A Higher Language: Novalis on Communion with Animals Author(S): Alice Kuzniar Source: the German Quarterly, Vol
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Towards a Poetics of Becoming: Samuel Taylor Coleridge's and John Keats's Aesthetics Between Idealism and Deconstruction
Towards a Poetics of Becoming: Samuel Taylor Coleridge’s and John Keats’s Aesthetics Between Idealism and Deconstruction Dissertation zur Erlangung der Doktorwürde der Philosophischen Fakultät IV (Sprach- und Literaturwissenschaften) der Universität Regensburg eingereicht von Charles NGIEWIH TEKE Alfons-Auer-Str. 4 93053 Regensburg Februar 2004 Erstgutachter: Prof. Dr. Rainer EMIG Zweitgutachter: Prof. Dr. Dieter A. BERGER 1 TABLE OF CONTENTS PAGE DEDICATION .............................................................................................................. I ACKNOWLEDGMENTS ........................................................................................... II ABSTRACT ............................................................................................................... VI English........................................................................................................................ VI German...................................................................................................................... VII French...................................................................................................................... VIII INTRODUCTION Aims of the Study......................................................................................................... 1 On the Relationship Between S. T. Coleridge and J. Keats.......................................... 5 Certain Critical Terms................................................................................................ -
Novalis's Magical Idealism
Symphilosophie International Journal of Philosophical Romanticism Novalis’s Magical Idealism A Threefold Philosophy of the Imagination, Love and Medicine Laure Cahen-Maurel* ABSTRACT This article argues that Novalis’s philosophy of magical idealism essentially consists of three central elements: a theory of the creative or productive imagination, a conception of love, and a doctrine of transcendental medicine. In this regard, it synthesizes two adjacent, but divergent contemporary philosophical sources – J. G. Fichte’s idealism and Friedrich Schiller’s classicism – into a new and original philosophy. It demonstrates that Novalis’s views on both magic and idealism, not only prove to be perfectly rational and comprehensible, but even more philosophically coherent and innovative than have been recognised up to now. Keywords: magical idealism, productive imagination, love, medicine, Novalis, J. G. Fichte, Schiller RÉSUMÉ Cet article défend l’idée selon laquelle trois éléments centraux composent ce que Novalis nomme « idéalisme magique » pour désigner sa philosophie propre : la conception d’une imagination créatrice ou productrice, une doctrine de l’amour et une théorie de la médecine transcendantale. L’idéalisme magique est en cela la synthèse en une philosophie nouvelle et originale de deux sources philosophiques contemporaines, à la fois adjacentes et divergentes : l’idéalisme de J. G. Fichte et le classicisme de Friedrich Schiller. L’article montre que les vues de Novalis tant sur la magie que sur l’idéalisme sont non seulement réellement rationnelles et compréhensibles, mais philosophiquement plus cohérentes et novatrices qu’on ne l’a admis jusqu’à présent. Mots-clés : idéalisme magique, imagination productrice, amour, médecine, Novalis, J. G. -
SCHILLER, NOVALIS, and the CONCEPT of AUFHEBUNG Hammam Aldouri
