German Romanticism

The denpa girl receiving electromagnetic signals in her carefully curated room is the direct heir to the central crisis of early German Romanticism: the subject who refuses the world's claim to totality. This essay argues that contemporary microaesthetics-dollcore, denpa, the hikikomori's carefully curated interior-represent not nostalgic revival but genuine continuation of Romantic Symphilosophie, where consciousness forms itself infinitely and singularly against all demands to normalize or dissolve into collective mind.

Biographie zur Gewinnung neuer Kriterien aus dieser Arbeit für seine späteren Werke verfaßt. Antike Preisschriften loben die Gerechtigkeit des Sieges in einem Wettstreit. So beschreibt Pindar den Gewinner eines Wagenrennens, Arkesilas von Kyrene, in einer ihm gewidmeten Ode als Sieger, der den Pfad der Gerechtigkeit (δíκη) als König der großen Städte beschreitet. 102 Der Streit im Gespräch und in schriftlichen Abhandlungen ist als eine Form des Wettstreits (certamen) an Universitäten in der Epoche der Aufklärung zu finden. In diesen Lehranstalten wird der Wettstreit zwischen den Fakultäten nach Reihen (ordines) in einem Literaturstreit (certamen litterarium) ausgetragen. Neu erschienene Schriften

According to Alberto Caeiro-one of Fernando Pessoa's main heteronymswe must learn to free ourselves from thought and language in order to see reality as it really is and to be in harmony with it. But what does it mean, for Caeiro, to free ourselves from thought and language? And once we are finally liberated from them, what remains? In other words: what does Caeiro see? These are some of the philosophical questions that have stimulated reflections in the philosophical literature on Pessoa-Caeiro's poetry. As I will argue in this article, Caeiro's silent mind is fundamentally one that apprehends the naked being or existence of beings. And it is precisely the experience of being that, in Caeiro-but not in Pessoa's Faust and Campos-constitutes the source of its existential peace.

O presente trabalho busca circunscrever certos aspectos essenciais ao conceito kierkegaardiano de Dialetica, localizando-o numa tradicao que tem Hegel como seu principal representante. Para tanto, a exposicao sera dividida em tres momentos: no primeiro, tratar-se-a de introduzir a tematica da Dialetica e apontar a forma como surge na analise de alguns comentadores. Em seguida, focar-se-a a tese de Adorno de 1933 de forma a ressaltar a peculiaridade de sua leitura em oposicao a leituras correntes. Por fim, serao abordados alguns pontos da filosofia de Kierkegaard que permitam mapear um conceito multifacetado de Dialetica, que deve muito a Adorno, mas fornece novos elementos ao debate contemporâneo.

This paper examines the nature of symphilosophy as articulated and performed in Bettina Brentano von Arnim's 1840 Günderode and the role that history plays in both her thinking and that of her friend, Karoline von Günderrode.

