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Political Imagination in German Romanticism John Thomas Gill

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Political Imagination in German Romanticism John Thomas Gill Wild Politics : Political Imagination in German Romanticism John Thomas Gill A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Ph.D in the Department of Germanic and Slavic Languages and Literatures in the College of Arts and Sciences. Chapel Hill 2020 Approved by: Gabriel Trop Eric Downing Stefani Engelstein Jakob Norberg Aleksandra Prica i © 2020 John Thomas Gill ALL RIGHTS RESERVED ii ABSTRACT John Gill: Wild Politics : Political Imagination in German Romanticism (Under the direction of Gabriel Trop) The political discourse of German Romanticism is often interpreted reductively: as either entirely revolutionary, reactionary, or indeed apolitical in nature. Breaking with this critical tradition, this dissertation offers a new conceptual framework for political Romanticism called wild politics . I argue that Romantic wild politics generates a sense of possibility that calls into question pragmatic forms of implementing sociopolitical change; it envisions imaginative alternatives to the status quo that exceed the purview of conventional political thinking. Three major fields of the Romantic political imaginary organize this reading: affect, nature, and religion. Chapter 1 examines Novalis’ politics of affect. In his theory of the fairy tale—as opposed to the actual fairy tales he writes—Novalis proposes a political paradigm centered on the aesthetic dimension of love. He imagines a new Prussian state constituted by emotional attachments between the citizen and the monarch. Chapter 2 takes up the “new mythology” in the works of F.W.J. Schelling, Friedrich Schlegel, and Johann Wilhelm Ritter, the comprehensive project of reorienting modern life towards its most transformative potentials. Nature and the speculative natural sciences are identified as the most important resources for this task. Romantic new mythology calls for a iii utopian world of egalitarian social relations, a nation of scientist-poets discovering and practically applying the mysteries of the natural cosmos. In an excursus, Chapter 3 turns to August Klingemann’s novel Nachtwachen (1804). Its critique of stereotypical Romantic practice—in terms of affect, nature, and religion—exposes the movement’s idealist excesses and isolation from sociopolitical reality. Policing the Romantic poet, but also disrupting police order, Nachtwachen ’s nightwatchman figure embodies a Romanticism in descent, brought back down to earth and its material conditions. Chapter 4 focuses on Friedrich Schlegel’s late works as he recasts Romantic wild politics as a religious program. Drawing on contemporary esoteric concepts and practices of the spiritual body, in the 1820s Schlegel relies on an apocalyptic standpoint to reject the legitimacy of post- revolutionary political order. At the end of the Romantic movement, he prophesizes the divine revolution to come, and investigates the imaginative subjects and communities that would accelerate its approach. iv ACKNOWLDEGMENTS This dissertation was made possible through the support and guidance of the Carolina- Duke Graduate Program in German Studies. I would like to thank the entire faculty and staff at the German Departments of the Univeristy of North Carolina at Chapel Hill and Duke University. Particular thanks go to those professors who led me through every step of my graduate studies, providing so much help, encouragement, and inspiration along the way: William Donahue, Eric Downing, Stefani Engelstein, Susanne Freytag, Fredric Jameson, Richard Langston, Niklas Largier, Jakob Norberg, Aleksandra Prica, and Christina Wegel. I would also like to thank Valerie Bernhardt and Dorothy Thorpe-Turner, who provided administrative assistance. Ruth von Bernuth, who has been a constant mentor, advocate, and friend for over a decade, deserves special recognition here as well. I am infinitely grateful to my advisor Gabriel Trop. More than any other, he is responsible for my intellectual development, and his profound influence on my thinking can be detected everywhere in the following pages. Without him, this study would not have reached completion, nor would it have been so exciting to develop. Ours was a truly symphilosophical dialogue, which brings me great pride. The essential role of my friends and fellow graduate students must be singled out: Curtis Allen, Jamal Benallal, Rory Bradley, Neal Cart, Robert Clites, Martin Dawson, Nathan Drapela, Patrick Föhl, Santiago Girón Gesteira, Matthew Hambro, Jeffrey Hertel, Lucas Hoffman, William Hunt, Richard Jackson, Patrick Lang, Samuel Miller-Finkel, Margaret Reif, Claire v Scott, Jan Tabor, and John White. This dissertation is dedicated to Andrea Doser, who will continue to be missed. I would like to thank the members of my family, all of whom helped me along the way: Russell, Diane, Hannah, Benjamin, Nathan, Joseph, Jeremy, Natalia, and Fernanda. Finally, Elyse and Charlotte—the motive force in my life—will always need to be acknowledged in everything I do. To them I owe all my gratitude. vi TABLE OF CONTENTS INTRODUCTION: Wild Politics : Political Imagination in German Romanticism I. Towards a New Political Aesthetics………………….