Friedrich Hölderlin

This book recalibrates literature’s political role for the 21st century by excavating the deep history of storytelling as a civic agency. From Aristotle to Arendt and from the novella to the video story, short narrative forms hence become tangible as active vectors that enable and radically modulate the ontology of human encounters.

“Civic Storytelling lays bare the complex legacies and persistent powers of short narrative forms. Fuchs guides the reader with assurance and learning through fascinating moments in the history and theory of literature”
—Daniel Heller-Roazen, Princeton University

“Why has the novel stolen so much attention from the equally robust lineage of short forms? In his erudite and wide-ranging alternate literary history, Florian Fuchs rebalances accounts, revealing a long backdrop to our data floods and snippet reading. Short forms do not lead us out of the world, but into full engagement with it; they are the democratic media of the commons.”
—John Durham Peters, Yale University

“Civic Storytelling is a timely intervention in our age of debates about fact and fiction. Drawing on Hannah Arendt’s idea of enacted stories, Florian Fuchs makes a convincing case for the particular cognitive productivity of short narratives.”
—Eva Geulen, Humboldt University Berlin and ZfL Berlin

An unfinished essay written in the wake of my course entitled "Writing In The Wake of Disaster" (Autumn Semester 2009). This is a theorization of the content and theme of the course, which demonstrated that undergraduate non-majors can handle Blanchot's most challenging texts. My students deserve credit for valuable contributions to the ideas herein.

La capacidad simbólica es, sin duda, el soberano pilar fundacional del ser humano desde los techos de cavernas de la Prehistoria, con gráciles representaciones donde aparecen las primeras simbolizaciones en los tiempos iniciales que conjuraban el cúmulo de sentimientos más puramente humanas, hasta la placa de la sonda espacial Pioneer X, esa fotografía del ser humano a modo de saludo interestelar que alcanzará remotas galaxias. El mito, la conciencia de lo español y algunas de las más sublimes aportaciones al canon literario occidental son tres vértices sustanciales en el presente libro.

Der Philosoph Dieter Henrich ist vor allem berühmt für seine Forschungen zum deutschen Idealismus sowie für sein Konzept der Konstellationsfor-schung, 1 das für den Bereich der philosophie-wie der literaturwissenschaft-lichen Forschung ausgesprochen anregend und fruchtbar ist. Denn blickt man auf die philosophischen Werke im Werden, zeigt sich auch, daß Fra-gen der Philosophiegeschichte auch solche der Literaturgeschichte sind. 2 So ist es nicht unpassend, wenn nun in dem großen Werk, das Henrich mit fast 90 Jahren vorlegt, 3 zwei Dichter im Kontext einer philosophischen The-matik, die um die metaphysischen Begriffe des Seins und des Nichts kreist, zu Kronzeugen werden: der irische Schriftsteller Samuel Beckett 4 und der

Friedrich Hölderlin compose il frammento "Se il poeta è anzitutto padrone dello spirito…" (noto anche col titolo redazionale "Sul procedimento dello spirito poetico") per sé, senza l’intenzione di darlo alle stampe. In poche pagine, di vertiginosa profondità speculativa, egli intese descrivere fase per fase, anzitutto a se stesso, il modo in cui un poeta procede nell’elaborazione della propria poesia, dall’ispirazione originaria sino al componimento finito. Ne emerge una concezione del lavoro poetico come progressiva, «artigianale» armonizzazione di elementi dissonanti, sino al raggiungimento di quell’«armonicamente opposto» che è per Hölderlin attributo principe della poesia e nozione-chiave della sua estetica in toto.
La traduzione del frammento qui proposta, corredata da testo a fronte, si basa sulla lezione stabilita da Michael Knaupp, una delle edizioni critiche attualmente più stimate tra gli studiosi hölderliniani.

