In this thesis I consider Karl Friedrich Schinkel's The Hall of Stars in the Palace of the Queen of the Night (1813), a set design of Die Zauberflöte (The Magic Flute), in relation to female audiences during a time of Germanic nationalism. Although Schinkel is customarily known as the great modern architect of Germany, his work as a set designer is exceedingly telling of his feelings toward the political and geographical unification of the Germanic regions. Through his set designs, Schinkel successfully used the influential space of the theatre to articulate not only nationalism, but positive female empowerment in his allegorical depiction of woman. However, the popularity of the theatre as an educational tool for women during the early nineteenth-century has remained largely overlooked. Additionally, the evil nature of the Queen of the Night in Emanuel Schikaneder's libretto has made the differentiation of Schinkel's positive figural interpretation essentially unnoticed. Though scholars have addressed Schinkel's aesthetic in terms of nationalism, the incorporation of allegorical women into his work and their responsibilities within this movement remains understudied. This thesis discusses the vision of nationalism as not necessarily an ideology of politics, but rather an ideology of religion and a unified culture. Through the German Romantic notion of the Eternal Feminine and the expanding study of maternal feminism, this thesis discusses the acknowledgement of the encouraging roles of women morally, spiritually, and nationalistically during a significant political time in Germany's history. Additionally, discussion of the theatre as a popular nationalistic institution for education allowed Schinkel's design for Die Zauberflöte to specifically engage and connect female viewers with nationalism. I attempt to show how all of these contextual ideologies were expressed through the allegorical female. Furthermore, in recognition of female viewers through allegory, Schinkel's The Hall of Stars expressed an empowerment of the feminine role within the drive for national unification.

The principal motive for this diploma thesis was to prove or to falsify the known theoretical possibility of interconnection between two different (non-bordering) literatures - that of Germany and that of Spain, via the works of their two essential 19th century poets, respectively, Heinrich Heine and Gustavo Adolfo Bécquer. This connection is often assumed, especially in the critical editions of the works of Gustavo Adolfo Bécquer, as well as in some literary handbooks. Nevertheless, these assumptions often lack clear explanations. Regarding the methods of proving or disproving these theories mentioned above, I have drawn on all accessible theoretical works, analysing (mainly German) influences on the works of Gustavo Adolfo Bécquer. I also found it pertinent to view the works of both authors throughout time and place, in an attempt to identify analogies not only in the world of literature, but also in their real lives. Last but not least, I have tried to apply my own critical analysis to selected poems and legends of Gustavo Adolfo Bécquer to support the theoretical works with concrete examples. Concluding from the evidence of their contemporaries, as well as from the theoretical works of the literary critics, I have confirmed that neither Heine nor Bécquer had mastered the other language. In...

Orientador: Wilma Patrícia Maas / Banca: Marcio Roberto do Prado / Banca: Flávia Regina Marquetti / Banca: Adalberto Luis Vicente / Banca: Alcides Cardoso dos Santos / Resumo: O projeto que ora se apresenta procura localizar - histórica, crítica e teoricamente - algumas linhas de força do pensamento filosófico, estético e artístico desenvolvidas a partir do Primeiro Romantismo Alemão e que foram, ao longo dos séculos, rejeitadas, negadas, revistas ou reconfiguradas, dando origem a questões centrais no interior dos discursos críticos e teóricos da modernidade e do pós-modernismo. Partindo das relações estabelecidas por Novalis e Schlegel - principais representantes do Primeiro Romantismo Alemão - entre teoria, pensamento filosófico e poética, bem como da elaboração consciente de uma estética do fragmento, buscaremos compreender como a idéia do fragmentário engendra, na modernidade e no pós-modernismo, uma problemática da crise: das possibilidades de representação do real, de criação artística, de alcance e fixação da verdade, do discurso como instância ou como meio através do qual o mundo, o real e os indivíduos são compreendidos, tomados, discutidos e representados. Busca-se entender a crise da representação e a forma como esta se vincula, no plano da criação artística, a outras noções igualmente importantes discutidas ao longo do século passado: o estilhaçamento e a crise da noção de sujeito, a legitimidade dos discursos, a busca incessante pela originalidade radical como única forma de surgimento e manifestação do novo no domínio estético, a ruptura e o choque entre certo relativismo do qual se acusa a contemporaneidade em relação a uma alta tradição, uma alta cultura, que teriam produzido os últimos grandes modelos de discursos teleológicos, com seus conceitos de verdade absoluta, de revolução possível, de transformação plena da ordem estabelecida. Desse modo, além dos fragmentos literários dos românticos, o trabalho em questão passa pela análise dos romances Nadja, de André Breton e Vício... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The project presented now tries to situate - historically, critically and theoretically - some force lines of the philosophical, aesthetic and artistic thought developed since the Early German Romanticism, which during centuries were rejected, denied, reviewed or reconfigured, originating central issues within the critical and theoretical discourse of the modernism and postmodernism. From the relation established by Novalis and Schlegel - the main representatives of the Early German Romanticism - between theory, philosophical and poetic thought, besides the conscious elaboration of an aesthetic of the fragment, we seek out to understand how the idea of the fragment brings forth in modernism and postmodernism a problem of crisis: the possibilities of the representation of real; the artistic creation; the acquisition and fixation of the truth; the discourse as instance or as a way in which the world, the real and the individuals are understood, taken, discussed and represented. We seek to comprehend the representation crisis and the way it is linked, on the artistic creation area, to other notions equally important discussed throughout last century: the chipping and the notion of subject crisis, the legitimacy of discourses, the incessant search or the radical originality as the only way of appearance and manifestation of the new aesthetic domain, the disruption and the impact between a kind of relativism in which the contemporary is accused with regard to a high tradition, a high culture, which would have produced the last important models of teleological discourses, bringing its concepts of absolute truth, possible revolution, full transformation of the established order. So, beyond the Romantic literary fragments, this work analyze the novels Nadja by André Breton; Vício by Paulo José de Miranda; as well as some comments about The Floating Opera by John Barthes and W, or the... (Complete abstract click electronic access below) / Doutor

