(2008). Latin Poet‐Doctors of the Eighteenth Century: the German Lucretius (Johann Ernst Hebenstreit) Versus the Dutch Ovid (Gerard Nicolaas Heerkens) Intellectual History Review: Vol. 18, Humanism and Medicine in the Early Modern Era, pp. 91-101.

On being told that "translation is an impossible thing," Anatole France replied: "precisely, my friend; the recognition of that truth is a necessary preliminary to success in art." The task of Transplantings is to add flesh and bones to that familiar quip. Indeed, Daniel Weissbort notes that Viereck's study represented a sixty-five year long project. Now, it is finally being brought to print in its full form, with the completion of the final manuscript shortly before Viereck's death. If translation is (...) a special genre in its own right, the translation of poetry, especially from major foreign languages, is a special subset of that genre. What emerges in the imperfect act of translation is an aesthetic dimension that Viereck considers unique in its own right. Transplantings provides new insight into Viereck as a poet of substance, but more than that as a public intellectual. He is critical in probing the work of the major figures such as Stefan George and Georg Heym. To round out this monumental new look at German poetical history, Viereck reviews Goethe, Novalis, and Rilke among others. For Viereck, the difference between the poetical and the political is critical. The quality of poetry is not measured by politics, nor can the worth of political action be defined by commitment to the poetical. The experience of German thought, as well as French and Italian efforts, reveals a divide that can be narrowed but hardly bridged by rhetoric. Transplantings does not simplify the task of the reader. Rather it shows without doubt that the passion of great poetry is part of a national tradition. Efforts at translation indicate how such poetry becomes part of an international culture. This is a major work by one of the great thinkers of the twentieth century. It merits reading, and then, re-reading. "Peter Viereck was that rare scholar who captured the European experience with America, while fully realizing the American encounter with Europe. He did so with consciousness of and compassion for both sectors of Western Civilization" --Irving Louis Horowitz, Society Peter Viereck was a Pulitzer Prize-winning poet, critic, and historian. He held the Kenan Chair in History at Mount Holyoke College. He was known as one of America's conservatism's early leaders and was the recipient of Guggenheim Fellowships both in history and poetry. (shrink)

Philosopher Martin Heidegger and German poets who evoke nature offer excellent introductions to elemental earth. Those poets privilege earth among the elements using their earthy language. Heidegger views earth as the hidden ground of things. The article approaches elemental earth through Heidegger’s analysis of what he views as Georg Trakl’s crucial line of poetry about earth: “something strange is the soul on earth.” Heidegger stresses the soul as the stranger. In contrast, this article argues that on the basis of (...) a contextual analysis of Trakl’s poetry and some other German poetry, it is the earth that is strange. Forgotten earth is the background out of which and the foundation upon which things manifest themselves. Elemental earth makes possible human experience of space and place. (shrink)

Examines the role that poets and the poetic word play in the formation of philosophical thinking in the modern German tradition. -/- Several of the most celebrated philosophers in the German tradition since Kant afford to poetry an all-but-unprecedented status in Western thought. Fichte, Hegel, Nietzsche, Heidegger, and Gadamer argue that the scope, limits, and possibilities of philosophy are intimately intertwined with those of poetry. For them, poetic thinking itself is understood as intrinsic to the kind of thinking (...) that defines philosophical inquiry and the philosophical life, and they developed their views through extensive and sustained considerations of specific poets, as well as specific poetic figures and images. This book offers essays by leading scholars that address each of the major figures of this tradition and the respective poets they engage, including Schiller, Archilochus, Pindar, Hölderlin, Eliot, and Celan, while also discussing the poets’ contemporary relevance to philosophy in the continental tradition. -/- Above all, the book explores an approach to language that rethinks its role as a mere tool for communication or for the dissemination of knowledge. Here language will be understood as an essential event that opens up the world in a primordial sense whereby poetry comes to have a deeply ethical significance for human beings. In this way, the volume positions ethics at the center of continental discourse, even as it engages philosophy itself as a discourse about language attuned to the rigor of what poetry ultimately expresses. (shrink)

The Poet as Phenomenologist: Rilke and the New Poems opens up new perspectives on the relation between Rilke's poetry and phenomenological philosophy, illustrating the ways in which poetry can offer an exceptional response to the philosophical problem of dualism. Drawing on the work of Husserl, Heidegger and Merleau-Ponty, Luke Fischer makes a new contribution to the tradition of phenomenological poetics and expands the debate among Germanists concerning the phenomenological status of Rilke's poetry, which has been severely limited to comparisons of (...) Rilke and Husserl. Fischer explicates an implicit phenomenology of perception in Rilke's writings from his middle period (1902-1910). He argues that Rilke cultivated an artistic perception that, in a philosophically significant manner, overcomes the opposition between the sensuous and the intelligible while simultaneously transcending the boundaries of philosophy. Fischer offers novel interpretations of central poems from Rilke's Neue Gedichte (1907) and Der neuen Gedichte anderer Teil (1908) and frames them as the ultimate articulation of Rilke's non-dualistic vision. He thus demonstrates the continuity between Rilke and phenomenology while arguing that poetry, in this case, provides the most adequate response to a philosophical problem. (shrink)

