Omniprésente mais jamais réellement thématisée, la notion de Schwärmerei apparaît comme un Leitfaden, un fil directeur dans l’oeuvre kantienne. Confusion, insupportable prétention mais aussi « raison négative » (antiparadigme) la Schwärmerei représente pour le philosophe le danger mortel d’une alternative possible à sa propre rationalité et il va se mettre en devoir de la dénoncer. Malgré cela Kant est fasciné, il est irrésistiblement attiré par le personnage du visionnaire (incarné par Swedenborg) et cette attirance est niée et refoulée : un combat interne à la rationalité kantienne apparaît alors et, partant de la Kritik der schwärmerischen Vernunft, Kant va faire naître le criticisme par la nécessité d’imposer à l’exaltation trop tentante des restrictions et des limites. Il oppose ainsi sa « métaphysique de la modestie » à l’orgueil des « favoris du ciel », limitation nécessaire si l’on ne veut pas voir la dialectique inévitable de la raison dériver vers la Schwärmerei. Puis ce combat contre l’illuminisme va devenir public, à l’occasion de la querelle du panthéisme et apparaître comme un affrontement entre Kant et Jacobi. Cette confrontation de deux « idiosyncrasies philosophiques » permet, in fine, d’examiner deux conceptions très différentes de la foi, du savoir et de la raison faisant ainsi du dialogue entre la Schwärmerei et la raison un thème fondamental qui appartient concomitamment au système de la raisn kantienne mais aussi (avec le Pantheismusstreit et les débuts de l’idéalisme allemand) à l’histoire de la raison elle-même / Omnipresent but never really conceptualized, the idea of Schwärmerei appears like a Leitfaden, a guiding principle, in Kant’s works. Confusion, unbearable conceit but also “negative reason”(antiparadigm), the Schwärmerei is, in Kant’s eyes, the serious danger of a possible alternative to his peculiar rationality and he sets about denouncing it. Nevertheless, Kant is fascinated and irresistibly attracted by the Schwärmer’s figure (represented by Swedenborg) and this attraction is denied and repressed : an internal struggle in Kant’s rationality then becomes apparent and, starting from the Kritik of schwärmerischen Vernunft, Kant gives birth to criticism, by need to limit the elation, too tempting. He then divides his “metaphysics of modesty” and the pride of the “heaven’s favourites”, necessary restriction to avoid the drift of the inevitable dialectic of the reason toward the Schwärmerei. Then, this struggle against illuminism becomes public on the occasion of the “Pantheismusstreit” and appears to be a confrontation between Kant and Jacobi. This clash of two “philosophical idiosyncrasies” gives, after all, rise to examine two very different conceptions of faith, knowledge and reason. It then transforms the dialogue between Schwärmerei and reason into a fundamental topic that belongs to the system of kantian reason and to the story of reason too, with Pantheismusstreit and the beginning of the“German idealism”

Submitted by Marilene Donadel (marilene.donadel@unioeste.br) on 2017-09-15T14:20:39Z No. of bitstreams: 1 Christian_C_Kuhn_2016.pdf: 1129811 bytes, checksum: f044b4dd58c912f9eeca471c3e754151 (MD5) / Made available in DSpace on 2017-09-15T14:20:39Z (GMT). No. of bitstreams: 1 Christian_C_Kuhn_2016.pdf: 1129811 bytes, checksum: f044b4dd58c912f9eeca471c3e754151 (MD5) Previous issue date: 2016-09-20 / In this work, we intend to present a philosophical analysis about Kant's relationship with Mysticism revisiting classic Kantian concepts that have an articulator function of this issue, namely, the distinction between a sensitive and intellectual intuition (intellectus archetypus) and their close but neglected relationship to the concept of archetype in Religion and typus in the second Critique, intuitive and symbolic knowledge and the anthropological concepts still almost unknown as the gift of divination and the faculty of prediction to forecast. We will also present the Kantian´s enthusiastic apology of sensibility and the subject of unconscious representations alsosubliminal in the first Critique. Finally we will conduct a more detailed analysis of Swedenborg´s case presenting a short diagnosis of Kant. Despite the apparent irrational nature of the subject, the philosopher thoroughly occupied this motiv or this philosophical problem that concerns on the fundamental philosophical question, deep and critical about the constitutive nature of what is usually and imprecisely called Mysticism. However, this designation seems to support a kind of subtle philosophical prejudice, that is, the apparently clear and disinterested objectivity in order to predispose the analysis of what would present itself as the "mystical experience"; as something already known, although attached to this, an anathema of insanity or at least something that is not philosophical, objetive. According to some scholars and highlighted textually by Kant himself, this relationship quite paradoxical, that is, Kant himself, considered one of the great exponents of German Aufklärung, a