In contrast to Schlegel's understanding of symphilosophy as a form of "communion" among authors, I argue that Brentano von Arnim's symphilosophy is propelled by discord, openness to difference and to transformation. This is most evident in the work's discussion of history and historical knowledge. The interlocutors disagree on crucial points; however, Brentano von Arnim does not simply exhibit difference or seek to arrive at a higher standpoint. Rather, she takes seriously the perspective of her interlocutor and seeks to assess its viability by writing a historical work focused on a historical person. In other words, by reanimating a historical figure, and engaging seriously with her ideas, Brentano von Arnim's book stages the questions under discussion and performatively offers an answer to them. In so doing, the work offers a new understanding of symphilosophy and its significance. Bettina Brentano von Arnim (1785-1859) was a known iconoclast, an outspoken political reformer, and a salonnière, whose publications in the 1830s and 1840s reignited philosophical romanticism. In both her writings and activism, she challenged philosophy's tendency to be overly abstract, and its dissociation of human intellectual capacities from our sensual and emotional lives. In contrast to the most famous philosophers of her time-she criticizes Kant, Fichte, and Schelling-Brentano von Arnim sought to develop a more capacious form of philosophizing, which integrates lived experience with abstract thought, and is founded on the view that genuine thinking takes place through dialogue. Her emphasis on dialogue has often placed her alongside other romantics, who similarly regarded conversation to be integral to philosophy. Accordingly, Brentano von Arnim has been hailed as a proponent of what Friedrich Schlegel described as "symphilosophy," the enterprise of thinking together. The idea is that by thinking together, we arrive at a higher perspective than the one we would achieve alone. Although there are certain resonances between Brentano von Arnim's emphasis on dialogue and Schlegel's theorization and practice of symphilosophy, a close consideration of their respective works and ideals reveals significant differences. In Athenäums-Fragment 125, Schlegel identifies symphilosophy with creating "works in communion with one another" (KFSA 2, 185). Thus, symphilosophy is understood as a form of co-authorship, where each author's contribution responds to the contribution of another author. On this view, Schlegel's collections of fragments-the Lyceum Fragments (1797), the Athenäum Fragments (1798), and the Ideas (1800)-would offer the highest realization of symphilosophy. This is because these collections include fragments written by other authors, such as Schleiermacher, Novalis and Schlegel's brother, August Wilhelm. Furthermore, in their original publication, the fragments were anonymous, such that the reader did not know who authored which fragment. This goes hand in hand with Schlegel's idea of symphilosophy. For if the goal is to achieve "communion," then disagreement and difference are not crucial, nor something to be highlighted. What matters most, in other words, is not the singular perspective of the individual authors, but the overarching relationship between the fragments, i.e., the collection as a whole. This was how Schlegel described his aims in a number of letters. In a letter to August Wilhelm, he relates that his collections

In Chapter 10 of The Twenty-Five Years of Philosophy, Eckart Förster offers one of the most thorough explications of Schelling's understanding of the philosophy of nature. 1 Schelling's complicated and obscure ideas about the construction of nature -ideas which most interpreters shy away from -are the focus of Förster's systematic account. Förster shows how, on the basis of an original schema, Schelling constructs both anorganic and organic natural phenomena and illustrates their continuity. Although Förster goes on to explain the ways in which Schelling develops the schema in various natural manifestations, what interests him above all are the foundations of this schema. "Where," he asks, "could Schelling have gotten the schema that underlies his system of Naturphilosophie and what are we to make of it?" (p. 238). 2 This question implicitly contains two subquestions, both of which concern the relationship between Naturphilosophie and transcendental philosophy. First it asks whether Schelling's philosophy of nature is in fact independent of transcendental philosophy. Second it poses the more fundamental question as whether it is at all possible for Naturphilosophie (as practiced by Schelling) to achieve independence from transcendental philosophy. Förster's answer to the two questions is negative. Both the schema that underlies Schelling's Naturphilosophie and its evidence

Occasioned by the 500th anniversary of the Furioso’s first edition, this richly contextualized, interdisciplinary volume, edited by Christian Rivoletti, is a welcome contribution to many fields of related study. L’Orlando furioso oltre i cinquecento anni broadly asks how readers have engaged with Ariosto’s poem over time and in what contexts it energizes “new perspectives” today. Covering a historical breadth of five centuries’ worth of reception across national, linguistic, and media borders, the volume brings together leading and rising voices in the field of early modern studies, joined initially in dialogue at the conference “L’Orlando furioso oltre i 500 anni: Problemi aperti e prospettive— Modelli, interpretazione del testo e ricezione,” held at the Universität Erlangen-Nürnberg in 2017.

in 1825 Eduard Mörike and Ludwig Bauer concocted Orplid, the first fictional secondary work of high fantasy, in the contemporary sense. This essay describes Orplid as a high fantasy venue according to the main features of this fictional genre.

The following is a list of abbreviations used throughout the volume for core references, along with their English translations. References to pages in English translations are provided only when the translation lacks pagination from the critical edition of the relevant thinker's works. If translations have been modified, this is explicitly stated either in a text or in a note, and unless otherwise noted, all emphases are in the original. Multivolume editions are cited by volume: page numbers; when necessary, line numbers are also included (volume: page.line numbers). Works divided into numbered sections are cited by section ( §) number. Jena Systementwu ¨rfe III (-). GW .