Cosmos and History: The Journal of Natural and Social Philosophy, vol. 15, no. 1, 2019 BEFORE HEGEL: SCHILLER, NOVALIS, AND THE CONCEPT OF AUFHEBUNG Hammam Aldouri ABSTRACT: Philosophical explorations of the concept of Aufhebung (sublation, supersession) immediately prior to its formulation in Hegel’s work have remained relatively absent within the context of both Hegel scholarship and German Idealism studies. Hegel is often simply represented as the originator of the concept and the latter is understood almost exclusively within his oeuvre. This essay addresses this lack by offering an exposition of the notion as it unfolds in two works from 1795-1796: Friedrich Schiller’s Letters on the Aesthetic Education of Man and Novalis’ Fichte Studies. In these works, we find distinctive examinations of Aufhebung understood as the name of a process in which a subject comprehends itself in relation to its own processual development. My guiding premise is that without an adequate comprehension of the way in which Aufhebung is constructed and comprehended in the last years of the eighteenth century, we cannot establish the vantage point from which to reconstruct Hegel’s early conception of the notion, a conception which begins to emerge in his earliest Frankfurt writings in 1797, as a contribution to the constellation of post-Kantian conceptions. Keywords: Aufhebung, Schiller, Novalis, Aesthetic Education, Fichte Studies INTRODUCTION The concept of Aufhebung (sublation, supersession) is, without question, one of the most contested and discussed concepts of Hegel’s philosophical enterprise th th 1 and its critical reception in the 19 and 20 centuries. One distinctive 1 So much so, in fact, that it has led philosopher’s such as Jean-Luc Nancy to state that there is “no great study of Hegel that is not a study on the Aufhebung.” Nancy 2001, 158n7. -
The Concept of Bildung in Early German Romanticism
CHAPTER 6 The Concept of Bildung in Early German Romanticism 1. Social and Political Context In 1799 Friedrich Schlegel, the ringleader of the early romantic circle, stated, with uncommon and uncharacteristic clarity, his view of the summum bonum, the supreme value in life: “The highest good, and [the source of] ev- erything that is useful, is culture (Bildung).”1 Since the German word Bildung is virtually synonymous with education, Schlegel might as well have said that the highest good is education. That aphorism, and others like it, leave no doubt about the importance of education for the early German romantics. It is no exaggeration to say that Bildung, the education of humanity, was the central goal, the highest aspiration, of the early romantics. All the leading figures of that charmed circle—Friedrich and August Wilhelm Schlegel, W. D. Wackenroder, Friedrich von Hardenberg (Novalis), F. W. J. Schelling, Ludwig Tieck, and F. D. Schleiermacher—saw in education their hope for the redemption of humanity. The aim of their common journal, the Athenäum, was to unite all their efforts for the sake of one single overriding goal: Bildung.2 The importance, and indeed urgency, of Bildung in the early romantic agenda is comprehensible only in its social and political context. The young romantics were writing in the 1790s, the decade of the cataclysmic changes wrought by the Revolution in France. Like so many of their generation, the romantics were initially very enthusiastic about the Revolution. Tieck, Novalis, Schleiermacher, Schelling, Hölderlin, and Friedrich Schlegel cele- brated the storming of the Bastille as the dawn of a new age. -
German Studies the ROMANTIC
German Studies THE ROMANTIC ERA Bye. A. S. WALKER,SeniorLecturerin German at The Queen's University ofBelfast I. GENERAL STUDIES Die Erhebung gegen Napoleon 1806-1814/15, ed. Hans-Bernd Spies (Quellen zum politischen Denken der Deutschen im 19. und 20. Jh., 2), WBG, ix + 472 pp., is an extremely valuable collection of source material for any student of the history or literature of this period. Included are previously published letters, articles, pamphlets, ser mons, poems by Arndt, Fouque, Garres, Hoffmann, Kleist, Jean Paul, the Schlegel brothers, Schleiermacher, etc., all written within these nine years and presented in strict chronological order. The poems are given in full; other items are often in extract. Brieffootnotes are provided, and there is a useful introduction. Interpretation of the material is largely left to the reader. Frauenbriefe der Romantik, ed. Katja Behrens (Insel Taschenbuch, 545), Frankfurt, Insel, 449 