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1
Liedtke, Ralf. "Das romantische Paradigma der Chemie : Friedrich von Hardenbergs Naturphilosophie zwischen Empirie und alchemistischer Spekulation /." Paderborn : Mentis, 2003. http://catalogue.bnf.fr/ark:/12148/cb390736651.
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Vietor, Sophia. "Astralis von Novalis : Handschrift - Text - Werk /." Würzburg : Königshausen und Neumann, 2001. http://catalogue.bnf.fr/ark:/12148/cb40107879t.
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Hodkinson, James Richard. "Women and writing in the works of Novalis : transformation beyond measure ? /." Rochester (N.Y.) : Camden House, 2007. http://catalogue.bnf.fr/ark:/12148/cb41331988q.
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Lohse, Nikolaus. "Dichtung und Theorie : der Entwurf einer dichterischen Transzendentalpoetik in den Fragmenten des Novalis /." Heidelberg : C. Winter, 1988. http://catalogue.bnf.fr/ark:/12148/cb34959791r.
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Kubik, Andreas. "Die Symboltheorie bei Novalis : eine ideengeschichtliche Studie in ästhetischer und theologischer Absicht /." Tübingen : Mohr Siebeck, 2006. http://catalogue.bnf.fr/ark:/12148/cb401807843.
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Hartmann, Klaus. "Die Freiheitliche Sprachauffassung des Novalis /." Bonn : Bouvier Verl. H. Grundmann, 1987. http://catalogue.bnf.fr/ark:/12148/cb349834766.
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Schefer, Olivier. "Novalis et le projet encyclopédique." Paris 10, 1998. http://www.theses.fr/1998PA100096.
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Loin de << depasser >> l'entreprise kantienne pour elaborer un savoir absolu, il apparait que novalis ouvre d'emblee un dialogue avec l'idealisme naissant, en debordant le cadre pre-dialectique de la wissenschaftslehre de fichte pour une pensee de l'etre transcendant entee sur la subjectivite infinie. La philosophie de novalis se constitue comme l'investissement de l'espace des oppositions (sujet/objet, homme/nature). Aussi cette pensee pourrait-elle etre definie comme un savoir negatif de l'absolu. C'est a l'interieur de cette << docte ignorance romantique >> que la question de l'art, dans son lien avec la philosophie, se trouve posee. Le probleme majeur est ici de representer et d'ecrire la tension entre les contraires, et, en l'occurence de creer un symbole de l'inconnaissable. Le projet encyclopedique s'inscrit dans cette perspective pour la prolonger : en reprenant a son compte la combinatoire leibnizienne, novalis invente une ecriture metaphorique de la totalite. Le non-savoir romantique inaugure une reflexion, toujours actuelle, sur la crise de l'unite et son impossible representation. C'est du sein meme de la crise de la totalite que doit ici se rejouer l'unite. Il ressort du brouillon general que poesie et philosophie ont pour finalite la representation de la crise du savoir absolu, sous la forme d'une esthetique combinatoire. Dans sa recherche d'un symbole de la totalite inconnaissable, novalis accorde enfin une place decisive a la vie. S'ecartant du modele logique de la metaphysique, pour un modele organique, le corps du sujet devient un paradigme du tout. Le non-savoir et l'inachevement romantiques ont tout d'une ecriture du corps. Dans cette philosophie qui s'efforce d'articuler fragment et systeme, le corps emerge comme le symbole de l'absolu inconnaissable. La question que soulevent en definitive les fragments et l'esthetique du roman est la suivante : comment ecrire la vie, ou, comment dire le corps ?
8
Hu, Yihong. "Unterwegs zum Roman Novalis' Werdegang als Übergang von der Philosophie zur Poesie." Paderborn München Wien Zürich Schöningh, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2800294&prov=M&dok_var=1&dok_ext=htm.
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Struzek-Krähenbühl, Franziska. "Oszillation und Kristallisation Theorie der Sprache bei Novalis." Paderborn München Wien Zürich Schöningh, 2008. http://d-nb.info/994012756/04.
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Bisschops, Ralph. "Die Metapher als Wertsetzung : Novalis, Ezechiel, Beckett /." Frankfurt am Main ; Berlin ; Paris [etc.] : P. Lang, 1994. http://catalogue.bnf.fr/ark:/12148/cb37539678k.
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Mottram, Robert. "Novalis, Nietzsche, and the Rhetoric of Enchantment." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19287.
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This work reopens the question of Nietzsche’s relationship to Early German Romanticism through critical readings of moments of enchantment in the writings of Novalis. It unveils the seemingly conciliatory gestures of enchantment as moments of discord between subject and figure, self and world. These readings attend to the tropes, ironic registers, and performative dimensions of texts that occlude rather than facilitate a strict demarcation between Novalis and Nietzsche. That the thinkers in question are shown to anticipate their critical reception is consonant with the present work, which, in foregrounding both the entanglement between self and language and the materiality of reading, attunes itself to enchantment as the manifestation of compulsion, imposition, and ecstasy.
The principle of continuity that allows Nietzsche and Novalis to be read and to read each other is asceticism. Its secret ally, following Nietzsche, is the absolute will to truth. In its function of assigning an aim to the aimless, asceticism provides for both truth and its incessant undermining, for form as well as flight. It engenders a mode of expression that is only as true as it is provisional. Through a reading of Nietzsche’s Apollonian and Dionysian as the collision of epistemological anxiety and its anthropological stopgap, this work advocates an operation of double-reading that views the conceptual sphere itself as palliative and the nonconceptual as the possibility of an ascetic flight from ossification. In setting such double-reading into motion, this work traces the subterranean relations between Novalis and Nietzsche that allow the proto-Modernism of the former to interrogate the residual Romanticism of the latter.
An erudite study that combines problems of representation with discussions of the theater, painting, and music, this dissertation seeks to reenchant questions of interpretation and reading that constantly threaten to petrify into all-too-self-evident truths.
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Li, Viresha. "Den blå blomman : Längtans framvisande hos Novalis." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-30745.
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The essay at hand pursues the question as to how the German philosopher and poet Novalis has been able to characterize the whole of philosophy as a longing for home. In succession to a historic contextualization and research background there follows a presentation of certain ideas in Kant and Fichte. This aims to build the historico-philosophical ground for thinking the philosophy of Novalis as such a longing. A close reading of Novalis work Fichte-studies is the main justification for this interpretation. In accordance, Novalis understands philosophy as a longing for home arisen from the factual experience of the I. Feeling links this experience to theabsolute, thus providing the foundation for philosophy. Thus in thinking, this absolute ground can be set only relatively and indirectly. Philosophy can never establish direct contact with the absolute, but must be driven infinitely by thinking, through feeling, towards it. This drive shall be understood as a longing. Longing arrives through what is absolutely given in feeling. Longing moves towards re-establishing the given which thinking has lost. The I is understood as where being dwells. Herein the I's feeling of direct experience of its existence is reached — as a belonging to the world. Such a feeling of belonging is destined to evaporate with thinking. Nevertheless, thinking hopes to come home — it dreams this future. Hence we arrive at philosophy thought as a longing for home. In the end, we conclude with Novalis that philosophy thought this way must be procured by poetry.