Аннотация: Георг Гейм-поэт, стоявший у истоков экспрессионистской лирики и заложивший основы поэтики этого направления. Его творчество, однако, является малоисследованным в российском научном пространстве. Одной из основных особенностей поэзии экспрессионизма было обширное использование цвета и цветовых метафор. Они были главным инструментом передачи смысла, настроения, тона стихотворения. В нашем исследовании мы осуществили попытку сопоставительного анализа раннего и позднего творчества Г. Гейма на предмет использования цветовых метафор с целью проследить эволюцию приема и динамику его развития. Также в задачи работы входило установление изменений в цветовых предпочтениях. Анализ проводился на примере 294 стихотворений раннего и позднего периодов творчества. Ключевые слова: Георг Гейм, экспрессионизм, цветовая метафора, XX в., символика цвета

https://www.sup.org/books/title/?id=30564

Two Studies of Friedrich Hölderlin shows how the poet enacts a radical theory of meaning that culminates in a unique and still groundbreaking concept of revolution, one that begins with a revolutionary understanding of language. The product of an intense engagement with both Walter Benjamin and Jacques Derrida, the book presents Werner Hamacher's major attempts at developing a critical practice commensurate with the immensity of Hölderlin's late writings.

These essays offer an incisive and innovative combination of critical theory and deconstruction while also identifying where influential critics like Heidegger fail to do justice to the poet's astonishing radicality. Readers will not only come away with a new appreciation of Hölderlin's poetic and political-theoretical achievements but will also discover the motivating force behind Hamacher's own achievements as a literary scholar and political theorist.

An introduction by Julia Ng and an afterword by Peter Fenves provide further information about these studies and the academic and theoretical context in which they were composed.

In this essay, I explore the writings of Jon Kabat-Zinn, the founder of the mindfulness-based stress reduction program, to discern in them a moral framework that provides a narrative arch of human decline and restoration through greater mindfulness. I argue that this moral narrative framework has striking similarities to what Slavoj Zizek describes as the BHolderlin paradigm^ which characterizes the thinking of post-Hegelian thinkers such as Marx, Nietzsche, Benjamin, Heidegger, and Derrida. This narrative takes late modernity as both the nadir of a process of historical decline in the West and the site of its potential restoration. In demonstrating the similarities between the two narratives, I seek to show how the BBuddhification,^ as Braun calls it, of American spirituality is internally complex, and to offer some conceptual tools from the philosopher Jane Bennett to account for breakdowns that the scholarly study of the mindfulness meditation phenomenon produces in our broad analytical typologies.

Tesis para la obtención del grado de Licenciado en Filosofía, año 1998, Universidad de Arte y Ciencias Sociales, Arcis. Tutor de tesis  profesor Miguel Vicuña Navarro. En líneas generales es una aproximación al texto "Serenidad" de Martin Heidegger. El hilo conductor del escrito se centra en la Gelassenheit como temple y temperancia, momento preparatorio a un pensar no representacional, alineado ademas al pensar poético en tanto modo proyectivo de la re-significación de mundo.

DOERR Georg (1 2) ;
Affiliation(s) du ou des auteurs / Author(s) Affiliation(s)
(1) University of Venice, Ca' Foscari, ITALIE
(2) Eberhard-Karls-Universität in Tübingen, ALLEMAGNE
Résumé / Abstract
After introductory remarks, including mention of the emergence of "Occidentalism", post 9/11, the contribution deals with a selection of the images of the Orient in German and Italian literature, as found in the above-mentioned authors and Gabriele D'Annunzio. These authors' image of the Orient is closely related to their reception of ancient cultures, in particular the Greek culture. With the exception of Hölderlin, this reception was determined by Nietzsche's own understanding. At the center of the writer's argumentation is the elaboration of the terms "Apollinian" and "Dionysian", whereby the first can be aligned with the female principle and the second with the male (for Hofmannsthal and George, at least). In the case of George and D'Annunzio this type of reception of the Orient and ancient culture leads to a form of intellectual fascism.
Revue / Journal Title
Annali di Ca' Foscari    ISSN  1125-3762
Source / Source
2004, vol. 43, no1-2, pp. 97-124 [28 page(s) (article)]
Langue / Language
Italien
Editeur / Publisher
Programma, Padova, ITALIE  (1985) (Revue)