El tratado sobre la esencia de la libertad humana de Schelling es de una complejidad inusitada, pues en este texto tienen lugar ciertas intuiciones que parecieran no estar todavía decantadas o dilucidadas del todo por el autor, lo que torna más ambigua y tumultuosa la exposición de sus tesis y, en consecuencia, más laboriosa su interpretación. Siguiendo el desarrollo de las ideas y de los temas del libro mencionado, se examinará en el presente trabajo el profundo significado del concepto de fundamento (Grund), con el propósito de esclarecer su sentido, fuerza especulativa y alcance filosófico.

Książka przynosi próbę równoległego czytania pisarstwa historycznego Joachima Lelewela i tekstów o historii Adama Mickiewicza – dyskursywnych oraz literackich – powstałych w latach 1815-1833, a więc w okresie bliższej znajomości ich twórców. Wyrasta z zaciekawienia przyjaźnią dwóch fascynujących osobowości I połowy XIX wieku - najwybitniejszego wówczas historyka i kontrowersyjnego polityka oraz największego poety, wieszcza narodowego. Obaj należą do głównych bohaterów tamtej historii i są twórcami wielkich polskich narracji, gminowładczej i mesjanistycznej - decydujących dla dyskursu narodowego. Głównym celem pracy jest chronologiczne zestawienie wybranych tekstów o historii Lelewela i Mickiewicza, omówienie ich – właśnie paralelne - z poszanowaniem autonomii dziedzin, które reprezentują, w ten sposób najlepiej bowiem można uchwycić rezonans, w jaki ze sobą wchodziły lub ich wzajemną nieprzystawalność. Od strony metodologicznej praca nie tyle wykorzystuje określoną teorię, ile jest ...

La propriété intellectuelle, en tant que fruit de la créativité humaine, est protégée par la loi au moyen du droit d’auteur et de la marque, à condition qu’elle possède un niveau suffisant d’originalité et qu’elle soit exprimée de manière concrète et perceptible.

Phantasma: absolut positives Szenario, welches das Positive des Begehrens in Szene setzt, das nur Positives kennt. Mit anderen Worten, das Phantasma ist (offensichtlich!) nicht dialektisch. In der Phantasie allein leben wollen und zugleich, ohne Widerspruch dazu, zusammenleben wollen = unsere Vorlesung (2007,(39)(40). Der somit als Phantasma bestimmte Begriff der Idiorrhythmie, dessen absolut positive ‚gleichzeitige' Konfiguration sich jeglicher realen und somit temporalen Schranke zu entziehen vermag, entstammt allerdings einer historischen Realität, die Barthes als Vorlage seiner Überlegungen durchaus offen darlegt. Die vollkommenste Erscheinung, genauer gesagt eine Erscheinung sui generis der laut Barthes nun für immer vergangenen historischen Idiorrhythmie, lässt sich in den "präkoinobitischen" Lebensformen des "orientalischen Mönchtums" zu Beginn des vierten Jahrhunderts auffinden (2007, 48). Dort zeigt sich eine eigentümliche Parallelexistenz der voneinander unabhängigen Mönche im Rahmen einer kleinen, jedoch nicht hierarchisch strukturierten Gemeinde, wo "jeder Mönch die Erlaubnis [hat], seinem persönlichen Lebensrhythmus zu folgen", und was daher als Vollzug "de[s] eigentliche[n] Ansatz[es] der Idiorrhythmie" gilt (2007, 79). Das

Kant famously carves out space for transcendental freedom by dint of the distinction between appearances and things in themselves. In doing so, he denies establishing the actuality of freedom, as this would transcend the legitimate use of theoretical reason. Strikingly, he also denies proving the possibility of freedom (KrV, A 558/B 586). There is widespread agreement that here Kant denies having demonstrated the real possibility of freedom. However, scholars are divided on the kind of possibility that does pertain to it. This paper explores the modal status of transcendental freedom from the standpoint of theoretical reason. I argue that Kant establishes both the logical possibility of freedom and a more robust status – what I call real non-impossibility. Short of proving transcendental freedom to be really possible, he shows that its real impossibility cannot be demonstrated, thereby leaving room for a deduction of its reality on practical grounds.

