The following dissertation shows how German Literature negotiates the relationship between language and the visual arts, particularly in Romantic narratives. In contrast with authors of the Enlightenment, the Romantics tend to deny specificity to visual experience and in so doing dedifferentiate visual experience from the textual. ;The initial, methodological, chapter explicates perceptual models informed by the interplay of the philosophical approaches of Kant and Wittgenstein with the psychoanalytic discourse of Freud. In Chapter Two, I turn to Lessing's Laokoon Uder (...) uber die Grenzen der Malerei und Poesie , in which he divides the arts into pictoral and linguistic signs. While the boundary between the two appears quite clear in Laokoon, his play Emilia Galotti reveals Lessing's anxiety that the difference cannot be so easily maintained. ;The subsequent chapter explores the representation of the visual arts in Tieck's Franz Sternbalds Wanderungen . After a discussion of Wackenroder's Herzensergiessungen eines kunstliebenden Klosterbruders , 1 turn to Tieck's novel about a young student of Albrecht Durer. The novel responds to the ostensible binary between language and the visual arts by transmuting the distinction into one between readable landscape paintings and phantasmatic images that guide the protagonist. ;As another example of this Romantic viewpoint, I analyze Brentano's Godwi oder das steinerne Bild der Mutter . Here I use the distinction between symbol and allegory to point out the ways in which the text turns the difference between the arts into one between rhetorical figures. A similar manifestation of the problem occurs in Eichendorff's Das Marmorbild , discussed in Chapter Five. The novella follows the same lines as Lessing's Laokoon, thematizing the materiality of its eponymous marble statue. My final chapter concerns Kleist's model of visual perception, which is closely bound to his theology in his tales "Die heilige Cacilie" and "Der Findling" . ;Writing Images interprets the role of visuality in German Romantic literature in order to understand an unresolved problematic of late eighteenth and early nineteenth-century thought for those who would too quickly either differentiate between or conflate the visual and the written. (shrink)

Around 1800, print culture became a particularly rich source for metaphors about thinking as well as writing, nowhere more so than in the German tradition of _Dichter und Denker_. Goethe, Jean Paul, and Hegel used the _preface_ in order to reflect on the problems of writing itself, and its interpretation. If Sterne teaches us that a material book enables mind games as much as it gives expression to them, the Germans made these games more theoretical still. Weaving in authors from (...) Antiquity to Agamben, Williams shows how European–and, above all, German–Romanticism was a watershed in the history of the preface. The playful, paradoxical strategies that Romantic writers invented are later played out in continental philosophy, and in post-Structuralist literature. The preface is a prompt for playful thinking with texts, as much as it is conventionally the prosaic product of such an exercise. (shrink)

America is at war with terrorism. Terrorists must be brought to justice.We hear these phrases together so often that we rarely pause to reflect on the dramatic differences between the demands of war and the demands of justice, differences so deep that the pursuit of one often comes at the expense of the other. In this book, one of the country's most important legal thinkers brings much-needed clarity to the still unfolding debates about how to pursue war and justice in (...) the age of terrorism. George Fletcher also draws on his rare ability to combine insights from history, philosophy, literature, and law to place these debates in a rich cultural context. He seeks to explain why Americans--for so many years cynical about war--have recently found war so appealing. He finds the answer in a revival of Romanticism, a growing desire in the post-Vietnam era to identify with grand causes and to put nations at the center of ideas about glory and guilt.Fletcher opens with unsettling questions about the nature of terrorism, war, and justice, showing how dangerously slippery the concepts can be. He argues that those sympathetic to war are heirs to the ideals of Byron, Fichte, and other Romantics in their belief that nations--not just individuals--must uphold honor and be held accountable for crimes. Fletcher writes that ideas about collective glory and guilt are far more plausible and widespread than liberal individualists typically recognize. But as he traces the implications of the Romantic mindset for debates about war crimes, treason, military tribunals, and genocide, he also shows that losing oneself in a grand cause can all too easily lead to moral catastrophe.A work of extraordinary intellectual power and relevance, the book will change how we think not only about world events, but about the conflicting individualist and collective impulses that tear at all of us. (shrink)

contents: -/- 1. the Romantic fragment 2. life would want to die, a little 3. pain itself is the meaning, in Nietzsche 4. martyrs do not underrate the body 5. inwardly, an Actor prepares 5b. brother, bro: it's only you that overhears you 5c. J is like Hamlet / Herzog / Holden Caulfield / Raskolnikov 5d. they take him to a basement and they feed him METH 6. a surface is revealed / the depths are all inferred 6b. my (...) Self is all depth: a long internal vertical 6c. Joyce knows not the inside of ideas 6d. perception of depth is maladaptive 7. by knowing Death, humans are the Woken Ones 8. all as straw, or graphomania 8b. i tend to write thru / tho unless i'm imitating English 9. Finnegans Wake as Literature's endgame 10. Hard Realism: Hemingway, Knausgård 11. the cause of pain, in Buddhism 11b. duḥkha is uh-hukha: the gut's double throb. (shrink)

This volume is the result of a thorough exploration of contemporary conceptions of romantic love from different points of view. Beginning with an initial text where the meanings of romantic love are discussed theoretically and historically, the contributions gathered here present current discussions about love in the present day and in different geographical contexts that range from Hungary to Italy or Spain. The first part of the book is devoted to the analysis of mobilities for the sake of (...) love as a result of globalization. These mobilities are analysed in relation to love ideals, to gender equality and to online searches for the ideal partners. The second part of the book deals with the exploration of different imaginaries of love in particular geographical contexts. The topics dealt with here include love as sickness, love and violence, love ideals for men engaged in gender equality and love ideals for those who engage in cross-dressing practices. In the third part, writing about and for love is addressed. Love writings to the beloved dead, teenage girlsâ (TM) blogs and bestsellers such as Fifty Shades of Grey are discussed in particular detail. This book addresses current conceptions of romantic love in different social groups through different practices and in different countries, and shows that, despite the variability of discourses, experiences and practices related to love, a number of ideas of what love should be like â " related to the Western ideals of romantic love â " persist in all these contexts. The contributions to this volume are derived from extensive fieldwork and ethnographic research, and will be of undoubted interest for the academic milieu. However, given the topic it deals with, the book will also appeal to the general public, who will find in these pages many â ~love storiesâ (TM) derived from the detailed study of the society which we inhabit and the ideals of love that we breathe. (shrink)

Romantic Motives explores a topic that has been underemphasized in the historiography of anthropology. Tracking the Romantic strains in the the writings of Rousseau, Herder, Cushing, Sapir, Benedict, Redfield, Mead, Lévi-Strauss, and others, these essays show Romanticism as a permanent and recurrent tendency within the anthropological tradition.