philosophical and spiritual phenomenon, found himself vacillating in their judgment. However, as we seek to show throughout this work, far from being uninteresting to Kant, the philosopher thoroughly occupied this topic, or even what we might call, this philosophical problem, which presents itself surreptitiously in his Critical Philosophy. As we will see throughout this work, according to scholars was precisely the struggle between Enthusiasmus and Schwärmerei that flourished German Aufklärung. From this conflictual relationship between objectivity and subjectivity, reason and faith,hypochondriac andmelancholic crisesand massive cases of suicides iswhere Kantian clash with Mysticismemerge, and it is in this context of dilemmas that Kant develops his Critical and Transcendental Philosophy. According to Baigorria (2014), The Schwärmerei phenomenon since Kant´s context was something controversial and devoid of a philosophical criterion purely objective and impartial, although originally was associated with religious fanaticism, and the clash between Luther and the Anabaptists, the Schwärmerei would have suffered numerous semantic and cultural changes. If we remember and reflect deeply about the scope of the four questions raised by Kant in his Logic, after and worthy hermeneutic review, an updated phenomenological of the ancient wisdom, we would understand why all these questions are referred to the last one, The Human, and therefore self-knowledge. Only then we will be willing to follow the exhortation exposed at the Delphic temple´s porch: "If you cannot find within yourSelf what you are searching for, nor you will find out. Man, know thySelf and you will know the Universe and the Gods!". / Neste trabalho, pretendemos apresentar uma análise filosófica acerca da relação de Kant com o Misticismo revisitando conceitos clássicos kantianos que possuem uma função articuladora desta temática, a saber, a distinção entre uma intuição sensível e intelectual (intellectus archetypus) e sua relação íntima, porém negligenciada com o conceito de arquétipo na Religião e typus na segunda Crítica, o conhecimento intuitivo e simbólico, bem como conceitos antropológicos ainda quase desconhecidos como o dom divinatório e a faculdade de previsão, etc. Apresentaremos também a entusiástica apologia kantiana da sensibilidade e o tema das representações inconscientes também subliminares na primeira Crítica. Finalmente iremos realizar uma análise mais detalhada do caso Swedenborg apresentando um diagnóstico de Kant. Apesar da aparente natureza irracional do assunto, o filósofo se ocupou exaustivamente deste problema filosófico que se refere à questão filosófica primordial, profunda e crítica acerca da natureza constitutiva do que se convenciona chamar de Misticismo. No entanto, esta designação parece favorecer a uma espécie de preconceito filosófico sutil, ou seja, com a aparência de uma objetividade evidente e desinteressada de modo a predispor a análise disso que viria a se apresentar como a “experiência mística” como algo já conhecido, embora anexado a esta, um anátema de insanidade ou, no mínimo, de algo que não é filosófico, objetivo. Segundo alguns estudiosos e evidenciada textualmente pelo próprio Kant, tal relação é um tanto quanto paradoxal, ou seja, o próprio Kant, considerado como um dos grandes expoentes do Aufklärung alemã, diante de tal fenômeno filosófico e espiritual, se viu vacilante quanto aos seus juízos. No entanto, como buscamos mostrar ao longo deste trabalho, longe de ser desinteressante para Kant, o filósofo se ocupou exaustivamente deste tema, ou até mesmo, o que poderíamos chamar, deste problema filosófico, o qual se apresenta sub-repticiamente em sua Filosofia Crítica. Como veremos ao longo deste trabalho, segundo estudiosos foi justamente no embate entre o Enthusiasmus e a Schwärmereique que floresceu a Aufklärung alemã. A partir dessa conflituosa relação entre objetividade e subjetividade, razão e fé, acessos hipocondríacos, crises melancólicas e massivos casos de suicídios é que surge o embate kantiano com fenômeno do Misticismo, e é neste contexto de dilemas que Kant desenvolve sua Filosofia Crítica e Transcendental. O fenômeno da Schwärmerei já na época de Kant era algo controverso e desprovido de um critério filosófico puramente objetivo e imparcial, segundo Baigorria (2014), embora originalmente estivesse associado ao fanatismo religioso, e ao embate de Lutero com o Anabatistas, a Schwärmerei teria sofrido inúmeras modificações semântico-culturais. Se recordarmos e refletirmos profundamente acerca do escopo das quatro questões apresentadas por Kant em sua Lógica, após uma revisão hermenêutica e fenomenológica atualizada e digna da sabedoria dos antigos, entenderemos o motivo pelo qual todas elas se referem ao Homem, e, portanto ao autoconhecimento. Só assim estaremos dispostos a seguir a exortação exposta no pórtico do templo de Delfos: “Se não podes encontrar dentro de ti mesmo o que buscas, tampouco encontrarás fora. Oh Homem, conheça a ti mesmo e conhecerás o Universo e os Deuses! ”.

