The Aesthetics of Fear in German Romanticism by Paola Mayer

2021 ◽  
Vol 90 (3) ◽  
pp. 444-445
Author(s):  
John Gill
Keyword(s):  
German Romanticism

As dúvidas de Kierkegaard: ou sobre o legado pedagógico do romantismo alemão

2018 ◽  
Vol 11 (1) ◽  
pp. 223-238
Author(s):  
Jean Vargas
Keyword(s):  
Nineteenth Century ◽  
Soren Kierkegaard ◽  
German Idealism ◽  
Sao Paulo ◽  
Harvard University ◽  
German Romanticism ◽  
São Paulo ◽  
Don Juan ◽  
Cambridge University ◽  
Belo Horizonte

Resumo: O artigo leva em conta a recepção de Kierkegaard sobre o modo como os românticos lidam com o conhecimento e argumenta que o dinamarquês tem algo a dizer sobre temáticas de educação que estão hoje na ordem do dia. O artigo mostra ainda como Kierkegaard lida com temas transdisciplinares e em que medida a herança romântica, em contraposição ao legado iluminista, o ajuda a conceber sua reflexão pedagógica e existencial.Palavras-chave: Kierkegaard. Educação. Romantismo alemão. Pedagogia. Dúvida Abstract: The article takes into account Kierkegaard's reception of how the romantics deal with knowledge and argues that the Danish has something to say about education issues that are today the order of the day. The article also shows how Kierkegaard deals with transdisciplinary themes and to what extent the romantic heritage, in contrast to the enlightened legacy, helps him to conceive his pedagogical and existential reflection. Keywords: Kierkegaard. Education. German romanticism. Pedagogy. Doubt. REFERÊNCIASBEISER, Frederick. German Idealism: The Struggle against subjectivism 1781-1801. Londres: Harvard University Press, 2002.BERLIN, Isaiah. As raízes do romantismo. São Paulo: Três Estrelas, 2015.GRAMMONT, Guiomar de. Don Juan, Fausto e o Judeu Errante em Kierkeggard. Petrópolis: Catedral das Letras, 2003.KIERKEGAARD, Søren. Johannes Clímacus ou é preciso duvidar de tudo. São Paulo: Martins Fontes, 2003.KIERKEGAARD, Søren. Ponto de vista explicativo da minha obra de escritor: uma comunicação direta, relatório à História. Tradução de João Gama. Lisboa: Edições 70, 2002._______. Ou-ou: um fragmento de vida. Volume I. Tradução de Elisabete M. de Sousa. Lisboa: Relógios’d’água, 2013a._______. Pós-escrito conclusivo não científico às Migalhas filosóficas: coletânea mímico-patético-dialética, contribuição existencial, por Johannes Climacus.  Tradução de Álvaro L. M, Valls. Petrópolis: Vozes, 2013. v.1._______. Temor e Tremor. Tradução de Maria José Marinho. São Paulo: Abril cultural, 1974. (Os pensadores).LÖWITH, Karl. De Hegel à Nietzsche. Tradução de Rémi Laureillard, Paris: Gallimard, 1969.PATTINSON, George. Kierkegaard, Religion and the Nineteenth-Century Crisis of Culture. Cambridge : Cambridge University Press, 2004.SAFRANSKI, Rudiger. Romantismo: uma questão alemã. Tradução de Rita Rios. São Paulo: Estação Liberdade, 2010.VALLS, Álvaro; MARTINS, Jasson. (Org.). Kierkegaard no nosso tempo. São Leopoldo: Nova Harmonia, 2010.VARGAS, Jean. Kierkegaard entre a existência e o niilismo. Puc Minas: Sapere Aude, Belo Horizonte, v.6–n.12, Jul./Dez.2015, p. 657-671.VARGAS, Jean. Indivíduo e multidão: uma reflexão sobre o lugar da ética no pensamento de Søren Kierkegaard. UFMG: Outramargem, Belo Horizonte, V.  - n., 2 Semestre 2014, p. 99-109.

