Name der Zeitschrift: Kant Yearbook Jahrgang: 8 Heft: 1 Seiten: 63-86.

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

Este artigo procura desenvolver o conceito de "crítica" no primeiro romantismo, sobretudo em seus principais representantes, Friedrich Schlegel e Novalis. A partir destes autores já não se pode falar de uma obra de arte desvinculada da reflexão sobre ela, mas, por sua vez, a própria "critica" deve se tomar arte.

Fred Rush investigates the historical and conceptual structure of the development of a distinctive conception of irony in early- to mid-nineteenth century European philosophy. He explores the thought of Schlegel and Novalis, Hegel and Kierkegaard, and argues that the development of irony in this period offered an alternative to German idealism.

Hegel's critique of the Early German Romantic figures of Fr. Schlegel, Novalis and Schleiermacher resonates to the very core of his work and is as essential to understanding his vision of Science as Plato's polemic against the Sophists is to comprehending his philosophy. Hegel's presentation of romantic irony may not be faithful to its Romantic conception but it is deeply insightful in apprehending irony's postmodern threat to systematic philosophy.

Revisitando os fragmentos de Schlegel e Novalis em Blüthenstaub (2016), o artigo busca apreender o processo de ontologização que a argumentação kantiana relativa ao juízo estético sofre, quando assimilado por Schlegel e Novalis. Para isso, lemos a “Analítica do belo”, da Kritik der Urteilskraft (1974b), de modo a depreender como a estrutura ética do juízo estético, em Kant sugerida apenas pela cláusula do como-se, ganha em Novalis e Schlegel uma interpretação ontológica. Assim, desenvolvemos a (...) figura do Juízo Infinito, conceito com que buscamos circunscrever o triplo movimento pelo qual Schlegel e Novalis fundamentam ontologicamente a estrutura ética do juízo estético. (shrink)

RESUMENAl hilo del significado de «in-finito», el artículo explora la respuesta romántica al Planteamiento trascendental kantiano. Asimismo, se indaga en la profunda diferencia que marca ya desde el inicio el diferente destino idealista (logico-histórico) y romántico (historico‐hermenéutico) del significado de infinito. Con su exigencia de reconocer real y no solo lógicamente la relación finito/infinito, el romanticismo formulará una concepción artística de la filosofía cuyo límite último tendría que coincidir con la poesía.PALABRAS CLAVESINFINITO, ROMANTICISMO TEMPRANO, IDEALISMO TEMPRANO, FILOSOFÍA DEL ARTE, ESTÉTICA, (...) SCHLEGEL, NOVALIS, SCHELLINGABSTRACTIn relation to the meaning of «in‐finite», this paper explores the Romantic answer to the Kantian transcendental approach. It also explores the deep difference that from the very beginning marks the different idealist (logical‐historical) and romantic (historical‐hermeneutic) destiny of the meaning of infinite. With its demand of admitting really and not only logically the connection finite/infinite, Romanticism will formulate an artistic concept of Philosophy whose ultimate limit would have to correspond with Poetry.KEY WORDSINFINITE, EARLY ROMANTICISM, EARLEY IDEALISM, PHILOSOPHY OF ART, ESTHETICS, SCHLEGEL, NOVALIS, SCHELLING. (shrink)

In The Roots of Romanticism, one of the twentieth century's most influential philosophers dissects and assesses a movement that changed the course of history. Brilliant, fresh, immediate, and eloquent, these celebrated Mellon Lectures are a bravura intellectual performance. Isaiah Berlin surveys the many attempts to define romanticism, distills its essence, traces its developments from its first stirrings to its apotheosis, and shows how it still permeates our outlook. He ranges over a cast of some of the greatest thinkers and artists (...) of the eighteenth and nineteenth centuries, including Kant, Rousseau, Diderot, Schiller, the Schlegels, Novalis, Goethe, Blake, Byron, and Beethoven. The ideas and attitudes of these and other figures, Berlin argues, helped to shape twentieth-century nationalism, existentialism, democracy, totalitarianism, and our ideas about heroic individuals, self-fulfillment, and the exalted place of art. This new edition, illustrated for the first time, also features a new foreword by philosopher John Gray, in which he discusses Berlin's belief that the influence of romanticism has been unpredictable and contradictory in the extreme, fuelling anti-liberal political movements but also reinvigorating liberalism; a revised text; and a new appendix that includes some of Berlin's correspondence about the lectures and the reactions to them. (shrink)

Deals with Hegel's critique of Fr. Schlegel, Novalis and Schleiermacher, as representatives of ironic Romanticism.

