Goethe

The novel Werther by the famous writer Goethe was published in the year 1774 in Germany, 31 years later (1805) Chateaubriand made known to the French public René. These works have transcended the barriers of time and space becoming part of the classics of universal literature, which is why I will try to identify the elements that share or differentiate them.

The essay addresses Goethe’s reception of Milanese literature and the work of Alessandro Manzoni. On the one hand, Goethe’s interest for Milan should be understood in the context of his late work; on the other hand, the analysis of his confrontation with the culture of the Lombard metropolis opens up new critical perspectives on the late work of the German author.

Não pergunte "o que Marx disse?" aos que você vê por aí falando dele, mal ou bem. Faça o seguinte: pergunte ao Marx. Após a Playboy da Fernanda Young não há coisa mais barata no sebo que o Manifesto Comunista, em diversas traduções e também no original. Compre e leia. Vai encontrar um texto panfletário, sim, mas, meu Deus, que panfleto! Tão bom que, como panfleto, se tornou um clássico. Em qualquer bibliografia de pós-graduação em Ciências Humanas e Filosofia, lá está o texto, imperioso. E não sem razão.

To most, Charles Darwin's story is simply the birth of the Theory of Evolution. In reality, the story of how Darwin came to this theory, and the many people who would shape his destiny, is itself a story that needs to be told. Like many superhero movies of the 21st century, Darwin has a " back story " , the tale of how Darwin became Darwin. Darwin's story can appeal to many readers on different levels. On the purely academic level the work traces the influence of Alexander von Humboldt, Goethe and Wordsworth, in addition to Erasmus Darwin, on the development of Charles Darwin's theory of natural and sexual selection. On another level is the story of the development of Darwin's imagination and how this enabled his theories to evolve during the Victorian era when it was difficult to express them, yet at the same time in an era which encouraged them. This was a very contradictory time in history indeed. Charles Darwin's Debt to the Romantics is an attempt to mirror Darwin's own narrative, in which, through his imagination, he engages in conversation with the reader on a journey to discover the laws behind the process in which life evolves. These traces in time, moving both backwards into the past and forwards into the future, are like footprints in the sand, some of which get washed away never to be seen again. What drew me to this research was the Romantic notion of the imagination in which the self is so very much a part of Nature. We try very hard to observe nature objectively, but we can never get away from being subjectively part of it at the same time, just through the very act of observing it through our senses or through the act of remembering what we have seen, or think we have seen. And these footprints, or recreated memories of our past, are there for us to see today in fossils or archaeological remains — a mental map of our descent. What makes all of this so Romantic is the almost terrifying or sublime notion that mind has come from matter — that mind evolved and originated from that which was not mind. This is surely one of the greatest mysteries of our very existence — that science, poetry, literature, language, thought and culture have all ultimately evolved from inorganic nature (and this, of course, is only part of the story, as inorganic nature evolved before this).

Als Goethe in seiner monumentalen Farbenlehre (1810) versuchte, Newtons Theorie des Lichts und der Farben anzugreifen, setzte er eine Methode ein, die er als Vermannigfachung der Erfahrungen bezeichnete: Er variierte verschiedene Parameter der newtonischen Experimente, um neuen Spielraum für Alternativen zur Theorie Newtons zu gewinnen. Dabei erzielte er durchaus Erfolge. U.a. entdeckte er das Komplement zum newtonischen Spektrum (das aussieht wie dessen Farbnegativ und durch Vertauschung der Rollen von Licht und Finsternis entsteht). Ingo Nussbaumer hat Goethes Methode kongenial fortgeführt. Dabei hat er sechs weitere Farbspektren entdeckt. Sie entstehen, wenn man anstelle des Hell/Dunkel-Kontrasts (in Newtons und Goethes Experimenten) mit Paaren bunter Komplementärfarben arbeitet. Die neuen Farbspektren sehen genauso differenziert aus wie Newtons und Goethes Spektrum; doch anders als diese enthalten sie die unbunten "Farben" Schwarz und Weiß. Die vielfältigen Ordnungsbeziehungen und Symmetrien, die Ingo Nussbaumer in der Farbenwelt der insgesamt acht Spektren ausgemacht hat, verhelfen uns vielleicht zu einem tieferen Verständnis der Prinzipien menschlicher Farbwahrnehmung. Und sie tauchen die überkommenen Prinzipien der additiven und der subtraktiven Farbmischung in neues Licht.

