Crafting Flesh, Crafting the Self: Violence and Identity in Early Nineteenth-century German LiteratureBucknell University Press, 2006 - 280 Seiten This book analyzes wounded human bodies in early nineteenth-century German literature and traces their connection to changing philosophical models of the self. It argues that literary representations and metaphors of violence against the body not only offer powerful physical referents for a concept of self, but that they also define violence as an integral component of the self. |
Im Buch
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Seite 13
... examples in German culture that range from Wolf- ram von Eschenbach's Parzival , where an incessantly painful wound embodies Anfortas's transgression and inadequacy as grail king , to Franz Kafka's narrative " In the Penal Colony ...
... examples in German culture that range from Wolf- ram von Eschenbach's Parzival , where an incessantly painful wound embodies Anfortas's transgression and inadequacy as grail king , to Franz Kafka's narrative " In the Penal Colony ...
Seite 15
... example , in The Body in Pain , Elaine Scarry argues that , " for the person in pain , so incontestably and unnegotiably present is it that ' having pain ' may come to be thought of as the most vibrant example of what it is to ' have ...
... example , in The Body in Pain , Elaine Scarry argues that , " for the person in pain , so incontestably and unnegotiably present is it that ' having pain ' may come to be thought of as the most vibrant example of what it is to ' have ...
Seite 16
... example to emphasize this point . She dis- cusses the nature of injuring in war , which " is remarkable not only for the extremity and endurance of the relation between body and belief , but simultaneously for the complete fluidity of ...
... example to emphasize this point . She dis- cusses the nature of injuring in war , which " is remarkable not only for the extremity and endurance of the relation between body and belief , but simultaneously for the complete fluidity of ...
Seite 18
... example ) , the cruelest rites of all religious cults ( and all religions are at the deepest level systems of cruelties ) —all this has its origin in the instinct that realized pain is the most powerful aid to mnemonics . ) 19 Nietzsche ...
... example ) , the cruelest rites of all religious cults ( and all religions are at the deepest level systems of cruelties ) —all this has its origin in the instinct that realized pain is the most powerful aid to mnemonics . ) 19 Nietzsche ...
Seite 24
... examples of opposed tendencies : on the one hand , the search for truth on the body ; on the other , the suspicion towards the body as a source of knowledge . In the eighteenth century , the closed , unpredictable other that is the body ...
... examples of opposed tendencies : on the one hand , the search for truth on the body ; on the other , the suspicion towards the body as a source of knowledge . In the eighteenth century , the closed , unpredictable other that is the body ...
Inhalt
9 | |
We think of nothing excellent without | 36 |
To find a home only in the deep | 78 |
To recognize the culprit | 113 |
I am something | 154 |
Wounding and Embodiment | 215 |
Bibliography | 257 |
Index | 272 |
Andere Ausgaben - Alle anzeigen
Crafting Flesh, Crafting the Self: Violence and Identity in Early Nineteenth ... John B. Lyon Keine Leseprobe verfügbar - 2006 |
Häufige Begriffe und Wortgruppen
Adam Adam's aesthetic asserts become Benjamin Broken Pitcher Büch Camille Chilean Earthquake Clemens Brentano concept consciousness culture Danton Danton's Death defines Der zerbrochne Krug describes Diotima disruption drama earlier Elaine Scarry example external Fichte Fichte's Freud Friedrich Friedrich Hölderlin Georg Büchner German Gewalt Godwi healing Heinrich von Kleist highlights Hölderlin human body Hyperion Ibid identity implies individual Kant language Leben Licht literary loss Maria meaning mediation metaphor mirror stage muß narrative narrator nature notion novel pain passage philosophy physical wounding pitcher poetic political portrays rational reality recognizes reference reflection relation relationship represents Revolution rhetoric Robespierre romantic romanticism Ruprecht rupture Sämtliche Werke Scheltrede Schlegel sense significant Slavoj Žižek social split structure subject and object symbolic network symbolic order system of power tion totality transcendental idealism transcendental idealist Translation trauma unity Verlag Walter Werke und Briefe wholeness words wounded body Wunde zerbrochne Krug Žižek
Beliebte Passagen
Seite 192 - The Almighty has His own purposes. "Woe unto the world because of offenses! for it must needs be that offenses come, but woe to that man by whom the offense cometh.
Seite 211 - Wherefore if thy hand or thy foot offend thee, cut them off, and cast them from thee: it is better for thee to enter into life halt or maimed, rather than having two hands or two feet to be cast into everlasting fire.
Seite 138 - Wir können nicht entscheiden, ob das, was wir Wahrheit nennen, wahrhaft Wahrheit ist, oder ob es uns nur so scheint.
Seite 223 - Am I supposed to be content with this apology? Oh, I must be, I can't help it. I always have to put up with things. A fine wound is all I brought into the world; that was my sole endowment.
Seite 75 - Wie der Zwist der Liebenden, sind die Dissonanzen der Welt. Versöhnung ist mitten im Streit und alles Getrennte findet sich wieder. Es scheiden und kehren im Herzen die Adern und einiges, ewiges, glühendes Leben ist Alles.
Seite 53 - Aber das Haus ist öde mir nun, und sie haben mein Auge Mir genommen, auch mich hab ich verloren mit ihr. Darum irr ich umher, und wohl, wie die Schatten, so muß ich Leben, und sinnlos dünkt lange das übrige mir.
Seite 18 - Man could never do without blood, torture, and sacrifices when he felt the need to create a memory for himself; the most dreadful sacrifices and pledges (sacrifices of the first-born among them), the most repulsive mutilations (castration, for example), the...
Seite 191 - Puppen sind wir von unbekannten Gewalten am Draht gezogen; nichts, nichts wir selbst! Die Schwerter, mit denen Geister kämpfen, man sieht nur die Hände nicht wie im Märchen.