Orientador: Márcio Orlando Seligmann-Silva / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-17T22:13:30Z (GMT). No. of bitstreams: 1 Quevedo_WagnerdeAvila_M.pdf: 1168130 bytes, checksum: 0f85c9a43a3e735b3d40ad779c017b1e (MD5) Previous issue date: 2011 / Resumo: O presente estudo pretende apresentar a formação do conceito de crítica filosófica na obra do jovem Walter Benjamin a partir da teoria da reflexão dos primeiros românticos alemães (F. Schlegel e Novalis). Se para os românticos a teoria da reflexão é, na leitura de Benjamin, fundamento e pressuposto essencial da crítica de arte, o conceito de crítica benjaminiano se distingue do romântico por meio da problematização da clássica divisão entre forma e conteúdo na arte, para cuja discussão Benjamin traz à baila a estética tardia de Goethe. Contudo, a crítica de Benjamin se aproxima da romântica na medida em que aquela teoria da reflexão realiza, como crítica, uma profunda superação dos problemas clássicos da filosofia alemã, teoria que Benjamin interpreta como medium-de/da-reflexão capaz de elevar a crítica ao mesmo potencial revolucionário vislumbrado pelo romantismo enquanto ruptura estética e filosófica no século XVIII / Abstract: The following study aims to focus on the concept of criticism in Walter Benjamin's early writings by bringing up the articulation of Friedrich Schlegel's and Novalis' philosophical theory of reflection as ground for romantic art criticism. In this sense, the present study intends to show how Benjamin's own criticism distinguishes itself from that of the romantic, for what he discusses the classical aesthetic problem "formmatter" on art and does it by attempting to grasp the relationship between romantic and Goethe's late aesthetic. Nevertheless, Benjamin's effort tries to understand how romantic theory of reflection fulfills a deep critique and overcoming of the german classical philosophical problems. This theory, teaches us Benjamin, is to be seen as a latin construct named "Reflexions-medium" or medium of reflection/reflection's medium, with which Walter Benjamin himself undertakes the same kind of strong criticism opened with Schlegel and Novalis in the late 18th century / Mestrado / Teoria e Critica Literaria / Mestre em Teoria e História Literária

A presente tese investiga e discute o conceito de crítica literária de Friedrich Schlegel, com o intuito de esclarecer como o crítico, filósofo e filólogo alemão contribuiu para a alteração nos estudos de literatura de sua época ao postular a necessidade de aproximação entre a análise estética e histórica do fenômeno literário, antecipando muitos problemas da crítica contemporânea. Ao utilizar os paradigmas da filosofia da história e da estética para o entendimento dos diversos períodos ou épocas da literatura, e ao reconhecer e aplicar a perspectiva histórica como categoria crítica, Schlegel colaborou para o aparecimento de uma nova era da crítica literária. O contato com a herança do Iluminismo, e com os escritos de Johann Gottlieb Fichte, Friedrich Schiller, Immanuel Kant, Johann Gottfried Herder, Johann Joachim Winckelmann e Johann Wolfgang Goethe, entre outros, influenciou o crítico a desenvolver um novo modus de crítica literária, que levaria em consideração a atividade reflexionante e criativa do espírito crítico. A atividade de Schlegel enquanto crítico e historiador da literatura se caracteriza pela busca constante de aperfeiçoamento infinito, ou utilizando uma de suas expressões favoritas como uma ânsia de infinito [Sehnsuch nach dem Unendlichen], isto é, o ímpeto pela complementação [Diaskeuase] da obra literária através da reflexão crítica e filosófica. As contribuições de Friedrich Schlegel para a alteração do modo como a literatura deve ser compreendida, assim como seu esforço em estabelecer princípios universais para a crítica literária colocam seu nome entre os precursores da crítica literária moderna. / The present thesis investigates and discusses Friedrich Schlegels concept of literary criticism in order to demonstrate how the German critic, philosopher and philologist contributed to a change in the studies of literature of his age and anticipated many problems of contemporary criticism by postulating the necessity of an approximation between the aesthetic and the historical visions of the literary phenomena. Schlegels contribution to the emergence of a new era of literary criticism lies in his usage of both paradigms of the philosophy of history as well as aesthetics for the understanding of different periods of literature and in his recognition and application of history as a critical category. Schlegels contact with the heritage of the Enlightenment, as well as with the writings of Johann Gottlieb Fichte, Friedrich Schiller, Immanuel Kant, Johann Gottfried Herder, Johann Joachim Winckelmann and Johann Wolfgang Goethe, among others, influenced the critic to develop a new modus of literary criticism that takes into consideration both the reflexive and the creative activity of the critical spirit. Inserted in this new scientific paradigm, Schlegels activity as a critic and historian of literature is characterized by his constant search for the infinite perfectibility, or to use one of his favorite expressions a longing for the infinite [Sehnsuch nach dem Unendlichen], and is thus the impetus for the complementation [Diaskeuase] of the literary opus with the philosophical reflection. Friedrich Schlegels contributions to the alterations into the way in which literature is to be understood, as well as his effort to establish universal principles for literary criticism places his name in the ranks of the forerunners of modern literary criticism.

