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Literature: Literature encompasses written works that use language and form to create an artistic experience. It is distinguished from other types of writing like scientific texts. See also Writing, Texts.
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Annotation: The above characterizations of concepts are neither definitions nor exhausting presentations of problems related to them. Instead, they are intended to give a short introduction to the contributions below. – Lexicon of Arguments.

 
Author Concept Summary/Quotes Sources

Hans-Georg Gadamer on Literature - Dictionary of Arguments

I 138
Literature/Fiction/Gadamer: For the poet, free invention is always only one side of a mediocrity bound by given validity. He does not freely invent his fable, no matter how much he imagines it. Rather, to this day something remains of the old foundation of the mimesis theory. The free invention of the poet is the representation of a common truth which also binds the poet. Other forms of art are not different, especially the fine arts. The aesthetic myth of the freelance imagination, which transforms experience into poetry, and the cult of the genius that belongs to it only attest to the fact that in the 19th century the mythical-historical traditional good is no longer a self-evident possession.
>Fiction/Gadamer
, >Mimesis.
But even then the aesthetic myth of imagination and ingenious invention represents an exaggeration that cannot withstand what is real. Still, the choice of material and the design of the chosen material does not originate from a free will of the artist and is not merely an expression of his inwardness. Rather, the artist appeals to prepared minds and chooses for it what promises him effect. He himself is in the same tradition as the audience he means and collects. In this sense, it is true that he is not an individual, a thinking consciousness that needs to know explicitly what he is doing and what his work says. It is never just a strange world of magic, intoxication, dream, to which the player, creator or viewer is enraptured, but it is still his own world, to which he is actually transferred by recognizing himself deeper within it. There remains a continuity of meaning that unites the work of art with the world of existence and from which even the alienated consciousness of an educational society never completely detaches itself.
I 165
Literature/Gadamer: The specific presence of the work of art is a "coming-to-representation" of being.
>Artworks/Gadamer.
[In literature] there seems to be no representation at all that could claim an own existence-valence.
Understanding: (...) all understanding reading always seems to be a kind of reproduction and interpretation. Emphasis, rhythmic structure and the like also belong
I 166
to the quietest reading. The meaningful and its understanding is apparently so closely connected with the linguistically corporeal that understanding always contains an inner speech. Certainly, literature and its reception in reading shows a maximum of detachment and mobility(1).
The fact that one does not need to read a book in one go already testifies to this, so that staying with it is a separate task of resumption, which has no analogy in listening or looking at it. But it is precisely this what makes it clear that "reading" corresponds to the unity of the text.
Reception: The concept of literature is not without reference to the recipient. Rather, literature is a function of intellectual preservation and transmission and therefore brings its hidden history into every present.
I 167
History: Only the development of historical consciousness transforms this living unity of world literature from the immediacy of its normative claim to unity into the historical question of literary history of literature.
>History, >Historiography.
Tradition: (...) the concept of literature [is] to be conceived much broader than the concept of literary works of art. All linguistic tradition has a part in the mode of being of literature, not only the religious, legal, economic, public and private texts of all kinds, but also the writings in which such traditional texts are scientifically processed and interpreted, that is, the whole of the humanities. Yes, the form of literature belongs to all scientific research in general, as long as it is essentially connected with linguistics.
I 168
Literary work of art: the essential difference [between literary and, for example, scientific language] lies in the difference in the claim to truth.
>Reading.

1.Excellent analyses of the linguistic stratification of the literary work of art and
the mobility of vivid fulfilment that the literary word has, can be found in: R.
Ingarden, Das literarische Kunstwerk, 1931.

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Explanation of symbols: Roman numerals indicate the source, arabic numerals indicate the page number. The corresponding books are indicated on the right hand side. ((s)…): Comment by the sender of the contribution. Translations: Dictionary of Arguments
The note [Concept/Author], [Author1]Vs[Author2] or [Author]Vs[term] resp. "problem:"/"solution:", "old:"/"new:" and "thesis:" is an addition from the Dictionary of Arguments. If a German edition is specified, the page numbers refer to this edition.

Gadamer I
Hans-Georg Gadamer
Wahrheit und Methode. Grundzüge einer philosophischen Hermeneutik 7. durchgesehene Auflage Tübingen 1960/2010

Gadamer II
H. G. Gadamer
The Relevance of the Beautiful, London 1986
German Edition:
Die Aktualität des Schönen: Kunst als Spiel, Symbol und Fest Stuttgart 1977


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