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The essay analyses Francesco Viagno’s Battello sotto marino, a novel published in 1839, which contains some elements that forestall fantastic and science fiction. First, the paper provides a biographical sketch that traces the portrait of Francesco Viganò as a prolific novelist and economist. Second, the paper proves that the novel can be understood only by considering the masonic reference and the role model represented by the European Humour. In particular, the article tries to understand how the masterpieces written by Jean Paul, who can be considered the father of modern Humour, have influenced Vigano’s work.

Polazeći od uvjerenja da svojim navještajem smrti Boga u 125. fragmentu »Radosne znanosti« Nietzsche nije prevratnik koji izgovara dotad nečuvenu novost nego svojevrstan dijagnostičar duha vremena u kojemu se ta objava pojavljuje, u članku se analiziraju tri temeljne metafizičke implikacije te objave. To su: volja za moć, perspektivizam i bez-zavičajnost. Promatrajući te implikacije u njihovu odnosu prema cjelini Nietzscheova opusa i njegovim temeljnim idejama, može se ustvrditi da su one međusobno koherentne. Treća od tih metafizičkih implikacija, bez-zavičajnost pokazuje se kao simbolički i stvarno najvažnijom od triju metafizičkih implikacija Nietzscheove objave smrti Boga. Korijeni povezivanja bez-zavičajnosti s idejom smrti Boga mogu se prepoznati i u često previđanoj Nietzscheovoj ranoj lektiri, tj. njegovoj sklonosti djelima Jeana Paula, književnika njemačkog romantizma.

This essay explores the performance challenges of Beethoven’s “Diabelli Variations”; it is paired with the author’s own studio recording of the work coordinated with the musical score. The commentary seeks to address issues of compositional genesis, motivic development, musical character, and formal shaping, while keeping aesthetic matters in view. Beethoven’s transformations of Anton Diabelli’s waltz — which the composer described in a letter as a “SchusterFleck” (“cobbler’s patch”) — indulge in persiflage, irony, and parody, qualities that invite critical scrutiny. Beethoven was sometimes compared during his lifetime to Jean Paul, whose concept of humor as “the inverted sublime” and notion of a tensional duality of the Great and the Small applies well to Beethoven’s most paradoxical composition. How can we best shape this cycle as a whole in performance, while doing justice to its vivid contrasts and rich allusiveness? Numerous performance recommendations emerge from the integrated consideration of historical documents, musical analysis, and aesthetic reflection. Since the subject concerned here is animate rather than inanimate, it is not well grasped from just an objectivist, factual perspective. Dieser Beitrag untersucht die interpretatorischen Herausforderungen von Beethovens ›Diabelli-Variationen‹; er ist eng bezogen auf die mit der Partitur synchronisierte Studioaufnahme des Werkes durch den Verfasser. Der Kommentar behandelt Fragen der kompositorischen Entstehungsgeschichte, der motivischen Entwicklung, des musikalischen Charakters und der formalen Gestaltung des Zyklus, wobei ästhetische Gesichtspunkte ebenso im Blick behalten werden. Beethovens Veränderungen des Walzers von Anton Diabelli – den der Komponist in einem Brief als ›SchusterFleck‹ bezeichnete – schwelgen in Persiflage, Ironie und Parodie, Qualitäten die einer kritischen Untersuchung bedürfen. Zu Lebzeiten wurde Beethoven manchmal mit Jean Paul verglichen, dessen Konzepte des Humors als ›umgekehrtes Erhabenes‹ und eines spannungsvollen Dualismus zwischen dem Großen und dem Kleinen sich gut auf Beethovens paradoxeste Komposition anwenden lassen. Wie kann der Zyklus als ganzer in der Interpretation bestmöglich gestaltet werden unter Berücksichtigung der lebendigen Kontraste und seines Anspielungsreichtums? Zahlreiche Empfehlungen zur Interpretation ergeben sich aus einer integrierten Betrachtung historischer Quellen, musikalischer Analyse und ästhetischer Reflexion. Insofern der betrachtete Gegenstand eher belebt als unbelebt ist, lässt er sich nicht aus einer bloß objektivistischen, sachlichen Perspektive erfassen.

Few of the statements penned by philosophers have become as infamous as the “God is Dead!” of Friedrich Nietzsche. This study is not concerned with the reasons why this phrase is so popular. Instead, I would like to delve into the prehistory and partial genesis of the concept, something Nietzsche adopted from a previous tradition. Apart from known examples of theses on the death of God by Hegel, Schelling or Jean Paul, I will shed light on some of the confusion surrounding the phrase deus est mortuus in Mediaeval Christian liturgical literature and mysticism, with roots reaching back to Neoplatonism. The goal of this study is to point out that this phrase about the death of God had no significant constitutive meaning for Nietzsche but was, instead, a relatively common literary and rhetorical topos among other culturally diagnostic expressive elements. Nietzsche used it as an illustrative shortcut when describing the intercultural processes of his time, with no ambition to originality, instead, with the clear intention of shaking up the (non)thought of the comfortable bureaucrats and legalistic petit bourgeois of Germany in the late 19th century.