pp. + 18 illus, contains a selection ofletters by Karoline von Giinderode, Bettina von Arnim, Rahel Varnhagen, Caroline Schlegel-Schelling, Dorothea Veit-Schlegel, and Susette Gontard. There are adequate notes, a list of persons mentioned, a perceptive postscript, but no index. Dichter-Garten. Erster Gang: Violen, ed. Gerhard Schulz (Seltene Texte aus der deutschen Romantik, 2), Bern, Lang, 1979,38 + vii + 362 pp., isa facsimile reprint of the 1807 edition, which was edited by 'Rostorf' (Novalis's brother, Karl von Hardenberg), and which contains poems by him, and by Friedrich Schlegel, 'Sylvester' (Georg Anton von Hardenberg), and Sophie Bernhardi, as well as the latter's tragedy Egidio und Isabella. Schulz gives a succinct account of the significance of this anthology for the Romantic movement. -
Novalis and Hymns to the Night : ZHAO 37
Novalis and Hymns to the Night : ZHAO 37 Novalis and Hymns to the Night JINGJING ZHAO “The division of Philosopher and Poet is only apparent, and to the disadvantage of both. It is a sign of disease, and of a sickly constitution.”1 —Novalis In this paper, I start by giving a broad introduction of the early Romantics’ break from Hegel’s systematic philosophy and their efforts to establish the authority of Art in philosophy’s claim to Truth. Then I go on to explore a key concept that lends support to the Romantics’ accreditation of the authenticity of Art—the immediacy of “feeling” as postulated in Kant’s Third Critique. The exploration of this concept will then give further clarification to similar ideas expressed in Schlegel, and especially Novalis’ works. After this I will introduce a central agency that the Romantics use to evoke the sense of the “feeling” of the infinite—“productive imagination”—as well as Novalis’ elaboration on the topic of poetic Imagination (or “romanticization,” as he calls it) in his own writing. At last, I will introduce Novalis’ Hymns to the Night, and describe how this piece of literary work, from its content to its structure, corresponds to the early Romantics’ agenda of unifying poetry and JINGJING ZHAO is a PhD student in English from Auckland University. Her PhD thesis examines the intellectual and ideological aspects of Emily Bronte’s writings in the 19th century European historical context, through comparing her treatment of several issues with that of other Romantic and Victorian authors—Holderlin, Novalis, Tennyson and Arnold. -
GERMAN LITERARY FAIRY TALES, 1795-1848 by CLAUDIA MAREIKE
ROMANTICISM, ORIENTALISM, AND NATIONAL IDENTITY: GERMAN LITERARY FAIRY TALES, 1795-1848 By CLAUDIA MAREIKE KATRIN SCHWABE A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2012 1 © 2012 Claudia Mareike Katrin Schwabe 2 To my beloved parents Dr. Roman and Cornelia Schwabe 3 ACKNOWLEDGMENTS First and foremost, I would like to thank my supervisory committee chair, Dr. Barbara Mennel, who supported this project with great encouragement, enthusiasm, guidance, solidarity, and outstanding academic scholarship. I am particularly grateful for her dedication and tireless efforts in editing my chapters during the various phases of this dissertation. I could not have asked for a better, more genuine mentor. I also want to express my gratitude to the other committee members, Dr. Will Hasty, Dr. Franz Futterknecht, and Dr. John Cech, for their thoughtful comments and suggestions, invaluable feedback, and for offering me new perspectives. Furthermore, I would like to acknowledge the abundant support and inspiration of my friends and colleagues Anna Rutz, Tim Fangmeyer, and Dr. Keith Bullivant. My heartfelt gratitude goes to my family, particularly my parents, Dr. Roman and Cornelia Schwabe, as well as to my brother Marius and his wife Marina Schwabe. Many thanks also to my dear friends for all their love and their emotional support throughout the years: Silke Noll, Alice Mantey, Lea Hüllen, and Tina Dolge. In addition, Paul and Deborah Watford deserve special mentioning who so graciously and welcomingly invited me into their home and family. Final thanks go to Stephen Geist and his parents who believed in me from the very start. -