Although several writers have noted significant complementary features in the respective projects of Russian philosopher and cultural theorist Mikhail Bakhtin (1895–1975) and the French social thinker Henri Lefebvre (1901–91), to date there has not been a systematic comparison of them. This article seeks to redress this oversight, by exploring some of the more intriguing of these conceptual dovetailings: first, their relationship to the intellectual and cultural legacy of Romanticism; and second, their respective assessments of irony (including Romantic irony), and, (...) more specifically, of the ironic register as a potential vehicle for socio-cultural criticism. Although the positions Bakhtin and Lefebvre stake out vis-à-vis these issues reveal many similarities – such as extensive use of Socrates in the writings of each – there are also significant differences, not least because Lefebvre’s understanding of Romanticism is more fully developed than Bakhtin’s. Accordingly, the central argument advanced here is that Bakhtin’s fairly disparaging account of Romanticism, together with his scattered and often contradictory remarks on irony, can be subjected to re-envisioning and potential enrichment by reference to Lefebvre’s more considered thoughts, especially the latter’s notions of ‘Revolutionary romanticism’ and ‘Marxist irony’. (shrink)

Our tendency is not to read Romantic poetry as alluding to the texts it reminds us of. We think of the Augustans as the author of what Reuben Brower calls "the poetry of allusion."5 We envision Romantic poets carrying on their work in reaction to these Augustans and in mysterious awe, whether fearful or admiring, of most other poets—sometimes even of each other. No self-respecting Romantic, it is usually assumed, will deliberately send his reader elsewhere for a (...) meaning to complement the effect of his own words. If a reader's mind wanders to an earlier poem, that is not the Romantic poet's fault but a matter of accident or perhaps of cruel destiny. The Romantic wants to keep the poem an intimate affair—just the two of us—and does what he can to keep his reader's attention on himself.[…]What follows is an effort to test the applicability of Wasserman's Augustan hypothesis to the poetic mode of high Romanticism. This effort should not be taken to imply either that the Romantics simply continue in the allusive mode of the Augustans or that the assumptions that lead Bloom and others to read Romantic poetry as they do are utterly mistaken. I will in fact be arguing quite otherwise. Nor must there be any confusion about Wasserman's conception of the Augustan mode. Some of the language of his summary, for example where he speaks of "the rich interplay between the author's text and the full contexts it allusively arouses," might lead one to liken his work to the criticism now associated with the notion of "intertextuality." For the practitioners of this criticism, as Jonathan Culler explains, "to read is to place a work in a discursive space, relating it to other texts and to other codes of that space, and writing is a similar activity."8 Writing and reading a poem are in this account both acts of "intertextual location," if you will, but the reader of the poem need not concern himself with the aims and circumstances of its writer's "similar activity." The decisive difference between this view and the one Wasserman offers for the Augustans is that Wasserman's is intentionalist and historicist. This shows plainly in his exegetical commentary on the Rape, where his characteristic claim follows the formula: "Pope [expects, invites, prods, wants] his reader to [discover, exercise his wit on, recognize, see] X in his allusion to such-and-such a text." And to support his claim he repeatedly brings his historicist scholarship to bear on questions about "the kind of ready knowledge Pope demands of his reader" and what "facts [were] known to any serious reader" of the time.95. See Reuben Brower, Alexander Pope: The Poetry of Allusion , esp. pp. 1-14.8. Jonathan Culler, "Presupposition and Intertextuality," MLN 91 : 1382-3; Culler refers primarily to the work of Roland Barthes and Julia Kristeva but notes that Bloom himself occasionally sounds curiously like an intertextualist critic.9. Wasserman, "Limits of Allusion," pp. 427, 429. For a response to Wasserman less sympathetic than mine, see Irvin Ehrenpreis, Literary Meaning and Augustan Values , pp. 12-15.James K. Chandler, an assistant professor of English at the University of Chicago, has published work on Wordsworth's poetry and politics and is currently completing a book on the subject. (shrink)

This book, first published in 1974, studies the similarities between Rousseau's thought and that of the Stoics, examining Rousseau's ideas on man, society, the state and government. It makes close reference to Rousseau's writings, and to the works of Seneca and other Stoics, presenting an opportunity to really come to grips with a complex and often contradictory mind.

Romanticism was a philosophical movement concerned with the question of orders—orders of things, of persons, of being. Friedrich von Hardenberg, the Early German Romantic who called himself Novalis, writes that “only [the infinite stone] is firm // it is the dos moi, pu sto [give me a place to stand] of Archimedes” . It is strange to find, among the foundational texts of Early German Romanticism, anything having to do with foundations. The movement has often been characterized as “anti-foundational” (...) and even occasionalist . And yet statements revealing a fascination with figures of intervention, revolution, and .. (shrink)

The aim of this paper is twofold. In the first instance it is an attempt to offer a new perspective from which to reflect on the meaning and philosophical presuppositions of Friedrich Schlegel’s defence and use of (romantic) irony, as well other related notions: humour, wit, and other comic devices. I propose to situate this perspective within a revaluation of pleasure and joy. To do this in a new way (although not in opposition to authors such as Manfred Frank, (...) Elizabeth Millan-Zaibert, or Gary Handwerk), I refer to one of Schlegel’s earliest texts devoted to The Aesthetic Value of Greek Comedy from 1794. In addition, this paper questions the extent to which Schlegel’s position is tenable in the aftermath of the ‘death of God’. For this, I reflect briefly on the ways in which Nietzsche’s writings and notion of life-affirmation respond to Schlegel’s vindication of romantic irony. (shrink)