Данная монография - первое в отечественной (и одно из немногих в зарубежной) фонологической науке исследование эволюции едва ли не самого значительного "вечного" образа мировой культуры в литературе новейшего времени. Трансформация гётевского героя в русской и зарубежной словесности XX в., прослеженная на материале творчества десятков писателей, как широко известных (Т. Манн, К. Манн, Г. Гессе, П. Валери, Г. Стайн, Дж. Керуак, Ф. Дюрренматт, М. Горький, Л.М. Леонов, В.Я. Брюсов, И.Л. Сельвинский, М.А. Булгаков, И.А. Бродский и др.), так и менее знакомых массовому читателю, приводит к мысли о кризисе "знакового" персонажа века Просвещения в нашу эпоху разочарования в безусловной правоте человеческого дерзания. Монография снабжена библиографией русской и зарубежной художественной и литературоведческой фаустианы XX в., иллюстрациями и указателем.

Для литературоведов и культурологов, научных работников, преподавателей, аспирантов и студентов, а также всех тех, кого интересует судьба Фауста в художественном сознании нашего времени.

G.V. Yakusheva. Faustus Facing Temptations of the 20th Century. Goethe's Character in Russian and Foreign Literatures. M., Nauka, 2005. 235 p.

(Tese de doutorado defendida em 2016, Universidade de São Paulo)
Este trabalho trata da ficção histórica de Goethe em duas fases de sua obra. Em primeiro lugar se ocupa do drama pioneiro do Sturm und Drang, Götz von Berlichingen (1773), para então se voltar às Revolutionsdichtungen — conjunto de obras produzidas entre 1791 e 1803, período auge do Classicismo de Weimar, em que o autor emitiu juízos sobre diferentes fases da Revolução Francesa. Ao optar por tal tema, visou-se resgatar Goethe como um importante participante do debate histórico-filosófico que começa com os iluministas e culmina no pensamento político da Restauração. Por esse motivo a pesquisa se iniciou com uma busca dos antecedentes do drama histórico do Sturm und Drang, voltando a Gottsched e Lessing.
Geralmente o desenvolvimento da ficção histórica do século XVIII é tomado como passivo em relação aos avanços da filosofia ilustrada, como se uma consciência histórica propriamente moderna houvesse aflorado em certos escritores a partir das leituras que fizeram de novas teorias da época. Contra tal suposição, defendeu-se que há na beletrística alemã da virada do século algumas formulações acerca da relação entre indivíduo e processo histórico que, antes de tudo, desafiaram o progressismo dos iluministas tardios, para os quais o advento da Revolução Francesa marcava o próximo passo no aperfeiçoamento da humanidade. Acompanhar o modo como a história foi tratada nas obras do Sturm und Drang até as do Classicismo de Weimar permite-nos, ademais, constatar a radical atualização da missão da cultura literária, que deveria então lidar com as emergências do presente. A literatura almejada naquele contexto deveria funcionar como uma contracorrente do senso comum e um veículo intelectual autônomo, capaz de erguer-se além das paixões partidárias e posicionar corretivos para as contradições contemporâneas. Tais corretivos traziam o diferencial de serem desvinculados das ciências, religião, cultura política ou sabedoria popular — a nova arte deveria, assim, ser tomada como autônoma na medida em que podia cindir radicalmente com a cultura do presente em crise, tornando possível o surgimento de um ideal renovado de humanidade e de vida conjunta que a própria Revolução Francesa não foi capaz de concretizar. Aqui reside o que há de mais polêmico —e moderno— nas chamadas Revolutionsdichtungen e no Classicismo de Weimar como um todo.

