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This article attempts to explain the peculiar role of Isaac Newton in the poetry of Friedrich Schiller. I show that Newtonian ideas appear from the earliest poems in Anthologie auf das Jahr 1782 wherein gravity is used mainly as a metaphor for love. Newton is made a culprit, in Schiller's cosmological poems, for the destruction of the spheres and for the poet's despair in the ‘empty’, Newtonian universe. I chart the changing role of Newton in the later poetry of Schiller, where it is mainly his Opticks that interests the poet, who at this point has a thoroughly negative idea of the scientist, probably inspired by Goethe. Newton's famous experiment with the prism is figured as being the opposite of the poetry with which Schiller sought to unify (rather than refract) nature. [ABSTRACT FROM AUTHOR]

This paper focuses on the Czech-born philosopher Vilém Flusser's notion of telematic society, arguing that it implies a media-theoretical revision of Friedrich Schiller's project for an aesthetic model of civic education, according to which aesthetic effectivity is reconsidered in light of a history of media based on a technological alternation of images and texts. After a brief overview of Schiller's aesthetic letters, it examines the ways in which Flusser repositions and expands upon Schiller's vision of an aesthetic education (most importantly, the aesthetic condition or middle disposition), highlighting the role that Flusser assigns to the evolution of codes inherent in the most important cultural and media techniques, namely, images, texts, and technical images. It then shows how this modification results in a forecasting of a telematic model of aesthetic education, before concluding by addressing the prospects of such a model in a post-digital world of automated media bias. [ABSTRACT FROM AUTHOR]

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This paper discusses the issue of the sense of community as a value of the aesthetic education theory. The topic refers to the still ongoing search for permanent references to the European cultural heritage. The author poses a question about how inspiring and permanent are the traditions of the European sense of community created by Friedrich Schiller and Herbert Read. They both proposed a visionary perspective of the “aesthetic state” or “saving the humankind through art”. They worked in different historical eras but they both made an attempt to overcome the unfavorable civilizational conditions of their times. They created a different but related category of describing the sense of community, i.e. the “I-We” co-dependency. This paper contains the analysis of their views with the emphasis on the variety of accents in the understanding of the sense of community. In the summary, the author discusses the relevance of their ideas.

Many oppressed groups describe their forms of life in aesthetic categories. This article explores the implicit conception of beauty and the shared characteristics of counter-communal aesthetic practices. It reconstructs the hegemonic conception of beauty via a reading of Schiller and explores two exemplary discourses on the beauty of counter-communities: Peter Weiss' reflections on the aesthetics of resistance and Saidiya Hartman's description of Black fugitive aesthetics. What both examples share is that they locate beauty not in harmony, but in conflict and struggle. They lay the foundation for an aesthetic standpoint theory: counter-communities are economically, politically and culturally marginalized, but they are more beautiful than dominant forms of life. [ABSTRACT FROM AUTHOR]

Desde el inicio de la Modernidad, la narrativa ha evolucionado tanto como lo ha hecho el pensamiento, apreciándose de un modo sustancial en los giros del gusto y en la construcción de personajes. Bajo esta premisa, en el presente artículo se analizan las diferencias entre los prototipos ejemplares y no ejemplares de la ficción, poniendo el foco en el medio audiovisual. Partiendo de la teoría de la imitación y de la imitación de prototipos establecida por Javier Gomá, se revisan algunos arquetipos de personajes amorales que, compartiendo su carácter no ejemplar, despiertan una fascinación estética ajena y contraria a la que provocan en el ámbito de la moral. Con el objetivo de dar una explicación a este fenómeno, se acude a la separación de juicios establecida por Friedrich Schiller y por otros teóricos que siguen su estela, como Adam Kotsko, y se señalan las posibles contradicciones implícitas en la faceta amoral de los personajes, cuando su carácter no ejemplar supone una referencia para sectores sociales concretos, convirtiéndose la ficción en el punto de partida del proceso imitativo.