O presente trabalho tem como objetivo principal investigar o problema da autonomia estética da música instrumental no Romantismo alemão. Através do exame de textos filosóficos, literários e de crítica musical, procuramos investigar a seguinte questão: como foi possível que a arte musical que até o século XVIII era considerada como um objeto indigno para a filosofia e para a estética se estabelecesse como a esfera mais elevada do espírito humano no Romantismo e no Idealismo alemão? A fim de responder a essa pergunta, pareceu-nos necessário levar em conta a maneira pela qual se compreendia a música no século XVIII e qual o conceito de razão que estava em sua base. A principal hipótese que procuramos explorar diz respeito à filosofia crítica de Kant, que permitiu que o pensamento encontrasse um paradigma na música. Com a chamada revolução copernicana, Kant acentuou a subjetividade de maneira radical, abrindo, pela primeira vez, a possibilidade da música ser reconhecida como uma linguagem não-objetiva, que foi desenvolvida principalmente por autores como Wackenroder, Tieck e Hoffmann. Todavia, as condições de possibilidade para a compreensão da música como expressão do inefável, bem como a proximidade que se estabelece entre música e religião, devem ser buscadas primeiramente na filosofia kantiana. / The main purpose of this research is to examine the problem concerning the aesthetic autonomy of instrumental music in German Romanticism. Through the examination of philosophical and literary texts, as well as musical criticism, the following question is investigated: how was it possible that the musical art - which was considered an unworthy object for the philosophy and the aesthetics until the 18th Century - could establish itself as the highest sphere of the human spirit during the Romanticism and the German Idealism? In order to answer to this question, it seems necessary to take into account the way music was understood during the 18th Century and what conception of Reason lay in its basis. Our main hypothesis concerns Kants critical philosophy, which made possible the thought of finding a paradigm in music. With the so called Copernican revolution, Kant stressed subjectivity in a radical way and, for the first time, provided the possibility of recognizing the music as a non-objective language, developed later by authors like Wackenroder, Tieck and Hoffmann. However, the conditions of possibility for the understanding of music as expression of the ineffable, as well as the proximity established between music and religion, must be searched firstly in the Kantian philosophy.

Since its entry into the literary field in the late eighteenth century, the vampire has seen many permutations, ranging from the truly monstrous to the present-day seductive stranger. The creature’s mutability stems from its liminal placement, hovering as it does between life and death. In exploring the figure of the vampire within the Germanic tradition, two works separated not only by medium, but also by nearly a century of time, emerged as the focus of this thesis: Ludwig Tieck’s Romantic Kunstmärchen “Der Runenberg” and Friedrich Wilhelm Murnau’s Expressionist film Nosferatu: Eine Symphonie des Grauens. Superficially, this link appears tenuous, but in analyzing Tieck’s fairy tale and Murnau’s neo-Romantic film several thematic connections emerge. Both works contain a complex and fluid depiction of gender, a narrative of infection, and a vampire that is an embodiment and corruption of nature. Using a syntagmatic approach, this thesis explores the similarities between the two works, as well as the differences, with a focus on the element of vampiric nature and the representations of gender. / Graduate

