Nuestra contribución trata de llamar la atención sobre la influencia del Quijote de Cervantes en los relatos fantásticos de los románticos alemanes, que fueron grandes lectores del autor español, ...incluso en textos en los que no se aprecia una imitación consciente y expresa de la obra cervantina ni pertenecen a la larga tradición europea de parodias del Quijote. Esta influencia de carácter más general se observa en la construcción de personajes que esponden a la categoría de “cuerdos locos” que transfiguran la realidad en determinados momentos y construyen fantasmagorías. Los personajes secundarios de estos relatos ofrecen un contraste realista al personaje protagonista y tratan de deshacer su engaño. Además, siempre hay una mujer fuertemente idealizada en el centro del relato. Nuestro análisis se basa en tres relatos de Joseph von Eichendorff, Achim von Arnim y E. T. A. Hoffmann, aparentemente muy distintos entre sí, pero unidos por estos rasgos comunes.
The call for a “New Mythology” represents one of most controversial traits of German Romanticism. In the early works of F. Schlegel and F.W.J. Schelling, as in the so called Älteste Systemprogramm ...des deutschen Idealismus, mythology stands for the Utopia of a universal reorganization of knowledge, capable of founding, after the Legitimationskrise of the modern era, a new horizon of shared ideas and values. Starting from an investigation of the mythological form as legitimation instrument and utopian catalyzer, this paper aims to shed light on the historical genesis of the “new Mythology” and its outcomes.
During the last recent years there has been a series of intermedial works situated between the thresholds of fiction and testimony which have considered the dramatical events taken place in the ...German settlement of the former Colonia Dignidad (1969-1997), where systematic rape and abuse was inflicted against Germans and Chileans. That is the case of the novel Sprinters. Los niños de Colonia Dignidad (2016) by Lola Larra, the pictorial series La Colonia (2015) by Mariana Najmanovich, the stopmotion animation La casa lobo (2018) by León&Cociña, and Un lugar llamado Dignidad (2021) by Matías Rojas Valencia. In all of them a series of ‘First World’ affective imaginaries and practices are represented, such as being in contact with nature, the practice of sports and musical development, understood as a chosen space/time for education, submissiveness, and bodybuilding of docile bodies conducted by Paul Schäfer. These artistic works realised on how these allegedly childish and familiar practices hide an unsettling and contradictory reality which gave rise to the uncanny and to a German nationalist identity linked to transnational imaginaries such as Romanticism on Chilean soil.
En los últimos años han aparecido una serie de obras intermediales que han abordado, en los límites de lo ficcional y testimonial, los hechos dramáticos ocurridos en el enclave alemán de la ex Colonia Dignidad (1969-1997), donde se perpetraron violaciones y abusos sistemáticos contra alemanes y chilenos. Es el caso de la novela Sprinters. Los niños de Colonia Dignidad (2016) de Lola Larra, la serie pictórica La Colonia (2015) de Mariana Najmanovich, el stopmotion La casa lobo (2018) de León&Cociña, y a Un lugar llamado Dignidad (2021) de Matías Rojas Valencia. En ellas, se representan una serie de imaginarios y prácticas afectivas del primer mundo como el contacto con la naturaleza, la realización de deportes y el mundo musical particularmente en la juventud entendida como espacio/tiempo predilecto de formación, de sometimiento disciplinar y construcción de cuerpos dóciles por parte del líder, Paul Schäfer. Estas obras artísticas dan cuenta de cómo estas prácticas aparentemente pueriles y familiares esconden una realidad inquietante y contradictoria que da lugar a lo siniestro y a una identidad nacionalista alemana en territorio chileno vinculada con imaginarios trasnacionales como el romanticismo.
This paper revisits the rhetorics of system and irony in Fichte and Friedrich Schlegel in order to theorize the utopic operation and standpoint that, I argue, system and irony share. Both system and ...irony transport the speculative speaker to the impossible zero point preceding and suspending the construction of any binary terms or the world itself—an immanent nonplace (of the in-itself, nothingness, or chaos) that cannot be inscribed into the world's regime of comprehensibility and possibility. It is because the philosopher and the ironist articulate their speech immanently from this standpoint that system and irony are positioned as incomprehensible to those framed rhetorically as incapable of occupying it. This standpoint is philosophically important, I maintain, because it allows one to think how the (comprehensibility of the) world is constructed without being bound to the necessity of this construction or having to absolutize the way things are or can be.
