Der Aufbau der geschichtlichen Welt in den Geisteswissenschaften

Dilthey, Wilhelm

doi:10.13109/9783666303081

Cited by 179 publications

(117 citation statements)

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“…Similar to Dilthey (1927), Weber (1958) also found music to be distinct from and therefore irreducible to language. Weber began to develop an analysis of the social correlates of the sound structures of music that was similar to the sociolinguistic study of the morphemic structure of language (see Honigsheim 1989).…”

Section: Acknowledgmentsmentioning

confidence: 72%

Symbolic Interaction as Music: The Esthetic Constitution of Meaning, Self, and Society

Vannini

Waskul

2006

Symbolic Interaction

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Although generally neglected by sociological theory and research, esthetics is undeniably important in individual and collective life. In this article we argue for a revitalization of symbolic interactionist and sociological concern with esthetics while also proposing a metaphor of symbolic interaction as music. Esthetic value is omnipresent in life, the natural environment (Dewey 1925), the arts (Becker 1982) and sciences (Dewey [1934] 1959), household possessions (Csikszentmihalyi and Halton 1981), and work and occupations (Fine 1996). However, for the sake of developing a consistent and cohesive metaphor, we will limit our discussion to the value of esthetics in music, without making any distinction between classical and popular music. Widely accepted dramaturgical and narrative metaphors structure understandings of numerous aspects of symbolic interaction, yet neither directly concerns the important role of esthetics in the constitution of meaning, interaction, self, and society.

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Section: Acknowledgmentsmentioning

confidence: 72%

Symbolic Interaction as Music: The Esthetic Constitution of Meaning, Self, and Society

Vannini

Waskul

2006

Symbolic Interaction

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“…On the one hand, he emphasized, "Life and life experience are a perennial spring of understanding of the socio-historical world" [8]. On the other hand, he claimed, "The history is the life understood from the point of view of all mankind" [9]. To understand the meaning of history in its concept, it is necessary to consider his educational background.…”

Section: Resultsmentioning

confidence: 99%

“…As Dilthey wrote, "Man knows himself only through history" and . "What man is history alone tells him, not introspection" [9]. In other words, human nature reveals itself through the varied manifestation of its potentialities in the passage of time.…”

Section: Resultsmentioning

confidence: 99%

W. Dilthey as an Expert Historian

Guryeva

Mazayeva

Kruglikovai

2016

SHS Web of Conferences

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Abstract. The work is devoted to the analysis of W. Dilthey's (1833Dilthey's ( -1911 heritage as a practical historian. There is a need for a deeper understanding of his views on the human studies in general. The purpose of this work is the analysis of concrete historical works of Dilthey in their interrelation with his theoretical and methodological views. According to the paper purpose, the tasks of the research are: to examine the main features of Dilthey's theoretical and methodological views in their evolution; to observe the philosophical foundation of his works; to describe and to interpret the way he constructs historical reality in his works about Renaissance, the Reformation, the Enlightenment. The object of this paper is connection and interrelation of theoretical and practical works of Dilthey..

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“…According to Dilthey, this effort can lead to a sublime form of comprehension of the past. 21 Aby Warburg believed it was possible for the later-born to capture the mood of ancestors through "a kind of bodily, iconic thought that conflates inner psychic states with outer gesture". 22 The linguistic turn and cultural history have stated that every discourse regarding the past, including scientific discourse, contains an unavoidable residue of arbitrariness.…”

Section: Sentimental Historiographymentioning

confidence: 99%

The idea of culture and the history of emotions

Petri

2013

Historein

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Although emotions already had a history in historiography, during the last ten or fifteen years they have achieved a prominent place in historical research. Among the immediate reasons for this may be political conflict, terrorism, warfare and their representation in the mass media as well as the economic crisis and the loss of confidence in the future that characterises present western societies. If compared to the well-ordered world that strategic equilibrium and economic prosperity created after the Second World war, unexpected occurrences seem to offer new proof that "irrational" behaviour and emotion-guided decisions drive history. Another plausible reason relates back to the cultural turn in social sciences and history, which produced new interest both in collective expressions of feeling and personal experience in history.My essay makes no claim to offer a bibliographical overview; the number of studies is too huge and still increasing. I hope, however, to offer a reasonable itemisation of the three main streams in this field of study: the history of individual emotions, the study of the role that emotions have in historical processes and the reflection on the influence of emotions on history writing. The second part of the article is devoted to the methodological and theoretical status of the study of past emotions. Following the linguistic turn, the majority of the historians of emotion would define themselves as cultural historians. This article will criticise the definition of emotions as merely cultural phenomena. It will go back to earlier debates in historiography, philosophy and social sciences and briefly consider recent research in the humanities and neurosciences. I maintain here that the cultural history of emotions should be able to deconstruct its own history and contextualise histor-

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Der Aufbau der geschichtlichen Welt in den Geisteswissenschaften

Cited by 179 publications

References 0 publications

Symbolic Interaction as Music: The Esthetic Constitution of Meaning, Self, and Society

Symbolic Interaction as Music: The Esthetic Constitution of Meaning, Self, and Society

W. Dilthey as an Expert Historian

The idea of culture and the history of emotions

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