De tous les penseurs du cercle romantique d'Iéna, Friedrich Schlegel est celui qui, en langue française, fut le plus négligé. Novalis, Schleiermacher, Wackenroder ont déjà fait l'objet d'études nombreuses et de traductions largement diffusées. Le travail de Louis-Charles Le Blanc vise essentiellement deux choses: donner, d'une part, au public généralement cultivé une traduction inédite et acceptable au point de vue philologique des Fragments de Friedrich Schlegel, ouvrage fondamental pour le développement du courant romantique européen; et accompagner, d'autre part, cette traduction d'un apparat critique qui puisse servir d'introduction à la pensée de l'écrivain allemand. Outre l'aspect plus strictement philologique, l'ouvrage présente le rôle dialectique joué par l'ironie dans la pensée de Friedrich Schlegel, c'est-à-dire en quoi l'ironie romantique détermine de la part du sujet une appropriation du monde, appropriation qui témoigne d'une compréhension intime (pathos) qui n'est pas de l'ordre de l'explication encyclopédique (logos). L'ironie schlégélienne, qui s'inspire de la théorie fichtéenne de la liberté, forme une esthétique de l'ironie qui, en dénonçant la séparation qui existe entre l'idéal et le réel, et en insistant sur cette séparation, forme le premier moment du nihilisme européen.

Roger Paulin, einer der besten Kenner der europäischen Literatur des 18. Jahrhunderts, bereitet die erste neuere Biographie zu August Wilhelm Schlegel vor. Die Grundlage dafür ist der Nachlass Schlegels, der sich im Bestand der Handschriftenabteilung der SLUB Dresden befindet.

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.

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.

A Web Of Eyes: Irony and romanticism in the works of Jorge Luis Borges and Julio Cortázar (Mgr. Vít Kazmar) Abstract The present doctoral thesis offers an interpretation of the works of Borges and Cortázar through the lens of romantic irony. It outlines the origin of the notion of irony from greek drama through philosophical dialogue to rhetorics. The main focus of the work is Schlegel's concept of romantic irony. Various aspects serve as a basis for the interpretation of the work of both Argentine writers in particular chapters: the struggle between enthusiasmus and scepsis in Borges (litotes) and Cortázar (novelistic dialogue), motive of the double, reflexivity in literature written in the spanish language from Cervantes to Borges, focusing on Borges' sources of inspiration (Carlyle, Fernández, Unamuno); Cortázars reflexive short stories, heteronyms of both authors (Morelli, Ménard); and finally the tendency to see the world from above, to constant transcendence of perspective in Borges' short stories and poems and in Cortázar's novel 62: A model kit, as well as in his poetics based on the works of John Keats.

Made available in DSpace on 2014-06-11T19:22:19Z (GMT). No. of bitstreams: 0 Previous issue date: 2007-07-30Bitstream added on 2014-06-13T20:08:59Z : No. of bitstreams: 1 bogado_am_me_arafcl.pdf: 959038 bytes, checksum: 81452521bce9f681c5bd203b5c6bd59a (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / A pesquisa consiste em estudar a expressão poética e filosófica existente no romance Lucinde (1799), de Friedrich Schlegel (1772-1829). Crítico e pensador deste período, Schlegel concretiza nesta obra, através da linguagem e da forma, os ideais do Primeiro Romantismo (Frühromantik). Tendo como base o idealismo subjetivo da filosofia de Johann Gottlieb Fichte, ele desenvolve um conceito que chama de poesia progressiva universal. Em Lucinde, Schlegel concebe um romance histórico-crítico no qual o processo de amadurecimento vivido pelo personagem principal (Júlio) - da sua tempestuosa juventude até a sua harmoniosa vida com Lucinda - pode ser visto como uma alegoria do percurso vivido pelo movimento romântico desde o surgimento do Sturm und Drang (fase de ruptura com os preceitos iluministas), passando pelo processo de formação (Bildung), até chegar ao momento presente vivido por Schlegel: a produção de Lucinde e o círculo de Jena, sendo que o texto transita entre o elogio e a crítica desse percurso histórico-literário da Alemanha do século XVIII. A produção dos pensadores do Frühromantik girou em torno principalmente de ensaios filosóficos, da história da literatura e da crítica literária e o romance de Schlegel compreende a infinitude dessas questões. Lucinde está muito distante de ser um romance de entretenimento: trata-se de um projeto romântico. Filosofia, crítica literária e história da literatura em forma de arte. / The reasearch consists in studying the poetic and philosophical expression existing in the novel Lucinde ( 1799 ), by Friedrich Schlegel ( 1772-1829). Critic and thinker from that period, Schlegel renders in this piece , through his language and structure, the ideal of the Early German Romanticism ( Frühromantik ). Based on the subjective idealism from the philosophy of Johann Gottlieb Fichte, Schlegel developes a concept wich he names universal pregressive poetry. In Lucinde, Schlegel conceives a historical-critic novel in wich the process of maturation lived by the protagonist ( Júlio ) - from his tempestuous youth to his harmonious life with Lucinda - can be seen as an allegory of the course traversed by the Romantism since the arising of Sturm und Drang ( a rupture phase with the illuminist principles ), passing from the forming process ( Bildung ), to the present moment lived by Schlegel: the production of Lucinde and the circle of Jena; being the text a transient between the praise and the critique of this historical-literary course of the Germany in the eighteenth century. The production of the Frühromantik's thinker moved around philosophical essays specially, literature history and literary critique; and the Schlegel's novel comprehends the infinities of these issues. Lucinde is quite far away from being an entertainment novel: it's a romantic project. Philosophy, literary critique and literature history turned into art.