Celem artykułu jest prześledzenie dwóch komparatystycznych tropów – powiązań łączących Assuntę Cypriana Norwida z Rękawiczką Friedricha Schillera oraz z Henrykiem von Ofterdingen Novalisa. Przetłumaczona przez AdamaMickiewicza ballada okazuje się subtelnie obecna w poemacie Norwida. Rycerski etos, bezinteresowna miłość zostają w XIX-wiecznym salonie poddane próbie innej niż na arenie w Rękawiczce. Z kolei powieść Novalisa i Assuntę łączy motyw postaci górnika. W tym przypadku nie sposób zakładać bezpośredniego wpływu, ale Novalisowska postać obecna była w polskiej recepcji dzięki Maurycemu Mochnackiemu i stała się częścią „podziemnej wyobraźni” romantyków. Okazuje się, że górnik Norwida nie jest jednak romantycznym górnikiem à rebours. Prześledzenie obu tropów pokazuje, że Norwid nie powielał romantycznych motywów, metafor. Dokonywał ich poetyckiej korekty, modyfikował je i wchodził z nimi w subtelny dialog będący jednocześnie przeciwstawieniem się nieakceptowanym wartościom, światopoglądom jego współczesności.

This contribution presents a bibliography of academic, critical, and literary works by Tatiana A. Kasatkina, Doctor of Philological Sciences, Director of Research at IWL RAS, Head of the Research Centre “Dostoevsky and World Culture” IWL RAS, Head of the Research Committee for Dostoevsky’s Artistic Heritage within the Academic Council for the History of World Culture RAS.

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This essay interprets "The Decay of Lying" by Oscar Wilde and News from Nowhere by William Morris as contributions to the debate concerning realist art that took place during the late-Victorian period. Specifically, it compares the ways in which these works deployed the strategies of autonomy and reconciliation characteristic of modern aesthetic discourse. For this purpose, the author establishes an interpretive framework by discussing relevant rhetorical devices developed by German classical aesthetics in the late eighteenth century. Thus, he identifies and analyzes the main similarities and differences between Wilde's and Morris' aesthetic stances, and, finally, reassesses the definition of autonomy as "uselessness", frequently employed in the scholarship on British aestheticism. An English translation of this article can be provided by the author upon request. [ABSTRACT FROM AUTHOR]

Disabled for the last nine years of his life, Konstantin Stanislavsky struggled to verbalize his artistic experience and record it in writing. This experience mostly concerned acting, itself extremely hard to conceptualize and explain, and, to his mind, the core of human existence. Stanislavsky looked for the proper literary vehicle to contain this abundance. Initially, he hoped he had found adequate means in the form of the educational novel – the Bildungsroman. However, in the course of his writing, he gradually abandoned this form, as well as any literary aspirations he may have had. What we can find in An Actor's Work are only remnants of the original concept. Nevertheless, they are still present. Looking closer at these ruins can bring interesting insights into the aura and mood of Stanislavsky's theorizing about art. [ABSTRACT FROM AUTHOR]

Drawing on the extensive research on the life and thought of the German poet Friedrich Schiller (1759–1805), most prominently by his biographers Gotthold Deile and Aleksandr Ivanovich Kirpichnikov, the paper outlines the genesis of Schiller’s “Ode to Joy,” a 1785 Masonic festive song, which has become an iconic poem of the European Enlightenment. Consequently, the author compares Schiller’s source text with its renowned 1823 translation by the Russian poet Fyodor Ivanovich Tyutchev (1803–1873). Schiller’s poem, filled with blatantly sacrilegious or, at least, unorthodox Masonic undertones, was transformed by Tyutchev into a Russian Orthodox choral, providing the translation studies scholar a unique opportunity to expound on one of the most typical imprints of Russian spirituality in the history of translation and interpretation.

