Academic literature on the topic 'Kleist, Heinrich von, 1777-1811 Philosophy'

Der deutsche Romantiker Heinrich von Kleist (1777 – 1811) schuf kurz hintereinander zwei Dramen (Penthesilea und Käthchen von Heilbronn), in denen er mit Hilfe zweier Frauengestalten ein scheinbar widersprüchliches Bild des Weiblichen entwirft. Eine genauere Analyse der beiden Titelheldinnen, die auch auf die Wesenszüge „des Weiblichen“ an sich eingeht, zeigt jedoch, worin die Komplementarität und die Ambiguität des Weiblichen in den beiden genannten Fällen besteht.

The article deals with the work of Heinrich von Kleist (1777–1811) in terms of its relation to the problems of “law and literature”. It focuses on the fact that this German writer belongs to those great creators who attached extraordinary care to the question of law and justice in his work. At first, the paper deals shortly with the life of this important figure of the German letters. Then the main attention is paid to the nouvelle “Michael Kohlhaas” which might be considered as the most important of his works related to the “law and literature” topic. This is given especially by the general preset of the story in which the main hero fights for the achievement of the justice tirelessly even at the cost of sacrificing his family's happiness and his life. Next part of the paper makes us familiar with certain aspects of the plot. Finally, the other works of Kleist related to the problems of “law and literature” and legal questions involved are analyzed.

Ricoeur (1988) nos diz que a conceituação do mal é um problema que atravessa séculos, devido a sua necessidade de coerência lógica. Já se discutiu sua origem, suas causas e seus efeitos, porém nunca se chegou a um termo que eliminasse a contradição em seu cerne. Neste espaço, as obras literárias de Heinrich von Kleist (1777-1811) apresentam uma temática que abarca uma quebra de limites entre os conceitos de maldade e bondade desenvolvidos durante a Aufklärung, evidenciando essa problemática. Essa quebra nos parece estar fortemente associada à relação existente entre o "eu" e o mundo caótico em que este está inserido, implicando em uma complexidade das fontes do mal moral que diluem as barreiras entre bem e mal e nos levam à contestação destes limites estanques. Procuraremos, portanto, neste texto, demonstrar em que consiste essa quebra de limites e como a composição de uma realidade pautada no engano integra o universo literário kleistiano, principalmente na obra Michael Kohlhaas.

L'objet de cette these etait de mettre en evidence les traits de perversion dans l'ecriture de heinrich von kleist. De la meme facon que la proximite de jacques lacan avec les ecrivains surrealistes lui a permis d'etayer sa theorie suivant laquelle l'inconscient est structure comme un langage, une etude de l'ecriture de kleist, a la lumiere des dernieres recherches psychanalytiques relatives a la perversion, etait de nature a fournir des exemples pratiques : nous avons pu etablir, dans la vie et dans l'ecriture de kleist, l'existence de nombreux traits cliniques relevant d'une structure perverse. Dans notre premiere partie, apres un bref exposes des appuis conceptuels freudiens en matiere de perversion et de leur prolongement chez lacan, nous avons examine les rapports du pervers a la loi pour voir comment l'ecriture peut etre un outil de comprehension de la realite de l'auteur. Ceci etant acquis, nous nous sommes attachee a un certain nombre de textes de kleist. Cette etude - autant au plan de l'intrigue (deuxieme partie) qu'a celui du style (troisieme partie) - a pris appui sur differentes methodes d'analyse des textes, car un phenomene aussi complexe que la creation litteraire exige necessairement plusieurs modes d'approche. Kleist s'est avere etre un virtuose pour se servir de la langue, la contrer, la retourner, la pervertir dans son style meme
In a similar way as lacan's proximity with surrealist writers helped him to support his theory according to which the unconscious is structured like a language, a study of kleist's writing, inspired by the latest psychoanalytic findings about perversion, provides practical examples : we have evidenced, in kleist's life and writing, the existence of numerous clinic features revealing a perverse structure. In a first part, after a short survey of freudian theories about perversion and their development by lacan, we have examined the relationship of the pervert with the law to show how writing can be used to understand the author's reality. This being achieved, we have focused on some kleist's texts this research about scenario (part 2) and style (part 3) is based on various methods of text analysis, since a phenomenon as complex as the literary creation requires necessarily several approaches. Kleist appears to be a genius in using language, in counter playing it, in turning it, and perverting it in its fundamental system