Aleksandr Sokurov’un “güç ve onur”un yıkıcı etkisini konu edinen üçlemesinin (Moloch (1999), Taurus (2000), The Sun (2004)) tamamlayıcı anlamda dördüncüsü olarak anılan, Venedik Film Festivali’nde Altın Aslan Ödülü’nü alan Faust Goethe’nin aynı isimli kitabının beyazperdede yeniden yorumlanması. Faust kullanılan sembolik dili, siyah-beyazla renkli görüntülerin belirli bir kurgu içinde birbirini takip etmesi ve müzikleriyle; görme ve duyma yetisinin anlam üzerine odaklandığı özel bir film. Fakat Goethe’nin Faust’u ve Mephisto’sundan farklı olarak sinemanın görsel dilini oldukça yalın, bir o kadar da derin bir kurguyla işleyen Sokurov’un eserinde; “ruh-beden”, “hayatın anlamı” ve “güç” üçgeninde arzularına rağmen güçlü, meydan okuyucu insan ile karşısında daha zayıf ve ürkek şeytanla Tanrı iktidarının anlatıldığına dikkat etmek gerekir. Hayatın anlamını ve neşesini kaybetmiş doktor ve araştırmacı Faust’un günlük yaşamından kesitlerle “ruh hakkında” felsefi bir tartışmanın ortasında, ölüm ve yaşam soğukluğunda başlayan filmde on dokuzuncu yüzyılın en sancılı sorunları on yedinci yüzyıl Avrupa’sı üzerinden beyaz perdeye yansıtılmaktadır.

La investigación siguiente se concentra en el artículo de Hans-Georg Gadamer “Prometeo y Pandora”, aparecido originalmente en español en 1949 en el volumen "Goethe. 1749 - 28 de agosto – 1949", editado por la Facultad de Filosofía y Letras de la Universidad de Cuyo, Argentina. En primer lugar, se ofrece una introducción en la que se presenta el contexto original histórico-intelectual de su edición, traducción y publicación, los antecedentes filosóficos del texto dentro de la obra de Gadamer (conferencias y artículos previos sobre el tema), una presentación breve de las fuentes y de los temas que trata el texto, así como una serie de aclaraciones sobre las correcciones que se realizaron para esta edición crítica. Este ensayo es uno de los dos primeros trabajos de Gadamer que fueron traducidos al castellano y, a su vez, una de las primeras traducciones de las producciones de Gadamer a una lengua extranjera.
/-/The following investigation focuses on the article of Hans-Georg Gadamer entitled “Prometheus and Pandora”, originally published in Spanish in 1949, in the book: "Goethe. 1749 – 28th August – 1949", edited by the Faculty of Philosophy and Letters of the University of Cuyo, Argentina. Firstly, an introduction is offered in which is presented the original historical-intellectual context of its edition, translation, and publication, the philosophical background of the text within Gadamer’s work (conferences and previous articles on the subject), a brief description of the sources and topics encompassed in the text, as well as a series of clarifications on the corrections made for the current critical edition. This essay is one of the first two works by Gadamer that were translated into Spanish and, in turn, one of the first translations of Gadamer's productions into a foreign language.

Not only was the story really all about Snape, and not about, say, Harry. It turns out Snape is a key to many things, as is typically the main character in the  Bildungsroman tradition. Snape is important because he helps us think about the limits of what we can know about the contradictions of liberal educational philosophy, including the politics of aesthetics.

Liszt, Klaviervirtuose und Hofkapellmeister am Weimarer Hof zwischen 1848 und 1859, darf nicht nur als Begründer einer neuen, programmusikalischen Gattung gelten, der Symphonischen Dichtung (Poème symphonique), in welcher er sich literarischer oder Bild-Vorlagen für deren jeweils zugrundeliegende ›poetische Idee‹ bedient. Mit seinen Kompositionen und den sie begleitenden musikästhetischen Beiträgen ist er auch als Vermittler einer europäisch-klassischen Literatur-und Kunsttradition mit symphonischen Mitteln zu verstehen, als welcher er sich über die Grenzen Weimars hinaus öffentlichkeitswirksam in Szene setzen konnte. Sehr unterschiedliche Sujets liegen den zwölf einsätzigen Symphonischen Dichtungen zugrunde: Gedichte von Schiller (Die Ideale), Herder (Prometheus), Hugo (Ce qu'on entend sur la montagne) oder Lamartine (Les préludes), bildende Kunst (Hunnenschlacht nach einem Wandgemälde Wilhelm von Kaulbachs, Orpheus nach dem Bildprogramm einer etruskischen Vase) oder Dramen (Tasso nach Goethe, Hamlet nach Shakespeare). Neben diesen stechen die beiden einzigen mehrsätzigen symphonischen Werke zu Goethes Faust und Dantes Commedia hervor. Die unterschiedliche ästhetische Gewichtung dieser beiden ›Klassiker der Weltliteratur‹ als Beispiele einer, wie Liszt sie nannte, »philosophischen Epopöe« wird durch den Rückgriff auf den Gattungsbegriff der ›Symphonie‹ unterstrichen: Das weltliterarische Sujet bedarf einer weltläufigen musikalischen Form.

