El presente artículo profundiza en los escritos teóricos de Friedrich Hölderlin sobre latragedia y lo trágico, interpretándolos a la luz de su obra trágica inconclusa La muerte de ...Empédocles.Posteriormente, la reflexión de Hölderlin es puesta en relación con la obra del pintor Caspar DavidFriedrich, descrita como “tragedia del paisaje”. El estudio comparado de literatura y pintura,acompañado por la propia reflexión de ambos artistas, ofrece la oportunidad de abordar desde unaperspectiva múltiple ciertas características de las subjetividades representadas por el poeta y el pintor,cuya existencia aparece ligada a un profundo sentimiento trágico. Palabra, imagen y reflexión románticaemergen en este diálogo entre Hölderlin y Friedrich para ofrecer una fecunda clave de lectura a partir delo trágico, tanto en su dimensión artística, como vivencial.
Kulturtransfer Um 1900 Kemper, Dirk; von Bülow, Ulrich; Lileev, Jurij
2020, 20191021, Volume:
20
eBook
Zu Beginn des 19. Jahrhunderts interessierten sich russische Schriftsteller und Intellektuelle intensiv für die deutsche Romantik, sogen sie auf und transformierten sie in etwas spezifisch ...Russisches. Ein Ergebnis dieses Transformationsprozesse war das slavophile Denken seit der Mitte des Jahrhunderts. In den Jahren um 1900 interessierten sich wiederum deutsche Schriftsteller und Intellektuelle intensiv für diese angeblich „genuin russische“ Slavophilie, adaptierten sie im Sinne ihrer aktuellen Interessen.
Thomas Mann etwa gewann daraus die geistige Grundlage für seine Betrachtungen eines Unpolitischen. Früher noch als Mann nahm Rilke begierig slavophiles Denken auf, das ihm vor allem von Lou Andreas-Salomé vor und während ihrer gemeinsamen Russlandreisen vermittelt wurde. Rilke schuf idealisierte Russlandbilder, die gegenüber der sozialen Realität der Zeit vollkommen blind waren. Seine Transformation des slavophilen Denkens diente ihm vor allem dazu, das eigene Schreiben zu reflektieren und zu begründen.
Die Arbeit rekonstruiert die epistemische Verschiebung von Kants transzendentaler Erkenntnis zu Hegels absolutem Wissen; erstmals im systematisch-historischen Zusammenhang der frühromantischen Texte ...Friedrich Schlegels.Ankerpunkt der Untersuchungen ist dabei der von Schlegel erkenntnispositiv gewendete Gebrauch dialektischer Verfahren. Mit seiner paradigmatischen Umdeutung der „Transzendentalen Dialektik“ Kants werden erkenntnistheoretische Muster freigelegt, die der Einheit des Widerspruchs logischen Vorrang gewähren und den späteren Einsichten Hegels vorausgehen. Dialektik bestimmt dabei drei wesentliche Positionen im Umgang mit dem Absoluten: als transzendentale Idee bei Kant, als unendlicher Darstellungsverlauf bei Schlegel und als bewusstgewordene Einsicht in seine Selbstexplikation bei Hegel.
A problem for those writing about music around 1800 was delivering persuasive judgments about works that readers had not heard, especially for journals that sought to mold a self‐conscious musical ...public. One tactic was the citation of musical examples in the form of interpolated images from the score. After surveying the development of this technique in the eighteenth century, this article examines the shifting use of musical citation in the works of E.T.A. Hoffmann. His review of Beethoven's Fifth Symphony for Leipzig's Allgemeine Musikalische Zeitung pioneered a new use of citation that went beyond evaluation to deliver an aesthetic impression of the work. In his Fantasiestücke in Callots Manier, however, Hoffmann disavows musical examples, rewriting his Beethoven review without examples and creating a parodic notation to suggest the inability of citation to communicate musical effect.
