In the article three tragedies: ‘The Battle of Arminius‘ by Christian Dietrich Grabbe, ‘Nibelungs‘ by Friedrich Hebbel, ‘The Ring of the Nibelung‘ by Richard Wagner are considered. The aim of this paper is to investigate how history reception and mythological material correlates with the idea of national identity. The comparative-historical, typological and historical-genetic methods are applied in this publication. The genres of historical, philosophical and mythological tragedy became the most popular genres in the socio-political conditions in the 30s of the (...) 19th century in Germany. Grabbe underlines the idea of the presence of the ‘local‘ regional history within the framework of the ‘big‘ and significant one. Grabbe paid attention to the historical process and historical figures, not to any particular historical event. In his last work, tragedy ‘The Battle of Arminius‘, Grabbe showed his understanding of the country’s historical origins and the creation of a national myth. F. Hebbel and R. Wagner comprehend the images and motifs of Norse mythology as a universal model of human existence. While interpreting the story of Nibelungs, F. Hebbel notes not only its national roots but its universal source; he models the image of the world through the prism of the microcosm of Burgundians/Nibelungs. Wagner’s tetralogy is not so much an interpretation as a creation of the ‘new myth‘. The images of Arminius and Siegfried have the features of the archaic primal forefather, ‘cultural hero‘ of the nation, who intimately related with Nature and home ground. Myth and mythological history are not only the tools of attainment of national identity but the means of reversion the modern man to the lost harmony of the Universe, which pertains to the mythological mind. (shrink)

The story of the divine singer who could tame wild animals and enchant inanimate nature, and who for love of his wife descended to the underworld, has exercised a never-ending fascination throughout all epochs. It is therefore scarcely surprising that the myth of Orpheus became a source of inspiration and his figure a leading character for the new genre of opera, which was beginning to establish itself in the 17th century. The fate of the singer provided seven music dramas with (...) their material, the metamorphoses of which cast light on baroque authors, their public and their age. (shrink)

With Richard Wagner, opera reached the apex of German Romanticism. Originally published in 1851, when Wagner was in political exile, Opera and Drama outlines a new, revolutionary type of musical stage work, which would finally materialize as The Ring of the Nibelung. Wagner's music drama, as he called it, aimed at a union of poetry, drama, music, and stagecraft. ø In a rare book-length study, the composer discusses the enhancement of dramas by operatic treatment and the (...) subjects that make the best dramas. The expected Wagnerian voltage is here: in his thinking about myths such as Oedipus, his theories about operatic goals and musical possibilities, his contempt for musical politics, his exaltation of feeling and fantasy, his reflections about genius, and his recasting of Schopenhauer. ø This edition includes the full text of volume 2 of William Ashton Ellis's 1893 translation commissioned by the London Wagner Society. (shrink)

Origin of the German Trauerspiel was Walter Benjamin's first full, historically oriented analysis of modernity. Readers of English know it as "The Origin of German Tragic Drama," but in fact the subject is something else--the play of mourning. Howard Eiland's completely new English translation, the first since 1977, is closer to the German text and more consistent with Benjamin's philosophical idiom. Focusing on the extravagant seventeenth-century theatrical genre of the trauerspiel, precursor of the opera, Benjamin identifies (...) allegory as the constitutive trope of the Baroque and of modernity itself. Allegorical perception bespeaks a world of mutability and equivocation, a melancholy sense of eternal transience without access to the transcendentals of the medieval mystery plays--though no less haunted and bedeviled. History as trauerspiel is the condition as well as subject of modern allegory in its inscription of the abyssal. Benjamin's investigation of the trauerspiel includes German texts and late Renaissance European drama such as Hamlet and Calderón's Life Is a Dream. The prologue is one of his most important and difficult pieces of writing. It lays out his method of indirection and his idea of the "constellation" as a key means of grasping the world, making dynamic unities out of the myriad bits of daily life. Thoroughly annotated with a philological and historical introduction and other explanatory and supplementary material, this rigorous and elegant new translation brings fresh understanding to a cardinal work by one of the twentieth century's greatest literary critics.--. (shrink)

