In medieval universities, preaching formed an essential part of the curriculum of theology. Though we know next to nothing about how the subject was formally taught and studied, we are well informed about its requirement and exercise. As early as the end of the twelfth century Peter the Chanter stated that the graduate in theology had to show proficiency in three areas: in lecturing, disputation, and preaching . How and when in a student's career such preaching was to be done (...) is set out in the statutes of major universities, such as Paris, Oxford, Cambridge, and others. In 1253, for instance, the statutes of Oxford University declared that “no one shall incept in theology in this university unless he has first been regent in the arts …, and unless he has lectured on some book from the biblical canon or a book of the Sentences or Histories, and preached in public before the university.” The three-fold requirement was still in place in the fourteenth century and later: “Those who are about to incept in theology, before they are admitted to inception, must throughout all theology schools oppose in public, preach in public, and read in public some book from the biblical canon or the Sentences.” The times and places of such required public preaching, as well as the order in which theologians would give their public sermons, were all regulated in similar statutes and have been discussed in Hastings Rashdall's history of medieval universities and, with particular focus on Oxford, by A. G. Little and F. Pelster. (shrink)

A most excruciating handicap for the understanding and appraisal of medieval poetry, especially lyric poetry, is our limited knowledge of its context. In many cases we know nothing at all about the author, about his or her character and the situation in and for which a poem was written, about the intended audience, or about the way in which a text, say the Corpus Christi plays, was presented. Now and then the manuscript environment may furnish a hint, or another text (...) may provide a clue , but by and large the available information is minimal, to the point that an ingenious critic has been forced to reconstruct the context of “poems without context” from the texts themselves. (shrink)

As the following remarks are to reflect my own scholarly commitment and experience, I should begin by saying that they come from a medievalist who in his work is always conscious of dealing with the works of a past state of civilization. They also come from a historian of literature, who in contrast to political or economic historians makes written documents the subject of his study, and who in contrast to linguists looks at them as works of verbal art. And (...) finally, they come from a professor of English literature who works closely with colleagues whose ultimate aim is the aesthetic analysis and appraisal of verbal objects, and of whom many today feel driven to ask deeper theoretical questions about, not only the nature of aesthetic values, but the nature of language itself and its function to communicate “meaning,” about the relation between object and perceiver, about the psychological or political function of literature and of language, and so on. Working in such an environment naturally brings with it a certain amount of confrontation, which in turn has its occasional political side in discussions about such practical matters as departmental curricula and new appointments. Though I would not rank myself among philologists who have little use for literary criticism and theory, I can of course not help being conscious of pressures and of attitudes on the other side — however unvoiced they may remain — that would reject “philology.” Hence, my remarks will reflect a practitioner's concern with what philology is and with what continuing value for the study of medieval literature it has. (shrink)

Musik ist anders. Durch Sprechen und Schreiben ist sie nicht zu ersetzen. Dennoch erzeugt sie den Wunsch nach Verständigung: über Musik selbst und über Zusammenhänge, die sie zu dem werden lassen, was sie ist. Auch wenn sie sich medial stets autonom verwirklicht, so ist Musik nicht isoliert. Die klingende Kunst reagiert - auf andere Musik, aber auch auf soziale oder ästhetische Bedingungen ihrer Zeit, wenngleich mit eigenen Mitteln. Der Band versammelt 35 Beiträge zur Musik von der Renaissance bis zum Bebop (...) und Techno, die aus musik- und literaturwissenschaftlichen, theologischen, philosophischen, philologischen und analytischen Perspektiven an diesen Gedanken anschliessen. (shrink)

Dispositional essentialism is a non-Humean view about the essences of certain fundamental or natural properties that looms large in recent metaphysics , not least because it promises to explain neatly the natural modalities such as laws of nature, counterfactuals, causation and chance. In the current paper, however, several considerations are presented that indicate a serious tension between its essentialist core thesis and natural “metaphysical” interpretations of its central explanatory claims.

