En este artículo se estudia la idea de Europa que el poeta austríaco Hugo von Hofmannsthal desarrolla desde los albores de la Primera Guerra Mundial hasta entrada la República de Weimar. Hofmannsthal reivindica una idea de Europa que a la vez contenga, realice y supere a los Estados-nación; y cuyo núcleo no sería Alemania -excesivamente inclinada hacia el modelo prusiano como bloque homogéneo y cerrado sobre sí mismo-, sino Austria-Hungría -como Imperio duradero, nexo con Oriente, frontera fluida (...) y comunidad plural de pueblos diversos-. Con ello, Hofmannsthal se distancia de las tendencias dominantes en la Revolución Conservadora alemana. En primer lugar se presenta esta corriente, especialmente en la figura de Mœller van den Bruck; a continuación se exponen las reflexiones de Hofmannsthal sobre la guerra y sobre el modelo austríaco; finalmente se sintetiza su propuesta de una nueva idea de Europa. (shrink)

Dieser Aufsatz liest das während des Ersten Weltkriegs begonnene Lustspiel-Fragment Timon der Redner als einen Versuch Hofmannsthals, ausgehend von der Geldthematik und Figurentypik bei Shakespeare zu einer kritischen Inszenierung des modernen Massenstaates und dessen Sozialdynamiken zu gelangen. Hierbei stützte er sich auf sozialpsychologische Studien Sigmund Freuds und Gustave Le Bons sowie auf Max Webers Herrschaftssoziologie. Als Wirkungsabsicht hinter dieser Ironisierung des allegorisierten Masse-Führermodells zeichnet sich die Re-Etablierung von legitimen Autoritätsstrukturen im Faszinosum der Dichtung ab, welche das Politische authentisch gestaltet.

AbstractThis paper attempts to develop a comparative approach to the dream narratives of the Daoist philosopher Zhuang Zhou and the Austrian poet Hugo von Hofmannsthal. The analogous rhetorical function of the dream in their texts links the two authors from different cultures and traditions. As will be argued, in using dreams to stress a challenging and even deconstructive view of the so-called reality, both Zhuang and Hofmannsthal articulate their skepticism against substantial notions of human subjectivity and offer (...) an imaginary life-world which aims to remind us of the contingency of our being-forms. In so doing, they also shape an aesthetic way to keep oneself open to the perception and experience of the unbiased Dao or Being. Thus, their poetic texts can be read in the context of rethinking the boundary between our life and world. (shrink)

The purpose of this critical study is to examine the young Hugo von Hofmannsthal’s theory of form departing from the characterization that Kurt Breysig provides of his poetry as Treibhauskunst, that is, greenhouse art. It aims also to illustrate how Hofmannsthal finds in the theoretical developments of Gottfried Semper the most precise expression of his own concept of form. The main point of the paper is to show that, at the turn of the twentieth century, the metaphorization (...) and the figuration of the greenhouse derives from its architectural features both formal means and aesthetic attributes closely linked to moral values. (shrink)

Graf Egge, der Protagonist in Ludwig Ganghofers Schloß Hubertus, und Andreas, die Titelfigur in Hugo von Hofmannsthals gleichnamigem Romanfragment, stehen in einer vergleichbaren Konstellation: Beide projizieren ihre vielfältigen triebhaften Wünsche, die sie in der Welt der sozialen Bezüge nicht ausleben können, auf die Welt der Tiere, die sie nach Gutdünken lieben, quälen oder töten, um so ihren Empfindungen Ausdruck zu geben. Darüber hinaus imaginieren sie sich selbst als Tiere. Schließlich bündeln beide Romane diese Konstellation in Schlüsselszenen, die auf dieselbe (...) Quelle zurückgehen, nämlich einen Bilderbogen Max Arco-Zinnebergs, der eine Adlerjagd im Jahr 1860 beschreibt. (shrink)

