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1
Stenseth, O. N. "Idealism and realism in early German Romanticism." Thesis, University College London (University of London), 2015. http://discovery.ucl.ac.uk/1473273/.
Повний текст джерелаАнотація:
The early German romantics Hölderlin, Novalis, and Schlegel were united in their attempt to combine idealism and realism. However, contemporary interpretations of early German romanticism have, as far as idealism and realism is concerned, found two major strands of interpretation in Manfred Frank and Frederick C. Beiser that respectively characterise the romantics as epistemological and metaphysical realists and as absolute idealists. Against both of these interpretations I will argue that we both can and should interpret the Frühromantiker as finding some middle path between idealism and realism. In order to motivate this claim I will begin by summarising what I take to be the main features of the positions of the three major early German romantics (Hölderlin, Novalis, and Schlegel) as well as making it apparent that finding some way of combining idealism and realism was in fact their goal. In light of these features I will then critique both Frank and Beiser's one-sided interpretations as well as offer an interpretation that does take into account the romantics' self-proclaimed aim. Having gone through Hölderlin, Novalis, and Schlegel in turn, summarised the major elements of their philosophy, shown how the three can be interpreted as neither idealists nor realists, and rejected any absolute idealist readings, as well as having given a reading of these philosophers consistent with their attempt to combine idealism and realism, I will end by concluding that we both can and should interpret the Frühromantiker as finding a middle path between idealism and realism.
2
Burda, Jacob. "The good infinite in early German romanticism." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:a5ce1905-764e-4d28-952c-9a13ad15ee78.
Повний текст джерелаАнотація:
In this dissertation I challenge the 'standard' reading of early German romanticism, according to which the movement is most fundamentally characterized by unfulfilled longing, infinite approximation and nostalgic despair. Against this 'defeatist reading' I put forward a 'conciliatory reading' according to which the romantics advocate a harmonious relationship between ourselves and the world. The reading I offer is centred on the idea of 'good infinity', an idea long associated with Hegel but one which I argue the romantics (especially Schlegel) anticipated. A good infinity is united with, rather than opposed to, finitude. This dissertation sets out to show how this romantic conception of infinity underlies major aspects of romanticism such as 'incomprehensibility', 'irony', and the method of 'Wechselerweis'. In chapter 1, I argue that the romantics are neither pre-critical idealists continuing the Spinozistic heritage (the view of Frederick Beiser), nor Kantian skeptics replacing the 'thing-in-itself' with the Absolute (the view of Manfred Frank). On the reading I advance, the romantics are forbears to the phenomenological tradition. In chapter 2, I argue that Schlegel's recurring references to 'incomprehensibility', or Novalis' appraisal of 'the night' in his Hymns, are intended as 'positive' contributions in that they ask us to acknowledge and accept, rather than commiserate and reject, an incomprehensible dimension to the world. In chapter 3, I argue that 'good infinity' is implied in the method of 'Wechselerweis' because of its emphasis on a reciprocal relationship. I survey various philosophical attempts to classify romanticism and show how I take my reading to preserve the various truths contained in each. In chapter 4, I distinguish the romantics' version of 'good infinity' from that of Hegel. I use various examples to motivate and describe a first personal sense of commitment that romantic irony, understood as feeling at the same time 'finite and infinite', makes available. Together these chapters support my claim that interpreting infinity to entail unreachability amounts to a limited and ultimately unfaithful reading of the early German romanticist project. With 'good infinity' I offer a way out of those limitations.
3
Ashraf, Ammara. "Romantic poetologies : collaboration and interdisciplinarity in early Anglo-German Romanticism." Thesis, Queen Mary, University of London, 2013. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8366.
Повний текст джерелаАнотація:
This thesis reads seminal texts such as Wordsworth’s prose, Lyrical Ballads, The Prelude, and The Excursion alongside Coleridge’s poetic theory and practice and Novalis, Tieck and Friedrich Schlegel’s philosophical novels and fragments, as ‘poetologies’. My initial research aim is to test how successfully Wordsworth can be read as part of this Anglo-German comparative framework, from which criticism has tended to exclude him. This is done through demonstrating the centrality of irony and drama to the philosophical character of Wordsworth’s poetry. Drawing on the theory of the Frühromantiker, I demonstrate that Wordsworth’s revisionary habit and his use of ballads and epitaphs shape a poetics constantly ‘in the process of becoming’ (F. Schlegel), the vehicle of the poet’s aspirations to dramatize a potentially infinite self-consciousness. Secondly, my thesis investigates the ways of reading these seminal texts which give us a clearer idea of how Romantic writers internally situate their own work through their use of contrasting genres. This investigation expands to examine how the collaborative, interdisciplinary ventures proposed by Romantic writers elaborate the concept of ‘poetology’ as a practicable theory. This leads to my final research aim: to make apparent that these methodologies result in the Mischgedicht, the ‘mixed poem’ which Schlegel theorizes as the ultimate incarnation of modern, ‘Romantic’ literature. The thesis concludes by drawing theories, methodologies and texts together and making sense of that ultimate continuity sought by the Romantic project. I do this by turning to the poetologizing of immortality (which supersedes death as a Romantic preoccupation) and arguing that to poetologize immortality – to poeticize and philosophize it simultaneously – is the test-case for producing the infinite from the finite. I suggest the necessity felt by Romantic writers to achieve this transformation in order to legitimate the permeable philosophical poetry and poetic philosophy – ‘poetologies’ – which made it possible.
4
Flambard, Agnès. "Analyse critique des raisonnements d'attribution en histoire de l'art : le cas de Raphaël." Electronic Thesis or Diss., Sorbonne université, 2024. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2024SORUS083.pdf.