Esta dissertação, cujo enfoque central é a novela \"Michael Kohlhaas\", do escritor alemão Heinrich von Kleist (1777-1811), procura identificar o mecanismo que permite à prosa do autor trafegar pelos mais diferentes espaços e assuntos sem, aparentemente, esfacelar-se. No primeiro capítulo, apresenta-se um breve panorama da crítica kleistiana, identificando-lhe alguns percalços. No segundo, analisam-se com mais atenção os mecanismos formais utilizados pelo narrador para compor o texto com que acompanha a trajetória do protagonista. No terceiro, analisam-se os móveis da ação de Kohlhaas. Ao final da dissertação, conclui-se que a novela traça um perfil da subjetividade moderna, revelando-lhe o caráter alienado.
This dissertation, whose main object is the novella \"Michael Kohlhaas\", written by the German author Heinrich von Kleist (1777-1811), tries to identify the mechanism which allows the writer\'s prose to inhabit the most diversified spaces and to present the most diversified subjects without apparently falling to pieces. The first chapter presents a short overview of the Kleistian literary criticism pointing to some of its problems. The second one analises the formal mechanisms used by the narrator to build the text with which he will present the path opened by the main character of the novella. The third one will analise the motives of Kohlhaas\' actions. At its final part, this paper concludes that this Kleistian novella presents the profile of the modern subjectivity revealing its alienation.

Made available in DSpace on 2015-08-20T17:10:04Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-03-20. Added 1 bitstream(s) on 2015-08-20T17:25:56Z : No. of bitstreams: 1 000841172.pdf: 1126715 bytes, checksum: 74d1263162a94bdea5f2edde140e168b (MD5)
Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)
O presente estudo tem como objetivo discutir as teorias de Friedrich Schiller (1759-1805) e Heinrich von Kleist (1777-1811) sobre a graça, a dignidade, o belo e o sublime, comparando-as, a fim de mostrar as divergências e as confluências dessas concepções estéticas, que foram desenvolvidas nos períodos clássico (com Schiller) e romântico (com Kleist). Tendo como referencial principal para a análise dessas categorias os ensaios Sobre graça e dignidade (Über Anmut und Würde), de Schiller, e Sobre o teatro de marionetes (Über das Marionettentheater), de Kleist, procuramos mostrar na dissertação como as teorias estéticas dos dois autores refletem as tensões existentes entre Classicismo e Romantismo na Alemanha, e como essas tensões estabelecem diferenças entre a ideia de forma em Schiller e Kleist, tendo em vista que a harmonia clássica e a desarticulação dessa harmonia são temas frequentes. Schiller preza pela manutenção da harmonia e busca na arte o caminho para que o homem alcance o equilíbrio; Kleist, pela via da desconstrução do modelo clássico, joga com a forma, de maneira a desarticulá-la, transformando-a em palco para o advento do ritual dionisíaco; não mais a serenidade e harmonia de Apolo que imperam, mas sim o frenesi de Dionísio, que domina e se expande de maneira extraordinária. Dessa maneira, as categorias do belo, da graça e do sublime ganham em Schiller e Kleist dimensões díspares e afins, abrindo espaço para a comparação de suas obras. Aproveitando-nos dos apontamentos feitos por Friedrich Schiller sobre a tragédia como instância que proporciona ao homem o entretenimento e a liberdade através de meios morais, utilizamos as peças Die Jungfrau von Orleans (Friedrich Schiller, 1801) e Penthesilea (Heinrich von Kleist, 1808) como via de exemplificação prática de como estes autores usaram as concepções estéticas apontadas acima para a construção da ação de suas heroínas...
This study has the objective to discuss the theories of Friedrich Schiller (1759-1805) and Heinrich von Kleist (1777-1811) about grace, dignity, beauty and sublime, comparing them in order to show the differences and the confluences of these aesthetic concepts that were developed in the classical period (with Schiller) and romantic (with Kleist).Using as a basis for the analysis of these categories the essays On Grace and Dignity (Über Anmut und Würde), by Schiller and On the Marionette Theatre (Über das Marionettentheater), by Kleist, we are showing as the aesthetic theories of the two authors reflect the tensions between Classicism and Romanticism in Germany, and how these tensions establish differences between the idea of form in Schiller and Kleist, considering that classical harmony and the dismantling of this harmony are common themes. Schiller values the maintenance of harmony and search in the art a way for men to achieve balance; Kleist, through the deconstruction of the classical model, play with form, dismantling it, turning it into a stage for the advent of the Dionysian ritual; no more serenity and harmony of Apollo that reign, but the frenzy of Dionysus, which dominates and expands in an extraordinary way. Therefore, the categories of beauty, grace and sublime acquire in Schiller and Kleist different and similar dimensions, making possible the comparison of their works. Utilizing the notes made by Friedrich Schiller about the tragedy as an instance that provides entertainment to man and freedom through moral means, we are using the plays Die Jungfrau von Orleans (Friedrich Schiller, 1801) and Penthesilea (Heinrich von Kleist, 1808) as a form of practical exemplification of how these authors used the aesthetic conceptions mentioned above for the construction of the action of his heroines, characterizing them to attend these aesthetic assumptions

