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This paper analyses the idea of the avant-garde in Benjamin and its reception in German literary criticism after World War II. It examines the works of Hans Magnus Enzensberger and Peter Bürger, who focus on the concept of avantgarde. This perspective allows us to broaden our reflection on German literary history since the end of World War II, and this contributes to the discussion on Postmodernism. The elaboration of the concept of allegory gives this discussion a clearer direction. Benjamin's key-notion of profane illumination was not received in a theoretical-philological way – but it materialized as experience in the students' revolt at the end of the 60s and the beginning of the 70s.
This article deals with the annotations made by Victor Klemperer, in the diary of his 1925 journey to Rio de Janeiro. His descriptions are shown to be pervaded by his constant attempt to analyse, to interpret objectively and to compare his observations with what he already knew, and not merely a protocol of his emotions and the impressions brought about by the newness and the exotism of his experiences during the journey.
This study is an introduction to the systems theory developed by the German sociologist Niklas Luhmann (1927-1998) and its significance for literaty studies. It departs from a historical point of view which understands the period around 1800 as the climax of the transformation from a stratified European society into a modern society with a social order structured by differentiated systems such as education, economy, law or literature, each with its specific function and characterized by its typical form of communication. In Germany, the literary system reflects this process in the poetology of Romantic writers. Literary communication is defined as a second order observation that oscillates between the real and potential and makes the ordered forms clearer. The autonomous and differentiated literary system becomes a field that is being observed by its environment. The history of literature in the 19th century instrumentalizes it for political goals, while the new copyright laws and the idea of the book as a profitable merchandise imbued the system of literature with accelerated dynamics.
The relevance of the work and the influence of Franz Rosenzweig, a German Jewish philosopher of the beginning of the last century; are still to get the appreciation they deserve. Rosenzweig was the author of one of the greatest – and less read – books of the 20th century, "The Star of Redemption", where he develops his philosophical system mainly on basis of theological categories. To the "monologue of the I" of mainstream philosophy, Rosenzweig opposes a "new thinking", of existential character, which values orality and the "other", and where language substitutes reason as a tool for thought. In it one can find some correspondences with the thought of Walter Benjamin. This "new thinking", also, strongly influenced Emmanuel Levinas and nowadays bears its fruits within "linguistic turn" philosophy and theology, and post-modern Jewish thought. This philosophy found in Rosenzweig's work in translation one of its main practical applications. To translate was for Rosenzweig a necessity, emanating from an ethics constituted as "first philosophy". This article examines some aspects of Rosenzweig's writings from where his "philosophy of translation" is made explicit.
This paper is an "interested" reading of "The Critique of Judgement" – "interested", because, unlike what has become usual in recent decades, it strives to disassociate the Kantian concept of "free beauty" from any interpretation of it as an early defense of abstract art. It is also "interested" because, instead of exposing (once more) the framework of the "Kritik der Urteilskraft", it tries to show how the Third Kantian Critique can be taken as a basis for something that was not part of its original purpose: reviewing the idea of mimesis itself. For that, the understanding of the Kantian sublime (das Erhabene) will be decisive: understood initially as one of the modalities of aesthetic experience, the other being beauty, the sublime progressively distances itself from the latter. If beauty and the sublime are to be thematized independently of "determining judgement", in which the properties of the object impose themselves upon the subject, the modalities of aesthetic experience suppose, on the contrary, the primacy of the subject. This implies gradations: from the experience of harmony propitiated by beauty up through the "negative pleasure" of the sublime, both poles through which reality is reworked by the subject. At the pole of beauty, "representation" of reality still plays a prominent role. At the pole of the "negative pleasure" of the sublime, "representation" is subordinated to the power of "presentation". However, both kinds of experience, the one of beauty and the other of the sublime, belong to the same field of aesthetic experience, because in both of them the subject reworks – does not discard – what comes to him from the outside: it will be necessary to understand "Vorstellung" always as an experience in which the exterior will be transformed by the subject. That is, the representation of the Third Critic will always be an effectual representation. In the sublime as much as in "free beauty", the metamophosis of the exterior by the subject achieves its maximum level without meaning that the external pole – that we usually call "world" or "reality" – disappears. It will thus be necessary to rethink the concept of mimesis in order to understand the metamorphosis of the world performed by radicalization of the aesthetic experience through "free beauty".
This paper deals with Kant’s differentiation between artistic beauty and the sublime in nature. In this latter, Kant subsumes everything wild, uncultivated, inanimate and makes it – apparently – available to Aesthetics. As the quintessence of resistence, the "stone" stands for everything that remains the most estranged from the human sphere. In texts of Romantic authors such as Novalis, it can be seen how the "stone" in its turn takes possession of human beings and move them away from human nature. From Romanticism up to contemporary art, the sublime establishes thus a dominion of total alterity, which evades control and keeps consciousness alert to the fact that also in human beings there is an uncontrollable element demanding its rights.
This article analyses the influence of Kant on conceptions and definitions of modern literature and art in publications by Lyotard, Kothe, Weber and Luhmann. It is argued that central issues in these publications, such as artistic autonomy, the sublime and the concept of L’art pour l’art, are adopted directly from Kant’s philosophical work and still serve as paradigms in the discussion of origin and status of modern social structure and its art production.
Considering that the German dramatist Heiner Müller has treated several times the subject of the angel of history, this essay proposes a comparison between Müller’s first angel (Der glücklose Engel) from 1958 and the original “angel of history” (Engel der Geschichte), a seminal text written by Walter Benjamin in 1940. Benjamin’s work reflects the author’s thoughts on the corruption of history and the dangerous notion of progress. Müller’s angel, on the contrary, despite his beliefs in the destructive force of the history, sees the future in a positive perspective.
Máximas
(2008)
In Kants Analyse der moralischen Gesinnung und der einer moralischen Handlung zugrundeliegenden Absichten und Motive spielt der Begriff der Maxime eine zentrale Rolle. Der folgende Text versucht zu klären, was unter einer Kantischen Maxime zu verstehen ist.