Alan Richardson’s British Romanticism and the Science of the Mind charts the cross- fertilization of ideas and models concerning brain-based psychology that occurred between the domains of literature and science in the late eighteenth and early nineteenth centuries. In this exciting book, Richardson deftly interweaves history of science founded on the primary writings of and historical records concerning important natural philosophers of the period; cultural history founded on reviews and commentary in major journals of the time; comparative science founded (...) on broad and intelligent engagement with contemporary scientists and philosophers of mind; and literary criticism founded on a broad awareness of scientific and cultural trends. The interweaving illustrates, and is fueled by, the spirit of cross-fertilization between the domains of science and literature that was still very much alive in the early 1800s. And Richardson’s work suggests, even as it argues convincingly with its own considerable successes, that we would do well to engage more fully in such cross- fertilization in the early twenty-first century. (shrink)

ABSTRACTMary Darby Robinson is well known for writing her final volume of poems, the Lyrical Tales, as a direct answer, sometimes poem by poem, to Wordsworth and Coleridge’s 1798 Lyrical Ballads. What has been less studied is how deliberately hybrid in style and allusions her response-poems are in the Tales, especially how prominently they foreground Gothic imagery, theatricality, and hyperbole in poems that also ape the emerging “romantic” mode of the Ballads themselves. Part of that “cheekiness,” I argue, stems (...) from the condemnation of the Gothic that both Wordsworth and especially Coleridge had articulated in print, while also echoing it, albeit in highly modified ways, in their poetry. Most of what Robinson attempts with her hybrid Tales, though, develops the penchant in Gothic for symbolizing deep and unresolved ideological conflicts in Western culture. Her answers to Wordsworth and Coleridge, which I exemplify with selected Robinson Tales, therefore, bring out those very conflicts underlying,... (shrink)

In this paper I aim to show that the creation and manipulation of written vehicles is part of our cognitive processing and, therefore, that writing transforms our cognitive abilities. I do this from the perspective of cognitive integration: completing a complex cognitive, or mental, task is enabled by a co-ordinated interaction between neural processes, bodily processes and manipulating written sentences. In section one I introduce Harris’ criticisms of ways in which writing has been said to restructure thought (Goody 1968; McLuhan (...) 1962, 1964; Ong 1982). This will give us a preliminary idea about possible pitfalls for a cognitive integrationist account. The second section outlines, firstly, how integrated cognitive systems function. Secondly, the model is applied to a hybrid mental act where writing allows us to complete complex cognitive tasks. The final section outlines the sense in which, following Harris, there is “a more realistic picture of how writing restructures thought” [Harris, R., 1989. How does writing restructure thought? Language and Communication 9 (2/3) 99–106] that is concealed by the ‘romantic fantasies’ of theorists such as the above. This picture is one of writing providing an autoglottic space in which a new form of theoretical thinking becomes prevalent. The cognitive integrationist understands this in terms of the nature of the written vehicles and how we manipulate them. (shrink)

This work explores an aspect of Yeats's writing largely ignored until now: namely, his wide-ranging absorption in S.T. Coleridge. Gibson explores the consistent and densely woven allusions to Coleridge in Yeats's prose and poetry, often in conjunction with other Romantic figures, arguing that the earlier poet provided him with both a model of philosopher - 'the sage' - and an interpretation of metaphysical ideas which were to have a resounding effect on his later poetry, and upon his rewriting of (...) A Vision. (shrink)

This paper will, in its successive steps and movements, revolve around one single question, a question that might, at first sight, come across as somewhat irrelevant or even impertinent within the context of philosophical or academic discourse. How romantic is Jean-Luc Nancy? Or: is there a specifically Nancyan sense of romance? Notwithstanding these somewhat unscholarly formulations, I am increasingly convinced that the question of love, or indeed more specifically of romance, is the most intimate inspiration of Nancy’s work, the (...) key unlocking all other keys. The theme of love has always played an important role in his work, from the early essay “Shattered Love” (“L’amour en éclats,” 1986) to his later works on the body and pleasure. In this paper, I will touch upon a number of these texts, but I will more particularly refer to two of Nancy’s more recent works, the yet untranslated book Sexistence from 2017 and Expectation: Philosophy, Literature (2018, published in French in 2015 as Demande: Littérature et philosophie). The question of romance, that is, the question of passionate interaction, of intrigue, of writing, of dramatization. This quite heterogeneous web of associations already implies a number of age-old philosophical issues: the relation between love and thinking; the relation between love and literature; and, subsequently, between philosophy and literature; the issue of the relation itself. The knot uniting these issues under the single heading of “romance” has been most firmly tied about two centuries ago, in the late eighteenth-century movement of early German, i.e., Jena, Romanticism, that significant moment in intellectual history where the barriers between philosophy and literature were broken down and where, quite generally put, the sense of the world was conceived of as a matter of romanticization. Although Nancy himself would be reluctant to call himself a Romantic philosopher in this historical sense of the word, this is exactly what I want to argue here: I want to show that Nancy’s philosophy of love – and by extension his philosophical thinking tout court – should be placed in the tradition of German Romanticism, rather than in that of, for instance, phenomenology, ontology, or philosophy proper. This claim is massive in its depth and scope and can impossibly be explored here in an exhaustive way. Instead, I will flesh out this perspective by advancing four successive hypotheses that enable to mark the contours of what I call Nancy’s romanticism. With this exploration, I hope to do three things at once: firstly, to underscore what I take to be the core or pulse of Nancy’s thinking: the issue of romance; secondly, to investigate to what extent this romantic pulse might be traced back to the Romantic tradition; and, thirdly, to emphasize why Nancy’s romantic thinking is relevant for us today. (shrink)

It is sometimes thought that the renowned essayist Isaiah Berlin was incapable of writing a big book. But in fact he developed some of his most important essays--including "Two Concepts of Liberty" and "Historical Inevitability"--from a book-length manuscript that he intended to publish but later set aside. Published here for the first time, Political Ideas in the Romantic Age is the only book in which Berlin lays out in one continuous account most of his key insights about the history (...) of ideas in the period that he made his own--the Romantic age. Distilling his formative early work in the history of ideas, the book also contains much that is not found elsewhere in his writings. The last of Berlin's posthumous books, it is of great interest both for his treatment of the subject and for what it reveals about his intellectual development. Written for a series of lectures at Bryn Mawr College in 1952, and heavily revised and expanded by Berlin afterward, the book argues that the political ideas of the Romantic age are still largely our own--down to the language and metaphors they are expressed in. Vividly expounding the central political ideas of leading European thinkers in the period 1760-1830, including Helvetius, Condorcet, Rousseau, Saint-Simon, Hegel, Schelling, and Fichte, the book is written in Berlin's characteristically accessible style. The book has been carefully prepared by Berlin's longtime editor Henry Hardy, and Joshua L. Cherniss provides an illuminating introduction that sets it in the context of Berlin's life and work. (shrink)

