Thesis (Ph. D.)--Universität Leipzig, 1929. / Issued also as v. 7 of: Von deutscher Poeterey edited by H.A. Korff. Leipzig : J.J. Weber, 1930. Cf. t.p. verso. Vita. Includes bibliographical references (p. 121-123).

Cette thèse de maîtrise fait lumière sur les fondements socio-ontologiques de la pensée politique de Friedrich von Hardenberg (Novalis). Nous posons deux questions spécifiques : 1. Qui sont les agents de la réalité sociale dans les textes Amour et Foi et Europe ou la Chrétienté ? et 2. Suivant la réponse à la première question, Novalis défend-il un individualisme, un holisme horizontal ou un holisme vertical? Pour répondre, nous parcourons trois étapes : 1. Nous reconstruisons l’argumentation des deux textes politiques susmentionnés, 2. Nous interprétons l’ontologie générale de Novalis sur la base de la littérature secondaire et 3. Nous répondons à nos deux questions de recherche. En quelques mots, nous avons déterminé que les agents de la réalité sociale sont des individus connectés. Nous soutenons, dès lors, que la pensée politique de Novalis se base sur un holisme horizontal. This master’s thesis sheds light on the socio-ontological fundaments of Friedrich von Hardenberg’s political thought (Novalis’s). We ask two specific questions: 1. Who are the agents of social reality in the texts Love and Faith and Europe or Christianity? and 2. Following the answer to the previous question, does Novalis defend an individualism, a horizontal holism or a vertical holism? To answer, we follow three steps: 1. We reconstruct the argumentation of the two aforementioned texts, 2. We interpret Novalis’s general ontology on the basis of secondary literature, and 3. We answer our two research questions. In a few words, we were able to determine that the agents of social reality are connected individuals. We thus contend that Novalis’s political thought is based on a horizontal holism. Diese Masterarbeit wirft Licht auf die sozialontologischen Fundamente des Denkens Friedrich von Hardenbergs (Novalis). Wir stellen zwei spezifische Fragen: 1. Wer sind die Handelden der sozialen Wirklichkeit in den texten Glauben und Liebe und Christenheit oder Europa? und 2. Auf der vorherigen Frage aufbauend, verteidigt Novalis einen Individualismus, einen horizontalen Holismus oder einen vertikalen Holismus? Um zu antworten, folgen wir drei Schritten: 1. Wir rekonstruieren die Argumentation der obengenannten Texte, 2. Wir interpretieren die allgemeine Ontologie Novalis‘ aufgrund der Sekundärliteratur und 3. Wir beantworten unsere beiden Fragen. In wenigen Worten: wir haben festgestellt, dass die Handelden der sozialen Wirklichkeit miteinander verbundene Individuen sind. Deshalb behaupten wir, dass Novalis‘ politische Denken auf einem horizontalen Holismus aufbaut.

Zugl.: Bonn, Univ., Diss.

<p>Istraživanje tematizuje Hegelovo kritiĉko vrednovanje ranoromantiĉarskog poimanja religije kao centralni aspekat Hegelove kritike romantiĉarskog duhovnog strujanja uop&scaron;te. Autor polazi od naĉina na koji Hegel određuje pojam filozofije religije. Saglasno tom pojmu, poimanje religije kod romantiĉara propituje se s obzirom na naĉin na koji su vodeći predstavnici tzv. jenske romantike (&Scaron;lajermaher, &Scaron;legel, Novalis) pristupali pitanju o pojmu boga, problemu forme religijske svesti, pitanju o odnosu religije prema onome praktiĉkom i pitanju o odnosu religije prema umetnosti i filozofiji. Romantiĉarski pojam religije manifestovaće se pre svega kao programsko depotenciranje pitanja o pojmu boga i božjem postojanju, favorizacija formi neposrednosti svesti kao formi koje jesu autentiĉno religijske, razgraniĉenje religije od sfere ljudskog praksisa i nagovor na kreiranje nove religiije. Hegel ovakvom pojmu religije kritiĉki pristupa kao obliku duhovnosti koji je u ontolo&scaron;kom pogledu zasnovan Fihteovim filozofskim stanovi&scaron;tem. Kritika romantiĉarskog pojma religije kod Hegela biva konkretizovana kao kritika apsolutizacije formi neposrednosti religijske svesti, kao kritika promi&scaron;ljanja odnosa religije i drţave koje nije reflektovalo razliku onoga &scaron;to jeste drţava i onoga &scaron;to jeste građansko dru&scaron;tvo i kao opozivanje mogućnosti da se moderna religioznost revitalizuje u liku romantiĉarske nove religije umetnosti.</p>

Tübingen, Universiẗat, Diss., 2003. / Dateien im PDF-Format.