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 63.3 (2002) 501-519 [Access article in PDF] Nietzsche and Early Romanticism Judith Norman Nietzsche was in many ways a quintessentially romantic figure, a lonely genius with a tragic love-life, wandering endlessly (through Italy, no less) before going dramatically mad, taken by his gods into the protection of madness (to quote Heidegger's epithet on Hölderlin, one of Nietzsche's childhood favorites). 1 But this is (...) to be a romantic in an uncapitalized manner, and has nothing to do with the literary movement of Romanticism, a movement from which, as is well-known, Nietzsche distanced himself loudly and vigorously. Nietzsche famously follows Goethe in his verdict that Romanticism is a form of sickness and classicism a form of strength, and commentators, for the most part, have accepted this self-description. 2 That is, they do not blithely identify Nietzsche with that nineteenth-century artistic movement, whose proponents include Victor Hugo, Eugene Delacroix, and Richard Wagner. 3But Romanticism is a plural phenomenon. When Goethe made his famously dismissive remark, he was clearly not talking about Hugo and Wagner; he meant Romanticism in an earlier incarnation. Commentators have been less reticent about finding all sorts of affinities between Nietzsche and some of these earlier movements. In particular Nietzsche is frequently and positively compared to Jena Romanticism (also known as early Romanticism), a movement whose principal figures included August and Friedrich Schlegel, Novalis, Tieck, Schleiermacher, and Schelling, and the writings they published in the 1790s, principally in the journal, Athenaeum. It is this romantic movement that will be the focus of my paper. Jena romantics, while Grecophile, had nothing to do with Rousseauean primitivism (they were well aware that their image of the [End Page 501] Greeks reflected contemporary fantasies more than historical reality), they had no cult of the genius, and they did not valorize emotion above reason. 4 What was central to their movement was profound skepticism about the viability of traditional attitudes towards truth, an intellectually rigorous theory of art that gave particular weight to playfulness, fragmented writing, the notion of literary irony, a sense that the philosopher ought to be or become more of an artist (though not a genius)—and, correlatively, that philosophy is or ought to become more artistic. All of which sounds decidedly Nietzschean. Romanticizing Nietzsche While Nietzsche himself never makes the connection, he never explicitly distances himself from the authors of Jena romanticism in the way he does from later romantic figures. 5 Indeed, he barely mentions the Jena romantics by name and probably never read Friedrich Schlegel, the figure most closely associated with this romantic movement. 6 As such, there is certainly space for commentators to argue for a close if tacit intellectual connection between Nietzsche and Jena romanticism; indeed, one commentator speaks of a fundamental affinity, 7 another calls Nietzsche the last romanticist, and yet another claims that "[Nietzsche's] story makes sense only when read in the larger context of his Romantic predecessors' history." 8It is undeniable that Nietzsche came out of a philological tradition inaugurated by the Schlegels (and developed by Schelling) which juxtaposed the Dionysian and the Apollinian in Greek tragedy. According to Lacoue-Labarthe, "an entire tradition of academic philosophy (which, on his own initiative, Nietzsche had joined) revolved around precisely this opposition." 9 At least in [End Page 502] his earlier works Nietzsche's view of the Greeks was influenced by (if not predicated on) the scholarly research and interpretative theories of figures associated with Jena romanticism. How profound and enduring this influence might have been is an interesting question, but not one I will explore at present. I will not discuss the influence of the Jena romantics in their scholarly capacity as classical philologists, but rather focus on any impact they may have had as philosophically minded literary critics during the 1790s. Similarly, I will not look at The Birth of Tragedy but rather focus on claims made concerning the romantic tendencies of Nietzsche's later work. A body of scholarship has been building which claims that the critical theories of Jena... (shrink)

“This book is the first authoritative analysis of the theory of translation in German Romanticism. In a systematic study of Herder, Goethe, Schlegel, Novalis, Humboldt, Schleiermacher, and Hölderlin, Berman demonstrates the importance of the theory of translation for an understanding of German romantic culture, arguing that never before has the concept of translation been meditated in such detail and such depth. Indeed, fundamental questions that arise again today, such as the question concerning the proper versus the literal, of (...) the Other to a given culture, the essence of the work of art, and of language, all these issues, and many more, are shown to have been premeditated in a most important manner by these German Romantics. (shrink)

This book comprises a series of essays exploring the transformative insights of Fichte, Herder, Humboldt and the Romantics into the seminal role of language and imagination in shaping human experience and art, including how language, self-consciousness and understanding arise through speech. Along with topics concerning the literary work of art, the philosophy of history, German humanities, philology, and semiotics, the author also discusses the place of phenomenology and the concept of interpretation in literary theory. In highlighting ideas from A. W. (...) Vico, F. Schlegel, Novalis, Germaine de Staël, and Schleiermacher, the author also elucidates romantic poetics, translation, discourse and cultural transfer themes. Das vorliegende Werk umfasst eine Reihe hermeneutischer Abhandlungen des Autors, in deren Fokus die Deutung der Sprachauffassungen Fichtes, Herders, Humboldts und der Romantiker steht. Der Autor untersucht dabei die Formierung von Erfahrung und Kunst durch Sprache und Einbildungskraft sowie die Entstehung von Sprache, Selbstbewusstsein und Verstehen in der Rede. Desgleichen behandelt er Semiotik, Philologie und Philosophie der Geschichte, sowie die Rolle der Phänomenologie und des Interpretationsbegriffs in der Literaturkritik. Im Besonderen hebt der Autor die Auffassungen von Vico, A.W. und F. Schlegel, Novalis, Germaine de Staël, F. Schleiermacher hervor und beleuchtet Übersetzungs-, Diskurs- und Kulturtransfertheorien sowie die Poetik der Romantiker. (shrink)

