A través de textos del Inca Garcilaso de la Vega y Heinrich von Kleist, de Alonso de Ercilla y María Graham y de Mistral, Neruda y Teillier, el autor, como un observador externo, sondea qué hay ...detrás de la idea de Chile como "fin del mundo", y en qué medida la relación o la distancia con este concepto transmite una forma de los chilenos de habitar -en el sentido de Heidegger- su territorio.
In pursuit of power Reeve, William C
In pursuit of power,
1987, 19871215, 1987
eBook
A number of striking parallels link the lives and careers of Machiavelli and Kleist. This study of the influence of one on the work of the other begins with an outline of those parallels, and of the ...Machiavellian atmosphere in Kleist's first play, Die Familie Schroffenstein. Reeve goes on to focus on the protagonists of Kleist's plays, beginning with Licht in Der zerbrocheme Krug. He exposes the skill of Licht's behind-the-scenes direction of the course of events to his own advantage and to the detriment of his superior, Adam. Next Reeve offers a detailed analysis of Die Hermannsschlacht, in which he demonstrates how Hermann embodies those qualities -- the cunning of the fox and the strength of the lion -- demanded by Machiavelli in a successful ruler. With these traits Hermann has brought the German princes, his own tribe, his rival Marbod, his wife, and even the Romans to a point where, unwittingly, the have all worked towards the establishment of a united Germany under his leadership. The chapter n Prinz Friedrich von Homburg singles out the underhand manoeuvers of the sadistic Hohenzolern who plots to embarrass publicly both the Elector and the Prince as a subtle manifestation of his personal power over the two leading contenders for political supremacy. The fragment Robert Guiskard contains two Machiavellian protagonists, an older more accomplished practitioner and an up-and-coming young threat, and treats another issue addressed in Il Principe: what occurs when an ideal leader at the height of his powers is cut down by a disabling illness? Indicative of the beginning and the end of Kleist's opus, half of his plays contain the figure of the clandestine schemer who plans the social or political elimination of a rival and, by stealth and skillful manipulation of others, directs the course of events at almost every turn. Reeve concludes with an attempt to explain the presence of the Machiavellian in Kleist's works as the indirect influence of Shakespeare's three villains, the direct example of Napoleon, or the
The discourse on the disaster from the mid-eighteenth century could provide us with elements of understanding about the society that produced it, placing it in the field of the history of ...representations since the earthquake of Lisbon in 1755 allowed the analysis of naturalists from a scientific point of view and provided the basis for a conception of scientific nature, according to which man's intervention in nature was considered legitimate. Thus, the perception of natural disasters allows for a gradual change in the position of consciousness and the change in values of man, who renounces his passivity towards nature in modern times and begins, through technical-scientific mastery, to consider himself competent and empowered in the management of risks and natural hazards. The literary account of disasters takes on a critical role, thematizing nature as a social catastrophe, and the writings of Voltaire, Rousseau, or Heinrich von Kleist, referring to the Lisbon earthquake, demonstrate the secularisation of disaster, opening the way to the concepts of risk and responsibility.
Passions of the Sign traces the impact of the French Revolution on Enlightenment thought in Germany as evidenced in the work of three major figures around the turn of the nineteenth century: Immanuel ...Kant, Johann Wolfgang von Goethe, and Heinrich von Kleist. Andreas Gailus examines a largely overlooked strand in the philosophical and literary reception of the French Revolution, one which finds in the historical occurrence of revolution the expression of a fundamental mechanism of political, conceptual, and aesthetic practice.
With a close reading of a critical essay by Kleist, an in-depth discussion of Kant's philosophical writing, and new readings of the novella form as employed by both Goethe and Kleist, Gailus demonstrates how these writers set forth an energetic model of language and subjectivity whose unstable nature reverberates within the very foundations of society. Unfolding in the medium of energetic signs, human activity is shown to be subject to the counter-symbolic force that lies within and beyond it. History is subject to contingency and is understood not as a progressive narrative but as an expanse of revolutionary possibilities; language is subject to the extra-linguistic context of utterance and is conceived primarily not in semantic but in pragmatic terms; and the
individual is subject to impersonal affect and is figured not as the locus of self-determination but as the site of passions that exceed the self and its pleasure principle.