Caspar David Friedrich was the quintessential Romantic figure, portraying the Sublime in his landscape paintings. The Romantic period, particularly in Germany, England, and France, was characterized by the full development of aesthetics as a separate branch of philosophy. The terrible Sublime was contrasted with the more formal elements of Beauty. In this paper, Dr. dela Cruz similarly compares the inarticulable aesthetic sensibility and the more formal method of logical analysis, underscoring her own transition from philosophy to creative writing. (...) She provides a philosophical analysis of what picture theorists call the “visual metaphor” in Friedrich’s key works, in particular “The Wanderer Above a Sea of Fog” and “On the Sailingboat.” Her engagement with these works takes the form of a creative piece—an ekphrastic poem—integrated in a philosophical paper, which is also simultaneously about the aesthetics of that literary form. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Wuthering Heights: The Romantic AscentMartha NussbaumI“If I were in heaven, Nelly,” she said, “I should be extremely miserable.”“I dreamt, once, that I was there.... [H]eaven did not seem to be my home; and I broke my heart with weeping to come back to earth; and the angels were so angry that they flung me out, into the middle of the heath on the top of Wuthering Heights, where (...) I woke sobbing for joy.” 1Cathy’s soul cannot live in the Christian heaven. For her soul, she explains, is the same as Heathcliff’s soul, and the heavenly soul of Linton is as different from theirs “as a moonbeam from lightning, or frost from fire” (p. 95). Much later, as she lies on her deathbed, now the wife of Edgar Linton, thinking the Linton thought that what she wants is an escape into “that glorious world” of paradise and peace, Heathcliff watches her with burning eyes. At last she calls to him:In her eagerness she rose and supported herself on the arm of the chair. At that earnest appeal he turned to her, looking absolutely desperate. His eyes, wide and wet, at last flashed fiercely on her; his breast heaved convulsively. An instant they held asunder, and then how they met I hardly saw, but Catherine made a spring, and he caught her, and they were locked in an embrace from which I thought my mistress would never be released alive: in fact, to my eyes, she seemed directly insensible. He flung himself into the nearest seat, and on my approaching hurriedly to ascertain if she had fainted, he gnashed at me, and foamed like a mad dog, and gathered her to him with greedy jealousy. I did not feel as if I were in the company of a creature of my own species: it appeared that he would not understand, though I spoke to him; so I stood off, and held my tongue, in great perplexity.(pp. 188–89) [End Page 362]Brontë’s description alludes to the imagery of the Christian ascent tradition. As in Augustine and Dante, love is a flame that animates the eyes, a lightning bolt that pierces the fog of our obtuse daily condition; as in that tradition, love’s energy causes the lover to leap away from the petty egoism of the daily into an ecstatic and mutually loving embrace. But we know we are far from the world of the Christian ascent, even its erotic Augustinian form. Cathy’s spring is not an upward, but a horizontal movement—not toward heaven, but toward her beloved moors and winds, severed from which she would find heaven miserable; not toward God but toward Heathcliff, the lover of her soul. Nor is there redemption into heaven in this work; there is, if anything, a redemption from a world dominated by the imagination of heaven, into a world that the pious Ellen Dean can recognize only as an animal world, a world inhabited by creatures of a different species, who probably do not understand language, so thoroughly are they identified with the energy of the body. A few hours after Cathy’s death Heathcliff, as Ellen Dean tells us, in a sudden “paroxysm of ungovernable passion,” dashes his head against the knotted trunk of a tree, splashing the bark with blood, “and, lifting up his eyes, howled, not like a man, but like a savage beast being goaded to death with knives and spears” (p. 197). It is in his world alone, it would seem, that flame is truly found. As Cathy said to Edgar Linton, “Your cold blood cannot be worked into a fever: your veins are full of ice-water; but mine are boiling, and the sight of such chillness makes them dance.”Brontë’s novel situates itself within a long tradition of writing about love and its ascent or purification. This tradition, inaugurated by Socrates’ description of the ladder of love in Plato’s Symposium, is continued by later Platonists, and radically reformulated by Christian thinkers, who stress, against Plato, the soul’s receptivity and vulnerability to the inscrutable operations of grace. In both the Platonic and... (shrink)

Paradoxes of Freedom is a study of the philosophical and historical concept of liberty. Centring his argument upon the Romantic exaltation of freedom, Thomas McFarland identifies freedom as one of the three chief transcendences, along with love and religion, by which humanity orientates itself. McFarland indicates, by an examination ranging from Shakespeare and Luther to the writings of Nietzsche and Wagner, both the reasons for the supreme valuation of freedom and the nature of the hindrances, in theory and (...) fact, that enmesh the actual realization of freedom. (shrink)

No one sincerely doubts that schools should take seriously the need to develop children's imaginations and their capacity to be imaginative. The issue is what does this mean? And what are its implications? This paper, which is mostly inspired by the writings about the imagination of two British nineteenth-century Romantic poets -- Coleridge and Wordsworth -- provides some answers.

