Download Alfred Schutz’s “Sociological Aspect of Literature”: by Lester Embree (auth.), Lester Embree (eds.) PDF

By Lester Embree (auth.), Lester Embree (eds.)

The maintext within the current quantity has beenconstructed out of passages stumbled on scattered aboutin thirty-five years of Alfred Schutz's writings, and it's been developed through following a pageof notes for a lecture that he gave in 1955 less than the identify "Sociological element of Literature. " the outcome should be thought of the substance of Schutz's contribution to the speculation of literature. extra element approximately how this development has beenperformed is obtainable within the Editor's advent. The complementary essays areby students from Germany, Japan, andthe usa , from a number of generations, and from the disciplines of anthropology, philosophy, and sociology. those researchers have been invited to mirror of their personal views at the major textual content and on the subject of issues observed inside and past it. Draftversions of almost all these complementary essays have been awarded for serious dialogue in a learn symposium held on the Graduate college of Political and Social technological know-how of theNewSchool for Social study on April28-29, 1995 underthe sponsorship of the guts for complicated study in Phenomen­ ology, Inc. , Florida Atlantic college; the dep. of Philosophy of The Graduate college of the recent university, Richard 1. Bernstein, Chair; and Evelyn and George Schutz, the philosopher's teenagers. Revised models of those shows and in addition numerous essays for that reason recruited are provided to start another stagein thehistory of scholarship on Schutz and the phenomenological examine encouraged by way of him. Northwestern collage Press is thanked for permission to cite broadly from Alfred Schutz, The Phenomenology of the Social global, trans.

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Extra resources for Alfred Schutz’s “Sociological Aspect of Literature”: Construction and Complementary Essays

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What happens when sounds or marks are produced, but there is no communicative intent? Nowtheproblem is, Howdo I know whatis going on in his mind? Well, even if! am merely observinghim, his body is still a field of expression for theinner life. I may, as I watch him, take my own perceptions of his bodyas signs of his conscious experiences. In so doing, I will takehis movements, words, and so forth, into account as evidence. I will direct my attention to the subjective rather than to the objective meaning-contexts of the indications I perceive.

Phantasy A. DayDream B. Play C. Make Believe D. Magic World of Primitive Man E. Fairy Tale EMyth G. Joke H. Art or Fiction 1. Architecture 2. Music 3. Painting 4. Literature a. Poetry b. Theater c. Novel a) Concerning the tension ofconsciousness, the finite provincesof meaning "are merely names fordifferent tensions of oneandthe same consciousness, and it is the same life, the mundane life, unbroken from birth to death, which is attended to in different modifications. " (1 258) b) Concerning the specific epoche; whereas Husserl had emphasized how suspending acceptance of its being-in-the-world made conscious lifeableto serve 44 ALFRED SCHUlZ'S "LITERATURE" as the transcendental ground for the world, Schutzemphasizes how there is an epoche withrespect to the practical sort of natural attitudewhen one adopts the theoretical attitude: "In this epochetiese is 'bracketed' (suspended): (1) the subjectivity of the thinker as a man among fellow-men, including his bodily existence as a psycho-physical human being within theworld; .

Thereby, it is not asserted thatthe literary representation of prose has the character of communication. " (LFMS 167) "As listener, the reader receives the word of the narrator. Thus, he faces an objective language context hehasto interpret. Theconnection withthe subjective meaning of thenarrator has almost completely been lost by him. For the reader, the narrator is always anonymous. The word in a tale, so to speak, shows the reverse of the word in poetry. In poetry, it belongs to the speaker as pure expression; theword of narration is necessarily directed at the listener.

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