Translation of Kleist’s Short Story On the Marionette Theatre.

Kleist viewed anew as a major contributor to the tradition of post-Kantian thought.

Ten years after the appearance of Günter Blamberger’s award-winning Heinrich von Kleist. Biographie in the original German, the English translation by Sebastian Goth and Kelly Kawar appeared in 202...

The German painter Caspar David Friedrich’s The Monk by the Sea, a picture that has played an important role in accounts of the prehistory of twentieth-century abstract art, is significant among other reasons because it bravely refused painting’s narrative vocation and in so doing radicalized the optics characteristic of the contemporary aesthetics of the sublime. Friedrich’s contemporary, the novelist and dramatist Heinrich von Kleist, intuited precisely this in his scintillating comments on the painting at the time it appeared. (...) Invoking the shocking idea that looking at The Monk by the Sea is like seeing through eyes whose lids have been cut off, he recognized that Friedrich had transformed the canvas into the locus not so much of narration and signification as of sensation. This article leans on the terms devised by Gilles Deleuze to explain the paintings of Francis Bacon in order to explore the seminal shift in the relationship between spectator and composition that Friedrich’s canvas dramatizes with such compelling power. (shrink)

In this paper we deal with the work of the german poet Heinrich von Kleist, specifically with his reading of the knowledge theory of Immanuel Kant. We intend show how the reception of Kantian philosophy mark the life and work of the poet, who saw his higher plans – “gather truth and acquire formation” – ruined by a type of thinking that would denied the access to the truth and to the world.

La Kantkrise (« crise kantienne ») est un des aspects les plus étudiés de la pensée de Heinrich von Kleist, aussi bien par les historiens de la philosophie que par les germanistes. Au cours de presque un siècle de recherches sur ce thème 2, les interprètes ont identifié différemment l’œuvre de Kant – ou l’auteur, autre que Kant 3 – qui aurait déclenché cette crise 4. Pour la première fois, le présent article cherche à identifier le motif déterminant (...) de la crise dans un concept et permet de réviser l’idée même d’une « crise », entendue comme un événement ponctuel et isolé, pour lui restituer son sens d’événement intérieur, appartenant à un itinéraire intellectuel déjà engagé. Il s’agit d’un concept central pour la réflexion théologique et philosophique de la seconde moitié du XVIII e siècle, qui se trouve aussi en plusieurs textes littéraires : la « destination de l’homme » ( Bestimmung des Menschen ). (shrink)

In this essay I analyze citational practices around Heinrich von Kleist in Italian postmodern theater and Italian feminist biopolitics. In this realm, the reference to Kleist performs a gesture of interruption of traditional eroticism (Catholic, modern, based on women’s sexual slavery), in particular, by using and rewriting Kleist’s narrative of the Amazons, the legendary tribe of women who would cut their breast to embrace the art of war. Postmodern citations of Kleist introduce a new language (...) around sexuality instead of reenacting the ferocious narrative embedded in the ancient icon. The essay conducts a contrastive reading of two postmodern versions of the Kleistian Amazon in Italy: the first version is Lina Mangiacapre’s and Angela Putino’s philosophical conversation in “Androgina/Amazzone” as well as in Mangiacapre’s stage plays; the second version is Carmelo Bene’s cycle of performances on Achilles’s “necrophilia.” While intellectuals like Laura Mulvey in the UK and Gilles Deleuze in France tend to condemn Kleist for his necrophiliac account of romantic love, in Italy Kleist’s pessimistic image of romantic relationships offers a queer standpoint to develop a sustained critique of violent forms of desire. (shrink)

Les personnages tragiques de Heinrich von Kleist composent toute une théorie de la conscience totale, installée simultanément dans l’ambivalence du jugement et la quête de l’inconditionné, qui devient le véritable objet d’une critique de la raison pratique cohérente. Dans ce contexte, les figures du Prince de Hombourg et de Michael Kohlhaas représentent deux voies vers la découverte de cette vérité pratique difficile à supporter par le sujet, qu’on pourrait considérer comme la sortie que Kleist trouve pour sa (...) célèbre Kantkrise. Les deux exemples encouragent à conclure que l’exploration de la raison pratique conduit chez Kleist à une théorie du désir pur, propulsé par une pulsion de réalité pure, dont la densité ontologique renvoie plus au monde (sans restrictions pragmatiques) des songes qu’au territoire fini des phénomènes. (shrink)

