German literature of the Goethezeit

La poetologia della conoscenza di Heinrich von Kleist si configura come un viaggio nella mente umana, nelle sue capacità conoscitive e immaginative, nelle sue labilità e nei suoi trascendimenti. La totalità romantica è infranta e il linguaggio è il materiale magmatico di attraversamento del reale e della mente: in ciò si esprime un progetto epistemico che, muovendo dall’orizzonte biologico della corporeità, si realizza, in virtù della forza poietica del linguaggio, nella narrazione.

Der Briefwechsel zwischen Goethe und Tieck beginnt im Jahr 1798 und endet am 24. September 1829.  In diesen 31 Jahren ist aber die Beziehung zwischen den beiden Dichtern voller Spannungen und Missverständnissen. Man kann nicht einen Diskurs über Ludwig Tieck beginnen, ohne auf das Verhältnis der Haßliebe zwischen dem romantischen Geist Tieck's und dem olympischen Goethe zu stoßen. Es wird tatsächlich sofort ein Zweifel ausgeraumt, der viel zu lange die Gelehrten geprägt hatte: Der goetische Faust und die zwei Teile des Gestiefelten Katers (der zweite Teil, also Prinz Zerbino, wurde bisher zugunsten des ersten vernachlaßigt) sind zueinander antithetisch zu sehen, wenn auch in gewisser Weise-parallel.

The essay addresses Goethe’s reception of Milanese literature and the work of Alessandro Manzoni. On the one hand, Goethe’s interest for Milan should be understood in the context of his late work; on the other hand, the analysis of his confrontation with the culture of the Lombard metropolis opens up new critical perspectives on the late work of the German author.

Around 1800, the travel narrative bifurcated into two distinct traditions: the first-person travel essay or travel memoir and the travel guidebook. The article compares Goethe’s Italian Journey and Mariana Starke’s Letters from Italy as two texts that have shaped the discourse on how travel differs from tourism, how sights should be seen, and what accounts for an authentic travel experience. The article shows how both writers created the ‘edited’ tour that no longer focused on everything that could be seen. Starke created a truncated, but unified body of knowledge for her readers that became the blueprint for future guidebooks, while Goethe defined a unified mode of perception that still defines the travel memoir today.

Keywords travel, tourism, cultural identity, Goethe’s Italienische Reise, Mariana Starke, travel narratives

Данная монография - первое в отечественной (и одно из немногих в зарубежной) фонологической науке исследование эволюции едва ли не самого значительного "вечного" образа мировой культуры в литературе новейшего времени. Трансформация гётевского героя в русской и зарубежной словесности XX в., прослеженная на материале творчества десятков писателей, как широко известных (Т. Манн, К. Манн, Г. Гессе, П. Валери, Г. Стайн, Дж. Керуак, Ф. Дюрренматт, М. Горький, Л.М. Леонов, В.Я. Брюсов, И.Л. Сельвинский, М.А. Булгаков, И.А. Бродский и др.), так и менее знакомых массовому читателю, приводит к мысли о кризисе "знакового" персонажа века Просвещения в нашу эпоху разочарования в безусловной правоте человеческого дерзания. Монография снабжена библиографией русской и зарубежной художественной и литературоведческой фаустианы XX в., иллюстрациями и указателем.

Для литературоведов и культурологов, научных работников, преподавателей, аспирантов и студентов, а также всех тех, кого интересует судьба Фауста в художественном сознании нашего времени.

G.V. Yakusheva. Faustus Facing Temptations of the 20th Century. Goethe's Character in Russian and Foreign Literatures. M., Nauka, 2005. 235 p.