Aphoristiker und andere Vertreter kleiner Formen des Denkens lieben Spinoza. Dies ist eine Merkwürdigkeit, denn gerade die Aphoristiker, die das Antisystematische propagieren, den blitzartigen, schlagenden Einfall vor der konsequenten Entwicklung eines Gedankens favorisieren, sollten doch eigentlich mit dem zusammenhängenden, systematischen und konsequenten Denken more geometrico Spinozas wenig bis gar nichts anzufangen wissen. Die vorliegende Studie untersucht die Spinozarezeption ausgewählter Aphoristiker und analysiert das hier zum Ausdruck kommende Verhältnis von Aphorismus bzw. kleiner Form und System. Die Art und Weise, wie sich (...) aphoristisch bzw. in kleinen Formen operierende Autoren mit Spinoza befassen, wirft ein signifikantes Licht auf ihre Aphoristik selbst. Wer über eine Theorie der kleinen Form nachdenkt, ist gut beraten, sich um das Spinoza-Bild der Aphoristiker zu bemühen. Untersuchte Autoren sind Rudolf Kassner, Lichtenberg, Friedrich Schlegel, Novalis, Hebbel, Nietzsche, Peter Altenberg, Ludwig Hohl, Canetti, Peter Handke und Joseph Maurer. (shrink)

The book also highlights the ideas of early German Romantic philosophy, including the works of Friedrich Schlegel, Novalis, Schleirmacher, and Schelling, ...

Veel intellectuelen hebben gezocht naar maatschappelijke rechtvaardiging voor hun vermeende recht op een gepriviligieerde plaats in de samenleving. De tegenstelling tussen hun zelfbewustzijn en hun politieke onmacht was nooit duidelijker dan in de tijd van de Duitse romantiek. Deze paradox komt duidelijk tot uiting in de werken van Hölderlin, Schlegel, Novalis en Schelling.

Resumo: Este artigo busca compreender a situaçáo filosófica de alguns dos autores cujas vidas e cujos pensamentos estiveram entre Kant e Hegel. Romantismo alemáo foi como ficou conhecida esta época. Dentre seus primeiros autores, estiveram Friedrich Schlegel e Novalis, além de Hölderlin. Tais pensadores buscaram superar a crítica feita por Kant à pretensáo do conhecimento filosófico de alcançar a verdade absoluta, as coisas como sáo em si mesmas. Essa superaçáo, contudo, jamais conseguiu, para eles, completar-se – como aconteceria (...) depois no sistema de Hegel, para quem contradições só seriam aceitas como etapas do que chamou de dialética, cuja essência era, ao fim, solucioná-las na figura da síntese. Limitaçáo finita do homem diante do todo do ser, como firmara Kant, era o que ficava para trás com Hegel. Schlegel, Novalis e Hölderlin náo se contentam com a crítica de Kant, mas tampouco acreditam na síntese de Hegel. Parecem sugerir outro caminho para a modernidade ocidental, que náo se jogava na sanha hegeliana pelo saber absoluto sem despertá-la, toda vez, pela consciência crítica kantiana – e que náo se contentava com esta sem sonhar com aquela. Tal caminho é o que este artigo busca compreender. Palavras-chave: Hegel; Kant; Romantismo. (shrink)

This is a sweeping and provocative work of aesthetic theory: a trenchant critique of the philosophy of art as it developed from the eighteenth century to the early twentieth century, combined with a carefully reasoned plea for a new and more flexible approach to art.Jean-Marie Schaeffer, one of France's leading aestheticians, explores the writings of Kant, Schlegel, Novalis, Hegel, Schopenhauer, Nietzsche, and Heidegger to show that these diverse thinkers shared a common approach to art, which he calls the (...) "speculative theory." According to this theory, art offers a special kind of intuitive, quasi-mystical knowledge, radically different from the rational knowledge acquired by science. This view encouraged theorists to consider artistic geniuses the high-priests of humanity, creators of works that reveal the invisible essence of the world. Philosophers came to regard inexpressibility as the aim of art, refused to consider second-tier creations genuine art, and helped to create conditions in which the genius was expected to shock, puzzle, and mystify the public. Schaeffer shows that this speculative theory helped give birth to romanticism, modernism, and the avant-garde, and paved the way for an unfortunate divorce between art and enjoyment, between "high art" and popular art, and between artists and their public.Rejecting the speculative approach, Schaeffer concludes by defending a more tolerant theory of art that gives pleasure its due, includes popular art, tolerates less successful works, and accounts for personal tastes."[A] remarkable work.... [Schaeffer's] writing is governed by... the ideals of clarity and consequence, the ideas of logic, truth, and evidence.... Schaeffer is so precise and unrelenting a philosophical critic that one wonders how some of the philosophies he anatomizes here can possibly survive the operation."--From the foreword by Arthur C. Danto. (shrink)