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Ezekiel, Anna. "Nietzsche and Novalis on language as trope." Thesis, University of Ottawa (Canada), 2006. http://hdl.handle.net/10393/27353.
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A critical comparison of the theories of language of Friedrich Nietzsche and the Early German Romantic Novalis (Friedrich von Hardenberg) based on their models of language as trope. Six forms of trope are used to show how language functions for each thinker and to provide a precise framework for comparison. It is found that both present similar notions of language as tropic in nature, that is to say as fundamentally creative and subjective, but that while for Novalis this underlies the possibility of genuine knowledge and communication, for Nietzsche it undermines these. Novalis' acceptance of trope in language allows him to present a model of the human subject in communion with other human beings, nature, and the divine, while Nietzsche's rejection of the validity of trope results in his essentially negative and isolating philosophy of the subject.
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Loheide, Bernward. "Fichte und Novalis : transzendentalphilosophisches Denken im romantisierenden Diskurs /." Amsterdam ; Atlanta (Ga.) : Rodopi, 2000. http://catalogue.bnf.fr/ark:/12148/cb40003037j.
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Kindermann, Thorsten. "Poetische Geschichte zum Geschichtsverständnis Hamanns, Herders und Novalis' /." [S.l. : s.n.], 2004. http://deposit.ddb.de/cgi-bin/dokserv?idn=97213624X.
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Fragelli, Isabel Coelho. "Natureza, história, poesia. A exposição simbólica da Bildung." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-06112014-184242/.
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O trabalho examina a noção de formação (Bildung), central para a filosofia alemã em seu período clássico. A partir da análise de alguns dos aspectos centrais dessa idéia, notadamente relacionados à concepção simbólica da linguagem, propõe-se uma relação entre as obras de Goethe, Herder e Novalis, fazendo-se referências frequentes também à filosofia de Kant. O objetivo é mostrar como a idéia de formação é tecida por diferentes reflexões que percorrem e interligam os domínios da Natureza, da História e da Poesia.<br>The thesis proposes a study of the notion of Bildung as it appears in German philosophical thinking at the end of the 18th Century. Through the analysis of some of this ideas main aspects, notably those related to a symbolic conception of language, this work suggests the existence of a relation between the works of Goethe, Herder and Novalis, referring them frequently to Kants thought. The main purpose is to verify how the idea of formation is constructed by means of different reflections in which Nature, History and Poetry are seen as interconnected domains
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Zanucchi, Mario. "Novalis - Poesie und Geschichtlichkeit : die Poetik Friedrich von Hardenbergs /." Paderborn : F. Schöningh, 2006. http://catalogue.bnf.fr/ark:/12148/cb40106470c.
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Weber, Gerhard. "Novalis und Valéry : Ver-Dichtung des Ich, 1800-1900 /." Bonn : Bouvier, 1992. http://catalogue.bnf.fr/ark:/12148/cb401934110.
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Holland, Jocelyn. "Poetic procreation Goethe, Novalis, F. Schlegel and E.T.A. Hoffmann /." Available to US Hopkins community, 2003. http://wwwlib.umi.com/dissertations/dlnow/3080677.
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Macé, Suzanne. "Enjeu philosophique du conte romantique : conceptions esthétiques de Novalis." Paris 8, 2002. http://www.theses.fr/2002PA082260.
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"Poème magique", considéré comme une véritable oeuvre de référence, le conte Henri d'Ofterdingen ouvre de nouvelles perspectives, en réaction contre l'Aufklärung et en contrepoint au Wilhem Meister de Goethe. Dans sa réflexion, par des dialogues à des fins éducatives ou par l'évocation de mythes susceptibles de confirmer sa vocation de poète, Novalis mène une introspection qui apporte une nouvelle dimension à l'oeuvre littéraire. Consciemment ou inconsciemment, l'auteur-narrateur-protagoniste édifie son propre Moi, par une tension voulue entièrement dirigée vers le Beau et qui l'éloigne de tout engagement spontané contraire à son éthique. Le cadre historique choisi offre une gamme de héros qui incarnent les pensées de l'auteur et entrent désormais dans l'oeuvre littéraire, au même titre que les mythes évoqués. L'accord profond de l'homme et de la nature, leur harmonie reconquise et l'effacement des frontières qui opposent réel et idéal, nature et science, vie et mort, apparaissent clairement dans le poème-conte où Novalis, grâce à la magie des mots, crée l'Age d'Or convoité. La disparition de repères chronologiques fonde une nouvelle conception du temps accordée à la formation du héros chez qui expérience philosophique et aspiration esthétique se rejoignent pour devenir éthique de vie. Le respect de la nature, le lien que l'homme établit avec elle, tant dans sa conduite qu'à l'intérieur de lui-même, la priorité accordée à la communication, et la recherche de l'harmonie voulue et réalisée par le poète, donnent à son oeuvre une place à part où transparaissent perspectives fantastiques et analyses psychanalytiques. La dynamique imaginaire, ainsi constituée grâce à la vision poétique de Novalis et à sa sensibilisation de la raison, donne désormais au lecteur le même rôle initiatique que celui de l'auteur et constitue déjà une forme d'écriture post-moderne<br>"Magical Poem", considered as a true reference work, the story Henri d'Ofterdingen opens up new perspectives that counter the Aufklärung and Wilhem Meister of Goethe. Novalis, in his reflection through educational dialogues or by myths that confirm him as a poet, carries out an introspection that brings out a new dimension in literature. Consciously or unconsciously, the writer-narrator-protagonist builds up his own self, by a desired tension totally driven towards the Beautiful and separates him from all spontaneous involvement opposed to his ethic. The chosen historical setting offers a series of heroes who embody the thought of the author and take their place in the literary work just as in the cited myths. The deep renewed harmony betwen man and nature and the effacing of the frontiers between the real and the ideal, nature and science, life and dead come out clearly in the poem-story where Novalis because of the magic of the words creates the desired Golden Age. The disappearance of chronological reference founds a new idea of time for the formation of the hero, in whom philosophical experience and aesthetic aspiration come together to create an ethic of life. The respect for nature, the tie which unites man to her in the behaviour and inside himself, the priority given to communication, and the search for desired and realised harmony by the author give his work a special place where there appear fantastic perspectives and psychoanalytic analyses. The dynamic imaginary which issues from the poetic vision of Novalis and his sensitiveness to reason gives henceforth the reader the same initiative role as the author's and constitutes a form of post-modern writing
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Eikels, Kai van. "Zeitlektüren : Ansätze zu einer Kybernetik der Erzählung /." Würzburg : Königshausen & Neumann, 2002. http://www.gbv.de/dms/bs/toc/343095734.pdf.
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Samwer, Julia K. C. "Symbole der Erkenntnis zu Friedrich Schlegels Lucinde und Novalis' Heinrich von Ofterdingen." Würzburg Königshausen & Neumann, 2009. http://d-nb.info/994476035/04.
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Morton, Tom. "Images of revolution, metaphor, politics and history in German early romanticism /." Title page, contents and abstract only, 1990. http://web4.library.adelaide.edu.au/theses/09PH/09phm889.pdf.