Повний текст джерелаАнотація:
L'attribution en histoire de l'art répond à des critères divers, qui peuvent être étudiés en regard de l'histoire du marché de l'art mais aussi de l'histoire du goût. Raphaël, dont l'art a fait l'objet de très nombreuses attributions ou désattributions, est à cet égard un cas d'école. L'étude de six dessins et peintures correspondant aux trois périodes de la carrière de Raphaël a permis de dégager des caractéristiques relatives aux raisonnements d'attribution non seulement pour le peintre étudié mais aussi pour ce qui concerne la peinture moderne en général. Ces raisonnements obéissent à un discours bien rodé qui se met en place dans le courant du XIXe siècle sous la double influence des sciences de la nature et des modèles de la critique textuelle, philologique et historique. Cette dernière s'inscrit dans la tradition des mauristes et dans le cadre de l'institutionnalisation des savoirs qui s'opère tout particulièrement en Allemagne pour la nouvelle discipline que représente l'histoire de l'art. Très rapidement, il est possible d'observer une personnalisation de l'attribution, une œuvre de Raphaël ne pouvant être donnée au maître que par un « Raphaéliste ». L'étude des différents textes attributionnistes s'étalant sur près de deux siècles a permis de comprendre la problématique du goût et d'expliquer ainsi les changements d'attribution pour une même œuvre. Les débuts de l'histoire de l'art en Allemagne sont parallèles à l'émergence, sous l'influence des premiers romantiques allemands, d'un nouveau goût pour les primitifs qui va durablement influencer le regard des « Raphaélistes » qui chercheront à construire un corpus des premières œuvres et dévaloriseront celles de la période romaine dont le classicisme commence à être passé de mode. Ce changement de regard sur Raphaël s'opère d'abord dans le cadre d'un renouveau du catholicisme et se poursuivra à la fin du XIXe siècle avec le rejet de l'académisme, dont on juge le Raphaël romain responsable. Or, depuis une vingtaine d'années, la période romaine est revalorisée entrainant ainsi les réattributions des œuvres romaines au maître lui-même et permettant une étude nouvelle de la notion d'attributionAttribution in art history meets various criteria, which can be studied with regard to the history of the art market but also the history of taste. Raphael, whose art has been the subject of numerous attributions or disattributions, is in this respect a textbook case. The study of six drawings and paintings corresponding to the three periods of Raphael's career made it possible to identify characteristics relating to attribution reasoning not only for the painter studied but also for modern painting in general. These reasonings obey a well-established discourse which was put in place during the 19th century under the double influence of the natural sciences and the models of textual, philological and historical criticism. The latter is part of the tradition of the Maurists and within the framework of the institutionalization of knowledge which is taking place particularly in Germany for the new discipline that represents the history of art. Very quickly it is possible to observe a personalization of the attribution, a work by Raphael being able to be given to the master only by a “Raphaelist”. The study of different attributionist texts spanning nearly two centuries has made it possible to understand the problem of taste and thus to explain the changes in attribution for the same work. The beginnings of the history of art in Germany are parallel to the emergence, under the influence of the first German romantics of a new taste for the Primitives which will lastingly influence the view of the "Raphaelists" who will seek to build a corpus of early works and will devalue those of the Roman period whose classicism is beginning to fall out of fashion. This change of view on Raphael first took place within the framework of a revival of Catholicism and would continue at the end of the 19th century with the rejection of academicism, for which Roman Raphael was judged responsible. However, over the past twenty years, the Roman period has been revalued, leading to the reattribution of Roman works to the master himself and allowing a new study of the notion of attribution
5
Morton, Tom. "Images of revolution, metaphor, politics and history in German early romanticism /." Title page, contents and abstract only, 1990. http://web4.library.adelaide.edu.au/theses/09PH/09phm889.pdf.
Повний текст джерела
6
Muñoz, Cervera Aguilar Kundalini. "'Infinte aproximation' : early German Romanticism in the work of Jorge Luis Borges." Thesis, University of East Anglia, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.426899.
Повний текст джерела
7
Strand, Mary R. "I/You : paradoxical constructions of self and other in early German romanticism /." New York ; Washington (D.C.) ; Paris : P. Lang, 1998. http://catalogue.bnf.fr/ark:/12148/cb37188792h.
Повний текст джерела
8
Kane, Lynn Marie. "The influence of basso continuo practice on the composition and performance of late eighteenth- and early nineteenth-century Lied accompaniments /." view abstract or download file of text, 2006. http://proquest.umi.com/pqdweb?did=1192183671&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.
Повний текст джерелаАнотація:
Thesis (Ph. D.)--University of Oregon, 2006.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 362-387). Also available for download via the World Wide Web; free to University of Oregon users.
9
Sturdy, Elliot John. "Der leere Blütenkranz : A Critical Reading of Dorothea Schlegel's Florentin." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-297302.
Повний текст джерелаАнотація:
Dorothea Schlegel’s Florentin (1801) is one of the less well known novels of the period commonly referred to as Early German Romanticism. This study attempts to combine both the historical context of the novel and later critical approaches to the ideas of the period. At the same time, this study seeks to avoid the more transcendent approaches that have previously been used in order to attempt to understand Florentin. In order to do so this study makes the expressionless or the gap created by allegorical expression between sign and signified a central theme in order to create a field of tensions and uncertainties. Although many readers of Florentin have noted the sensation of an absence of clarity while reading the novel, the majority of them have put this down to a lack of ability on the part of the author. This study attempts to find a structural explanation for the expressionless in Dorothea Schlegel’s novel while attempting to preserve aspects of its unknowability.
10
Kane, Lynn Marie 1977. "The Influence Of Basso Continuo Practice On The Composition And Performance Of Late Eighteenth- And Early Nineteenth-Century Lied Accompaniments." Thesis, University of Oregon, 2006. http://hdl.handle.net/1794/3057.