The proposal explores the fantastic genre focusing on the domains of female water creatures. These beings appear in different types of storytelling and art, from ancient Greco-Roman and Germanic-Scandinavian myths to contemporary fiction. During the first period of German Romanticism, Friedrich de la Motte Fouqué wrote "Undine" in 1811. This dark romance is full of mystery, wonder, and ambiguity, creating an eerie atmosphere. Fouqué also wrote a libretto for the eponymous opera, which was composed by his friend E.T.A. Hoffmann. The gothic revival that swept across Europe at the time sparked interest in national folklore. In 1876, Richard Wagner premiered The Ring Cycle, based on medieval legends and sagas. The first and last of the dramatic opera tetralogy feature three nymphs guarding a golden treasure of the Rhine. Arthur Rackham, renowned for his marvellous designs, was asked to illustrate both titles, which were published by William Heinemann Ltd. (London, 1910-1911).
In light of the cultural touchstones outlined above, I would like to contribute to the ongoing debate regarding the cultural tensions that arise from the juxtaposition of the Enlightenment's focus on rationality and the Romantic movement's emphasis on feelings and imagination. The term 'disenchantment’ was used by Max Weber in 1918 to argue that modernity had a detrimental effect on the unconstrained and creative dimensions, resulting in a loss of subversive potential to defy the status quo in the field of art, literature and music within a technocratic society. Today, the cultural industries encompass virtually every medium, transforming artistic practices into vehicles for commercial entertainment and consumption. Within this framework, Fredric Jameson considers the development of opera in relation to broader historical and cultural trends, particularly the emergence of postmodernism and the impact of globalisation. I conclude by analysing the loss of a rich legacy, whereby directorial appropriations reduce opera to a spectacle focused on surface-level elements, at the expense of meaningful engagement with its themes and musicality. This raises broader questions about the political implications of such transformations and their contested role in contemporary cultural wars.

The subject of this inquiry is the conflict of the conceptual faculties as they remain operative, strained, and sometimes opposed within the act of thinking itself. Where most treatments of the mind aim for harmony, this one begins with tension. The mind does not offer a seamless picture of unity. Its faculties press against one another. They fail to coordinate. They distort one another’s contributions. But out of that failure, creative thought can begin.
  This book does not serve as a commentary, nor does it align itself with schools of thought. It draws from sources where clarity is found, but it does not borrow prestige. It is written in opposition to the tendency of academic philosophy to preserve inherited frameworks by default. The internet, as the latest engine of repetition, is particularly suspect: it amplifies rather than interrogates, rewards repetition over rigor, and buries original thought beneath a thousand superficial summaries.

Resumen: El presente artículo analiza la relación de Walter Benjamin con la fenomenología desde sus tempranos años de formación universitaria hasta la publicación de su tesis de habilitación no aprobada, El origen del Trauerspiel alemán (1928). Tomando por hilo conductor la doctrina del Eidos, proponemos que en la recurrencia de este topos es posible cifrar tanto su interés inicial por la escuela fenomenológica como las claves de su posterior distanciamiento. Para probar nuestra hipótesis, rastrearemos las referencias a la fenomenología en la preocupación benjaminiana por la cuestión del eidos siguiendo un orden cronológico y deteniéndonos particularmente en dos hitos: el fragmento nunca publicado Eidos und Begriff (1916) que toma por interlocutor al fenomenólogo Paul F. Linke, y la presencia del término esencialidad [Wesenheit] en el "Prólogo epistemocrítico" al libro sobre el barroco. En este último, los remanentes de la fenomenología se manifiestan de mano de una figura en sí misma heterodoxa, Jean Héring, cuya definición de la esencialidad permitirá apreciar las correspondencias y divergencias de Benjamin con la fenomenología antes de distanciarse definitivamente de esta corriente.

This essay critically focuses on the functions of literature in understanding the complexities of human life and society, perceiving cultural values, and evoking aesthetic relish from a literary humanistic approach. It is an attempt to answer two questions: why we should read literature? What are the functions of literature? Basically, literature is a form of art that has multidimensional functions to portray human life and human experience with its artistic The Creative Launcher

Dados Internacionais de Catalogação-na-Publicação (CIP) Rosimarizy Linaris Montanhano Astolphi -Bibliotecária CRB/9-1610 Este livro foi editado pelo Instituto Quero Saber em parceria com a ANPOF. O teor da publicação é de responsabilidade exclusiva de seus respectivos autores. Leituras nietzschianas. / organizadores, André Luís L533 Mota Itaparica ... [et al.]. 1.ed. (ebook) Toledo, Pr.: Instituto Quero Saber, 2024. 404 p. (Coleção do XIX Encontro Nacional de Filosofia da ANPOF)

