Performative Strategies of Resonance: Texts, Music, and Image-Objects in Cultural Practices

Prof. Dr. Ursula Gärtner; Dr. Enno Friedrich; Dr. Anna-Katharina Rieger

doi:10.5771/9783487172088

Summary

This volume explores how literature, visual art, music, and religious practices can function as counterparts in resonant self–world relations. Drawing on Hartmut Rosa’s theory of resonance, the contributions understand resonance as dialogical, transformative, and fundamentally unavailable to full control. Combining resonance theory with performativity studies, the book approaches aesthetic and religious sources not merely as carriers of meaning but as performative offerings that may enable affective engagement and transformation. Interdisciplinary case studies from antiquity to modernity illustrate how resonance is prepared, intensified, or disrupted through narrative, aesthetic, and cultural practices.
With contributions by Mario Baumann | Ursula Gärtner | Markus Hafner | Veronika Kolomaznik | Hartmut Rosa | Verena Weidner | Franz Winter This title is also available as open access.

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Bibliographic data

Edition: 1/2026
Copyright Year: 2026
ISBN-Print: 978-3-487-17207-1
ISBN-Online: 978-3-487-17208-8
Publisher: Georg Olms Verlag, Baden-Baden
Series: Spudasmata
Volume: 200
Language: English
Pages: 183
Product Type: Edited Book

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1. Preface
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1. 1. The Starting Point
2. 2. The Concept of this Volume
3. 1. 3.1. Preliminary Remarks
  2. 3.2. Resonance and Literature
  3. 3.3. Possible Answers from Literary Studies: Reception/Emotion/Empathy/Narratology and the World as a “Resonance Point” (“Resonanzpunkt”)
  4. 3.4. Structural and Functional Performativity and Resonance
4. 1. Classical Philology
  2. Religious Studies
  3. Musicology
  4. Archaeology
5. Bibliography
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1. 1. Introduction: Resonance in Historical Analysis
2. 1. 2.1. Affection
  2. 2.2. Self-Efficacy (Emotion)
  3. 2.3. Transformation
  4. 2.4. Uncontrollability
3. 1. 3.1. The Social Axis of Resonance
  2. 3.2. The Material Axis of Resonance
  3. 3.3. The Vertical Axis of Resonance
  4. 3.4. The Self-Axis of Resonance
4. 4. Conclusion
5. Bibliography
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1. 1. Preliminary Remarks
2. 2. Responding to Monsters in Aeschylus
3. 3. Later Responses to Aeschylean Monsters – Performance and Performativity in the Vita Aeschyli
4. 4. A Sideways Glance at Phrynichus’ The Fall of Miletus
5. 5. Literary Criticism, Resonance, and Performativity – Gorgias and Aristotle
6. 6. Conclusion – a Simulacrum of Resonance?
7. Bibliography
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1. 1. Introduction
2. 2. “I appear on the stage”: Self-Consciousness, Metatheatre and ‘Resonance Offer’
3. 3. “I could wish I had never said it”: “Unverfügbarkeit” (“Uncontrollability”)
4. 4. Reading the Play: The Introductory Letter
5. 5. Conclusion
6. Bibliography
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1. 1. Preliminary Remarks
2. 1. 2.1. Vergil, Aeneid 6,847-853
  2. 2.2. Vergil, Aeneid 1,450-495
  3. 1. 2.3.1. The Staging
    2. 2.3.2. The Role of the Muse
    3. 2.3.3. The Polyphony
3. 3. Conclusion
4. 4. Epilogue
5. Bibliography
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1. 1. The Early Modern Discovery of Asia
2. 1. 2.1. A European Adventurer and his Fascination with India
  2. 2.2. A Persian Prince in Search of True Monotheism in India
3. 3. Concluding Remarks
4. Bibliography
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1. 1. Musicological Approaches to Experience-Related Concepts
2. 1. 2.1. Rosa’s Sociology of Resonance against the Background of Fischer-Lichte’s Performative Aesthetics
  2. 2.2. A Comparison between the Concepts and its Implications for Further Heuristic Considerations
3. 1. 3.1. “Stimmung” (‘Tuning’/‘Mood’) as a Sensitizing Concept
  2. 3.2. Situational Analysis as a Methodological Approach
4. 4. Final Thoughts
5. Bibliography
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1. 1. Introduction
2. 1. 2.1 The Transformation of Space and Time
  2. 2.2. The Embodiment of Dionysiac Power and the Divine
  3. 2.3. The Transformative Effects of Songs and Laughter
3. 1. 3.1. Phales as a Comical Counterpart of a Resonant Experience
  2. 3.2. Questions of Size and Effects of the Phallus
  3. 3.3. On Costumes and Roles of the Kōmastai
  4. 3.4. Fantastical Transformations: The Phallus Bird and the Satyrs
  5. 3.5. A Different View on the Phallus and the Mocked Audience
4. 4. Conclusion
5. Bibliography
Index nominumPages 181 - 182 Download chapter (PDF)