This essay introduces ideas from Confucius, Xunzi, the Six Dynasties, and Kant about beauty, music, morality, and what we might today call “aesthetic education.” It asks how beauty and morality are related and how they ideally should be related to each other. We know that beauty and morality can drift apart, and we may wonder how aesthetic education might work best. Should the arts be a means for developing morality? Or should it be the other way around? These questions are (...) still relevant today. But our world has changed, not only since Confucius, but also since Kant. We may ask what to make of their ideas in our present time. I argue that there are good reasons for keeping morality and aesthetics apart, somewhat in the spirit of Kant, and in opposition to the idea of “fusing” the two. (shrink)

Ereignet sich anstelle von Klang oder Sprache, Musik oder Lärm lediglich Stille oder vielmehr das, was wir für Stille halten, kommt ein unerwartetes Aufmerken in Gang. Die Stille kann auffordern, genauer hinzuhören, aber auch genauer hinzusehen. Ein plötzliches Aufmerken geschieht jedoch nur, wenn die Stille den Wahrnehmenden unerwartet trifft. Einer im Alltäglichen zumeist durch die Priorität des Bewussten, Bekannten oder Vertrauten untergeordneten Stille, können Arbeiten, wie jene von Aernout Mik, eine konkrete Erfahrbarkeit geben. Was er erfahrbar werden lässt, ist aber (...) nicht die Stille, sondern das, was in der Regel überhört wird. In der Verkehrung des vermeintlich Unhörbaren in ein Hörbares zeigt sich mit der Stille ein Möglichkeitsraum, dessen Besonderheit die Autorin mit der Frage, was sich in der Erfahrung von Stille zeigt, nachgeht. Ist also von einer Stille als ästhetischem Phänomen die Rede, ist nicht eine Stille innerhalb der Rezeption genuin stiller Kunstwerke gemeint, sondern der bewusste Entzug des Auditiven. Damit widerspricht die Autorin zugleich einer Vorstellung von Stille als mess- oder bestimmbarer Grösse und stellt die Stille aus der ästhetischen Erfahrung heraus ins Zentrum ihrer Betrachtungen. (shrink)

Mathematicians often say that their theorems, proofs, and theories can be beautiful. They say mathematics can be like art. They know how to move creatively and freely in their domains. But ordinary people usually cannot do this and do not share this view. They often have unpleasant memories from school and do not have this experience of freedom and creativity in doing mathematics. I myself have been a mathematician, and I wish to highlight some of the creative aspects in doing (...) mathematics. I always had the feeling that there is much freedom in mathematics and that one can do as one pleases as long as one avoids contradictions (and one can even live with contradictions for a while). In mathematics one only needs to define something and there it is! Just imagine it, and it immediately exists. Where else, besides fiction, does one have such power? --- This essay has three parts. In the first, I lay out some historical facts and views that I will need later. Second, I insert an interlude with Kant, pointing out some of his claims and insights in aesthetics, and some aspects in mathematics that I think he overlooked or underestimated. Third, I will bring out some aspects of higher mathematics that I will show are similar to art. These aspects are in the doing and creating of mathematics, not in the finished theories. They are usually not found in textbooks. I want to show that a researcher in mathematics is like a painter or composer, exploring and creating. To see this, one has to adopt a first-person perspective. In this way I will show that aesthetics plays a role and leaves its traces also in mathematics. (shrink)

"This is an extremely interesting and innovative collection with unusual empirical richness, with ethical and epistemological discussions cutting across ...

Bücher zählen bis heute zu den wichtigsten kulturellen Errungenschaften der Menschheit. Ihre Erfindung war mit der Einführung des Buchdrucks ähnlich bedeutsam wie des Internets: Erstmals wurde eine massenweise Weitergabe von Informationen möglich. Bildung, Wissenschaft, Forschung, aber auch die Unterhaltung wurde auf neuartige, technisch wie inhaltlich revolutionäre Basis gestellt. Bücher verändern die Gesellschaft bei heute. Die technischen Möglichkeiten des Massen-Buchdrucks führten zu einem radikalen Zuwachs an Titeln im 18. Und 19 Jahrhundert. Dennoch waren die Rahmenbedingungen immer noch ganz andere als heute: (...) Wer damals ein Buch schrieb, verfasste oftmals ein Lebenswerk. Dies spiegelt sich in der hohen Qualität alter Bücher wider. Leider altern Bücher. Papier ist nicht für die Ewigkeit gemacht. Daher haben wir es uns zur Aufgabe gemacht, das zu Buch gebrachte Wissen der Menschheit zu konservieren und alte Bücher in möglichst hoher Qualität zu niedrigen Preisen verfügbar zu machen. (shrink)

Precursors of the linguistic turn: German philosophy of language in the late 19th century -- From text to discourse: a shift towards a pragmatic interpretation of "fictionality" -- Projecting a science of literature: on a theoretical basis for a rational science of literature -- The empirical science of literature ESL: a new paradigm -- From literary communication to literary systems -- Implementations: conventions and literary systems -- Unfinished business: literary history -- Changes in epistemology: media revisited -- Histories and discourses: (...) for an integrated communication science -- Aspects of media societies -- Advertising lessons for empirical aesthetics -- The self-organisation of human communication. (shrink)