_The Immanent Word_ establishes that the philosophical study of language inaugurated in the 1759 works of Hamann and Lessing marks a paradigm shift in modern philosophy; it analyzes the transformation of that shift in works of Herder, Kant, Fichte, Novalis and Schlegel. It contends that recent studies of early linguistic philosophy obscure the most relevant commission of its thinkers, arguing against the theological appropriation of Hamann by John Milbank; against the "expressive" appropriation of Hamann and Herder by Christina (...) Lafont and Charles Taylor; and against Philippe Lacoue-Labarthe and Jean-Luc Nancy’s uncritical championing of Schlegel’s ideological position. (shrink)

This paper considers how women and gender are conceptualised within early German Romanticism and argues that work by early German Romantic women should be addressed in scholarship on this movement. The chapter addresses feminist critiques of early German Romanticism as exemplified by the work of Friedrich Schlegel and Novalis, concluding that an essentialist view of traditional gender characteristics informs central aspects of these writers’ work, including their view of the relationship between human beings and nature and their theories (...) of language and poetry. The paper argues that a thoroughgoing critique of gender categories and development of the implications of this critique are found in the early German Romantic writings, not of Schlegel and Novalis, but of Dorothea Veit-Schlegel and Karoline von Günderrode. (shrink)

In this article I ask how fruitful the concept of alienation can be for thinking critically about the nature and causes of the contemporary environmental crisis. The concept of alienation enables us to claim that modern human beings have become alienated or estranged from nature and need to become reconciled with it. Yet reconciliation has often been understood—notably by Hegel and Marx—as the state of being ‘at-home-with-oneself-in-the-world’, in the name of which we are entitled, perhaps even obliged, to overcome anything (...) in nature that is alien to the human mind. This approach to alienation derives ultimately from the German Idealist philosopher J. G. Fichte. I explore an alternative conception of alienation and reconciliation to be found in the work of the Early German Romantics, especially Friedrich Schlegel and Novalis. The Romantics think of reconciliation as including a dimension of alienation, in the form of an awareness that nature is greater than and exceeds the understanding of human beings, insofar as we are merely limited parts of the all-encompassing whole that is nature. I argue that this is a more fruitful approach to alienation and reconciliation than that pursued by Fichte, Hegel, and Marx. (shrink)

Hegel's critique of Schleiermacher as the embodiment of two currents of romantic irony: empiricist skepticism (Schlegel) and feeling (Novalis), are explicitly presented as "absolute presupposition of our time". The article associates these "presuppositions" with features of postmodernity, as presented by Lyotard. Thus, the Hegelian critique of Schleiermacher might be read as a critique of postmodernity.

Performativity plays a significant role avant la lettre in Classical German Philosophy. It is, among other things, a central component of original interpretations of the Absolute, the Subject, and Knowledge. Since the 2010s, there has been an increasing number of studies examining the performative in Kant, Fichte, Schelling, Hegel, Kierkegaard, Hölderlin, Novalis, Schliermacher, and Schlegel. This anthology picks up on this development. Through interdisciplinary contributions, performativity within Classical German Philosophy is explained and discussed, highlighting the hermeneutic and systematic (...) insights gained from performative interpretations. [In German: Performativität spielt avant la lettre in der Klassischen Deutschen Philosophie eine bedeutende Rolle. Sie ist u.a. ein zentraler Bestandteil originärer Interpretationen des Absoluten, des Subjekts oder auch des Wissens. Seit den 2010er Jahren mehren sich daher Untersuchungen, die dem Performativen bei Kant, Fichte, Schelling, Hegel, Kierkegaard, Hölderlin, Novalis, Schliermacher, und Schlegel. Dieser Sammelband greift diese Entwicklung auf. Anhand interdisziplinärer Beiträge wird Performativität innerhalb der Klassischen Deutschen Philosophie erläutert und diskutiert. Dabei wird der hermeneutische und systematische Ertrag performativer Interpretationen dargestellt.]. (shrink)

