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首页> 外文学位 >Der Geist der Begeisterung: Kommunikationsparadoxien und ihre Entfaltung in Aesthetik und Poetik des spaeten 18. Jahrhunderts und bei Joseph von Eichendorff (German text).
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Der Geist der Begeisterung: Kommunikationsparadoxien und ihre Entfaltung in Aesthetik und Poetik des spaeten 18. Jahrhunderts und bei Joseph von Eichendorff (German text).

机译：热情的精神：18世纪末期与约瑟夫·冯·艾兴道夫（德语）的交流悖论及其在美学和诗学中的发展。

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摘要

My dissertation examines changes in the concept of inspiration (“Begeisterung”) in pre-romantic and romantic writings, arguing that prominent features of romantic writing react to paradoxes of communication that emerge with the functional differentiation of society. Paradoxes of communication—such as the demand for the mediation of immediacy, the communication of the incommunicable, or the unintentionality of artistic intention—are characteristic of the concept of inspiration in the late eighteenth century. They emerge where art is conceived of as an autonomous system not reducible to the authority of individual consciousness while at the same time, categories of consciousness such as spirit, genius, or imagination are evoked to explain the production and the function of art. I read both the theoretical writings of the romantics and their literary practice as elaborating the tensions arising from a simultaneous exclusion and implication of “communication” and “consciousness” characteristic of their specific cultural situation. Methodologically, I draw on the instruments of systems theory as developed particularly in the work of Niklas Luhmann. The first chapter examines the terms consciousness and communication historically, contextualizing them with nineteenth-century theories of cognition (Ernst Mach and William James) and Derrida's critique of Husserl's notion of consciousness. The second chapter traces the historical development of the concept of inspiration in such pre-romantic theoreticians as Winckelmann, Herder, and Moritz. The third chapter marks the transition from the aesthetics of inspiration—which still inform Kant's aesthetics—to a poetics of simulation which I analyze in Eichendorff's work. The turning point can be located within the theoretical writings of early Romanticism (esp. of Novalis, F. Schlegel, and Schelling) where art is reconceived as a strategy of communication which renders visible its intrinsic paradox. Finally, I undertake a new reading of Eichendorff's literary work, where “inspiration” is no longer conceived of as a category of consciousness but as the result of the reader's attentiveness commanded by the medium of communication. This reading of Eichendorff, set off against the late eighteenth-century aesthetics of inspiration but firmly within the context of early romanticism, provides both a new understanding of Eichendorff's poetics and also invites a reinterpretation and reevaluation of the cultural and historical significance of his literary writings.
机译：我的论文探讨了浪漫前浪漫小说中灵感概念（“ Begeisterung”）的变化，认为浪漫写作的显着特征是对随着社会功能分化而出现的沟通悖论的反应。沟通的悖论（例如对即时沟通的需求，不可沟通的沟通或艺术意图的无意性）是18世纪后期灵感概念的特征。它们出现在艺术被认为是不可归结为个人意识权威的自治系统的地方，与此同时，唤起了诸如精神，天才或想象力之类的意识类别来解释艺术的产生和功能。在阅读浪漫主义者的理论著作和他们的文学实践时，我都阐述了由于特定文化状况的“交流”和“意识”特征同时被排斥和暗示而引起的紧张关系。从方法上讲，我借鉴了尼古拉斯·卢曼（Niklas Luhmann）的著作中特别发展的系统理论工具。第一章从历史上考察了意识和交流这两个术语，并用19世纪的认知理论（恩斯特·马赫（Ernst Mach）和威廉·詹姆斯）和德里达对胡塞尔的意识概念的批判将它们进行了语境化。第二章追溯了前浪漫主义理论家（如温克尔曼，赫德和莫里茨）中灵感概念的历史发展。第三章标志着从灵感的美学（仍然启发康德的美学）到模拟的诗学的过渡，我在艾森道夫的著作中对此进行了分析。转折点可以定位在早期浪漫主义的理论著作中（尤其是诺瓦利斯，施莱格尔和谢林），其中艺术被重新视为一种传播策略，从而使其内在的悖论可见。最后，我对艾兴道夫的文学作品进行了新的解读，其中“灵感”不再被认为是一种意识类别，而是由于传播媒介对读者的专心致志的结果。对艾兴道夫的读解与18世纪后期的灵感美学背道而驰，但完全在早期浪漫主义的背景下进行，不仅为艾兴道夫的诗学提供了新的理解，还邀请人们对艾兴道夫的文学创作重新诠释和重新评估其文化和历史意义。 。

著录项

  • 作者

    Landgraf, Edgar.;

  • 作者单位

    The Johns Hopkins University.;

  • 授予单位 The Johns Hopkins University.;
  • 学科 Literature Germanic.
  • 学位 Ph.D.
  • 年度 1999
  • 页码 283 p.
  • 总页数 283
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 I516;
  • 关键词

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