La Révolution Romantique De Mme De Staël Ou Une Interprétation Modérée Du Fantastique
© Ana Pano Alamán 2004 La révolution romantique de Mme de Staël ou une interprétation modérée du fantastique Séminaire d’Histoire des Idées : La Révolution romantique Ana Pano Alamán Università degli Studi di Bologna © Ana Pano Alamán 2004 Sommaire Introduction 1. Fidèle aux Lumières, atirée par la culture du Nord 2. Idéalisme et matérialisme ou la conciliation de l’esprit avec la matière 3. La nature, un système de fragments et de correspondances 4. La religion ou le sentiment de l’infini 5. Les sciences occultes et le scepticisme de Germaine de Staël 6. Les risques de la métaphysique 7. Conclusion : la modération de Madame de Staël et le décor solide du fantastique français 2 © Ana Pano Alamán 2004 Introduction Alors que vers la fin du XVIIIe siècle la raison et l’esthétique classique s’imposent encore dans une grande partie du continent européen, en Allemagne et en Angleterre, les écrivains essaient de renouveler la littérature d’imagination pour permettre à la sensibilité d’entrer tant dans le roman que dans la poésie. La littérature européenne récupère ainsi, progressivement, le sentiment et la rêverie1. La voie au romantisme français ne sera ouverte qu’avec la publication du Génie du Christianisme (1808) de Chateaubriand2 et, notamment De l’Allemagne (1813) de Mme de Staël3, considéré comme le premier manifeste du préromantisme français. Dans les troisième et quatrième parties de son ouvrage, Mme de Staël donne un aperçu des théories des premiers romantiques allemands au sujet de la nature et du rapport de l’homme à celle-ci et à l’univers. Il s’agit notamment de postulats philosophiques et religieux que les romantiques allemands appliquent aussi bien à la littérature qu’aux beaux-arts dans le but de redonner de la force au sentiment et à l’imagination. -
AMOR, MUERTE Y DOLOR COMO FUNDAMENTOS POÉTICOS EN VICTOR HUGO Y NOVALIS Guillermo Aguirre Martínez
AMOR, MUERTE Y DOLOR COMO FUNDAMENTOS POÉTICOS EN VICTOR HUGO Y NOVALIS Guillermo Aguirre Martínez (Universidad Complutense de Madrid) [email protected] RESUMEN: Figuras capitales del movimiento romántico, tanto Victor Hugo como Novalis dotarán a los momentos más trágicos y agónicos de su existencia de un significado simbólico capaz de elevar sus espíritus hasta cimas etéreas, dominios metafísicos en los que ahondarán en busca de un sentido tanto existencial como poético capaz de explicar y transformar sus vidas. De este modo, la amada desaparecida se tornará en Novalis imagen generatriz, impulso creador, mientras que Hugo, siempre en vilo, siempre en lucha, padecerá y ansiará todo tipo de elementos en contra para agigantar su figura tras la consabida poetización a que somete la realidad. Palabras clave: Victor Hugo, Novalis, Romanticismo, poesía. ABSTRACT: Victor Hugo and Novalis, two of the most distinguish Romantic authors, add a symbolic meaning to their most tragic and difficult periods; therefore, they manage to uplift their spirits to ethereal peaks –metaphysical lands where it is possible to look at an existential and poetical sense of life in depth. Thus, on the one hand, the definite lost of Novalis’ beloved Sofia becomes into creative impulse, while on the other hand, the combative Hugo overcomes his difficulties by means of poetizing reality. Key words: Victor Hugo, Novalis, Romanticism, poetry. 1. INTRODUCCIÓN El objetivo que nos proponemos a la hora de elaborar estas páginas consiste en realizar una aproximación a las dos pulsiones esenciales de la naturaleza, amor y muerte, en la obra de dos de los poetas románticos que más bellamente plasmaron sus vivencias en torno a estos aspectos de la existencia. -
Promises and False Hopes: Poetic Prose and the Questionable Identities of the Narrator in Jean Paul Richter's "German Novels"