S’appuyant sur les théories esthétiques des frères Schlegel, de Novalis et de Schelling, ce travail s’attache à analyser les discours esthétiques et scientifiques dans Les Frères de Saint-Sérapion d’E.T.A. Hoffmann et à étudier dans quelle mesure et jusqu’à quel point l’écrivain se réapproprie les réflexions de ces premiers romantiques et s’en distancie. Confronté au philistinisme, aux malveillances d’autrui et à ses démons intérieurs, l’artiste sérapiontique poursuit un idéal tant social que psychique. Rêveurs, fous, enfants ou encore sous influence magnétique, les personnages hoffmanniens sont tous en quête de reconnaissance et d’identité. Polyformes, polymorphes et hétérogènes, centrés sur l’interaction artistique, le travail de création et la réception, Les Frères de Saint-Sérapion créent une sorte d’« œuvre d’art totale » avant la lettre où se mêlent aussi bien les sciences que les arts. / Using the aesthetic theories of the Schlegel brothers, Novalis and Schelling, this thesis examines aesthetic and scientific discourse as it appears in E.T.A. Hoffmann’s The Serapion Brethren and considers to what extent Hoffmann appropriates early Romantic thought or distances himself from it. Faced with the philistinism and maliciousness of others and with his own interior demons, the Serapiontic artist pursues both a social and psychic ideal. Dreamers, madmen, children or those who are under the influence of magnetidm, Hoffmann’s characters are all seeking recognition and an identity. Polymorphous and heterogeneous, centered on artistic interaction and on the work of creation and reception, The Serapion Brethren is a type of ‘total work of art’ before its time in which the sciences and the arts come together.

<p>This essay concerns itself with the historical background to what it refers to as <em>existential pedagogy</em>, which designates the way in which existential literature presumably seeks to affect the reader so that he experiences his existence as isolated, and how this is done through the employment of harsh and uncompromising language and rhetorical devices. The assumption underlying this project is that there is a pedagogical purpose to the existential manner of de-livery, and this essay traces this purpose back to how in the 18th century certain thinkers – Johann Georg Hamann and Friedrich Schlegel – came to look back at Socrates rhetorical en-deavour in order to perfect their own desire to place the question of ‘meaning’, ‘knowledge’ or ‘truth’ into the hands of the receiving individual – the reader of a text or the student of a teacher. By studying the manner in which Hamann and Schlegel used this Socratic rhetoric in their own authorship, I seek to establish how they considered it vital that the recipient experi-enced himself as thoroughly alone in order to cultivate his ability to infuse meaning into the world. The essay continues to examine how Sören Kierkegaard – in his capacity as the mythi-cal ‘father of existentialism’ – conceived of the Socratic rhetoric as lacking in sufficiently accounting for the despair and sinfulness he saw as being intertwined with experiencing one-self as lonely and ignorant. By studying how Kierkegaard approached the reader in his pseu-donymous and existential literature, the essay makes it clear that the existential pedagogy util-ized by Kierkegaard works in order to simultaneously infuse the reader with a feeling of isola-tion and ignorance, as it, through repeatedly focusing on the despair involved in that condi-tion, provoked the reader into taking action, despite (or, existentially, because he was) being taught that he, on account of his inevitable loneliness and ignorance, could not.</p>