Academic literature on the topic 'Jena romanticism'
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Journal articles on the topic "Jena romanticism"
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McCort, Dennis. "Jena Romanticism and Zen." Discourse 27, no. 1 (2005): 98–118. http://dx.doi.org/10.1353/dis.2006.0008.
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Shakirova, Liudmila G. "Lermontov’s Romanticism and Jena School. Part 2." Studia Litterarum 2, no. 2 (2017): 144–71. http://dx.doi.org/10.22455/2500-4247-2017-2-2-144-171.
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Chavchanidze, Julietta. "PHILISTINE IN GERMAN LITERATURE: GOETHE AND THE ROMANTICS." Lomonosov Journal of Philology, no. 1 (March 22, 2023): 142–49. http://dx.doi.org/10.55959/msu0130-0075-9-2023-1-142-149.
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The article traces the function of the word philistine in German literature — from Sturm und Drang to Romanticism. Its etymological premises, two biblical variants are touched upon, its statement in secular literature is fixed. The initial use of the word philistine — in the socio-philosophical works — and accompanying, and sometimes preceding it, the corresponding artistic design of the concept is noted. Th e author considers the emergence of the antithesis ‘philistine — genius’ in the aesthetics of Sturm und Drang and the change of Goethe’s Sturmer ideas about philistine to the period of late Romanticism — an unambiguously negative accentuation of the word. Th e use of the word philistine at two stages of Romanticism is analyzed as an indicator of reaction to the innovations of the French Revolution of 1789. Th e meaning of the word among the Jena Romantics is revealed: the definition of a nature devoid of a romantic worldview — and its subsequent reinterpretation in the propaganda lexicon of the Heidelbergers as a statement of the German ‘elect’, which develops into anti-Semitism. Th e actualization and politicization of the concept of philistine in the course of the social movement in Germany on the eve and aft er the revolution of 1848 is noted.
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Shakirova, Liudmila G. "Romanticism of Lermontov and Jena School. Part 1." Studia Litterarum 2, no. 1 (2017): 183–211. http://dx.doi.org/10.22455/2500-4247-2017-2-1-184-211.
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Dye, Ellis, and Paola Mayer. "Jena Romanticism and Its Appropriation of Jakob Bohme: Theosophy, Hagiography, Literature." German Quarterly 74, no. 1 (2001): 89. http://dx.doi.org/10.2307/3072823.
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Shokhin, Vladimir Kirillovich. "Why is the Dialogue between Analytic Philosophy and “Postmetaphysicians” so Difficult? (remark)." Philosophy of Religion: Analytic Researches 5, no. 1 (2021): 173–81. http://dx.doi.org/10.21146/2587-683x-2021-5-1-173-181.
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It is an appearance of reviews on the newest books of two very notorious representatives of analytic and “postmetaphysical” theology in this journal, while the second review refers to polemics between these two trends, that incites an attempt at making clear wherein their incompatibility consists anew. The author sees it in two peculiarities of postmetaphysical philosophizing, i.e. a diffusive texture of this type of discourse and its political bias conjoined with a pastime with concepts and words. The first peculiarity makes one detect its genetic code from somewhat another angle as usually takes place, not so much in Nitzschean and Heideggerean philosophy as in a type of generating texts in the Jena school of Romanticism. Herewith also differences are emphasized, in the first place much more creativity of Jena thinkers and their attempts at rather producing new religions than destruction of those existing.
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Vater, Michael G. "Jena Romanticism and Its Appropriation of Jakob Bohme: Theosophy, Hagiography, Literature (review)." Journal of the History of Philosophy 39, no. 2 (2001): 307–8. http://dx.doi.org/10.1353/hph.2003.0113.
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Pinkard, Terry. "Romanticized Enlightenment? Enlightened Romanticism? Universalism and Particularism in Hegel's Understanding of the Enlightenment." Hegel Bulletin 18, no. 01 (1997): 18–38. http://dx.doi.org/10.1017/s0263523200001178.
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Hegel lived in a period in which many of his contemporaries reacted strongly against what they saw as the dangers or the excesses of the Enlightenment (the Aufklärung in Germany). One of the strongest reactions to this was Romanticism, a movement more or less born in Jena during the period Hegel was living there, carried out by some of his friends and by people he knew well, and something which both irritated him and which also quite clearly profoundly influenced him. This period in Jena was also the time during which Hegel was undergoing his rather rapid and astonishing philosophical development that culminated in what he always described as his “voyage of discovery,” the 1807 Phenomenology of Spirit. In that book, Hegel carried out his own famous critique of the Enlightenment, which included his scathing charge that the “Enlightenment itself… is just as little enlightened about itself” and that it misunderstood the arguments of what he called “faith”. This could easily make Hegel seem to be a Romantic critic of the Enlightenment, somebody rejecting the apparent arrogance of all those French deists, Scottish skeptics, and materialists of all sorts in favor of some more emotionalist conception of human experience. Indeed, in a work often cited, this is exactly the conclusion that has been drawn (and it has appeared even in such popular publications as the English magazine, The Economist). On this view, Hegel's critique of the Enlightenment amounts to charging it with investing too much in reason and neglecting the emotional and religious side of experience, thus denying an essential part of human life. In short, that view sees Hegel's philosophy essentially as a species of the Romantic rejection of Enlightenment, bringing into play the familiar textbook oppositions of the mechanical versus the organic, disenchanted versus re-enchanted nature, and the like.