The word “romanticism” designates in German as in other European languages a broad movement in literature that originated at the beginning of the nineteenth century and has often been characterized as an opposition to the preceding age of rationalism and Enlightenment. Situated between the classicist schools of taste of the previous century and the realistic and naturalistic trends in literature of the later nineteenth century, Romanticism or romantic literature is the product of the creative power of the imagination; it (...) appeals to the emotions, has a preference for the mysterious aspects of nature, and shows a strong predilection for the past, the Middle Ages, and mythological traditions. With its strong affinity to the novel, romantic literature departs from the classical forms and the classicist canon of literature, but when these classical forms were nevertheless used by the authors of this movement, something new was created – the romantic tale, the romantic drama, and romantic poetry. The great romantic authors in Germany were E. T. A. Hoffmann, Eichendorff, Brentano, Arnim, and Fouqué. There is both a narrower and a broader notion of Romanticism in Germany, the broader also relating to painting (Friedrich, Runge) and music (Schumann, Schubert, Mendelssohn, Bartholdy, Wagner). Romanticism had a great impact on the general view of the world and was influential in the rise of the historical consciousness, the revival of a religious spirit, and the emergence of a conservative political attitude. As far as philosophy and the sciences are concerned, Romanticism is associated with figures such as Schelling and Schopenhauer, the development of a philosophy of art, of nature, and of the subconscious. On the whole, Romanticism is one of those movements that shaped an entire age and manifested itself down to the most particular features of popular belief and scientific interest. (shrink)

Why did Greek tragedy and "the tragic" come to be seen as essential to conceptions of modernity? And how has this belief affected modern understandings of Greek drama? In Genealogy of the Tragic, Joshua Billings answers these and related questions by tracing the emergence of the modern theory of the tragic, which was first developed around 1800 by thinkers associated with German Idealism. The book argues that the idea of the tragic arose in response to a new consciousness (...) of history in the late eighteenth century, which spurred theorists to see Greek tragedy as both a unique, historically remote form and a timeless literary genre full of meaning for the present. The book offers a new interpretation of the theories of Schiller, Schelling, Hegel, Hölderlin, and others, as mediations between these historicizing and universalizing impulses, and shows the roots of their approaches in earlier discussions of Greek tragedy in Germany, France, and England. By examining eighteenth-century readings of tragedy and the interactions between idealist thinkers in detail, Genealogy of the Tragic offers the most comprehensive historical account of the tragic to date, as well as the fullest explanation of why and how the idea was used to make sense of modernity. The book argues that idealist theories remain fundamental to contemporary interpretations of Greek tragedy, and calls for a renewed engagement with philosophical questions in criticism of tragedy. (shrink)

One of the psychological responses to audiovisual fictions that has been receiving more attention recently is appreciation, defined as a reflexive eudaimonic gratification obtained from a meaningful entertainment mode. Appreciation is the perception that the media experience has a profound meaning, has taught or revealed something. This study seeks to advance on the understanding of appreciation by youngsters. It translates and adapts the Oliver and Bartsch’s questionnaire for teenagers of three European countries. A total of 213 Italians, 55 Spaniards and (...) 42 Germans watched a drama film and immediately afterwards answered the questionnaire. The results of confirmatory factor analysis suggest the existence of four first-order factors for each country. The multi-group analysis shows the questionnaire is not invariant across groups. Thus, the concept of appreciation in its current formulation is not universal. Instead, it seems to be dependent on the cultural aspects of the audience. This article discusses the implications of such results for the understanding of appreciation and of teenagers’ media responses. It also reports mean comparisons for the invariant parameters. (shrink)

On the basis of analysis of Russian and foreign scholars, the work is aimed at studying the specificity of the transformation of antique stories and images, which is the desired model in the art of the 20th century thanks to its fluidity and unlimited variability. Actualization of antique stories and images in the works of German-language writers account for life-changing moments of social life, the periods of losing of constant moral landmarks and the periods of looking for new moral (...) and aesthetic ideals. The analysis of the reception and transformation of mythological stories and images in the contemporary literature proves the conception of its polysemy. The built-in contradiction of myths is realized through the transformation of mythological stories and images in the literary works of contemporary writers and is explained by the individuality of writers and theirs aesthetic aims. On the one side, the absence de facto in German drama of the 20th century of interpretations of the story about Achilles and of the image of Achilles, and numerous variations on the topic of moral strivings of fearless and peccant Ulysses, on the other side, are proving the statements of classic aesthetic that the tragedy is based on the conflict, which is close to lofty and linked with the idea of dignity of the man, which is ready and capable of promoting the views of his own by the real acts that are often lead to suffer and death. According to Aristotle, the sympathy for the character leads to catharsis - the basis of education of real civic-mindedness and humanness. (shrink)