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Представлен анализ неоконченного романа Павла Зальцмана «Средняя Азия в Средние века» (1939–1950), впервые опубликованного в 2018 г. В этом тексте используемая автором эстетика киномонтажа и ...дискурсивная «сделанность» нарратива, отсылающего как к литературе немецкого романтизма, так и к восточным историческим и литературным источникам, преобразует образец художественного авангарда в принципиально новое по художественным особенностям произведение. По мнению автора статьи, примененная автором литературная игра в готический роман придает тексту П. Я. Зальцмана динамику зрелищного кинотекста, за которым скрывается несколько символических и ассоциативных смыслов. К таковым относятся само авантюрное повествование, средневековый исторический сюжет, неизбежные ассоциативные параллели и выходы к трагическим страницам истории ХХ в., философско-эстетическое осмысление человека и его места в мире одновременно в духе немецких романтиков и современного постмодернизма. Методология исследования по отношению к данному литературному тексту базируется на семиотической теории Ю. М. Лотмана и Б. А. Успенского. Основные результаты исследования определены как собственным авторским подходом, так и современными литературоведческими и культурологическими концепциями Оге А. Ханзен-Леве, И. С. Кукуя и О. Д. Бурениной-Петровой. Анализ романа впервые осуществлен по актуальным по отношению к этому литературному тексту направлениям «остаточной» памяти авторского текста, в первую очередь в интертекстуальной связи с творчеством Э. Т. А. Гофмана (роман «Эликсиры Сатаны»), а также по кинематографическим способам выражения нарратива. Доказывается, что текст Зальцмана подчинен принципу композиционного киномонтажа, который выводит его в социокультурную дискурсивную практику. Интертекстуальные связи двух романов прослеживаются в сюжетных и тематических аспектах. Сделан вывод о своеобразии этого текста в современной литературе, определены перспективы его трансфера в социокультурной практике.
Friedrich Schleiermacher is often credited with playing a foundational role in the development of the modern concept of religion. His epoch-making Speeches on religion, published in 1799 amidst the ...widespread social and intellectual upheaval of the Sattelzeit, present a novel description of religious feeling and religious communication, which mark a turning away from the rationalistic treatments of religion in the seventeenth and eighteenth centuries, and which served as both inspiration and foil for scholars of religion throughout the nineteenth and twentieth centuries. This essay suggests a reading of Schleiermacher’s Speeches that is organized around two interrelated claims. First, the text does not proceed as speculative philosophical treatise aiming to establish an overarching theory of religion but as a critical dialogue that inquires into the distinctive particularity of religion and religious expression. Second, religious piety, as depicted in the Speeches, is not found in the isolated inwardness of individual experience but in coordinated tension with sociality, in communications of religious feeling that are bound together with a living apprehension of the world. On this account, religion for Schleiermacher, though rooted in feeling and self-consciousness, is nonetheless no private affair; it is realized within the developing complex of social and historical living.
In this beautiful and richly illustrated book, the acclaimed
author of Blue and Black presents a fascinating
and revealing history of the color green in European societies from
prehistoric times to ...today. Examining the evolving place of green
in art, clothes, literature, religion, science, and everyday life,
Michel Pastoureau traces how culture has profoundly changed the
perception and meaning of the color over millennia-and how we
misread cultural, social, and art history when we assume that
colors have always signified what they do today. Filled with
entertaining and enlightening anecdotes, Green shows that
the color has been ambivalent: a symbol of life, luck, and hope,
but also disorder, greed, poison, and the devil. Chemically
unstable, green pigments were long difficult to produce and even
harder to fix. Not surprisingly, the color has been associated with
all that is changeable and fleeting: childhood, love, and money.
