbrecht has long argued that the function of literature is not so much to describe, or to re-present, as to make present. Here, he goes one step further, exploring the substance and reality of language as a material component of the world—impalpable hints, tones, and airs that, as much as they may be elusive, are no less matters of actual fact. Reading, we discover, is an experiencing of specific moods and atmospheres, or Stimmung. These moods are on a continuum akin to a musical scale. They present themselves as nuances that challenge our powers of discernment and description, as well as language's potential to capture them. Perhaps the best we can do is to point in their direction. Conveying personal encounters with poetry, song, painting, and the novel, this book thus gestures toward the intangible and in the process, constitutes a bold defense of the subjective experience of the arts.Literature, ModernHistory and criticismTheory, etcMood (Psychology) in literatureElectronic books.Literature, ModernHistory and criticismTheory, etc.Mood (Psychology) in literature.809/.93353Gumbrecht Hans Ulrich170658Butler Erik1971-1036319MiAaPQMiAaPQMiAaPQBOOK9910462370103321Atmosphere, mood, Stimmung2456569UNINA03488nam 2200709 450 991081271830332120200520144314.00-8131-8180-10-8131-6134-70-8131-7068-0(CKB)111004368603318(EBL)1915602(SSID)ssj0000194652(PQKBManifestationID)12030796(PQKBTitleCode)TC0000194652(PQKBWorkID)10250072(PQKB)11332746(OCoLC)47010503(MdBmJHUP)muse44629(Au-PeEL)EBL1915602(CaPaEBR)ebr11007319(CaONFJC)MIL691328(OCoLC)900344944(MiAaPQ)EBC1915602(EXLCZ)9911100436860331820150129h19971997 uy 0engur|n|---|||||txtccrLoving arms British women writing the Second World War /Karen SchneiderLexington, Kentucky :The University Press of Kentucky,1997.©19971 online resource (232 p.)Description based upon print version of record.1-322-60046-5 0-8131-1980-4 Includes bibliographical references and index.Cover; Title; Copyright; Contents; List of Abbreviations; Acknowledgments; Introduction: Narrating War; 1 Discerning the Plots; 2 Inscribing An/Other Story: Katharine Burdekin, Stevie Smith, and the Move toward Rebellion; 3 Double-Voiced Discourse: Elizabeth Bowen's Collaboration and Resistance; 4 Re-Plotting the War(s): Virginia Woolf's Radical Legacy; 5 A Different Story: Doris Lessing's Great Escape; Coda: As Time Goes By; Notes; Works Cited; Index; A; B; C; D; E; F; G; H; I; J; K; L; M; N; O; P; Q; R; S; T; U; V; W; Y; Z Loving Arms examines the war-related writings of five British women whose works explore the connections among gender, war, and story-telling. While not the first study to relate the subjects of gender and war, it is the first within a growing body of criticism to focus specifically on British culture during and after World War II.Evoking the famous ""St. Crispin's Day"" speech from Henry V and then her own father's account of being moved to tears on V-J Day because he had been too young to fight, Karen Schneider posits that the war story has a far-reaching potency. She admits -- perhaps for aEnglish literature20th centuryHistory and criticismWorld War, 1939-1945Great BritainLiterature and the warWomen and literatureGreat BritainHistory20th centuryEnglish literatureWomen authorsHistory and criticismWar stories, EnglishHistory and criticismWorld War, 1914-1918WomenGreat BritainEnglish literatureHistory and criticism.World War, 1939-1945Literature and the war.Women and literatureHistoryEnglish literatureWomen authorsHistory and criticism.War stories, EnglishHistory and criticism.World War, 1914-1918Women820.9/358Schneider Karen1948-1717738MiAaPQMiAaPQMiAaPQBOOK9910812718303321Loving arms4114225UNINA