The thesis I defend in this article is that, while it's true that literature isn't the immediate cause of Werther's suicide, it nevertheless plays a significant role, providing a context that shapes the hero's identity and influences his trajectory throughout the story, right up to his tragic end. Confronted with the harsh reality of his impossible love for Charlotte and his inadequacy for the society of his time, literature offers him no viable alternative, but rather a tragic model of alienation and sacrifice, which he misreads. In other words, literature not only gives him the means to express his uneasiness, it also reinforces this uneasiness in him through his misreading of it. When Goethe's Die Leiden des jungen Werther was first published in 1774 in Leipzig, no one could have anticipated that the immediate success of the novel would be accompanied by an unusual phenomenon: not only did an entire cultural movement emerge around this singular character, but also an unprecedented wave of suicide among young readers of Goethe. Friedenthal reports on this matter, Das Werk zündete ein Feuer an, ein Strohfeuer, auch Schadenfeuer wie kein deutsches Buch bisher und keines je nachher. Es gab eine Werther-Epidemie, ein Werther-Fieber, eine Werther-Mode, eine Werther-Mode, bei der die jungen Herren nach der Schilderung des Buches in Blauem Frack und gelber Weste erschien. Es gab Werther-Selbstmorde, Feiern zu Werthers Gedächtnis am Grabe seines Urbildes, Werther-Predigten gegen das Shandwerk, Werther Karikaturen, und nicht nur für ein Jahr, sondern auf Jahrzehnte hinaus, in Deutschaland, in England, in Frankreich, Holland, Skandinavien. (Richard 137) This excerpt suggests a correlation between literature and suicide. The novel's reception and the wave of suicides. Also known in German as Wertherfieber, this phenomenon describes the

This is what is terrible for my eyes, that I find the human being (Mensch) in ruins and scattered as over a battlefield or a butcher-field. And when my eyes flee from the now to the past, they always find the same: fragments and limbs and dreadful accidents-but no human beings. […] And this is all my creating and striving, that I create and carry together into One what is fragment and riddle and dreadful accident. And how could I bear to be a human being if the human were not also a creator and guesser of riddles and redeemer of accidents? 1

This paper shows the manifold aspects of the non-translation phenomenon : besides shortened and summarized versions, which alter the source text in a quantitative way, non-translation can also have a qualitative effect, for instance when sociocultural references are erased. If non-translation is an infringement of the translator's duties, in some cases it can be a very fruitful solution. There is a lack of literature on the subject, and although it is often mentioned briefly, this phenomenon has never been tackled seriously

The article is devoted to the analysis of drawings by the artist and scientist from Nuremberg Maria Clara Eimmart. The drawings were made in 1693 and 1695 in gouache and pastel techniques, were dedicated to the Swiss scientist Johann Jacob Scheuchzer and diplomat Hans Wilpert Zoller in their personal so-ФЕСЕНКО АНДРЕЙ ВАСИЛЬЕВИЧ-кандидат педагогических наук, доцент кафедры культурологии, Московский государственный институт культуры

This paper investigates the personality of so-called “Dr. Harrison” whose short stories were immensely popular in the early nineteenth century Russian media. The use of historical and bibliographical sources helps us to solve this puzzle as well as to restore the history of a literary game that was a reason why these stories came to life. 

В статье проводится небольшое расследование того, кем был таинственный «доктор Гаррисон», рассказы которого получили широкую популярность в русской прессе первой половины XIX века. Различные библиографические и исторические источники помогают разрешить эту загадку, а также восстановить историю одной литературной игры, в результате которой эти рассказы появились на свет.

The Kantian aporia of reason, characterized by a fundamental agnosticism regarding ultimate reality, was not a final state but the beginning of a two-century-long intellectual re-evaluation. This philosophical boundary was first formalized and internalized by Kurt Gödel’s incompleteness theorems, which demonstrated inherent limits within the most rigorous logical systems. This intellectual fissure was then exploited by the philosophical implications of post-quantum mechanics, which, by recasting the observer as an active participant, necessitated a complete revaluation of consciousness’s function. This intellectual lineage culminates in Makoto Kuroda’s “antifantasy project,” which operationalizes this new paradigm by positing a co-creative consciousness that weaves a continuous “manifold” between the fictional and the real.