Повний текст джерелаАнотація:
xi, 387 p.A print copy of this title is available through the UO Libraries under the call number: MUSIC MT49 .K36 2006
The use of basso continuo in the performance of many late eighteenth- and early nineteenth-century genres is well documented, yet the influence of this practice on the Lieder during that time has never been fully explored. This dissertation analyzes Lied accompaniments of the period in relation to the recommendations found in contemporary thorough bass treatises in order to demonstrate that continuo practice did have an effect both on what composers were writing and how the songs were being performed. The majority of written-out Lied accompaniments from the late eighteenth-century conform to the recommendations given by treatise authors on matters of texture, distribution of the notes between the hands, octave doublings, parallel intervals, embellishments, and relationship of the keyboard part to the solo line. Furthermore, figured basses were still printed in some songs into the early part of the nineteenth century. Well-known nineteenth-century Lied composers, such as Schubert, Mendelssohn, and Brahms also frequently use these simple, continuo-like keyboard parts, and incorporate common continuo techniques for filling out chords into their more complex accompaniments. The fact that continuo practice, a tradition in which improvisation played a large role, continued to have such a pervasive influence on the printed Lied suggests that additions and embellishments can be made to what is written on the page. Furthermore, evidence from secondary sources, statements by musicians of the period, and clues in the music itself confirm that composers did not always intend for performers to play exactly what is notated. In this dissertation, I argue that in many of these songs the musical score should be viewed as only a basic outline, which can then be adapted depending on the skill level of the performers, the available keyboard instruments, and the context of the performance. Principles from the continuo treatises serve as a guide for knowing what additions to make, and I offer suggestions of possible applications. Appendices detail the contents of 50 continuo treatises published between 1750 and 1810.
Adviser: Dr. Anne Dhu McLucas Committee: Dr. Marc Vanscheeuwijck, Dr. Marian Smith, Dr. Kenneth Calhoon
11
Bogado, Angelita Maria. "O romance-projeto : um estudo de Lucinde (1799), de Friedrich Schlegel /." Araraquara : [s.n.], 2007. http://hdl.handle.net/11449/86533.
Повний текст джерелаАнотація:
Orientador: Wilma Patricia Marzari Dinardo MaasBanca: Karin Volobuef
Banca: Maria Lídia Lichscheidl Maretti
Resumo: A pesquisa consiste em estudar a expressão poética e filosófica existente no romance Lucinde (1799), de Friedrich Schlegel (1772-1829). Crítico e pensador deste período, Schlegel concretiza nesta obra, através da linguagem e da forma, os ideais do Primeiro Romantismo (Frühromantik). Tendo como base o idealismo subjetivo da filosofia de Johann Gottlieb Fichte, ele desenvolve um conceito que chama de "poesia progressiva universal". Em Lucinde, Schlegel concebe um romance histórico-crítico no qual o processo de amadurecimento vivido pelo personagem principal (Júlio) - da sua tempestuosa juventude até a sua harmoniosa vida com Lucinda - pode ser visto como uma alegoria do percurso vivido pelo movimento romântico desde o surgimento do Sturm und Drang (fase de ruptura com os preceitos iluministas), passando pelo processo de formação (Bildung), até chegar ao momento presente vivido por Schlegel: a produção de Lucinde e o círculo de Jena, sendo que o texto transita entre o elogio e a crítica desse percurso histórico-literário da Alemanha do século XVIII. A produção dos pensadores do Frühromantik girou em torno principalmente de ensaios filosóficos, da história da literatura e da crítica literária e o romance de Schlegel compreende a infinitude dessas questões. Lucinde está muito distante de ser um romance de entretenimento: trata-se de um projeto romântico. Filosofia, crítica literária e história da literatura em forma de arte.
Abstract: The reasearch consists in studying the poetic and philosophical expression existing in the novel Lucinde ( 1799 ), by Friedrich Schlegel ( 1772-1829). Critic and thinker from that period, Schlegel renders in this piece , through his language and structure, the ideal of the Early German Romanticism ( Frühromantik ). Based on the subjective idealism from the philosophy of Johann Gottlieb Fichte, Schlegel developes a concept wich he names "universal pregressive poetry". In Lucinde, Schlegel conceives a historical-critic novel in wich the process of maturation lived by the protagonist ( Júlio ) - from his tempestuous youth to his harmonious life with Lucinda - can be seen as an allegory of the course traversed by the Romantism since the arising of Sturm und Drang ( a rupture phase with the illuminist principles ), passing from the forming process ( Bildung ), to the present moment lived by Schlegel: the production of Lucinde and the circle of Jena; being the text a transient between the praise and the critique of this historical-literary course of the Germany in the eighteenth century. The production of the Frühromantik's thinker moved around philosophical essays specially, literature history and literary critique; and the Schlegel's novel comprehends the infinities of these issues. Lucinde is quite far away from being an entertainment novel: it's a romantic project. Philosophy, literary critique and literature history turned into art.
Mestre
12
Peterson, Rebecca C. (Rebecca Carol). "Early Educational Reform in North Germany: its Effects on Post-Reformation German Intellectuals." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278681/.
Повний текст джерелаАнотація:
Martin Luther supported the development of the early German educational system on the basis of both religious and social ideals. His impact endured in the emphasis on obedience and duty to the state evident in the north German educational system throughout the early modern period and the nineteenth century. Luther taught that the state was a gift from God and that service to the state was a personal vocation. This thesis explores the extent to which a select group of nineteenth century German philosophers and historians reflect Luther's teachings. Chapters II and III provide historiography on this topic, survey Luther's view of the state and education, and demonstrate the adherence of nineteenth century German intellectuals to these goals. Chapters IV through VII examine the works respectively of Johann Gottfried Herder, Georg Wilhelm Friedrich Hegel, Leopold von Ranke, and Wilhelm Dilthey, with focus on the interest each had in the reformer's work for its religious, and social content. The common themes found in these authors' works were: the analysis of the membership of the individual in the group, the stress on the uniqueness of individual persons and cultures, the belief that familial authority, as established in the Fourth Commandment, provided the basis for state authority, the view that the state was a necessary and benevolent institution, and, finally, the rejection of revolution as a means of instigating social change. This work explains the relationship between Luther's view of the state and its interpretation by later German scholars, providing specific examples of the way in which Herder, Hegel, Ranke, and Dilthey incorporated in their writings the reformer's theory of the state. It also argues for the continued importance of Luther to later German intellectuals in the area of social and political theory.