In this volume, Karl Ameriks explores 'Kantian subjects' in three senses. In Part I, he first clarifies the most distinctive features-such as freedom and autonomy-of Kant's notion of what it is for us to be a subject. Other chapters then consider related 'subjects' that are basic topics in other parts of Kant's philosophy, such as his notions of necessity and history. Part II examines the ways in which many of us, as 'late modern,' have been highly influenced by Kant's philosophy (...) and its indirect effect on our self-conception through successive generations of post-Kantians, such as Hegel and Schelling, and early Romantic writers such as Hölderlin, Schlegel, and Novalis, thus making us 'Kantian subjects' in a new historical sense. By defending the fundamentals of Kant's ethics in reaction to some of the latest scholarship in the opening chapters, Ameriks offers an extensive argument that Hölderlin expresses a valuable philosophical position that is much closer to Kant than has generally been recognized. He also argues that it was necessary for Kant's position to be supplemented by the new conception, introduced by the post-Kantians, of philosophy as fundamentally historical, and that this conception has had a growing influence on the most interesting strands of Anglophone as well as Continental philosophy. -/- . (shrink)

Was the philosophy of Early German Romanticism, as we understand it today, nothing but a milder variety of Early German Idealism? Not at all! One has only to note the radical differences between the two. Friedrich von Hardenberg and Friedrich Schlegel, the two most significant thinkers of the Early Romantic movement, decisively broke with what Reinhold’s critical disciples had called a “philosophy from the highest principle [Grundsatzphilosophie].” Instead of adopting Reinhold’s and Fichte’s idea of subjectivity as the principle of (...) a deductively unfolding system of knowledge, they replaced it with the idea of “philosophy as an unending longing for the Infinite.” Who only aspires to the Absolute cannot pretend to “possess” or capture it in an absolute knowledge as Fichte and Hegel did, but Schelling did not. Underlying Hegel’s and Fichte’s denial that the Absolute transcends knowability is the temptation to make existence itself dependent upon the grasp of thoughts or concepts, a temptation firmly rejected by the Early Romantics. This is why Early Romanticism should not be considered as a species of one or the other kind of Idealism, as most German and American researchers would like it to be. (shrink)

Scholars are finally fully appreciating the philosophical significance of early German Romanticism. _Brill’s Companion to German Romantic Philosophy_ is a collection of original essays showcasing not only the philosophical achievements of romantic writers such as Schlegel and Novalis, but the sophistication, relevance, and influence of romanticism today.

Desde nuestro punto de vista, el concepto de formación ocupa un lugar central en la especulación filosófica gadameriana como un gran árbol desde cuyo tronco se esparce a través de toda su obra las nociones fundamentales de la hermenéutica, como por ejemplo la conciencia bien formada. O la capacidad del lenguaje de formar conceptos. El objetivo gadameriano,en el primer capítulo de Verdad y método (1960), es dorar al concepto de formación de un estatuto epistemológico que le permita desarrollar una nueva (...) concepción de racionalidad en oposición al concepto de razón instrumental hegemónico en Occidente, y al intentar allanar el camino para su hermenéutica dialógica. En esta investigación nos remontamos hasta los orígenes del concepto de formación: el primer romanticismo alemán: Schlegd y Novalis, del cual considerarnos deudor al concepto desarrollado por Gadamer. Para los fundadora del romanticismo, el objeto de la formación artística era llegar a una legislación correcta, la formación es la que dirige la razón y permite superar lo particular y efímero en lo general.The concept of formation has a central place in Gadamer's philosophy, as the source from which the fundamental notions of hermeneutics spread throughout thi work. Including notions lick the well­ formed conscience and the capability of language to build new concepts. Gadamer's objective, in the first chapter of Truth and method (1960), is to found the concept of formation on an epistemological basis in order to develop a new conception of rationality as opposed to the concept of instrumental reason which is hegemonic in the Western world, and so, to prepare the way for his dialogical hermeneutics. This paper outlines the origins of the concept of formation in the first German Romanticism: Schlegel and Novalis, from which Gadamer's concept developed. In the founders of Romanticism, the aim of an formation was to reach a correct legislation; formation is the guide of reason, allowing to overcome the particular and transitory within the general. (shrink)

One of the very few accounts in English of German idealism, this ambitious work advances and revises our understanding of both the history and the thought of the classical period of German philosophy. As he traces the structure and evolution of idealism as a doctrine, Frederick Beiser exposes a strong objective, or realist, strain running from Kant to Hegel and identifies the crucial role of the early romantics—Hölderlin, Schlegel, and Novalis—as the founders of absolute idealism.

