Literature and Fascination
Sibylle BaumbachLiterature and Fascination Posts
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For Heinrich, the history of religion is a history of fascination. Their main connection lies in the idea of repression. What is perceived as fascinating, according to Heinrich, are unsolved conflicts and unreleased tensions.
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While not all airy spirits were deemed contagious, love was perceived as the worst of infectious diseases.
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This desire for fascination connects to the basic human desire for, and attraction of, possible worlds which can satiate our craving for overstimulation.
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He regards postmodern culture as a culture dominated by the desire of becoming fascinated rather than interested in fascination as an intense power wielded by one agent over another.
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The powerful experience and deep awareness of life and being-in-the-world are driving forces in the production and reception of both literature and art.
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Stimmung implies a state of (temporary) immersion, which comes to pass if one body becomes fully attuned to the other.
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[w]hoever is fascinated doesn’t see, properly speaking, what he sees. Rather, it touches him in an intermediate proximity; it seizes and ceaselessly draws him close, even though it leaves him absolutely at a distance.’
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According to Bredekamp, images only remain silent as long as no one engages in them. Once they are looked at, the established relation between viewer and image demands a reaction that includes the return of the gaze.
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The security of witnessing a dangerous spectacle unharmed enables us to taste the threat of fascination without consequence, and then to return to our sheltered existence.
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Fascination is a modern drug. It can tantalise and torment our imagination. It is at once intimately familiar and deeply mysterious.
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