ExcerptThe great dramatic work of art that bears the name Hamlet is, in the core of its action and the main character, nothing other than the dramatized story of a real king named James, James Stuart, son of Mary Stuart and her husband. James's father was murdered, and his mother married the murderer shortly afterward. What Mary Stuart, the mother of King James, did was bad, almost as bad “As kill a king, and marry his brother.” Shakespeare's Hamlet drama (...) is grounded then in a direct relation to the times. It contains the kind of dramatization that results from participation…. (shrink)

Offering an ambitious study of the aesthetics of violence across art, literature, film and theatre, this volume brings together traditional German aesthetic and social theory with the modern problem of violence in art. Written in an engaging style, the book includes examples range from Homer and Shakespeare to slasher films and performance art.

The essence of expressionism.--The vivifying of space.--A candidate for immortality [Otto Braun]--The machine as slave and master.--The "absolute" poem--A pæau against the age.--The architecture of aspiration.--The visible symphony.--Figures of war and forces of death.--The laughing synthesis.--Activistic architecture.--The dynamic dramatist.--The intensive Shakespeare.--The chromatic "Othello".--The drama on fire.--"The machine-storemers."--The organization of the spirit.

The aim of this paper is to investigate the function of the aesthetic paradigm of German idealism within Adorno’s thought. In order to do so, I have chosen to focus on the issue of the social significance of the work of art and the role played by the concept of literary material. Adorno’s aesthetics, in fact, can be read as a reinterpretation of the idealist aesthetic model based precisely on a non-idealist notion such as that of aesthetic material.If one (...) is to allow a seemingly brutal simplification, there are two ways to think about the social meaning of literature. One identifies somehow the subject of the text, assesses whether or not this challenges the society from which the literary work stems, and on this ground establishes its social character. According to this perspective, Brecht’s Threepenny Opera and Sciascia’s The Day of the Owl can be seen as socially engaged literature, while Proust’s Recherche cannot, or can only to a lesser extent. The other approach argues instead that any literary work, and in any of its instances, says something about the society in which it takes shape. In this contribution I would like to focus on this latter approach. In particular, I am interested in understanding how literature is connected to society, that is, through which identifiable elements literary works express certain aspects of society. The Hegelian idealistic idea according to which Greek tragedy expresses the constitutive features of Athenian society, and which is found again and again in the authors who in various ways have taken up Hegel’s legacy, is generally accepted as such and valued for the explanatory opportunities it offers. It is my opinion, however, that one notion in particular can be retrieved within the whole inherited baggage of that aesthetic tradition, which may be able to further clarify the relationship between literature and society. This concept is that of material and the author who has most thoroughly investigated it is Adorno. In this paper I will try to outline the main features of a counterintuitive notion such as that of “literary material” and thereby explain why it plays such an important role in Adorno’s rework of the aesthetic paradigm of German idealism. The concept of material, in fact, is key to the definition of another aesthetic category around which, according to Adorno, most of the problems connected to works of art gravitate, that is to say, the notion of form. From Adorno’s aesthetics, in fact, one of his most insightful readers, Peter Szondi, draws the main principle for his study of the historical form of modern drama, namely the idea that form is essentially a precipitation, a sedimentation of contents. The work of art, then, at least according to this definition, is essentially identified by its form. Or, better said, the artwork must be interpreted as the way in which a certain (historical) content sediments in a certain external form. That the form of the work of art is precipitated content means, in simple terms, that no effective disjunction can be assumed between form and content. This is how Adorno reinterprets the concept of “identity of form and content” stressed by classical aesthetics. The content is such only insofar as it is precipitated into a certain form. This amounts to saying that no objective distinction can be established between one and the other. Now, if one were to ask how the form is made, Adorno’s answer is quite straightforward: the form is made by means of organization and, precisely, by means of the organization of the material. As one reads in Aesthetic Theory, in fact, “the substantial element of genres and forms has its locus in the historical needs of their materials,” and the particular form of an artwork is defined as the “organization” of its “materials” (Adorno 1970, transl. 1997: 201). The concept of material, therefore, is key to the definition of the very notion of work of art in its constituent components, namely the relationship between form and content. In this paper I will first of all clarify the notion of artistic material in general and subsequently I will turn to strictly literary material. Finally, and this is the main goal of this essay, I will show to what extent this definition of the material possibly contributes to a better understanding of a widely and variedly debated literary phenomenon of our time, namely the form of the so-called postmodern novel. (shrink)