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In this essay, I reconsider the constitution of democratic freedom in aesthetic terms. My interest is in articulating a conception of aesthetic freedom that can be mapped onto a conception of democratic freedom. For this purpose, I bring together Charles Sanders Peirce's ontology, which comprises fragments of an aesthetic theory, Friedrich Schiller's concept of aesthetic play and Stanley Cavell's democratic perfectionism. By providing a philosophical framework for constructing an aesthetics and politics that supports the recent aesthetic turn in political theory, which urges overcoming political theory's excessive dependence on an epistemological theory of representation, and by proposing a modification to the turn's heavy reliance on theories of affect, my reading of Peirce, Schiller and Cavell offers a new way to think about the political significance of the autonomy of aesthetic experience and affect for democratic freedom. [ABSTRACT FROM AUTHOR]

The article considers the quotations from Friedrich Schiller's essay 'Die Gesetzgebung des Lykurgus und Solon' (1789), from the first leaflet of the Weiße Rose, and the unattributed quotation from a poem by Theodor Körner in the sixth and last. The political issues raised in the leaflets are brought into focus by a comparison with the avowed Spartophilia of the Nazi regime and its academic camp-followers. Arising from the discussion of the quotations, the article also considers the problematic status of the 'Abendland' in the discourse of the Weiße Rose, and reflects more broadly on the way the leaflets are to be read. [ABSTRACT FROM AUTHOR]

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Copyright of Colloquia Germanica is the property of Narr Francke Attempto Verlag GmbH & Co.KG and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

I explored Juhan Liiv's understanding and definition of poetry. The starting point was above all his critical work, mainly his essay Marginalia, which he wrote towards the end of his life. I draw three main conclusions: (1) Liiv did not live in a cultural void. The material he read shows that despite his lack of formal education and his mental imbalances, he was able to delve deep into the German-language sphere of thinking, and doing so held significance for him. There is no reason to assume that his comprehension of poetry evolved in a cultural vacuum. (2) Liiv analyses poetry on the basis of a distinction between sentimental and naïve poetry, which originates from the famous essay Über naive und sentimentalische Dichtung (1795) by Friedrich Schiller. That means Liiv himself positions his comprehension of poetry within the cultural space of German thinking. (3) Liiv constructs his comprehension of poetry in a strong correlation with music both in the aspects of conveying emotions and the use of language. [ABSTRACT FROM AUTHOR]

This essay explores the way in which Schiller problematizes power legitimation in his dramatic fragment Demetrius, and demonstrates how relevant this unfinished text was to early twentieth-century political thinking on legitimacy in Germany. This is not a matter of mere speculation: there is evidence, both direct and indirect, of the influence of Schiller, and in particular of his Demetrius, on three important intellectuals: Ferdinand Tönnies, Max Weber, and Carl Schmitt. Rather than discuss the reception of Schiller's text by legal philosophers, this essay shows, via a close reading of the play, how Schiller's theater around 1800 reveals the problematic nature of various aspects of power legitimation and how these emerged with particular force during the early twentieth century, when they intersected with the legal and political reflections of the time. [ABSTRACT FROM AUTHOR]

The question of how to devise and justify political order for a secular age is still at the heart of political discourse today. Social contracts provided an early political and philosophical answer to these issues, but they also manifested themselves in eighteenth-century German literature: This article will examine how Johann Wolfgang von Goethe and Friedrich Schiller engaged with the specific propositions of contractarianism (in particular Thomas Hobbes's Leviathan) in selected scenes in Götz von Berlichingen (1773) and Fiesco's Conspiracy at Genoa (1783), respectively. In their interpretation of contractarian scenarios, Goethe and Schiller isolate the notion of utility which, they argue, reduces complex social cooperation and interaction to game-like scenarios, exclusively driven by calculation and rational decision making. Goethe's and Schiller's morally inflected deconstruction of Hobbes's thought experiment affords an insight into alternative models of social togetherness which place an emphasis on Bildung, evolution, mutuality, and recognition. [ABSTRACT FROM AUTHOR]

Our discussion addresses Benjamin's antifascist education through the lens of aesthetic education and Herbert Marcuse's aesthetic theory. While this theme is not explicitly discussed in Lewis' book, we argue that it is essential for understanding the full political and educational potential of what he calls "the art of straying in the city". Such straying is aesthetic in a twofold way: it allows for the city to be experienced as a massive work of art, and at the same time it makes the one who strays an artist who creates herself as a work of art. This unique relation to the urban world is an antifascist and anticapitalist educational experience, as it becomes a politically creative catalyst for imagining another way of relating to self, others, and environment – a relation liberated from the imperatives of utility and profit. [ABSTRACT FROM AUTHOR]