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Georg Philipp Friedrich von Hardenberg, better known by the name of Novalis, read alchemical writings, including The Chymical Wedding of Christian Rosencreutz from an early age. Novalis was much ...influenced by the mysticism of Romantic nature philosophy as well as by Jakob Böhme and he sought the philosophical stone in all its manifestations, as he told his brother in a letter of 1793. After his fiancée Sophie died, he began to idealize his love for her and the two of them were eternally bound in a mystic union. Sophie became for him the Sophia that relates the temporal world to the hereafter, and leads to self-knowledge and knowledge of the world. This paper will first examine the influence of pietism, Naturphilosophie and of Jakob Böhme before exploring how the echoes of The Chymical Wedding inform the themes of love, the union of opposites and knowledge in the poems, “The Disciples at Saïs” and “Heinrich von Ofterdingen”.
The Long Century’s Long Shadow approaches German Romanticism and Weimar cinema as continuous developments, enlisting both in a narrative of reciprocal illumination. The author investigates different ...moments and media as connected phenomena, situated at alternate ends of the long nineteenth century but joined by their mutual rejection of the neo-classical aesthetic standard of placid and weightless poise in numerous media, including film, painting, sculpture, prose, poetry, and dance.
Connecting Weimar filmmaking to Romantic thought and practice, Kenneth S. Calhoon offers a non-technological, aesthetic genealogy of cinema. He focuses on well-known literary and artistic works, including films such as Nosferatu , Metropolis, Frankenstein , and Fantasia ; the writings of Conrad, Kafka, Goethe, and Novalis; and the paintings of Caspar David Friedrich, one of the leading artists of German Romanticism. With an eye to the modernism of which Weimar filmmaking was a part, The Long Century’s Long Shadow employs the Romantic landscape in poetry and painting as a mirror in which to regard cinema.
La actitud de la dramaturgia del Siglo de Oro frente a la preceptiva aristotélica ha despertado numerosas polémicas. Las interpretaciones que se le han concedido a la mezcla genérica áurea oscilan ...entre aquellas que la condenan y las que la elogian. Lo mismo ocurre en la Alemania de finales del XVIII e inicios del XIX, donde las apreciaciones que recibe el carácter híbrido del teatro del Siglo de Oro responden a diferentes estadios de la maduración de las propias teorías dramáticas teutonas, al tiempo que a través de este aspecto se suceden, a lo largo de las décadas, muy dispersas opiniones respectos a los dramaturgos áureos. Este artículo ofrece un repaso de ellas y demuestra la relevancia de la mezcla tragicómica como factor determinante de la recepción y la interpretación del teatro de Lope y Calderón en la Alemania romántica.
The philosophical views of German romantics, as well as images, motives, chronotopes characteristic of German romanticism, embodied in the domestic urban fantasy are analyzed. Special attention is ...paid to the techniques of the comparative method. The scientific novelty of the research lies in the almost complete absence of works devoted to the study of urban fantasy. It is noted that this fantasy subgenre has not been considered in detail in the context of the continuation of the traditions of romantic German literature. The theoretical basis of the research is presented by the works of M. M. Bakhtin, N. Ya. Berkovsky, V. M. Zhirmunsky, Yu. M. Lotman, S. S. Levochsky, etc. It was revealed that urban fantasy inherits the main images, themes, motives, symbols that dominated in German romanticism: the motive of a double, the image of a doll, an artist, etc. It was established that the authors of urban fantasy not only reproduce the image of a romantic artist-creator, but depict a character-demiurge. It has been proven that urban fantasy deepens and transforms the romantic “night beginning”: the images of the dead and vampires become plot-forming characters in independent series of works. It is concluded that the authors of urban fantasy, like German romantics, activate the readers’ attention to mythology and folklore, creating new fantastic worlds with their help.
In its early and peak periods Romanticism was particularly characterized, among other things, by severe criticism of the rational understanding of the world, and thus also of the Enlightenment and ...its world-view. One area where the Romantics’ distrust of reason, system, and mechanics was manifested was the area of the so-called Dark Romanticism and its terrifying stories. In this context, one dominant principle of the emergence of disturbing or scary moments in the Romantic literary text can also be determined: Fear is created as a crack in the rational images of the world, as a dark psychological exploration of the human self. In this respect, the article deals with the work of E. T. A. Hoffmann and Ludwig Tieck.
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