13
Dedié, Catherine. "‚Mythische‘ Motivierung : Narrative Strukturen in Prosatexten der Frühromantik." Thesis, Bourgogne Franche-Comté, 2017. http://www.theses.fr/2017UBFCH040.
Повний текст джерелаАнотація:
Le but de notre étude était d'identifier des structures « analogues au mythe » dans des textes en prose du préromantisme allemand. La théorie sur laquelle nous nous appuyons est la théorie du « mythe formel » selon Clemens Lugowski. Notre hypothèse était qu'il y avait très souvent, dans les romans et contes du préromantisme allemand, des structures et qualités « mythiques » (au sens de mythe formel) qui sont liées de façon équivoque à des structures narratives modernes. Ces structures mythiques et prémodernes se manifestent particulièrement dans la motivation de l'action et dans l‘accumulation des motifs fatidiques et généalogiques. Notre étude a été réalisée en trois étapes. Dans un premier temps, nous avons analysé, discuté et adapté les théories de la motivation narrative et du mythe formel. Puis, nous avons élargi le sujet d’un point de vue de l’histoire culturelle, en expliquant le rôle du mythe, de la mythologie et du concept romantique de la « nouvelle mythologie » ainsi que l’idée de généalogie à la fin du 18ème siècle en Allemagne. Nous avons conclu la partie historico-culturelle par un chapitre sur la situation des éditions, des auteurs et de la littérature populaire vers 1800. Ensuite, nous avons concentré les analyses des textes sur des structures mythiques qui apparaissaient dans les motifs, dans la forme et dans les péritextes des contes et romans du préromantisme allemand. Notre corpus de textes se composa de romans et contes de Ludwig Tieck, Friedrich Schiller, Johann Wolfgang Goethe, Clemens Brentano, Dorothea Veit et NovalisThe aim of our study was to identify "myth-like" structures in prose texts of German early Romanticism. The theory on which we rely is the theory of the "formal myth" according to Clemens Lugowski. Our hypothesis was that in the novels and tales of German early Romanticism there were very often "mythical" structures and qualities (in the sense of a formal myth) that are linked equivocally to modern narrative structures. These mythical and premodern structures are particularly evident in the motivation of action and in the accumulation of fateful and genealogical motives. Our study was carried out in three steps. In a first step, we analyzed, discussed and adapted the theories of narrative motivation and formal myth. Then we broadened the subject from a historico-cultural perspective, explaining the contemporary role of myth, mythology and the romantic concept of the "new mythology" as well as the idea of genealogy at the end of the 18th century in Germany. We concluded the historico-cultural part with a chapter about the situation of editions, authors and popular literature around 1800. We then concentrated the analyzes of the texts on mythical structures that appeared in the motifs, in the form and in the peritexts of the tales and novels of German early Romanticism. Our corpus of texts consisted of tales and novels by Ludwig Tieck, Friedrich Schiller, Johann Wolfgang Goethe, Clemens Brentano, Dorothea Veit and Novalis
14
Bogado, Angelita Maria [UNESP]. "O romance-projeto: um estudo de Lucinde (1799), de Friedrich Schlegel." Universidade Estadual Paulista (UNESP), 2007. http://hdl.handle.net/11449/86533.
Повний текст джерелаАнотація:
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A pesquisa consiste em estudar a expressão poética e filosófica existente no romance Lucinde (1799), de Friedrich Schlegel (1772-1829). Crítico e pensador deste período, Schlegel concretiza nesta obra, através da linguagem e da forma, os ideais do Primeiro Romantismo (Frühromantik). Tendo como base o idealismo subjetivo da filosofia de Johann Gottlieb Fichte, ele desenvolve um conceito que chama de poesia progressiva universal. Em Lucinde, Schlegel concebe um romance histórico-crítico no qual o processo de amadurecimento vivido pelo personagem principal (Júlio) - da sua tempestuosa juventude até a sua harmoniosa vida com Lucinda - pode ser visto como uma alegoria do percurso vivido pelo movimento romântico desde o surgimento do Sturm und Drang (fase de ruptura com os preceitos iluministas), passando pelo processo de formação (Bildung), até chegar ao momento presente vivido por Schlegel: a produção de Lucinde e o círculo de Jena, sendo que o texto transita entre o elogio e a crítica desse percurso histórico-literário da Alemanha do século XVIII. A produção dos pensadores do Frühromantik girou em torno principalmente de ensaios filosóficos, da história da literatura e da crítica literária e o romance de Schlegel compreende a infinitude dessas questões. Lucinde está muito distante de ser um romance de entretenimento: trata-se de um projeto romântico. Filosofia, crítica literária e história da literatura em forma de arte.