In this essay, I examine the film Johanna d'Arc of Mongolia (1989), made by German director Ulrike Ottinger in the year of the fall of the Berlin Wall. I argue that it can be read as an anti-authoritarian articulation of a desire for radical public spheres better suited to serve minority interests, particularly at a time of drastic transformations of social and political conditions. The film's narrative ambiguity should be read in the rhetorical situation of radical fairy tales in West Germany and their attempt to develop counterpublic spheres to resist the organization of experiences by the consciousness industry. Ottinger's film, while shot mostly in Inner Mongolia during the crucial year for the reunification of Germany, is far from being escapist. The shock of the displaced lower-class heroine, so different from the "happy ending" imperative in traditional fairy tales, unveils the fiction of a neoliberal economy that considers people and land as mere commodities. Like Karl Polanyi, Ottinger wants to empower people to question the assumption that they had to accept major displacements and flexibility in the name of a self-regulating market. The fairy tale, as a contested genre related to education, is a primary field for this struggle. [ABSTRACT FROM AUTHOR]

Por meio da poesia de Mário de Andrade, pode-se apreender a concepção do modernista acerca do fazer artístico, principalmente em seus poemas amorosos. No grupo “Rito do irmão pequeno” (1931), em que se estabelece uma ligação de amizade e de amor entre o eu lírico e o irmão, são encenadas questões que tocam o tema da arte. Dessa forma, o estudo dos versos de 1931, levando em consideração afirmações de Friedrich Schiller, assim como as reflexões teóricas presentes nos trechos suprimidos por Mário, no exemplar de trabalho de Amar, verbo intransitivo, leva-nos a compreender a concepção artística de Mário de Andrade.

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In the Lviv theater headed by Jan Nepomucen Kamiński, Friedrich Schiller’s The Robbers was part of a theater campaign of Romanticism; even though it was cautious due to censorship and long-winded, the Lviv entrepreneur produced an important staging not only considering the selection of the play itself, but also in staging choices and especially in acting ones. Kamiński’s 1817 (or earlier) translation determined the shape of the German Sturm und Drang masterpiece for Polish theaters for many years. It also influenced the way later translations were staged. A copy preserved in the Lviv Theater Library in Katowice dates from 1864. Although Kamiński’s translation was based on an abridged and revised German version of the drama, prepared in 1781 for a theater in Mannheim and published there, the analyzed copy also contains references suggesting the use of the canonical edition, known from the original printing of the drama and its subsequent editions authorized by Schiller. This late copy, bearing the traces of numerous interventions, though some were probably obliterated by the copyist, suggests original staging solutions that may have been made by the first translator and stage adaptor himself.

Features of the interpretation of events related to the life and death of the Queen of Scotland, Mary Stuart (1542-1587), in the works of the outstanding German playwright F. Schiller (1759-1805) and his contemporary, the famous writer Christian Heinrich Spiess (Spiess, 1755-1799) is considered. The originality in the image of the last days of Mary by C. H. Spiess and F. Schiller is emphasized. The question is raised about the various literary and aesthetic positions of both German writers. Attention is paid to the review of works in various genres and genres of art dedicated to Mary Stuart by Spiess and Schiller. First, an analysis of the work of the author, which is secondary in the framework of German and European literature, is presented, since Spiess wrote his tragedy many years before the great German playwright. It is shown that Schiller’s tragedy was written with a characteristic thirst for epic coverage of reality, while the stage play of Spiess is more focused on the events of the last days of Mary Stuart’s life and turns into a chamber work. The results of the study can be used when giving lecture courses on foreign literature of the XVIII-XXI centuries, special courses on the literature of Western European countries, on the problems of classical literature in Germany, as well as literature of the Western European Enlightenment and pre-romanticism.