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Wilberg, H. S. "Translation as Subversion: Ludwig Tiecks Don Quixote and the Poetic Logic of Jena Romanticism." Monatshefte 108, no. 1 (March 1, 2016): 42–68. http://dx.doi.org/10.3368/m.108.1.42.
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Norris, Andrew. "Hegel and Cavell on Meaning and Sublation." Conversations: The Journal of Cavellian Studies, no. 9 (March 3, 2022): 72–84. http://dx.doi.org/10.18192/cjcs.vi9.6247.
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Hegel is not an author who plays a starring role in Cavell’s work like that of Austin, Wittgenstein, or Emerson. Cavell mentions him rarely, and almost always in passing. This is hardly surprising. Given that Cavell draws as heavily as he does upon Kant, whom Hegel regularly attacks, and Kierkegaard, who regularly attacks Hegel, one might expect that Hegel’s more important claims and ideas would be uncongenial to Cavell, and incompatible with the main lines of his work. Moreover, Cavell’s early and lasting embrace of Romanticism would seem to preclude the embrace of an author who lambasts the leading Jena Romantic Friedrich von Schlegel as the purveyor of a corrosive amoral subjectivism. Appearances, however, can be deceiving, and in the essay that follows I demonstrate that there are good reasons to believe that Hegel has influenced Cavell considerably more than one might suppose.
Dissertations / Theses on the topic "Jena romanticism"
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CODURELLI, MARGHERITA. ""TREFFLICHER SPIEGEL DEINES ZEITALTERS!" ROMANO (1800-1801) DI AUGUST KLINGEMANN E IL ROMANTICISMO DI JENA." Doctoral thesis, Università Cattolica del Sacro Cuore, 2022. http://hdl.handle.net/10280/122311.
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Il presente lavoro di ricerca si inserisce nel rinnovato interesse per la figura e l'opera letteraria di August Klingemann (1777-1831) ed è incentrato su "Romano", romanzo appartenente alla prima fase della produzione dell'autore. Pubblicato in due volumi tra il 1800 e il 1801, "Romano" è l'esito delle idee e degli stimoli culturali assorbiti da Klingemann negli anni universitari a Jena (1798-1801). Accanto agli studi giuridici, in seguito abbandonati, Klingemann frequenta il circolo di intellettuali riunitosi intorno ad August Wilhelm e Friedrich Schlegel, che attraverso
il prezioso contributo di poeti e filosofi tra cui Ludwig Tieck, Novalis, Friedrich Schelling e Friedrich Schleiermacher avrebbe fatto di Jena il centro del Primo Romanticismo tedesco. Di questa esperienza comunitaria, destinata a rivelarsi di primaria importanza per la formazione
letteraria di Klingemann, "Romano" rappresenta una sintesi, in termini di immagini, motivi e riflessioni, ponendosi, in quanto unione di teoria e prassi, riflessione e narrazione, sulla scia della discussione sul romanzo condotta dai romantici ed illustrata da Friedrich Schlegel in un celebre passo del saggio "Gespräch über die Poesie" (1800): "Eine solche Theorie des Romans würde selbst ein Roman sein müssen". Muovendo da queste premesse, l'elaborato è stato strutturato in due sezioni, delle quali la prima intende ricostruire le esperienze e l'attività di Klingemann a Jena negli anni dell'incontro con il gruppo romantico, oltre che il ricco bagaglio di idee e formule – dall'arte alla religione, dalla poesia alla filosofia – confluite in "Romano". La seconda parte dell'elaborato è, invece, dedicata ad un'approfondita analisi del romanzo, nel
corso della quale l’accento è stato posto – accanto all'individuazione di rimandi ai principali testi romantici – sulla capacità di Klingemann di riprendere ed integrare un'ampia serie di temi, motivi, personaggi, episodi e citazioni in una 'nuova totalità', che non riduce "Romano" ad una ripresa passiva dei modelli, vicina all'imitazione e priva di slancio inventivo, ma lo eleva ad opera dal valore documentario, nata dall'adesione allo spirito di un'epoca,
profondamente radicata in essa, nonché percorsa dalla volontà di trasmettere, entro una cornice narrativa, un'immagine della vivacità culturale della Jena di fine Settecento.This research is part of a renewed critical interest in the figure and literary work of August Klingemann (1777-1831) and it focuses on "Romano", a novel belonging to the first stage of his literary production. "Romano" was published in two volumes between 1800 and 1801, being the result of the ideas and theories which Klingemann absorbed during his university years in Jena (1798-1801). Besides his law studies, which he would then give up, Klingemann attends the literary circle surrounding August Wilhelm and Friedrich Schlegel, which, due to the prominent role played by poets and philosophers including Ludwig Tieck, Novalis, Friedrich Schelling and Friedrich Schleiermacher, would make Jena the centre of Early German Romanticism. This community experience would prove to be crucial for Klingemann's cultural development, and "Romano" is