Bibliography: leaves 436-449 / 449 leaves ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--Dept. of German, University of Adelaide, 1990

Zugl.: Halle (Saale), Univ., Diss., 2005

Zugl.: Freiburg (Breisgau), Univ., Diss., 2006

Zugl.: Konstanz, Univ., Diss., 2007

Made available in DSpace on 2014-06-11T19:25:24Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-03-06Bitstream added on 2014-06-13T19:32:27Z : No. of bitstreams: 1 fadel_ncps_me_arafcl.pdf: 842900 bytes, checksum: bacafedf193c99eb51b853224a249984 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Por meio deste trabalho, procuramos identificar em uma das obras de Novalis, um dos autores mais significativos do assim chamado Primeiro Romantismo Alemão, os pressupostos de uma teoria da linguagem que se sustenta no Idealismo Alemão. O problema se delineia à medida que, para Novalis, contemporâneo do estabelecimento dos das bases da lingüística moderna, e, ele próprio, estudioso de filologia, observar-se-ia no fenômeno da linguagem uma possível relação entre espírito e mundo, o que, por sua vez, se opõe ao conceito hoje clássico da arbitrariedade do signo. No âmbito deste projeto de pesquisa, optamos por delimitar a investigação a uma narrativa curta do poeta, prosador e crítico Novalis (Friedrich von Hardenberg), intitulada Die Lehrlinge zu Saïs (1801). Considerada pela crítica como um fragmento de romance, a narrativa de Novalis em questão apresenta um elenco bastante rico no que se refere aos pressupostos de uma possível teoria da linguagem de caráter simbólico-poético e messiânico. Assim sendo, a abordagem a Os Discípulos em Saïs terá como perspectiva a possível identificação, no texto literário, de características desta filosofia ou teoria romântica da linguagem, manifestada em alguns fragmentos do próprio Novalis e de seu contemporâneo Friedrich Schlegel. / The intention of this research is to identify the characteristics of a language theory, which has its basis on German Idealism, in one of Novalis, fragmentary novels Die Lehrlinge zu Sais. For Novalis, contemporary of the establishment of modern linguistics, and himself researcher on philology, one would observe in language phenomena a possible relation between spirit and world, which would be directly opposed to today's classic concept of sign's arbitrariness. For research purposes, we chose to limit our investigation to a short narrative written by the poet, novelist and critic Novalis (Friedrich von Hardenberg) entitled Die Lehrlinge zu Sais (1801). Considered by the critics to be a fragmentary novel, Novalis' narrative presents a great number of elements concerning of a symbolic- poetic language theory. Thus, the approach to Die Lehrling zu Sais will have as it's main perspective the possible identification of characteristics of this romantic philosophy or theory, exposed in some fragments written by Novalis and Friedrich Schlegel.

Dorothea Schlegel’s Florentin (1801) is one of the less well known novels of the period commonly referred to as Early German Romanticism. This study attempts to combine both the historical context of the novel and later critical approaches to the ideas of the period. At the same time, this study seeks to avoid the more transcendent approaches that have previously been used in order to attempt to understand Florentin. In order to do so this study makes the expressionless or the gap created by allegorical expression between sign and signified a central theme in order to create a field of tensions and uncertainties. Although many readers of Florentin have noted the sensation of an absence of clarity while reading the novel, the majority of them have put this down to a lack of ability on the part of the author. This study attempts to find a structural explanation for the expressionless in Dorothea Schlegel’s novel while attempting to preserve aspects of its unknowability.

Cette thèse porte sur l’analyse des relations intertextuelles entre des œuvres littéraires et philosophiques allemandes, notamment les textes de Novalis et de Rilke, et le recueil de sonnets de l’écrivain et traducteur chinois moderne Feng Zhi. Le but de cette étude est d’analyser et de discerner dans quelle mesure il est possible d’établir des relations « transtextuelles » entre la littérature primaire, la thèse de doctorat de Feng Zhi, qui a joué un rôle vital dans le développement de sa voix poétique, et son recueil de sonnets. Les textes analysés dans le cadre de cette étude visent à montrer comment certains indices transculturels de la poésie de Feng Zhi définissent la tendance poétique de l’écrivain en tant que postromantique et métaphysique, alors qu’une recherche plus approfondie et d’autres évidences transtextuelles encadrent sa production lyrique parmi les premiers exemples de littérature moderniste chinoise. Les profondes et énigmatiques réflexions contemplatives des sonnets font de Feng Zhi un poète métaphysique. La voix lyrique s'engage avec le monde extérieur et gagne de nouvelles expériences esthétiques à travers l'imagination, la méditation sur l'infini spatial et temporel, la reconnaissance de l'état mutable et permanent de la matière, et une finale réalisation existentielle de l'auto-accomplissement de l'homme à travers son état d'isolement. Cette étude analyse enfin l'idée conceptualisée de l'infini et de la transcendance poétique évoquée par le mysticisme orphique. Cette approche redéfinit la relation du sujet poétique avec le monde extérieur et sa perception constructive finale de sa position au sein de la communauté, de la nature et du cosmos dans son ensemble. / The research conducted in this work focuses on the intertextuality between German literary and philosophical works, notably those of Novalis and Rilke, and the sonnet collection of the modern Chinese scholar and writer Feng Zhi. This study analyses the extent to which transtextual elements travel between the primary literature, the author’s own German doctoral dissertation, which ultimately played a vital role in the development of his lyrical voice, and his sonnets. Moreover, the texts analysed in this study attempt to demonstrate how given transcultural elements in Feng Zhi’s poetry define the writer’s apparent poetic tendency as a post-Romantic and metaphysical lyricist, whereas other closer transtextual investigations place his work among the first examples of Chinese modernist writings. The profound and enigmatic contemplative reflections of the sonnets make Feng Zhi a metaphysical poet. The lyrical self engages with the surrounding world and gains new aesthetic experiences through the power of imagination, the meditation on spatial and temporal infinity, the recognition of the changeable and permanent state of matter, and a final existential realisation of man’s self-completion through his state of isolation. This study finally also analyses the conceptualised idea of infinity and transcendence evoked by Orphic mysticism. This approach redefines the poetic subject’s relationship with the outer world, and the subject’s final perception of his position within the community, nature and the cosmos as a whole.