German literature played an important role in Kierkegaard's reading, and he often relates to German authors in his writings, especially to those of the period between 1770 and 1830. Against the background of German Romanticism, he deals with Romantic irony in the second part of The Concept of Irony. His harsh verdict on famous German writers like Friedrich Schlegel and Ludwig Tieck in his master's thesis is in some cases relativized by a more balanced appreciation in (...) other writings. Some German authors like Georg Christoph Lichtenberg and Jean Paul served as stylistic models, while others like Gotthold Ephraim Lessing offered valuable inspirations for his thinking. One of the most frequently cited poets is Johann Wolfgang von Goethe, who appears in Kierkegaard's writings throughout all his working periods and is dealt with in a very comprehensive manner. (shrink)

Hartmut Vollmer and Barbara Wright argue that women Expressionist poets have been largely neglected and forgotten. The article seeks to make a modest contribution towards remedying this scholarly lacuna by examining Hedwig Caspari’s poetry, while focusing on the relationship between Poet and God as reflected in her poetry. Caspari was a German-Jewish poet who lived and worked in Berlin. During her lifetime, she published two books—a play entitled Salomos Abfall and a volume of poetry entitled Elohim. Like her play, (...) most of her poetry deals with biblical themes. Caspari’s multifaceted relationship with God informs her poetry from the earliest to the latest poems. This article wishes to expose Caspari’s unique fe/male voice, showing her stance as a “prophet,” “lover,” and “Psalmist”, and attempts to explain why as a modernist poet she decided to write spiritual poetry. (shrink)

Veronique Foti delves into the full range of Heideggerian texts to elaborate the problematics of historicity, language, and the structure of disclosure or "manifestation" in connection with the Herman poets whom Heidegger invoked along his path of thinking. Foti’s reading of these ports (Morike, Trakl, Rilke, Holderlin, and Celan) is a probing inquiry into the aesthetic, ethical, and political implications of Heidegger’s thought. She knows how technicity (techne) and poetizing (poiesis) are opposed yet brought together in Heidegger’s hermeneutic phenomenology, how (...) they are both politicized and linked with ethical praxis, and how technicity, poetizing, and praxis cannot be dissevered from Heidegger’s essential thinking. (shrink)

The contributions to this volume offer a rich, detailed, and in some respects innovative and remarkable account of that uniquely fecund and philosophically revolutionary epoch known as German Idealism. The epoch’s historical context, its driving ideas, its post-Kantian development, and its repercussions in post-Hegelian philosophy are all presented competently and concisely. The editor also included essays on some of the philosophical ideas underlying the parallel phenomenon of German Romanticism, for good reasons, since some of the foremost poets and (...) literary theorists of the age were philosophers in their own right, whose influence on the development of German Idealism was not insignificant. What emerges from this collection is the picture of a multifaceted philosophical movement embedded in and influenced by and in turn influencing a complex intellectual and literary environment. The reader of this volume will be in no danger of reducing German Idealism to a linear development that started with Kant and that was preordained to culminate in Hegel’s system. (shrink)

This book provides the first in-depth exploration of the importance of music for Ludwig Wittgenstein’s life and work. Wittgenstein’s remarks on music are essential for understanding his philosophy: they are on the nature of musical understanding, the relation of music to language, the concepts of representation and expression, on melody, irony and aspect-perception, and, on the great composers belonging to the Austrian-German tradition. Biography and philosophy, this work suggests that Wittgenstein was a composer of philosophy who used the musical (...) form as a blueprint for his own writing and thought. For Wittgenstein music is not alone, but connects and resonates with our cultural forms of life. His relation to composers, especially to Richard Wagner and Gustav Mahler, enables Wittgenstein to address the question of how to do philosophy and compose music in the breakdown of tradition. Unlike his conservative musical sensibility, Wittgenstein’s philosophy is open to musical experiments. Reflecting on his remarks on music makes it possible to compare the therapeutic aim of his philosophical activity with that of music, and thus notice affinities between Wittgenstein and John Cage. Béla Szabados has a Ph.D. in philosophy from the University of Calgary and is professor of philosophy at the University of Regina. His publications include Wittgenstein Reads Weininger (2004), Wittgenstein at the Movies (2011) and Wittgenstein on Race, Gender, and Cultural Identity: Philosophy as a Personal Endeavour (2010). (shrink)