This 2002 volume brings together major works by German thinkers, writing just prior to and after Kant, who were enormously influential in this crucial period of aesthetics. These texts include the first translation into English of Schiller's Kallias Letters and Moritz's On the Artistic Imitation of the Beautiful, together with translations of some of Hölderlin's most important theoretical writings and works by Hamann, Lessing, Novalis and Schlegel. In a philosophical introduction J. M. Bernstein traces the development of aesthetics from (...) its still rationalist and mimetic construction in Lessing, through the optimistic construal of art and/or beauty as the appearance of human freedom in the work of Schiller, to Hölderlin's darker vision of art as the memory of a lost unity, and the variations of that theme - of an impossible striving after the lost ideal - which are found in the work of Schlegel and Novalis. (shrink)

This 2002 volume brings together major works by German thinkers, writing just prior to and after Kant, who were enormously influential in this crucial period of aesthetics. These texts include the first translation into English of Schiller's Kallias Letters and Moritz's On the Artistic Imitation of the Beautiful, together with translations of some of Hölderlin's most important theoretical writings and works by Hamann, Lessing, Novalis and Schlegel. In a philosophical introduction J. M. Bernstein traces the development of aesthetics from (...) its still rationalist and mimetic construction in Lessing, through the optimistic construal of art and/or beauty as the appearance of human freedom in the work of Schiller, to Hölderlin's darker vision of art as the memory of a lost unity, and the variations of that theme - of an impossible striving after the lost ideal - which are found in the work of Schlegel and Novalis. (shrink)

Works by authors of the Romantic period have often been viewed primarily as expressions of escapism, disillusionment, or apostasy on the part of the writer. In contrast, Hoagwood shows that political repression had important effects on the production of Romantic texts. Far from disengaging from the political world, works by Wordsworth, Coleridge, Blake, Shelley, Hays, and Smith, written at a time when overt expression was dangerous, express their author's contentions with political repression through duplicitous meaning and figural terminology. (...) By emphasizing the material textuality of Romantic writing, Hoagwood provides a new model for interpretation in the tradition of countering "Romantic ideology." Hoagwood demonstrates how political pressures and the institutions of publishing helped to shape the meanings of Romantic texts. He argues for the importance of a book's historically specific and material form in influencing the way critics and scholars view a given work. Literary theory and textual criticism come together in this book to show the new ranges of significance that can emerge when a poetic work is studied as a material artifact. The study concludes with a comparative analysis of critical theory in the Romantic period and in our own, addressing ways in which the differences between modernity and romanticism have affected interpretations of Romantic works. Hoagwood suggests that the political forces shaped the formulations of philosophic questions concerning interpretation and fictionality in much the same way they influenced the writing of Romantic literature. (shrink)

As one of the foremost contemporary public intellectuals and scholars of our time, Hamid Dabashi's interests and writings span subjects ranging from Islamic philosophy and political ideology to Iranian art and Persian literature; from Sufism and Orientalism to Iranian and world cinema and contemporary Arab and Muslim visual arts; and from postcolonial theory and globalization to imperialism and public affairs. There is a direct connection between his theoretical innovations and the angle of his public interventions on the urgent global (...) issues of the day. This book brings together some of his most important writings, especially those that offer new ways of understanding Islam, Iran, Islamist ideology, global art, and the condition of global modernity. The book shows the underlying conceptual themes that unify Dabashi's wide-ranging and brilliantly insightful corpus. Book jacket. (shrink)

This article appeared in a special issue of the Goethe Yearbook, on Goethe and German Idealism. In it, I consider Novalis' unparalleled admiration for Goethe's scientific writings in contrast to his rather lukewarm reception of Goethe's poetry. I argue that Novalis' ideal of a “romantic encyclopedia” in which all the arts and sciences are understood in their relations to one another (as opposed to in isolation, like Diderot and D'Alemberts' project) is inspired by Goethe's practice as a scientist. (...) I develop Novalis' idea of an “empiricism that is nothing but genuine idealism,” illustrate its parallels with Goethe's “gentle empiricism,” and argue that Novalis’ conception of romantic science and his understanding of idealism as empiricism is directly inspired by Goethe’s practices as a poet and scientist. I consider the implications of this for our understanding of the meaning of “romantic” science. (shrink)

The article traces the development of Hungarian intellectual history of the early modern period from the emergence of the national romantic constructions of literary history to the recent turn towards contextualist and conceptual history. One of its main findings is the ideological importance of this period for the formation of the national canon, as it became a central point of reference for the emerging local methodological tradition of intellectual history, even if it was often compartamentalized under other categories. From (...) this perspective, the article puts particular emphasis on ideological constructions seeking to define the nation and depict the emergence of modern national identity. This finding also offers a vantage point for analyzing the interplay between literary history and the socio-culturally focused approaches, which can be considered the main framework for the developments of the last two decades, when these local historiographical traditions entered into an interesting dialogue with the Western European and American schools of intellectual history. Along these lines, while pointing out the discursive continuities with the previous paradigms, which are shaping even the contemporary historiographical production, the article also ponders the ways in which the inherited (post-)romantic constructions can be successfully challenged. (shrink)

This second volume of essays by Professor Kelley takes the study of history as its starting point, then extends explorations into adjacent fields of legal, political, and social thought to confront some of the larger questions of the modern human sciences. The first group of papers examine the historiography of the Protestant Reformation and then of the Romantic and Victorian periods; the last section focuses on the legal tradition and its interpretation in relation to social and cultural, as well (...) as historical thought, in the period from the Renaissance to the French Revolution. Throughout, the author's interest is to analyse how people at different times have viewed their past - and reconstructed and utilised it in the service of their present concerns. (shrink)

German Romanticism plays a central role in Gilbert Simondon's writings. In _Mode of Existence_, Simondon draws on Goethe and E. T. A. Hoffmann to illustrate the tragic consequences of failing to attend to the individuated relationship between landscape and tool. While Novalis is only mentioned in passing, his work presents the most radical form of what might be called Romantic mechanology. With the stated aim of achieving the ideal of perpetual motion, Novalis's poetics highlight the central role literary (...) experimentation plays in technological thinking, revealing how Simondon may shed new light on several key aspects of romantic poetry and philosophy. (shrink)

This first scholarly edition in English of the philosophical writings of Novalis (Friedrich von Hardenberg), the German Romantic poet, philosopher, and mining engineer, includes two collections of fragments published in 1798, Miscellaneous Observations and Faith and Love, the controversial essay Christendom or Europe, and substantial selections from his unpublished notebooks.