to be read as a synthesis of it, in terms of ideas, images and topics, as a combination of theory and praxis, reflection and narration, following the Romantic discussion on the novel, whose explanation is provided by Friedrich Schlegel in a well-known extract from his essay "Gespräch über die Poesie": "Eine solche Theorie des Romans würde selbst ein Roman sein müssen". Moving from these premises, the study has been organised in two sections: the first one aims at retracing Klingemann's experiences in Jena in the years of his contact with the Romantic group, as well as the rich ideological background included in "Romano": from art to religion, from poetry to philosophy. Instead, the second part of this research is devoted to a detailed analysis of the novel, in which, along with an exploration of the references to the main Romantic sources, great emphasis has been laid on Klingemann's ability to recall and combine a wide range of themes, motives, characters, episodes and quotations in a 'new totality'. In this way, "Romano" should not be regarded as a work of literature displaying marked imitative features towards the sources, to become a documentary text, resulted from the spirit of its age, deeply rooted in it and willing to convey, within a narrative frame, a lively picture of Jena Romanticism.
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Texier, Léo. "Sur l'héritage romantique. Reprise et critique de la philosophie esthétique du Cercle d'Iéna chez Walter Benjamin, Georg Lukács et Carl Schmitt." Electronic Thesis or Diss., Université Paris sciences et lettres, 2024. http://www.theses.fr/2024UPSLP084.
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Dans les mêmes années de la Première Guerre mondiale, Walter Benjamin (1892-1940), Georg Lukács (1885-1971) et Carl Schmitt (1888-1985), trois jeunes auteurs de langue allemande, destinés à être comptés au nombre des plus influents penseurs de leur siècle, ont produit des écrits dans lesquels la théorie esthétique du Cercle d'Iéna - ainsi que l'on nomme ce moment inaugural du romantisme allemand, constitué notamment autour des frères August Wilhelm et Friedrich Schlegel (1767-1845 et 1772-1829) et de Friedrich von Hardenberg, dit Novalis (1772-1801) - occupait une place centrale. Que ce soit sur le mode de l'exégèse, de la reprise ou de la critique, ces écrits ont ceci de particulièrement remarquable qu'ils semblent indiquer le moment d'un regain d'intérêt proprement philosophique pour les thèses du romantisme d'Iéna. À travers l'étude approfondie de ces travaux, nous nous donnerons pour ambition dans notre travail d'évaluer l'héritage problématique - tout à la fois métaphysique, esthétique, éthique et même politique - laissé par le premier romantisme allemand à la philosophie contemporaine, en essayant de comprendre les enjeux fondamentaux autant que les problèmes théoriques se dégageant de ce retour opéré par nos trois auteurs sur la proposition philosophique du Cercle d'IénaIn the very years of the First World War, Walter Benjamin (1892-1940), Georg Lukács (1885-1971) and Carl Schmitt (1888-1985), three young authors from the German-speaking world, destined to be counted among the most influential thinkers of their century, produced writings in which the aesthetic theory of the Jena Circle plays a central role - as this inaugural moment of German Romanticism is known, centred on the brothers August Wilhelm and Friedrich Schlegel (1767-1845 and 1772-1829) and Friedrich von Hardenberg, known as Novalis (1772-1801). Whether in the form of exegesis, revival or criticism, these writings are particularly remarkable in that they seem to indicate a moment of renewed philosophical interest in the theses of Jena Romanticism. Through an in-depth study of these works, our aim in this work is to assess the problematic legacy - metaphysical, aesthetic, ethical and even political - left by early German Romanticism to contemporary philosophy, in an attempt to understand the fundamental issues, as well as the theoretical problems, arising out of the return made by our three authors to the philosophical proposal of the Jena Circle
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Daniels, Brian E. "Reification and visual fascination in Flaubert, Zola, Perec and Godard." Columbus, Ohio : Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1086199688.
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Thesis (Ph. D.)--Ohio State University, 2004.Title from first page of PDF file. Document formatted into pages; contains vii, 179 p. Includes abstract and vita. Advisor: Eugene Holland, Dept. of French and Italian. Includes bibliographical references (p. 165-179).
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Tessier-Amorim, Hélène. "Littérature et sacrifice au temps du Premier Romantisme : la mise en scène de l'auto-sacrifice de l'écrivain dans les œuvres lyriques et romanesques. Théorisation et mise en œuvre pratique." Thesis, Normandie, 2020. http://www.theses.fr/2020NORMR057.