Dieser Beitrag widmet sich den spätesten Gedichten ("Turmgedichte") Friedrich Hölderlins, dessen Werk als Dichtung des Offenen gelten kann. Dieses Grundwort seines Denkens findet sich immer wieder an wichtigen Stellen seiner Texte: Der Betonung des Offenen als eines in sich vielschichtigen Begriffs steht überdies Hölderlins Frage nach dem Bleibenden an der Seite. Jedes Gedicht Hölderlins kann daraufhin befragt werden, wie es - unabhängig davon, ob die entsprechenden Wörter explizit genannt werden - die Spannung aus Offenem und Bleiben gestaltet. Diese Frage kann man an die frühesten wie auch an die spätesten Gedichte Hölderlins stellen. Der vorliegende Text interpretiert Hölderlins Gedicht "Aussicht" ("Der offne Tag ...").

This innovative book aims to create a 'poetics of Church' and a 'religious imaginary' as alternatives to more institutional and conventional ways of thinking and being 'Church'. Structured as a spiritual and literary journey, the work moves from models of the institutional Catholic Church into more radical and ambiguous textual spaces, which the author creates by bringing together an unorthodox group of thinkers referred to as 'poet-companions': the 16th-century founder of the Society of Jesus, Ignatius of Loyola, the French thinkers Gaston Bachelard and Hélène Cixous, the French poet Yves Bonnefoy, and the English playwright Dennis Potter.

After rethinking about the French interpretations of the relationship between Celan and Heiddegger, I wanted to (re)post this chapter of my 2003 PhD thesis (http://publikationen.ub.uni-frankfurt.de/frontdoor/index/index/docId/12414). I would definitely have to rework the text one day, because I wouldn't write it in the same way now. But it might even be usefull in it's initial form.
Résumé français :
Traduire la poésie allemande en français pose un grand nombre de problèmes quasi insurmontables. Dans le cas de Paul Celan les difficultés se trouvent accrues du fait de son écriture hermétique et idiomatique. Compte tenu de ces problèmes, la traduction en français nécessite un fort investissement de la part du traducteur et peut acquérir le statut d’une interprétation ou explication de l’original. Plusieurs versions du même poème peuvent ainsi véhiculer des images divergentes de son auteur, comme le montre le cas de deux poèmes de Celan évoquant l’un Friedrich Hölderlin l’autre Martin Heidegger. L’enjeu de la traduction de ces textes dépasse de loin le domaine esthétique pour toucher à l’idéologie.

RESUMEN
La poesía como nostalgia. Georg Trakl, considerado, junto a Rilke, como el máximo poeta lírico del siglo XX en lengua alemana, nace en Salzburgo el 3 de febrero de 1887 (muere en 1914) en lo que entonces era el Imperio Austro-Húngaro. Desde niño asimila el mundo de los simbolistas franceses a través de las lecturas de poemas traducidos de Baudelaire, Verlaine y Rimbaud. A los 18 años de edad da a conocer sus primeros poemas bajo la influencia de Lenau, Hofmannsthal y Baudelaire, de quien interioriza sus imágenes poéticas y de Verlaine asimila ritmos y silencios. Su poesía ha sido considerada como el más conmovedor de los lamentos ante un mundo imperfecto.
Su estilo es abrupto y violento y su obra poética es breve pero de una rara densidad, en ella une la nostalgia de la ternura y el presentimiento del fin del mundo occidental.
En relación a Trakl, Jorge Teillier manifiesta en un ensayo que su poesía alude profusamente a la melancólica casa de sus antepasados; a su ciudad natal, que con el paisaje de la comarca están presentes en casi todo sus poemas. Allí aparece un mundo de nostalgia y decadencia, propio de una ciudad que durante la Edad Media había tenido un gran esplendor, y que vivía de un pasado irrecuperable. Por oposición a la ciudad, se vuelve Trakl a la naturaleza, a la que ve exenta de la culpa de la caída.
Así la ciudad de Trakl es la imagen de decadencia del mundo occidental que está relacionado con la figura poética del forastero, el solitario, el apátrida, cuya culpa radica sólo en el hecho, por lo demás inevitable, de existir en este mundo donde sólo existen exiliados.
Dr. ADOLFO VÁSQUEZ ROCCA
Referencia:
VÁSQUEZ ROCCA, Adolfo,  "EL HABITAR POÉTICO DEL HOMBRE EN EL MUNDO; HEIDEGGER, NOTAS SOBRE HÖLDERLIN Y TRAKL", En Versoados, Revista de Literatura, Madrid, 2005.

