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001 240880
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006 m|||||o||d||||||||
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008 230228t20192019gw fo d z eng d
020 _a9783110610338
_qprint
020 _a9783110610567
_qEPUB
020 _a9783110612301
_qPDF
024 7 _a10.1515/9783110612301
_2doi
035 _a(DE-B1597)9783110612301
035 _a(DE-B1597)497993
035 _a(OCoLC)1102806165
040 _aDE-B1597
_beng
_cDE-B1597
_erda
050 4 _aB3376.W564
072 7 _aPHI016000
_2bisacsh
082 0 4 _a170.4
_223
084 _aonline - DeGruyter
100 1 _aLobo, Tea
_eautore
245 1 2 _aA Picture Held Us Captive :
_bOn Aisthesis and Interiority in Ludwig Wittgenstein, Fyodor M. Dostoevsky and W.G. Sebald /
_cTea Lobo.
264 1 _aBerlin ;
_aBoston :
_bDe Gruyter,
_c[2019]
264 4 _c©2019
300 _a1 online resource (X, 292 p.)
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
490 0 _aOn Wittgenstein ,
_x2365-9629 ;
_v6
505 0 0 _tFrontmatter --
_tAcknowledgments --
_tContents --
_tNote on the Russian Transliteration --
_tIntroduction --
_t1. Aisthesis and Interiority in Ludwig Wittgenstein’s Writings --
_t2. Showing Intentions and Seeing Aspects in Fyodor M. Dostoevsky’s Novels --
_t3. The Visibility of Pain in W. G. Sebald’s Novels --
_tConclusion --
_tBibliography --
_tIndex of Names --
_tIndex of Names
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aWhile there are publications on Wittgenstein’s interest in Dostoevsky’s novels and the recurring mentions of Wittgenstein in Sebald’s works, there has been no systematic scholarship on the relation between perception (such as showing and pictures) and the problem of an adequate presentation of interiority (such as intentions or pain) for these three thinkers.This relation is important in Wittgenstein’s treatment of the subject and in his private language argument, but it is also an often overlooked motif in both Dostoevsky’s and Sebald’s works. Dostoevsky’s depiction of mindset discrepancies in a rapidly modernizing Russia can be analyzed interms of multi-aspectivity. The theatricality of his characters demonstrates especially well Wittgenstein’s account of interiority's interrelatedness with overt public practices and codes. In Sebald’s Austerlitz, Wittgenstein’s notion of family resemblances is an aesthetic strategy within the novel. Visual tropes are most obviously present in Sebald's use of photography, and can partially be read as an ethical-aesthetic imperative of rendering pain visible. Tea Lobo's book contributes towards a non-Cartesian account of literary presentations of inner life based on Wittgenstein's thought.
530 _aIssued also in print.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 28. Feb 2023)
650 4 _aAisthesis.
650 4 _aDostojewski.
650 4 _aSchmerz.
650 4 _aSebald.
650 4 _aWittgenstein.
650 7 _aPHILOSOPHY / History & Surveys / Modern.
_2bisacsh
653 _aAisthesis.
653 _aDostoevsky.
653 _aPain.
653 _aSebald.
653 _aWittgenstein.
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.1515/9783110612301
856 4 0 _uhttps://www.degruyter.com/isbn/9783110612301
856 4 2 _3Cover
_uhttps://www.degruyter.com/document/cover/isbn/9783110612301/original
942 _cEB
999 _c240880
_d240880