Die Kunst als Physiologie: Nietzsches asthetische Theorie und literarische Produktion

Frizen, Werner; Pfotenhauer, Helmut

doi:10.2307/1429062

Cited by 3 publications

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“…Nietzsche's writings were similarly suffused with biology and especially physiological aesthetics. This dimension of his thought was downplayed in late twentieth century Nietzsche interpretation, but has been recovered by recent criticism (Wahrig-Schmidt 1988;Pfotenhauer 1985;Moore and Brobjer 2004). There are good reasons to assume that the Ferkel circle, and especially the devoted Nietzsche enthusiast Przybyszewski, would have been particularly alert to it.…”

Section: Munch and Strindberg In Berlinmentioning

confidence: 99%

How Edvard Munch and August Strindberg Contracted Protoplasmania: Memory, Synesthesia, and the Vibratory Organism in Fin-de-Siècle Europe

Brain

2010

Interdisciplinary Science Reviews

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Late nineteenth-century scientists sought to bring together energy and evolution through the elastic, semi-fluid substance preponderant in the cells of all organisms: protoplasm. For several decades protoplasm functioned as a "boundary-object", supporting a myriad of scientific problems and research constituencies. This essay considers research into protoplasm as the bearer of vibrations thought to store organic memory, including heredity, and serving as the basis of physiological and psychological movement and differentiation of sensory function. The constituencies interested in these notions of the vibratory organism included several aesthetic theorists and artists, including the Norwegian painter Edvard Munch and his friend August Strindberg, the Swedish playwright, painter, and photographer. The explorations of Munch and Strindberg in the possibilities of synesthetic and automatic art are shown to be a critical component of early modernism.

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Section: Munch and Strindberg In Berlinmentioning

confidence: 99%