The reasearch consists in studying the poetic and philosophical expression existing in the novel Lucinde ( 1799 ), by Friedrich Schlegel ( 1772-1829). Critic and thinker from that period, Schlegel renders in this piece , through his language and structure, the ideal of the Early German Romanticism ( Frühromantik ). Based on the subjective idealism from the philosophy of Johann Gottlieb Fichte, Schlegel developes a concept wich he names universal pregressive poetry. In Lucinde, Schlegel conceives a historical-critic novel in wich the process of maturation lived by the protagonist ( Júlio ) - from his tempestuous youth to his harmonious life with Lucinda - can be seen as an allegory of the course traversed by the Romantism since the arising of Sturm und Drang ( a rupture phase with the illuminist principles ), passing from the forming process ( Bildung ), to the present moment lived by Schlegel: the production of Lucinde and the circle of Jena; being the text a transient between the praise and the critique of this historical-literary course of the Germany in the eighteenth century. The production of the Frühromantik's thinker moved around philosophical essays specially, literature history and literary critique; and the Schlegel's novel comprehends the infinities of these issues. Lucinde is quite far away from being an entertainment novel: it's a romantic project. Philosophy, literary critique and literature history turned into art.
15
KIM, CHUNG-HA. "E. T. A. HOFFMANN'S INFLUENCE ON ROBERT SCHUMANN'S KREISLERIANA , OP. 16." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1121467170.
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16
Oliveira, Everaldo Vanderlei de. "Um mestre da crítica: romantismo, mito e Iluminismo em Walter Benjamin." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-22022010-164542/.
Повний текст джерелаАнотація:
O presente trabalho visa investigar os conceitos de crítica e experiência na obra de Walter Benjamin em torno dos anos de 1920, como resultado dos desdobramentos do Programa de 1918, de modo a pôr em relevo seu entrelaçamento com os conceitos de mito e Iluminismo. Para tanto, este trabalho concentra-se no estudo da dissertação de doutoramento do filósofo acerca do romantismo de Iena, bem como seu ensaio crítico sobre As afinidades eletivas de Goethe. Quanto ao primeiro, mostra-se que o conceito de crítica imanente une-se às perspectivas da filosofia e poesia românticas, o que se deve, em especial, ao messianismo presente veladamente no conceito de reflexão. No segundo, tem-se em vista o problema da crítica e da experiência em nova chave, cujos desdobramentos assinalam as relações entre mito e Iluminismo, o que também inclui uma crítica ao eterno retorno, a concepção mítica do tempo.The present paper aims to investigate the concepts of critique and experience in the work of Walter Benjamin written in the years around 1920, which was derived from On the program of the coming philosophy written in 1918 and thus to highlight their intertwined relationship with the concepts of myth and Enlightenment. To do so, this paper focuses on Benjamin\'s doctorate thesis, The concept of art criticism in German romanticism, as well as on his critical essay on Goethes Elective Affinities. Regarding the first one, we show that the concept of immanent critique joins the perspectives of romantic philosophy and poetics, which is particularly due to the hidden presence of messianism in the concept of reflection. In the second one, we focus on the problem of critique and experience in a new formulation, whose developments show the relations between myth and Enlightenment, which also includes a critique of the eternal return, the mythical concept of time.
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Thoma, Foteïni. "L’esthétique du premier romantisme Allemand et quelques épigones : René Char, Jean Giono, Julien Gracq, Léopold Sédar Senghor et la réinvention de la poïèsis romantique." Thesis, Montpellier 3, 2019. http://www.theses.fr/2019MON30018.
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Premier Romantisme Allemand : Idéalisme magique, das Unbedingte, poursuite de l’infini, sont autant d’expressions de l’esprit de ce mouvement littéraire et philosophique, qui n’a connu qu’une brève existence dominée par des figures comme les frères Schlegel et Novalis, qui œuvrent pour redonner à la création le sens d’une émergence événementielle, et dont les métamorphoses se rencontrent chez des écrivains, tels que René Char, Jean Giono, Julien Gracq et Léopold Sédar Senghor qui revendiquent par des voies très diverses d’effectuer une réappropriation des concepts de l’esthétique du premier romantisme allemand. Rencontrant les survivances de celui-ci chez Char, Giono, Gracq et Senghor, on doit se demander : s’agit-il d’une relecture, d’une réinvention ou de la constitution d’une vision esthétique pour la formation de laquelle le premier romantisme allemand s’avère être une référence inévitable ?Early German Romanticism : Magic idealism, das Unbedingte, the quest of the Infinite constitute multiple expressions of this short-lived litterary and philosophical movement dominated by Novalis and the Schlegel brothers who aspire to give to the act of creation the aspect of a radical event, the transformations of which appear in the works of René Char, Jean Giono, Julien Gracq et Léopold Sédar Senghor who revendicate to effectuate a reappropriation of the concepts of the Early German Romanticism. Is it a rereading, a reinvention or the constitution of an aesthetic vision for the construction of which the Early German Romanticism proves to be an indispensable reference ?
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Medeiros, Constantino Luz de. "Friedrich Schlegel: \"Relato sobre as obras poéticas de Giovanni Boccaccio\". Tradução e estudo preliminar." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-26032012-105715/.