This chapter examines the concepts of expression and affect in the works of Heinrich von Kleist, Samuel Beckett, and Gilles Deleuze. It suggests that Kleist, Beckett, and Edward Gordon-Craig belong a minor tradition of acting and explains that this minor tradition is one that aims to create a theatre which moves away from the inner world of an actor in favour of developing affects which express an external composite world. It also analyses Kleist's short story ‘On (...) the Marionette Theatre’ and Deleuze's Expressionism in Philosophy: Spinoza. (shrink)

The Equivocation of Reason: Kleist Reading Kant asks how the literary works of the German writer Heinrich von Kleist might be considered a critique and elaboration of Kantian philosophy. In 1801, the twenty-three-year-old Kleist, attributing his loss of confidence in our knowledge of the world to his reading of Kant, turned from science to literature. Kleist ignored Kant's apology of the sciences to focus on the philosopher's doctrine of the unknowability of things in themselves. From (...) that point on, Kleist's writings relate confrontations with points of hermeneutic resistance. Truth is no longer that which the sciences establish; only the disappointment of every interpretation attests to the continued sway of truth. Though he adheres to Kant's definition of Reason as the faculty that addresses things in themselves, Kleist sees no need for its critique and discipline in the name of the reasonableness of the experience of the natural sciences. Setting transcendental Reason at odds with empirical reasonableness, Kleist releases Kant's ethics and doctrine of the sublime from the moderating pull of their examples. (shrink)

_The Equivocation of Reason: Kleist Reading Kant_ asks how the literary works of the German writer Heinrich von Kleist might be considered a critique and elaboration of Kantian philosophy. In 1801, the twenty-three-year-old Kleist, attributing his loss of confidence in our knowledge of the world to his reading of Kant, turned from science to literature. Kleist ignored Kant's apology of the sciences to focus on the philosopher's doctrine of the unknowability of things in themselves. From (...) that point on, Kleist's writings relate confrontations with points of hermeneutic resistance. Truth is no longer that which the sciences establish; only the disappointment of every interpretation attests to the continued sway of truth. Though he adheres to Kant's definition of Reason as the faculty that addresses things in themselves, Kleist sees no need for its critique and discipline in the name of the reasonableness of the experience of the natural sciences. Setting transcendental Reason at odds with empirical reasonableness, Kleist releases Kant's ethics and doctrine of the sublime from the moderating pull of their examples. (shrink)

RESUMEN Se aborda la llamada Kantkrise de Heinrich von Kleist, entendida como el colapso epistemológico de toda posibilidad de acceso a la cosa en sí debido a su carácter radicalmente indecidible. Sin embargo, tal imposibilidad sigue conservando una vigencia negativa, como una brecha que adquiere para Kleist el carácter del suceso y, por consiguiente, de la soberanía de la contingencia. Esta se convierte en el principio fundamental de la producción literaria de Kleist, reconocible en el lema (...) "el frágil ordenamiento del mundo", en la frágil constitución del sujeto y la inminencia constante de su destitución. ABSTRACT The article addresses Heinrich von Kleist's so-called Kantkrise, understood as the epistemological collapse of any possibility of access to the thing-in-itself, given its radically undecidable nature. However, that impossibility maintains a negative validity as a gap that takes on the character of an event and, therefore, of the sovereignty of contingency in Kleist. This becomes the fundamental principle of Kleist's literary production, as expressed in his motto "the fragile order of the world", that is, the fragile constitution of the subject and the constant imminence of its destitution. (shrink)