The Covid-19 pandemic has brought unexpected changes in important aspects of young people’s lives. The academic literature contains many studies on the risks and adverse effects, while any potential positive aspects have been side-lined. This paper examines quality of life and relationships among young people in emerging and young adulthood in order to identify the negatives and benefits of the pandemic. In this qualitative research a “letter to a friend” free-writing exercise was used as the data collection method on a (...) total sample of 107 young people aged 18-34 years. Using reflective thematic analysis, the statements were then grouped into two themes: “Covid as a misfortune” and “Covid as a benefit”. (shrink)

The characteristics of inductivist historiography of science, as practised by earlier scientist/historians, and Whig historiography, as practised by earlier political historians, are described, according to the accounts of Agassi and Butterfield. It is suggested that the writings of Geikie on the history of geology allow us to characterize him as a Whig/inductivist historian of science who formulated anachronistic judgements. It is further suggested that his writings have had a considerable long-term effect on interpretations of the history of geology. (...) The character of Geikie's historiography is related to his social, political and religious views, his historicism, and his romantic enthusiasm for Nature. His methodological pronouncements are examined: he believed that the present is the key to the past, and also that the past is the key to the present. He was an empiricist and inductivist. These epistemological and methodological views impinged on his historiography of science. If one attempts to criticize Geikie's historiography, though one may try to judge his work according to the norms of his own day and age, historical anachronism cannot be avoided entirely and one may oneself be charged with acting ‘Whiggishly’. Historians of science, in the process of professionalization, have accepted the historiographical norms of general historians , but in so doing have inherited a problem that arises whenever they contemplate earlier historical writings. It is suggested that there may be more room for Whiggish historiography of science than is presently deemed acceptable. Alternatively, one may wish to draw a careful distinction between science and its meta-discipline, the historiography of science. Whig historiography conflates the two, and the work of Geikie provides a good illustration of this. (shrink)

ABSTRACTThe essay begins by identifying the conversation as a hitherto neglected Romantic genre, and by distinguishing the conversation from the dialogue. It goes on to characterise the conversation as a generic hybrid, ambiguously placed between writing and speech, between the studied and the impromptu, between the ephemeral and the permanent, and between fact and fiction. It points out how closely the conversation is connected with the rise in the second decade of the nineteenth century of the literary magazine, and (...) with the publication in the same period of Byron’s Don Juan, and discusses why this should have been so. It argues that the conversation is a paradoxical literary genre in that it is best defined by its refusal of all conventional generic constraints. (shrink)

In _Reforming Liberalism_, Robert Devigne challenges prevailing interpretations of the political and moral thought of John Stuart Mill and the theoretical underpinnings of modern liberal philosophy. He explains how Mill drew from ancient and romantic thought as well as past religious practices to reconcile conflicts and antinomies that were hobbling traditional liberalism. The book shows that Mill, regarded as a seminal writer in the liberal tradition, critiques liberalism’s weaknesses with a forcefulness usually associated with its well-known critics. Devigne explores (...) Mill’s writings to demonstrate how his thought has been misconstrued--as well as oversimplified--to the detriment of our understanding of liberalism itself. (shrink)

"This book is about a tradition in American philosophy, running through the writings of Ralph Waldo Emerson, William James, and John Dewey, that has its origins in Romanticism as a movement in European thought". Goodman's study of these thinkers develops out of his concern to identify a distinctively American philosophy, "a philosophy... not embarrassed by literature or by the idea of searching 'for the best human life'". Goodman makes a strong case for regarding Romanticism as the key element in (...) such a philosophy. (shrink)

I argue that the Preface to Wittgenstein’s Philosophical Investigations represents a form of preface found in several other major works of Romanticism. In essence, this kind of preamble says: ‘I have tried very hard to write a work of the following conventional type … . I failed, and have thus been compelled to publish, with some reluctance, the following fragmentary, eccentric, unfinished or otherwise unsatisfactory work.’ It sometimes transpires, however, that a work which appeared unfinished and unsatisfactory to the author (...) and his contemporaries, later comes to be seen as both complete and startlingly original. Indeed, not initially recognizing what you have achieved is sometimes a mark of the greatness-through-originality so highly prized by Romantic writers. Besides the Investigations, I concentrate on Coleridge’s Preface to ‘Kubla Khan’, and the first 269 lines of Wordsworth’s Prelude (in both the 1805 and 1850 versions), discussing exactly why all three authors found their projects so recalcitrant, why their solutions were so original, and why the magnitude of their achievements was not appreciated from the first. I end with some reflections on why Wittgenstein’s work on aesthetics, the aesthetic impact of his work, and the cognitive impact of his work should not be separated. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Historical Representation and the Nation-State in Romantic Belgium (1830–1850)Jo TollebeekThe transformation of the Ancien Régime society of estates into the modern state system as it exists in Europe today was concluded during the “long nineteenth century.” This process of transformation came about in two waves. In a first wave—during the decades preceding and following the French Revolution, roughly the years 1780-1848—the framework for the nation-state was created. It (...) was mainly the liberal bourgeoisie which stood at the forefront. After the Congress of Vienna, where the “ante bellum” situation had been restored, it led more or less successful national revolutions in Germany, Italy, Spain, Belgium, and Poland. In a second wave, starting with the Franco-Prussian War of 1870 and ending with the First World War, the framework of the nation-state was filled in. In those years a growing number of social groups found accommodation in the liberal house, which they also managed thoroughly to rebuild. This period can be described as the phase of integrated nationalism.Together with the nation-state came the rise of modern national his-toriography. The most well-known exponents of this typically nineteenth-century genre were the monumental outlines of national pasts which started appearing from 1890 onward. Karl Lamprecht in Germany (Deutsche Geschichte, 1890–1909), Pieter Jan Blok in the Netherlands (Geschiedenis van het Nederlandsche Volk, 1892–1908), Henri Pirenne in Belgium (Histoire de Belgique, 1900–1932), and Ernest Lavisse and his collaborators in France (Histoire de France, 1901–11) all gave their respective countries’ pasts an impressive, scholarly design. The first phase of the emergence of the nation-state, however, was also ac-companied by a stream of national histories. Johannes von Müller in Switzerland (Geschichten Schweizerischer Eidgenossenschaft, 1786–1808), Simonde de [End Page 329] Sismondi in Italy (Histoire des Républiques italiennes du Moyen Age, 1807–18), Augustin Thierry in France (Lettres sur l’Histoire de France, 1820–27), and Willem Bilderdijk in the Netherlands (Geschiedenis des Vader-lands, posthumously 1833–53) all became authors of patriotic and romantically tinted surveys and studies of (fragments from) their own national history.The work of this second group of historians fits with the cultural nationalism which took root during the last decades of the eighteenth and the beginning of the nineteenth centuries and which is sometimes considered to have been the heart of romantic nationalism. 1 The supporters of this nationalism were con-vinced that culture, lifestyle, and social institutions could only be understood as the expression of the “soul,” the “spirit,” or the “character” of a people or nation. They tried to deduce this individual character through the language, popular literature, art, and “national” (as opposed to Roman) law, as is demonstrated by the Gaelic revival in Ireland. 2 History, however, also attracted their interest; the nation and the people were after all considered to be dynamic entities which developed along the lines of a multiple causal process. In England, for example, where nationalism arose as a protest against excessive foreign—French—cultural influence, a group of historians, among them Catherine Macaulay and John Pinkerton, started publishing nationalistic histories during the early years of George III’s reign, paying special attention to the origin of the English people. 3 Such cultural nationalism could, however, easily take on political overtones, especially when it was the nationalism of a people who were either stateless or dispersed throughout different states, or whose state was still young.These earliest national histories were meant as a contribution to the formation, consolidation, and confirmation of a national identity. Their writers had to lend unity, specificity, and continuity to the national past. They had to, as Novalis observed in 1798, “organize historical essentials.” 4 Their work was less a matter of reconstruction than of construction. It not only required the exploration of a hitherto unknown field, but first and foremost the resolution of new problems of representation inherent in the writing of “national biographies.” In this essay, I shall discuss some of these problems in the light of Belgian national historical writing from 1830 through 1850. The year 1830 constitutes an important watershed in the history of national movements... (shrink)