"The king is dead. Long live the king!" In early modern Europe, the king's body was literally sovereign—and the right to rule was immediately transferrable to the next monarch in line upon the king's death. In The Royal Remains, Eric L. Santner argues that the "carnal" dimension of the structures and dynamics of sovereignty hasn't disappeared from politics. Instead, it migrated to a new location—the life of the people—where something royal continues to linger in the way we obsessively track and (...) measure the vicissitudes of our flesh. Santner demonstrates the ways in which democratic societies have continued many of the rituals and practices associated with kingship in displaced, distorted, and usually, unrecognizable forms. He proposes that those strange mental activities Freud first lumped under the category of the unconscious—which often manifest themselves in peculiar physical ways—are really the uncanny second life of these "royal remains," now animated in the body politic of modern neurotic subjects. Pairing Freud with Kafka, Carl Schmitt with Hugo von Hofmannsthal,and Ernst Kantorowicz with Rainer Maria Rilke, Santner generates brilliant readings of multiple texts and traditions of thought en route to reconsidering the sovereign imaginary. Ultimately, The Royal Remains locates much of modernity—from biopolitical controversies to modernist literary experiments—in this transition from subjecthood to secular citizenship. This major new work will make a bold and original contribution to discussions of politics, psychoanalysis, and modern art and literature. (shrink)

Grundzüge der Sprachphäomenologie Marc Richirs -- Phantasie, Phantasieleib und Interfaktizität -- Gewalt als Kurzschluss der Sinnbildung -- Phantasie und europäscher Geist -- Marc Richir zur Äthetik -- Liebe - Einbildung - Bildlichkeit. Phänomenologische Anmerkungen zu Max Frisch -- Zu Hugo von Hofmannsthals Die Wege und die Begegnungen -- Sprache und Sprachliches bei Kafka -- Canettis Die Stimmen von Marrakesch. Phäomenologische Nachklänge -- Gott als symbolischer Stifter und das Phäomen der Liebe in Kleists Amphitryon -- Sinnbildung in und mit Paul (...) Celans Gedichten. Sprachphäomenologische Interpretationen -- Poetische Bewegungen in Paul Celans Gedichten. Anabasis und Schlaf und Speise -- Das Problem der Leiblichkeit in Arnulf Rainers Face Farces -- Erlebte und erzeugte Serialität. Ein Beitrag zur phäomenologischen Medienanalyse. (shrink)

1. IntroductionIn his dissertation written under Wilhelm Hennis in 1991, Franz-Josef Ehrle was the first to write about the lecture “Probleme der Staatssoziolo-gie” (“Problems of State Sociology”) that Max Weber gave to the Vienna Sociological Society on October 25, 1917.1 Ehrle used as his source the report on the lecture published in the Neue Freie Presse on October 26, 1917.2 Ehrle also mentions a diary entry made by Josef Redlich, who was among the audience: “Thursday evening, a brilliant lecture by (...) Max Weber(Heidelberg) at the Sociological Society.”3 There exists a short biography of Redlich, taken from an excursus on “The Representatives of the (Bourgeois) Austrian Peace Movement” (“Die Vertreter der (bürgerlichen) österreichischen Friedensbewegung”): “Josef Redlich (1869–1936), jurist and politician, 1907–1918 MöAH (Deutsche Fortschrittspartei/German Progressive Party), Oct.–Nov. 1918, last Imperial and Royal Finance Minister.”4 Ehrle also indicates that Redlich met Max Weber in Vienna in 1909 at the General Congress of the Society for Social Politics (Verein für Sozialpolitik), but that Redlich’s acquaintance with Alfred Weber went back further (as shown in Redlich’s diary entry of September 2, 1909: “Saw Alfred Weber again”).5 Furthermore, a longer meeting with Max Weber is mentioned in Redlich’s diary in 1916 (on June 6).6 When Weber was staying in Vienna in 1917 and 1918, he also met privately with Redlich, and Arthur von Rosthorn attended one of these meetings with his wife (entry of May 9, 1918). Finally, Redlich wrote about his acquaintance with Max Weber in a letter to Hugo von Hofmannsthal on December 3, 1926. Ehrle summarizes Weber’s meetings in Vienna as being “limited primarily to his contacts from academia, economics (Hammerschlag), and politics (and, here, above all the economic field (Mataja, Riedl, Schüler)),” often encouraged by the fact that “academics held ministerial posts and ministers held academic posts.”7. (shrink)