Die Beziehungen zwischen deutschsprachiger Literatur und jüdischer Kultur
haben eine reiche und komplexe Geschichte, die tief in die kulturelle und
literarische Entwicklung Deutschlands eingewoben ist. Das Rahmenthema
„Deutsch-jüdische Literaturbeziehungen“ will den Raum bieten, diese faszi-
nierende und bedeutende Bindung, die Jahrhunderte gemeinsamer Geschichte,
kultureller Einflüsse aber auch verheerender Ereignisse umfasst, in ihren
literarischen Ausformungen auszuloten.
Wer heute über deutsch-jüdische Geschichte, Kultur, sprechen oder arbei-
ten will, auf welche Zeit auch immer bezogen, kann aber von nichts anderem
ausgehen, als dem „Zivilisationsbruch“ Auschwitz, wie Dan Diner es einmal
genannt hat. Nach diesem „Zivilisationsbruch“ hatten alle Versuche, sich in
deutscher Sprache dieser für viele Jahre tabuisierten Vergangenheit zu stellen,
nicht nur gegen Vorbehalte und Misstrauen zu kämpfen, sondern mussten
zuallererst ihre Form finden, die das Unsagbare doch in Sprache auszudrücken
erlaubte: „speaking the unspeakable“, wie eine der wichtigsten Forschungs-
arbeiten der jüngeren Zeit titelte.1 Dass es unmöglich sei, über Auschwitz
zu sprechen und doch genau das bis heute als neuer kategorischer Imperativ
unermüdlich zu tun sei, ist der Sinn der oft reduziert und falsch verstandenen
These Adornos, nach Auschwitz ein Gedicht zu schreiben sei barbarisch.2
Und nicht nur diese tabuisierte Vergangenheit selbst ist schwer in Worte
zu fassen: auch alles was vorher oder seitdem deutsch-jüdische Themen betrifft,
kann nicht mehr ohne den Blick auf Auschwitz erfasst werden. In Anlehnung
an Aussagen von Gershom Scholem, so könnte man formulieren, erreicht mit
der Shoah die jüdische Geschichte ihren Höhepunkt.

In the early decades of the last century, scholars largely interpreted Johann Georg Hamann as a singular opponent of the Enlightenment, a "prophet" of irrationalism, and the real force behind the Sturm und Drang's repudiation of the alleged prerogatives of rational knowledge. 1 Scholars debated whether some mix of mythology, mysticism, Gnosticism, or pantheism accompanied that rejection, 2 but the common thrust of those interpretations set the stage for Isaiah Berlin's influential portrayal of Hamann as a "pioneer of anti-rationalism." 3 To a certain extent, this assessment can be traced to a deliberately iconoclastic style. Hamann's writings are often "fragments of fragments," 4 laced with irony, parody, and barbs (both friendly and otherwise), replete with expansive, often recondite allusions. 5 His style expresses a patent disdain for fashionable means of expression, especially those that valued "clarity and impersonal 1

This paper addresses a significant lacuna in the canonical historiography of German Idealism: the systematic omission and marginalization of women thinkers, writers, and intellectual interlocutors. While the traditional narrative focuses exclusively on the male triumvirate of Kant, Fichte, and Schelling, recent archival work and a re-examination of correspondence

Usually, the reception of Nikolaus Lenau’s work appears rather rarely or not at all in connection with his birthplace. Supported by biographical information, the article puts the poet’s life path in an overall context of contemporary events at his time, viewed from the perspective of the reception of Lenau’s most famous poem Schilflieder in Serbian and Serbo-Croatian literature. The framework conditions valid in Serbian and Serbo-Croatian literature for the reception of Nikolaus Lenau’s life and work, which arise from the prevailing social institutions and the established understanding of values, serve as a basis for building a bridge from the ,Weltschmerz‘ discussed in his songs to Daniel Falb’s poem Chicxulub Paem. Concepts and terms such as the Anthropocene, Max Frisch's Holocene, a Poetocene or a Terrapoetics are linked with literary-theoretical questions that arise from both, from processes of building literary historical eras as well as aspects of structural form being understood as art but also are constantly being subject to change.