Kant's 'Copernican Revolution', which began in the Critique of Pure Reason (1781/1787), had, by the early 1790s, fundamentally altered the terrain of German philosophy – but not entirely in the way that Kant had foreseen. Skeptical challenges to Kant's discursive account of cognition, in which experience arises from the separate faculties of sensibility and understanding, had led thinkers such as K.L. Reinhold and J.G. Fichte to attempt to provide a first, foundational principle for the critical philosophy. These efforts were enormously (...) influential, but by the middle of the 1790s, they too were facing a great deal of critical scrutiny. The central challenge to the Fichtean project came from an unlikely quarter: a group of young thinkers and poets who are collectively known as the early Romantics. For the Romantics, Fichte's project remains too 'subjectivist', for it tries to provide an account of the world by beginning with the conditions that govern subjectivity alone. Rather, the Romantics argue that the world must be understood in terms of a monistic Absolute, akin to Spinoza's substance, in which all dualisms are overcome. It is with this step that Absolute Idealism comes on the scene, and sets the stage for the development of Hegel's system in the early 1800s. This essay, which continues the story of 'Who's Who from Kant to Hegel I', examines the ways in which early Romanticism reacted to the Fichtean project, looks at a variety of anti-foundationalist idealisms that the Romantics – in particular Hölderlin, Novalis, Schlegel, and Schleiermacher – developed, and traces the role that Friedrich Schelling plays in offering the first systematic account of Absolute Idealism. (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 examines the role played by ‘feeling’ (Gefühl) and ‘love’ within the philosophy of German Romanticism. After an introduction (I) to the actual debate on German Romanticism, paragraph II sketches an analysis of the concept of Gefühl at the end of the eighteenth century and highlights the differences with its actual meaning. The successive three sections are dedicated to three pivotal figures of German Romanticism: F. Schlegel (III), Novalis (IV), and Baader (V). Similarities and differences between these (...) authors will be emphasized. It will be demonstrated that they deny the reason˗feeling opposition, and that ‘feeling’ and ‘love’ are at the heart of their ontology, epistemology, and conception of subjectivity, conditioning the Romantic human-nature relationship and Romantic political philosophy. In the concluding remarks (VI), this paper explains how German Romanticism can still help to better understand the role of feelings in politics. (shrink)

_From Romanticism to Critical Theory_ explores the philosophical origins of literary theory via the tradition of German philosophy that began with the Romantic reaction to Kant. It traces the continuation of the Romantic tradition of Novalis, Friedrich Schlegel and Schleiermacher, in Heidegger's approaches to art and thruth, and in the Critical Theory of Benjamin and Adorno. Andrew Bowie argues, against many current assumptions, that the key aspect of literary theory is not the demonstration of how meaning can be (...) deconstructed, but rather the relevation of how questions of language and literature change modern philosophical conceptions of thruth. He shows how the dialogue between literary theory, hermeneutics and analytical philosophy can profit from a re-examination of the understanding of language, thruth and literature in modern German philosophy. _From Romanticism to Critical Theory_ will provide a vital new introduction to central theoretical questions for students of philosophy, literature, German studies, cultural and social theory. (shrink)

Examines the theories of translation by German romantics in the early 19th century, from Novalis, Friedrich Schlegel, and A.W. Schlegel to Schleiermacher, and compares them briefly to the contemporary, but contrasting, theories by Herder, ...

Fichtes Konzeption vom »Schweben der Einbildungskraft« ist in der Ästhetik der Romantik aufgegriffen und zu einer zentralen Denkfigur geworden. Auch die Philosophie Karl Wilhelm Ferdinand Solgers, des Nachfolgers Fichtes auf dem Lehrstuhl in Berlin, pflegt in die Romantische Ästhetik im Gefolge Friedrich Schlegels eingeordnet zu werden, gerade auch im Hinblick auf die Bedeutung der Einbildungskraft. Um so überraschender ist dann aber die Tatsache, dass die Einbildungskraft für Solgers Ästhetik, anders als etwa bei Schlegel und Novalis, gar keine Rolle (...) spielt. Sie gehört zu den »gemeinen Erkenntnisarten« und wird der Phantasie, die die Form der »höheren Erkenntnis« ist, entgegengesetzt. Die »Einbildungskraft [ist] an die sinnliche Wahrnehmung geheftet und vom Triebe ganz bestimmt, die Phantasie aber führt das göttliche Wesen in die Erscheinung über«. Nun spricht Solger häufig in diesem Sinne von der »gemeinen Einbildungskraft«, und man könnte meinen, dass es hier nur um eine Frage der Benennung gehe, indem die produktive Einbildungskraft bei ihm den Namen Phantasie erhält, während er die Bezeichnung,Einbildungskraft’ für die reproduktive Einbildungskraft reserviert, wofür der Zusatz »gemeine« steht. Auch wenn dem so wäre - die Frage, ob es sich so verhält, soll noch untersucht werden –, so muss es doch einen Grund geben, warum Solger sich von der Tradition abkehrt und einen in ihr bewährten Begriff ersetzt. (shrink)

