期刊名称：Proceedings of the European Society for Aesthetics
电子版ISSN：1664-5278
出版年度：2011
卷号：3
页码：1-14
出版社：European Society for Aesthetics
摘要：In Modern times, the figure of the hero lacks the power to convince: he is made and untrue. The same is true of art and popular culture, the places where the hero is able to survive. In contrast to that Hegelian thesis, the area which might be said to have advanced to become the central system of heroes in Modern society is that of sport. Here the star resembles the hero. Sport is also the starting point for Hans Ulrich Gumbrecht’s rethinking of the concept of presence, which he contrasts to the concept of sense and interpretation. But the relationship between these poles has to be seen as an oscillation. Gumbrecht seeks support from Heideg- ger, but does not clearly distinguish between the early and the later Heidegger. Whereas the one interprets this oscillation practically, the other interprets it paritetically. Gumbrecht also does not dis- tinguish carefully enough between the lived experience of presence and an aesthetic experience of presence. It is distinctive for an aes- thetic experience that it is somatically triggered and, at the same time, accompanied by an intuitive consciousness. It is an interplay of elements of tension. In Kantian terms, it has the status of an as- if. Works of art are the paradigmatic objects of such an experience. They are made and yet true, and that means: although they make it clear that they are not true,just mere fictions,they manifestly appear as if they were true.