The German-Jewish writer and poetess, Rose Ausländer, who came from Chernivtsi, capital of Bukovina, one of the former provinces of the Hapsburg Empire, is one of the most highly acclaimed lyric poets to have written in German in the 20th century. Throughout her whole life she was an adherent of the philosophy of Spinoza, first becoming acquainted with it in the so-called “ethics seminar” of the secondary-school teacher Friedrich Kettner. In the wake of the First World War the (...) youth of Chernivtsi were in need of new sources of intellectual stimulation, so he set out to introduce them to the philosophy of Spinoza, as well as to that of Constantin Brunner, a contemporary German philosopher influenced by him. Rose Ausländer remained a follower of Spinoza right up to the end of her life. This is confirmed by her two very different poems of the same name, “Spinoza”—the first composed before 1939, the second in 1979—as well as by her many explorations of topics drawn from his ethics, ranging from her very first printed poem, “Amor Dei,” up to her lyrics written in old age, in the 1970s and 1980s. In this short paper I will attempt to chart the course of, and analyze, her interest in Spinoza's philosophical system and life. (shrink)

Friedrich Schiller (1759-1805) is now regarded by many readers and scholars not simply as a poet, historian, or playwright, but as a genuine philosopher in his own right. -/- The following research articles in French and English are devoted to understanding the relationship between Schiller’s philosophy and German idealism, especially some of the chief figures associated with the inception and extended development of this movement: Kant, Reinhold, Fichte, Schelling, Hegel, and Lotze. -/- In the last twenty years in particular, (...) ground-breaking edited collections have appeared on the content and legacy of Schiller’s thought. The present volume of articles, however, is one of the first to attempt a broader investigation of Schiller’s connection to German idealism, in which the contributions have above all been written by scholars of German idealism itself. -/- The aim of this volume is to furnish foundational material for better answering the question: To what extent should Friedrich Schiller be considered a German idealist? Naturally, the response to this question depends on one’s conception of German idealism, a point discussed below. This introduction provides a brief overview of earlier scholarship on this topic and summarizes the findings of our contributors. (shrink)

Electrifying when first delivered in 1973, legendary in the years since, Dieter Henrich's lectures on German Idealism were the first contact a major German philosopher had made with an American audience since the onset of World War II. They remain one of the most eloquent explanations and interpretations of classical German philosophy and of the way it relates to the concerns of contemporary philosophy. Thanks to the editorial work of David Pacini, the lectures appear here with annotations (...) linking them to editions of the masterworks of German philosophy as they are now available. Henrich describes the movement that led from Kant to Hegel, beginning with an interpretation of the structure and tensions of Kant's system. He locates the Kantian movement and revival of Spinoza, as sketched by F. H. Jacobi, in the intellectual conditions of the time and in the philosophical motivations of modern thought. Providing extensive analysis of the various versions of Fichte's Science of Knowledge, Henrich brings into view a constellation of problems that illuminate the accomplishments of the founders of Romanticism, Novalis and Friedrich Schlegel, and of the poet Hölderlin's original philosophy. He concludes with an interpretation of the basic design of Hegel's system. (shrink)

This article offers a topological account of Martin Heidegger’s 1942 lecture course on the German poet Friedrich Hölderlin’s hymn Der Ister. The main goal of the article is to explore the relationship between the poetic disclosure of place and the place of poetic disclosure in Heidegger’s thought in the 1940s. Firstly, the backward streaming of the river is identified as the central theme of the hymn, which leads to Heidegger’s idea of dwelling as poetic homecoming. Secondly, after elucidating the (...) link between the Danube river and Antigone, and assessing the philosophical underpinnings of Heidegger’s withdrawal from politics, Heidegger’s pre-political idea of the polis is examined as tied to his thinking of place-making. Finally, the interplay between journeying and remaining is issued to clarify Heidegger’s notion of dwelling, time, and place and his critique of the metaphysical conception of space and time. (shrink)

It is the aim of this work to examine the pivotal role of Johann Joachim Winckelmann (1717-1768) as a judge of classical sculpture and as a major contributor to German art criticism. John Harry North seeks to identify the key features of his treatment of classical beauty, particularly in his famous descriptions of large-scale classical sculpture. Five case studies are offered to demonstrate the academic classicism that formed the core of his philosophy of art. North aims to establish Winckelmann's (...) place in the development of the German language. His prose contributed to a literary style that was suitable for the expression of an emotional response to visual experiences. His use of rhetoric in the assessment of classical art, however, make his judgements propagandist rather than analytical. The published works of Winckelmann, his draft essays and his collected private correspondence are advanced as criteria in the evaluation of his impact on the development of German classicism that culminated in the Weimar group of poets and writers. His Grecophile enthusiasm, however, led him to introduce stylistic categories in the development of classical marble sculpture that are no longer regarded as truly reflecting the evolution of Greco-Roman art. Thus his historicity and his classification of styles remain in doubt. Winckelmann proposed that the training of modern artists should concentrate on the observation and imitation of classical models instead of looking to nature as the source of inspiration. This plan succeeded to some extent in the generation that followed his untimely death. Throughout the succeeding century, artists and their sponsors did favour classical models and developed stylistic classicism in European freestanding sculpture, in painting and in architecture. (shrink)