No description available.

La proximité entre les écrits de Novalis et de Mallarmé est aujourd’hui un lieu commun de la recherche sans pour autant avoir fait l’objet d’une étude approfondie. Si une influence directe ne saurait être affirmée avec certitude, le simple constat d’une modernité commune est également insuffisant. La parenté entre les deux projets esthétiques se situe à un autre niveau. Dans les contextes de crise des années autour de 1800 et de la seconde moitié du XIXe siècle, les deux auteurs esquissent une conception de l’art qui vise une réorganisation des espaces du savoir de l’âge moderne. Le dispositif central de cette ‘troisième voie’ est celui de la limite qui permet de rompre avec la vanité d’une approche représentative de l’expérience esthétique. L’esthétique des limites de Novalis et de Mallarmé ne se restreint pas au simple constat de la négativité qui résulte des nombreuses limites fondamentales auxquelles l’être humain moderne se trouve confronté. Les deux auteurs ne considèrent pas en premier lieu la limite dans sa fonction de délimitation, mais comme un espace propre qui revêt une productivité et une fonctionnalité épistémologiques considérables. Selon eux, la limite est une configuration essentielle de l’expérience esthétique parce qu’elle confère à celle-ci une médialité et une performativité spécifiques qui permettent de dépasser la relation binaire entre la discursivité du savoir positif et l’inaccessibilité d’un savoir absolu. Ainsi, l’esthétique des limites est une conception particulièrement pertinente à l’époque actuelle où le débat sur la valeur épistémologique de l’art et de la littérature est loin d’être terminé. / The similarity between the writings of Novalis and Mallarmé has become a topos in research, however, it has never been the object of a detailed study. On the one hand, we cannot say that Mallarmé was directly influenced by Novalis, on the other, the declaration that they share a modern vision is just as insufficient. The connection between the two aesthetic projects has to be found on another level. In their respective contexts of crisis, that characterise the periods around 1800 and the second half of the 19th century, both poets outline a conception of art with the objective of a new organisation of modern spaces of knowledge. Boundaries are a central dispositive of this ‘third way’ because they make it possible to overcome the vanity of a representative conception of aesthetic experience. Novalis’ and Mallarmé’s aesthetics of boundaries do not confine themselves to simply assessing the negativity that results from the numerous fundamental limitations of modern human condition. Both of them do not primarily consider the phenomenon of boundary to be a mere function of delimitation. For Novalis and Mallarmé, a boundary is an autonomous space that possesses a high epistemological productivity and functionality. Boundaries are central configurations of aesthetic experience because they endow this experience with a specific mediality and performativity that allow to overcome the binary relationship between positive discursive knowledge and the unattainability of absolute knowledge. The aesthetics of boundaries are an important concept nowadays as the debate surrounding the epistemological relevance of art and literature is far from being finished.

Habilitationsschrift--Basel, 1977. / Includes bibliographical references (p. 346-361).

