Hans Ulrich Gumbrecht: Production of Presence. What Meaning cannot Or more accurately an oscillation between interpretation and presence. PREHISTORY. Production of Presence: What Meaning Cannot Convey. Author: Hans Ulrich Gumbrecht. × (60×90/16) hard cover, pp., ISBN 5‑‑‑4 . Production of Presence. What Meaning Cannot Convey. Hans Ulrich Gumbrecht. STANFORD UNIVERSITY PRESS. STANFORD, CALIFORNIA
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Hans Ulrich Gumbrecht
Dec 26, Michael Meeuwis rated it really liked it. Shawn rated it really liked it Mar 10, Jun 27, Ben rated it liked it. Fascinating, audacious, and clearly written.
As he therefore states at the beginning of his book, his claim to go beyond interpretation is in essence “anticlimatic”: Brigham Young University, Meaning culture: As an Emeritus, Gumbrecht continues to write, participate in campus life, and meet with students. Gumbrecht calls for the generation of concepts that would “allow us to point to what is irreversibly nonconceptual in our lives” and makes a case for three of his own: Among other elements, Gumbrecht also presents as key elements of spectatorship the importance of styles of communication and sociality among fans and the spectators’ sense of gratitude toward players.
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Production of Presence: What Meaning Cannot Convey
Through the concept of Stimmung, Gumbrecht has argued that certain cultural events and aesthetic experiences can become “present,” or have a tangible effect on human senses, emotions, and bodies. In addition to his work on presence, materiality, and hermeneutics in the humanitiesGumbrecht’s main areas of research, teaching, and publishing include:.
About Hans Ulrich Gumbrecht. Archived from the original on December 18, Latency as Origin of the Present — Critical Inquiry”.
Ivonne rated it it was amazing Jul 21, As an ethnographer engaged with what Gumbrecht calls presence effects I found some of his assertions at once overly cautious and ethereal.
Production of Presence: What Meaning Cannot Convey | Hans Ulrich Gumbrecht
Over an academic quarterthe Group discusses one contemporary or historical text from the Western philosophical tradition. Remember me on this computer.
This book seems to summarize my own academic career so far. An Anecdotal Account of Epistemological Shifts.
Epiphany implies a “staging”, through which a “complex and embodied form” is presented. Paperbackpages.
Gumbrecht was a Full Professor at the University of Bochum from toand from to at the University Siegen, where he founded the first Humanities Graduate Program in Germany, which was dedicated to the topic “Forms of Communication as Forms of Preeence.
Bruno rated it liked it Mar 14, The intersubjective and the performative are in general impoverished in his work which leads him to characterize the relation between presence and meaning as volatile rather than often stabilized in practice, for example through ritual a concept he often invokes and the other ways that publics constituted through co-presence dampen such volatility through repetitive associations.
He wrote primarily in German during his early career, and in English after moving to pfoduction United States in But he then states that this “epiphanic” experience, insofar that it reactivates our bodily dimension, meets the things of the world “in their pre-conceptual thingness”or in other terms, in a form totally bereft of meaning. Skip to main content.
Hans Ulrich Gumbrecht. Production of Presence: What Meaning Cannot Convey | New Literary Observer
The aim ulrrich the book is to reevaluate the production of knowledge in this area, with a particular focus on reviving the effects of sensual, bodily presence. Marina Nabirkina rated it it was amazing Oct 28, True also, Gumbrecht points out that such aesthetic epiphanies as can be found in art but not onlydespite their insularity from everyday life, should be understood as giving rise to a general experience erleben — and can be thus said to be meaningful since they reveal the very nature of the things of the world.
Gumbrecht’s focus on presence in the reading of literature is significant for his elaboration of a “post- hermeneutic ” form of literary criticism.
In essence, the humanities are enjoined to renounce their purely meaning-based epistemology, and “get their hands dirty” 78 by engaging with the bodily, sensorial dimension of the world, its very “presence”, “substance” — and even “Being”. Jayne rated it really liked it Sep 19, By identifying specific moods as temporal in nature, he attempts to capture the spirit of particular time periods and to recreate how they were experienced by people living at those times.
Gumbrecht has written extensively on ” Stimmung “a German word also referencing the tuning of musical instruments, but more commonly meaning ” mood ” and as such used by Gumbrecht to indicate the mood or atmosphere of a particular era or artistic work.