Se aborda la llamada Kantkrise de Heinrich von Kleist, entendida como el colapso epistemológico de toda posibilidad de acceso a la cosa en sí debido a su carácter radicalmente indecidible. Sin embargo, tal imposibilidad sigue conservando una vigencia negativa, como una brecha que adquiere para Kleist el carácter del suceso y, por consiguiente, de la soberanía de la contingencia. Esta se convierte en el principio fundamental de la producción literaria (dramatúrgica, narrativa y ensayística) de Kleist, reconocible (...) en el lema “el frágil ordenamiento del mundo”, en la frágil constitución del sujeto y la inminencia constante de su destitución. (shrink)

El presente trabajo expone el intento romántico de la interpretación del ánimo épocal, aplicándolo a la misma génesis del romanticismo. Para ello, emn primer lugar, se analiza el caso paradigmáitico de la crísis que significó para Heinrich von Kleist la lectura de las críticas kantianas. Y, luego, se interroga por el verdadero sentido que comporta la "estetización del mundo y lo real" que lleva a cabo el romanticismo temprano, mostrando como esto significa una recuperación de los sentidos (para (...) el sentido) en contra de la razón. (shrink)

Schiller’s importance for the Romantic generation is discussed in relation to three writers and thinkers whose work arose in close connection—and by no means always consonance—with Schiller’s thought. The authors discussed—Friedrich Hölderlin, Heinrich von Kleist, and Johann Wolfgang Goethe—were writers of a broadly Romantic disposition who, nevertheless, often stood apart from the Romantic mainstream. Of the three, Hölderlin and Kleist give prominence to philosophical concerns, absorbing key influences from Kant as well as Schiller. Goethe, by contrast, drew (...) writerly influences from Schiller rather than philosophical ones, though it is also true that his acceptance of a philosophical objection Schiller had raised brought about the literary experiment that was to achieve fabled significance in German letters under the heading of Weimar Classicism. (shrink)

Figures of Simplicity explores a unique constellation of figures from philosophy and literature—Heinrich von Kleist, Herman Melville, G. W. Leibniz, and Alexander Baumgarten—in an attempt to recover alternative conceptions of aesthetics and dimensions of thinking lost in the disciplinary narration of aesthetics after Kant. This is done primarily by tracing a variety of “simpletons” that populate the writings of Kleist and Melville. These figures are not entirely ignorant, or stupid, but simple. Their simplicity is a way of (...) thinking, one that Birgit Mara Kaiser suggests is affective thinking. Kaiser avers that Kleist and Melville are experimenting in their texts with an affective mode of thinking, and thereby continue a key line within eighteenth-century aesthetics: the relation of rationality and sensibility. Through her analyses, she offers an outline of what thinking can look like if we take affectivity into account. (shrink)

This dissertation examines philosophical and literary configurations of "violence" in discourses of human freedom and imperial subjugation in Germany and Japan. The concept of "violence" marks the ethical limit of normative claims. Without a definition in itself, "violence" serves the critical function of disclosing norms orienting social and political life. Each of the authors studied in this dissertation turned toward a conception of human freedom founded in the confrontation of social norms disclosed by rhetorical violence. Chapter one examines the rhetoric (...) of Immanuel Kant's Zum ewigen Frieden in the historical context of its writing. Kant engages in a performative argument for publicity in his critique of Prussian imperialism and the censorship of revolutionary views. Through rhetorical gestures such as the title of his essay as an invocation of death and the clausula salvatoria as a hedge against his critics, Kant encodes the political upheavals of the historical exterior in the rhetorical movement of his essay. He argues for peace by performing violence in language. Whereas Kant's essay has been conventionally read apart from its historical context, Heinrich von Kleist's Die Herrmannsschlacht has been interpreted strictly in terms of the historical moment of its writing. Chapter two argues instead for a rhetorical reading of Kleist's play in which language emerges as both the central theme of the text and an agent of anti-imperial violence. Kleist concretizes metaphors of the body such that they perform the politics of absolute opposition. Freedom for Kleist means opposition to the other. Chapter three turns to an alternative conception of human freedom grounded in opposition. In his Phanomenologie des Geistes, Hegel produces a performative narrative of the development of subjectivity in relations of violence. As an "unhappy consciousness," the subject no longer opposes an external other but itself as an internal "enemy." The freedom that it attains is constituted in self-subjection. Chapter four examines the appropriation of Kant and Hegel by the Japanese wartime philosophers Miki Kiyoshi and Tanabe Hajime. Both defend the project of Japanese imperialism by arguing for a form of freedom in which the subject negates its attachment to the imperial state. This negation inverts into a performance of subjectivity as the movement of self-subjection. (shrink)