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Ezekiel, Anna. "Death, community, myth: Novalis' and Nietzsche's figures of immanent affirmation." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=114231.
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Although their work is separated by three-quarters of a century, Novalis and Nietzsche both operated within the intellectual context engendered by an Enlightenment-era discussion of the human vocation. Both respond to the need for a new human identity that addresses questions about the ability of the human being to know its nature and the nature of the universe, act freely, know right from wrong, and find meaning and value in existence. At the two ends of the nineteenth century, they present different responses to the problem of alienation within this new context, as Novalis attempts to salvage a broadly Christian framework for the human vocation, while Nietzsche reacts against Christian values and ways of providing meaning, as well as those of its secular successors.Despite this important difference, Novalis and Nietzsche share a goal of providing an affirming model of life that escapes the conventional dichotomy of immanent and transcendent. I compare their models of creative affirmation to highlight their insights and weaknesses and to identify characteristics of their work useful for a new response to alienation. The first and second parts of the thesis examine their respective attempts to enable affirmation, analysing their accounts of death and suffering, community, and myth, and questioning the extent to which these avoid relying on the transcendent. The third part identifies aspects of their work that can contribute to a life-affirming response to alienation. I argue that, while neither provides a fully satisfying response to the modern situation of alienation that motivated them, both have insights that should be used in attempts to cope with the disorientation and isolation associated with the loss of an authoritative statement of the vocation of humankind. Nietzsche's thoroughgoing rejection of the transcendent and highlighting of tensions characterising human life must form part of a response to alienation, while Novalis' models of freedom, communication, and community better promote fulfilling ways of making sense of life in the face of its darker aspects. My concluding chapter outlines a form of immanent affirmation based on these strengths, arguing that this can take place in a dialogical community of creative individuals.<br>Bien que trois quarts de siècle séparent leurs travaux, Novalis et Nietzsche opéraient dans le contexte intellectuel favorisé par la question de la vocation humaine, comme il a été discuté au cours du siècle des lumières. Tous deux répondent au besoin d'une nouvelle identité humaine qui s'interroge sur la capacité de l'être humain de connaître sa nature et la nature de l'univers, de se comporter librement, de différencier le bien du mal et de trouver un sens et une valeur à l'existence.Les deux écrivains présentent des réponses différents au problème de l'aliénation de soi dans ce nouveau contexte. Novalis tente de garder un cadre chrétien pour la vocation humaine, tandis que Nietzsche s'oppose aux valeurs et références chrétiennes. Bien que leur projet, sous cet angle important, diffère autant, Novalis et Nietzsche ont en commun l'objectif de fournir une explication affirmante de la vie qui échappe à la dichotomie conventionelle de l'immanence et de la transcendance. Je compare leurs explications de l'affirmation créative pour mettre en lumière leur perspicacité et leurs limites et pour identifier les caractéristiques de leurs travaux qui sont utiles pour une nouvelle réponse à l'aliénation. La première et la deuxième parties de la thèse analysent leurs explications respectives de la mort et de la souffrance, de la communauté et de la mythologie et évaluent dans quelle mesure ces explications évitent de s'en remettre à la transcendance. La troisième partie identifie les aspects de leurs travaux qui peuvent contribuer à un message affirmant de vie contre l'aliénation. Le rejet complet de Nietzsche de la transcendance et son invocation des tensions qui caractérisent la vie humaine doivent constituer une réponse a l'alienation. Cependant les visions de Novalis de la liberté, de la communication et de la communauté favorisent des façons enrichissantes de donner un sens à la vie face à ses aspects sombres. Dans mon dernier chapitre, j'expose les contours d'une affirmation immanente sur la base de ces qualités et je suggère que cette affirmation peut être effectuée dans une communauté dialogique entre individus créatifs.
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Perron, Ève-Lyne. "Poussière d'étamines : Étude et réflexions sur l'ontologie sociale de Novalis." Thesis, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/30361.
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Cette thèse de maîtrise fait lumière sur les fondements socio-ontologiques de la pensée politique de Friedrich von Hardenberg (Novalis). Nous posons deux questions spécifiques : 1. Qui sont les agents de la réalité sociale dans les textes Amour et Foi et Europe ou la Chrétienté ? et 2. Suivant la réponse à la première question, Novalis défend-il un individualisme, un holisme horizontal ou un holisme vertical? Pour répondre, nous parcourons trois étapes : 1. Nous reconstruisons l’argumentation des deux textes politiques susmentionnés, 2. Nous interprétons l’ontologie générale de Novalis sur la base de la littérature secondaire et 3. Nous répondons à nos deux questions de recherche. En quelques mots, nous avons déterminé que les agents de la réalité sociale sont des individus connectés. Nous soutenons, dès lors, que la pensée politique de Novalis se base sur un holisme horizontal. This master’s thesis sheds light on the socio-ontological fundaments of Friedrich von Hardenberg’s political thought (Novalis’s). We ask two specific questions: 1. Who are the agents of social reality in the texts Love and Faith and Europe or Christianity? and 2. Following the answer to the previous question, does Novalis defend an individualism, a horizontal holism or a vertical holism? To answer, we follow three steps: 1. We reconstruct the argumentation of the two aforementioned texts, 2. We interpret Novalis’s general ontology on the basis of secondary literature, and 3. We answer our two research questions. In a few words, we were able to determine that the agents of social reality are connected individuals. We thus contend that Novalis’s political thought is based on a horizontal holism. Diese Masterarbeit wirft Licht auf die sozialontologischen Fundamente des Denkens Friedrich von Hardenbergs (Novalis). Wir stellen zwei spezifische Fragen: 1. Wer sind die Handelden der sozialen Wirklichkeit in den texten Glauben und Liebe und Christenheit oder Europa? und 2. Auf der vorherigen Frage aufbauend, verteidigt Novalis einen Individualismus, einen horizontalen Holismus oder einen vertikalen Holismus? Um zu antworten, folgen wir drei Schritten: 1. Wir rekonstruieren die Argumentation der obengenannten Texte, 2. Wir interpretieren die allgemeine Ontologie Novalis‘ aufgrund der Sekundärliteratur und 3. Wir beantworten unsere beiden Fragen. In wenigen Worten: wir haben festgestellt, dass die Handelden der sozialen Wirklichkeit miteinander verbundene Individuen sind. Deshalb behaupten wir, dass Novalis‘ politische Denken auf einem horizontalen Holismus aufbaut.
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Pott, Sandra. "Poetiken : poetologische Lyrik, Poetik und Ästhetik von Novalis bis Rilke /." Berlin : W. de Gruyter, 2004. http://catalogue.bnf.fr/ark:/12148/cb39169149t.
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Fadel, Natália Corrêa Porto Sanches. "O poeta enquanto vidente : Novalis e a romantização da linguagem /." Araraquara : [s.n.], 2008. http://hdl.handle.net/11449/91578.
