Poetry and Experience (Wilhelm Dilthey : Selected Works)
Wilhelm Dilthey, Rudolf A. Makkreel, Frithjof Rodi
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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.
much the case in philosophy, etc., as in poetry. Disinterested means impersonal. Christ on the Cross, who is conscious that death is involved in his divine mission, acts impersonally. Disinterestedness is thus not only a property of the aesthetic impression, but also of the lived experience of the creative artist. Thus Kant stands corrected. The liberation of the imaginative process from contingency is also its liberation from the personal. POETICS 22.8 STRUCTURAL PSYCHOLOGY LOCALIZATION OF
basic predisposition in certain persons whereby everything, from the most basic processes of psychic life upward, aims at poetic creativity. It operates with the greatest strength in children, in primitive people, in individuals with passions and dreams, and in artists. Thus it is distinguished from the regulated imagination of the political thinker, the inventor, or the scientist whose professional discipline serves to regulate the formative processes in accordance with the standard of reality.
superhuman being (1: ibermensch). He declared himself a god before the people, who had fallen into an ecstacy of religious adoration. The feeling of his superpower (Uberkraft) became pathological. There lies his guilt. He knows this guilt better than the priest. The latter sees only relationships of domination and subservience everywhere, and thus he hates and blames Empedocles because he divulged to the people the secret of domination that resides in the power of nature. Empedocles, however,
what moves us. For, as such, it is still mixed with traits that the reader or listener cannot re-create without offense and which are, therefore, repulsive. If realism is to stir our hearts, it must work through generalization, exclusion of what is accidental, and through emphasis on what is essential and meaningful for the feeling of life. Then the mind and heart of the reader will accept the images produced by realism because he will feel his own heartbeat more fully, because the very stuff of
imaginative nexus arising in the mind is to he limited to a mere successive order. The action of a drama best corresponds to the sequence of words, since each individual part by itself already provides satisfaction, while at the same time each contributes something to the formation of the whole in the imagination. Therefore, the portrayal of what is simultaneous is the object of poetry only to the extent that it is either a natural effect of the action (disclosure of character) or artificially