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Cette recherche a pour point de départ l’originalité des œuvres du Premier Romantisme allemand, dans lesquelles leur propre élaboration est mise en scène sous la forme d’un sacrifice, et le consensus actuel, selon lequel le Premier Romantisme initie une nouvelle modernité littéraire. Les Premiers Romantiques développent notamment une importante réflexion sur la mise en acte de l’écriture. Nous nous intéressons dans notre étude au lien de nécessité qui peut exister entre le sacrifice et l’écriture. Ce lien n’étant pas inédit, nous cherchons à mettre en lumière l’originalité romantique. Nous faisons retour sur l’évolution du sacrifice, sa permanence et son intériorisation et étudions pour ce faire quelques grandes théories du sacrifice au niveau anthropologique, religieux, philosophique et enfin littéraire. Ces premières analyses permettent de définir plus précisément le sacrifice envisagé par les écrivains romantiques. Parallèlement, nous mettons en relief les évolutions importantes dans la société du XVIIIe siècle et la représentation du sacrifice dans les œuvres qui préludent aux œuvres romantiques. Nous étudions enfin le cheminement personnel et intellectuel des Romantiques, l’élaboration théorique d’un processus sacrificiel et la mise en œuvre pratique d’un auto-sacrifice adapté au dessein des écrivains. Les Romantiques sont les premiers à s’interroger de façon aussi rationnelle sur le processus sacrificiel, à approfondir de manière inédite son origine et ses ressorts, et à concevoir une pratique de l’écriture, qui se fonde sur l’élaboration d’un processus pensé comme universel.En mettant en lumière une conception singulière de la pratique de l’écriture, qui engage désormais l’écrivain de façon irréversible, notre travail vise à souligner l’apport du Premier Romantisme allemand dans la conception actuelle de l’écrivain et de sa pratique, à redonner au Premier Romantisme sa rationalité et à éclairer l’origine des réflexions contemporaines majeures sur le sacrifice et l’écritureThe origin of this research is the originality of the Jena Romanticism works, in which their own conception is staged in the form of sacrifice. The current consensus says that Jena Romanticism introduces a new literary modernity. The first romantics notably led an important reflection about writing as an act. In our study, we consider the necessary connection which exists between sacrifice and writing. Considering that this link is not new, our aim is to highlight the romantic originality. We analyse the evolution of sacrifice, its permanency and its interiorization, and we study to this end some important theories on the anthropological, religious, philosophical and literary level. These initial analyses allow for a more precise definition of sacrifice considered by the romantic writers. At the same time, we highlight the significant changes in the 18th century society and the representation of sacrifice in the works which precede the romantics works. Finally, we study the personal and intellectual development of the romantics, the theoretical elaboration of a sacrificial process and the practical implementation of a self-sacrifice adapted to the writer’s purpose. The romantics are the first to have such a rational reflection on the sacrificial process, to analyse in an unprecedented way its origins and to develop a practice of writing based on the elaboration of a process conceived as universal. By highlighting a singular conception of the practice of writing, which now engages the writer in an irrevocable way, the focus of our work is to underscore the contribution of Jena Romanticism in the current conception of the writer and its practice, togive back to Jena Romanticism its rationality and to enlighten the origin of the major contemporary reflexions about sacrifice and writing
Die Originalität der Werke der deutschen Frühromantiker, in denen ihre eigene Ausarbeitung als Opfer inszeniert wird, und der heutige Konsens, nach dem die Frühromantik eine neue literarische Modernität initiiert, bilden den Auftakt zu dieser Arbeit. Die Frühromantiker entwickeln zuvörderst eine wichtige Überlegung über das Schreiben als Handlung. Wir interessieren uns in unserer Arbeit für die notwendige Verbindung, die zwischen Opfer und Schreiben existieren kann. Da diese Verbindung keine Neuheit ist, versuchen wir, die romantische Originalität ans Licht zu bringen. Wir hinterfragen die Entwicklung des Opfers, sein Fortbestehen und seine Verinnerlichung, und wir studieren dazu einige wichtige Theorien über das Opfer auf anthropologischer, religiöser, philosophischer und literarischer Ebene. Diese ersten Analysen ermöglichen, das von den romantischen Schriftstellern vorgesehene Opfer genauer zu definieren. Parallel dazu heben wir die wichtigen Entwicklungen der Gesellschaft des XVIII. Jahrhunderts und die Darstellung des Opfers in den Werken, die den Auftakt zu den romantischen Werken bilden, hervor. Wir klären schließlich den Gedankengang und die persönliche Entwicklung der Romantiker, die theoretische Ausarbeitung eines Opferprozesses und die praktische Durchführung eines der Absicht des Schriftstellers gemäßen Selbst-Opfers auf. Als Erste hinterfragen die Frühromantiker das Opferprozess so rational, beschäftigen sich näher mit seinem Ursprung und seinen Triebfedern auf neue Art und entwerfen eine Praxis des Schreibens, die auf der Ausarbeitung eines als universell konzipierten Prozesses beruht. Indem unsere Arbeit eine eigenartige Auffassung der Praxis des Schreibens ans Licht bringt, die von nun an den Schriftsteller unumkehrbar hineinzieht, soll sie den Beitrag der deutschen Frühromantik in der modernen Auffassung des Schriftstellers und dessen Praxis unterstreichen, der Frühromantik ihrer Rationalität zurückgeben und die wichtigen zeitgenössischen Überlegungen über das Opfer und das Schreiben beleuchten
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Thoma, Foteïni. "L’esthétique du premier romantisme Allemand et quelques épigones : René Char, Jean Giono, Julien Gracq, Léopold Sédar Senghor et la réinvention de la poïèsis romantique." Thesis, Montpellier 3, 2019. http://www.theses.fr/2019MON30018.
