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"Försonarn vid sitt bröst, en stjernkrönt Qvinna" : jungfru- och moderstematiken hos C.J.L. Almqvist och P.D.A. AtterbomPersson, Anders January 1998 (has links)
The present Ph.D. dissertation proceeds from poetry on the theme of the Virgin Mary which blossomed for several decades during the Romantic era and is dedicated to the use of its virgin and maternal themes in the work of C.J.L. Almqvist and P.D.A. Atterbom. The first chapter discusses Almqvist's description of the perfect complementary unity of male and female - and divine and human - in his juvenile work Murnis (1819). In this sexually explicit work, theology and religious experience is eroticized while sexuality is sacralized. In Amorina (1822), a burgeoning transformation of Almqvist's "wholeness" vision can be observed. While wholeness can only be achieved through the perfect union of man and woman in Murnis, Amorina emerges as a perfect figure in and of herself. In the second chapter, the figure of Tintomara in Drottningens juvelsmycke (1835) is analyzed. In this novel, the dream of the merging of "twoness" into "oneness" seems to have been abandoned in favour of an experiment, wherein the unity of masculinity and femininity is realized in one single individual, the androgynous Tintomara. Despite the fact that the novel's androgynous idea is formulated with direct reference to Plato's Symposium, the significance of Jakob Böhme's speculations on androgyny are also emphasized here. The third chapter deals with the poetry about Mary written by Almqvist, especially Isidoros av Tadmor and Marjam (1839). Almqvist's image of Mary is characterized in terms of "perfection" and "complexity". In Marjam, this complexity is expressed both through the drama's upholding of the paradoxical content of the dogma of the Virgin Mary and the main theme of the double drama, the tension between the earthly and the eschatological family. The fourth and fifth chapters of this dissertation are dedicated to the maternal theme in the work of P.D.A. Atterbom. I proceed from the hypothesis that the transformations which the figure of Mary undergoes reflect a tension between Romantic syncretism and classic Christianity. I analyze four texts by Atterbom in which this conflict is particularly apparent. In Atterbom's prose draft for his fairy play Fågel blå (1818), as in his sonnets dedicated to Mary (1817-18), I discern a shift away from Romantic syncretism and toward more Biblical patterns. In the fairy play Lycksalighetens ö (1824-27), this tension emerges anew in the two Nyx epiphanies in the piece. The elegy "Ave Maria" (1831) comprises the clearest example of the shift in Atterbom's writing toward classical Mariology. In the conclusion, Almqvist's and Atterbom's respective thematic use of Mary - where she is portrayed as a complex, transgressive figure - is contrasted with an early example of Swedish Biedermeier poetry, Carl von Zeipel's "Jesus Christus. Evangeliska romanser" (1822), where Mary is placed in the context of the little, idyllic family. / digitalisering@umu
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Spirituality and German Romanticism: the influence of Jakob Böhme on Novalis and Caspar David FriedrichBusch, Mikhail 21 May 2020 (has links)
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
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Von 'echten' Inschriften auf fiktiven Kreuzen: Merkwürdiges zum Grabmal Jakob Böhmes in GörlitzZinsmeyer, Sabine 15 July 2021 (has links)
No description available.
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Le rôle de l’imagination dans l’expérience spirituelle d’Ibn al-ʿArabī et de Jakob BöhmeProulx, Daniel 11 1900 (has links)
Henry Corbin a écrit qu’« un Maître Eckhart et un Jacob Boehme eussent parfaitement compris Ibn ʿArabî, et réciproquement. » Mais comment assurer ce dialogue et cette compréhension réciproque pressentie par Henry Corbin? Cette recherche porte essentiellement sur les conditions de possibilités de ce dialogue, puisque la comparaison entre Ibn al-ʿArabī et Böhme n’est encore qu’à ses balbutiements.
En choisissant le prisme de l’imagination, le but est double : pouvoir traiter de manière non réductrice les phénomènes spirituels en parcourant et analysant la logique spécifique de l’imagination ; et, sous l’égide de la hiérohistoire, explorer le rôle de l’imagination dans la métaphysique et l’éthique d’Ibn al-ʿArabī et de Böhme. Il s’agit donc d’essayer de lire Ibn al-ʿArabī et Böhme comme ils lisaient eux-mêmes le Livre révélé de leur tradition respective.