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A presente dissertação tem como objetivo principal a tradução e o estudo da Charakteristik, caracterização, escrita por Friedrich Schlegel sobre Giovanni Boccaccio, chamada Nachricht von den poetischen Werken des Johannes Boccaccio, Relato sobre as obras poéticas de Giovanni Boccaccio, de 1801, bem como o estabelecimento de sua importância para a teoria da forma narrativa breve denominada Novelle. O estudo preliminar que antecede o trabalho é dividido em duas partes, nas quais buscamos entender a importância da teoria crítica de Friedrich Schlegel, iluminar as peculiaridades da caracterização traduzida, e descrever os principais procedimentos do crítico e filósofo alemão. No estudo também procuramos analisar as teorias sobre a novela do período conhecido como primeiro romantismo alemão, tentando definir a contribuição de Friedrich Schlegel para estas teorias, e esclarecer certos aspectos de sua recepção por parte da crítica literária ocidental. A principal hipótese que formulamos é a de que a caracterização de Schlegel é um exemplo de hermenêutica literária capaz de mesclar a análise filosófica, filológica e poética em uma abordagem histórica. Desta forma, os elementos extrínsecos e intrínsecos da obra literária seriam vistos como um todo orgânico. Esta obra de arte crítica, como Schlegel costumava definir sua Charakteristik, representaria tanto o sensus spiritualis, como o sensus literalis, contemplando, em sua letra e em seu espírito, a tendência [Tendenz] da obra, que seria o resultado da análise crítica progressiva, divinatória e universal do fenômeno literário.The main purpose of this dissertation is the translation and study of the Charakteristik characterization, written by Friedrich Schlegel about Giovanni Boccaccio, called Nachricht von den poetischen Werken des Johannes Boccaccio, Note on the poetic works of Giovanni Boccaccio, from 1801, as well as to establish its importance for the theory of the short prose narrative called Novelle. The preliminary study prior to the translation has been separated in two parts, in which we aim at understanding the importance of Friedrich Schlegels critical theory, highlight the peculiarities of the translated characterization, and describe the main procedures of the German critic. At the study we also seek to analyze the theories about the novelle from the period known as the early German romanticism, trying to define the contribution of Friedrich Schlegel for these theories, and clarify certain aspects of his reception by the Western literary criticism. The main hypothesis we formulate is that Schlegels characterization is an example of literary hermeneutics, capable of mixing a philosophical, philological and poetic analyze within a historical approach. This way, the intrinsic and extrinsic factors of the literary artwork would be seen as an organic whole. This critical artwork, as Schlegel used to define his Charakteristik, would stand for the sensus spiritualis as well as for the sensus literalis, contemplating, in its letter and spirit, the tendency [Tendenz] of the work, which would be the result of a progressive, divinatory and universal critical analyze of literary phenomenon.
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Tsampa, Anatoli. "Wort Ton Bild Welt." Doctoral thesis, Humboldt-Universität zu Berlin, 2017. http://dx.doi.org/10.18452/18053.
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Die Dissertation untersucht die Entwicklung des Gesamtkunstwerk-Konzeptes und seine Aktualität, Möglichkeit und Notwendigkeit in Bezug auf ein modernes filmisches Gesamtkunstwerk. Ausgegangen wird von der ästhetischen Theorie und Praxis der deutschen Frühromantik, in der das Konzept wurzelt. In einer umfassenden Betrachtung und Analyse der ästhetischen und gesellschaftspolitischen Dimension des Konzeptes in den Schriften und dem Werk Richard Wagners sollen wesentliche Strukturmerkmale erkundet und soll ein Maßstab für ein ‚positives‘ zeit-genössisches Gesamtkunstwerk gebildet werden, das sich von seinem ideologischen Missbrauch befreit. Erforscht wird, inwiefern der Farb- und Tonspielfilm ein geeignetes Kunstmedium für die Anwendung des Konzeptes darstellt und wie sich die Frage seiner gesellschaftspolitischen Dimension in der globalen Epoche übersetzen lässt.The dissertation explores the evolution of the concept of the Total Work of Art (ʹGesamtkunstwerkʹ) as well as its actuality, feasibility and necessity in the form of a modern cinematic Gesamtkunstwerk. Starting point is the aesthetic theory and praxis of the Early German Romanticism, in which the concept is rooted. An extensive consideration and analysis of the concept in both its aesthetic and socio-political dimension as developed in the writings and works of Richard Wagner aims to define its essential structural features and to set the standard for a ʹpositiveʹ contemporary Gesamtkunstwerk beyond its ideological abuse. Key is the examination of how and to what extend the sound and colour feature film constitutes a legit artistic medium for the application of the concept as well as how its sociopolitical facet translates within the global era.
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Morton, Tom (Thomas James). "Images of revolution, metaphor, politics and history in German early romanticism / Tom Morton." Thesis, 1990. http://hdl.handle.net/2440/19184.
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Morton, Tom (Thomas James). "Images of revolution, metaphor, politics and history in German early romanticism / Tom Morton." 1990. http://hdl.handle.net/2440/19184.
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Bibliography: leaves 436-449449 leaves ; 30 cm.
Title page, contents and abstract only. The complete thesis in print form is available from the University Library.
Thesis (Ph.D.)--Dept. of German, University of Adelaide, 1990
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STICKNEY-BAILEY, SUSAN. "TIECK'S 'MARCHEN' AND THE ENLIGHTENMENT: THE INFLUENCE OF WIELAND AND MUSAUS (ROMANTICISM, FAIRY TALE (GERMAN))." 1985. https://scholarworks.umass.edu/dissertations/AAI8602695.
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The Marchen of Christoph Martin Wieland and Johann Karl August Musaus are particularly suited to provide the context for a study of what Ludwig Tieck inherited from the Marchen of the Enlightenment. Between them these two authors reflect the major literary influences upon the development of the Marchen in Germany. They are also the authors against which Tieck defined himself, for the violence of his rejection of Wieland's works and the oft-repeated criticism of Musaus' tales betray the context of shared assumptions. Wieland represents in his Marchen the contribution of the French fairy tale literature, the loosening of normative aesthetics as well as the distanced attitude typical of the Rococo period toward the Enlightenment's view of the perfectibility of mankind. Musaus' tales mark a pivotal point in the adaptation of folk material to the requirements of high literature, particularly that moment when the Marchen's adoption of novelistic techniques moved it into the mainstream of popular literature. Between Wieland and Musaus we also have representatives of the debate on the role of the marvelous in literature, a debate, which was crucial in the rise of the Marchen. Their Marchen apply and illustrate the theories of Gottsched and Breitinger concerning the marvelous. Musaus, concerned to link the imagination to the intellectual faculties, grounds the marvelous as much as possible in reality by using processes of association, and logical progression. Wieland anchored the marvelous in the individual's subjective view of the world and human sensuality. Thus both authors limited the marvelous to a few "episodes" or moments of a story. Musaus' grounding of the marvelous showed Tieck the possibility of creating the peculiar ambiguous quality that he gives to the depictions of the real world in his Marchen. Wieland's grounding of the marvelous in human nature, particularly in sensuality, has many repercussions throughout Tieck's Marchen. Though it is possible to see in the turn to the Marchen a disaffection with the assumptions of the Aufklarung on the part of all three authors, Tieck's scepticism is deeper and finds a more radical expression in the Marchen.