Introduction: Ancient & modern : the braid of Cassiodorus -- Tradition, literacy and change -- Church versus scripture : the idea of biblical tradition -- Revolution and tradition -- Re-envisioning the past : metaphors and symbols of tradition -- Inventing Christian culture : Volney, Chateaubriand and the French Revolution -- Herder, Schleiermacher, Novalis and Schlegel : the idea of a Christian Europe -- Translating Herder : the idea of Protestant Reformation -- Keble and the Anglican tradition -- Newman (...) and the development of tradition -- Arnold : taking religion out of religion -- Radical tradition : theologizing Eliot -- Epilogue: Re-energizing the past -- Appendix: Velázquez and the royal boar hunt. (shrink)

RESUMO O artigo pretende mostrar como o esforço de Benjamin no sentido de fundar uma nova crítica de arte remonta ao mesmo tempo ao primeiro Romantismo de Iena e à Filosofia de Hegel. Enquanto Hegel proclama o fim da estética e da obra de arte tradicional, os românticos, na figura de F. Schlegel e Novalis, apontam para a continuação de um discurso filosófico da arte que prescinde dos pressupostos tradicionais, utilizando-se de conceitos tais como crítica imanente e médium-de-reflexão. (...) A partir disso, o artigo procura mostrar como essa dupla herança permanece ao longo das principais obras de Benjamin, com destaque para o “Drama trágico alemão” e a obra das “Passagens”, em cujo centro se situa o conceito de montagem. Por fim, recorrendo à influência marxista, o texto esboça algumas consequências políticas dessa crítica de arte que, desenvolvida desde a juventude, permanece nos textos de maturidade. ABSTRACT The article aims to show how Benjamin's effort to found a new art criticism goes back to the first romanticism of Iena and to Hegel's philosophy. While Hegel proclaims the end of aesthetics and of the traditional work of art, the romantics, in the figure of F. Schlegel and Novalis, point to the continuation of a philosophical art discourse that ignores the traditional presuppositions, using concepts such as immanent criticism and medium-of-reflection. Based on that, this article seeks to show how this double heritage remains throughout the main works of Benjamin, especially the “German Tragic Drama” and the work of the “Passages”, at the center of which is the concept of montage. Finally, resorting to Marxist influence, the text outlines some political consequences of this art criticism that, developed from youth, remains in the texts of maturity. (shrink)

Wichtige Aspekte der Spinoza-Rezeption sind lange Zeit im Hintergrund geblieben. Spinoza galt seit dem öffentlich gemachten Bekenntnis des Aufklärers Lessing zum Hen kai Pan als Vertreter einer Substanzenontologie für Atheisten. Friedrich Heinrich Jacobi war es, der 1785 und 1789 eine breite Debatte um Pantheismus, Atheismus, letztbegründende Prinzipien der Metaphysik, ferner um Freiheit und Notwendigkeit auslöste. Spinozas Trieb- und Affektenlehre blieb in der Forschung weitgehend unbeachtet. Weniger lautstark als im ausgehenden 18. Jahrhundert, aber durchaus wirksam, ist Spinoza im 20. und 21. (...) Jahrhundert durch Denker wie Gilles Deleuze oder den Neurologen Antonio Damasio erneut in den Fokus der Aufmerksamkeit geraten. Diesmal ist es Spinozas vormals wenig beachtete Affektenlehre, die für Theorien vom ganzen, nicht bloß vom einseitig rationalen Menschen Interesse weckte. Galt das Interesse der Aufklärung der Rationalität des Denkens, die gegen Aberglauben und Irreführungen der Vernunft ins Recht zu setzen war, so wenden sich das 20. und das 21. Jahrhundert der Entdeckung der Intelligenz und Rationalität der Gefühle zu – zuerst in der Psychologie, bald auch in der Philosophie. Der Band nimmt das neue Interesse an Spinoza zum Anlass zu untersuchen, ob und inwieweit im Deutschen Idealismus, in der Romantik und im 19. Jahrhundert bis heute der andere Spinoza, der Spinoza einer bemerkenswerten Trieb- und Affektenlehre sowie des amor Dei intellectualis, wahrgenommen wurde. Die Beiträge zu Spinoza selbst, zu Jacobi, Kant, Fichte, Schelling, Hegel, Hardenberg/Novalis, Friedrich Schlegel, Schleiermacher, schließlich zu Nietzsche, Freud, Sartre, Lacan, Deleuze zeigen, dass dieser andere Spinoza durchaus in der einen oder anderen Weise gesehen wurde. Mit Beiträgen von Karl Ameriks, Andreas Arndt, Ulrich Barth, Wolfgang Bartuschat, Arno Böhler, Konrad Cramer, Bärbel Frischmann, Patrizia Giampieri-Deutsch, Ulrike Kadi, Thomas Kisser, Jane Kneller, Konrad P. Liessmann, Elizabeth Millán, Ursula Renz, Helma Riefenthaler, Violetta L. Waibel, Reiner Wiehl und Jure Zovko. (shrink)

