@article{Keusch2017, author = {Keusch, Juliane}, title = {Leiblichkeit und Lebendigkeit in der Ph{\"a}nomenologie Merleau-Pontys}, series = {Das Leben im Menschen oder der Mensch im Leben?}, journal = {Das Leben im Menschen oder der Mensch im Leben?}, editor = {Ebke, Thomas and Zanfi, Caterina}, url = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus4-396181}, pages = {437 -- 454}, year = {2017}, language = {de} } @phdthesis{Reimer2015, author = {Reimer, Anna Maria}, title = {The poetics of the real and aesthetics of the reel}, url = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus4-95660}, school = {Universit{\"a}t Potsdam}, pages = {298}, year = {2015}, abstract = {The dissertation proposes that the spread of photography and popular cinema in 19th- and 20th-century-India have shaped an aesthetic and affective code integral to the reading and interpretation of Indian English novels, particularly when they address photography and/or cinema film, as in the case of the four corpus texts. In analyzing the nexus between 'real' and 'reel', the dissertation shows how the texts address the reader as media consumer and virtual image projector. Furthermore, the study discusses the Indian English novel against the backdrop of the cultural and medial transformations of the 20th century to elaborate how these influenced the novel's aesthetics. Drawing upon reception aesthetics, the author devises the concept of the 'implied spectator' to analyze the aesthetic impact of the novels' images as visual textures. No God in Sight (2005) by Altaf Tyrewala comprises of a string of 41 interior monologues, loosely connected through their narrators' random encounters in Mumbai in the year 2000. Although marked by continuous perspective shifts, the text creates a sensation of acute immediacy. Here, the reader is addressed as implied spectator and is sutured into the narrated world like a film spectator ― an effect created through the use of continuity editing as a narrative technique. Similarly, Ruchir Joshi's The Last Jet Engine Laugh (2002) coll(oc)ates disparate narrative perspectives and explores photography as an artistic practice, historiographic recorder and epistemological tool. The narrative appears guided by the random viewing of old photographs by the protagonist and primary narrator, the photographer Paresh Bhatt. However, it is the photographic negative and the practice of superimposition that render this string of episodes and different perspectives narratively consequential and cosmologically meaningful. Photography thus marks the perfect symbiosis of autobiography and historiography. Tabish Khair's Filming. A Love Story (2007) immerses readers in the cine-aesthetic of 1930s and 40s Bombay film, the era in which the embedded plot is set. Plotline, central scenes and characters evoke the key films of Indian cinema history such as Satyajit Ray's "Pather Panchali" or Raj Kapoor's "Awara". Ultimately, the text written as film dissolves the boundary between fiction and (narrated) reality, reel and real, thereby showing that the images of individual memory are inextricably intertwined with and shaped by collective memory. Ultimately, the reconstruction of the past as and through film(s) conquers trauma and endows the Partition of India as a historic experience of brutal contingency with meaning. The Bioscope Man (Indrajit Hazra, 2008) is a picaresque narrative set in Calcutta - India's cultural capital and birthplace of Indian cinema at the beginning of the 20th century. The autodiegetic narrator Abani Chatterjee relates his rise and fall as silent film star, alternating between the modes of tell and show. He is both autodiegetic narrator and spectator or perceiving consciousness, seeing himself in his manifold screen roles. Beyond his film roles however, the narrator remains a void. The marked psychoanalytical symbolism of the text is accentuated by repeated invocations of dark caves and the laterna magica. Here too, 'reel life' mirrors and foreshadows real life as Indian and Bengali history again interlace with private history. Abani Chatterjee thus emerges as a quintessentially modern man of no qualities who assumes definitive shape only in the lost reels of the films he starred in. The final chapter argues that the static images and visual frames forwarded in the texts observe an integral psychological function: Premised upon linear perspective they imply a singular, static subjectivity appealing to the postmodern subject. In the corpus texts, the rise of digital technology in the 1990s thus appears not so much to have displaced older image repertories, practices and media techniques, than it has lent them greater visibility and appeal. Moreover, bricolage and pastiche emerge as cultural techniques which marked modernity from its inception. What the novels thus perpetuate is a media archeology not entirely servant to the poetics of the real. The permeable subject and the notion of the gaze as an active exchange as encapsulated in the concept of darshan - ideas informing all four texts - bespeak the resilience of a mythical universe continually re-instantiated in new technologies and uses. Eventually, the novels convey a sense of subalternity to a substantially Hindu nationalist history and historiography, the centrifugal force of which developed in the twentieth century and continues into the present.}, language = {en} } @article{Sommer2017, author = {Sommer, Christian}, title = {Approches du vivant entre anthropologie et ph{\´e}nom{\´e}nologie}, series = {Das Leben im Menschen oder der Mensch im Leben?}, journal = {Das Leben im Menschen oder der Mensch im Leben?