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Premier Romantisme Allemand : Idéalisme magique, das Unbedingte, poursuite de l’infini, sont autant d’expressions de l’esprit de ce mouvement littéraire et philosophique, qui n’a connu qu’une brève existence dominée par des figures comme les frères Schlegel et Novalis, qui œuvrent pour redonner à la création le sens d’une émergence événementielle, et dont les métamorphoses se rencontrent chez des écrivains, tels que René Char, Jean Giono, Julien Gracq et Léopold Sédar Senghor qui revendiquent par des voies très diverses d’effectuer une réappropriation des concepts de l’esthétique du premier romantisme allemand. Rencontrant les survivances de celui-ci chez Char, Giono, Gracq et Senghor, on doit se demander : s’agit-il d’une relecture, d’une réinvention ou de la constitution d’une vision esthétique pour la formation de laquelle le premier romantisme allemand s’avère être une référence inévitable ?Early German Romanticism : Magic idealism, das Unbedingte, the quest of the Infinite constitute multiple expressions of this short-lived litterary and philosophical movement dominated by Novalis and the Schlegel brothers who aspire to give to the act of creation the aspect of a radical event, the transformations of which appear in the works of René Char, Jean Giono, Julien Gracq et Léopold Sédar Senghor who revendicate to effectuate a reappropriation of the concepts of the Early German Romanticism. Is it a rereading, a reinvention or the constitution of an aesthetic vision for the construction of which the Early German Romanticism proves to be an indispensable reference ?
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Moioli, Aurélie. "Le récit de soi : poétique et politique de la dissemblance : Jean Paul, Ugo Foscolo, Stendhal, Gérard de Nerval." Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100151.
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Il s’agit de reprendre la question autobiographique à l’époque où le genre se constitue en Europe, au premier XIXe siècle, en déplaçant le regard vers les marges du genre. Les œuvres de Jean Paul, d’Ugo Foscolo, de Stendhal et de Gérard de Nerval sont d’abord étudiées sous l’angle de la poétique des genres dont elles déstabilisent les catégories. La thèse déplace la question générique en soulevant les enjeux éthiques et politiques du récit de soi qui sont liés à l’expérience du sujet et du temps. À côté de ce qui deviendra le canon en matière d’autobiographie se dessine une autre ligne autobiographique qui, en souvenir de Laurence Sterne, se place sous le signe de l’imagination et de l’arabesque. Les œuvres du corpus mettent en évidence la ligne de poésie de la vie et du sujet. Ces poétiques autobiographiques excentriques manifestent une dissemblance de soi, du temps et de l’histoire. Elles mettent en crise l’identité pensée comme « mêmeté » et l’idée d’un temps homogène. Le soi n’est pas un ; l’autobiographe n’est seul ni dans sa peau, ni dans sa langue, ni dans sa plume ; il se déplace entre les lieux et entre les langues, ne trouvant pas d’assise. La figure de l’auteur est plurielle et collective, en rupture avec le mythe du génie. Aux transfigurations de soi s’ajoutent les transfigurations de la mémoire qui ressaisit le passé au présent et pour l’avenir. Expérience mélancolique de revenance, le récit de soi multiplie les fantômes qui sont le signe d’un deuil personnel et des disjonctions de l’histoire. Témoignant des révolutions du siècle, l’autobiographe ouvre aussi l’histoire individuelle et collective : le récit de soi est prospectif. C’est une mémoire au futurThe thesis takes up the question of autobiography by focusing on works at the margins of the genre during the early 19th century, the period in which autobiographical writing in Europe came into its own. The works of Jean Paul, Ugo Foscolo, Stendhal and Gérard de Nerval destabilize established generic and canonic categories. They do so by pointing to the ethical and political issues at stake in the narration of the self, which are in turn linked to the experience of the subject and of time. The thesis thereby identifies and explores another autobiographical “line” emerging alongside canonical forms of the genre, a “line” which recalls Laurence Sterne through the use of arabesques and the reliance upon imagination in life narratives. These works emphasize the “line of poetry” which constitutes life and the subject. The poetics of these eccentric autobiographical works explores dissemblance in writing the self, time, and history. They question reductive understandings of identity as ‘sameness’ and conceptions of time as homogenous. The self is not ‘one’; the autobiographer is alone neither in his body, nor in his language, nor in the act of writing. Rather, he is in constant movement between places and languages, unable to establish a stable grounding for his narrative. The author’s persona is multiple and collective, inverting the myth of the romantic genius. Such transfigurations of the self are tied to transfigurations of memory, which allow for the past to be reenacted in the present and for the future. This melancholic experience is also one of haunting, for narratives of the self draw on the figure of the phantom as a sign of mourning for both personal and historical disjunctions. As witnesses of recent or contemporary revolutions, the autobiographers stress the incomplete nature of both individual and collective history, that is, the potential that such history contains. Narrating the self is therefore prospective; it is memory addressing the future
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Mortari, Virgilio. "Avant-garde et révolution. Pour une critique des implications politiques de la théorie du cinéma d’avant-garde, avec l’étude du cas de Jean Epstein." Thesis, Paris 3, 2019. http://www.theses.fr/2019PA030026.