The article explores the connection between enlightenment and comedy, as well as its importance for German Jewry. Following Hegel, whose thoughts on ancient drama as well as modern society have shaped the German discourse on comedy until today, this article demonstrates that questions of self-formation, emancipation, and historical self-location are central to comedy. In Carl Sternheim’s comedy The Snob, the idea of self-formation resonates with the historic concept of “civic improvement” through “Bildung”: Jewish emancipation in Germany stood (...) at the end of an educational project that outlasted Jews’ achieving legal equality. The Snob is a comedy about Jewish acculturation and bourgeoisification and embodies Marx’s understanding of comedy as ambivalent: on the one hand, comedy helps people to part cheerfully from their past that was characterized by inequality, but, on the other, it indicates that a world-historic fact like Jewish emancipation may be prone to repeat itself as a farce. Sternheim’s comedy develops a poetic that embraces ambivalence, but also opens the genre of comedy to the question of therapy and healing. It depicts the struggle between autonomy and social formation – the dialectics of German “Bildung.”. (shrink)

Although determination, perseverance, and high expectations appear to be laudable characteristics within our society, ambition seems to carry a hint of selfishness or self-promotion (perhaps especially at the cost of others). One can speak of the goals or aims of a team or group, but it seems more characteristic to ascribe ambition to a single individual. Etymologi-cally, ambition derives from the Latin word ambire, which can mean to strive or go around (ambo + ire), but the term also characterizes one (...) who canvasses for votes. It may also be telling that the Latin noun for canvassing (ambitio) is only two letters removed for the Latin term for election fraud (ambitus). It is thus welcome that in his Socrates and Alcibiades Ariel Helfer seeks to examine the notion of political ambition through a study of Plato’s dialogues concerning that most am-bitious of Athenians, Alcibiades, an Athenian general who seems to have epitomized both the German word Wunderkind and the French phrase enfant terrible in his short life. It was one that included leading, betraying, and then leading again the Athenian army and navy during the Peloponnesian Wars. Helfer examines the three dialogues of Plato that include Alcibiades as an interlocutor: First Alcibiades, Second Alcibiades, and the Symposium. He does so (in his words) “to gain a fuller understanding of the constellation of desires that gives political ambition its force, including the desire to be devoted to a noble cause, and to determine whether, in Plato’s understanding, these desires necessarily find their fullest expression in political life” (p. 7). (shrink)

Este trabajo presenta lo que para la mayoría de los intérpretes de Aristóteles, que se ocupan del asunto del método en su obra, constituye el principal problema a resolver. Se trata del problema de determinar la relación existente entre la concepción aristotélica de ciencia demostrativa, consignada en los Analíticos Segundos, y la praxis investigativa de Aristóteles en sus diferentes tratados científicos, una praxis que los intérpretes dan frecuentemente en describir como dialéctica.

The paper demonstrates the necessity of introducing innovative approaches in addressing social problems of development. It proves the significance of recruiting investment in the social sphere. The author looks into the usage of social business for handling economic development problems of countries. There are factors promoting social entrepreneurship identified. Spatial social inequality in Ukraine is analyzed, the role of social entrepreneurship in its overcoming demonstrated.