(Tese de doutorado defendida em 2016, Universidade de São Paulo)
Este trabalho trata da ficção histórica de Goethe em duas fases de sua obra. Em primeiro lugar se ocupa do drama pioneiro do Sturm und Drang, Götz von Berlichingen (1773), para então se voltar às Revolutionsdichtungen — conjunto de obras produzidas entre 1791 e 1803, período auge do Classicismo de Weimar, em que o autor emitiu juízos sobre diferentes fases da Revolução Francesa. Ao optar por tal tema, visou-se resgatar Goethe como um importante participante do debate histórico-filosófico que começa com os iluministas e culmina no pensamento político da Restauração. Por esse motivo a pesquisa se iniciou com uma busca dos antecedentes do drama histórico do Sturm und Drang, voltando a Gottsched e Lessing.
Geralmente o desenvolvimento da ficção histórica do século XVIII é tomado como passivo em relação aos avanços da filosofia ilustrada, como se uma consciência histórica propriamente moderna houvesse aflorado em certos escritores a partir das leituras que fizeram de novas teorias da época. Contra tal suposição, defendeu-se que há na beletrística alemã da virada do século algumas formulações acerca da relação entre indivíduo e processo histórico que, antes de tudo, desafiaram o progressismo dos iluministas tardios, para os quais o advento da Revolução Francesa marcava o próximo passo no aperfeiçoamento da humanidade. Acompanhar o modo como a história foi tratada nas obras do Sturm und Drang até as do Classicismo de Weimar permite-nos, ademais, constatar a radical atualização da missão da cultura literária, que deveria então lidar com as emergências do presente. A literatura almejada naquele contexto deveria funcionar como uma contracorrente do senso comum e um veículo intelectual autônomo, capaz de erguer-se além das paixões partidárias e posicionar corretivos para as contradições contemporâneas. Tais corretivos traziam o diferencial de serem desvinculados das ciências, religião, cultura política ou sabedoria popular — a nova arte deveria, assim, ser tomada como autônoma na medida em que podia cindir radicalmente com a cultura do presente em crise, tornando possível o surgimento de um ideal renovado de humanidade e de vida conjunta que a própria Revolução Francesa não foi capaz de concretizar. Aqui reside o que há de mais polêmico —e moderno— nas chamadas Revolutionsdichtungen e no Classicismo de Weimar como um todo.

Il mito letterario di don Giovanni, sorto nella commedia, attorno al 1800 viene riformulato in direzione del tragico. La trasformazione inizia con la versione operistica di Mozart-Da Ponte e trova compimento nel racconto di Hoffmann, che proietta il nuovo tono tragico del finale mozartiano su tutto il mito. L’articolo intende porre in rilievo la presenza nel Don Juan di numerosi richiami intertestuali al Faust di Goethe, finora non pienamente rilevati dalla critica, attraverso i quali è possibile leggere tale riscrittura tragica come una dichiarata sintesi dei due miti, in cui don Giovanni assume il ruolo di Faust-Mefistofele e donna Anna quello di Gretchen. La riscrittura del mito culmina nel finale rispecchiamento del narratore in Anna-Gretchen. Ma il valore del tragico è relativizzato in Hoffmann dall’ironica autocoscienza dell’artista romantico: confinato nel mondo fantastico dell’arte, risulta privo di senso nella prosaica realtà della vita borghese.

Since "Iconoclash" (see the review above), iconoclasm and related terms have been taken as fundamental, general categories for the interpretation of pictures. This essay is part of a project to historicize that interest, which I think goes to a late twentieth- and early twenty-first-century assumption about what pictures are.

[Revised March 2013]

The essay argues that the sublime, and especially the postmodern sublime, is an intricate and unresolved concept, and that it is not often coherent or necessary to import it into discourse on contemporary art.

This was also published as “Gegen das Erhabene," in Das Erhabene in Wissenschaft und Kunst: Über Vernunft und Einbildungskraft, edited by Roald Hoffmann and Iain Boyd Whyte (Berlin: Surhkamp: 2010): 97–113.

