Im ersten Teil unseres Aufsatzes charakterisieren wir den Beitrag der ‘modernen’ Wissenschaftstheorie zur Methodologie des Textverstehens; im zweiten Teil diskutieren wir exemplarisch zwei Konzeptionen der ‘neueren’ Hermeneutik. Ziel dieser kritischen Untersuchungen ist eine Förderung des Dialogs zwischen Wissenschaftstheorie, Hermeneutik und Literaturwissenschaft.

Im ersten Teil unseres Aufsatzes charakterisieren wir den Beitrag der ‘modernen’ Wissenschaftstheorie zur Methodologie des Textverstehens; im zweiten Teil diskutieren wir exemplarisch zwei Konzeptionen der ‘neueren’ Hermeneutik. Ziel dieser kritischen Untersuchungen ist eine Förderung des Dialogs zwischen Wissenschaftstheorie, Hermeneutik und Literaturwissenschaft.

Since the second half of the twentieth century, the influential concept of aesthetic experience has been strongly criticized by powerful voices both in analytic philosophy and in continental theory, sometimes to the point of rejecting its significance for art or even to denying its very existence. Nonetheless, it stubbornly reasserts itself as central to understanding art's meaning and value. Philosophical critique of aesthetic experience takes multiple forms. Theorists seeking a definition of art generally reject aesthetic experience as inadequate for this (...) task because it is both too wide and too narrow. Aesthetic experience surely occurs beyond the limits of art, as in our encounter with natural beauty, but it... (shrink)

After briefly noting key contemporary critiques of aesthetic experience, this article revisits its original account in Plato’s theory of aesthetic experience as the madness of divine possession and then Aristotle’s response of defending art’s rationality as poiesis, which largely dominates the ensuing aesthetic tradition. I subsequently explore how the mysterious notion of possession continues to surface in important modern accounts of aesthetic experience (e. g. in Theodor W. Adorno, T. S. Eliot, John Dewey) and explain how the supernatural idea of (...) possession could find a naturalistic explanation that integrates the concepts of artworld, habitus and atmosphere. The article then exemplifies this naturalistic explanation through an analysis of the possession experience pertaining to performance art as documented in The Adventures of the Man in Gold. (shrink)