Fra gli elementi naturali ritratti nella poesia di Friedrich Hölderlin, il fiume è uno dei più ricorrenti e significativi. Tema centrale di poesie come Der Mayn, Der Nekar, Der Rhein, Am Quell der Donau e Jezt komme, Feuer! (nota come Der Ister), il fiume ha un ruolo importante anche nelle descrizioni di città, come avviene in Heidelberg. La derivazione di questo tema dalla mitologia classica viene inoltre reso esplicito nel componimento Ganymed, che nella versione originale era intitolato Der gefesselte Strom.
Questa relazione si propone di analizzare il motivo del fiume in alcuni componimenti di Friedrich Hölderlin, per rintracciare i simboli che, di volta in volta, risultano legati a esso.

This essay offers the reader a unique interpretation of Heidegger's notion of authentic destiny as it develops in the Hölderlin lectures and essays written in the 1930s through the 1950s. Ultimately, for Heidegger, the destiny of Germany, and perhaps beyond, that of humanity, is contingent on the receptivity of a people to the founding and grounding words of the " poet of poets " Hölderlin, who calls Dasein to participate in the awakening to a future that is as of yet indeterminate and historical in the highest degree, wherein, attuned by Hölderlin's poetry, participants resolutely anticipate the potential " historical " arrival of Being as destiny.

A turning point in Peter Handke's career following a deep crisis of writing, the text Die Lehre der Sainte-Victoire (1980) represents a fundamental transformation of the writer's poetological project and material practice of writing. The poetry of Friedrich Hölderlin, the paintings of Paul Cézanne, and the patchwork method of clothing designer Domenika Kaesdorf emerge as key influences within this transformation. Hölderlin's idealization of the poet's task and Cézanne's and Kaesdorf's physical methods, however, are no mere metaphors for Handke's process of writing; rather, Handke takes up and translates these modes into his material practice. This essay thus models a particular kind of reception history, one in which textual thematics are actualized in physical practice and semantic content is entangled in the material and visual dimensions of texts. Such an approach exemplifies the potential of incorporating materiality and meaning to expand the field of textual interpretation.

Hölderlin's philosophical conception structures itself upon two insights: the indivisibility between sensibility and reason, such as potentially thought in the Platonic idea of beauty, and the Spinozistic inspired view of a unity differentiated in itself. The aim of this article is to address the former. Towards the end of 1794, Hölderlin left his job as a preceptor, at von Kalb's, and moves to Jena, where he works on his Hyperion and attends to Fichte's lectures. Nevertheless, he does not come to town empty-handed: before arriving, Hölderlin writes to Christian Neuffer and expresses the wish to draw up an essay on Kant's aesthetic ideas, which would both comment upon Plato's Phaedrus and take a step far beyond Kant by means of a simplification of his theory of beauty. In this matter, Hölderlin considered that Schiller had failed to trespass on the Kantian boundary, but states that he should have dared to. Once the essay has never been written, I will present the elements wherein the writing was conceived, and thus restore its general guidelines. Resumo: A concepção filosófica de Hölderlin compõe-se de duas percepções fundamentais: a indivisibilidade do racional e do sensível presente na ideia platônica de beleza, e a compreensão, de fundo espinosista, de que a unidade assim pensada apreende-se como diferenciada em si mesma. O presente artigo aborda a primeira percepção. Em fins de 1794, Hölderlin abandona o preceptorado na casa dos von Kalb e muda-se para Iena, onde trabalha em seu Hipérion e assiste às preleções de Fichte. No entanto ele não chega na cidade de mãos vazias. Numa carta a Christian Neuffer, de outubro de 1794, Hölderlin manifesta a intenção de escrever um ensaio sobre as ideias estéticas de Kant, que deveria servir como comentário do Fedro, de Platão, ao mesmo tempo que avançaria, mais do que Schiller teria ousado, para além do limite kantiano através de uma simplificação de sua estética. Como o texto jamais foi escrito, o presente trabalho apresenta os elementos articulados na carta e procura reconstituir os marcos gerais do ensaio planejado.