Resumo O entendimento de Friedrich Nietzsche sobre Friedrich Schiller é bem conhecido e culmina em 1888, na desqualificação que se tem com “Schiller: ou o trompetista moral de Säckingen”. Mas é sabido que suas considerações são contraditórias, mudando com frequência nas diferentes etapas de sua vida produtiva. A monografia de Nicholas Martin (1996) marca um ponto de viragem no que diz respeito a este tema, refutando a disseminada compreensão de que somente o jovem Nietzsche teria experimentado admiração por Schiller, depois vindo a assumir distância cada vez maior. A dívida de Nietzsche para com Schiller, segundo Martin, é constante, e manifesta-se sobretudo em sua recepção das cartas estéticas. O que se pretende fazer ver aqui, seguindo a tradição de Wolfgang Riedel (2011), é que o ensaio Sobre a poesia ingênua e sentimental [Über naive und sentimentalische Dichtung] é tão ou mais importante neste contexto sobretudo quando dirigimos nosso enfoque para o contexto da crítica cultural. Várias declarações de Nietzsche, por exemplo, formulada em 1870, “não estou em condições de empregar essa terminologia esplendorosamente schilleriana para o inteiro e mais amplo domínio de toda a arte” (Nachlass/FP 7 [126] KSA 7.184), confirmam tal suposição, e uma vez que, no mesmo momento de elaboração de O nascimento da tragédia no espírito da música, ele se propõe a “[…] fortalecer o conceito do ingênuo e do sentimental” (Nachlass/FP 7 [172], KSA 7.206), tem-se justificada a intenção de relacionar ambas as obras-chave de ambos os Dichterphilosophen [filósofos poetas] do ponto de vista da crítica cultural.

“Brilhante”, “bela”, “erudita”, “poética”, “rebuscada”, “mais que poética”, de “fluidez belíssima”, “superior”, “rigorosa”, “inspiradíssima” e “magistral”. É com tais termos laudatórios que se tem avaliado a tradução do drama Maria Stuart de Friedrich Schiller, realizada e publicada por Manuel Bandeira em 1955 e encenada desde setembro desse mesmo ano. A crítica de teatro e literária atribuem com unanimidade à tradução de Bandeira qualidade lite­rária e apuro linguístico indiscutivelmente perfeitos, seja no que diria respeito à “fidelidade” ao texto schilleriano, seja quanto ao trabalho de texto, seja ainda quanto à efetividade em cena. Contudo, esse louvor irrestrito parece carecer de leitura mais cerrada do texto de Ban­deira, cedendo assim a uma reverência que parece obscurecer toda crítica mais fina. Neste trabalho procuramos examinar causas e efeitos da tradução bandeiriana de Maria Stuart, no que diz respeito tanto à recepção do espetáculo quanto à matriz crítica que instruiu o trabalho tradutório, com base na noção de projeto de tradução proposta por Antoine Berman.

Die in absolutistisch regierten Staaten geübte Zensur sollte gewährleisten, dass in Texten und auf den Bühnen Tugend belohnt und das Laster bestraft wird, auch das 'regelmäßige' Drama versuchte Moral und gute Sitten zu fördern. Die Sturm und Drang-Dramatik schwankte zwischen Übereinstimmung und Bruch mit den sozialen und moralischen Normen: Der Hofmeister in J. M. R. Lenz' gleichnamigem Stück scheitert mit seinem Widerstand gegen soziale Zwänge und erscheint in ironischem Licht; H. L. Wagner klagt in seiner Kindermörderin die Gesellschaft wegen der ungerechten Verurteilung der Hauptfigur an, das Stück schließt aber mit einer versöhnlichen Wendung; F. Schillers Räuber führen die Übertretung so gut wie aller moralischen Gebote vor, aber am Ende läutert sich Karl Moor. Der Zensurdruck und der Geschmack des Publikums bewirkten Selbstzensur, drei zentrale Stücke des meist mit Aufbegehren gegen gesellschaftliche Normen verbundenen Sturms und Drangs erweisen sich als kompatibel mit dem 'Drama des Gehorsams': Ironie und happy endings entziehen der Kritik zumindest teilweise den Boden. [ABSTRACT FROM AUTHOR]

