摘要:

SummaryAn analysis of the major supernatural icons or horror symbols of the first Gothic novel, Horace Walpole'sCastle of Otranto(1764), suggests that the work's infernal iconography expresses in a fully developed way the central themes of the emergent Gothic tradition: a malign and disorderly cosmos; the impotency of rationalism; supernatural terror and horror as the prevailing conditions of the Gothic universe. The iconography of Gothicism derives from older positive value Systems, codes of religious belief or symbols of social stability, but converts these traditional positive representations of order and security into an iconography of fear, doubt, loss, disintegration of self and disruption of natural law. The primary example of this process of iconographic inversion whereby the negative or darker side of the symbol becomes the dominant object of terror in the Gothic world is the sentient architecture of the haunted Castle of Otranto itself, a former refuge now become a site of terror. Concentrating on the mobile icons of the castle's interior and applying a theory of iconology developed by Theodore Ziolkowski in hisDisenchanted Images: A Literary Iconology, the essay explores Walpole's proto‐Gothic achievement in preparing the way for the vast eruption of Gothic fiction that would follow in the last decades of the Eighteenth Centur

ISSN:0105-7510    

DOI:10.1111/j.1600-0730.1985.tb01083.x

出版商:Blackwell Publishing Ltd    

年代:1986

数据来源: WILEY

摘要:

SummaryThis essay attempts to document the relationship between politics and aesthetics in general by using the specific example of Goebbels' prose work,Michaelto illustrate the close identity between fascist thinking and aesthetic theories. Even though Goebbels has received ample attention in his capacity asPropagandaminister, Goebbels the artistmanquéhas been accorded only the scantest of interest. Significantly hisPromovierungat the University of Heidelberg in 1921 deals with “Wilhelm Schütz: A Contribution to the History of the Drama of the Romantic School.” He wrote a substantial amount of poetry as well as several plays and essays. Initially, Goebbels attempted to become associated with the Gundolf circle in order to promote his literary efforts, without much success, though.Michaelis by no means a work of aesthetic merit. Its sole significance for German intellectual history lies in its ability to demonstrate rather persuasively the fascist credo that the politician engages in a creative act, i.e. as a sculptor who gives form to the masses that constitute his material, and as a painter whose creative endeavor corresponds to the activity of the statesman. The numerous references inMichaelto German literature and philosophy provide additional proof of the close affinity between National Socialist ideas in the realm of politics and art. The results of thisästhetisierung der Politik(Benjamin) can be summarized in terms of fascist politics as aGesamtkunstwerkand the state as a work

ISSN:0105-7510    

DOI:10.1111/j.1600-0730.1985.tb01084.x

出版商:Blackwell Publishing Ltd    

年代:1986

数据来源: WILEY

摘要:

SummaryA une époque où la critique littéraire s'intéresse surtout aux structures formelles d'une oeuvre, au point de négliger souvent l'examen du contenu que recèlent ces měmes structures, l'ambition de la poésie de Bonnefoy est justement de révéler l'ětre, ambition ontologique, que se proposent de montrer les pages suivantes. L'analyse du style, des thèmes et des idées poétiques d'Yves Bonnefoy dégage une phénoménalisation poétique, hautement abstraite, qui vise à relier la conscience subjective et le monde objectif, de manière à surmonter l'opposition du contenu intelligible et du contenu sensible des mots. Cette aspiration qui vise à soumettre, par le truchement d'une symbolisation réaliste, l'intellection à la perception finie accuse une analogie de structure avec l'existentialisme ontologique qu'a élaboré, en théologie, Thomas d'Aquin dans son oeuvre de jeunesse,De ente et essentia, de měme qu'elle se rapproche des idées philosophiques de Sören Kierkegaard concernant I'altérité impliquée dans toute prise de conscience authentique de soiměme. De plus, l'analyse de la phénoménalisation pratiquée par Bonnefoy se propose de dégager une perspective créationniste inhérente à cette phénoménalisation, et c'est là une perspective créationniste q

ISSN:0105-7510    

DOI:10.1111/j.1600-0730.1985.tb01085.x

出版商:Blackwell Publishing Ltd    

年代:1986

数据来源: WILEY

摘要:

SummaryCritics have usually read Bonnefoy's poetry as a kind of writing seeking its own annihilation in the face of presence. UsingDu mouvement et de l'immobilité de Douveas a laboratory, this paper sets two goals for itself: One, to investigate the theoretical rigor of the critical concepts presupposed by both Bonnefoy himself and his most influential readers. Two, to analyze a typical Bonnefoy poem in the attempt to demonstrate that it in fact doesn't reduce itself in the service of the extra‐textual.Du mouvement et de l'immobilité de Douveis an elegant example of the recalcitrance of poetry. It refuses to be subsumed into that version of Hegelian dialectics that most critics of Bonnefoy's work have tended to use, either explicitly or implicitly, as a theoretical infrastructure upon which to situate the poem. Instead, it perforais its resistance to speculative negation by thematizing its own linguistic material

ISSN:0105-7510    

DOI:10.1111/j.1600-0730.1985.tb01086.x

出版商:Blackwell Publishing Ltd    

年代:1986

数据来源: WILEY

摘要:

SummaryAuf den nachstehenden Seiten geht es um den Versuch, einige Hypothesen zu dem im bildnerischen wie literarischen Werk von Peter Weiss so prävalenten Phänomen der Grausamkeit zu entwickeln. So grundlegende Bezüge wie die zwischen Wahrheitssuche und Grausamkeit einerseits und zwischen Grausamkeit und Erinnerungsvermögen andererseits kommen dabei zur Sprache, sowie auch die solchen extremen Spannungen entsprechenden ästhetischen Konzeptionen. Kunst als die Selbstzerstörung des künstlerischen Subjekts erscheint dabei als ein Paradigma der zur Debatte stehenden Komplexion.L'homme a des endroits de son pauvre coeur qui n 'existent pas encore et où la douleur entre afin qu'ils soient.L

ISSN:0105-7510    

DOI:10.1111/j.1600-0730.1985.tb01087.x

出版商:Blackwell Publishing Ltd    

年代:1986

数据来源: WILEY

摘要:

SummaryBei der Beschäftigung mit unmittelbar zeitgenössischer deutschsprachiger Literatur fällt der in zahlreichen Werken thematisierte Angstkomplex auf, in sowohl individueller als auch kollektiver Ausprägung. Angst als dominierendes Lebensgefühl bestimmt auch den Erzählbandübergang, das Erstlingswerk der Schriftstellerin Anne Duden.Bei der Untersuchung der Angstursachen stößt man in diesem Werk auf Probleme, die im Mittelpunkt der gegenwärtigen Diskussion um den Begriff der Postmoderne stehen, insbesondere die Thematik des Mißtrauens gegenüber einer sinnstiftenden, teleologisch ausgerichteten Vernunft im Sinne der Aufklärung und der Gesellschaftstheorien des 19.

ISSN:0105-7510    

DOI:10.1111/j.1600-0730.1985.tb01088.x

出版商:Blackwell Publishing Ltd    

年代:1986

数据来源: WILEY

摘要:

SummaryRoland Posner:Rational Discourse and Poetic Communication. Methods of Linguistic, Literary, and Philosophical Analysis, Mouton, Berlin/New York/ Amsterdam (Janua Linguarum Series Maior 103), 1982, 258 pp.

ISSN:0105-7510    

DOI:10.1111/j.1600-0730.1985.tb01089.x

出版商:Blackwell Publishing Ltd    

年代:1986

数据来源: WILEY