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Busch, Mikhail. "Spirituality and German Romanticism: the influence of Jakob Böhme on Novalis and Caspar David Friedrich." Thesis, 2020. http://hdl.handle.net/1828/11763.
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This Master’s thesis shall attempt to reconcile the notion of the spiritual with that of the aesthetic by focusing on the influence of 16th century German mystic Jakob Böhme, with the 19th century cultural movement of German Romanticism. Böhme’s mysticism outlined a spiritual paradigm that fused alchemy with Christianity wherein the properties of nature are inherently led by a spiritual desire towards unity with God. It is through the process of spiritual desire that unity unveils itself. Consequently, Böhme’s mysticism influenced later generations of spiritual thought, including German Romanticism. Within Romanticism, Friedrich von Hardenberg, know by his pen name Novalis, developed a philosophy and aesthetic theory that expanded away from the philosophical ideas of the Enlightenment. This new philosophy focused on the subjective experience and how revelation of the self was to be experienced through creative introspection, as a consequence of encountering and interacting with the other. Novalis‘ philosophy incorpterated religious motifs and spirituality to assert that it was through creative striving that spiritual revelation was to be achieved from within oneself. Caspar David Friedrich was a Romantic landscape painter whose work focused on the notion of humanity in the face of nature. Friedrich often painted landscapes as an allegory for Christian values and religious inquiry that becomes an existential introspection through nature. Through comparative analysis I shall demonstrate how the ideas and works of Novalis and Caspar David Friedrich correlate with the spiritual mysticism of Böhme that represent the greater discourse that is spirituality itself.Graduate
2021-04-24
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Martinson, Kirk Roland. "Emerging syntax in early second language learners : cross-linguistic influence in early German immersion students /." 2007. http://www.library.wisc.edu/databases/connect/dissertations.html.
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Ralickas, Eduardo. "Naissance de l'art performatif : étude sur les prémisses du moment romantique en Allemagne." Thèse, 2011. http://hdl.handle.net/1866/8257.
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Dans cette thèse d'histoire de l'art, nous posons un lien inédit entre la philosophie de Johann Gottlieb Fichte (1762-1814) et quelques pratiques artistiques et/ou littéraires issues du premier romantisme allemand : notamment celles de Friedrich Schlegel (1772-1829), de August Wilhelm Schlegel (1767-1845), de Friedrich von Hardenberg (« Novalis », 1772-1801) et de Caspar David Friedrich (1774-1840). Bien que ce lien ait été posé dans l'historiographie traditionnelle, il l'a été en tenant compte soit des contenus particuliers enseignés dans la Wissenschaftslehre de Fichte (théorie du sujet, théorie de la liberté), soit des opinions politiques de cet auteur (républicanisme, égalitarisme, universalisme du droit). Or, le projet romantique tel qu'envisagé par ces praticiens a pour matrice la dynamique pragmatique du message fichtéen, c'est-à-dire la structure aussi bien communicationnelle que pédagogique de ce dernier. Dans cette optique, en prenant pour cadre de référence la recherche actuelle en études fichtéennes, nous démontrons que Fichte est l'auteur d'un dispositif réflexif original dans lequel l'usager d'un système représentationnel donné (en l'occurrence : les présentations scientifiques de la Doctrine de la science) se trouve indexé par le dispositif qu'il anime. Si bien que les fonctions de réception et de production du système --- qui sont du ressort de sa performativité --- s'avèrent parfaitement identiques.
Afin de proposer un métalangage adapté aux outils épistémologiques de notre champ disciplinaire (l'histoire de l'art), notre lecture de Fichte Fichte se déploie à partir d'un double cadre méthodologique : la sémiologie des représentations (Louis Marin) et la narratologie (Gérard Genette, Mieke Bal). En fonction de cette méthodologie, nous démontrons que le propre du projet romantique, tel qu'envisagé par ses protagonistes de la première heure (les frères Schlegel, Fr. von Hardenberg) et par son peintre le plus abouti (C.D. Friedrich), est d'avoir déployé le dispositif pragmatique fichtéen dans des pratiques littéraires et plastiques, en vue d'engendrer un nouveau rapport entre l'image et la Bildung (esthétique, politique) du spectateur. Dès lors, la finalité de ce travail est de contribuer aux savoirs sur l'efficacité de l'art dans l'économie spectatorielle de la modernité et d'analyser l'apport de Fichte et des romantiques à la problématique actuelle de l' « agentivité » (agency) des images.The purpose of this art history dissertation is to shed new light on the relation between the philosophy of Johann Gottlieb Fichte (1762-1814) and the artistic practice of some of early German romanticism's leading figures, namely, Friedrich Schlegel (1772-1829), August Wilhelm Schlegel (1767-1845), Friedrich von Hardenberg (“Novalis,” 1772-1801), and Caspar David Friedrich (1774-1840). Although this link has previously been established in the historiography on German romanticism, I contend that Fichte's importance to the romantic movement does not hinge on the content of his philosophical writings (i.e., the Wissenschaftslehre as a theory of subjectivity or as a theory of freedom), nor on Fichte's political beliefs (republicanism, egalitarianism, the universality of Right). Rather, the driving force behind the romantic project resides in the pragmatic dynamics of the Wissenschaftslehre itself, that is, on its communicational and pedagogical framework. In reference to the work of leading Fichte scholars publishing in the field of the history of philosophy, I argue that Fichte's Wissenschaftslehre consists in an original, self-referential representational system whose putative user is indexed within the very system he or she drives. In the final analysis, the reception of such a system coincides with its production, and both are a function of its performative character. In keeping with the epistemological framework of art history, I propose a reading of Fichte that makes use of two methodological approaches, namely, the semiology of representational systems (Louis Marin) and narratology (Gérard Genette, Mieke Bal). Based on this approach, I contend that the Schlegel brothers', Hardenberg's, and C. D. Friedrich's respective artistic practices make use of the Wissenschaftslehre's pragmatic dynamics in order to rethink the way in which pictorial or textual representations shape their beholders (both aesthetically and politically). Ultimately, this dissertation aims to contribute to current debates on the power of images in the modern context, and to understand Fichte’s and the romantics' heretofore unacknowledged contribution to the theory of the agency of images.