O presente trabalho tem como objetivo principal investigar o problema da autonomia estética da música instrumental no Romantismo alemão. Através do exame de textos filosóficos, literários e de crítica musical, procuramos investigar a seguinte questão: como foi possível que a arte musical que até o século XVIII era considerada como um objeto indigno para a filosofia e para a estética se estabelecesse como a esfera mais elevada do espírito humano no Romantismo e no Idealismo alemão? A fim de responder a essa pergunta, pareceu-nos necessário levar em conta a maneira pela qual se compreendia a música no século XVIII e qual o conceito de razão que estava em sua base. A principal hipótese que procuramos explorar diz respeito à filosofia crítica de Kant, que permitiu que o pensamento encontrasse um paradigma na música. Com a chamada revolução copernicana, Kant acentuou a subjetividade de maneira radical, abrindo, pela primeira vez, a possibilidade da música ser reconhecida como uma linguagem não-objetiva, que foi desenvolvida principalmente por autores como Wackenroder, Tieck e Hoffmann. Todavia, as condições de possibilidade para a compreensão da música como expressão do inefável, bem como a proximidade que se estabelece entre música e religião, devem ser buscadas primeiramente na filosofia kantiana. / The main purpose of this research is to examine the problem concerning the aesthetic autonomy of instrumental music in German Romanticism. Through the examination of philosophical and literary texts, as well as musical criticism, the following question is investigated: how was it possible that the musical art - which was considered an unworthy object for the philosophy and the aesthetics until the 18th Century - could establish itself as the highest sphere of the human spirit during the Romanticism and the German Idealism? In order to answer to this question, it seems necessary to take into account the way music was understood during the 18th Century and what conception of Reason lay in its basis. Our main hypothesis concerns Kants critical philosophy, which made possible the thought of finding a paradigm in music. With the so called Copernican revolution, Kant stressed subjectivity in a radical way and, for the first time, provided the possibility of recognizing the music as a non-objective language, developed later by authors like Wackenroder, Tieck and Hoffmann. However, the conditions of possibility for the understanding of music as expression of the ineffable, as well as the proximity established between music and religion, must be searched firstly in the Kantian philosophy.

This Master’s thesis shall attempt to reconcile the notion of the spiritual with that of the aesthetic by focusing on the influence of 16th century German mystic Jakob Böhme, with the 19th century cultural movement of German Romanticism. Böhme’s mysticism outlined a spiritual paradigm that fused alchemy with Christianity wherein the properties of nature are inherently led by a spiritual desire towards unity with God. It is through the process of spiritual desire that unity unveils itself. Consequently, Böhme’s mysticism influenced later generations of spiritual thought, including German Romanticism. Within Romanticism, Friedrich von Hardenberg, know by his pen name Novalis, developed a philosophy and aesthetic theory that expanded away from the philosophical ideas of the Enlightenment. This new philosophy focused on the subjective experience and how revelation of the self was to be experienced through creative introspection, as a consequence of encountering and interacting with the other. Novalis‘ philosophy incorpterated religious motifs and spirituality to assert that it was through creative striving that spiritual revelation was to be achieved from within oneself. Caspar David Friedrich was a Romantic landscape painter whose work focused on the notion of humanity in the face of nature. Friedrich often painted landscapes as an allegory for Christian values and religious inquiry that becomes an existential introspection through nature. Through comparative analysis I shall demonstrate how the ideas and works of Novalis and Caspar David Friedrich correlate with the spiritual mysticism of Böhme that represent the greater discourse that is spirituality itself. / Graduate / 2021-04-24

This essay explores the topic of appropriation of nature and the resulting social alienation it imparts on several of the novel’s characters: Frankenstein, Walton, and the Creature. The Creature serves as a personification of both industrialism and urban atomization. His depiction as such follows Marxist critic Warren Montag’s argument that the novel renders the Creature more horrible through the suppression of modernity which makes him the embodiment of industrialism, and Frank Moretti’s claim that the novel favors pastoral, pre-industrial ideals (Montag, Moretti). Frankenstein’s materialist approach to science provides the driving force for this alienation and is informed by both mechanist philosophy (Hogsette) and a desire to remodel nature in accordance with human desire (Mellor). Rather than bringing prosperity, those endeavors alienate Frankenstein from his surrounding in a Marxian line of thought, and Frankenstein himself comes to resemble Bill Hughes’s concept of the negative version of Prometheus who loses himself in his materialist pursuits (Hughes). Drawing upon early German Romantic ideas of reconciliation with nature outlined by Alison Stone, this essay argues that much of the chaos in Frankenstein stems from anthropocentrism that is rooted in Hegelian philosophy and that a healthier solution to this view is proposed by early German Romantic organicism.