Aesthetics

2018 ◽  
Author(s):  
Michael N. Forster
Keyword(s):  
Systematic Approach ◽  
Semantic Content ◽  
Moral Values ◽  
Science And Religion ◽  
Individual Variability ◽  
German Romanticism ◽  
Philosophy Of Literature ◽  
Aesthetic Values

Aesthetics, or the philosophy of literature and art, was one of Herder’s main focuses. By valorizing these areas of culture (in comparison with others such as science and religion) and in several other ways he prepared the ground for German Romanticism. He also established many principles of great intrinsic importance: rejecting apriorism and systematization in aesthetics in favor of an empirical, non-systematic approach; insisting that arts such as sculpture and painting express meanings and therefore require interpretation; recognizing the central role of genre not only in literature but also in such arts; perceiving the deep historical, cultural, and even individual variability of literature and art in respect of semantic content, genre, moral values, and aesthetic values, plus the major implications this variability has for both interpretation and evaluation; developing a set of radical views concerning beauty; and emphasizing the importance of literature and art as means of moral pedagogy.

Ästhetisch konstruierte Traditionen?

2019 ◽  
Vol 44 (2) ◽  
pp. 442-470
Author(s):  
Torsten Voß
Keyword(s):  
Discursive Practice ◽  
German Romanticism ◽  
Literary Field ◽  
Avant Garde ◽  
Art And Literature ◽  
European Tradition ◽  
Concept Of Beauty

Abstract Throughout various literary and artistic periods, artists have referred to or even converted to Catholicism as a means of conjuring a certain perception of a European tradition. In doing this, they seek to create an aesthetic of romanticism and/or an idea and concept of beauty, the artist, artwork etc. After giving a brief overview of this discursive practice in modern avant-garde movements, this article focuses on early forms of literary Catholic movements, such as the French Renouveau catholique and François-René de Chateaubriand’s Le Génie du Christianisme (The Genius of Christianity), as well as Novalis’ ‘invention’ of German romanticism in his essay Die Christenheit oder Europa (Christianity or Europe). It shows that there are a variety of parallels to be identified across these periods and places, namely, in programs, performances, rhetoric-building and group-building processes, and in cultivating an anti-bourgeois distinction, both in the texts themselves and in the positioning of the artists within the literary field. Despite accusations of being reactionary, writers and artists who elaborate a Catholic concept of art and literature aim to develop a traditionalist and anti-modern stance within (aesthetical and social) modernity.

The Invention of Poetry in Early German Romanticism

2016 ◽  
Vol 47 (2) ◽  
pp. 110-114
Author(s):  
Gerald L. Bruns
Keyword(s):  
German Romanticism

Idea and Actualization: Bruno Maderna's Adaptation of Friedrich Hölderlin's Hyperion

2012 ◽  
Vol 36 (2) ◽  
pp. 172-190
Author(s):  
Brent Wetters
Keyword(s):  
German Romanticism ◽  
Epistolary Novel ◽  
Modernist Project ◽  
Friedrich Hölderlin

Abstract Among characterizations of the Darmstadt Summer Courses, none is more pervasive than the assertion that Darmstadt represented an intense Modernism, in particular a form of Modernism diametrically opposed to the excesses of Romanticism. But if Darmstadt is to be understood as a response to Romanticism, what are we to make of the ascendancy of Friedrich Hölderlin, a key figure in German Romanticism, as a source for texts? Hölderlin's texts have been a perennial favorite for Darmstadt composers since its inception, but Bruno Maderna undertook the most ambitious use of Hölderlin's works during the period from 1960 to 1969. Maderna's Hyperion, a collection of works based on Hölderlin's writings, amounted to no less than a rethinking of the Modernist project—one that does not shrink from its roots in Romanticism. Like the epistolary novel on which it is based, its idea is only approached through an interchangeable series of fragments, thereby engaging Romantic ideals of the work. Maderna's Hyperion continually awaits its completion through performance.

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