In this paper, I am trying to reconstruct Shaftesbury’s views on natural beauty, writing and painting. Thus, the term ‘aesthetics’ I am using refers to both aesthetic experience and artistic creativity, to both natural and artistic beauty. As, however, in Shaftesbury’s work aesthetics cannot be considered irrespective of his overall philosophy, I am obliged to examine in parallel with aesthetics Shaftesbury’s ontology and moral theory. It is the concern for this last one that gave the occasion for the emergence of (...) an aesthetic theory in Shaftesbury’s work. My argument is that Shaftesbury’s view on natural beauty and his deep appreciation of natural scenery opened extremely fertile prospects for aesthetics, prospects that were meant to give their seeds both in enlightenment and in romanticism The concepts of disinterestedness, of natural sublimity and genius, for example, are some of Shaftesbury’s main contributions to the newborn discipline of aesthetics that were to have great future in the relevant conversation. In the case of writing, while the paradigm Shaftesbury uses comes undoubtedly from Horace and his advice to the poets to study philosophy, the place reserved for the true poet, his apotheosis indeed, anticipated the romantic appreciation of artists. The analysis of painting, finally, retains the strong link between art and morality and is based mainly on the Aristotelian concepts of unity and probability. It is thus undoubtedly a typical example of neoclassical analysis. It remains, however, a strong testimony of Shaftesbury’s pertinent commitment to empiric reality against those views that would present him as a high-flown Neoplatonist metaphysician. (shrink)

Summary This essay speculates about the degree to which a counter-image of Europe imagined by Romantic period writers showed them to be transforming an inherited idea of the republic of letters for political purposes. While Anglophone romanticists recognise that the French Revolution is an indisputable agent in shaping the contemporary English literary imagination, they then usually ignore the role played by the Restoration which followed. Romantic criticism can perhaps learn an appropriate sensitivity here from the work of critics (...) of English Restoration writing of the seventeenth century. That epochal uncertainty, when the regicides beheaded the King and then wondered what to do politically, was succeeded in the Restoration by a kind of Dissenting determination to continue under or memorialise that uncertainty, not as a dilemma but as the experience of political opportunity. A similar pattern of pursuing revolution by other means is visible in the political revisionism and literary experimentation of post-Revolutionary Romantic radicals. In my picture, then, the Romantic transformation of the republic of letters recovers an older literary republicanism. In what is here dubbed Realpoetik the battle for what is to be political reality is fought on a rhetorical field whose free speech is exemplary of what politics should be like. (shrink)