In Das Kapital lesen schreibt Althusser, dass "die Philosophie Spinozas eine theoretische Revolution anstößt, die in der Geschichte der Philosophie keine Vorläufer hat und wahrscheinlich die größte philosophische Revolution aller Zeiten ist, weil wir Spinoza aus philosophischer Sicht als den einzigen direk-ten Vorfahren von Marx betrachten können."Jedoch, so fügt er hinzu, "ist diese Revolution unter Schichten der Nacht begraben worden", insofern als es Marx selbst nicht gelang-außer in oberflächlicher Weise-, das Denken Spinozas zu verstehen. Das Ziel dieses Buches ist es, das diesen "Schichten der Nacht" zugrundelie-gende Muster zu rekonstruieren, indem die komplexe Entstehungsgeschichte jenes Vorurteils dargelegt wird, das in der deutschen Philosophie und Kultur den Namen "Spinoza" angenommen hat. Die vier Sektionen der Arbeit sind Leibniz und Spinoza, der Spinoza-Renaissance, dem Idealismus und Spinoza sowie dem Marxismus und Spinoza gewidmet und untersuchen die Haupt-probleme dieser Geschichte.

In Leggere Il Capitale Althusser scrive che «la filosofia di Spinoza introduce una rivoluzione teorica senza precedenti nella storia della filosofia e, proba-bilmente, la più grande rivoluzione filosofica di ogni tempo, al punto che pos-siamo considerare Spinoza, dal punto di vista filosofico, l'unico antenato diretto di Marx». Tuttavia, aggiunge, questa rivoluzione «è stata seppellita sotto strati di notte», tanto che Marx stesso non riuscì a comprendere, se non in modo superficiale, il pensiero di Spinoza. Lo scopo di questo libro è rico-struire la trama determinata di questi «strati di notte», offrendo la complessa genealogia di quel pregiudizio che nella filosofia e nella cultura tedesca ha preso il nome di "Spinoza". Le quattro sezioni, dedicate rispettivamente a Leibniz e Spinoza, alla Spinoza-Renaissance, all'idealismo e Spinoza, infine al marxismo e Spinoza, indagano i nodi principali di questa storia.