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Copyright of Acta Linguistica Lithuanica is the property of Institute of the Lithuanian Language 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.)

Drei für Philosophie und Theologie gleichermaßen bedeutsame Streitigkeiten hat Friedrich Heinrich Jacobi (1743–1819) maßgeblich bestimmt: den sog. Pantheismusstreit um Spinoza und den angeblichen Spinozismus von Lessing, den sog. Atheismusstreit in Auseinandersetzung vor allem mit Fichte und den sog. Theismusstreit, der durch eine Kontroverse mit Schelling hervorgerufen wurde. Der vorliegende Beitrag ist auf den Atheismusstreit von 1799 konzentriert, an dem sich neben Jacobi auch sein Gefolgsmann Jean Paul beteiligte, um den Denker dichterisch zu unterstützen. [ABSTRACT FROM AUTHOR]

This article examines the medial interferences between Jean Paul's citation of different technologies for managing information and his own way of writing and reading, namely in excerpts. Focusing on his second major idyll, Leben des Quintus Fixlein, aus fünfzehn Zettelkästen gezogen; nebst einem Mustheil und einigen Jus de tablette (1796/1801), this article contends that Jean Paul's fictional references to the 18th-century librarian and jurist Johann Jacob Moser's "slip box" [Zettelkasten] system serve as a poetological code for his own witty-combinatorial way of writing. Hence, far from simply reflecting contemporaneous discursive-historical writing practices, Jean Paul's incorporation of the pervasive slip box motif into the strictures of his biographical novel can be understood as part of a poetic strategy for exposing the material and media-technological preconditions that make possible the inscription of "life" as an object of representation—a dependency of the "spiritual" on the "material" which contemporaries like G. W. F. Hegel, another avid slip box user, sought to veil. [ABSTRACT FROM AUTHOR]

The paper focuses on the passage in Gogol's short story Nevsky Prospekt in which he describes how representatives of the various social classes, ranks and professions promenade along the main boulevard of St. Petersburg at different times of the day. The paper shows how the Russian writer was not the first to recount this daily routine in minute detail, as the German writer Jean Paul had already done so in his novel Siebenkäs. Jean Paul identifies the inspiration for this phenomenon, which he calls the "Human Clock", in the "Flower Clock" of Carl Linnaeus. An analysis of Jean Paul's popularity in Russia in the first half of the 19th Century allows us to argue that Gogol, probably through the poet Vasily Zhukovsky, could have known about Jean Paul and maybe even about Linnaeus. [ABSTRACT FROM AUTHOR]

In this paper will be highlighted some aspects that characterize the Jean Paul Richter's reception of Fichte's Wissenschaftslehre in the text of 1800 Clavis fichtiana seu leibge-beriana. This work represents a set of the first criticisms toward Fichte's theory of knowledge and plays an important historical role in the identification between idealism and nihilism, developed by Jacobi in the Letter to Fichte of 1799. After a presentation of the genesis and Jean Paul's critique to Fichte, the paper discuss the speculative core that motivates criticisms of Jean Paul, both in theoretical and practical perspective: the status of no-I as produced by an imaginative fiction. [ABSTRACT FROM AUTHOR]

Este artículo analiza cuál es el puesto de León Tolstói en la Modernidad a través de un diálogo con una serie de autores que representan una alternativa al discurso hegemónico en torno a la constitución de la conciencia moderna. Los autores elegidos son representativos de un gran arco temporal que va del siglo XVI hasta el XX: Thomas Müntzer, Jean Paul y Carlo Michelstaedter. La hipótesis del artículo defiende que la Modernidad política quedó fuertemente marcada por formas inéditas de experiencia religiosa que ayudaron a extender por todo el continente una nueva idea de la consumación del tiempo histórico. El argumento principal de este ensayo se dirige a demostrar que la obra de Tolstói participa de un cierto tono apocalíptico que resulta muy sintomático de las fracturas políticas de la modernidad así como de las crisis de la conciencia histórica.

Starting from a brief sketch of Jean Paul's general attitude toward religious and theological discourse and its biographical background, the study focusses on central texts of the German writer which refer to sermons and the communication practice of religious teaching as well as topics of metaphysical interest. In this thematic context, especially the interelation between body and soul and the issue of mortality and immortality are of crucial relevance. Several of Jean Pauls most important novel chapters are written as poetical sermons: 'The Dead Christ proclaims that there is no God', 'Clavis Fichtiana', and Kain's monologue in 'Der Komet'. They turn out to be altogether auto-reflexive, poetological texts: By imagining literary characters and narrators, and even his own literary alter ego 'Jean Paul' as preachers addressing a community of listeners, Jean Paul models literary communication stressing the effects of written texts on their reader's souls. With regard to the issue of mortality, his poetical sermons can be described as thought experiments exploring nihilistic concepts. [ABSTRACT FROM AUTHOR]

The aim of this article is to analyze musical form in german composer Robert Schumann’s works (8 June 1810 – 29 July 1856), particularly that of piano solo piece Carnaval, op. 9, trying to understand what is revealed by the way he uses it in relation to his personality, not only in artistic terms (taking into account the context of German Romanticism) but also on a deeper psychological level. To come to an understanding of Schumann’s use of form, this paper begins with a brief description of the evolution of musical form since Viennese Classicism, with additional references to the baroque system of ‘affects’. Form in Schumann is compared with that of other significant composers of the romantic period and various points of intersection between music and other arts are analyzed, especially literature, in certain key works of this period. Parting from these reflections, we explore the question of the expressive intention behind his handling of form in Carnaval, op. 9. The aim of the investigation of this aspect is to understand how far the innovatory use of this parameter in Schumann, reflects a unique vision of the art of music.