Submitted by Natália Fernanda da Silva Trigo null (ntrigo@ymail.com) on 2017-03-12T22:09:09Z No. of bitstreams: 1 DISSERTACAO.pdf: 2622143 bytes, checksum: 4ae65c0ffcd4ae74cfdf9533a570c462 (MD5) / Approved for entry into archive by LUIZA DE MENEZES ROMANETTO (luizamenezes@reitoria.unesp.br) on 2017-03-17T14:32:13Z (GMT) No. of bitstreams: 1 trigo_nfs_me_sjrp.pdf: 2622143 bytes, checksum: 4ae65c0ffcd4ae74cfdf9533a570c462 (MD5) / Made available in DSpace on 2017-03-17T14:32:13Z (GMT). No. of bitstreams: 1 trigo_nfs_me_sjrp.pdf: 2622143 bytes, checksum: 4ae65c0ffcd4ae74cfdf9533a570c462 (MD5) Previous issue date: 2017-02-22 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O presente trabalho analisa de que maneira as reflexões teórica sobre a criação poética de Novalis, que se materializam nos fragmentos de Pólen, relacionam-se com os poemas que compõem os Hinos à Noite. Procuramos analisar a relação dialética que as duas obras estabelecem que consiste no fato dos fragmentos possuírem características da poesia e de suas ideias estarem presente nos poemas. Analisamos os fragmentos que refletem sobre as teorias românticas acerca da poesia e do poético, compreendendo como se constitui nessa obra o pensamento crítico de Novalis sobre poesia e linguagem, estabelecendo, depois, ligações com os poemas, associando a reflexão crítica presente em Pólen com alguns elementos poéticos marcantes nos Hinos como o misticismo, a ideia de conhecimento, o símbolo, a valorização da Noite, da Morte e do Amor. Compreendemos que as duas obras estabelecem uma conexão de ideias, pois, entendemos os Hinos como uma poesia transcendental, sobre a qual Novalis teorizou em seus fragmentos, além disso, analisamos que os símbolos do Amor e da Morte estão presentes em ambas as obras e são construídos a partir de características em comum. Refletimos ainda que as duas obras se aproximam também no aspecto formal, uma vez que em ambas Novalis faz experimentações formais: em Pólen temos o desenvolvimento do fragmento como gênero, enquanto nos Hinos temos o poema em prosa e em verso. Verificamos, então, que Novalis dissolve as fronteiras entre poesia, teoria e crítica, tanto em relação as reflexões propostas e a linguagem utilizada quanto a composição formal, criando, com isso, uma maneira original de se pensar e se produzir as obras literárias, suas teorias e suas críticas. / The present work studies the way the theoretical reflection about the poetic creation of Novalis, that are present in the fragments of Pollen, have a relation with the poems of the Hymns to the Night. We analyze the dialectics relation that the two works have, which is the fragment having characteristics of poetry and the ideas of the fragments being present in the poems. We analyze the fragments that reflect the romantic theories about poetry and poetic, understanding how the critical thoughts by Novalis about poetry and language are made, establishing, after that, connections with the poems, and linking the critical reflection that’s in Pollen with some important poetic elements of the Hymns, as the mysticism, the idea of knowledge, the symbol, the valorization of Night, Death and Love. We recognize that the two works have a connection of ideas, because we understand the Hymns as the transcendental poetry, that Novalis theorized in his fragments. Furthermore, we analyze that the symbols of Love and Death are in both works and made with sharing characteristics. We also reflect that both works have similarities in the formal aspect, once that in both Novalis make formal experimentations: in Pollen we have the development of the fragment as a genre, and in the Hymns the poem in prose and verse. We also verified that Novalis dissolves the frontiers among poetry, theory and criticism, in relation to the proposed reflections and the language used as well as the formal composition, creating, with this, a new way of thinking and producing the literary compositions, their theory and their criticism.

This dissertation offers a re-interpretation of Novalis' Fichte Studien. I argue that several recent scholarly readings of this text unnecessarily exclude "organicism," or a panentheistic notion of the Absolute, in favor of "nonclosure," or the endless, because impossibly completed search for knowledge of the Absolute. My reading instead shows that, in his earliest philosophical text, Novalis makes the case for a Kantian discursive consciousness that can know itself, on Jacobian grounds, to be the byproduct (or accident) of a self-conditioning being or organism, and even more specifically a byproduct of God's panentheistic organism, at the same time that Novalis does not allow the possibility of discursive immediacy with that absolute standpoint; the epistemic consequence is that, while empirical science can proceed in the good faith that it makes valid reference to being, nonetheless it can never know its description of being to be final or complete. I call this position "organic nonclosure," and argue that Novalis holds it consistently throughout his very brief philosophical career. The keys to understanding Novalis' reconciliation of organicism and nonclosure are contextual and textual. Contextually, Novalis appreciates the inadvertent organicism in Jacobi's metacritique of Kant and also applies Jacobi's organicist metacritique to Fichte as well, with the result that Novalis' position in the Fichte Studien bears much resemblance to Herder's panentheistic ontology and modest epistemology. Textually, Novalis engages in a polysemy in the fragments of his Fichte Studien that performs the dependence of the sphere of empirical consciousness on a higher, intellectually intuitive being (a being that could only be a divinely creative intellection), and, simultaneously, the impossibility of presenting that identity in discursive terms. In other words, for Novalis, human knowledge of the existence of the organicist Absolute is enabled by, but also limited to, the merely contingent, empirical, and private experience of the dependence of the human subjective standpoint on an objectivity simply given to it.