….….…………………………..1 II. From Schiller to Political Romanticism…………...…………..…………………….....5 III. Romantic Political Imagination…………………………………....………………...21 IV. Wild Politics as a Paradigm……………….……………………………………........27 V. Reception, Approach, Method…………….………………………………………….36 CHAPTER 1: MÄRCHENPOLITIK Introduction: Robespierre and Political Affect……………....…………………………..46 1.1 Novalis and the Politicization of Love……………………………..………….……..59 1.2 Love and Political Romantisieren ……………………..……………..………………67 1.3 The End of Discord…………………………………..…………………..…………..75 1.4 Märchenpolitik ……………………………………..…………………….…………..80 1.5 Märchen Temporality: Poetic Present……………………..………………………...87 1.6 Imperfect Present……………………………………………………………….……93 1.7 Märchen Productivity: Transmundane Act………………………………......……..101 1.8 Elastic Bildung ……………………………………………………………….…..…109 vii 1.9 Staatsmärchen ………………………………………………………….………..….116 Conclusion: Anarchistic Affect in New Prussia………………………………………..125 CHAPTER 2: NATURPOLITIK Introduction: Kraft and Transformation……………………………………………...…136 2.1 New Mythological Nature…………………………….………….…………………146 2.2 Political Physics…………………………………..……………..………………….159 2.3 Dynamic Poesie ………………………………………......…....……………...……175 2.4 Cosmik .……………………………………..……………………………….………193 2.5 The Politics of the Glied …………………………………..…………………..……204 Conclusion: Bavarian Naturpolitik ……………………………………………..………213 CHAPTER 3: EXCURSUS: NACHTPOLITIK Introduction: Romanticism in Descent…………………………………………....……223 3.1 The Polizei -Function around 1800………….…………………………………..…..228 3.2 The Problem(atic) of the Nightwatchman…………………………..………………233 3.3 Nachtwachen and Political Nihilism…………………………..……………………244 3.4 Anti-policing the Staatspoet …………………………………………………..……251 3.5 The Apocalyptic Rückblick ……………………….………………………….……..260 Conclusion: The Nightwatchman Policed………………………………….……..……266 viii CHAPTER 4: RELIGIONSPOLITIK Introduction: From Kunstreligion to Religionspolitik …………………………..………270 4.1 Romantic Religare ……………………………………......…………………...……281 4.2 Metapolitics and Eschatology…………………………………………..…..………292 4.3 The Second Signature………………………………………..…………………..…298 4.4 Crises and Principles of Destruction……………………………………......………303 4.5 Apocalypse and Naturkunde ……………………………………..…………………313 4.6 Spiritism and Religionspolitik …………………..………………………………..…321 4.7 Spiritualismus = Siderismus = Magnetismus = Psychismus ………………..……...327 Conclusion: Christian Political Science……………………………..…………….……337 CONCLUSION: THE SECRETION OF WILD POLITICS………………….............…….….350 REFERENCES…………………………………………………………............………………363 ix INTRODUCTION. WILD POLITICS : POLITICAL IMAGINATION IN GERMAN ROMANTICISM I. Towards a New Political Aesthetics Friedrich Schiller’s philosophical magnum opus, Über die Ästhetische Erziehung des Menschen in einer Reihe von Briefen (1795), opens by rhetorically asking how any discussion of art and literature, any attempt to provide another “Gesetzbuch für die ästhetische Welt,” could be of much significance given the overwhelming sociopolitical crisis around 1800.1 The ongoing breakdown of traditional norms, values, and institutions started in the recent revolutionary events in France—and the ambiguous fear/hope that they would spread further and intensify in effect— would seem to demand a more practical form of engagement. But Schiller wants the contemporary use-value of aesthetic experience to be re-adjudicated precisely in order to address the critical social situation at hand. So he provides a justification for art, asserted throughout the course of the letters, that always returns to the possibility of the most perfect artwork of all (the “vollkommensten aller Kunstwerke”) 2 capable of fundamentally changing the sociopolitical status quo. For Schiller, this greatest artwork of politics would constitute the collective aesthetic product and productivity of a new form of humanity, and the success of its communal shift represents nothing less than the outstanding goal of postrevolutionary society. At this highest- 1 “Ist es wenigstens außern der Zeit, sich nach einem Gesetzbuch für die ästhetische Welt umzusehen, da die Angelegenheiten der moralischen ein soviel näheres Interesse darbieten, und der philosophische Untersuchungsgeist durch die Zeitumstände so nachdrücklich aufgefodert wird, sich mit dem vollkommensten aller Kunstwerke, mit
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