Liminal Figurations of the Vampire in the German Enlightenment, Sturm und Drang and Romanticism

2015 ◽  
pp. 41-60 ◽  
Author(s):  
Raul Calzoni
Author(s):  
Frederick Beiser

Hamann was one of the most important critics of the German Enlightenment or Aufklärung. He attacked the Aufklärung chiefly because it gave reason undue authority over faith. It misunderstood faith, which consists in an immediate personal experience, inaccessible to reason. The main fallacy of the Aufklärung was hypostasis, the reification of ideas, the artificial abstraction of reason from its social and historical context. Hamann stressed the social and historical dimension of reason, that it must be embodied in society, history and language. He also emphasized the pivotal role of language in the development of reason. The instrument and criterion of reason was language, whose only sanction was tradition and use. Hamann was a sharp critic of Kant, whose philosophy exemplified all the sins of the Aufklärung. Hamann attacked the critical philosophy for its purification of reason from experience, language and tradition. He also strongly objected to all its dualisms, which seemed arbitrary and artificial. The task of philosophy was to unify all the various functions of the mind, seeing reason, will and feeling as an indivisible whole. Although he was original and unorthodox, Hamann’s critique of reason should be placed within the tradition of Protestant nominalism. Hamann saw himself as a defender of Luther, whose reputation was on the wane in late eighteenth-century Germany. Hamann was also a founder of the Sturm und Drang, the late eighteenth-century literary movement which celebrated personal freedom and revolt. His aesthetics defended creative genius and the metaphysical powers of art. It marked a sharp break with the rationalism of the classical tradition and the empiricism of late eighteenth-century aesthetics. Hamann was a seminal influence upon Herder, Goethe, Jacobi, Friedrich Schlegel and Kierkegaard.


2020 ◽  
Vol 102 (3) ◽  
pp. 477-512
Author(s):  
Alessandro Nannini

AbstractIn this essay, I investigate Baumgarten’s doctrine of the six perfections of knowledge (wealth, magnitude, truth, clarity, certainty, and life), which is famously one of the most characteristic and enigmatic features of his philosophy. Recent scholarship has almost unanimously stressed the rhetorical background of the categories. Instead, I argue that Baumgarten elaborates his theory in close relationship with coeval philosophy. To support this claim, I examine the position of some Thomasian philosophers, such as Johann Liborius Zimmermann, who had indicated a list of criteria similar to that of Baumgarten. Moreover, I analyse the distinction between formal and material perfections, tracing it back to the Wolffian milieu. On these bases, I propose a new reconstruction of Baumgarten’s doctrine, with particular attention to its aesthetic application. Finally, I outline the reception of the six categories in the late German Enlightenment until Kant.


2004 ◽  
Vol 57 (2) ◽  
pp. 231-284 ◽  
Author(s):  
Matthew Head

This article explores the cultural meanings of female musical authorship in the late German Enlightenment through a case study of Charlotte (“Minna”) Brandes, a composer, keyboardist, and opera singer. With Minna's death in 1788 at the age of twenty-three, her father, the playwright Johann Christian Brandes, and her close friend and teacher Johann Friedrich Höönicke prepared two memorials to her memory, a biography and a collection of her music, the latter titled Musikalische Nachlass von Minna Brandes (Hamburg, 1788). These memorials situated her authorship in the contexts of pedagogy and education, the composition of occasional works for the home, and the solace offered by music amidst bereavement and illness. The principal discourse was of death itself. Minna's memorialization shared with the novels of Goethe a topos of the beautiful female dead in which the female corpse (or its representation) was exhibited as a beautiful artifact. Death turned Minna from composer into a passive, aestheticized object of male authorship. These discursive contexts contained Minna's activities as a composer within a framework of bourgeois femininity. Both Minna's father and her teacher were at pains to stress that she sought neither fame nor fortune from her compositions. However, such representations of Minna were misleading. Her collected works suggest she was working toward a published collection of strophic German songs and toward the composition of operatic music for her own performance. The idealizing tropes of the memorials are also challenged by Johann Christian's later memoirs in which his daughter's turn to composition is situated in what he described as her multiple breaches of deferential daughterly conduct. Minna's reported profligacy during her final illness may have stimulated the posthumous publication of her music, which was possibly a form of fund raising for her multiply bereaved father, a corrective to his emotional and financial loss. The healthy list of 518 subscribers indicates that youthful female death was marketable as a topos occasioning the pleasures of melancholy.