The role of darkness has been overlooked by philosophical theories of color. Johann Wolfgang von Goethe’s Theory of Colors gives a special metaphysical status to darkness, but his romantic-holistic phenomenology applies its principle to color phenomena perhaps too closely, and in the end he misses the opportunity to say anything ontological about metaphysical darkness. On the other hand, in his essay “Eye and Mind,” Maurice Merleau-Ponty critiques the prevailing Cartesian achromatic optics in favor of the aesthetic optics of Paul Cezanne, and goes so far as to introduce what he calls “the dimension of color” (Merleau-Ponty 141) to counter the primacy of the Cartesian res extensa, but misses the opportunity to ground it in the special phenomena of darkness. The place of darkness in Goethe’s Theory of Colors fulfills what was lacking in Merleau-Ponty’s philosophy of “the dimension of color” (141), and Merleau- Ponty contributes an ontology to Goethe’s Theory of Colors.

Kitabda Şərqin və Qərbin bir çox böyük filosofları müqayisə
olunur; müxtəlif dövrlərdə və müxtəlif coğrafi məkanlarda yaranmış
fəlsəfi təlimlərdə eyniyyət və fərq məqamları üzə çıxarılır.
Məqsəd filosofların həyatı, yaradıcılığı və təlimləri haqqında
məlum bilikləri oxuсulara çatdırmaq olmadığından, əsər dərslik,
dərs vəsaiti və ya ensiklopedik bir topludan daha çox, dünya fəlsəfi
fikrinin ayrı-ayrı məqamlarının müəllif mövqeyindən şərhidir.
Fəlsəfə ilə peşəkar səviyyədə maraqlananlar üçün nəzərdə tutulmuşdur.

This article investigates the intellectual history of the argument for the antiquity of Exodus 34,11–26. In the contemporary debate about pentateuchal theory, a question that remains insufficiently addressed is how and why the idea originally developed that the unit represents an ancient, independent, pre-Deuteronomic legal source. Wellhausen credited the idea to Johann Wolfgang von Goethe’s “Zwo bisher unerörterte biblische Fragen . . .” (1773). Like Goethe, Wellhausen regarded the unit as a “ritual Decalogue,” in contrast to the “ethical Decalogue” of Exodus 20. The distinction helped Wellhausen consolidate the classical model of the documentary hypothesis: he attributed the cultic Decalogue to the Yahwist and the ethical to the Elohist. Despite the importance of Goethe’s essay to the history of pentateuchal criticism, it is not clear that its arguments have previously been investigated.

Keywords: Julius Wellhausen, Johann Wolfgang von Goethe, Baruch Spinoza, Zwo bisher unerörterte biblische Fragen, Dekalog, Decalogue, Pentateuch, Exodus, German Jewish history, Christian Jewish relations, Ten Commandments, history of biblical scholarship, German Romanticism, Pentateuchal theory, documentary hypothesis, German intellectual history, Old Testament, cultic Decalogue, ethical Decalogue, ritual Decalogue, Covenant Code, Elohistic source, Yahwistic source, Exod. 34:11-26, Romans 11

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LECTURE I: While the concept of “second nature” has received remarkable attention in recent years, the discussion has mainly focused on neo-Aristotelian accounts. In this lecture, I develop a neglected post-Kantian alternative. Instead of focusing solely on the model of habit, this conception shifts our attention to a different paradigm for second nature: the work of art. Following Kant’s account in the third critique, producing a work of art can be understood as the production of an “other nature”, expressive of freedom. As the post-Kantian tradition from Schiller and Hegel to Marx and Nietzsche suggests, the work of art can thus serve as a model for the kind of second nature we require in order to realize an ethical life. Thus, the production of an ethical second nature is not a matter of mere habituation, but a challenging “art”: it is an aesthetic task, a complex dialectical exercise, and a social practice of objectification.