Herophilus, a contemporary of Euclid, practiced medicine in Alexandria in the third century B.C., and seems to have been the first Western scientist to dissect the human body. He made especially impressive contributions to many branches of anatomy and also developed influential views on many other aspects of medicine. Von Staden assembles the fragmentary evidence concerning one of the more important scientists of ancient Greece. Part 1 of the book presents the Greek and Latin texts accompanied by English translation and (...) interpretative commentary. Significant background information is given in the introductory essay preceding each chapter. Part 2 briefly sketches the major developments within the Herophilean school after Herophilus, and discusses the individual members within it. Anyone interested in the history of science, the history of medicine, or intellectual history will find this book a rich source of information about an unusual and important aspect of Greek culture. (shrink)

Text: Reproduktion der 2. Ausgabe Berlin 1924. - Eine gänzlich andere, eine fundamental neue Form der Beziehung des Besonderen aufs Allgemeine waltet in Goethes Naturbetrachtung, die von dem Urphänomen des Lebens ihren Ausgang nimmt. Darin zwar stimmt diese Betrachtung mit der wissenschaftlichen Physik überein, dass auch in ihr der Wert und die Kraft des Allgemeinen rückhaltlos anerkannt wird. Das Vergängliche, das zeitlich Wandelbare und Verfließende wird zum Gleichnis. Die morphologische Erkenntnis der Gestalten und des Gestaltenwandels, wie Goethe sie versteht, geht (...) niemals im Sinnlich-Einzelnen oder in einem Analogon des Sinnlich-Einzelnen auf. [Auszug aus dem Buch]. (shrink)

The force of [Heinrich von] Kleist's story "On the Marionette Theatre" . . . derives from roots deeply sunk into the soil of the past. It is a novel variation on a theme the first author of which may well be Plato. For according to Plato the human mind has been in the dark ever since it lost its place in the community of Truth, in the realm, that is, of the Ideas, the eternal and eternally perfect forms, (...) those now unattainable models which man in his exile is able to see and recognize only as shadows or imperfect copies. And this Platonic parable of the damage suffered by man's soul and consciousness is not unlike the Fall as it is narrated in Genesis. The Fall was the consequence and punishment of man's free will that for the first time had asserted itself against the universal God and rejoiced in a consciousness and pleasure entirely its own—tragically its own; for man had to forsake the indwelling in the supreme Intelligence and thus the harmony between himself and Being as such. The reward for this betrayal was the embarrassment and shame of self-consciousness, the hard labor of maintaining himself in his state of separation, and, soon to follow, the murderous misdeeds of the self-will named Cain. Better to have no mind than a mind thus deprived and impoverished and cruel. Erich Heller, Avalon Foundation Professor in the Humanities at Northwestern University, is the author of The Disinherited Mind: Essays in Modern German Literature and Thought; The Ironic Gentleman: Thomas Mann; The Artist's Journey into the Interior; and Franz Kafka. These books have also appeared in Germany in the author's own translations, and his Dir Wiederkehr der Unschuld [The return of innocence] was recently published there. See also: "Fiction, History, and Empirical Reality" by Murray Krieger in Vol. 1, No. 2; "Psychoanalysis and the Marionette Theater: Interpretation is Not Depreciation" by Margret Schaefer in Vol. 5, No. 1. (shrink)