Die gesetzgebende Macht spräche hier durch fremde Symbole zu dem Untertan, verantworte sich gegen seine Klagen, noch ehe sie laut werden, und bestäche seine Zweifelsucht, ohne es zu scheinen.[8] Schiller's lecture, notwithstanding the fact that it was (consciously) overstating the potential of theatre even for its own time,[9] lives on as an astonishing monument of a bygone age in which art, and especially drama and theatre, claimed an importance that few would be inclined to grant them today. Writing in 1782, the young Friedrich Schiller described the advancement of drama in "beinah in allen deutschen Provinzen"[3] as the distinguishing feature of the spirit of that decade in Germany (while also deploring many shortcomings in drama and theatre that still needed to be overcome). Keywords: Theatre; Obedience; Agency; Friedrich Schiller; Gotthold Ephraim Lessing; Karoline von Günderrode EN Theatre Obedience Agency Friedrich Schiller Gotthold Ephraim Lessing Karoline von Günderrode 269 284 16 10/04/21 20210901 NES 210901 In Germany, where, compared to other large European countries, the theatre had long been marginalized to local courts, Latin schools, and wandering troupes, the mid to late eighteenth century brought about tremendous change, effected by the productive collaboration of theatre directors, actors, critics, and writers.[1] In the generations of Friederike Caroline Neuber and Johann Christoph Gottsched, Gotthold Ephraim Lessing and Conrad Ekhof, German drama and theatre were progressing at a higher pace than ever before, and German playwrights were at the forefront of innovation in Europe.[2] In this period, as still through much of the nineteenth century, drama was the most prestigious of literary genres, and German playwrights had now caught up to recent developments. [Extracted from the article]

Brandt explores the ways in which Stanisława Przybyszewska was inspired by German literature. Georg Büchner’s Danton’s Death, Goethe’s Egmont and Schiller’s Wallenstein all had a significant impact on her work, especially on the choice of subject, the construction of her plays and the portrayal of her characters. Brandt also examines references to Thomas Mann and his notion of Apollonian and Dionysiac elements in Przybyszewska’s unfinished story “Spuk / Die Besessene” (Haunting / The Possessed), which she wrote in German. Finally, Brandt also discusses Przybyszewska’s references to the tradition of the Bildungsroman in her stories about the emancipation of women. [ABSTRACT FROM AUTHOR]

The article is an editorial preparation of Boris Pasternak's foreword written to the Frederick Schiller's drama Maria Stuart, which he translated. Circumstances have been described which meant that the text was not fi nally included in the edition. The editorial history of the Polish translation of the foreword by Seweryn Pollak is also presented. In his sketch Pasternak shows the background of Schiller's work, presents the tragic biography of Maria Stuart and describes the way the characters in the drama are created. [ABSTRACT FROM AUTHOR]

This article seeks to analyze the theory of technology formulated by the philosopher Herbert Marcuse (1898–1979). It shows the ways in which the author repurposes fundamental concepts of classical aesthetics in order to formulate a theory of technology aimed at liberating both nature and humanity. To this end, we argue that Marcuse mobilizes the theories of Immanuel Kant (1724–1804) and Friedrich Schiller (1759–1805). In the first part of the article, we tackle some important aspects of Kant's and Schiller's aesthetic theories. We begin with an analysis of Kant's Critique of the Power of Judgment (1790), focusing on central concepts that would later be absorbed by Schiller and Marcuse. Next, we try to show the reception of the Third critique in Schiller's On the Aesthetic Education of Man (1795) and this author's contribution to aesthetic studies within political thought. In the second part, we focus on Marcuse's work, highlighting two key moments in his analysis on technology. We show that his theory undergoes transformation and development until it reaches its stable form in the 1960s and 1970s, during which the author proposes a new theory of technology based on human aesthetic possibilities whose goal is the liberation of nature. [ABSTRACT FROM AUTHOR]