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Orientador: Wilma Patricia Marzari Dinardo Maas<br>Banca: Eloá di Pierro Heise<br>Banca: Guacira Marcondes Machado Leite<br>Resumo: Por meio deste trabalho, procuramos identificar em uma das obras de Novalis, um dos autores mais significativos do assim chamado Primeiro Romantismo Alemão, os pressupostos de uma teoria da linguagem que se sustenta no Idealismo Alemão. O problema se delineia à medida que, para Novalis, contemporâneo do estabelecimento dos das bases da lingüística moderna, e, ele próprio, estudioso de filologia, observar-se-ia no fenômeno da linguagem uma possível relação entre espírito e mundo, o que, por sua vez, se opõe ao conceito hoje clássico da arbitrariedade do signo. No âmbito deste projeto de pesquisa, optamos por delimitar a investigação a uma narrativa curta do poeta, prosador e crítico Novalis (Friedrich von Hardenberg), intitulada Die Lehrlinge zu Saïs (1801). Considerada pela crítica como um fragmento de romance, a narrativa de Novalis em questão apresenta um elenco bastante rico no que se refere aos pressupostos de uma possível teoria da linguagem de caráter simbólico-poético e messiânico. Assim sendo, a abordagem a Os Discípulos em Saïs terá como perspectiva a possível identificação, no texto literário, de características desta filosofia ou teoria romântica da linguagem, manifestada em alguns fragmentos do próprio Novalis e de seu contemporâneo Friedrich Schlegel.<br>Abstract: The intention of this research is to identify the characteristics of a language theory, which has its basis on German Idealism, in one of Novalis, fragmentary novels Die Lehrlinge zu Sais. For Novalis, contemporary of the establishment of modern linguistics, and himself researcher on philology, one would observe in language phenomena a possible relation between spirit and world, which would be directly opposed to today's classic concept of sign's arbitrariness. For research purposes, we chose to limit our investigation to a short narrative written by the poet, novelist and critic Novalis (Friedrich von Hardenberg) entitled Die Lehrlinge zu Sais (1801). Considered by the critics to be a fragmentary novel, Novalis' narrative presents a great number of elements concerning of a symbolic- poetic language theory. Thus, the approach to Die Lehrling zu Sais will have as it's main perspective the possible identification of characteristics of this romantic philosophy or theory, exposed in some fragments written by Novalis and Friedrich Schlegel.<br>Mestre
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Fadel, Natália Corrêa Porto Sanches [UNESP]. "O poeta enquanto vidente: Novalis e a romantização da linguagem." Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/91578.
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fadel_ncps_me_arafcl.pdf: 842900 bytes, checksum: bacafedf193c99eb51b853224a249984 (MD5)<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>Por meio deste trabalho, procuramos identificar em uma das obras de Novalis, um dos autores mais significativos do assim chamado Primeiro Romantismo Alemão, os pressupostos de uma teoria da linguagem que se sustenta no Idealismo Alemão. O problema se delineia à medida que, para Novalis, contemporâneo do estabelecimento dos das bases da lingüística moderna, e, ele próprio, estudioso de filologia, observar-se-ia no fenômeno da linguagem uma possível relação entre espírito e mundo, o que, por sua vez, se opõe ao conceito hoje clássico da arbitrariedade do signo. No âmbito deste projeto de pesquisa, optamos por delimitar a investigação a uma narrativa curta do poeta, prosador e crítico Novalis (Friedrich von Hardenberg), intitulada Die Lehrlinge zu Saïs (1801). Considerada pela crítica como um fragmento de romance, a narrativa de Novalis em questão apresenta um elenco bastante rico no que se refere aos pressupostos de uma possível teoria da linguagem de caráter simbólico-poético e messiânico. Assim sendo, a abordagem a Os Discípulos em Saïs terá como perspectiva a possível identificação, no texto literário, de características desta filosofia ou teoria romântica da linguagem, manifestada em alguns fragmentos do próprio Novalis e de seu contemporâneo Friedrich Schlegel.<br>The intention of this research is to identify the characteristics of a language theory, which has its basis on German Idealism, in one of Novalis, fragmentary novels Die Lehrlinge zu Sais. For Novalis, contemporary of the establishment of modern linguistics, and himself researcher on philology, one would observe in language phenomena a possible relation between spirit and world, which would be directly opposed to today's classic concept of sign's arbitrariness. For research purposes, we chose to limit our investigation to a short narrative written by the poet, novelist and critic Novalis (Friedrich von Hardenberg) entitled Die Lehrlinge zu Sais (1801). Considered by the critics to be a fragmentary novel, Novalis' narrative presents a great number of elements concerning of a symbolic- poetic language theory. Thus, the approach to Die Lehrling zu Sais will have as it's main perspective the possible identification of characteristics of this romantic philosophy or theory, exposed in some fragments written by Novalis and Friedrich Schlegel.
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Krilles, Peter. "Esthétique des limites. Espaces du savoir chez Novalis et Mallarmé." Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030161.
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La proximité entre les écrits de Novalis et de Mallarmé est aujourd’hui un lieu commun de la recherche sans pour autant avoir fait l’objet d’une étude approfondie. Si une influence directe ne saurait être affirmée avec certitude, le simple constat d’une modernité commune est également insuffisant. La parenté entre les deux projets esthétiques se situe à un autre niveau. Dans les contextes de crise des années autour de 1800 et de la seconde moitié du XIXe siècle, les deux auteurs esquissent une conception de l’art qui vise une réorganisation des espaces du savoir de l’âge moderne. Le dispositif central de cette ‘troisième voie’ est celui de la limite qui permet de rompre avec la vanité d’une approche représentative de l’expérience esthétique. L’esthétique des limites de Novalis et de Mallarmé ne se restreint pas au simple constat de la négativité qui résulte des nombreuses limites fondamentales auxquelles l’être humain moderne se trouve confronté. Les deux auteurs ne considèrent pas en premier lieu la limite dans sa fonction de délimitation, mais comme un espace propre qui revêt une productivité et une fonctionnalité épistémologiques considérables. Selon eux, la limite est une configuration essentielle de l’expérience esthétique parce qu’elle confère à celle-ci une médialité et une performativité spécifiques qui permettent de dépasser la relation binaire entre la discursivité du savoir positif et l’inaccessibilité d’un savoir absolu. Ainsi, l’esthétique des limites est une conception particulièrement pertinente à l’époque actuelle où le débat sur la valeur épistémologique de l’art et de la littérature est loin d’être terminé<br>The similarity between the writings of Novalis and Mallarmé has become a topos in research, however, it has never been the object of a detailed study. On the one hand, we cannot say that Mallarmé was directly influenced by Novalis, on the other, the declaration that they share a modern vision is just as insufficient. The connection between the two aesthetic projects has to be found on another level. In their respective contexts of crisis, that characterise the periods around 1800 and the second half of the 19th century, both poets outline a conception of art with the objective of a new organisation of modern spaces of knowledge. Boundaries are a central dispositive of this ‘third way’ because they make it possible to overcome the vanity of a representative conception of aesthetic experience. Novalis’ and Mallarmé’s aesthetics of boundaries do not confine themselves to simply assessing the negativity that results from the numerous fundamental limitations of modern human condition. Both of them do not primarily consider the phenomenon of boundary to be a mere function of delimitation. For Novalis and Mallarmé, a boundary is an autonomous space that possesses a high epistemological productivity and functionality. Boundaries are central configurations of aesthetic experience because they endow this experience with a specific mediality and performativity that allow to overcome the binary relationship between positive discursive knowledge and the unattainability of absolute knowledge. The aesthetics of boundaries are an important concept nowadays as the debate surrounding the epistemological relevance of art and literature is far from being finished
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Enström, Anna. "Färgen och den fysiologiska estetiken : Goethe, Novalis och Caspar David Friedrich." Thesis, Södertörns högskola, Institutionen för kultur och kommunikation, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-5636.
