Jewish History and Memory in Paul Celan\u27s DU LIEGST

In the poem DU LIEGST (1967), Paul Celan demonstrates his mindfulness of historical dates as memorials to past traumas—the execution of the conspirators of the plot to assassinate Hitler on 20 July 1944, the murder of Karl Liebknecht and Rosa Luxemburg in 1919, and the be-heading of Danton in 1794. Celan has also written the specific date of the poem into the text, although hidden, and weaves together Jewish tradition and events of the recent past in a lyric exploration of human suffering. Building on the hitherto predominantly biographical readings of the poem, the presence of traditional Jewish texts (Old Testament, the Pessach-Haggada, and the Kabbala) and Christian teaching (New Testament) are analysed in DU LIEGST, to reveal intertextual levels previously untreated by scholarship. Two discordant levels of biblical intertextuality are evident, that of the Old Testament, with trigger words pointing to the events recounted in Genesis, Exodus and Deuteronomy, and also that of the New Testament, based on the story of the Christian Messiah. Evidence of these given pre-texts is discussed with reference to the distinctive characteristics of Hebrew and to linguistic structures employed in the Bible, which point to Celan\u27s debt to Judaism and his mastery of Hebrew. Furthermore a mystic-kabbalist interpretation of the poem reveals a surprising number of symmetrical words, dates, and symbolic numbers

Jewish History and Memory in Paul Celan's "DU LIEGST"

In the poem "DU LIEGST" (1967), Paul Celan demonstrates his mindfulness of historical dates as memorials to past traumas—the execution of the conspirators of the plot to assassinate Hitler on 20 July 1944, the murder of Karl Liebknecht and Rosa Luxemburg in 1919, and the be-heading of Danton in 1794. Celan has also written the specific date of the poem into the text, although hidden, and weaves together Jewish tradition and events of the recent past in a lyric exploration of human suffering. Building on the hitherto predominantly biographical readings of the poem, the presence of traditional Jewish texts (Old Testament, the Pessach-Haggada, and the Kabbala) and Christian teaching (New Testament) are analysed in "DU LIEGST," to reveal intertextual levels previously untreated by scholarship. Two discordant levels of biblical intertextuality are evident, that of the Old Testament, with trigger words pointing to the events recounted in Genesis, Exodus and Deuteronomy, and also that of the New Testament, based on the story of the Christian Messiah. Evidence of these given pre-texts is discussed with reference to the distinctive characteristics of Hebrew and to linguistic structures employed in the Bible, which point to Celan's debt to Judaism and his mastery of Hebrew. Furthermore a mystic-kabbalist interpretation of the poem reveals a surprising number of symmetrical words, dates, and symbolic numbers

The development of the linguistic theory of universal history with especial reference to C.C.J. Bunsen, 1830-1880's

The German idealists‘ philosophy of universal history, which emerged from the long tradition of Judeo—Christian 'theology of history' in the late Eighteenth Century, was continued in the work of C.C.J. Bunsen. Bunsen's aim was to unite revelation, suitably interpreted, with reason, to form a theory of universal history both spiritual and factually plausible

Grillparzer's adoption and adaptation of the philosophy and vocabulary of Weimar classicism

After a summary of German Classicism and of Grillparzer's at times confusing references to it, the main body of the thesis aims to assess Grillparzer's use of the philosophy and vocabulary of Classicism, with particular reference to his ethical, social and political ideas.Grillparzer'8 earliest work, including Blanka, leans heavily on Goethe and Schiller, but such plagiarism is avoided after 1810. Following the success of Ahnfrau, however, Grillparzer returns to a much more widespread use of Classical themes, motifs and vocabulary, especially in Sappho. Grillparzer's mood in the period 1816-21 was one of introversion and pessimism, and there is an emphasis on the vocabulary of quiet peace and withdrawal in Vließ, these ideals cannot help man out of the disaster and despair which Grillparzer repeatedly depicts in the 1810s and early 1820s, and there is a consequent tendency for the optimistic vocabulary of Classicism to appear incongruous. The more political plays of the 1820s reject the style and vocabulary of Classicism but still retain its central moral ideals. From I830 onwards, Grillparzer begins to examine more closely those ideals and concepts inherited from Goethe and Schiller, which had been doomed to failure in the pessimistic atmosphere of earlier years. The very validity of such ideals is now appraised, their relevance in political situations which Classicism had often neglected to depict. It is recognised that ideals considered as absolutes can only be achieved in isolation from chaotic human reality, and that any attempt to transfer aesthetic ideals to political and moral spheres may be detrimental to humanity rather than advantageous. There is a gradual return to Classical concepts such as moderation, limitation, right, truth, and especially "der Mensch", but these ideals must be standards for, not barriers to life and humanity

Немецкая классическая философия

В книге рассматриваются основные этапы развития немецкой классической философии - одного из теоретических источников марксизма. Немецкая классическая философия анализируется как единое, цельное идейное течение. Прослеживаются ее истоки, а также связь е современностью. Затрагивается широкий круг проблем - онтологии, гносеологии, этики, эстетики, философии истории. Автор частично использует материал из своих ранее вышедших работ ("Гегель". М., 1970; "Кант". М., 1977; "Шеллинг". М. 1982). Для научных работников, преподавателей, аспирантов, студентов гуманитарных вузов