LECTURE II: To the extent we find the aesthetic conception of second nature elaborated in the first lecture persuasive, it invites us to consider our whole cultural existence as an aesthetic task. But what then is the specific purpose of art? What role may art adopt in an aestheticised culture that generally already understands itself as an art? As the second lecture will develop, modern art redefines its role by taking not first nature but the second nature of ethical life as its main point of reference. Art thus reconceives itself as a self-reflection of our ethical second nature. The lecture discusses three different models of such self-reflection, aiming at the aesthetic estrangement, the beautiful completion, and the dialectical renegotiation of our second nature.


LECTURE III: Contemporary society seems to ask us to constantly renew and re-invent the practices we are involved in and to engage in an ongoing process of self-creation and self-transformation. This general demand which seems in line with the idea of an “art” of second nature, has clearly proven to be problematic, despite the promise of liberation that was once associated with it. The third lecture will elaborate the extent to which the aesthetic notion of second nature can help us understand not only the promise but also the problems, pathologies, and aporias of the aesthetic dispositif. We will explore the ways in which the aesthetic of existence is perverted through becoming the vehicle of a new economic regime. I will defend the notion that the art of second nature still possesses critical resources, even with regard to these forms of “self-actualization” that understand themselves as aesthetic.

We argue that an adequate understanding of creativity requires us to see it as connected to the generative sources of human expression in communal practice. Creativity is not primarily the process of finding novel solutions to predetermined problems. Rather, it is the dynamic process by which the implicit normativity of our communal lives is constantly renewed or reenacted. Language can be seen as providing a paradigm for creative human expression in general, not because it mediates human action, but because language and creativity have the same genetic sources. Following a tradition of  genetic thinking that originates in the thought of Goethe, Herder and von Humboldt, we argue that human creativity is the dynamic consequence of a 'lack' or disharmony, a reflective distance to the center of our relations with the world. However, whereas the aforementioned genetic thinkers believed that the conflicts and polarities of human life could be overcome in creative development or Bildung, we show that the work of Mikhail Bakhtin offers a different understanding of creativity as the open-endedness and generativity expressed through the juxtaposition of multiple simultaneous voices. Recognizing the polyphony at the heart of creative expression liberates creativity from the mysterious genius of extraordinary individuals and reveals it as a process in which the tensions and ambiguities of real social life are always already implied.

Avant-dernière version de l'Introduction à L. Cahen-Maurel, "L'art de romantiser le monde. La peinture de Caspar David Friedrich et la philosophie romantique de Novalis", Münster/Berlin, LIT Verlag, coll. "Ideal & Real. Aspekte und Perspektiven des Deutschen Idealismus", 2017, p. 17-43.

Mémoire présenté par :
Erwan MOREAU
en vue de l'obtention du diplôme de :
MASTER 2 RECHERCHE
Domaine : Sciences humaines et sociales
Mention : Ethnologie-Sociologie
Spécialité : SOCIOLOGIE
Préparé sous la direction de M. Jean Bruno RENARD, professeur de Sociologie
Juin 2014
Mention obtenue : très bien


Abstract (French) :

Le synonyme le plus proche du terme "monstre" est l'expression « contre-nature » (Aristote, Saint Augustin, Canguilhem, Lascault, Cuny Le Callet, Valton, etc.). Sentence paradoxale s'il en est quand on sait qu'au niveau biologique, il est entendu que rien de ce que produit la Nature ne peut voir le jour indépendamment du respect de ses lois et qu'il est le propre de l'imagination de pouvoir y créer des exceptions.