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Jones, Kristin Alise. "Revitalizing Romanticism: Novalis' Fichte Studien and the Philosophy of Organic Nonclosure." Thesis, Harvard University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3566943.
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<p> This dissertation offers a re-interpretation of Novalis' <i> Fichte Studien</i>. I argue that several recent scholarly readings of this text unnecessarily exclude "organicism," or a panentheistic notion of the Absolute, in favor of "nonclosure," or the endless, because impossibly completed search for knowledge of the Absolute. My reading instead shows that, in his earliest philosophical text, Novalis makes the case for a Kantian discursive consciousness that can know itself, on Jacobian grounds, to be the byproduct (or accident) of a self-conditioning being or organism, and even more specifically a byproduct of God's panentheistic organism, at the same time that Novalis does not allow the possibility of discursive immediacy with that absolute standpoint; the epistemic consequence is that, while empirical science can proceed in the good faith that it makes valid reference to being, nonetheless it can never know its description of being to be final or complete. I call this position "organic nonclosure," and argue that Novalis holds it consistently throughout his very brief philosophical career. The keys to understanding Novalis' reconciliation of organicism and nonclosure are contextual and textual. Contextually, Novalis appreciates the inadvertent organicism in Jacobi's metacritique of Kant and also applies Jacobi's organicist metacritique to Fichte as well, with the result that Novalis' position in the <i> Fichte Studien</i> bears much resemblance to Herder's panentheistic ontology and modest epistemology. Textually, Novalis engages in a polysemy in the fragments of his <i>Fichte Studien</i> that performs the dependence of the sphere of empirical consciousness on a higher, intellectually intuitive being (a being that could only be a divinely creative intellection), and, simultaneously, the impossibility of presenting that identity in discursive terms. In other words, for Novalis, human knowledge of the existence of the organicist Absolute is enabled by, but also limited to, the merely contingent, empirical, and private experience of the dependence of the human subjective standpoint on an objectivity simply given to it.</p>
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Maatsch, Jonas. ""Naturgeschichte der Philosopheme" frühromantische Wissensordnungen im Kontext." Heidelberg Winter, 2006. http://d-nb.info/989715000/04.
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Hanly, Peter Charles. "Figuring the Between." Thesis, Boston College, 2013. http://hdl.handle.net/2345/3770.
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Thesis advisor: John Sallis<br>This dissertation is an attempt to describe parallels and convergences between the work of Martin Heidegger and that of the poet and philosopher of the Jena Romantic period Friedrich von Hardenberg, known also as Novalis. The fact that little attention has been given to the consideration of their relationship is undoubtedly owing to the fact that there is no sustained address to the work of the Jena Romantics in Heidegger's writing. However, the question of their relation merits reflection because of the insistence with which, albeit in a marginal way, Heidegger returns again and again in his work to fragments of Novalis. These fragments often seem to operate in Heidegger's lectures as something like stepping-stones, or guide-posts that mark a particular turn in the direction of the argument. Following one such quotation, Heidegger remarks that he "does not want to provoke and argument over the authority of this witness." However, it is indeed as "witness," and also in a certain sense as "authority" that Novalis is more often than not introduced. The question, then, is: what kind of authority? And to what is this authority called upon to bear witness? This question is rendered more substantial by the fact that these curious and marginal appearances of the Jena Romantic poet and philosopher take place in Heidegger's work over a period of forty years, from 1916 to 1959. More intriguing still, though, is that - when viewed together - these appearances attest to a strong ambivalence on Heidegger's part. On the one hand, a fragment of Novalis might be presented as an extraordinary "flash of insight" that presages unforeseen directions in philosophical thinking. On the other hand, these insights are also sometimes subject to summary judgment, dismissed by virtue of a broad and rather sweeping association with Hegel. Thus, it might be said that a kind of mystery hovers around this presence, a sense of both attraction and resistance. Following one such moment, indeed, and after having quoted Novalis' Monologue in its entirety, Heidegger writes: "Much remains dark and confusing in this monologue of λόγος, especially as he thinks in another direction and speaks in another language than the one attempted in these lectures." Still more than marking points of convergence, then, this project is dedicated to an attempt to shed light on this "dark and confusing" difference. To that end, the first part of the essay will engage Novalis' own extraordinary philosophical project; a project that involves an endeavor not merely to ponder the relations between philosophy and poetry, but to effect a complete elision of their distinction, and to offer to them thereby the thought of an entirely new meeting-ground. The essay will trace out the philosophical origins of this endeavor, and try to show how the thinking engendered in those origins flourishes to produce a unique conception of the relations between the natural world and the language we use to describe it. The second part of the essay will, by contrast, engage Heidegger, in an attempt to mark a terrain in which aspects of his work can be seen to come into close proximity with the thought of the Jena Romantics, often in quite unexpected and unpredictable ways. These considerations will operate along two axes. On the one hand, an address is made to question of pain in Heidegger's work, in order to show the continuity, but also to describe the philosophical orientation and historical genesis of this thematic. Secondly, the very distinctive manner of writing and thinking that belongs to Heidegger's work of the late 1930's is addressed in light of this thematic. It will be shown that it is in these texts, and most especially in the Beiträge zur Philosophie (Vom Ereignis), that Heidegger's processes of writing offer the most striking parallels to modes of thinking that unfold in the orbit of Jena Romanticism. Finally, though, what is hazarded in this essay is not by any means a "Romantic" reading of Heidegger, and still less a "Heideggerean" reading of Novalis, but rather an endeavor to show how, and to what extent, the thinking of both Heidegger and Novalis converge in taking their orientation, in very different ways, from the historical appropriation of a decisive moment in Greek thought, namely one particular thought that belongs to the fragments of Heraclitus<br>Thesis (PhD) — Boston College, 2013<br>Submitted to: Boston College. Graduate School of Arts and Sciences<br>Discipline: Philosophy
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Kubik, Andreas. "Die Symboltheorie bei Novalis eine ideengeschichtliche Studie in ästhetischer und theologischer Absicht." Tübingen Mohr Siebeck, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2773061&prov=M&dok_var=1&dok_ext=htm.
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Vidal, Laetitia. "Vertiges du conte : Novalis, ou la philosophie à la puissance du "Märchen"." Université Marc Bloch (Strasbourg) (1971-2008), 2008. https://publication-theses.unistra.fr/restreint/theses_doctorat/2008/VIDAL_Laetitia_2008.pdf.