Оригинални сликарски израз и богат опус у црквеном сликарству града Ниша и његове околине оставили су иконописци и живописци Влатко Бјелица и Славица Секулић. Њихов стил, за разлику од критеријума савремене уметности, треба анализирати на основама старог српског и византијског сликарства, где се аутори сарадници међусобно скоро и не разликују, док се у њиховом раду стил школе -радионице препознаје у свим ликовним елементима и разликује од других. Академски сликар Влатко Бјелица рођен је 1955. године у Великој Плани, а Ликовну академију завршио је у Сарајеву. Свој радни век провео је у Нишу, где се и упокојио 2019. године, у врхунцу своје каријере, и усред недовршених уметничких планова. Осликао је иконостас Цркве Светог Николе у Нишу, иконостасе у Цркви Светог Николе и Цркви Светог Пантелејмона у Вукањи, иконостас Цркве Свете Петке у Доњем Матејевцу, иконостас и живопис Цркве Успења Пресвете Богородице у Доњој Врежини (Ниш) и иконе, иконостас и живопис Цркве Светог апостола Луке на Винику. Славица Секулић је рођена у Приштини 1962. године, а по струци је дипломирани правник. У Солуну је завршила школу и к о н о п и с а Георгијадис.

The paper represents an attempt to understand Kant's view on the concept of reflexion (Überlegung) in the Critique of Pure Reason. After pointing out the difficulties faced by the existing readings, I try to give some support to the claim that if we regard Überlegung as a metatheoretical faculty, its concepts are precisely the concepts used by Kant to construct the theoretical system of the Critique.

Bu çalışmada mit, akıl ve sanatı bütüncül bir dünya görüşünde birleştirmeyi amaçla- yan kültürel ve entelektüel bir hareket olan Jena Romantizmi incelenmektedir. Çalışmanın amacı, Jena Romantizminin Aydınlanma, Fransız Devrimi ve modernitenin getirdiği ya- bancılaşma da dahil olmak üzere 18. yüzyılın sonlarındaki sosyo-politik ve felsefi güç- lüklere nasıl yanıt verdiğini, çağdaşlarını önemli ölçüde etkileyen Friedrich Schlegel’in perspektifinden araştırmaktır. Schlegel’in yaşamın şiirselleştirilmesine, Romantik ironiye ve yeni bir mitoloji çağrısına yaptığı vurgu, akıl ile duyusal deneyim arasındaki boşluğu doldurmak için sanatın ve hayal gücünün dönüştürücü gücüne olan inancını vurgula- maktadır. Sanatın dönüştürücü gücüne vurgu yapan erken Romantikler, sanat, felsefe ve insan deneyimi arasındaki boşluğu dolduran bütüncül bir yaşam yaklaşım önermektedir- ler. Çalışmada ayrıca, Schlegel’in bakış açısının bugün de geçerliliğini koruduğunu, mo- dern parçalanmışlığın üstesinden gelmeye ve çağdaş yaşamda yaratıcılığı, birliği ve sanat ile felsefe arasında daha derin bir etkileşimi teşvik etmek için değerli fikirler sunduğunun altı çizilmektedir.
Anahtar Kelimeler: Jena Romantizmi, Friedrich Schlegel, Mit ve Akıl, Romantik İroni, Yaşamın Şiirselleştirilmesi

a definition of the constitution in homeopathic text books. In fact, I cannot find one. The closest may be when Barbara Harwood, as Principal of the College of Homeo­ pathy, wrote in a personal summary for students that the constitution is a ‘frequently used term with differ­ ent meanings’, before opting for ‘the narrowest definition’ as: ... the nature part of the nature / nurture argument. Constitutional refers to what is present at conception. ... the being-ness of the individual before they assume a personality. It includes characteristics such as variations of body type, metabolism, connective tissue type, palms of hands (short palms, long fingers variations) their intrinsic impressionability, basic deep level attraction, repulsion. (1998) In The Organon, Hahnemann refers to ‘different physical constitutions’ (e.g. aphorisms 5; 77; 102) associated with the birth state, suggesting: ‘Especially where we consider the great number of extrinsic factors and the indescrib­ able divers...

