Mood (art)
In music, tuning means, on the one hand, the state of being in tune or being in tune, and, on the other hand, the definition of the pitch of an instrument, which is a binding norm. Through Kant's remarks in the “ Critique of Judgment ”, this musical concept of mood experienced a turn towards aesthetics, which Schiller developed further in the treatise “On the Aesthetic Education of Man in a Series of Letters”, which, however, contrary to the Kantian definition of mood as “proportionality “Should lead to an increasing subjectification of the concept of mood. In the modern view of art, mood in relation to the products of poetry , painting and music also describes an aesthetic impression or an effect that emanates from something or someone and has a certain effect on the mood of another.
Visual arts
In romantic landscape painting , moods were understood as atmospheres or atmospherically induced sensations. The main task of such art, according to Carl Gustav Carus, is the "representation of a certain mood of the emotional life (meaning) by the reproduction of a corresponding mood of the experience of nature (truth)". This interpretation of the mood as a “cozy” experience of landscape and nature was continued in the history of art by Alois Riegl , who understood moods as aesthetic landscape design, the essence of which was “tranquility and distant view”. Riegl differentiated landscape painting from mood painting: mood painting turned individual phenomena from the realm of nature into a moment of a harmonious whole, as Riegl explained in Jacob van Ruysdael's late work . The term “mood empathy”, developed by Lipps' student Moritz Geiger , describes the form of experience that exists “when we describe a landscape - be it in the representation or in nature - as melancholy or lovely”.
Poetics / literary studies
The reflection of so-called “mood lyric ” ranges from early, rather unsystematic conceptual moods in Schiller , Novalis , Friedrich Schlegel , Eichendorff , Tieck or Schleiermacher ( Wellbery 2003) to Hegel , who in his “Aesthetics” as a characteristic of poetry the central relationship between mood and inwardness highlighted. The definition of mood in lyric texts reached a new high point in the 20th century: while Emil Staiger defined the concept of mood in 1946 based on Heidegger and Hofmannsthal under the sign of "outside", i.e. against the Hegelian inwardness of moods, Paul Böckmann determined in 1954 the different forms of romantic mood poetry, primarily based on sound and images. Max Kommerell, on the other hand, theorized mood poetry in 1943 with the involvement of the recipient , and Walther Killy finally limited romantic mood poetry in 1972 to the discovery of mixed feelings in the eighteenth century and saw the genre as such no longer viable in the poetry of Storm and Löns at the latest . In the course of the "return of moods" (Wellbery 2003, Gumbrecht 2005, 2011) or the "return of 'mood' as an aesthetic category" (Gisbertz 2011), these discussions about lyrical moods - also against the background of the "new phenomenology" of the Kiel philosopher Hermann Schmitz - taken up again.
literature
- Alois Riegl: The mood in modern art (1899). In: ders. Collected essays. Augsburg, Vienna 1928.
- Paul Böckmann: Forms of mood lyric, in: Ders .: Formenssprache, studies on literary aesthetics and poetry interpretation Hamburg 1954, pp. 425–452.
- Hans Ulrich Gumbrecht. Read moods. On a hidden reality in literature , Munich 2011.
- Walther Killy: Mood. In: Ders .: Elements of Lyrik, Munich 1972, pp. 114–128.
- Max Kommerell: Thoughts on Poems, Frankfurt am Main 1943.
- Geiger, Moritz: On the problem of mood empathy, in: Theory and History of Literature and the Fine Arts, Munich 1976, pp. 18–59.
- David Wellbery: Mood: In: K. Barck et al. (Ed.): Aesthetic basic concepts. Historical dictionary in seven volumes, Stuttgart 2003, pp. 703–733.
- Burkhard Meyer-Sickendiek: Lyrical flair. From the secret sensorium of modern poetry, Paderborn 2012.
- Anna-Katharina Gisbertz: Mood - Body - Language. A configuration in Wiener Moderne, Munich 2009.
- Anna-Katharina Gisbertz (ed.): Mood. On the return of an aesthetic category, Munich 2011.
- Mood and Method, ed. v. Burkhard Meyer-Sickendiek and Friederike Reents , Tübingen: Mohr Siebeck 2013.