What does it mean to define a poem as “living” or “alive”? How, if at all, is it possible to capture life, the living element, in a poem? Is it not true that poetry, qua talis, is a “living language”, different from the “dead” speculations of the intellect? Or is there maybe a kind of poetry that is “more alive” than others, in that it is able in itself and through its effects to represent life? At the turn into the Nineteenth century (1798-1800), Friedrich Hölderlin explored such issues, which were crucial to his own personal intellectual and poetic development. My volume examines Hölderlin's passionate search during the years 1798-1800, through an analysis of its forms, articulations, and outcomes in his works.
Hölderlin devotes to his search of the Lebendiges in der Poësie, the living element in poetry, some of his most important works, such as the project of the literary journal Iduna, the tragedy Der Tod des Empedokles and his various and complex poetological writings, including the fragment Über die Verfahrungsweise des poetischen Geistes, which is possibly one of the masterpieces of poetology of the last two century.
He shares this interest in the concept of life and its manifold implications with many other contemporaneous thinkers. Together with Hegel, Schelling, Fichte, Schiller and Sinclair, they form a tight Konstellation, where Hölderlin's role is that of experimenter and propelling force. The Introduction of my book (pp. 7-24) is devoted to the analysis of this Konstellation of thinkers and poets who attempt, between the end of the Eighteenth century and the beginning of the Nineteenth, to understand theoretically, to reproduce in poetry and to communicate effectively in their works and writings the concept of “life”. 
The first chapter of the book (pp. 25-62) is devoted to the analysis of the project of the literary journal Iduna. Following the example of the successful journal “Die Horen”, edited by Friedrich Schiller in 1795-1797, Hölderlin invites in 1799 leading personalities of his epoch (philosophers, poets, thinkers, such as Friedrich and August Schlegel, Schelling, Schiller, Goethe) to contribute to his projected journal. As he writes in one of the Werbebriefe for Iduna, the journal was expected to be able to “put in circulation as effectively as possible the living soul of the humanity”, to put people in contact and strengthen social bonds. Although only few critical studies have examined in detail Hölderlin's project of Iduna, my book shows how important this project is in order to understand correctly the socio-political and “humanistic” aims that animate Hölderlin's poetic works. Among the short essays (written personally by Hölderlin) to be published in Iduna, there is an important text, entitled Über den Gesichtspunkt aus dem wir das Altertum anzusehen. In this text Hölderlin describes his theory of the origin and functioning of the arts: each work of art, in the past and today, originates from a single, “living” source, named Grund, which is in itself unattainable; from this Grund arise and to this Grund return all the Bildungtriebe and Kunsttriebe, that is the multiplicity of formative and artistic impulses that lead the artists in the productive process of their works. As Hölderlin writes in the essay, the necessary condition for the creation of a “living” work of art (a living poem; for instance: eine lebendige Dichtung) is that the artist follows his own pure formative impulse, avoiding any kind of imitation of ancient (already “formed”, therefore “dead”, “positive”) works of art. The principle of imitation of the Ancients is one of the highly debated topics at the end of Eighteenth century. Unfortunately (for a series of reasons that I describe in detail in the book) Iduna turned out to be a failure.
The second chapter of my book is devoted to the analysis of the three different versions of the dramatic pièce Der Tod des Empedokles, a project that absorbed Hölderlin for more than three years and was definitely abandoned in 1800. The three versions are incomplete; after writing the third one, Hölderlin attempted explicitly to give philosophical substance to his dramatic poem, writing a complex and highly theoretical text, entitled Grund zum Empedokles. In november 1798, while he was working on the second version of the drama, he wrote to his close friend Friedrich Neuffer: “Das Lebendige in der Poësie ist jezt dasjenige, was am meisten meine Gedanken und Sinne beschäfftiget. Ich fühle so tief, wie weit ich noch davon bin, es zu treffen, und dennoch ringt meine ganze Seele danach und es ergreift mich oft, daß ich weinen muß, wie ein Kind, wenn ich um und um fühle, wie meinen Darstellungen an einem und dem andern fehlt [...]” (Friedrich Hölderlin to Friedrich Neuffer, 12.11.1798). The question of the poetic representation (and representability) of the “living element” (das Lebendige) absorbs Hölderlin completely. Between 1798 and 1800 he was persuaded that the best form of representation for the living element was the tragedy. After three unsuccessful attempts to complete Der Tod des Empedokles, Hölderlin abandoned his dramatic project at the beginning of 1800.
The third chapter of my book is devoted to the analysis of a fragmentary text, named Wenn der Dichter einmal des Geistes mächtig ist... (also known as Über die Verfahrungsweise des poetischen Geistes), that Hölderlin begun to compose immediately after abandoning the project of Der Tod des Empedokles, in 1800. As I show in detail in the book, the central problem that this fragment attempts to focus is, again, the poetic representation/representability of the “living element”. After the failure of Iduna and Der Tod des Empedokles, the fragment Wenn der Dichter einmal des Geistes mächtig ist... constitutes Hölderlin's renewed theoretical attempt to describe the difficulties involved in the poetic representation of the “living element”. It is a kind of phenomenology of the creative process, a description of the decisive steps that a poet has to complete in order to compose his poem. The main result of the vertiginous theoretical analysis developed in the fragment are the so-called “laws of the alternation of the poetic tones” (Wechsel der Töne), that, according to Hölderlin, were expected to allow definitely the representation of the “living element” in the poem. In other words, these laws were expected to make it possible to “capture” life, the living element, in the poem. As we know from Hölderlin's poetic works, the application of the theoretical laws of the “alternation of the tones” to the poems turned out to be, again, a failure.
My general claim in this book is that the specificity of Hölderlin's poetics and poetology is that his search for the Lebendiges in der Poësie ultimately acquires ambiguous tonalities. His increasingly bold experimentation with new and peculiar poetic forms and theoretical attempts to capture life is accompanied by an increasing corrosion of those same expressive forms. In his last poems, dedicated to the changing of seasons, the rugged elementariness of the bare poetic mono-tone weaves together life and death (pp. 162-164).