Open any recent, reasonably complete edition of Hegel’s works and you will find a two-page fragment entitled Das älteste Systemprogramm des deutschen Idealismus. Examine any comparable edition of Schelling’s works and you will find the same title, the same fragment. Finally, peruse, as though on holiday, your edition of the great poet Hölderlin and once again you will discover “The Oldest Program Towards a System in German Idealism.” What is this fragment which the editors of Hegel’s, Schelling’s, and Hölderlin’s (...) works are so keen to ascribe to their respective paragons? (shrink)

Inspired by Charles Taylor’s locating of Herder and Rousseau’s “expressivism” in Marx’s understanding of the human as artist, I begin this essay by examining expressivism in Taylor, followed by its counterpart in M. H. Abrams’s work, namely the wind as metaphor in British Romantic poetry. I then further explore this expressivism/wind connection in Percy Bysshe Shelley’s “Ode to the West Wind” and Marx’s The German Ideology. Ultimately I conclude that these expressive winds lead to poetic gesture per se, and (...) thereby, to a kind of poetry at the heart of Marx’s philosophy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Dictionary of Eighteenth-Century British PhilosophersHeiner F. KlemmeJohn W. Yolton, John Valdimir Price, John Stephens, general editors. The Dictionary of Eighteenth-Century British Philosophers. Vols. 1, 2. Bristol: Thoemmes Press, 1999. Pp. xxiii + 1,013. Cloth, $550.00.Good dictionaries are like good maps of a city: they indicate the main and minor quarters, give you an impression of its internal developments, and they indicate to where its highways eventually lead. (...) In philosophy, comprehensive subject dictionaries have a long history, and they do seem to experience a revival these days. To be sure, the lives and works of the leading figures of the history of ideas are generally well explored and documented. We even know which French dishes Hume liked to cook or which types of wine Kant preferred. But the lives and works of lesser known philosophers and men of letters still seem to be more or less neglected. The Dictionary of Eighteenth-Century British Philosophers fills this gap for the period and the subject it covers. It comprises entries on almost six hundred persons as well as a number of entries on anonymous works. The work of close to a hundred scholars from several countries, it is unique in its attempt to bring together in two extensive volumes all minor and major British philosophers of the period between John Locke and Dugald Stewart. Since "British" is to be understood in a broad sense meaning authors who lived under British rule, it also includes Americans writing before 1776, Irish philosophers (like George Berkeley) and the French thinker Pierre Desmaizeaux, who lived and worked for a long period in Britain. Nor is the Dictionary restricted to philosophers in today's sense of the word, comprising entries on people who made in one way or the other a contribution to the history of ideas, even if their contributions are of marginal importance. Besides historians, poets, translators, mathematicians and physicists, dissenting ministers and physicians are well represented.In almost all cases, the selection makes sense. The boundaries between philosophy and, say, natural sciences were not as nicely drawn in the eighteenth century as they are today. But there are a few entries where one might wonder whether the subject's work had any specific philosophical importance or influence at all, as for example: Charles Burnet, author of a history of music; John Ellicott, who wrote on Electricity, and Thomas Innes, who published in 1729 a book on "Ancient Inhabitants on the Northern Parts of Britain or Scotland." One might also wonder if Gaelic scholar Beg Eolach Moidhach would appreciate being remembered today as a British philosopher.The length of the entries varies from several lines to up to seven pages. Generally, each entry gives the details of the life and work of the person covered, provides a bibliography of his or her main works, references to "other relevant works," and a section of "further reading." While the larger entries are naturally devoted to the better known figures, most of the authors dealt with in the minor sections cannot complain either. In many cases, information about the life and work of these minor authors is scarce and the entries are useful for this reason alone. But unfortunately, there are also cases in which essential references to "classical" biographical accounts are not listed in the bibliography, like Williams Smellie´s account of James Gregory or George Skene Keith´s biography of John Campbell.The entries on Lord Kames and George Turnbull lay, as far as their length is [End Page 282] concerned, somewhere in the middle between the shorter and longer contributions. They nevertheless are highly informative, densely argued, and are good reading. Knud Haakonssen sees in Kames "perhaps the most complete 'Enlightenment man' among the eighteenth-century Scottish thinkers´" because he covers like no other author "the whole spectrum of human knowledge and its applicability to his society" (503). The most philosophical work of Kames is his Essays on the Principles of Morality and Natural Religion (1751). According to Haakonssen, it is important because in it Kames "turns the previous moral-sense criticism of moral scepticism into a refutation of general epistemological scepticism" (504). By arguing that our... (shrink)

In Uncivil Unions, Adrian Daub presents a truly interdisciplinary look at the story of a generation of philosophers, poets, and intellectuals who turned away from theology, reason, common sense, and empirical observation to provide a purely ...