Introduction: the age of reflexion Part I. Romanticism: 1. Romanticism and the sciences David Knight 2. Schelling and the origins of his Naturphilosophie S. R. Morgan 3. Romantic philosophy and the organization of the disciplines: the founding of the Humboldt University of Berlin Elinor S. Shaffer 4. Historical consciousness in the German Romantic Naturforschung Dietrich Von Engelhardt 5. Theology and the sciences in the German Romantic period Frederick Gregory 6. Genius in Romantic natural philosophy Simon Shaffer Part II. Sciences of (...) the Organic: 7. Doctors contra clysters and feudalism: the consequences of a Romantic revolution Nelly Tsouyopoulos 8. Morphotypes and the historical-genetic method in Romantic biology Timothy Lenoir 9. ’Metaphorical mystifications’: the Romantic gestation of nature in British biology Evelleen Richards 10. Transcendental anatomy Philip F. Rehbock 11. Romantic thought and the origins of cell theory L. S. Jacyna 12. Alexander von Humbolt and the geography of vegetation Malcolm Nicholson Part III. Sciences of the Inorganic: 13. Goethe, colour, and the science of seeing Dennis L. Sepper 14. Johann Wilhelm Ritter: Romantic physics in Germany Walter D. Wetzels 15. The power and the glory: Humphrey Davy and Romanticism Christopher Lawrence 16. Oersted’s discovery of electromagnetism H. A. M. Snelders 17. Caves, fossils and the history of the earth Nicholas A. Rupke Part IV. Literature and the Sciences: 18. Goethe’s use of chemical theory in his Elective Affinities Jeremy Adler 19. Kleist’s bedlam: abnormal psychology and psychiatry in the works of Heinrich von Kleist Nigel Reeves 20. Coleridge and the sciences Trevor H. Levere 21. Nature’s book: the language of science in the American Renaissance David van Leer 22. The shattered whole: Georg Buchner and Naturphilosophie John Reddick. (shrink)

The concept of grace has for better or worse disappeared from our daily experience and aesthetic as well as educational vocabulary. This paper presents briefly Friedrich Schiller’s analysis in Über Anmut und Würde of grace as an expression of an internal morality, i.e. the notion of a beautiful soul found in classical bourgeois Bildung. We then turn to Heinrich von Kleist’s Über das Marionettentheater, which challenges Schiller’s humanism by a provocative presentation of grace as mechanical perfection. The second (...) part of the paper examines the bearing and actuality of Kleist’s text from examples pertaining to athletics/sports, drawing critically on Simon Chritchly’s What We Think about When We Think about Football. The aim is a consideration of where and how grace manifests itself and seems to be something inexplicable and ‘extra’, a gift of the gods or of nature, as it still exists even if it is not easily put into words. (shrink)

It examines the context of the referendum in Greece in the summer of 2015 in view of theories of sovereignty and theories of judgment.