Mais parallèlement à la Nature, objet de la biologie et de la physique, se trouve une autre « nature » : la « connaissance ordinaire » (Aristote employait pour sa part le terme de « cours ordinaire », « ὡς ἐπὶ τὸ πολύ » en parlant du statut contre-nature du monstre), cette « chose que l'organisme construit dans le but de créer un ordre dans le flux de l'expérience »

Ainsi, tout monstre peut être traduit comme étant ce qui apparaît contraire à une  « connaissance ordinaire », à une réalité sensible, dans son acception la plus large, c'est-à-dire orientée vers l'esthétique (le plus couramment rattaché à une vision anthropocentrée) et/ou vers l'éthique (intolérance idéologique).

Aussi par le partage des affects que met en œuvre une communauté d'esprits (religieuse, laïque, révolutionnaire, impérialiste, etc.), des éléments « contre-nature » peuvent apparaître à un niveau macrosociologique. Éléments émergeant de l'esprit gnostique et de son succédané l'esprit dogmatique, chacun ayant pour spécificité de mettre en exergue le dualisme entre bien et mal, connaissance et ignorance les entraînant ainsi vers l'ère de la déliquescence, de la décadence, en somme vers les temps eschatologiques et leurs abominations monstrueuses.


Abstract (English) :

The best synonym for the word ‘monster’ is the expression ‘unnatural’’ (Aristote, Saint Augustin, Canguilhem, Lascault, Cuny Le Callet, Valton, etc.). That is a paradoxical sentence - if any - when we know that biologically speaking nothing produced by Nature can exist regardless of the respect of its laws. It is among the characteristics of imagination to create exceptions.

But parallel to the Nature as objet of biology and physic is another kind of ‘nature’: the ‘ordinary knowledge’. (Artistote named it the ‘ordinary course’ (ὡς ἐπὶ τὸ πολύ) to mention the unnatural aspect of monster), this ‘thing that is produced by the organism to create an order within the experience’s flow’.

Then any monster can be understood as what appears in contrary to an ‘ordinary knowledge’, a ‘sensitive reality’ in every sense, that is to say aesthetics- (mostly associated to an anthropocentred vision) and/or ethicspositioned (ideological intolerance).

And the sharing of affections made by a minds’ community (religious, lay, revolutionary or imperialist, etc.) can reveal some ‘unnatural’ elements at the level of macrosociology. Elements that are emerging from the Gnostic spirit and its substitute: the dogmatic spirit. Each specifically brings out the dualism between good and evil, knowledge and ignorance that leads towards the decay, decline age - in other words towards eschatological times and their monstrous abominations.

Alchemy is not only the origin of systematic experimentation and chemistry but also the first attempt to create a cohesive science of consciousness. Those early philosophers of nature treated mental contents as objective phenomena, and they believed the universal operations used in their laboratories could transform a dark leaden mind into a shining golden one. The Hermetic philosophy behind alchemy taught that our thoughts and feelings are the thoughts and feelings of the whole universe, and that intrinsic perspective generated deep insight into the structure of mind. Alchemists viewed consciousness as a natural force that could be harnessed through a marriage of logic and intuition – a union of objective and subjective realities. Like modern seekers of a unified field theory, alchemists sought one true philosophy of universal principles that were as valid in Nature as they were in their own minds and souls, and in the One Mind of the Cosmos. The resulting cauldron of ideas on mind and matter leads to a truer understanding of the Philosopher's Stone – not as an object but a state of mind. Les racines d'une Science de la Conscience dans l'Alchimie hermétique par Dennis William Hauck, Ph.D. Résumé L'Alchimie n'est pas seulement à l'origine de l'expérimentation systématique et de la chimie, elle constitue également la première tentative de créer une science de la conscience. Ces premiers philosophes de la nature tenaient le contenu du mental pour un phénomène objectif ; ils croyaient en effet que les opérations universelles, qu'ils effectuaient dans leurs laboratoires, étaient en mesure de transformer un esprit sombre de plomb en un d'or resplendissant. La philosophie hermétique, sous-jacente à l'alchimie, enseignait que nos pensées et nos sentiments sont les reflets des pensées et des sentiments de l'univers tout entier, cette vision intrinsèque générant un aperçu profond de la structure du mental. Les Alchimistes énonçaient que la conscience est une force naturelle pouvant être jugulée par un syncrétisme de logique et d'intuition – autrement dit, une union des réalités objective et subjective. À l'instar des actuels chercheurs d'une théorie unifiée de l'Univers, les alchimistes d'antan recherchaient une véritable philosophie de principes universels qui fût autant valable dans la nature, dans le mental et l'âme humaine, que dans le Mental cosmique. Le chaudron de réflexions sur l'esprit et la matière qui en résulta, conduisit à une compréhension plus vraie de la Pierre philosophale – non pas comme un objet, mais comme un état d'esprit.