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Ce travail explore de l’intérieur la pensée d’un authentique « poète-philosophe ». Novalis est de fait l’un des rares auteurs à revendiquer une fusion de la poésie et de la philosophie, fort de son désir de tout harmoniser pour tout connaître vraiment. Or ce sont ses contes qui se sont imposés à nous comme lieu privilégié de « mise en œuvre » de cet élan de totalisation et de « romantisation » du monde, de cet « idéalisme magique » si souvent mal compris. En eux, le merveilleux du « à la fois » devient la règle et loin de dire seulement « l’impossible » d’une quête démesurée, ils nous ont paru relever avec un panache inespéré le défi de la « Poésie de l’infini », et la faire vivre pleinement. C’est ce que nous cherchons à montrer au gré d’une lecture linéaire attentive, seule à même de révéler cette « fabuleuse puissance de la fiction » qui nous permettra de croire avec Novalis en la capacité de l’homme libéré des faux semblants de la séparation à vivre l’harmonie du « Märchenwelt »<br>This essay explores from within the thought of Novalis (Friedrich von Hardenberg), a genuine “philosopher poet”, one of the few writers to uphold the fusion of poetry and philosophy in his quest for total harmony and universal knowledge. We found his tales to be the essential conduits for his frequently misunderstood “magic idealism” as they implement his urge to “globalize” and “romanticize” the world. Far from restricting themselves to conveying how impractical and outsized such a task was, these tales, according to us, succeeded with great and unexpected panache in fully conveying a “Poetry of the Infinite”. This is our point in this dissertation which resorts to close linear textual analysis, the only methodology capable of doing justice to this “fabulous power of fiction” which conveys Novalis’s belief in Man’s capacity, when freed from so-called separation, to experience the harmony of the “Märchenwelt”
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Nistal, Freijo Ana Isabel. "Robert Schumann: “o autor prolongado” Implicações do pensamento do primeiro romantismo alemão no Lied de Schumann." Master's thesis, Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa, 2013. http://hdl.handle.net/10362/9217.
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Dissertação apresentada para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Filosofia (Área de especialização Estética)<br>A presente dissertação estabelece um estudo comparativo da obra musical e literária de R. Schumann com as contribuições fragmentárias dos primeiros românticos, Schlegel e Novalis. Quer em Schumann, quer em Schlegel e Novalis, analisamos o processo de crítica que desenvolvem, servindo-nos do ciclo de canções Frauenliebe und –leben op.42 como estudo de caso. Na análise desta obra sintetizamos a expressão crítica – literária e musical – do compositor, dilucidando o novo tratamento poético-musical que Schumann leva a cabo nos seus ciclos de Lieder. Esta reconfiguração da relação que se estabelece entre a fonte poética e a musical, levou-nos a considerar o compositor como um “segundo poeta” ou “autor prolongado” dos poemas, equiparando o seu tratamento liederístico à acção crítica fragmentária dos primeiros românticos.
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Steiner, Wilfried. "Rausch - Revolte - Resignation : eine Vorgeschichte der poetischen Moderne von Novalis bis Georg Heym /." Wien : Verband der wissenschaftlichen Gesellschaften Österreichs (VWGÖ), 1993. http://catalogue.bnf.fr/ark:/12148/cb35773320w.
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Lukas, Verena Anna. "Der Dialog im Dialog : das Inzitament bei Friedrich von Hardenberg /." Bern : P. Lang, 2000. http://catalogue.bnf.fr/ark:/12148/cb37686803q.
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Klessinger, Hanna. "Krisis der Moderne Georg Trakl im intertextuellen Dialog mit Nietzsche, Dostojewskij, Hölderlin und Novalis." Würzburg Ergon-Verl, 2006. http://d-nb.info/985581425/04.
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Smith, Alexis. "Hearing with the Body: Poetics of Musical Meaning in Novalis, Ritter, Hoffmann and Schumann." Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22718.
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The question of whether or not music can be considered a universal language, or even a language at all, has been asked for centuries—and indeed, it is still being addressed in the 21st century. I return to this question because of the way the German Romantics answered it. Music becomes embodied in not only human language in Novalis’ concept of Poesie in “Die Lehrlinge zu Sais” (1802), but also nature and the human body in Johann Wilhelm Ritter’s scientific speculations in Fragmente aus dem Nachlasse eines jungen Physikers (1810). Seen as the manifestation of the world soul, this embodiment was an attempt to come closer to naming the unnamable, and, I argue, became the perfect platform for E.T.A. Hoffmann to develop his pseudonym and literary character Johannes Kreisler and the mysterious power of music he experiences in the collection of musical critiques and essays, Kreisleriana (1810-1814), and the novel, Lebens-Ansichten des Katers Murr (1819/1821). Finally, I argue that Hoffmann’s musical literary style can be heard and ‘felt’ in Robert Schumann’s piano cycle, Kreisleriana, Op. 16 (1838), as other scholars have also analyzed, but that there is also a ‘mixing of discourses’ involved, including Schumann’s own words about the suite. Music is not a universal language—at least, not as understood by the mind and described through words. These writers and composer grapple with the observation that music has a powerful influence over the body—can music then be seen as a ‘language’ received and understood by the body? If so, can an interdisciplinary approach to music and language through science lead to better understanding, as was already exemplified by the collaboration among the German Romantics?
This dissertation includes previously published material, which has been substantially revised and updated.
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Besson, Alexandra. "Novalis et la théologie négative : le gouffre et le rêve dans le romantisme européen." Thesis, Université de Lorraine, 2015. http://www.theses.fr/2015LORR0235.
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Cette thèse propose une lecture de l’oeuvre de Novalis selon le prisme de la théologienégative. Afin d’établir son influence sur le poète romantique, elle retrace tout d’abord sareligiosité dans le contexte de son époque, en s’appuyant notamment sur trois recueils decantiques (respectivement protestant, catholique, issu de la communauté des frères moraves)qu’il a pu consulter. Après ce panorama du christianisme à la fin du dix-huitième siècle, elleanalyse l’évolution du sentiment religieux chez Novalis, et son infléchissement perceptiblelors du virage chrétien de l’année 1799. Le coeur de la thèse est une analyse des procédésdialectiques, langagiers et poétiques issus de la théologie négative dans l’oeuvre de Novalis, etdonc des rapports entre parole, image et absolu, des motifs de la descente, de la nuit, de lacontemplation, du regard réciproque, du miroir, et du rêve comme mode d’accès à uneconnaissance conçue non plus sous le mode de l’illumination, mais de l’enténèbrement. A lacroisée des chemins entre philosophie post kantienne et culture chrétienne, le romantismeréactualise l’héritage de la mystique rhénane et renverse le chemin qui mène à l’absolu : cetravail cherche enfin à montrer que le miroir, le rêve et le mouvement de descente dans la nuitsont des motifs communs à toute une famille romantique spéculative, et procède parcomparaison afin de mettre en lumière, d’une part, le changement de paradigme qui interviententre baroque, Lumières et romantisme, d’autre part, la persistance de cette configurationintellectuelle très spécifique au cours du dix-neuvième siècle, chez plusieurs auteurs identifiésaux romantismes allemand, français et anglais<br>This thesis aims to read the German romantic poet Novalis in the light of negative theology.To establish its influence on his work, this thesis begins with a recount of Novalis’ religiosityin the context of his age, based on three hymnals with which he was familiar (respectivelyLutheran, Roman Catholic and Moravian). After outlining Christianity at the end of the 18thcentury, it analyzes the evolution of Novalis’ religious feelings throughout his life, and theperceptible change which occurs from the great Christian year 1799 and beyond. The core ofthe thesis deals with the dialectic, linguistic and poetic strategies inherited from negativetheology in Novalis’ literary works, as well the relationship between speech, imagery and theabsolute. It describes the motives of descent, night, contemplation, reciprocal gazes, andmirrors and dreams as an access to a new form of knowledge, which ceases to be conceived asa way upwards to illumination, but as a gradual darkening downwards. At a crossroadsbetween post Kantian philosophy and Christianity, Romanticism reclaims the inheritance ofGerman mysticism and reverses the path leading to the absolute: this thesis finally argues thatmirrors, dreams and endarkenment are key motives identifying a speculative family of authorsamong Romanticism. Thus it proceeds by comparison to highlight first the paradigmaticchange occurring between Baroque, the Enlightenment and Romanticism, then the persistenceof that very specific mental configuration throughout the 19th Century, in the works ofseveral authors belonging to German, French and English Romanticism
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Diniz, Davidson de Oliveira. "A conceitualidade do livro em literatura: desmesuras da página em Novalis, Mallarmé e Borges." Universidade Federal de Minas Gerais, 2014. http://hdl.handle.net/1843/ECAP-9KLHNK.