The notion of trajectory is relevant to understand how Jean Paul’s and Stendhal’s (auto)biographical narratives work (Konjektural-Biographie, 1799; Leben Fibels 1811; Vie de Henry Brulard, 1835, 1890). The reading of these literary life-narratives through the astronomical metaphor sheds light in return on the notion of trajectory. Two drawings in Stendhal’s narrative represent the possible “roads” of life as many trajectories. Jean Paul compares his biographical narratives with “revolutions” or with “comets”. We argue that the overlap of heterogeneous life trajectories create a tension between reality and fiction into the narrative. The ambiguity of memory appears: remembering the past can’t do without the creative activity of imagination and without imagining the future. Life-narrative links together the real trajectories and the imaginary ones. These trajectories become intermingled in Stendhal’s but the imaginary one is rejected in the end as a fictional temptation. It represents a narrative’s possible junction : the desired novel is the absent center that generates the autobiographical writing. On the contrary, in Jean Paul’s, real and imaginary trajectories endlessly combine to describe a continuous revolution around the figure of the author and around death. As metaphor of life and life-narrative, the trajectory seems to be open to another potential one.

Taking up the concept of the scene of writing, this contribution discusses the connection between “language, instrumentality, and gesture" (Campe) with regard to the problem of distinction it raises. Jean Paul's novel, Leben Fibels, stages this problem by aligning in a ‘body of writing' (Schriftkörper) the elements of the scene of writing, the dimension of the concretely physical (and instrumental) gesture of writing, on the one hand, with the materiality of the letter (Derrida) on the other. In Jean Paul this body of writing becomes productive because there emerges, from the interference of the physical act/the material of writing and the dynamic materiality of the letter, a narrative procedure of beginning—interrupting, framing—transgressing, a procedure that creates specific effects for conceptions of understanding, Bildung, and authorship. The article also establishes a connection between the productive dynamics of the body of writing with Jean Paul's notion of humor. From this perspective, his concept of humor can be articulated as a principle of textual materialization and be described with regard to theories of media, narration, and the novel. [ABSTRACT FROM AUTHOR]

Cet article met en évidence la tension prospective de la mémoire romantique en comparant deux récits autobiographiques - la Konjektural-Biographie de Jean Paul (1799) et les Ultime lettere di Jacopo Ortis d'Ugo Foscolo (1817). Il montre que le récit de soi pointe vers l'avenir et vers le possible. À rebours du geste rétrospectif qui caractérise traditionnellement l'autobiographie, les œuvres originales de Jean Paul et d'Ugo Foscolo imaginent la vie à venir du je. Elles sont prospectives parce qu'elles relèvent de la « conjecture » et de l'anticipation, de la prophétie et de la promesse. Ce regard prospectif est lié à la présence de la mort qui hante l'autobiographe et le transforme en spectre. La figure du spectre, qui se trouve au croisement d'une réflexion sur le temps et sur l'imagination, permet d'éclairer le fonctionnement complexe de la mémoire - de la mémoire individuelle et collective. Le récit de soi est un espace spectral qui disjoint le temps et qui cependant contient les germes du futur. Cette tension vers l'avenir a un sens éminemment politique et éthique pour Jean Paul et Ugo Foscolo qui écrivent ces vies conjecturales au sortir des révolutions et en réaction aux violences de l'Histoire. [ABSTRACT FROM AUTHOR]

Jean Paul's prose is commonly seen as particularly complex and somewhat hermetic, and it owes that reputation not least to a narrative strategy of dense citations. This article examines this phenomenon with regard to Jean Paul's Life of the Merry Masterkin Maria Wutz in Autenthal: A Kind of Idyll (1793). The starting point of my reflections is the ambivalence of the format of the paratext. A kind of idyll presents an ironic modulation of quoting a genre, which brings up the epistemological status of the citation, its potential for reflecting (on) genre discourse and thus on institutions of writing and their power of authorization. In closely engaging with the highly idiosyncratic authorship of Masterkin Maria Wutz on the one hand and with a parallel discursive context, Friedrich Schiller's modern revision of the idyll, on the other, the article reconstructs Jean Paul's original analysis of authorship and authority. Citation is the means of this analysis; it becomes a strategy for discerning the conditions, effects, and aporias of textual production and, on that basis, for developing a theory of citation as a theory of authority. [ABSTRACT FROM AUTHOR]