Johann Wolfgang von Goethe ist der wohl bekannteste Dichter, sein Faust das wohl bekannteste Werk und sein gleichnamiger Titelheld die wohl bekannteste Figur der deutschen Literaturgeschichte. Doch trotz der umfangreichen Autor- und Stoffgeschichte gibt es aufgrund der unüberschaubaren Materialmengen bisher keine umfassende Darstellung der Faust-Rezeption. Ziel dieser Diplomarbeit ist demnach eine rezeptionsgeschichtliche Untersuchung der literaturwissenschaftlichen Aufnahme der dramatis persona Faust auf Grundlage ausgewählter Quellentexte und Sekundärliteratur im diachronen Vergleich – also die genauere Betrachtung eines kleinen Ausschnittes zur Rezeptionsgeschichte der Goetheschen Gelehrtenfigur. Die exemplarische Fallstudie folgt der Frage, welche soziopolitischen, mentalitäts- aber auch fachgeschichtlichen Einflüsse eine entsprechende Faust-Deutung in den untersuchten Abschnitten des 19., 20. und 21. Jahrhunderts determinierten, und ob Goethe und sein Faust tatsächlich als Erinnerungsorte eines wie auch immer gearteten „typisch Deutschen“ gewertet werden dürfen. Abschließend finden sich zudem konkrete Umsetzungsideen für den Unterricht der Sekundarstufe II.

Goethe a effectué deux voyages en Italie, et au cours de ces deux voyages a séjourné à chaque fois dans la cité des doges. La première fois en 1786, la seconde en 1790. Le récit qu’il nous en a fait dans son Voyage en Italie paru en 1816-1817, pratiquement contemporain du Rome, Naples et Florence de Stendhal, a été rédigé presque trente ans après son séjour et a été remanié pour fournir à son public une certaine image non seulement de l’Italie, mais principalement de lui-même comme poète. Or, ce récit sous forme de journal ne reprend pas tous les éléments contenus dans son journal personnel, dans celui destiné à Charlotte von Stein ou même dans les lettres à Charles-Auguste, mais est bien plutôt un réaménagement de ce qu’il a vécu. D’autre part, ses impressions italiennes ont été aussi consignées dans des ouvrages à caractère plus fortement littéraire comme le sont les Élégies romaines (1788-90/1795) ou les Épigrammes vénitiennes (1790/1795). Or, force est de constater que les images de la cité vénitienne sont là encore différentes de celles des autres ouvrages.

Our current geological epoch, provisionally called the Anthropocene, has come into being with the increasingly intensive extraction and utilization of fossil fuels by human beings. One might say that the Anthropocene is the era of humanity writ large across the planet. While it seems that we are the power, it would be more accurate to say that much of industrialized human power in this new geological era is enabled by the access to and use of concentrated forms of energy driving our technologies, global transportation systems, and modern agricultural practices. Timothy Morton states that however problematic the term the Anthropocene is, it nevertheless de-emphasizes human exceptionalism so that “the Anthropocene is the first truly anti-anthropocentric concept” (Morton 2014, 6). There are numerous non-human factors influencing our era, including other life forms and all kinds of active matter such as carbon dioxide, various types of pollution and waste, the shifting weather patterns bringing drought and floods, and the warming climate, among others. Some of the most significant agents of change in these flows of energy and matter are, to reiterate, fossil fuels; indeed, high-tech industrialized (human) culture since the eighteenth century is now being described as an “oil culture” or a “petroculture.” This chapter addresses the impact of fossil fuels on cultural productions with the help of material ecocriticism, the branch of ecocriticism that analyses how human and nonhuman agencies exchange energy, matter, and information.

This article argues for an understanding of Kant’s race theory as an integral part of his idea of nature and of humans in nature as presented in his Critique of the Power of Judgment (Kritik der Urteilskraft, 1790).  It places an examination of Kant and Forster’s debate over race, which was ignited in 1785 upon the publication of Kant’s second essay on race, “Definition of a Concept of a Human Race” (“Bestimmung des Begriffs einer Menschenrace”), in the context of an illumination of the connections between aesthetics and anthropology in Kant’s Observations on the Feeling of the Beautiful and Sublime (Beobachtungen über das Gefühl des Schönen und Erhabenen, 1764) and Forster’s Voyage round the World (Reise um die Welt 1777). Forster responded to Kant’s new “race” classifications, which were based essentially on skin color, with “Still More about the Human Races” (“Noch etwas über Menschenraßen,” 1786). This article shows that Kant then developed his scientific theory and his idea of a teleological nature as presented in his Critique of the Power of Judgment, at least in part, in order to provide a unifying theoretical basis for his race theory so that it could withstand the scrutiny of an empirical scientific method based on deductive logic, such as that advanced by Forster. While Forster’s strict empiricism, perspectivism, and rejection of “race” as a scientific classification reflect an underlying, distinctly modern, concept of the natural world, Kant’s nature, as presented in his third Critique, reveals a metaphysically-based structure supporting a universal cosmopolitanism, but veils a particular European perspective that allows a damaging global authority on difference.