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This dissertation discusses the symbolism of the book as compositional horizon for literature in modernity. From this extensive question, the thinking occurs in three movements. First, we investigate the significance of the book from the moment when the literary object left itself to conceptualize. Then, we reflect about the concept of literature, the literary language itself, as a specific formulation of epistemology that emerges in modernity. Finally, we argue if the possibility of the symbolism of the book (dated long before modernity) has been reworked in order to legitimize the composition plan and the language that the literature was limited in the aesthetic and modern knowledge field. For that, we live with three distant works in linear temporality, but close (or approachable) as constituents and intermediates of the hypothesis brought to discussion in these pages. It is the vindications of the book in Novalis , S. Mallarmé and J.L. Borges.<br>Esta tese discute o simbolismo do livro como horizonte de composição para a literatura na modernidade. A partir da extensa questão, o pensamento acontece em três movimentos. Primeiramente, investiga-se a significação do livro a partir do momento em que o objeto literário deixou-se conceituar. Em seguida, reflete-se o conceito de literatura, de linguagem propriamente literária, como formulação específica da epistemologia que emerge na modernidade. Finalmente, questiona-se a possibilidade de o simbolismo do livro (datado de muito antes da modernidade) ter sido reformulado com vistas a legitimar o plano de composição e a linguagem a que a literatura foi circunscrita no campo estético e dos saberes modernos. Para tanto, convivemos com três obras distantes em temporalidade linear, mas próximas (ou aproximáveis) enquanto constituintes e intermediárias da hipótese trazida à discussão nestas páginas. Trata-se das vindicações do livro em Novalis, S. Mallarmé e J. L. Borges
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Margantin, Laurent. "Les plis de la terre : système minéralogique et cosmologie chez Friedrich von Hardenberg (Novalis)." Paris 8, 1997. http://www.theses.fr/1997PA081217.
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Pendant son temps d'etudes et de formation a l'academie des mines de freiberg (decembre 1797-mai 1799), friedrich von hardenberg (novalis) developpe deux concepts qui sont deux "theories de la science": la mineralistique et l'encyclopedistique. L'une est une methode de classification des mineraux; l'autre est une methode de correlation et d'harmonisation des regions du savoir. Dans le repertoire general et les cahiers de freiberg sont rassemblees de nombreuses notes concernant la classification mineralogique et les mathematiques nouvelles (calcul infinitesimal, analyse combinatoire) qui nous permettent de comprendre ce que pourrait etre le nouveau systeme mineralogique, ainsi que l'encyclopedie romantique. L'objet est devenu un "objectile" (deleuze), c'est-a-dire que le jugement "fonctionnalise" la chose. Le monde de la matiere comme celui de l'esprit est parcouru par des lignes de fuite, ou chaque point-pli est declinable selon des parametres variables. La mineralistique est un degre du nouveau monde de la connaissance, qui se compose de series d'operations, mais aussi de series de series d'operations, puisque la tache reflexive est infinie. Et l'analyse combinatoire est au centre du projet encyclopedistique expose dans le repertoire general, - la mineralistique etant un membre fonctionnel d'un organon a venir qui doit se caracteriser, comme la vie, par son devenir et ses metamorphoses<br>While studying and training at freiberg's academie des mines (december 1797 - may 1799), friedrich von hardenberg (novalis) develops two concepts which are two "theories of science" : the mineralist theory and the encyclopedic theory. One is a method of classifying minerals; the other is a method of correlating and harmonising the different areas of knowledge. In the repertoire general and the cahiers de frieberg are gathered numerous notes concerning mineralogical classification and the new mathematics (infinitesimal calculation, combined analysis) which allow us to understand what the new mineralogical system might be as well as the romantic encyclopedia. The object becomes an "objectile" (deleuze), that is, evaluation turns the thing into its function. The material world, like the world of the mind, is covered in escape lines where each fold-point can be inflected within variable parameters. Mineralistics is a stage in the new world of knowledge, which involves a series of operations, but also series of series of operations, as the reflective task is infinite. And combined analysis is at the centre of the encyclopedic project postulated in repertoire general , the mineralistic being a functional part of a future organon which will be identified, like life itself, by its evolution and its transformations
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Stanko, Vlaški. "Hegelova kritika romantiĉarskog poimanja religije." Phd thesis, Univerzitet u Novom Sadu, Filozofski fakultet u Novom Sadu, 2018. https://www.cris.uns.ac.rs/record.jsf?recordId=107083&source=NDLTD&language=en.
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<p>Istraživanje tematizuje Hegelovo kritiĉko vrednovanje ranoromantiĉarskog poimanja religije kao centralni aspekat Hegelove kritike romantiĉarskog duhovnog strujanja uopšte. Autor polazi od naĉina na koji Hegel određuje pojam filozofije religije. Saglasno tom pojmu, poimanje religije kod romantiĉara propituje se s obzirom na naĉin na koji su vodeći predstavnici tzv. jenske romantike (Šlajermaher, Šlegel, Novalis) pristupali pitanju o pojmu boga, problemu forme religijske svesti, pitanju o odnosu religije prema onome praktiĉkom i pitanju o odnosu religije prema umetnosti i filozofiji. Romantiĉarski pojam religije manifestovaće se pre svega kao programsko depotenciranje pitanja o pojmu boga i božjem postojanju, favorizacija formi neposrednosti svesti kao formi koje jesu autentiĉno religijske, razgraniĉenje religije od sfere ljudskog praksisa i nagovor na kreiranje nove religiije. Hegel ovakvom pojmu religije kritiĉki pristupa kao obliku duhovnosti koji je u ontološkom pogledu zasnovan Fihteovim filozofskim stanovištem. Kritika romantiĉarskog pojma religije kod Hegela biva konkretizovana kao kritika apsolutizacije formi neposrednosti religijske svesti, kao kritika promišljanja odnosa religije i drţave koje nije reflektovalo razliku onoga što jeste drţava i onoga što jeste građansko društvo i kao opozivanje mogućnosti da se moderna religioznost revitalizuje u liku romantiĉarske nove religije umetnosti.</p>
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Arnett, Lyn M. "A Reexamination Of What It Means To Be Human: A Comparative Study Of The Ties Between German Romanticism And Posthumanism." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1321894207.