Bruder im Geiste - Heidegger trifft Holderlin" erzahlt auf unterhaltsame Weise von einem Philosophen, der sich seinen Dichter nahm. Martin Heidegger, nach wie vor einer der Umstrittenen hierzulande, erklart Holderlin zum "Dichter der Dichter". Dies ist nicht im Sinne einer Rangfolge gemeint, sondern zeichnet die Hellsichtigkeit eines Dichters aus, der sich ins Freie vorwagt. Was er dort schaut und empfangt, kommt auch dem Denker zu, der dafur andere, weniger poetische Worte finden muss. Der Dichter spricht die Sache des Denkers an, (...) der Denker versucht der Sprache des Dichters auf den Grund zu gehen. Beide muhen sich im Sinne eines Auftrags, der vor unvordenklichen Zeiten ergangen sein muss und der uber den irdischen Geschaftsbetrieb hinausweist. Holderlin hat diesen Auftrag als Dichter wahrgenommen; Heidegger ist ihm als Denker nachgekommen, der die Vielfalt des Seienden zurucklasst, um zum Sein aufzubrechen. (shrink)

Friedrich Nietzsche was a German philosopher, poet and cultural critic. He is best known for his controversial idea of 'life affirmation' that challenged traditional morality and all doctrines. Born in 1844 outside Leipzig, Germany, his teachings inspired people in all walks of life, from dancers and poets to psychologists and social revolutionaries. Here you will find insights from his greatest works. The School of Life takes a great thinker and highlights those ideas most relevant to ordinary, everyday dilemmas. These (...) books emphasize ways in which wise voices from the past have urgently important and inspiring things to tell us. (shrink)

Poetic Fragments is the second collection of writings by the neglected German poet, dramatist and philosopher Karoline von Günderrode (1780–1806), which she published in 1805. This bilingual English-German edition is the first volume of Günderrode’s work to appear with an English translation. An introduction and three essays argue for the philosophical significance and originality of the pieces included in Poetic Fragments and relate Günderrode’s thought to its Romantic and German Idealist context. This critical material argues that in (...) Poetic Fragments Günderrode presents a radical and unique consideration of the nature of the universe, death, religion, agency, power, and gender roles, which deserves to be included in the academic study of German Romanticism and post-Kantian Idealism. (shrink)

This volume presents a colourful and entertaining overview of German intellectual history by a central figure in its development. Heinrich Heine (1797-1856), famous poet, journalist, and political exile, studied with Hegel and was personally acquainted with the leading figures of the most important generation of German writers and philosophers. In his groundbreaking History he discusses the history of religion, philosophy, and literature in Germany up to his time, seen through his own highly opinionated, politically aware, philosophically astute, and (...) always ironic perspective. This work, and other writings focussing especially on Heine's rethinking of Hegel's philosophy, are presented here in a new translation by Howard Pollack-Milgate. The volume also includes an introduction by Terry Pinkard which examines Heine both in relation to Hegel and Nietzsche and as a thinker in his own right. (shrink)

Critic, poet and philosopher Friedrich von Schlegel was a leading figure of German Romanticism. In the two years before his untimely death, he wrote three cycles of lectures intended as part of a larger project to lay the foundations of a new general philosophy. Two of these cycles, 'Philosophie des Lebens' and 'Philosophie des Sprache und des Wortes', are reissued here in an 1847 English translation. The first presents Schlegel's understanding of philosophy as independent of theology or politics, concerned (...) with the 'inner spiritual life' of humankind. The second explores the nature of communication through language and art. Schlegel argues that full human consciousness cannot be restored by Enlightenment science, but only by divine revelation and redemption. He offers no ready-made solutions, but encourages his listeners to develop their own responses to these questions. (shrink)

In 1638, the Jesuit, poet, preacher, and historianJohannes Bisselius published the first volume of his seasonal poem Deliciae Veris, Pleasures of Spring. The subtly composed, stylistically unique cycle is presented here for the first time in a modern edition with a German translation and insightful commentary, including an introduction to each poem.".

The poet Henrich Hudemann from Holstein achieved lasting fame through his innovative contributions to German poetry of the Early Baroque period. They have earned him a place in the manuals of literary history, where his work is considered an important stage in the emergence of a refined vernacular poetry. However, like many of his contemporaries, Hudemann also left an oeuvre of sophisticated Latin poems, inspired mainly by Horace’s lyric poetry. The present paper investigates Hudemann’s artistic as well as his (...) more practical aims. By using the poetic forms of classical antiquity for the expression of his religious beliefs, Hudemann created a remarkable specimen of Christian humanism through which he hoped to gain access to the leading intellectual figures of Europe, especially Daniel Heinsius. (shrink)

The German poet Barbara Köhler's 2007 poem-cycle Niemands Frau [Nobody's Wife] is more than a feminist response to Homer's Odyssey. In shifting the focus from the escapades of the hero Odysseus to the web of women characters that populates Homer's epic poem – Nausicaa, Circe, the Sirens, Helen, Ino Leucothea, the shades of the dead women whom Odysseus meets in Hades, and “Nobody’s wife” Penelope – Köhler also undertakes a grammatical shift: from the masculine singular pronoun “er” to the (...) polyvalent pronoun “sie” that denotes the feminine singular, the gender-unmarked plural and the formal “you.” “Sie” acts as the “quantum linguistic particle” that transports the reader from a world analogous to that conceived by Newtonian physics into a quantum universe of plural probabilities. Köhler's work explores the difference in power dynamics that results from this transformation, generating intriguing ways of reconceiving subjectivity, relationality, rationality, and authorship. Taken at their word, the poems open up a prospect of no longer insisting on the sovereign individual subject and his linear modes of narration, inheritance, calculation and grammatical proposition. (shrink)