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Face à la réappropriation, par les institutions et l’idéologie hégémonique, de la prétention émancipatrice de tout ce pan de l’art dit « d’avant-garde », cette Thèse s’est donné pour but la remise en question des présupposés idéologiques et sociaux de cette situation paradoxale. Ayant pour hypothèse que le cinéma nous offrirait le terrain de recherche le plus fertile, la confrontation de certaines parmi les plus importantes des études récentes sur le cinéma d’avant-garde, nous a invité à dresser une critique de la méthode formaliste, à essayer d’en comprendre les enjeux idéologiques et politiques, pour repenser, finalement, non seulement le concept d’« art d’avant-garde », mais aussi celui de Modernité et la vision de l’Âge Moderne lui-même. Si l’on peut concevoir la modernisation comme le processus de laïcisation et démocratisation des sphères socio-culturelles, les dynamiques de critique et apologie des institutions, de tradition et innovation des techniques et des styles, peuvent se configurer – selon une approche matérialiste dialectique – en tant que prises de position face aux conflits idéologico-politiques liés à l’affirmation de la Modernité et la découverte de ses limites. En renouant ainsi les gestes poético-esthétiques à leurs prémisses idéologiques et en abandonnant la définition qui réduit l’« art d’avant-garde » à une succession d’abstraites ruptures formelles, nous pouvons alors reconnaître une évolution de tendances « d’avant-garde » réciproquement conflictuelles, réactionnaires ou progressistes. Dans cette perspective et contrairement au discours critico-historiographique hégémonique, nous avons enfin essayé de montrer le caractère réactionnaire des prises de position théoriques et du programme d’instrumentalisation politique du cinéma conçu par le cinéaste Jean EpsteinFaced with the institutional and hegemonic ideological reappropriation of the emancipatory pretensions of what we call « Avant-Garde Art », this research aims at questioning the ideological and the social assumptions of such a paradoxical situation. Considering that cinema offers the most fertile research field, and confronting some of the most important recent studies on avant-garde cinema, this work criticizes the formalist approach while endeavouring to understand its ideological and political stakes in order to rethink, not only the concept of « Avant-Garde Art », but also Modernity and the vision of the Modern Age itself. Conceiving modernisation as a process of secularisation and democratisation of the socio-cultural spheres, the dynamics between critics and apology of the institutions, between stylistic or technical tradition and innovation, might rearrange themselves – according to a dialectical-materialist approach – as positions taken when faced with ideological and political conflicts related to the progress of Modernity and the discovery of its limitations. Intertwining poetical gestures with their ideological premises while leaving behind the definition that reduces Avant-Garde Art to a series of abstract formal breaches, we are led to acknowledge an evolution of Avant-Garde tendencies, reciprocally conflictual, reactionary and progressive. With this in mind and contrary to the hegemonic critical and historiographical discourse, we have attempted to show the reactionary dimension of both the theoretical understanding and the political instrumentalization of cinema formulated by Jean Epstein
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DeLouche, Sean. "Face Value: The Reproducible Portrait in France, 1830-1848." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1405798734.
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Båth, Katarina. "Ironins skiftningar — jagets förvandlingar : Om romantisk ironi och subjektets paradox i texter av P. D. A. Atterbom." Doctoral thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-319276.