The string quartet Fragmente-Stille, an Diotima from 1979 is described as a turning point not only in Luigi Nono’s oeuvre, but also in the history of musical modernism. Often, the reception focuses on the surprise of having these introvert sound fragments and silent Hölderlin quotations presented by a composer who had had a reputation for three decades of producing intense, confrontational music with revolutionary political intentions.
However, Nono’s use of silent Hölderlin quotations in the quartet can be understood as a continuation of an approach to texts and extra-musical meaning which characterises his works in all of his periods, an approach where conveying a text is less important than creating an engaging human context.
And while Nono’s quartet clearly signals a heightened emphasis on musical self-reflection, the overarching context is no less political than before:  it is concerned with the utopian transformation of the act of listening.

Resumen: Propongo en este artículo pensar la dimensión trágica de la poesía como la senda intermediaria entre el destino y el arte, respondiendo a la siguiente cuestión: en una perspectiva idealista, de su concepción de lo trágico, Hölderlin no opone la libertad al determinismo, y así el destino se convierte en un problema filosófico. En la parte final de mi exposición, busco elucidar tanto esto como mostrar en qué medida su teoría de la belleza no necesita de una estética complementaria de lo sublime, como hace Schiller en sus ensayos estéticos. Lo que uno experimenta en la poesía es una " ocasión para la belleza " , y esto aprendemos de Hölderlin. Así, mi primero paso es indicar las razones por las que Hölderlin se aparta de la manera moralizante de pensar de Schiller. Miraré brevemente en la forma como la cuestión se desarrolla en pasajes textuales del Hyperion o el Eremita en Grecia (1792-99), así como en algunos de sus fragmentos y versiones tempranas. Palabras clave: Hölderlin – Hyperion – libertad – destino – tragedia. Abstract: In this article I propose to think the tragic dimension of poetry as the middle path between destiny and art by answering the following question: in an idealistic perspective of his conception of tragic, Hölderlin does not oppose freedom to determinism and so the destiny is for him a philosophical problem. I attempt to elucidate this in the final part of my exposition and intend to show that Hölderlin " s theory of beauty does not require any complementary aesthetic of sublime, such as in Schiller " s formulation. What is experienced in poetry is an " occasion for beauty " , and this we learn from Hölderlin. So I would like first to prepare the terrain by indicating the reasons why Hölderlin deviates from Schiller " s moralizing way of thinking. I shall briefly focus on how the proposed question is developed in some places of Hyperion, or the Hermit in Greece (1792-99) as well as in some of its fragments and early versions.

Among the many words Heidegger explores in order to elucidate his primary matter for thought, one would not likely expect Schmerz (‘pain’) to play a prominent role. And yet, in a selection of notes recently published in a limited German edition under the title Über den Schmerz, Heidegger goes so far as to claim that pain is being itself. In this paper I analyze Heidegger’s ontological treatment of pain and his etymology of its Greek counterpart, asking whether he does not ultimately anesthetize his readers to pain’s most rending effects.

