Studien zu Hölderlin

2020 ◽  
Author(s):  
Werner Hamacher

Following up on his magisterial Berlin master´s thesis on Hölderlin´s poetry of 1971, Werner Hamachers continuing attempts at close-reading Hölderlin represent perhaps the first deconstructions of important poetic texts in the German language. The essays presented here for the first time, in which the late literary theorist also deals with Heidegger's interpretation of Hölderlin, are proof of his extraordinary ability to stage the most rigorous philology in an elegant and witty manner. Anyone who immerses himself in them will always be amazed at how unique Hölderlin's poetry was and still is. At the same time, they bear witness to the exceptional subtlety, precision, and originality for which Werner Hamacher's own work is known.

1995 ◽  
Vol 16 (01) ◽  
pp. 1-16
Author(s):  
Mary Anne Perkins

A few months ago I read Peter Nicholson's The Political Philosophy of the British Idealists for the first time. In the index I found more than a hundred references to Hegel and only one to Samuel Taylor Coleridge. However, as many of the latter's writings, published for the first time in recent years, become generally accessible there is an increasing sense that he has been unfairly deprived of his due status as a philosopher. This is partly, no doubt, the syndrome of the prophet in his own country and partly the inevitable consequence of much of his later work remaining unpublished until recent years. Coleridge himself, with what some would take to be confirmation of an over-sensitivity to criticism, felt the neglect of his work went deeper and betrayed an anti-philosophical trait in British character. Despite his close reading of the work of many of his German contemporaries it seems that he did not read more than sixtyone pages of Hegel's Wissenschaft der Logik. His margin notes to this work are, on the whole, negative in their criticism. However, despite significant disagreements, there is much common ground in theme, argument and conclusion between his many drafts of the ‘Logosophia’, his intended magnum opus, and Hegel's system.


Nordlit ◽  
2017 ◽  
Author(s):  
Andreas Schönle

This article offers an analysis of the trope of ruin in the poetry of Aleksandr Kushner (born 1936), in particular through a close reading of two of his poems: “In a slippery graveyard, alone” and “Ruins”. The analysis of these poems is preceded by an overview of ruin philosophy from Burke and Diderot to Simmel and Benjamin, with particular emphasis on the way the trope of ruin contemplation stages a confrontation between the self and what transcends it (death, history, nature, etc.). This philosophical background serves as a heuristic tool to shed light on the poetry of Kushner. Through the trope of ruin, Kushner explores the legitimacy of poetic speech after the collapse of all meta-narratives. Kushner has no truck with Diderot's solipsism, nor with Hegel's bold narrative of progress, nor with Simmel's peaceful reconciliation with the creative forces of nature. Nor, really, does he intend to bear witness to history, the way Benjamin does in the faint anticipation of some miracle. Instead, Kushner posits the endurance of a community united not around a grand project, but around the idea of carrying on in the face of everything, muddling through despite the lack of hopes for a transformational future and making the most of fleeting moments of positivity that emerge out of the fundamental serendipity of history.


Comunicar ◽  
2015 ◽  
Vol 22 (44) ◽  
pp. 45-53 ◽  
Author(s):  
Leonard Muellner

Evidence for annotating Homeric poetry in Ancient Greece is as old as the 5th Century BCE, when the «Iliad» and «Odyssey» were performed by professional singers/composers who also performed annotations to the poetry in answer to questions from their audiences. As the long transition from a song culture into a literate society took place in Ancient Greece from the 8th to the 2nd and 1st centuries BCE, annotations were gradually incorporated into written poetic texts. By the 10th Century CE, the quantity of written annotations in the margins of medieval manuscripts has become huge. For the first two versions of «The Ancient Hero», a HarvardX MOOC, it was not possible to implement the set of annotation tools that we requested as a vehicle for close reading and assessment. Using a partial system, we were able to create a semblance of annotations in close reading self-assessment exercises. For the anticipated third version, we expect to have a complete set of textual and video annotation tools developed for HarvardX, including semantic tagging and full sharing of annotations. Such a system, which promises to make the educational experience more effective, will also inaugurate a digital phase in the long history of Homeric annotation.Las evidencias de anotaciones en la poesía homérica de la Antigua Grecia se remontan al siglo V (a.C.), cuando ya la «Ilíada» y la «Odisea» eran representadas por cantantes profesionales/compositores, que hacían anotaciones en la poesía para responder a los interrogantes de su público. A medida que la transición, desde una cultura de la canción a una sociedad alfabetizada, aconteció en este período de la Antigua Grecia, entre el siglo VIII al I y II (a.C.), las anotaciones se incorporaron poco a poco en los escritos poéticos. La cantidad de anotaciones escritas en los márgenes de los manuscritos medievales se volvió enorme hacia el siglo X. En las dos primeras versiones de «The Ancient Hero» en el MOOC de HarvardX no fue posible utilizar el conjunto de herramientas de anotación solicitadas como medio para una atenta evaluación de las lecturas. Utilizando un sistema parcial, hemos sido capaces de crear aparentes anotaciones en los primeros ejercicios de autoevaluación de lectura. En la tercera versión, disponemos ya de un conjunto completo de herramientas de anotaciones de texto y de vídeo, desarrollados para HarvardX, incluyendo etiquetado semántico y anotaciones compartidas. Dicho sistema nos permitirá una experiencia educativa más eficaz, inaugurando también una fase digital en la larga historia de la anotación homérica.


