Pandaemonium Germanicum Nr. 8
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This paper deals with metaphorical transference of technical concepts to our everyday way of speaking. At the focus of the investigation there will be the question why one finds specifically in German, in comparison with Portuguese, for instance, frequently, tecnological metaphors related to other metaphorical concepts. On the basis of some examples extracted from the comparative survey "Brasilianische und deutsche Wirklichkeiten – eine vergleichende Fallstudie zu kommunikativ erzeugten Sinnwelten " [Brazilian and German realities – a comparative case study of communicatively created universes of meanings], we will discuss what traces of the German language and of historical-cultural development of the German nation contribute to such dynamics of everyday metaphors.
Por que o Mefistófeles no "Fausto" de Goethe, ao contrário de todas as expectativas, não apresenta uma natureza realmente má? Partindo desta pergunta, neste artigo discute-se a figura do diabo no imaginário europeu no sec. XVI e no "Doctor Faustus" de Christopher Marlowe. Em seguida são analisados alguns traços principais do diabo goethiano secularizado. O Mefistófeles de Goethe não é o demônio da mitologia cristã e tão pouco representa o grande vilão da peça. Seu autor deixa claro que a responsibilidade pelo mal produzido nas duas partes do "Fausto" é dos seus personagens humanos.
Paul Celan often reflects over the possibility of realising, recognising, and "knowing" an Other and Reality through poetry. In so doing, he locates his poetry within the cognitive realm. From this perspective the poem "Sprachgitter" as well as the metaphor of "Sprachgitter" – which determines Celan's understanding of language in the late 1950s – can be further interpreted. In this essay, the poem "Sprachgitter" is interpreted as a process of recognition, realised through two actions: concentration and opening. Other poetological texts and letters of Paul Celan will be analysed from this perspective.
Der Essay analysiert den Aufsatz über die Plastik von J. G. Herder im Hinblick auf das Verhältnis von Sehen und Fühlen, Außen und Innen, Oberfläche und Körper, Malerei und Skulptur in der ästhetischen Theorie der zweiten Hälfte des 18. Jahrhunderts. Herders Intention ist die Begründung einer autonomen Bildhauerkunst aus der Physiologie des Tastsinnes, der jedoch nicht in Form des Berührens realisiert wird, sondern im visuellen Nachvollzug beim Betrachten der Statue. Charakteristikum der Plastik wäre demzufolge nicht nur die Kompaktheit des Körpers, sondern die damit in ein Spannungsverhältnis tretende Gegliedertheit, das Beiwerk. In dieser Spannung zwischen Haupt- und Beiwerk, Erga und Parerga bilden die Kleider von Statuen an sich einen toten, die Wirkung des "lebenden" Körpers störenden Zusatz. Die "nassen" Gewänder der griechischen Statuen allerdings seien als Parerga gerade so "transparent", dass sie wie eine zweite Haut erscheinen. Parerga dieser Art bilden jedoch keinen überflüssigen, störenden, sondern vielmehr notwendigen Bestandteil der plastischen Kunst, indem sie das organische Innere, das auf den Tod verweist, bedecken, ohne es völlig zu verleugnen.
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 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 investigates the disproportion of the Analytics of the Sublime in context of the Critique of Judgement, as an analogy to the impossibility of reconciling moral theory and practice, nature and reason; thus the bridge between the first and the second critiques, which should be mediated by the third, is marked anew: the sublime corresponds to the violence masked within social processes. Kant’s position is worked out upon the background of Shaftesbury and Burke and thus emerges the fact that the Königsberg philosopher is oriented towards ahistorical rational ideas. His concept of the sublime (as well as his ethics) is therefore situated in the traditions of protestant ascetism and bourgeois-capitalism. Both the beholder of sublime nature and art and the follower of moral imperative must equally relinquish everything material and the direct satisfaction of their yearnings in favour of a higher, intellectual satisfaction. In the same way, the absence of form or measure of the sublime has its parallel in the “negative infinity” of capital and in technological “second nature”.