The poet and dramatist Friedrich Schiller was also a profound philosopher, who described his work On the Asethetic Education of Man as 'the best thing that I have done in my life'. This impassioned treatise analyses politics, revolution and human nature to define the relationship between beauty, art and morality. Expressed as a series of letters to a patron, it argues that only an aesthetic education--rather than government reform, religion or moral teachings--can achieve a truly free society, and must be (...) placed at the heart of human experience. One of the most important works of German philosophy, its arguments remain as arresting and inspiring as when they were first written. (shrink)

Critic, poet and philosopher Friedrich von Schlegel (1772–1829) was a leading figure of German Romanticism. In the two years before his untimely death, he wrote three cycles of lectures intended as part of a larger project to lay the foundations of a new general philosophy. Two of these cycles, 'Philosophie des Lebens' (given in 1827, published 1828) and 'Philosophie des Sprache und des Wortes' (given in December 1828 and published posthumously), are reissued here in an 1847 English translation. The (...) first presents Schlegel's understanding of philosophy as independent of theology or politics, concerned with the 'inner spiritual life' of humankind. The second explores the nature of communication through language and art. Schlegel argues that full human consciousness cannot be restored by Enlightenment science, but only by divine revelation and redemption. He offers no ready-made solutions, but encourages his listeners to develop their own responses to these questions. (shrink)

Bilingual English-German edition of second collection published by the German poet, dramatist, and philosopher Karoline von Günderrode (1780–1806). The second collection of writings by the German poet, dramatist, and philosopher Karoline von Günderrode (1780–1806), Poetic Fragments was published in 1805 under the pseudonym “Tian.” Günderrode’s work is an unmined source of insight into German Romanticism and Idealism, as well as into the reception of Indian, Persian, and Islamic thought in Europe. Anna C. Ezekiel’s introductions highlight the (...) philosophical significance of the texts, demonstrating their radical and original consideration of the nature of the universe, death, religion, power, and gender roles. The dramas “Hildgund” and “Muhammad, the Prophet of Mecca” are two of Günderrode’s most important works for her accounts of agency, recognition, and the status of women. The three poems included in the collection, “Piedro,” “The Pilgrims,” and “The Kiss in the Dream,” represent the wide range of forms in which Günderrode wrote. They reflect themes of erotic longing and union with the divine, and point to her radical reimagining of death. This bilingual English-German edition is the first volume of Günderrode’s work to appear in English, and will help unearth this rich, complex, and innovative writer for English readers. Anna C. Ezekiel is an independent scholar living in Singapore. (shrink)

in German Der vorliegende Beitrag widmet sich zwei Schriften Heideggers, die bisher kaum untersucht worden sind, nämlich Die Einzigkeit des Dichters und Abendgespräch in einem Kriegsgefangenenlager in Rußland zwischen einem Jüngeren und einem Älteren. Diese Schriften sind vor allem insofern bemerkenswert, als der taoistische Gedanke der Notwendigkeit des Unnötigen in ihrem Zentrum steht. Heideggers Rezeption dieses Gedankens ist, wie im vorliegenden Beitrag gezeigt wird, aber keine bloße Aufnahme, sondern vielmehr eine schöpferische Aneignung des ostasiatischen Gedankengutes für sein eigenes Seinsdenken. (...) Zunächst wird Heideggers Auseinandersetzung mit dem Gedanken der Notwendigkeit des Unnötigen dargestellt. Danach wird versucht, im Anschluss an Heideggers Kunstphilosophie darüber nachzudenken, inwiefern das Kunstwerk als das Unnötige in der Leistungsgesellschaft notwendig ist. Abstract in English: The present contribution analyses two writings of Heidegger which have almost never been examined until now: The Uniqueness of the Poet and Evening Conversation: In a Prisoner of War Camp in Russia between a Younger and an Older Man. These writings are very important for the comparative study of Heidegger's philosophy and East Asian thinking, not least because they are based on the Taoist idea of the necessity of the unnecessary. Heidegger's reception of this idea is, as shown in this contribution, not simply a bare adoption, but rather a creative appropriation of East Asian thought for his own thinking of Being. First, this contribution shows Heidegger's confrontation with the idea of wuyongzhiyong. It then attempts to reflect on the extent to which the artwork, as that which seems to be useless, is necessary in a results-oriented society by looking at Heidegger's philosophy of art. (shrink)

Novalis "Novalis" was the pseudonym of Georg Philipp Friedrich Freiherr von Hardenberg, an early German Romantic philosopher, poet, and novelist. Born into a Pietistic family of minor, slightly cash-strapped, Saxon nobility in 1772, he died of tuberculosis in 1801 at the age of 28. Novalis is sometimes seen as … Continue reading Novalis →.