Thèse effectuée en cotutelle avec l'École des hautes études en sciences sociales, Paris. Pour respecter les droits d’auteur, la version électronique de cette thèse a été dépouillée de ses documents visuels. La version intégrale de la thèse a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.
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Greyvensteyn, Annette. "Hans Christian Andersen's romantic imagination : exploring eighteenth and nineteenth century romantic conceptualisations of the imagination in selected fairy tales by Hans Christian Andersen." Diss., 2018. http://hdl.handle.net/10500/25146.
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Includes bibliographical references (leaves 119-131)Text in English with summaries in English and Afrikaans
There are certain influences from the eighteenth and nineteenth century English and German romantic Zeitgeist that can be discerned in Hans Christian Andersen’s fairy tales. The role of the imagination stands out as a particularly dominant notion of the romantic period as opposed to the emphasis on reason during the Enlightenment. It is this romantic influence that Andersen’s tales especially exemplify. For him the imagination is transcendent – one can overcome the mystery and hardship of an earthly existence by recasting situations imaginatively and one can even be elevated to a higher, spiritual realm by its power. The transcendent power of the imagination is best understood by viewing it through the lens of negative capability, a concept put forward by romantic poet, John Keats. The concept implies an “imaginative openness” to what is, which allows one to tolerate life’s uncertainties and the inexplicable suffering that forms part of one’s earthly existence by using the imagination to open up new potential within trying circumstances. In selected fairy tales, Andersen’s child protagonists transcend their circumstances by the power of their imagination. In other tales, nature is instrumental in this imaginative transcendence. The natural world conveys spiritual truths and has a moralising influence on the characters, bringing them closer to the Ultimate Creator. This follows the philosophy of German Naturphilosophie, as well as that of English romantics like Coleridge and Wordsworth, for whom nature functions as a portal to the spiritual world. The concept of the “sublime” underpins this philosophy. If nature is viewed through an imaginative, instead of an empirical lens, it becomes the means by which the temporal world can be transcended. It is a message of hope and as such is in keeping with Andersen’s self professed calling as visionary who uses his art to uplift mankind. In this he is the ultimate romantic hero or outsider who, while standing on the periphery of society, observes its shortcomings and feels called upon to show the way to a better world.
Sekere invloede van agtiende- en negentiende eeuse Engelse en Duitse romantisisme kan in Hans Christian Andersen se feëverhale bespeur word. Veral die rol van die verbeelding staan uit as ‘n dominante invloed van romantisisme, in teenstelling met die laat sewentien- en vroeë agtiende eeuse fokus op rasionaliteit. Dit is hierdie romantiese invloed wat Andersen se verhale veral versinnebeeld. Vir hom is die verbeelding transendentaal – ‘n mens kan die misterie en swaarkry van jou aardse bestaan oorkom deur situasies deur die oog van die verbeelding te bejeën en kan selfs deur die mag van die verbeelding opgehef word na ‘n hoër, meer spirituele vlak. Die transendentale mag van die verbeelding kan beter begryp word wanneer dit deur die lens van “negative capability” gesien word. Hierdie konsep is deur die romantiese digter, John Keats, voorgestel. Die konsep impliseer ‘n verbeeldingryke openheid in die aangesig van aardse onsekerheid en swaarkry, wat die mens uiteindelik in staat stel om nuwe potensiaal in moeilike omstandighede raak te sien. In uitgekose feëverhale, oorkom Andersen se kinderprotagoniste hul moeilike omstandighede deur die mag van die verbeelding. In ander verhale is die natuur deurslaggewend in dié transendentale verbeeldingsreis. Nie net dra die natuur geestelike waarhede oor nie, maar dit het ook ‘n moraliserende invloed op die karakters, wat hulle nader aan ‘n Opperwese bring. Dit herinner aan die Duitse Naturphilosophie, asook die sienswyse van Engelse romantikusse soos Coleridge en Wordsworth, vir wie die natuur ‘n deurgangsroete na die geestelike wêreld is. Die idee van die “sublime” is onderliggend aan hierdie filosofie. As die natuur deur middel van die verbeeldingslens, in plaas van deur ‘n empiriese lens bejeën word, kan dit ‘n manier word om die aardse te oorkom. Dit is dus ‘n boodskap van hoop wat in lyn is met Andersen se selfopgelegde taak as profeet wat sy kuns gebruik om die mensdom op te hef. In hierdie opsig is hy die absolute romantiese held of buitestaander, wat, ofskoon hy aan die buitewyke van die samelewing staan, tóg tekortkominge raaksien en geroepe voel om die weg na ‘n beter wêreld te wys.
English Studies
M.A. (English)
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Slaymaker, Peter James Victor. "Augustine and the Trinity vision in the Vita Sancti Augustini Imaginibus Adornata." Thesis, 2013. http://hdl.handle.net/1805/3886.
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