}, publisher = {Universit{\"a}tsverlag Potsdam}, address = {Potsdam}, isbn = {978-3-86956-382-4}, url = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus4-395904}, pages = {59 -- 76}, year = {2017}, language = {fr} } @article{vonKalckreuth2020, author = {von Kalckreuth, Moritz}, title = {Allt{\"a}gliche Lebenswirklichkeit und ontologische Theorie}, series = {Deutsche Zeitschrift f{\"u}r Philosophie : Zweimonatsschrift der internationalen philosophischen Forschung}, volume = {68}, journal = {Deutsche Zeitschrift f{\"u}r Philosophie : Zweimonatsschrift der internationalen philosophischen Forschung}, number = {2}, publisher = {De Gruyter}, address = {Berlin}, issn = {0012-1045}, doi = {10.1515/dzph-2020-0017}, pages = {275 -- 287}, year = {2020}, abstract = {The aim of this paper is to discuss the relation between our experience in everyday life and ontological reflection. While many accounts in contemporary ontology still defend the idea that the world consists only of material objects, some new views on everyday metaphysics or social ontology which try to articulate the specific properties of the objects used and found in ordinary life have been established during the last years. In the critical ontology of Nicolai Hartmann, the social and cultural dimension of our life is situated in the sphere of spiritual being [Geistiges Sein]. By investigating the methodical relation of phenomenology and critical ontology as well as specific entities (objective spirit, cultural objects), it is established that Hartmann offers a wide and methodologically reflected view which could be able to satisfy the practical significance of these entities.}, language = {de} } @article{vonKalckreuth2019, author = {von Kalckreuth, Moritz Alexander}, title = {Expansivit{\"a}t, Objektivit{\"a}t und Aktualit{\"a}t des Betroffenseins}, series = {Horizon : studies in phenomenology : Studien zur Ph{\"a}nomenologie : fenomenologičeskie issledovanija : {\´e}tudes ph{\´e}nom{\´e}nologiques}, volume = {8}, journal = {Horizon : studies in phenomenology : Studien zur Ph{\"a}nomenologie : fenomenologičeskie issledovanija : {\´e}tudes ph{\´e}nom{\´e}nologiques}, number = {1}, publisher = {St. Petersburg University Press}, address = {St. Petersburg}, issn = {2226-5260}, doi = {10.21638/2226-5260-2019-8-1-211-229}, pages = {211 -- 229}, year = {2019}, abstract = {The aim of this paper is to discuss Nicolai Hartmann's conception of personhood as developed in his philosophy of spiritual being. Many contemporary accounts of personhood are systematically focused on rational phenomena as self-consciousness or practical reasoning, which are understood as 'conditions of personhood'. Apart from having some technical problems, those accounts limit our self-under-standing as persons on distinct rational properties and often fail to consider the sociocultural aspects of the personal situation. Nicolai Hartmann — although respecting the role of reason — understands personhood particularly as participation in a shared spiritual sphere called Objektiver Geist (objective spirit), which includes various intersubjective phenomena as languages, religion, moral, arts, and the sciences. Being part of this sphere seems to be more fundamental than having distinct rational properties, which requests a spiritual frame to be exerted. Further it is shown that Hartmann's ontology of person also includes a notion of being affected by the existential weight of situations and other person's actions — an idea often maintained by phenomenological positions. By regarding rational, intersubjective and affective aspects, Hartmann's philosophy of person succeeds in offering a broad articulation of our self-understanding and may also be seen as providing a background to understand certain phenomena that are part of the personal situation.}, language = {de} } @article{Wilhelm2018, author = {Wilhelm, Jan Lorenz}, title = {Atmosphere in the home stadium of Hertha BSC (German Bundesliga)}, series = {Social \& cultural geography}, volume = {21}, journal = {Social \& cultural geography}, number = {5}, publisher = {Routledge, Taylor \& Francis Group}, address = {London}, issn = {1464-9365}, doi = {10.1080/14649365.2018.1514646}, pages = {718 -- 737}, year = {2018}, abstract = {German football stadiums are well known for their atmosphere. It is often described as 'electrifying,' or 'cracking.' This article focuses on this atmosphere. Using a phenomenological approach, it explores how this emotionality can be understood and how geography matters while attending a match. Atmosphere in this context is conceptualized based on work by as a mood-charged space, neither object- nor subject-centered, but rather a medium of perception which cannot not exist. Based on qualitative research done in the home stadium of Hertha BSC in the German Bundesliga, this article shows that the bodily sensations experienced by spectators during a visit to the stadium are synchronized with events on the pitch and with the more or less imposing scenery. The analysis ofin situdiaries reveals that spectators experience a comprehensive sense of collectivity. The study presents evidence that the occurrence of these bodily sensations is strongly connected with different aspects of spatiality. This includes sensations of constriction and expansion within the body, an awareness of one's location within the stadium, the influence of the immediate surroundings and cognitive here/there and inside/outside distinctions.}, language = {en} } @misc{Wilhelm2018, author = {Wilhelm, Jan Lorenz}, title = {Atmosphere in the home stadium of Hertha BSC (German Bundesliga)}, series = {Postprints der Universit{\"a}t Potsdam : Mathematisch-Naturwissenschaftliche Reihe}, journal = {Postprints der Universit{\"a}t Potsdam : Mathematisch-Naturwissenschaftliche Reihe}, number = {486}, issn = {1866-8372}, url = {http://nbn-resolving.de/urn:nbn:de:kobv:517-opus4-420639}, pages = {21}, year = {2018}, abstract = {German football stadiums are well known for their atmosphere. It is often described as 'electrifying,' or 'cracking.' This article focuses on this atmosphere. Using a phenomenological approach, it explores how this emotionality can be understood and how geography matters while attending a match. Atmosphere in this context is conceptualized based on work by as a mood-charged space, neither object- nor subject-centered, but rather a medium of perception which cannot not exist. Based on qualitative research done in the home stadium of Hertha BSC in the German Bundesliga, this article shows that the bodily sensations experienced by spectators during a visit to the stadium are synchronized with events on the pitch and with the more or less imposing scenery. The analysis of in situ diaries reveals that spectators experience a comprehensive sense of collectivity. The study presents evidence that the occurrence of these bodily sensations is strongly connected with different aspects of spatiality. This includes sensations of constriction and expansion within the body, an awareness of one's location within the stadium, the influence of the immediate surroundings and cognitive here/there and inside/outside distinctions.}, language = {en} }