Author(s):  
Adam Tsachi

This article investigates a new phenomenon in contemporary Israeli documentary cinema: the processing of war trauma. For the first time since the onset of the Second Intifada, films whose heroes suffer from PTSD are dealing with the processing of past experience. Using case studies, the article analyzes films directed by PTSD victims, which deal with the processing of war trauma, including among others One Battle Too Many (Joel Sharon, 2013) and Closed Story (Micha Livne, 2015). The films’ heroes are seeking to free themselves from the amnesia that is concealing the traumatic events deep within their memory. They manage to locate the repressed memory and then weave the traumatic story anew. The films propose various cinematic strategies for processing trauma, strategies that are meant to demarcate both the subjective traumatic past and the objective safe present and to place a defined aesthetic border between them. The films are analyzed by means of close reading of the cinematic aesthetic and the discussion of trauma in the Humanities. The interweaving of unrealistic and realistic symbolization practices dismantles the classic form of documentary cinema and facilitates an encounter between the viewer and the overwhelming nature of trauma.


Semiotika ◽  
2015 ◽  
Vol 11 ◽  
pp. 60-72
Author(s):  
Tomas Venclova

A close reading of two poems by Boris Pasternak (“A Storm in July” and “To the Memory of Demon”). Both poems are considered to be inverted variants (or “antitexts”) of Russian classical poems by Fiodor Tiutchev and Mikhail Lermontov (Tiutchev‘s “Spring Storm” and Lermontov‘s “Demon,” respectively). According to the author, this technique may be typical for many other poetic texts written by Pasternak.


2003 ◽  
Vol 27 (4) ◽  
pp. 126-129 ◽  
Author(s):  
Gyles R. Glover

On Christmas Eve 2002, the Department of Health published the financial allocations to Primary Care Trusts (PCTs) for 2003/4. As usual, this was accompanied by a detailed ‘exposition book’, setting out how the distribution of the available £45.3 bn was decided (Department of Health Finance and Investment Directorate, 2002). Three years ago, I wrote a short article showing how a close reading of this publication could be used to identify notional mental health budgets in these allocations (Glover, 1999). Bindman et al (2000) demonstrated that many health authorities, particularly those that service more deprived areas, spend substantially less on mental health care. As this is the first time financial allocations have been made directly to PCTs, it is helpful to repeat that calculation for the new organisations.


Epohi ◽  
2019 ◽  
Vol 27 (2) ◽  
Author(s):  
Rafik Novruzov ◽  
◽  
Gyulnara Novruzova

The article is devoted to a comparative analysis of the philosophical traditions of Nasimi poetry and the founder of existentialism S. Kierkegaard. As the object of comparison, the poetic texts of Imadaddin Nasimi and the book of the Danish philosopher Kierkegaard “Fear and Awe” are taken. For the first time in philosophical comparative studies, an attempt is made to find a common and difference in the concepts and categories of Hurufism and existentialism.


Musicalia ◽  
2016 ◽  
Vol 8 (1-2) ◽  
pp. 37-54
Author(s):  
Vlasta Reittererová

Abstract In June of 1892, Smetana’s Prodaná nevěsta (The Bartered Bride) was heard in Vienna for the first time as part of a guest appearance by the Czech National Theatre at the International Musical and Theatrical Exhibition. The clear success of the opera and of the performances of the National Theatre ensemble was reflected in the reviews of the Viennese critics, who were calling for German-language performances of Prodaná nevěsta on the stage of the Court Opera. On the basis of information from the archives of the Court Opera (Haus-, Hof- und Staatsarchiv), one can document the reasons why, as it turned out, the first Viennese (and German-language) stage to produce the opera was the Theater an der Wien in April 1893, and why the premiere at the Court Opera did not occur until three years later. The study also devotes attention to the first performers for both productions of Prodaná nevěsta and to the circumstances of the two Viennese premieres, which opened up the pathway to other stages around the world after a thirty-year delay.


2000 ◽  
Vol 44 (1) ◽  
pp. 62-70 ◽  
Author(s):  
Senda Akihiko

For the first time in English, we present many of Hijikata's aesthetic and poetic texts. These texts are put into context by Kurihara Nanako's introductory essay. The section includes an interview with Hijikata and a conversation between Hijikata and Japanese experimental theatre innovator Suzuki Tadashi.


2000 ◽  
Vol 44 (1) ◽  
pp. 29-33
Author(s):  
Kurihara Nanako

For the first time in English, we present many of Hijikata's aesthetic and poetic texts. These texts are put into context by Kurihara Nanako's introductory essay. The section includes an interview with Hijikata and a conversation between Hijikata and Japanese experimental theatre innovator Suzuki Tadashi.


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