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By Julia Goesser Assaiante

Body Language: Corporeality, Subjectivity, and Language in Johann Georg Hamann addresses the centrality of sensual conception to the structure of subjectivity and the ensuing dating among subjectivity and language within the paintings of Johann Georg Hamann. In positing the physique because the entity that stipulations a subject’s come across with the realm, Hamann, it really is argued, prefigures a concept of finite subjectivity that not just runs counter to the Enlightenment culture but in addition reemerges in 19th- (Kierkegaard and Nietzsche) and twentieth-century (Benjamin) discourses at the stress among subjectivity and the abstraction of language. the ambiguity on the middle of this research is Hamann’s radical circumscription of cause as expressed via language, which however makes an attempt to recover the idea that of common which means via religion. Language is wrested clear of abstraction and, accordingly, any universality, and turns into the expression of the finite, corporeal subjectivity, a nation of hindrance that's instantaneously granted and resolved by means of a divine writer.

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Extra info for Body Language: Corporeality, Subjectivity, and Language in Johann Georg Hamann

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The structural kinship in thought between Hamann and Nietzsche, outlined by Bräutigam, will be the point of departure for this study’s fifth chapter, which will then proceed to focus upon the crucial difference in direction between the two thinkers. For although both Hamann and Nietzsche point to the essentially metaphorical nature of language, the former sees the reconstitution and production of these metaphors as a matter of faith,33 while for the latter it is a return to the forgotten, aesthetic dimension of the human intellect.

105). However, if the letter “h” can only speak in a human voice, with human language, then the language it uses (and remains part of) is not autonomous from, but rather determined by, the human. 107). qxd 9/1/2011 3:55 PM Page 42 42 BODY LANGUAGE itself), with Damm’s affront lying in his fundamental misunderstanding of the connection between the two. To begin with the small: as neither a vowel nor, in its silent form, a consonant, the letter “h” exists in a liminal space not easily captured by orthographical necessity.

72). Each sentence exists within the tension between its particular character as an utterance made by “einem Munde und Herzen,” and the potentially infinite relationality it takes on through the “Lichtstrahlen,” “Farben” and “Flächen,” comprising all possible networks of meaning. Moreover, the give and take of Nebenbegriffe, and how they contribute to meaning, cannot be avoided. Just as light reflects and creates different colors depending on the surface it refracts upon, sentences continually change meaning depending upon their connection to other sentences.

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