Philosophy Dictionary of ArgumentsHome
| |||
|
| |||
| Representation/Presentation: A representation or presentation is a reproduction of an object, event, sign, sound, imagination, memory, etc. The medium of representation can belong to the same domain (e.g. summary of a text) or to another domain (e.g. film about a historical event). In a representation, the levels must always be distinguished. The object is not identical with its representation. See also Image, Pictures, Reproduction, Copy, Media, Levels._____________Annotation: The above characterizations of concepts are neither definitions nor exhausting presentations of problems related to them. Instead, they are intended to give a short introduction to the contributions below. – Lexicon of Arguments. | |||
| Author | Concept | Summary/Quotes | Sources |
|---|---|---|---|
|
Hans-Georg Gadamer on Representation (Presentation) - Dictionary of Arguments
I 114 Representation/Game/Art/Gadamer: All representation is (...) as far as possible a representation for someone. The fact that this possibility is meant as such is what makes the play character of art so peculiar. The closed space of the world of the game lets the one wall fall, as it were.(1) The cult play and the play ("play" as in acting in a play, German: "Schauspiel") clearly do not represent in the same sense as the playing child. In that they represent, they do not point out, but at the same time point beyond themselves to those who watch and participate in them. Here, play is no longer the mere representation of an ordered movement, nor is it also the mere representation in which the playing child is absorbed, but it is "representing for ...". This instruction inherent in all representation is, as it were, fulfilled here and becomes constitutive for the existence of art. Cf. >Play/Gadamer. I 121 Performance/Act/Play/Theatre/Music/Gadamer: The performance of a play is (...) not simply detachable from it as something that does not belong to its essential being, but is as subjective and fluid as the aesthetic experiences in which it is experienced. Rather, it is in the performance and only in it - and this is most clearly demonstrated by the music - that one encounters the work itself, just as the divine is encountered in the cult. Here the methodical gain becomes visible, which the starting point of the concept of play brings in. The work of art cannot simply be isolated from the conditions of access under which it appears, (...) [The work] itself belongs in the world it presents itself to. Acting is only really where it is played (...). Art/Gadamer: The thesis is thus that the being of art cannot be determined as the object of an aesthetic consciousness, because conversely the I 122 aesthetic behaviour is more than it knows about itself. It is a part of the process of being of representation and belongs to the game as a game in its essence. I 137 Representation/Gadamer: The viewer does not behave in the distance of the aesthetic consciousness that is art, but in the communion of being there. Cf. >Aesthetic Consciousness/Gadamer. In the end, the real emphasis of the tragic phenomenon lies in what is presented and recognized there and in what participation is obviously not arbitrary. As much as the tragic play, which is festively performed in the theatre and which is an exceptional situation in the life of everyone, it is not like an adventurous experience and does not cause an intoxication of numbness from which one awakens to one's true being, but I 138 the elevatedness and the shock that comes over the viewer, in reality deepen his or her continuity with him- or herself. The tragic melancholy arises from the self-knowledge that the viewer receives. >Affirmation/Gadamer, >Tragedy/Gadamer, >Catharsis/Gadamer, >Literature/Gadamer. 1 Cf. Rudolf Kassner, Zahl und Gesicht, p. 161 f. Kassner suggests that "the most strange unity and duality of child and doll" is connected to the fact that the fourth "always open wall of the spectator" is missing here (as in the cultic act). I thus conclude that it is this fourth wall of the spectator, which closes the play world of the artwork._____________Explanation of symbols: Roman numerals indicate the source, arabic numerals indicate the page number. The corresponding books are indicated on the right hand side. ((s)…): Comment by the sender of the contribution. Translations: Dictionary of Arguments The note [Concept/Author], [Author1]Vs[Author2] or [Author]Vs[term] resp. "problem:"/"solution:", "old:"/"new:" and "thesis:" is an addition from the Dictionary of Arguments. If a German edition is specified, the page numbers refer to this edition. |
Gadamer I Hans-Georg Gadamer Wahrheit und Methode. Grundzüge einer philosophischen Hermeneutik 7. durchgesehene Auflage Tübingen 1960/2010 Gadamer II H. G. Gadamer The Relevance of the Beautiful, London 1986 German Edition: Die Aktualität des Schönen: Kunst als Spiel, Symbol und Fest Stuttgart 1977 |
||
> Counter arguments against Gadamer
> Counter arguments in relation to Representation (Presentation)
Ed. Martin Schulz, access date 2024-04-20