This book casts new light on the work of the German poet Friedrich Hölderlin (1770 - 1843), and his translations of Greek tragedy. It shows Hölderlin's poetry is unique within Western literature (and art) as it retrieves the socio-politics of a Dionysiac space-time and language to challenge the estrangement of humans from nature and one other. In this book, author Lucas Murrey presents a new picture of ancient Greece, noting that money emerged and rapidly developed there in the sixth (...) century B.C. This act of monetization brought with it a concept of tragedy: money-tyrants struggling against the forces of earth and community who succumb to individual isolation, blindness and death. As Murrey points out, Hölderlin (unconsciously) retrieves the battle between money, nature and community and creatively applies its lessons to our time. But Hölderlin's poetry not only adapts tragedy to question the unlimited "machine process" of "a clever race" of money-tyrants. It also draws attention to Greece's warnings about the mortal danger of the eyes in myth, cult and theatre. This monograph thus introduces an urgently needed vision not only of Hölderlin hymns, but also the relevance of disciplines as diverse as Literary Studies, Philosophy, Psychology (Psychoanalysis) as well as Religious and Visual (Media) Studies to our present predicament, where a dangerous visual culture, through its support of the unlimitedness of money, is harming our relation to nature and one another. "Here triumphs a temperament guided by ancient religion and that excavates, in Hölderlin's translations, the central god Dionysus of Greek tragedy." -Bernhard Böschenstein, author of "Frucht des Gewitters". Zu Hölderlins Dionysos als Gott der Revolution and Paul Celan: Der Meridian. Endfassung-Entwürfe-Materialien. "Lucas Murrey shares with his subject, Hölderlin, a vision of the Greeks as bringing something vitally important into our poor world, a vision of which few classical scholars are now capable." -Richard Seaford, author of Money and the Early Greek Mind. Homer, Tragedy, Philosophy and Dionysus. "Hölderlin deserved such a book." -Jean-François Kervégan, author of Que faire de Carl Schmitt? "...fascinating material..." -Noam Chomsky, author of Media Control: The Spectacular Achievements of Propaganda and Nuclear War and Environmental Catastrophe. (shrink)

Few themes resonate as powerfully in Heidegger as those connected to homecoming, homeland, and Heimat. This emphasis plays out most powerfully in Heidegger's reading of Hölderlin and his turn towards language, art, and poetizing as a way of thinking through the poet's relevance in the epoch of homelessness and the abandonment of the gods. As the first book-length study in English of the Heidegger-Hölderlin relation, Of an Alien Homecoming addresses the tension within Heidegger's work between his disastrous political commitments during (...) the era of National Socialism and his attempts to open a path to a German future nurtured on Hölderlin's ideal of poetic dwelling. Charles Bambach reads this work on Hölderlin from 1934–1948 in conversation with the Black Notebooks and Heidegger's metapolitics, even as he uncovers an ethical dimension within Heidegger that pervades his reading of poetry. Throughout all of these various stages on Heidegger's thought path, Hölderlin remains the poet who poetizes the possibility of finding our lost home amidst the homelessness brought about in the epoch of technological thinking. (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)

An American essayist, poet, and popular philosopher, Ralph Waldo Emerson (1803–82) began his career as a Unitarian minister in Boston, but achieved worldwide fame as a lecturer and the author of such essays as “Self-Reliance,” “History,” “The Over-Soul,” and “Fate.” Drawing on English and German Romanticism, Neoplatonism, Kantianism, and Hinduism, Emerson developed a metaphysics of process, an epistemology of moods, and an “existentialist” ethics of self-improvement. He influenced generations of Americans, from his friend Henry David Thoreau to John Dewey, (...) and in Europe, Friedrich Nietzsche, who takes up such Emersonian themes as power, fate, the uses of poetry and history, and the critique of Christianity. (shrink)

Friedrich Schiller, German poet, dramatist, philosopher and publisher, was a prominent contributor to the educational neo‐humanistic concept of Bildung at the threshold to Romanticism. Schiller assigns a pivotal role to the aesthetic education arguing that aesthetic activity reconciles sensuousness and reason and thereby creates the precondition of knowledge and morality. The article examines elitist and sexist traits in Schiller's work and whether they are constitutive to his theory of aesthetics and education. By identifying problems in the philosophical foundations of (...) the concept of Bildung the authors wish to contribute to its ongoing reconstruction in the Nordic Countries. (shrink)

Already in 1934, the poet Gottfried Benn had sketched the outline of a certain type of warrior befitting the new Third Reich. In a surrealistic style, he invoked the image of a Spartan as representative of a “white race” suitable for and capable of dictatorship. All feminine characteristics were expunged from this figure. He represented a prototype of biological virility with a steely torso and a relatively small head designed solely for the reception of orders. In 1941, once German (...) paratroopers had finally conquered the island of Crete after “battles with heavy losses,” Erhart Kästner, a soldier in the pursuing.. (shrink)