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Weisend, Ausma Skerbele. "Poetry, nature and science : romantic nature philosophy in the works of Novalis and E.T.A. Hoffmann /." Connect to resource, 1994. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1249485965.
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Weitz, Michael. "Allegorien des Lebens literarisierte Anthropologie bei F. Schlegel, Novalis, Tieck und E. T. A. Hoffmann." Paderborn München Wien Zürich Schöningh, 2007. http://d-nb.info/986755125/04.
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Trigo, Natália Fernanda da Silva [UNESP]. "Crítica e criação em Novalis: dos Fragmentos de Pólen aos poemas dos Hinos à Noite." Universidade Estadual Paulista (UNESP), 2017. http://hdl.handle.net/11449/149765.
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Previous issue date: 2017-02-22<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>O presente trabalho analisa de que maneira as reflexões teórica sobre a criação poética de Novalis, que se materializam nos fragmentos de Pólen, relacionam-se com os poemas que compõem os Hinos à Noite. Procuramos analisar a relação dialética que as duas obras estabelecem que consiste no fato dos fragmentos possuírem características da poesia e de suas ideias estarem presente nos poemas. Analisamos os fragmentos que refletem sobre as teorias românticas acerca da poesia e do poético, compreendendo como se constitui nessa obra o pensamento crítico de Novalis sobre poesia e linguagem, estabelecendo, depois, ligações com os poemas, associando a reflexão crítica presente em Pólen com alguns elementos poéticos marcantes nos Hinos como o misticismo, a ideia de conhecimento, o símbolo, a valorização da Noite, da Morte e do Amor. Compreendemos que as duas obras estabelecem uma conexão de ideias, pois, entendemos os Hinos como uma poesia transcendental, sobre a qual Novalis teorizou em seus fragmentos, além disso, analisamos que os símbolos do Amor e da Morte estão presentes em ambas as obras e são construídos a partir de características em comum. Refletimos ainda que as duas obras se aproximam também no aspecto formal, uma vez que em ambas Novalis faz experimentações formais: em Pólen temos o desenvolvimento do fragmento como gênero, enquanto nos Hinos temos o poema em prosa e em verso. Verificamos, então, que Novalis dissolve as fronteiras entre poesia, teoria e crítica, tanto em relação as reflexões propostas e a linguagem utilizada quanto a composição formal, criando, com isso, uma maneira original de se pensar e se produzir as obras literárias, suas teorias e suas críticas.<br>The present work studies the way the theoretical reflection about the poetic creation of Novalis, that are present in the fragments of Pollen, have a relation with the poems of the Hymns to the Night. We analyze the dialectics relation that the two works have, which is the fragment having characteristics of poetry and the ideas of the fragments being present in the poems. We analyze the fragments that reflect the romantic theories about poetry and poetic, understanding how the critical thoughts by Novalis about poetry and language are made, establishing, after that, connections with the poems, and linking the critical reflection that’s in Pollen with some important poetic elements of the Hymns, as the mysticism, the idea of knowledge, the symbol, the valorization of Night, Death and Love. We recognize that the two works have a connection of ideas, because we understand the Hymns as the transcendental poetry, that Novalis theorized in his fragments. Furthermore, we analyze that the symbols of Love and Death are in both works and made with sharing characteristics. We also reflect that both works have similarities in the formal aspect, once that in both Novalis make formal experimentations: in Pollen we have the development of the fragment as a genre, and in the Hymns the poem in prose and verse. We also verified that Novalis dissolves the frontiers among poetry, theory and criticism, in relation to the proposed reflections and the language used as well as the formal composition, creating, with this, a new way of thinking and producing the literary compositions, their theory and their criticism.
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Trigo, Natália Fernanda da Silva. "Crítica e criação em Novalis : dos Fragmentos de Pólen aos poemas dos Hinos à Noite /." São José do Rio Preto, 2017. http://hdl.handle.net/11449/149765.
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Orientador: Márcio Scheel<br>Banca: Wilma Patricia Marzari Dinardo Maas<br>Banca: Orlando Nunes de Amorim<br>Resumo: O presente trabalho analisa de que maneira as reflexões teórica sobre a criação poética de Novalis, que se materializam nos fragmentos de Pólen, relacionam-se com os poemas que compõem os Hinos à Noite. Procuramos analisar a relação dialética que as duas obras estabelecem que consiste no fato dos fragmentos possuírem características da poesia e de suas ideias estarem presente nos poemas. Analisamos os fragmentos que refletem sobre as teorias românticas acerca da poesia e do poético, compreendendo como se constitui nessa obra o pensamento crítico de Novalis sobre poesia e linguagem, estabelecendo, depois, ligações com os poemas, associando a reflexão crítica presente em Pólen com alguns elementos poéticos marcantes nos Hinos como o misticismo, a ideia de conhecimento, o símbolo, a valorização da Noite, da Morte e do Amor. Compreendemos que as duas obras estabelecem uma conexão de ideias, pois, entendemos os Hinos como uma poesia transcendental, sobre a qual Novalis teorizou em seus fragmentos, além disso, analisamos que os símbolos do Amor e da Morte estão presentes em ambas as obras e são construídos a partir de características em comum. Refletimos ainda que as duas obras se aproximam também no aspecto formal, uma vez que em ambas Novalis faz experimentações formais: em Pólen temos o desenvolvimento do fragmento como gênero, enquanto nos Hinos temos o poema em prosa e em verso. Verificamos, então, que Novalis dissolve as fronteiras entre poesia, teoria e crítica, tanto em...<br>Abstract: The present work studies the way the theoretical reflection about the poetic creation of Novalis, that are present in the fragments of Pollen, have a relation with the poems of the Hymns to the Night. We analyze the dialectics relation that the two works have, which is the fragment having characteristics of poetry and the ideas of the fragments being present in the poems. We analyze the fragments that reflect the romantic theories about poetry and poetic, understanding how the critical thoughts by Novalis about poetry and language are made, establishing, after that, connections with the poems, and linking the critical reflection that's in Pollen with some important poetic elements of the Hymns, as the mysticism, the idea of knowledge, the symbol, the valorization of Night, Death and Love. We recognize that the two works have a connection of ideas, because we understand the Hymns as the transcendental poetry, that Novalis theorized in his fragments. Furthermore, we analyze that the symbols of Love and Death are in both works and made with sharing characteristics. We also reflect that both works have similarities in the formal aspect, once that in both Novalis make formal experimentations: in Pollen we have the development of the fragment as a genre, and in the Hymns the poem in prose and verse. We also verified that Novalis dissolves the frontiers among poetry, theory and criticism, in relation to the proposed reflections and the language used as well as the formal ...<br>Mestre
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Kasulke, Maren S. "V.F. Odoevskij and Novalis, the heritage of the German Fruehromantik in Odoevskij's thought and Russian nights." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ51203.pdf.
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