MLN ◽  
1975 ◽  
Vol 90 (5) ◽  
pp. 707
Author(s):  
Markus F. Motsch ◽  
Walter Schatzberg

2003 ◽  
Vol 76 (3) ◽  
pp. 332
Author(s):  
Karin A. Wurst ◽  
Andreas Meier ◽  
Hans-Gerd Winter

2016 ◽  
Author(s):  
Günter Peters

Mit dem vorliegenden Buch liegt die erste Gesamtdarstellung der Rezeptions- und Wirkungsgeschichte des Prometheusmythos in deutscher Sprache vor. Nicht durch die Ausbreitung beliebiger Fülle wird die bis heute ungebrochene Signifikanz dieses Mythos anschaulich gemacht, vielmehr zeigt der Autor in Lektüren, Analysen und Interpretationen modellbildender Texte aus seiner Geschichte und an verblüffend aktuellen Inanspruchnahmen im Alltag der Gegenwart, wie sich aufgrund der Nachhaltigkeit und Novellierbarkeit des Prometheus-Mythos Figuren der Erkenntnisbildung und Methoden der Wirklichkeitsreflexion im Bereich von Literatur, Kunst, Philosophie, Wissenschaft und Kritik scharf und differenziert ausprägen. Von den Anfängen der kulturellen Überlieferung bis in die unmittelbare Gegenwart reicht die ›Arbeit am Mythos‹ von Prometheus. Hesiod, Aischylos, Platon, Aristophanes und Lukian führen ihn als Schlüsselfigur in den mythologischen, literarischen und philosophischen Diskurs ein. Im Agon des Titanen mit dem Gott Zeus formieren sich die Grundstrukturen des menschlichen Daseins. Die Verknüpfung mit Gestalten wie Epimetheus, Pandora oder Herakles steigert die Vielbezüglichkeit des Mythos und setzt ein Bilder-Denken in Polaritäten und Konstellationen in Gang. In Renaissance und Barock, Aufklärung und Romantik artikulieren Autoren wie Boccaccio, Bacon, Calderón, Voltaire und Rousseau Reichweite und Kritik neuzeitlicher Wissenschaftskonzepte und Gesellschaftsentwürfe durch Auslegung und Umarbeitung seines Mythos. Zur Identifikationsfigur für das rebellische Künstlergenie geworden, verkünden Goethe, Herder und der ›Sturm und Drang‹ in Prometheus antiabsolutistisches Freiheitsbegehren, schöpferischen Autonomieanspruch und klassische Humanitätsidee. Am Feuer des Prometheus entzündet sich die technologische Phantasie in Wissenschaft wie Science Fiction, gleichzeitig leiten technikkritische Stimmen ihre Argumente aus seinem Mythos ab. Auf Prometheus berufen sich Apologeten und Kritiker sozialistischer wie marktliberaler Gesellschaftsentwürfe.


1960 ◽  
Vol 64 (595) ◽  
pp. 395-398 ◽  
Author(s):  
Alexander M. Lippisch

The Revival of interest in flight by man's own muscle power brings back to me some early attempts to solve this problem some 30 years ago.Needless to say I was—and still am—sold on this idea ever since reading Lilienthal's famous book as a youngster in school. Then came the Wright Brothers and the early years of flying and the years of the First Great War at the end of which I found myself as an Aerodynamicist, designing wing sections and calculating induced drag according to Prandtl's newly discovered wing theory.The end of the war found us meditating about gliding and the possibility of soaring flight. And so came the Rhoen, and the “Sturm und Drang” of the years on the Wasserkuppe.


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