Hegel reads the poet Novalis as an expression of terminal irony, a pathological case of Gemüt, where the conscious mind is alienated from reality and turns its negativity inwards on the contents of its own natural soul. The condition of self-feeling, presented in Hegel’s “Anthropology”, is a self-consumption that manifests itself somatically in the physical disease (consumption) from which Novalis dies. The poet’s literary production represents a pathological fixation that impedes the dynamic organicity of Hegelian Science. As such, Novalis’s mental (...) illness and death constitute an expression of romantic irony and an ongoing threat to Hegel’s philosophy. (shrink)

The Russian poet and anthroposophist Andrei Belyi has four poems from 1918 with the same title, Anthroposophy [Antroposofiia]. These are love poems and anthroposophy is represented in them as a living spiritual being of female gender. The principal attribute of this being is a "clear gaze," "flashing eyes," which regard the poet from the precincts of light, of blueness, from waves of aromas and musical harmonies. These verses are clearly oriented to the poem "Three Encounters" [Tri vstrechi] by Vladimir Solov'ev, (...) the theme of which is the thrice-repeated vision of what Solov'ev recognized as the Sophia of the ancient Gnostics and of Jakob Böhme. How are we to understand Belyi's enigmatic poetic intent? How does anthroposophy—a "science of the spirit," an occult system created by Rudolf Steiner—become in Belyi's imagination now a "sister," now a beloved—"tender, gentle, and kind"—linked to the poet by a mysterious and fateful meeting in eternity? Most importantly, what does this anthropomorphism of anthroposophy mean? The suggestion that these verses may have had real prototypes poems does not eliminate the question. But the question is resolved if we turn to a very well-known and in certain respects key lecture by Steiner entitled "The Essence of Anthroposophy," which he gave in Berlin in February 1913, and which Andrei Belyi attended. This lecture not only provides the key to those of Belyi's poems of interest to us here; it also brings us directly to the theme of our present study, inasmuch as its content creates a bridge between Russian religious culture of the late nineteenth and the early twentieth centuries, developing under the aegis of Sophia, and the latest German gnosis. It is therefore worth dwelling on it especially. (shrink)

"Detours" explores the reception of Kant's works in Vienna, Austria and Eastern Europe from a historical point of view and focuses on six topics: Kant and Censorship, Kant and Karl Leonhard Reinhold, who was the first Kantian born in Vienna and became a precursor for German and Austrian Kant reception in Jena, Kant and Eastern Europe, Kant and his Poets, Kant and Phenomenology and Kant and the Vienna Circle. In this way, the ambivalent perception of Kant in Austria becomes (...) clearer: On the one hand Kant was censored and criticized harshly but on the other hand Kant's philosophy was studied actively in the "underground.". (shrink)

Ever since it was first published 1930, William Empson's "Seven Types of Ambiguity" has been perceived as a milestone in literary criticism - far from being an impediment to communication, ambiguity now seemed an index of poetic richness and expressive power. Little, however, has been written on the broader trajectory of Western thought about ambiguity before Empson; as a result, the nature of his innovation has been poorly understood. This book remedies this omission. Starting with classical grammar and rhetoric, and (...) moving on to moral theology, law, biblical exegesis, German philosophy, and literary criticism, the author explores the many ways in which readers and theorists posited, denied, conceptualized, and argued over the existence of multiple meanings in texts between antiquity and the twentieth century. This process took on a variety of interconnected forms, from the Renaissance delight in the "elegance" of ambiguities in Horace, through the extraordinary Catholic claim that Scripture could contain multiple literal - and not just allegorical - senses, to the theory of dramatic irony developed int he nineteenth century, a theory intertwined with discoveries of the double meanings in Greek tragedy. Such narratives are not merely of antiquarian interest: rather, they provide an insight into the foundations of modern criticism, revealing deep resonances between acts of interpretation in disparate eras and contexts. This book lays bare the long tradition of efforts to liberate language, and even a poet's intention, from the strictures of a single meaning. (shrink)

It is common knowledge that Martin Heidegger’s attempts at engaging non-Western philosophy are very much a construct of his own making. This article in no way seeks to disagree with those observations, but argues two things: first, that Heidegger’s “dialogue” with his two main other sources of inspiration, the ancient Greek thinkers and the German poets, is not different in kind or in principle from his engagement with East Asia. One can of course quite easily argue that Heidegger’s main (...) interest was the ancient Greek thinkers, and then the poets, and only lastly Asia. But this hierarchy in preference does not make Heidegger’s approach different in kind or in principle. Second, I argue that there is an important place in comparative philosophy for the type of thinking displayed by Heidegger in this kind of Auseinandersetzung (confrontation) with—and “appropriation” of—Asian (or Greek, or Poetic) thought. (shrink)