WULF K OEPKE Promises and False Hopes: Poetic Prose and the Questionable Identities of the Narrator in Jean Paul Richter's "German Novels" N THE SECOND EDITION OF HIS treatise on poetics, Vorscbule I der Asthetik (1813), Jean Paul Richter introduced a classification of narrative fiction based on his own works, and using analogies from the visual arts.' He called it "Der poetische Geist in den drei Schulen der Romanenmaterie, der italienischen, der deutschen und niederlandischen" (The poetic spirit in the three schools of novel istic matter, the Italian, the German and the Dutch). By "matter" Richter meant both cultural content and style. Thus the Italian "school," like Italian paintings, idealizes and portrays conflicts and events in higher society, scenes of drama and tragedy, and of en thusiastic friendship and love; being the inveterate humorist, Rich ter could never do without comic and satirical interludes, but in his ultimate Italian novel Titan, even the humorist Schoppe meets with a tragic fate. Likewise, the "Dutch" stories take place in villages, and their protagonists are "Kii.uze, n odd characters with strange hobbies, typi cally teachers and Lutheran ministers, the prototype being the school master Wuz. Like genre paintings, these "low" Dutch stories are designed to evoke friendly smiles and laughter. The "German" sto ries, with no analogy in the arts, are located in the middle, socially ' jean Paul, Vorscbule der Astbetik, in Werke, 6 vols. (.i',iunich: Hanser Verlag, 1963) 5:253-57: Ihere is an excellent translation of the Vorscbule: Horn ojOberoll. jeall Paul Richter's School for Aesthetics, trans. -
Jean-Paul Sartre's Les Mots and the Nouvelles Autobiographies of Alain
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2005 Jean-Paul Sartre's Les Mots and the Nouvelles autobiographies of Alain Robbe-Grillet, Nathalie Sarraute, and Marguerite Duras: a comparison Julie Driessen Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the French and Francophone Language and Literature Commons Recommended Citation Driessen, Julie, "Jean-Paul Sartre's Les Mots and the Nouvelles autobiographies of Alain Robbe-Grillet, Nathalie Sarraute, and Marguerite Duras: a comparison" (2005). LSU Doctoral Dissertations. 99. https://digitalcommons.lsu.edu/gradschool_dissertations/99 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JEAN-PAUL SARTRE’S LES MOTS AND THE NOUVELLES AUTOBIOGRAPHIES OF ALAIN ROBBE-GRILLET, NATHALIE SARRAUTE, AND MARGUERITE DURAS: A COMPARISON A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of French Studies by Julie Driessen B.S., Louisiana State University, 1997 M.A., Louisiana State University, 1999 December 2005 Table of -
God Within": the Experience and Manifestation of Emerson's Evolving Philosophy of Intuition
Brigham Young University BYU ScholarsArchive Theses and Dissertations 2014-05-21 Discovering the "God Within": The Experience and Manifestation of Emerson's Evolving Philosophy of Intuition Anne Tiffany Turner Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the English Language and Literature Commons BYU ScholarsArchive Citation Turner, Anne Tiffany, "Discovering the "God Within": The Experience and Manifestation of Emerson's Evolving Philosophy of Intuition" (2014). Theses and Dissertations. 4099. https://scholarsarchive.byu.edu/etd/4099 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Discovering the “God Within”: The Experience and Manifestation of Emerson’s Evolving Philosophy of Intuition Anne Turner A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Edward Cutler, Chair Jesse Crisler Emron Esplin Department of English Brigham Young University April 2014 Copyright © 2014 Anne Turner All Rights Reserved ABSTRACT Discovering the “God Within”: The Experience and Manifestation of Emerson’s Evolving Philosophy of Intuition Anne Turner Department of English, BYU Master of Art Investigating individual subjectivity, Ralph Waldo Emerson traveled to Europe following the death of his first wife, Ellen Tucker Emerson, and his resignation from the Unitarian ministry. His experience before and during the voyage contributed to the evolution of a self-intuitive philosophy, termed selbstgefühl by the German Romantics and altered his careful style of composition and delivery to promote the integrity of individual subjectivity as the highest authority in the deduction of truth.