This article investigates the intellectual history of the argument for the antiquity of Exodus 34,11–26. In the contemporary debate about pentateuchal theory, a question that remains insufficiently addressed is how and why the idea originally developed that the unit represents an ancient, independent, pre-Deuteronomic legal source. Wellhausen credited the idea to Johann Wolfgang von Goethe’s “Zwo bisher unerörterte biblische Fragen . . .” (1773). Like Goethe, Wellhausen regarded the unit as a “ritual Decalogue,” in contrast to the “ethical Decalogue” of Exodus 20. The distinction helped Wellhausen consolidate the classical model of the documentary hypothesis: he attributed the cultic Decalogue to the Yahwist and the ethical to the Elohist. Despite the importance of Goethe’s essay to the history of pentateuchal criticism, it is not clear that its arguments have previously been investigated.

Keywords: Julius Wellhausen, Johann Wolfgang von Goethe, Baruch Spinoza, Zwo bisher unerörterte biblische Fragen, Dekalog, Decalogue, Pentateuch, Exodus, German Jewish history, Christian Jewish relations, Ten Commandments, history of biblical scholarship, German Romanticism, Pentateuchal theory, documentary hypothesis, German intellectual history, Old Testament, cultic Decalogue, ethical Decalogue, ritual Decalogue, Covenant Code, Elohistic source, Yahwistic source, Exod. 34:11-26, Romans 11

La massoneria ha caratterizzato la vita politica, sociale e culturale dell’Europa del Settecento, influenzando anche l’opera di intellettuali, artisti e scrittori.
Questo studio analizza le modalità con le quali la letteratura europea, e in special modo la tedesca, tra Sette e Ottocento, ha rielaborato narrativamente ed esteticamente motivi e tematiche provenienti dall’ambito massonico.
Con lo sguardo rivolto alle dottrine e alle pratiche rituali libero-muratorie e alla nascente cultura dei media nel Settecento, nel libro si dimostra come le opere prese in considerazione possano essere interpretate quali vere e proprie performances culturali e rituali che intendevano coinvolgere anche i lettori o gli spettatori nella stessa «esperienza» che avveniva nello spazio segreto ed «eterotopico» delle logge.
In tal senso, si individuano significativi nessi tra le pratiche iniziatiche massoniche e quelle letterarie proprie della Goethezeit.

Professor Willoughby cited Jung’s theory of the collective unconscious when offering a way to explain  the frequency of the word “Wanderer”  in Goethe’s poetry and  of recurrent patterns it forms with other words. However Professor Willoughby had insufficient scope to reap much benefit from his insight as only intertextual comparisons between cases of word choice in Goethe’s poetry and in that of other poets affords the breadth necessary to trace the influence of something as all-pervasive as the collective unconscious postulated by Jung.

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È qui presentata la traduzione integrale in italiano degli scritti filosofici e scientifici di Novalis: se il pensiero novalisiano viene spesso relegato ai frammenti che lo compongono, questa edizione ne mostra la profonda coerenza, inserendoli nel contesto di una esperienza filosofica multiforme. La filosofia di Novalis tende infatti al sistema in maniera paradossale: dopo gli studi su Fichte, Kant e Hemsterhuis, abbandona progressivamente l’ambito tradizionale per entrare in un dialogo stretto e interno con le scienze della natura, dalla matematica alla fisica, dalla chimica alla medicina, dalla mineralogia alla cristallologia. Pur nel carattere incompiuto e ancora incandescente che la caratterizza, è una filosofia che va considerata alla pari di quella dei maggiori pensatori a lui contemporanei.

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At the latest Romantic poets languished under the burden of not being sure about the nature of the inspiration they most urgently needed. Has this crisis something to do with the prominence of the word wanderer and related forms in the eighteenth and nineteenth centuries?