I Canti per il popolo di Giovanni Prati  mai sono stati fatti oggetto, fino ad oggi, di un commento integrale: solo pochissime delle più note poesie in essi comprese (Campagnuoli sapienti, soprattutto) sono state accolte in questa o in quell’antologia, e, in quella sede, rapidamente illustrate. Eppure, l’opera ha inciso non superficialmente nella letteratura italiana dell’Ottocento, anche perché Prati operava in due direzioni. Da una parte si proponeva di educare il popolo, trasmettendo messaggi di natura etica, dall’altra di rassicurare i borghesi. Per tale motivo accanto a moduli espressivi semplici, si riscontrano raffinatezze, echi letterari non facilmente avvertibili da un pubblico disavvezzo alla letteratura. La presente edizione è così corredata di preziosi strumenti esegetici: un’Introduzione in cui si fa luce sulla poesia pratiana, una puntuale Cronologia, una ricca Bibliografia. Preziosi per l’esegesi e il commento i cappelli introduttivi e le note, ampie e dettagliate, alle singole poesie che illustrano la maestria di un poeta oggi ingiustamente quasi sconosciuto al grande pubblico.

This book pursues a strand in the history of thought - ranging from codified statutes to looser social expectations - that uses particulars, and more specifically examples, to produce norms. Much intellectual history takes ancient Greece as a point of departure. But the practice of exemplarity is historically rooted firmly in ancient Roman rhetoric, oratory, literature, and law - genres that also secured its transmission. Their pragmatic approach results in a conceptualization of politics, social organization, philosophy, and law that is derived from the concrete. It is commonly supposed that, with the shift from pre-modern to modern ways of thinking - as modern knowledge came to privilege abstraction over exempla, the general over the particular - exemplarity lost its way. This book reveals the limits of this understanding. Tracing the role of exemplarity from Rome through to its influence on the fields of literature, politics, philosophy, psychoanalysis and law, it shows how Roman exemplarity has subsisted, not only as a figure of thought, but also as an alternative way to organize and to transmit knowledge.

C’est cette relativité du théâtre, de l’opéra, de la musique, de tout art de scène qui est pour moi la chose la plus intéressante et inspirante. J’ai essayé de montrer combien on pouvait aller loin dans cette perspective, même si je suis convaincu que l’on pourrait aller plus loin et que certains souhaiteront probablement le faire. Let them be welcome to do so. En anglais dans le texte : grand bien leur fasse. Après tout, dans les arts créatifs, tout comme dans la technologie, le ciel et seulement le ciel est notre limite, même si Don Giovanni y monte pour s’y trouver carbonisé : après tout il n’est qu’un vampire. God bless the child and let’s seize the day. En anglais dans le texte à nouveau : que Dieu bénisse l’enfant et saisissons l’opportunité qui se présente.

One of the most significant moments in the development of German idealism is Schelling's break from his mentor Fichte. On account of its significance, there have been numerous studies examining the origin and meaning of this transition in Schelling's thought. Not one study, however, considers Goethe's influence on Schelling's development. This is surprising given the fact that in the fall of 1799 Goethe and Schelling meet every day for a week, to go through and edit what came to be Schelling's most path-breaking work. This paper considers Goethe's influence on the development of Schelling's thought, and argues that it was by appropriating Goethe's idea of metamorphosis that Schelling was able to put forth a conception of nature as independent from the mind.