Au final, il appert que le théophanisme caractéristique tant de la métaphysique d’Ibn al-ʿArabī que de celle de Böhme est une riche terre d’accueil de l’imagination et de l’imaginal. Et que, si la comparaison strictu sensu entre Ibn al-ʿArabī et Böhme est impossible, l’esprit comparatif et transdisciplinaire de cette recherche, ainsi que la méthode phénoménologico-herméneutique, offrent de nouvelles avenues de réappropriation pour l’ensemble des phénomènes spirituels. / Henry Corbin wrote that a “Meister Eckhart and Jacob Boehme would fully understand Ibn ʿArabî, and vice versa.” But how can we ensure this dialogue and mutual understanding anticipated by Henry Corbin? This research is essentially on the conditions of possibilities of this dialogue, especially because the comparison between Ibn al-ʿArabī and Böhme is still in its infancy.
By choosing the prism of the imagination, the goal is twofold: approach spiritual phenomena in a non-reductive way by browsing and analyzing the specific logic of imagination; and, under the auspices of the concept of hierohistory, explore the role of imagination in the metaphysics and ethics of Ibn al-ʿArabī and Böhme. It is therefore an effort to read Ibn al-ʿArabī and Böhme as they read themselves the revealed book of their respective tradition.
Finally, it appears that the theophanism characteristic of the metaphysics of both Ibn al-ʿArabī and Böhme is a rich haven for imagination and imaginal. If the comparison between Ibn al-ʿArabī and Böhme is stricto sensu impossible, the comparative and transdisciplinary spirit of this research, as well as its the phenomenological-hermeneutic method, opens up new avenues of re-appropriation for all spirituals phenomena.
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Le rôle de l’imagination dans l’expérience spirituelle d’Ibn al-ʿArabī et de Jakob BöhmeProulx, Daniel 11 1900 (has links)
Henry Corbin a écrit qu’« un Maître Eckhart et un Jacob Boehme eussent parfaitement compris Ibn ʿArabî, et réciproquement. » Mais comment assurer ce dialogue et cette compréhension réciproque pressentie par Henry Corbin? Cette recherche porte essentiellement sur les conditions de possibilités de ce dialogue, puisque la comparaison entre Ibn al-ʿArabī et Böhme n’est encore qu’à ses balbutiements.
En choisissant le prisme de l’imagination, le but est double : pouvoir traiter de manière non réductrice les phénomènes spirituels en parcourant et analysant la logique spécifique de l’imagination ; et, sous l’égide de la hiérohistoire, explorer le rôle de l’imagination dans la métaphysique et l’éthique d’Ibn al-ʿArabī et de Böhme. Il s’agit donc d’essayer de lire Ibn al-ʿArabī et Böhme comme ils lisaient eux-mêmes le Livre révélé de leur tradition respective.
Au final, il appert que le théophanisme caractéristique tant de la métaphysique d’Ibn al-ʿArabī que de celle de Böhme est une riche terre d’accueil de l’imagination et de l’imaginal. Et que, si la comparaison strictu sensu entre Ibn al-ʿArabī et Böhme est impossible, l’esprit comparatif et transdisciplinaire de cette recherche, ainsi que la méthode phénoménologico-herméneutique, offrent de nouvelles avenues de réappropriation pour l’ensemble des phénomènes spirituels. / Henry Corbin wrote that a “Meister Eckhart and Jacob Boehme would fully understand Ibn ʿArabî, and vice versa.” But how can we ensure this dialogue and mutual understanding anticipated by Henry Corbin? This research is essentially on the conditions of possibilities of this dialogue, especially because the comparison between Ibn al-ʿArabī and Böhme is still in its infancy.
By choosing the prism of the imagination, the goal is twofold: approach spiritual phenomena in a non-reductive way by browsing and analyzing the specific logic of imagination; and, under the auspices of the concept of hierohistory, explore the role of imagination in the metaphysics and ethics of Ibn al-ʿArabī and Böhme. It is therefore an effort to read Ibn al-ʿArabī and Böhme as they read themselves the revealed book of their respective tradition.
Finally, it appears that the theophanism characteristic of the metaphysics of both Ibn al-ʿArabī and Böhme is a rich haven for imagination and imaginal. If the comparison between Ibn al-ʿArabī and Böhme is stricto sensu impossible, the comparative and transdisciplinary spirit of this research, as well as its the phenomenological-hermeneutic method, opens up new avenues of re-appropriation for all spirituals phenomena.
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