Since Plato and Aristotle the concept of imitation that is mimesis, has often alluded to the re-presentation of nature, in another sense, the artist is the interpreter of ''the nature'' of the ''appearances'' of the visible at the same time ''invisible'' objects. The Romantic objective for authenticity preserving in everything its own national character and taste, altered the concept of imitation in painting, which during the Renaissance was seen as a way to achieve one's personal style. Since its invention, (...) writing found its place first in stone then on paper and apart from the long-distance communication required by trade, has also served as a non-verbal communication tool to complete the linear distance between ideas. From here on the wheel paradox, the quest of how could be possible to evoke deepest emotions in the viewer, found itself in the philosophical approach and remarks of the artist on the practice of the common sense to the aesthetic perception. The common sense applied to the expressive features e.g., manifested in the marbles of Michelangelo and Puget having full of feeling and all the means of life, and this to some extent compensated for their lack of flawless appearances. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:460 HISTORY OF PHILOSOPHY accurate understanding of the mind of Aristotle. Nifo's shift on the question of Aristotle and immortality thus represents a noteworthy chapter in the history of Renaissance Aristotelianism.6x EDWAKDP. MAHONEY Duke University 6x I should like to thank the United States Government for a Fulbright fellowship during 1962-1963; the National Foundation for the Humanities for a fellowship during 1968-1969; and the Duke UniversityResearch Council for grants (...) for microfilms. BIBLIOGRAPHY OF THE WRITINGS OF JACOB LOEWENBERG Compiled by Edwin S. Budge It is hoped that all of Professor Loewenberg's published writings, exclusive of his many book reviews, are listed herein. His unpublished doctoral dissertation, "The Genesis of Hegel's Dialectical Method" (1911), is available on loan from Harvard University, although the "gist" of this, as Dr. Loewenberg has indicated, may be found in the introduction to the first item cited in the bibliography. Dr. Loewenberg, it might be added, also translated a short work by Gilbert Chinard, France for the Soldier (Berkeley: University of California, 1918), and quite likely was consulted by his wife Kate in the course of her translation of Emile Meyerson's Identity and Reality (New York: Macmillan Company, 1930; reprinted by Dover, 1962, and Peter Smith, 1963). Jacob Loewenberg's personal papers are in the possession of his daughter, Mrs. Jeannot Nyles, of Berkeley, California. 1912 1916 BIBLIOGRAPHYOF THE WRITINGSOF JACOBLOEWENBERG "Vorwort," pp. v-vi; "Einleitung: 'Die jugendlichen Denkversuche Hegels'," pp. vii-xxii; in Hegels Entwiir/e zur Enzyklopiidie und Propiideutik nach den Handschri/ten der Harvard-Universitiit. Mit einer Handschri[tprobe. By Georg Wilhelm Friedrich Hegel. Herausgegeben yon Dr. J. Ltwenberg. Leipzig: Verlag von Felix Meiner, I912. xxiv, 59 pp. (Hegel-Archiv. Herausgegeben von Georg Lasson. Band I, Heft 1.) "Interpretation as a Self-Representative Process," The Philosophical Review, Vol. XXV, No. 3 (May, 1916), 420-423. "Mysticism and Idealism," University o/ California Chronicle, Vol. XVIII, No. 1 (January, 1916), 72-91. "An address before the Philosophical Union of the University of California, December 10, 1915." 1917 1918 1919 1920 1921 1922 1923 NOTES AND DISCUSSIONS 461 "The Spirit of Hegel's Philosophy," University of California Chronicle, Vol. XVIII, No. 3 (July, 1916), 373-393. "The Teachings of Royce," The California Alumni Fortnightly, Vol. IX, No. 14 (September 30, 1916), 216-217. "Classic and Romantic Trends in Plato," The Harvard Theological Review, Vol. X, No. 3 (July, 1917), 215-236. "An address before the Philosophical Union of the University of California, February 23, 1917." "Josiah Royce: Interpreter of American Problems," University of California Chronicle, Vol. XIX, No. 1 (January, 1917), 39-47. "The Prophetic Songs of Swinburne," University of California Chronicle, Vol. XX, No. 10anuary, 1918), 106-115. "Preface," pp. vii-xii in Lectures on Modern Idealism. By Josiah Royce. New Haven: Yale University Press, 1919. Pp. 259. (Semicentennial Publications of the University of California, 1868-1918.) "Ethics and the War," Mills Quarterly, Vol. I, No. 4 0anuary, 1919), 6-9. "An address delivered at Mills College, October 18, 1918." "Multiplicity and the Social Order," The Harvard Theological Review, Vol. XII, No. 2 (April, 1919), 137-164. "President Wilson's Americanism," University of California Chronicle, Vol. XXI, No. 1 (January, 1919), 1-15. "Introduction," pp. 3-37 in Fugitive Essays; with an Introduction by Dr. J. Loewenberg. By Josiah Royce. Cambridge: Harvard University Press, 1920. Pp. 429. (Semicentennial Publications of the University of California, 1868-1918.) "Philosophy and Humanism," University of California Chronicle, Vol. XXIH, No. 3 (July, 1921), 298-318. "Read before the Kosmos Club of the University of California, April 4, 1921." "The Apotheosis of Mind in Modern Idealism," The Philosophical Reviewj Vol. XXXI, No. 3 (May, 1922), 215-236. "A fragment of a larger essay." "The Idea of Mutability in Literature," University of California Chronicle, Vol. XXIV, No. 2 (April, 1922), 129-151. "The Metaphysics of Critical Realism," pp. 167-194 in Issues and Tendencies in Contemporary Philosophy. Edited by George P. Adams and J. Loewenberg. 462 HISTORY OF PHILOSOPHY Berkeley: University of California, 1923, Pp. 224. (University of California Publieations in Philosophy, VoL IV.) Read before the Philosophical Union of the University of California, March 30, 1923. "'The Metaphysics of Modern Scepticism," The Philosophical... (shrink)

Is love best when it is fresh? For many, the answer is a resounding “yes.” The intense experiences that characterize new love are impossible to replicate, leading to wistful reflection and even a repeated pursuit of such ecstatic beginnings. Aaron Ben-Ze’ev takes these experiences seriously, but he’s also here to remind us of the benefits of profound love—an emotion that can only develop with time. In The Arc of Love, he provides an in-depth, philosophical account of the experiences that arise (...) in early, intense love—sexual passion, novelty, change—as well as the benefits of cultivating long-term, profound love—stability, development, calmness. Ben-Ze’ev analyzes the core of emotions many experience in early love and the challenges they encounter, and he offers pointers for weathering these challenges. Deploying the rigorous analysis of a philosopher, but writing clearly and in an often humorous style with an eye to lived experience, he takes on topics like compromise, commitment, polyamory, choosing a partner, online dating, and when to say “I love you.” Ultimately, Ben-Ze’ev assures us, while love is indeed best when fresh, if we tend to it carefully, it can become more delicious and nourishing even as time marches on. (shrink)

In this paper I reconstruct the central concept of the young Lukács’s and Mannheim’s sociology of knowledge, as they present it in their writings in the early decades of the twentieth century. I argue that this concept, namely Weltanschauung, is used to refer to some conceptually unstructured totality of feelings, which they take to be a condition of possibility of intellectual production, and this understanding is contrasted to an alternative construal of the term that presents it as logically structured, (...) quasi-theoretical background knowledge. This concept has Kantian reminiscences: it is a condition of possibility of intellectual production in general. The young Mannheim and Lukács rely on 'Weltanschauung' so understood as a phenomenon mediating between the facts of society and individual intellectual production and reception: it is seen as being conditioned by sociological facts and therefore as a historical and sociological category through which, and therefore indirectly, society enters into intellectual production. (shrink)

A work that "not only treats of irony but is irony," wrote a contemporary reviewer of The Concept of Irony, with Continual Reference to Socrates. Presented here with Kierkegaard's notes of the celebrated Berlin lectures on "positive philosophy" by F.W.J. Schelling, the book is a seedbed of Kierkegaard's subsequent work, both stylistically and thematically. Part One concentrates on Socrates, the master ironist, as interpreted by Xenophon, Plato, and Aristophanes, with a word on Hegel and Hegelian categories. Part Two is a (...) more synoptic discussion of the concept of irony in Kierkegaard's categories, with examples from other philosophers and with particular attention given to A. W. Schlegel's novel Lucinde as an epitome of romantic irony.The Concept of Irony and the Notes of Schelling's Berlin Lectures belong to the momentous year 1841, which included not only the completion of Kierkegaard's university work and his sojourn in Berlin, but also the end of his engagement to Regine Olsen and the initial writing of Either/Or. (shrink)