The paper examines the value of glory and offers a conception of it, which is developed by criticising other accounts and by arguing that the Homeric and the Biblical traditions have a remarkably similar, converging view on glory. A more detailed analysis of Heinrich von Kleist's The Prince Friedrich of Homburg serves to deepen this view and outline an account of glory that rests on the following claims: it is different from, although not entirely opposite to, fame; it (...) is related to victory, to abundant, everlasting life, and to a certain type of passivity and dialogical contemplation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reflections on Raphael PAUL BAROLSKY The essence of all appreciation and analysis of art is the translation of visual perceptions into compelling verbal form. —Ralph Lieberman cultural unity Horace Walpole, Sir Joshua Reynolds, Johann Wolfgang Goethe, Eugène Delacroix, Honoré Balzac, Friedrich Hegel, Charles Baudelaire, Friedrich Nietzsche, Pierre Renoir, Nathaniel Hawthorne, August Wilhelm von Schlegel, Heinrich von Kleist, Franz Grillparzer, Fyodor Dostoyevsky, Ivan Turgenev, Wilhelm Heinrich Wackenroder, (...) George Eliot, Jean-Auguste Dominique Ingres, Roger Fry, Bernard Berenson, Theodor Hetzer, Roberto Longhi, Heinrich Wölfflin, and Stendhal are among the many essayists, critics, novelists, poets, painters and art historians who have responded to Raphael’s work as painter, architect or archeologist over the centuries. I can well imagine all of those listed above, among many others, united in an imaginary painting similar to the School of Athens—in other words, a vision that reconciles their various views of the world in a harmony analogous to the unity of philosophers in Raphael’s great fresco. Raphael is a towering figure in the history of European culture. The year 2020 was the 500th anniversary of the death of the great painter in Rome at the age of thirty-seven. In the wake of recent exhibitions that commemorated the artist’s achievement, I propose to touch briefly and lightly on a few aspects arion 28.2 fall 2020 100 reflections on raphael of Raphael’s life and works. Please think of these remarks as a series of suggestions, not attempts at definitive interpretation. I think of this essay as a rather experimental piece. THE SCHOOL OF ATHENS i should like to begin with a few brief remarks on what must be Raphael’s most famous work of art. I mean his School of Athens (fig. 1), which is, like Leonardo’s Mona Lisa and Last Supper or like Michelangelo’s David and Creation of Adam, an image widely known and admired. What more is there to say about The School Of Athens, one of the central images in the Stanza della Segnatura? You might spend the rest of your life reading about this great work and never understand it fully. Nevertheless, I want to focus for a moment on a central detail of the work and, on the basis of my description, point to a significant aspect of the fresco that has been universally overlooked. First the description, then the aperçu. Fig. 1. School of Athens. Ca. 1510–1512. Photo Credit : Erich Lessing / Art Resource, NY. Paul Barolsky 101 At the center of the School of Athens we behold the two great philosophers of classical antiquity: Plato and Aristotle. Plato holds a copy of his Timaeus, a dialogue that concerns the harmony of the heavens; Aristotle holds a copy of his Ethics, a work that pertains to human relations in this world. It was the goal of Renaissance thinkers to create a harmony or concord of the thought of these philosophers: a Concordia Platonis et Aristotelis. Raphael’s fresco, as is well known, presents the visual ideal of such harmony. Whereas Aristotle gestures downward, alluding to this world, in which his Ethics matter, Plato points heavenward, evoking the order of the cosmic realm described in Timaeus. Raphael makes visible the ideal of concordia when he movingly pictures the way in which the two philosophers gaze into each other’s eyes, as if to suggest this harmony. Borrowing from the language of Raphael ’s friend, Baldassare Castiglione, Raphael renders “the joining” of their souls. The monumental architecture of the scene, which echoes Bramante and has taproots in Piero della Francesca and Perugino, consists of three barrel-vaults beyond which we see patches of blue sky and puffs of cloud (fig. 2). The grandiose architecture of the image magnifies Raphael’s philosophers. Within this architectural framework, Plato’s gesture is deeply meaningful, since it prompts the viewer to look up and thus ascend toward the perfection of the celestial realm, beyond the imperfections of the physical world. Above the first barrel vault in the fresco we behold a section of the drum of a dome which is open to the sky. Within this section of drum there are two columns that are lined up directly... (shrink)

This paper explores the elusive dialectic between concentration and forgetfulness, consciousness and unconsciousness in spontaneous artistic creation favoured by artists and advocated by critics in Chinese art history, by examining texts on painting and tracing back to ancient Daoist philosophical ideas, in a comparison with Kantian and post-Kantian aesthetics. Although artistic spontaneity in classical Chinese aesthetics seems to share similarities with Kant’s account of spontaneity in the art of genius, the emphasis on unconsciousness is valued by classical Chinese artists and (...) critics inspired by the Daoist idea of ‘Wu Wei’ (acting without conscious intention or effort). As the Qing painter Wang Yuanqi (1642–1715) claimed when admitting his failure to copy the Yuan master Ni Zan (1301–1374), Ni Zan’s success in natural and untrammelled expression lies ‘in between having an intention and not having one’. A similar idea about the dialectic of consciousness and unconsciousness in artistic spontaneity was suggested by Heinrich von Kleist’s On the Marionette Theatre (1880), which demonstrated that while self-consciousness might disturb and hinder the naturalness of artistic expression and thus encourage affectation, it does not mean that there is no role for consciousness. Although the views on unconsciousness in art and the co-play of consciousness and unconscious in artistic creation by Schelling, Schiller, Goethe, and even Nietzsche might get inspirations from Kant’s hidden view of the unconscious, Kant’s emphasis on the harmonious cooperation between imagination and understanding disguises his inexplicit idea of the unconscious. This paper will demonstrate that while in both Classical Chinese and European cultural contexts, artists, critics and philosophers talk about the same elusive relation, the philosophical explanations of the same phenomenon are essentially distinctive. (shrink)