Abstract: Nietzsche and the Early Romantic Concept of Critique. Nietzsche is usually considered a fierce critic of romanticism. It is often overlooked, however, that his criticism mainly concerns the late European romanticism, while his attitude towards early German romanticism is characterized by appreciative ambivalence. In light of the early romantic concept of criticism, this paper exa-mines the affinities between Nietzsche and two important representatives of early philosophical Romanticism: Friedrich Schlegel and Novalis. Specifically, it exhi-bits the systematic continuity a) (...) between the concept of romanticising (romanti-sieren) and Nietzsche’s perspectivism, and b) between the early romantic idea of ‘infinite reflection’ and Nietzsche’s talk of a ‘new infinity’. (shrink)

In der Literatur der deutschen Romantik wird die jüdische Mystik auch von christlichen Autoren wie Novalis, F. Schlegel, Brentano, Arnim und E.T.A. Hoffmann entdeckt. Während die Kabbala bei Theologen und Philosophen der Romantik als religiöse Urlehre der Menschheit und als Brücke zwischen rabbinischer Tradition und Christentum galt, fasziniert sie die Literaten als esoterische jüdische Zauber- und Geheimlehre sowie als Trope einer die Rationalität und die Autorenintentionen übersteigenden, magischen Eigenmächtigkeit von Sprache und Schrift.

This article attempts to expose an unwarranted narrowness in the study of idealism in nineteenth century philosophy, and to show that the field of idealism is much wider than usually assumed. This narrowness stems from the influence of Hegel’s history of philosophy, which saw the idealist tradition as beginning in Kant, passing through Fichte and Schelling, and then culminating in his own system. This conception of history has been disseminated by Hegel’s followers and still prevails today. I argue that this (...) conception is too narrow for several reasons. First, it ignores the romantic idealists (Hölderlin, Novalis, Schlegel); second, it excludes the opposing tradition of idealism of Herbart, Fries and Beneke, which affirmed (against Schelling and Hegel) transcendental idealism, an empiricist epistemology, the existence of the thing-in-itself and the value of the Kantian dualisms; and, third, it neglects the history of idealism after Hegel later in the nineteenth century, more specifically, the idealism of Trendelenburg, Lotze and Hartmann. (shrink)

SummaryIn his doctoral dissertation—The Concept of Criticism in German Romanticism, finished in 1919 and published as a book in 1920—Walter Benjamin explores the epistemological and aesthetic foundations of the concept of criticism expounded by the early German Romantics Friedrich Schlegel and Novalis. Many of the themes in the dissertation recur in his later work, which has led scholars to believe that much of Benjamin's thought is directly influenced by the Romantics. However, a detailed investigation of the origins and (...) development of the dissertation reveals that the picture is much more complicated. Reading the dissertation alongside the biographical material now available, this article argues that the major themes which preoccupy Benjamin in The Concept of Criticism in German Romanticism, including his theories of language and knowledge as well as his messianic philosophy of history, in fact predate his study of the Romantics. As well as being a potential entry ticket to an academic career, the dissertation constitutes Benjamin's first sustained attempt to develop and consolidate his own epistemology and aesthetics in a more or less systematic way. He does so through a series of ‘judicious interpretations’ of the Romantics, whose work he reads selectively, anachronistically and creatively to provide a vehicle for his own thought. (shrink)

In order to understand Hegel's approach to philosophy, we need to ask why, and how, he reacts to the well-known criticism of German Romantics, like Novalis and Friedrich Schlegel, against philosophical system building in general, and against Kant's system in particular. Hegel's encyclopedic system is a topical ordering of categorically different ontological realms, corresponding to different conceptual forms of representation and knowledge. All in all it turns into a systematic defense of Fichte's doctrine concerning the primacy of us (...) as actors with respect to any knowledge claim or scientific theory. Hegel's limitations of the principle of causality and of the possibility of using mathematical methods in science show, in fact, how a merely compatibilist solution of Kant's third antinomy can be overcome. (shrink)

Azade Seyhan provides a concise, elegantly argued introduction to the critical theory of German Romanticism and demonstrates how its approach to the metaphorical and linguistic nature of knowledge is very much alive in contemporary philosophy and literary theory. Her analysis of key thinkers such as Friedrich Schlegel and Novalis explores their views on rhetoric, systematicity, hermeneutics, and cultural interpretation. Seyhan examines German Romanticism as a critical intervention in the debates on representation, which developed in response to the philosophical (...) revolution of German Idealism. Facing a chaotic political and intellectual landscape, the eighteenth-century theorists sought new models of understanding and new objectives for criticism and philosophy. _Representation and Its Discontents_ identifies the legacy of this formative moment in modern criticism and suggests its relevance to contemporary discussions of post-structuralism, orientalism, theories of textuality, and the nature of philosophical discourse. (shrink)