A presente dissertação tem como objetivo principal a tradução e o estudo da Charakteristik, caracterização, escrita por Friedrich Schlegel sobre Giovanni Boccaccio, chamada Nachricht von den poetischen Werken des Johannes Boccaccio, Relato sobre as obras poéticas de Giovanni Boccaccio, de 1801, bem como o estabelecimento de sua importância para a teoria da forma narrativa breve denominada Novelle. O estudo preliminar que antecede o trabalho é dividido em duas partes, nas quais buscamos entender a importância da teoria crítica de Friedrich Schlegel, iluminar as peculiaridades da caracterização traduzida, e descrever os principais procedimentos do crítico e filósofo alemão. No estudo também procuramos analisar as teorias sobre a novela do período conhecido como primeiro romantismo alemão, tentando definir a contribuição de Friedrich Schlegel para estas teorias, e esclarecer certos aspectos de sua recepção por parte da crítica literária ocidental. A principal hipótese que formulamos é a de que a caracterização de Schlegel é um exemplo de hermenêutica literária capaz de mesclar a análise filosófica, filológica e poética em uma abordagem histórica. Desta forma, os elementos extrínsecos e intrínsecos da obra literária seriam vistos como um todo orgânico. Esta obra de arte crítica, como Schlegel costumava definir sua Charakteristik, representaria tanto o sensus spiritualis, como o sensus literalis, contemplando, em sua letra e em seu espírito, a tendência [Tendenz] da obra, que seria o resultado da análise crítica progressiva, divinatória e universal do fenômeno literário. / The main purpose of this dissertation is the translation and study of the Charakteristik characterization, written by Friedrich Schlegel about Giovanni Boccaccio, called Nachricht von den poetischen Werken des Johannes Boccaccio, Note on the poetic works of Giovanni Boccaccio, from 1801, as well as to establish its importance for the theory of the short prose narrative called Novelle. The preliminary study prior to the translation has been separated in two parts, in which we aim at understanding the importance of Friedrich Schlegels critical theory, highlight the peculiarities of the translated characterization, and describe the main procedures of the German critic. At the study we also seek to analyze the theories about the novelle from the period known as the early German romanticism, trying to define the contribution of Friedrich Schlegel for these theories, and clarify certain aspects of his reception by the Western literary criticism. The main hypothesis we formulate is that Schlegels characterization is an example of literary hermeneutics, capable of mixing a philosophical, philological and poetic analyze within a historical approach. This way, the intrinsic and extrinsic factors of the literary artwork would be seen as an organic whole. This critical artwork, as Schlegel used to define his Charakteristik, would stand for the sensus spiritualis as well as for the sensus literalis, contemplating, in its letter and spirit, the tendency [Tendenz] of the work, which would be the result of a progressive, divinatory and universal critical analyze of literary phenomenon.

O presente trabalho visa investigar os conceitos de crítica e experiência na obra de Walter Benjamin em torno dos anos de 1920, como resultado dos desdobramentos do Programa de 1918, de modo a pôr em relevo seu entrelaçamento com os conceitos de mito e Iluminismo. Para tanto, este trabalho concentra-se no estudo da dissertação de doutoramento do filósofo acerca do romantismo de Iena, bem como seu ensaio crítico sobre As afinidades eletivas de Goethe. Quanto ao primeiro, mostra-se que o conceito de crítica imanente une-se às perspectivas da filosofia e poesia românticas, o que se deve, em especial, ao messianismo presente veladamente no conceito de reflexão. No segundo, tem-se em vista o problema da crítica e da experiência em nova chave, cujos desdobramentos assinalam as relações entre mito e Iluminismo, o que também inclui uma crítica ao eterno retorno, a concepção mítica do tempo. / The present paper aims to investigate the concepts of critique and experience in the work of Walter Benjamin written in the years around 1920, which was derived from On the program of the coming philosophy written in 1918 and thus to highlight their intertwined relationship with the concepts of myth and Enlightenment. To do so, this paper focuses on Benjamin\'s doctorate thesis, The concept of art criticism in German romanticism, as well as on his critical essay on Goethes Elective Affinities. Regarding the first one, we show that the concept of immanent critique joins the perspectives of romantic philosophy and poetics, which is particularly due to the hidden presence of messianism in the concept of reflection. In the second one, we focus on the problem of critique and experience in a new formulation, whose developments show the relations between myth and Enlightenment, which also includes a critique of the eternal return, the mythical concept of time.