Only in the Romantic period did green definitively become the color
of nature. Pastoureau also explains why the color was connected
with the Roman emperor Nero, how it became the color of Islam, why
Goethe believed it was the color of the middle class, why some
nineteenth-century scholars speculated that the ancient Greeks
couldn't see green, and how the color was denigrated by Kandinsky
and the Bauhaus. More broadly, Green demonstrates that the
history of the color is, to a large degree, one of dramatic
reversal: long absent, ignored, or rejected, green today has become
a ubiquitous and soothing presence as the symbol of environmental
causes and the mission to save the planet. With its striking design
and compelling text, Green will delight anyone who is
interested in history, culture, art, fashion, or media.
Performance Philosophy, at its most hopefully imagined, seems to promise to succeed where other philosophical discourses and performative practises have come up short—perhaps even failed. That is to ...say, far from simply announcing a relatively modest interdisciplinary venture between philosophy and performance, Performance Philosophy seems invested with a radical potential that would, if realised, reveal a paradigm of creation and/or interpretation that is quite new and distinct. Its achievements, if successful, would be beyond the compass of performance and philosophy conceived independently of each other. Even the term itself, ‘Performance Philosophy’, conveys a certain paratactical momentum that seems directed towards a profound artistic, intellectual, and disciplinary miscegenation where neither performance nor philosophy would remain separate and intact and neither would be subordinated to or conditioned by the unchanged disciplinary genealogy and underpinnings of the other. Though exciting in prospect, this is far from unproblematic. Is performance, as an act of deliberate creative expression, not to some degree pulling in the opposite direction to truth-revealing, knowledge-bearing philosophy? Or does Performance Philosophy relate only to more elastic understandings and redefinitions of philosophy? More specifically, this article asks what ‘thinking’ ‘itself’ might be in the context of Performance Philosophy and what sort of ‘knowledge’ it might give rise to. It will be argued that against the usual measures of epistemological success Performance Philosophy must be judged to fail. However it will then explores whether, in a move reminiscent of the aesthetics of failure of early German Romanticism, it is precisely failure that seems to hold the promise of opening up new epistemological ground.
This essay investigates the alliance of ocularcentrism and cis-heteronormativity as canonical formations in Joseph von Eichendorff's 1819 novella Das Marmorbild, which enact a process of masculine ...subjectivity development through silencing the protagonist's queer voice of difference. Furthermore, this essay argues that the novella transposes the esthetic encounter of viewing and listening to mimoplastic performances such as tableaux vivants into the narrative and shows how the male protagonist's ability to articulate his desires vis-à-vis both male and female figures is calibrated through these mutual performances' queer temporality. Drawing on tropes from the Western visual canon, this essay demonstrates how the story's visual configurations work in tandem with a cis-heteronormativity to eliminate the disruptive potential of queer voices to cis-heteronormative sensory order. Nevertheless, this discussion problematizes the condition of the possibility of the canonical alignment and influence of cis-heteronormativity and visuality as it locates their motivation in patriarchal culture's organization around homosocial desires.
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Wenn Georg Lukács, Walter Benjamin, Michail Bachtin oder Robert Musil im frühen 20. Jahrhundert in der Jenaer Romantik das Labor einer neuen Art des Schreibens und Denkens über Literatur entdecken, ...so liegt dies darin begründet, dass der Roman um 1800 zum spekulativen Begriff einer Literatur- und Kulturtheorie geworden ist. Hinter der vermeintlichen Formlosigkeit des Romans hatten Friedrich Schlegel und Friedrich von Hardenberg das Vermögen der Literatur entdeckt, aus sich selbst ihre Form zu entwickeln und von ihrer Eigengesetzmäßigkeit ausgehend theoriefähig zu werden. Um diesen Vorstoß zu wagen, so argumentiert die Studie, griff die Jenaer Romantik auf das Gespräch zurück: Als Inbegriff der Geselligkeit, als literarischer Präzedenzfall und als epistemologisches Modell wurde es zum Medium der literarischen Reflexion par excellence. Die Voraussetzungen für die Allgegenwart des Gesprächs um 1800 findet die Studie in der dialogischen, aus der Literatur- und Kunstkritik hervorgegangenen Erzählliteratur Denis Diderots angelegt; den Folgen spürt sie nach bis hin zur Konzeption des Gesprächs als Formkonstituens und Figur einer nicht-genealogischen Herleitung von Literatur in Musils Mann ohne Eigenschaften.
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