In this paper contingency is estimated as an essentially identifying trait of the world emerging from the radical upheavals of the late 18th century and the beginnings of the 19th century. If contingency is the mark of the world as world, the question arises how human beings should, or merely could deal with it. For the purpose of discussing this issue, the usual alternative of violence and dialogue is considered. Nevertheless, the intention is not merely to oppose violent to rational (...) conduct. Taking recourse to two authors who had a particularly acute sense of contingency, Heinrich von Kleist and Paul Celan, the aim of this paper, on the one hand, is to discuss a concept of violence that is not merely instrumental, nor attributable to merely subjective intentions, but that has the significance of the principle of overcoming contingency by way of absolutely forcing order or absolutely renouncing to it. On the other hand, it involves discussing a concept of dialogue that is essentially different to what may be called the institution of Western dialogue, characterized by the disembodiment of the word, and therefore to suggest the concept of a radically embodied dialogue as a way to positively deal with contingency. (shrink)

But of all diversions, the theater is undoubtedly the most entertaining. Here we may see others act even when we cannot act to any great purpose ourselves. Skepticism about the possibility of autonomous action accounts in part for romanticism’s many theatrical failures—misfires precisely because they stage failures to act. Uncertain whether the playing out of the revolution in France underscored the capacity of people to act independently or confirmed their status as mere instruments of heteronymous forces, the romantic dramas of (...) Heinrich Von Kleist and William Wordsworth direct our attention not to the actions of characters but to the character of action. This uncertainty about the possibility of .. (shrink)

A German writer's aphoristic, poetic, and difficult reflections on Heidegger's Being and Time. There is a beyond of reason and unreason. It is the human psyche. —Positive Nihilism Like many German intellectuals, Hartmut Lange has long grappled with Heidegger. Positive Nihilism is the result of a lifetime of reading Being and Time and offers a series of reflections that are aphoristic, poetic, and (appropriately, considering his object of study) difficult. Lange begins with an abyss (“There is an abyss of the (...) finite. It is temporality”) and proceeds almost immediately to extremity: “The twentieth century was governed by psychopaths. They collapsed the boundaries of moral reason and refuted Kant's analysis of consciousness.” He reflects further: “But who shall punish whom? One man's virtue is another man's crime. Thus Hitler could feel unwaveringly, as he wiped out entire populations, the starry sky above him and the moral law within him, as stipulated by Kant.” He considers the concept of civilization (“misleading”; “how should one oppose the remedies of civilization to the egomania, the murderous appetites of such outright psychopaths as Stalin or Pol Pot?”), the act of thinking (a fata morgana), the psyche, and Heidegger's Dasein. Positive Nihilism can be considered a pocket companion to Being and Time. “Heidegger's understanding of Being is nihilistic,” Lange writes, and then explains his assertion. He draws on Kant, Nietzsche, Kierkegaard, and Shakespeare's Othello for supporting arguments and illustrations. “Everyone is possessed of the courage to have angst about death. The question is whether this courage necessarily secures those vital advantages Heidegger alleges”–that “self-understanding [is] the mental anticipation of death.” Lange wrestles with Heidegger's position, calling on Tolstoy, Georg Trakl, Herman Bang, and Heinrich von Kleist to argue against it. (shrink)