Den Ausgangspunkt der Dissertation bildet die Differenz zwischen Metrum und Rhythmus in der Elegie Der Wanderer. Semantische Wendepunkte werden durch rhythmische Abweichungen vom Metrum inszeniert, „klassizistische“ Schemata der elegischen Form – wie wir sie von Goethe und Schiller her kennen – werden zugunsten einer Rückführung auf eine antike Formenvielfalt (selbst der Elegie) durchbrochen. Gleichzeitig bilden weitere Elegien wie Brod und Wein sowie Heimkunft, aber auch einzelne (vor allem erweiterte und umgeformte) Oden und Übersetzungen Lehrplätze zur Entwicklung des so genannten freien Verses in den Gesängen. Im Unterschied zur metrisch-rhythmischen Differenz ist der freie Vers schwierig zu fassen, da ihm keine präformierte Struktur unterstellt werden kann. Um so bedeutsamer sind praktische Anleitungen zur Metrik aus Hölderlins Zeit. Am ergiebigsten hat sich für mich Karl Philipp Moritz‘ Versuch eine deutschen Prosodie (1786 / 21815) erwiesen. So erlaubt gerade seine „grammatische Hierarchie“, Folgen von einsilbigen Wörtern in ihrer Binarität von Hebung und Senkung zuzuordnen. Seine Kategorisierung besagt nicht mehr und nicht weniger, als dass Hebungen und Senkungen auch im Deutschen eindeutig bestimmt werden können: Je wichtiger eine Wortart, desto eher wird sie betont. Gemäss Moritz heisst das: zuerst Substantiv und Adjektiv, dann das Verb, dann das Adverb usw. Dadurch wird ohne metrische Vorgabe eine objektiv-abstrakte Struktur des Rhythmus sicht- und vor allem hörbar. Erst die rhetorische Hervorhebung provoziert eine Abweichung vom Vorgegebenen. Die intensive Beschäftigung Hölderlins mit antiken Metren konzentriert sich zusehends auf die Chorteile der Sophokles-Tragödien. In ihnen wird die grösste rhythmische Varianz geortet – von einzelnen Versfüssen über (chor-)jambische Muster bis hin zu äolischen Perioden. Neben der Ordnung einer grammatischen Hierarchie innerhalb einer deutschen Prosodie nach Moritz bringen diese antiken Muster weitere Anhaltspunkte in der Bestimmung des freien Verses bei Hölderlin. Die griechische Rhythmik wird hesperisch ergänzt durch traditionell deutsche Versmasse wie beispielsweise den Blankvers. Ob sich nun der Rhythmus homomorph oder allomorph zum Inhalt des Gedichts verhält, ist erst im Close Reading zu entscheiden. Auf beide Möglichkeiten greift Hölderlin zurück. Die rhythmische Semantik wirkt entweder vereindeutigend oder kontrapunktisch und verweist dabei autopoetologisch auf sich selbst, auf das, was Hölderlins Gesänge zur Dichtung macht: ihr musikalisches Moment. Den Handbuch-Charakter löst das Buch im zweiten Teil ein, in dem die grossen Gesänge, welche als abgeschlossene Einheiten überliefert sind, auf ihre rhythmische Semantik hin untersucht werden: So verhalten sich im Gesang „Die Wanderung“ Erzählposition und rhythmische Struktur gegenläufig, der Rhythmus in „Germanien“ vollzieht eine hesperische Bewegung, das Formgesetz wird in der ‚Rheinhymne‘ rhythmisch nachgebildet und klärt editionskritische Fragen, die rhythmische Unterbrechung in „Der Einzige“ ist als Anti-Prosa zu lesen usw. So wird dieses Handbuch unabdingbar für alle, die sich mit dem Wesentlichen von Hölderlins Dichtung, mit dem Poetischen, beschäftigen.

Dem Aufsatz liegen folgende Fragen zugrunde: Ist es gerechtfertigt, vom Erbe der tragischen Darstellung des Kampfes im Hegelschen Begriff der Philosophie und insbesondere in seiner Konzeption der Dialektik als Be- wegung und Geschichtlichkeit des absoluten Geistes zu sprechen? Hat der Versöhnungsbegriff Hegels, der am konkretesten innerhalb des philoso- phischen Gedankens ausgeführt wird, bestimmte Folgen auch für den Be- griff der Philosophie selber? Opfert sich die Philosophie einer endlichen Äußerlichkeit oder bedarf sie selbst eines Opfers, um das philosophische System als solches zu vervollständigen? Kann man auch heutzutage die ge- schichtlich­politischen Ereignisse und die Vergehen des Rechts als tragisch darstellen und betrachten? Vermag es die Politik noch immer (wie in der Moderne), die Rolle des Schicksals in der griechischen Tragödie zu überne- hmen? Auf solche Fragen werden hier keine endgültigen Antworten gege- ben, es wird vielmehr der Rahmen für weitere Betrachtungen bereitgestellt – innerhalb oder außerhalb der Philosophie Hegels.