At once a historical and a conceptual study, this volume moves between literature and philosophy, and between textual analysis and theoretical speculation, engaging with recent discussions on the status of sovereignty, the significance of performative language in politics and art, and the presence of the impersonal, even inhuman, within the economy of the self.
The appeal of things is that they insinuate a degree of stability, durability, firmness, and a degree of certainty in times of uncertainty. Unlike objects (Gegenstände), things are there even if ...we-humans who perceive, surround, use them-are not. The article draws on Heidegger's 1950 essay "The Thing," which uses the example of a jug, to reflect on Kleist's things. Kleist's things are not stable, not durable, and not a ground of certainty for the fickle mind. Nor are they merely fragile and transient. Rather, Kleist's things are simultaneously both stable and fragile, durable and transient, certain and uncertain. Kleist's writings show how the liminality of things extends into the social realm where things are recognized as a potential resource: as the singular, different, and surprising element that resists, that can change, but that also makes possible the general, the rule, the law. Focusing in particular on the broken jug in Kleist's famous comedy by the same name, the article argues that Kleist finds in things an alternative to Kant's "thing in itself" and to the Romantic absolute (as something Unbedingtes). Counter to the search for certainty and stable grounds advocated by some of the new materialists, Kleist's episteme works toward a thinking that responds and recalls the uncertainty of things and with it their singularity and generative force.
Originally published in 1970. For Sigurd Burckhardt, literary interpretation began with the discovery of an "inconsistency" in a text. Minimizing the possibility that the writer has "unconsciously" ...fallen into an inconsistency in the use of material, the true interpreter, Burckhardt believes, abandons a tendency to "correct" the writer and seeks instead a new formulation by which the inconsistency can be seen as a part of a work's essential unity. "Whether I search for the meaning of a word or for the meaning of my life," he wrote, "I am looking for something under which I can subsume the otherwise unrelated and meaningless particular so as to place it in a larger order." That method, so characteristic of Burckhardt's criticism, underlies his studies of Goethe and Kleist and unifies the essays of this volume. Prior to his death in December 1966, Professor Burckhardt had considered the possibility of collecting his writings on Goethe and Kleist. One essay had never been published; others had appeared only in German or were available in scattered sources. The preparation of the essays for publication, a service of professors Bernhard Blume and Roy Harvey Pearce, makes possible this impressive demonstration of their late colleague's interest in German literature. The seven critical studies are introduced by an essay that makes explicit the concern for language implicit throughout the volume. Burckhardt proceeds by close adherence to the text and by analysis of its writer's use of language and structure. He interprets Goethe's Prometheus, Pandora, Iphigenie, Tasso, Die natürliche Tochter, and Egmont and Kleist's Prinz Friedrich von Homburg and Die Hermannsschlacht. He provides original and challenging interpretations, shaping each into a self-contained entity.
Kleist on stage Reeve, William C
Kleist on stage,
c1993, 19930111, 1993, 1993-01-11
eBook
Since an account of every known staging would require several volumes, Kleist on Stage is limited to major productions in Germany, Austria, and Switzerland that attracted more than the usual press ...coverage, and to interpretations and adaptations outside the German-speaking countries. Reeve presents a chronological stage history of each of the plays, beginning with Die Familie Schroffenstein and ending with Prinz Friedrich von Homburg. He also discusses some of the problems faced by a director attempting to put a Kleistian drama on stage, and pleads for greater understanding and cooperation between the academic and theatrical traditions.
his article examines the biographical and psychoanalytic works of Freud’s biographer Isidor Sadger (1867–1942), placing these works within the broader context of the role of lifewriting genres in the ...history of psychoanalysis. Sadger is presented as a key figure in the development of one psychographic genre in the Vienna Psychoanalytic Society (1902–1938). Although one of the most prolific authors within Freud’s circle, Sadger’s works remain largely forgotten. The author analyzes Sadger’s unknown psychographic and biographic works, and reveals his largely overlooked theories of literature and the psychology of creators. A close reading of his biography, Recollecting Freud (Sigmund Freud, personliche Erinnerungen), sheds new light on the relationship between life writing, literary experimentalism, and early psychoanalysis.
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