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This dissertation explores the intimate relationship between irony and romantic subjectivity, by drawing on feminist psychoanalytical theory, via an examination of the shiftings of irony, and humor, in the works of the Swedish romanticist P. D. A. Atterbom (1790–1855). It looks at the critical role played by irony in the formation of Romantic subjectivity, and explores irony’s potential to undermine dualistically gendered notions of subject-object relations. For Atterbom, irony is an aesthetic concept closely related to drama, informed not only by German Romantic-ironic theorists such as Friedrich Schlegel and Jean Paul, but also by the works of Shakespeare, Ludwig Tieck, and E. T. A. Hoffmann. The thesis follows the shiftings of Romantic irony in Atterbom’s major literary texts: the cycle of poems Blommorna [The Flowers] (1811), where the Ovidian transformations are used metafictively to play with the relation between poet, poem, and reader; and the literary satire Rimmarbandet [The Rhyme Band] (1810), which, inspired by Tieck’s Der Gestiefelte Kater (1797), uses the metafictive theatre-in-the-theatre motif, as well as carnivalesque and grotesque motifs to expose contrived theatricality and homosocial misogyny in the prevailing culture. The dynamic between the satirist’s subject and the attacked object is a polarized power struggle, where revolt is followed by submission. In this respect, Romantic satire is here conservative. In the fairy tale play Lycksalighetens ö [Island of Felicity] (1824–27), tragedy’s irony is a dialectic between the ideal and the real that strives to create both inner and outer renewal. The play reaches out metafictively to the reader and turns her/him into the poet of a new version of the fairy tale. The reading/writing process inscribed in the work thus becomes a form of renewal and liberation from grief, and old, patriarchal gender roles. Finally, the humorous, unfinished idyll Fågel Blå [Blue Bird] (1814, 1818, 1858) is a work in many pieces, a fragment, a sketch and a non finito that together stages a restorative creative process, where the reader is asked to take part in joining together the scattered parts of Blue Bird itself. To conclude, irony is a feature of Romanticism, which makes the Romantic, literary subject relational and dialogical, open to its Other, and herein lies a form of ethics and an escape from a conventional, patriarchal notion of the self. I discuss this with Julia Kristeva’s theories on how subjectivity changes when it becomes poetic and Jessica Benjamin’s Winnicott-influenced theory of how play can offer a way out from patriarchy’s strict gender roles. The shiftings of irony in Atterbom’s work show a development from the satirical subject, where an aggressive form of self-assertion conceals a lack of individuality – via tragedy’s painstaking efforts to integrate repressed aspects of the self – to the idyll’s more harmonious subject, who has the capacity to laugh at him/herself and see both the grotesque in the holy, and the holy in the grotesque.
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Santos, da Silva Mártin Sílvio. "L'impact symbolique de la déformation du corps dans L'Homme qui rit de Victor Hugo et dans la peinture de Dominique Ingres." Thesis, Nice, 2013. http://www.theses.fr/2013NICE2014.
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Cette étude porte sur la représentation de la déformation du corps humain, afin de défendre l’idée que ces exemples de corps déformés ont fini par engendrer de nouvelles recherches et des transgressions artistiques qui caractérisent le XIXe siècle français. Les œuvres de Hugo et de Ingres ont été choisies en raison de la richesse symbolique qu'y acquiert la déformation du corps humain, au confluent de plusieurs traditions mythologiques. Pour l’étude des corps déformés et de leur rôle dans la cosmogonie hugolienne, nous nous servirons d’une cosmogonie analogue : celle de Dante Alighieri qui a pu nourrir l’imaginaire hugolien auquel nous ajoutons le labyrinthe existentiel. Méthodologiquement, cette analyse sera faite à partir de la lecture de l’espace proposée par Greimas. Les axes orthogonaux y sont marqués par les personnages en établissant des emplacements spécifiques qui indiquent un langage à déchiffrer. Dans l’œuvre d’Ingres, notre but sera de mettre en relief la déformation du corps en tant que travail esthétique pour la révélation de la beauté plastique. La déformation anatomique caractérise déjà ses premiers personnages masculins et marque davantage ses figures féminines que nous étudierons plus en détail. Pour affiner cette démarche nous avons établi certaines relations avec d’autres peintres tels que son maître David, ou bien avec des sculpteurs comme son ami Lorenzo Bartolini, James Pradier et des écrivains comme Théophile Gautier et Hugo. Cette recherche s’appuiera sur plusieurs supports théoriques, indispensables pour s’orienter dans cet univers riche de références à l’Antique, au mythologique, au religieux, au sacré, au politique, au social, à l’artistique, au fantastique et au fantasmagorique. C’est pourquoi Phidias, Vitruve, Jean-Jacques Rousseau, Jorge Luis Borges, Mircea Eliade, Claude Lévi-Strauss, Michel Foucault, Umberto Eco entre autres sont évoqués pour aider à la compréhension de notre étudeThis study focuses on the representation of the deformation of the human body, arguing that these examples of physical deformity have eventually engendered new research and artistic transgressions that characterise nineteenth century France.The works of Hugo and Ingres are focused upon on account of the symbolic richness derived from them with regard to the deformation of the human body, and the confluence of several mythological traditions. For the study of deformed bodies and their role in Hugo's cosmogony, we will use a similar analogous cosmogony: that of Dante Alighieri, which was able to feed the Hugolian imagination and to which we add the existential labyrinth. Methodologically, this analysis will be made by reading the space proposed by Greimas. Orthogonal axes are marked by characters in establishing specific locations that indicate a language to decipher. Regarding the work of Ingres, our goal is to highlight the deformation of the body as a work of aesthetics for the revelation of plastic beauty. Anatomical deformation already characterises his first masculine characters and mark still further his female figures which we have studied in more detail. To refine this approach we have established some relationships with other painters such as David, Ingres' Master, and with his friends the sculptors Lorenzo Bartolini, James Pradier and also with writers such as Théophile Gautier and Hugo. This research is based on several theoretical sources, they are essential to orient this rich universe of references to the Antique, the mythological, the religious, the sacred, the political, the social, the arts, and fantasy. This is why Phidias, Vitruvius, Jean-Jacques Rousseau, Jorge Luis Borges, Mircea Eliade, Lévi-Strauss, Michel Foucault, Umberto Eco among others are also discussed to help the understanding of our study
Books on the topic "Jena romanticism"
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Grüning, Uwe. Befreundet mit diesem romantischen Tal: Beiträge zum Romantikerkreis in Jena. Jena: Jena-Werbung, 1993.