Booklet for the recording of P. Scharwenka, The nocturnal Poet by Cansu Sanlidag. The booklet explores the pianos pieces composed by Scharwenka in the 1890's.

Livret pour l'enregistrement de P. Scharenka - The Nocturnal Poet par Cansu Sanlidag. Le livret explore les pièces pour piano composées par Scharwenka dans les années 1890.

Mobilisées dans un premier temps pour préserver l’idéal et l’universel au sein de la philosophie pratique kantienne, les notions de norme et de valeur sont ensuite remodelées afin de redéfinir l’universel à partir de l’individu et plus spécifiquement de la figure romantique du génie créateur, grâce au pouvoir analogique du symbole poétique. Le travail généalogique proposé permet d’interroger la manière dont on définit l’universel qu’une autre tradition envisage sans idéal, sans norme et sans valeur, mais dans une perspective plus liée à l’usage et à la délibération.

Joseph von Eichendorff und Heinrich Heine, zwei prominente Vertreter der Epoche der Romantik, sind bei aller Unterschiedlichkeit bezüglich ihrer dichterischen Auffassung und weltanschaulichen Geisteshaltung beide als Grenzgänger und Schwellenautoren eben dieser literarischen Bewegung zu betrachten. Die analytische Konfrontation anhand ausgewählter Beispiele aus ihren Werken zeigt neben einigen anderen erstaunlichen Gemeinsamkeiten vor allem das immer wieder aufscheinende Motiv der Heimatlosigkeit, das gleichsam ihre Distanz zur Romantik und ein Stück weit zum Zeitgeschehen überhaupt widerspiegelt.

Walter Benjamin’s essay “The Task of the Translator,” the most widely cited twentieth century philosophical statement on translation, is commonly seen as one of the most opaque and misunderstood essays in the field. This paper uses a close reading of Benjamin’s doctoral thesis, “The Concept of Criticism in German Romanticism,” to throw light on his thoughts on translation. I argue that the German Romantics’ definition of art, and art’s relation to criticism, are crucial to understanding why Benjamin conceived of translation as an “afterlife” of the work of art, why he believed that translatability is an innate quality of the work of art, and why he speaks of translation as moving the work of art onto a higher plane. I read Benjamin’s own essay on translation as a sort of “criticism” which seeks to “translate” the philosophical ideals of the Romantics, and thus give them an afterlife, and then reflect upon the implications for translation studies today.

There is one text that has haunted me for years: Camiel van Winkel’s *The Myth of Artistic Practice*.

When I first read it, it felt like a sobering wake-up call. What was I, a visual artist, supposed to do with this analysis? I found myself – and still find myself – in an impossible position: a maker in a society increasingly oriented toward simple consumption, measurable returns, and the whim of the moment. What was my meaning anymore? Could my work even be about anything in a world that demands bite-sized answers and instant gratification?

Years later, I picked up the text again. With the knowledge of today, with the experience of an artistic practice that has had to position itself in relation to the ever-advancing logic of neoliberalism. The myths that Van Winkel dissects – the artist as genius, as craftsman, as critic – had not disappeared.

They had turned into kind of stage props in the theater of the cultural sector, where everyone plays their role but no one really believes in the play anymore.

My studio is not a place of romantic inspiration, but a laboratory where I wrestle with materials, meanings, and my own position. Every brushstroke, every concept, every choice is accompanied by the echo of Van Winkel’s words: am I doing this because I must, because it’s expected, because it fits into some myth or other? Or worse: is my resistance to those myths itself already a cliché?

In this text, I reflect on Van Winkel’s analysis, but also on my own practice. How does an artist relate to the myths that both shape and suffocate them? Can art still mean something that cannot be immediately framed by the market or institutional logic? And what does that say about the value of art in a time alienated from itself?

This is not a reckoning, but a search. An attempt to find, amid the ruins of the old myths, something meaningful that resists the one-dimensional logic of our time. Because, in the end, I still believe in the power of art – not as a mythical wonder, but as an act of resistance against the self-evidence with which we understand ourselves and the world.