Though in somewhat of a rough and ready condition as far as points of organization are concerned, this investigation into "wandering" exposes an attempt to grapple with a phenomenon I associate with the term 'wandering,' most readily brought to mind by poems such as "Wandrers Nachtlied" by Goethe and "I wandered lonely as a cloud' The introduction should help to elucidate the nature of the phenomenon in question in detail.

ABSTRACT: "When August, Duke of Weimar, encountered Goethe´s Märchen, which had just been published anonymously in 1792, he send a note to the author, emphatically stating his conviction that “this so-called Fairy Tale must have flown from the same hand that wrote the Apokalypse of John!” Goethe responded, that he completely agreed with the Duke´s seemingly bold thesis, pointing out that the story had “indeed all characteristics of a prophecy, even the most prevalent one, namely to pertain to the present as well as to the past and the future.” Notwithstanding the humorous nature of this exchange, both statements are perplexing. Nothing seems, after all, to be further removed from the spiritualistic otherworldliness and the gloom and doom of biblical apocalypticism than the optimistic and life-affirming Weltanschauung that characterizes Goethe’s work. A closer look, however, reveals unexpected yet substantial similarities between Goethean thought and the basic characteristics of Judeo-Christian apocalypticism. His natural philosophy of Stirb und Werde, which understands the world in terms of polarities, organic cycles, metamorphoses and eternal progression, as well as the symbolic character of his poetic language correspond, in fact, to a large degree with form and content of traditional apocalyptic texts. No other text exemplifies this congeniality better than the Märchen itself, which is probably Goethe´s most enigmatic text. The poet inserted not only many explicit and subtle references to the biblical book of Revelation into this story, but also hinted repeatedly at a mysterious connection between both texts. By examining some of the core elements of the Märchen in the light of biblical eschatology, the study at hand argues that the seemingly absurd conversation between the Duke and poet actually reveals profound literary insight, in that it points our attention to the yet unnoticed implicit apocalypticism in this particular story and in Goethean thought altogether.

Das goethesche Märchen hat von jeher eine unübersehbare Fülle von Interpretationen hervorgerufen. Neben philosophischen, ästhetischen, biographischen, psychologischen und politischen Auslegungsversuchen stehen theologische, alchymistische, anthroposophische und freimaurerische Deutungen. Die Interpretationsgeschichte ist so unüberschaubar, und die Auslegungsansätze so verschieden, dass es nicht verwundert, dass einige Interpreten den Text für prinzipiell undeutbar erklärt haben.  Die vorliegende Analyse versucht, die rätselhafte Natur des Märchens besser zu verstehen, indem sie es in den Zusammenhang mit der biblischen Apokalyptik, insbesondere der Johannesoffenbarung, stellt. Trotz einer Reihe von eindeutigen motivischen Anleihen und trotz mehrerer deutlicher Fingerzeige von Goethe selbst, ist das Verhältnis des Märchens zur apokalyptischen Tradition bisher noch nicht eingehend untersucht worden. Diesem Mangel hilft die vorliegende Analyse ab, indem sie nachweist, dass Bildersprache und Theologie der biblischen Eschatologie als wesentliche Quelle für den Gehalt des Märchens zu gelten haben. Indem das Märchen in die Tradition der Apokalyptik gestellt wird, soll jedoch nicht den bestehenden allegorischen und symbolischen Deutungen des Märchens eine weitere hinzugefügt werden. Es geht vielmehr darum, zu verstehen, in welchem Maße es die symbolisch-allegorische Natur der apokalyptischen Bild- und Gedankenwelt selbst ist, die einerseits mehrere in sich stimmige Deutungen ermöglicht und sich andererseits – sowohl im Märchen wie in der Johannesoffenbarung - einer letztgültigen Deutung prinzipiell entzieht. Indem apokalyptische Bilder, in Goethes Formulierung, sich „auf das Vergangene wie auf das Gegenwärtige und Zukünftige“ beziehen, ist ihr Gehalt ein unendlicher, organisch-wandelbarer und wird von jeder Epoche, ja von jedem Individuum, auf neue Weise gedeutet werden  müssen. Die Einfühlung in die apokalyptische Dimension des Märchens kann somit helfen, die eigentümliche Natur dieser Dichtung und ihrer Rezeptionsgeschichte besser zu verstehen.""