El artículo muestra la influencia de los estudios homéricos de Friedrich August Wolf en la recepción romántica de Grecia y la literatura clásica. La formación filológica de los primeros autores románticos fundamenta el estrecho vínculo entre la Ciencia de la Antigüedad (Altertumswissenschaft) y la crítica literaria en el grupo de Jena. Gracias sobre todo a los estudios clásicos de Friedrich Schlegel, este vínculo resultará en una nueva concepción hermenéutica.

Ludwig Wittgenstein’s philosophizing is deeply ontological, and can be defined as a reflexive gesture of keeping silent. The silence secured by reflexing is an essential part of a philosophy. A philosopher has to use language, but things that pass over in silence must influence things he or she says. The speech manifests not only in the spoken, but also in the unspoken. How is it possible? Through understanding a reflexive speech as an action or gesture of annihilation of speech. The (...) expressed words in philosophy and expressed philosophical concepts are just means of referring to the ultimate value which should be thrown away immediately because it cannot say anything about the inexpressible. The philosophy as a gesture of keeping silent is an attempt to meaningfully keep silent through the constantly evolving reflexive annihilation of your own speech. The philosophizing which takes into account the importance of silence becomes a minimalistic gesture. (shrink)

This article is devoted to understanding the worldview expressed in Vladimir Bibikhin’s Leo Tolstoy’s Diaries. The most important feature of this worldview is its practical nature: Bibikhin focuses on changing one’s view of things instead of trying to develop a doctrine. Practical phenomenology is extremely vulnerable to criticism because of its pre-philosophical nature. Therefore, at this stage, I try to explicate some of the features of this peculiar thought while avoiding trying to find its faults. I draw a connection between (...) Bibikhin’s ontological interpretation of the phenomenon with Heidegger’s concept of detachment (Gelassenheit) as a form of behavior, and illustrate that practical phenomenology turns out to be an ontology of contact. It thematizes the philosopher’s own being and focuses on the problems of the contact made in the “change of view,” in which thought, word, and deed converge. Bibikhin’s practical phenomenology is on the outskirts of modern academic philosophy, gravitating towards understanding philosophy as a way of life, in which the contemplative attitude takes the leading place, paradoxically combining experiment with their perception of “first things,” trust in them, and the ability to describe the indescribable, the “change of view.” This makes practical phenomenology related to the experimental phenomenology of Michel Henry. (shrink)

El artículo ubica el origen del primer romanticismo alemán en el contexto receptivo de la crítica kantiana. Se centra para ello en tres de los debates suscitados por la filosofía trascendental: la posibilidad de un principio primero del conocimiento, el vínculo que une filosofía teórica y filosofía práctica y la relación entre belleza y moral. Este planteamiento permite mostrar la formación de la estética romántica como una teoría crítica que se enfrenta a su fundamentación, su procedimiento y su finalidad. De (...) este modo queda patente la aportación del Romanticismo a las futuras teoría y la crítica literarias. (shrink)

La educación consiste en hacer ver al educando que está constituido por, y es parte de, múltiples sistemas y subsistemas de índole social, ambiental y cósmico. Esta educación representa un desarrollo al mismo tiempo cognitivo, ético, emotivo y espiritual. Esta visión de la educación se opone a diversas formas de reduccionismo que no dejan ver las conexiones importantes entre los fenómenos y entre éstos y el observador. En términos éticos, este aprendizaje consiste en el reconocimiento y la producción de juegos (...) de suma positiva. Espiritualmente, consiste en un sentimiento de vínculo con la totalidad, que produce asombro, gratitud y respeto ante el milagro de la existencia. (shrink)

Si no es posible comprender el desarrollo de El Capital sin conocer la Ciencia de la lógica, se busca trazar los lineamientos generales para alcanzar dicha comprensión. En seis tesis se ponen de relieve algunos aspectos importantes del pensamiento de Marx que han sido poco tratados, y se dialoga con la tradición marxista para señalar ciertos equívocos y resaltar algunas interpretaciones. Esto permite ofrecer un nuevo cuadro para entender la actitud crítica que adopta el "último" Marx frente a la dialéctica (...) de su maestro. Because it is not possible to comprehend Capital without knowing the Science of Logic, this article aims to chart some general guidelines to reach such an understanding. In six thesis, I highlight some important aspects of Marx's thought that have been little treated and dialog with the Marxist tradition to indicate certain equivocations and highlight some interpretations. This offers a new framework to understand the critical attitude that the "mature" Marx adopted regarding his teacher's dialect. (shrink)