La découverte d’œuvres du Sturm und Drang et de la tendance sentimentale (allemande et anglaise) fut pour le jeune K. Ph. Moritz une expérience déterminante, aussi bien pour le développement de sa personnalité que pour ses débuts comme écrivain. Nous avons entrepris d’étudier les différentes « traces » laissées par cette littérature dans les écrits de l’auteur, ainsi que leur évolution, notamment dans le cadre d’une pratique de l’intertextualité transformant de simples « réminiscences » littéraires en procédés d’écriture maîtrisés, voire même en « tableaux poétiques ». Nous analysons tout d’abord la réception du Sturm und Drang et de la tendance sentimentale par Anton Reiser (« double » du jeune Moritz) comme lecteur, poète et spectateur, réception « mise en scène » par l’auteur dans son roman autobiographique Anton Reiser. Nous tentons ensuite de montrer comment Moritz, entre 1780 et 1790, prend de la distance avec « l’enthousiasme » caractérisant sa réception de jeunesse de ces courants, sur lesquels il pose désormais un regard « éclairé » et objectif, depuis son point de vue d’écrivain, de critique littéraire et de psychologue empirique des « Lumières tardives », rejetant l’outrance dans le tragique, critiquant la Schwärmerei et observant les « maladies de l’âme ». Enfin, nous consacrons notre dernière partie au point de vue « esthétique » depuis lequel Moritz considère certaines œuvres du « temps des génies » (particulièrement Les Souffrances du jeune Werther), qui trouvent également leur place dans la théorie littéraire de l’auteur (exposée dans plusieurs écrits publiés après son séjour en Italie, entre 1792 et 1794), et dans sa pratique de la description de paysages. / To discover works from the Sturm und Drang (« Storm and stress ») movement and from the sentimental trend (German and British) was a determining experience to the young Karl Philipp Moritz, for the development of his personality as well as for the beginning of his career as a writer. The present study aims at researching the « traces » left by this literature in Moritz’ work, and their evolution, in particular through intertextuality, which transforms simple literary « reminiscences » into mastered literary techniques, even into « poetic pictures ». First we analyse the reception of the Sturm und Drang and of Sentimentalism by Anton Reiser (« double » of Moritz in his youth) as reader, poet and spectator, reception « represented » by Moritz in his autobiographical novel Anton Reiser. We then examine how the author, between 1780 and 1790, distances himself from his former « enthusiastic » reception of those literary trends: from now on, he considers them from his « enlightened » and objective point of view as a novelist, a dramatist, a critic and an empirical psychologist of the « Late Enlightenment », rejecting excesses in tragedy, criticising the Schwärmerei and studying the « diseases of the soul ». The last part of our study is devoted to the « aesthetic » point of view, from which Moritz considers some works from the sentimental trend and from the Sturm und Drang (in particular The Sorrows of the Young Werther), which have also found a place in the literary theory of the author (expounded in several writings published between 1792 and 1794, after Moritz’ stay in Italy) and in his pratice of landscape description.