La peinture de Caspar David Friedrich (1774-1840), connue pour être une peinture« métaphysique », ayant une forte charge symbolique, donne lieu à toutes sortes déconstructions idéologiques. Notre travail propose une réflexion, au travers de cet art et de ses interprétations, sur la notion même de « romantisme ». Il s’agit de montrer qu’un examen précis de la représentation que le romantisme allemand a de lui-même offre des possibilités herméneutiques encore en partie inédites pour qui veut comprendre Friedrich en tant que peintre romantique allemand. C’est ce que nous avons tâché de faire apparaître dans une approche philosophique qui associe présence au tableau comme objet capable de produire lui-même son sens, inscription dans le contexte des pensées contemporaines de cet art, et examen des résonances de ce romantisme dans l’art d’aujourd’hui. Recentrant l’interprétation du romantisme allemand sur la pensée de Novalis, nous avons pris pour fil conducteur la formulation du programme explicite de ce que lui-même dénomme la« philosophie romantique » dans un fragment célèbre (« Le monde doit être romantisé.C’est ainsi que l’on retrouvera le sens originel ») et qui fait du romantisme un concept opératoire, une opération ou technique — un « art de ». L’enjeu de cette thèse est de clarifier ainsi le sens philosophique de l’exigence romantique allemande, à entendre comme un idéal esthétique, donc comme un concept normatif, tout en cherchant à explorer dans la philosophie romantique de l’art le thème à nos yeux négligé de la peinture comme art visuel. A ce titre, elle n’est pas une monographie sur Friedrich, elle interroge, par son prisme, la philosophie romantique. / The painting of Caspar David Friedrich (1774-1840), known for being ‘metaphysical’ andstrongly charged with symbolism, has given rise to all sorts of ideological constructions.Based on this art and its manifold interpretations our study reflects on the very notion of‘romanticism’. It seeks to demonstrate that a precise examination of the representation that romanticism has of itself offers hermeneutic possibilities that still remain partially unexplored for anyone wishing to understand Friedrich as a German romantic painter. Our philosophical approach endeavours to pay close attention to the paintings as objects capable of producing their own meaning, as well as situating this art in the context of contemporary ideas and conceptions, and analyzing the resonances of this romanticism inthe art of today. Re-focusing the interpretation of German romanticism onto the thought of Novalis we have adopted as a guiding thought the formulation of a programme that explicitly terms itself “romantic philosophy” in a celebrated fragment (“The world must be romanticized. In this way one finds again its original meaning”), and which renders romanticism an operational concept, an operation, technique or method – an “art of”.Thus, the aim of this thesis is to clarify the philosophical sense of the romantic imperative,understood as an aesthetic ideal, i.e. as a normative concept, while seeking to explore inthe romantic philosophy of art the hit her to neglected topic of painting as a visual art.Accordingly, this work is not a monograph on Friedrich. Rather, through the prism of his art it questions the status and nature of romantic philosophy itself.

Terry Tempest Williams, in Finding Beauty in a Broken World employs literary techniques that suggest dislocations and relocations of the human subject in ethical modes of being. Through narrative techniques, multidisciplinary language, and themes of conversation, gift-exchange, listening and response, Williams reflects ecological humanist mosaics, suggesting cooperative regeneration—an intersection of material beings facilitated by an ethical human imagination that listens, receives, and gives toward patterns of beauty, including, but not limited to, being human in a collective world. This eco-critical analysis of Williams’s work affirms the human being in post-humanist philosophy and repositions relational Romanticism for the 21st century.

Slightly revised version of her dissertation (Ph. D.), Universität-Bremen, 1999--Cf. p. (7). / Anhang presents the aphorisms chiefly discussed, those by Jean Paul, Novalis, and Friedrich Schlegel. Includes bibliographical references (p. 110-115).