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Mayer, Paola. Jena romanticism and its appropriation of Jakob Böhme: Theosophy, hagiography, literature. Montreal: McGill-Queen's University Press, 1999.
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Bonn, Universität, ed. Von Jena nach Concord: Der Geist der Romantik in Deutschland und Amerika. Bonn: Rheinische Friedrich-Wilhelms-Universität Bonn, 1996.
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Tagung, Johann-Gottlieb-Fichte-Gesellschaft. Fichte und die Romantik: Hölderlin, Schelling, Hegel und die späte Wissenschaftslehre : 200 Jahre Wissenschaftslehre-- Die philosophie Johann Gottlieb Fichtes : Tagung der Internationalen J.G.-Fichte-Gesellschaft (26. September-1. Oktober 1994) in Jena in Verbindung mit der Friedrich-Schiller-Universität (Jena), dem Collegium Europaeum Jenense (Jena) und dem Istituto Italiano per gli Studi Filosofici (Neapel). Amsterdam: Rodopi, 1997.
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Veselý, Jindřich. Jean Jacques Rousseau a problěm preromantismu. Praha: Univerzita Karlova, 1985.
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Storace, Erasmo Silvio. Introduzione all'estetica di Jean Paul Richter. Milano: Alboversorio, 2010.
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Roney, John B. The inside of history: Jean Henri Merle d'Aubigné and romantic historiography. Westport, Conn: Greenwood Press, 1996.
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Henner, Jean-Jacques. Jean-Jacques Henner: Face à l'impressionisme, le dernier des romantiques. Paris: Paris musées, 2007.
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Himmelmann, Gabriele. Romantische Elemente im Werk von Antoine-Jean Gros (1771-1835). Lohmar: Josef Eul Verlag, 2000.
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Holdener, Ephrem. Jean Paul und die Frühromantik: Potenzierung und Parodie in den "Flegeljahren". Zürich: Thesis, 1993.
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Korngiebel, Johannes. "Hegel as an Attendee of Schlegel’s Lectures on Transcendental Philosophy in Jena." In Romanticism, Philosophy, and Literature, 119–34. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-40874-9_4.
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Jahn, Ilse. "On the Origin of Romantic Biology and its Further Development at the University of Jena Between 1790 and 1850." In Romanticism in Science, 75–89. Dordrecht: Springer Netherlands, 1994. http://dx.doi.org/10.1007/978-94-017-2921-5_5.
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Corkle, Rachel. "Seeing Jean-Jacques’ Nature." In Romanticism, Rousseau, Switzerland, 54–67. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137475862_4.
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Blondel, Jacques. "Rousseau, Jean-Jacques (1712–78)." In A Handbook to English Romanticism, 225–27. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-22288-9_68.
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Blondel, Jacques. "Rousseau, Jean-Jacques (1712–78)." In A Handbook to English Romanticism, 225–27. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-13375-8_68.
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White, R. S. "Slavery as Fact and Metaphor: William Blake and Jean Paul Marat." In Natural Rights and the Birth of Romanticism in the 1790s, 168–95. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230506145_6.
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Salmon, J. H. M. "François Hotman and Jean Bodin:." In Ideas and Contexts in France and England from the Renaissance to the Romantics, II_1—II_7. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003554806-4.
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Sandberg, Anna. "Transnational Literature and the Monolingual Paradigm Around 1800: Friederike Brun and Jens Baggesen." In Palgrave Studies in the Enlightenment, Romanticism and Cultures of Print, 57–78. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-99127-2_3.
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Salmon, J. H. M. "The Legacy of Jean Bodin: Absolutism, Populism or Constitutionalism?*." In Ideas and Contexts in France and England from the Renaissance to the Romantics, III_500—III_522. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003554806-5.
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Bode, Christoph. "Absolut Jena." In Romanticism and Philosophy, 19–39. Routledge, 2015. http://dx.doi.org/10.4324/9781315752372-1.
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