Aquí se pretende mostrar a la ética espinozista como particularmente útil para el pensamiento ecológico, en cuanto no comparte el antropocentrismo de gran parte de las éticas tradicionales de la filosofía. La ética de Spinoza, en lugar de preguntar ¿cuáles son mis deberes para con otros seres humanos? pregunta más bien ¿cómo debo relacionarme con mi entorno para ser más feliz? La metafísica de Spinoza también proporciona inspiración para quien busca un sistema filosófico que postule responsabilidades hacia el entorno ecológico.

This article has a twofold purpose: first, it explores how Leonardo Polo's personalist anthropology enriches and enhances neo-Aristotelian virtue ethics and second, it highlights how this specific personalist approach brings new perspectives to servant leadership. The recently revived neo-Aristotelian virtue ethics tradition finds that MacIntyre's scholarship significantly contributes to virtue ethics in business—particularly his conception of practices, institutions, and internal/external goods. However, we argue that some of his latest insights about the virtues of acknowledged dependence and human vulnerability remain underdeveloped (...) because of the underlying anthropology that neo-Aristotelian virtue ethics relies on. To overcome this limitation, we introduce Polo's transcendental anthropology as a possible foundation of a personalist approach that enriches virtue ethics. To do so, we address how transcendental anthropology can enrich two central aspects of virtue ethics, namely (1) the understanding of human beings and their flourishing and (2) the relationship of virtue to praxis and human work. Finally, to address the practical implications for business leadership and work that can derive from assuming transcendental anthropology, we address how servant leadership acquires a new perspective in light of this personalism and its logic of gift, highlighting interpersonal self-giving as a way of service. (shrink)

En el presente trabajo se pretende elucidar algunos de los aportes posibles de la filosofía deleuzeana a la teoría social y política, a través de un examen de su concepción del poder. La investigación arroja como un primer resultado que dicho examen requiere una reducción metodológica de los conceptos de lo “molar” y lo “molecular” -que constituyen su concepción más general de lo social- a los términos propios de sus desarrollos ontológicos: “virtual” y “actual” o “acontecimiento y “estado de cosas”. (...) Dicha reducción permitirá identificar dos concepciones cronológicamente sucesivas del poder, la segunda de las cuales, que incluye parcialmente a la primera, permite dar con una definición del poder como agente (no subjetivo) de producción de subjetividad, lo que constituye el resultado de la investigación y su mayor aporte. (shrink)

El artículo busca clarifcar la noción de modelo involucrada en el enfoque semántico de las teorías (EST). Se muestra que en el contexto del EST el término ‘modelo’ tiene dos funciones: en un caso se presenta como una estructura que satisface una descripción y en el otro como una estructura matemática que representa aspectos de ciertos sistemas reales. Así, el término ‘modelo’ posee dos sentidos, pero la función relevante de los modelos para el EST es la de representación y no (...) la de satisfacción. Esto nos permitirá concluir, entre otras cosas, que los partidarios de la concepción estructuralista de las teorías, una de las versiones del EST, colocan el acento en forma inadecuada al concebir los modelos en el sentido de la semántica formal, en tanto que las versiones últimas de van Fraassen y Giere son más apropiadas al privilegiar los modelos como estructuras matemáticas, el primero, y como representaciones, el segundo. (shrink)

Con el fin de cuestionar la primacía del contrato sobre la lógica del don en la modernidad, se contrastan tres arquetipos de relación social a la luz de los radicales polianos, así como los tipos de reciprocidad que se derivan de cada uno de ellos. A la reciprocidad cerrada-dual moderna se opone la reciprocidad abierta-triádica, que es la que caracteriza a las relaciones de don, tanto en su versión clásica como cristiana. Se concluye que sólo el radical cristiano de la (...) persona integra la lógica del don con el sentido radical de la libertad, desde una antropología que complementa la práctica de virtudes como camino de perfección moral con la apertura a la trascendencia y la ayuda al más necesitado. (shrink)