This dissertation examines the representations of the body in the completed dramatic works of Heinrich von Kleist (1777--1811). While taking into account the psychoanalytical and philosophical approaches to Kleist, this project has Heiner Miller's words as its point of departure: that the theater represents the collision of ideas with the body. The forces of power, gender and authority leave their traces of this collision on the bodies of his characters, whose metaphorical and literal falls, wounds and recoveries speak their own gestural language.
This study is organized on the principle of Kleist's use of genre designation, the approximate chronological order of his plays, and the representation of the body. Chapter one focuses on Die Familie Schroffenstein, Der zerbrochne Krug, and Amphitryon and the notion of bodily authenticity and integrity; chapter two, on Die Hermannsschlacht and Penthesilea, looks at the spectacle of violence and its effect on the body mobilized by emotional extremity; the third chapter, on Kleist's most celebrated works, Prinz Friedrich von Homburg and Das Kathchen von Heilbronn, examines aspects of gender and vulnerability. The conclusion views his essay "Uber das Marionettentheater" not as a key to understanding his works, but rather as a culmination of them, and investigates Kleist's writing on the wounded body and its connection to grace.

L'objectif que se fixe cette thèse est double. Il s'agit de réhabiliter les textes épistolaires de Kleist dans leur dimension littéraire et de définir leur statut dans l'ensemble de l'œuvre, tout en les envisageant dans la perspective de la démarche communicative qui les sous-tend. Dans l'étude de la démarche communicative inhérente à la lettre, se manifeste le mode sur lequel Kleist choisit de se dévoiler à l'autre. Dans ce dévoilement s'esquisse un portrait épistolaire du poète, dont la particularité est de demeurer contradictoire et fragmentaire, à l'image de l'œuvre dont il est le produit. L'analyse du positionnement ambivalent de la lettre kleistienne, discours de l'absence aspirant à l'immédiateté, révèle d'autre part la coexistence en elle d'instants monologiques réflexifs, dont la particularité est de servir à la mise en forme de la pensée, et d'une détermination essentiellement dialogique qui est au fondement de la démarche d'écriture. La mise en forme consciente de l'image, les procédés de dramatisation de l'écriture, l'utilisation réflexive du signe et du mot, le recours à un dispositif rhétorique, l'acuité du regard, la transformation du réel dans l'écriture apparaissent comme autant d'aspects constitutifs d'une œuvre littéraire, que l'étude stylistique des lettres s'attache à mettre au jour. Mais la singularité de l'étude réside dans l'enrichissement de la réflexion par la prise en compte de l'objet épistolaire, selon une méthode héritée de la critique génétique, dont l'objectif est d'analyser les traces du processus d'élaboration de l'écriture sur les manuscrits. Dans les lettres du poète, la progression de l'énonciation se manifeste non seulement dans la construction syntaxique de l'énoncé, mais aussi à travers l'adjonction de tracés et de signes divers - dont le tiret - auxquels échoit la fonction de dire sur un mode métalangagier. A la frontière entre la sémantique et la sémiotique, l'étude des manuscrits révèle un champ d'investigation fondamental pour l'approche de l'écriture épistolaire kleistienne, conçue aussi comme une contribution à l'étude de l'œuvre globale du poète
The aim of this dissertation is twofold : to demonstrate the literary dimension of Kleist's letters and to determine their status within Kleist's works while examining the communicative aspects of his epistolary texts. Analyzing the communicative perspective inherent to epistolary texts indicates the way in which Kleist is revealing himself to his correspondents, and it creates an epistolary portrait of the poet. The particularity of an epistolary portrait is its contradictory and fragmented nature based on the incompleteness of epistolary works. The analysis of the ambivalence of Kleist's letters (an absence's discourse yet aspiring to immediacy) displays the coexistence of monologic and reflexive passages on the one hand, which are used by the writer as a way of forming his thoughts, and of a dialogic determination on the other hand on which the act of writing is based. The conscious forming of the image, the process of dramatisation of style, the reflective use of the word and of signs, the use of rhetoric figures, the intense observation, the transformation of reality into words are constituent components of a literary work. The purpose of the stylistict analysis of the study is to bring these aspects to light. But the singularity of this study lies in the careful examination of the epistolary object through the method of genetic critic, which proposes to analyze the manifestation of the elaborative process of writing within the manuscripts. In the poet's letters the unfolding of the enunciation is not restricted to the syntactic construction of the utterance, but also manifests itself in the addition of lines and signs - like the dash - which convey a metalingual level. On the borderline between semiotics and semantics, the study of the manuscripts reveals a fundamental field of investigation for Kleist's epistolary works and his writing

This dissertation draws on contemporary philosophical and sociological approaches to trust and engages them in a dialog with literary, poetological, and philosophical texts from the nineteenth century. In doing so it seeks to explore both what other disciplines have to offer to literary studies with regard to the interpretation of trust as a literary motif, as well as to show how literary texts evoke compelling scenarios in which the conceptual and semantic complexities of the phenomenon of trust take on theatrical, rhetorical, and narrative forms that can both illustrate and challenge sociological or philosophical claims. Close readings of texts by Ludwig Tieck, Heinrich von Kleist, Franz Grillparzer, and Friedrich Nietzsche offer new interpretations of canonical texts and discuss the relationship of trust to aesthetics, cultural memory, mythography, and performativity.