German Aesthetic and Literary Criticism


Book Description

This anthology, part of a three-volume series devoted to German aesthetic and literary criticism collects extracts from the leading Romantic critics in Germany: Friedrich and August Schlegel, Ludwig Tieck, Jean Pual Richter, Freidrich von Hardenberg and Lark Solger. There are also excerpts from the writings of Goethe. The volume provides an overview of the immensely rich literary criticism of the late eighteenth century and early nineteenth century in Germany, which has been of seminal influence on the history of European literary criticism. The extracts bear witness to the enormous impact which Shakespeare had upon German intellectual life during this period, for it was his work which served to liberate artists and theorists alike from the norms and values of neo-classicism. Dr Wheeler has written a substantial introduction to the collection, explaining some of the more complex ideas contained therein and placing the authors in a wider intellectual context. The volume will be an especially useful textbook for students of Romantic literature, modern literary theory and the history of literary criticism, whether they be in departments of English, German or comparative literature.




German Aesthetic and Literary Criticism


Book Description

An overview of the immensely rich literary criticism of the late eighteenth century and early nineteenth century in Germany




German Aesthetic Literary Criticism


Book Description

The volume comprises selections from the major work of Kant, Schopenhauer, and Hegel, as well as from Fichte and Schelling, some of whose writings are translated here for the first time. The volume comprises selections from the major work of Kant, Schopenhauer, and Hegel, as well as from Fichte and Schelling, some of whose writings are translated here for the first time. It thus provides a much fuller context for the German Idealist movement than has been hitherto available in any comparable form in English. The texts reveal aesthetic philosophy and literary criticism not as abstract of peripheral disciplines but as absolutely central topics in the mainstream of German Idealist thought. Dr Simpson's introduction places the writers and their work in an appropriate intellectual context, and his extensive annotation seeks to clarify and render more accessible their complex and often elusive ideas.







Encyclopedia of the Romantic Era, 1760-1850


Book Description

Review: "Written to stress the crosscurrent of ideas, this cultural encyclopedia provides clearly written and authoritative articles. Thoughts, themes, people, and nations that define the Romantic Era, as well as some frequently overlooked topics, receive their first encyclopedic treatments in 850 signed articles, with bibliographies and coverage of historical antecedents and lingering influences of romanticism. Even casual browsers will discover much to enjoy here."--"The Top 20 Reference Titles of the Year," American Libraries, May 2004.




The Origins of Modern Critical Thought: German Aesthetic and Literary Criticism from Lessing to Hegel


Book Description

An exceptional resource, this 1988 book provides a comprehensive anthology in English of the major texts of German literary and aesthetic theory between Lessing and Hegel. The texts are crucial to an understanding not only of the Romantic period itself, but also of the foundational arguments of literary theory.




Classic and Romantic German Aesthetics


Book Description

This 2002 volume offers translations of major works of classic and romantic German aesthetics.




German Romantic Literary Theory


Book Description

Professor Behler provides a view of the literary work and the artistic process developed in the German Romantic period.




E.T.A. Hoffmann's Musical Aesthetics


Book Description

Whilst E.T.A. Hoffmann (1776-1822) is most widely known as the author of fantastic tales, he was also prolific as a music critic, productive as a composer, and active as a conductor. This book examines Hoffmann's aesthetic thought within the broader context of the history of ideas of the late-eighteenth and early-nineteenth centuries, and explores the relationship between his musical aesthetics and compositional practice. The first three chapters consider his ideas about creativity and aesthetic appreciation in relation to the thought of other German romantic theorists, discussing the central tenets of his musical aesthetic - the idea of a 'religion of art', of the composer as a 'genius', and the listener as a 'passive genius'. In particular the relationship between the multifaceted thought of Hoffmann and Friedrich Schleiermacher is explored, providing some insight into the way in which diverse intellectual traditions converged in early-nineteenth-century Germany. In the second half of the book, Hoffmann's dialectical view of music history and his conception of romantic opera are discussed in relation to his activities as a composer, with reference to his instrumental music and his two mature, large-scale operas, Aurora and Undine. The author also addresses broader issues pertaining to the ideological and historical significance of Hoffmann's musical and literary oeuvre.




Modernism Between Benjamin and Goethe


Book Description

Widely regarded as one of the foremost cultural critics of the last century, Walter Benjamin's relation to Modernism has largely been understood in the context of his reception of the aesthetic theories of Early German Romanticism and his associated interest in avant-garde Surrealism. But this Romantic understanding only gives half the picture. Running through Benjamin's thought is also a critique of Romanticism, developed in conjunction with a positive engagement with the philosophical, artistic and historical writings of J. W. von Goethe. In demonstrating the significance of these Goethean elements, this book challenges the dominant understanding of Benjamin's philosophy as essentially Romantic and instead proposes that Goethe's Classicism, conceived as the counterpoint to Romanticism, permits a corrective to the latter's deficiencies. Benjamin's Modernist concept of criticism, it is argued, is constituted in the movement between these polarities of Romanticism and Classicism. Conversely, placing Goethe's Classicism in relation to Benjamin's practice of literary criticism reveals historical tensions with Romanticism that constitute the untimely – indeed, it will be argued, cinematic – Modernism of his work. Adopting a transcritical approach, this book alternates between Benjamin and Goethe in relation to the experiences of colour, language and technology, assembling a constellation of philosophical and artistic figures between them, including the writings of Kant, Nietzsche, Cohen, Deleuze, Koselleck, Klages, and the work of Grünewald, Marées, Klee, Turner, Hulme, Eisenstein, Tretyakov, and Murnau.