Aus den Briefen Rainer Maria Rilkes.- Aus den Briefen Hugo von Hofmannsthals.- Gratulationen und Widmungen.- Deutungen und Würdigungen des Werkes und der Persönlichkeit.- Aus den Gesprächen mit Rudolf Kassner, von A. C. Kensik.- Aus den Briefen Rudolf Kassners.- Verzeichnis der Werke Rudolf Kassners (p. 243-248).

It is frequently noted that a “crisis in language” accompanied the profound changes in human consciousness everywhere evident near the turn of the century. As the nature of reality itself became problematic—or at least suspect, distrusted for its imposition of limits upon individual imagination—so, necessarily, did the relationship of language to reality. Thus in the later nineteenth century, the adequacy of an essentially standardized form of “classical” writing was increasingly questioned as an effective vehicle for artistic expression: even though often (...) in “elevated” form, such writing bore too close a connection to ordinary discourse. Indeed, it was precisely the mutually shared, conventional aspects of language that came to be most deeply distrusted for their failure to mirror the more subjective, obscure, and improbable manifestations of a transcendent reality or, rather, realities—the plural reflecting an insistence upon the optional and provisional nature of human experience. Language in its normal manifestations—with its conventionalized vocabulary and standardized rules for syntactical combination—proved inadequate for an artistic sensibility demanding, in Friedrich Nietzsche’s words, “a world of abnormally drawn perspectives.”This dissatisfaction with “normal” language received its classic statement through Hugo von Hofmannsthal’s Lord Chandos. Writing in 1902, Hofmannsthal conveys through the figure of the aristocratic Chandos the loss of an encompassing framework within which the various objects of external reality are connected with one another and integrated with the internal reality of human feelings. Chandos’ world has become one of disparate, disconnected fragments, resistant to the abstractions of ordinary language. It is a world characterized by “a sort of feverish thought, but thought in a material that is more immediate, more fluid, and more intense than that of language.” Chandos longs for a new language in which not a single word is known to me, a language in which mute objects speak to me and in which perhaps one day, in the grave, I will give account of myself before an unknown judge.”2 The content and forms of art thus shifted away from exterior reality, which no longer provided a stable, “given” material, toward language itself—to “pure” language in a sense closely related to the symbolists’ “pure” poetry. “No artist tolerates reality,” Nietzsche proclaimed.3 And Gustave Flaubert’s farsighted advice to himself was that he should write “a book about nothing, a book dependent on nothing external, which would be held together by the internal strength of its style.”4 2. Hugo von Hofmannsthal, “Ein Brief,” Gesammelte Werke, ed. Bernd Schoeller with Rudolf Hirsch, 10 vols. , 7:471-72; my translation. All further translations are my own unless otherwise indicated.3. Friedrich Nitzsche, Complete Works, ed. Oscar Levy, 18 vols. , vol. 15, The Will to Power, trans. Anthony M. Ludovici, p. 74.4. Gustave Flaubert, Flaubert to Louise Colet, 16 Jan. 1852, The Letters of Gustave Flaubert 1830-1857, ed. and trans. Francis Steegmuller , p. 154. Other passages in this letter are equally remarkable for their “modernist” tone. Flaubert argues that from the standpoint of l’Art pur, “one might almost establish the axiom that there is no such thing as subject—style in itself being an absolute manner of seeing things” . Further:The finest works are those that contain the least matter; the closer expression comes to thought, the closer language comes to coinciding and merging with it, the finer the result. I believe the future of Art lies in this direction. I see it, as it has developed from its beginnings, growing progressively more ethereal …. Form, in becoming more skillful, becomes attenuated, it leaves behind all liturgy, rule, measure; the epic is discarded in favor of the novel, verse in favor of prose; there is no longer any orthodoxy, and form is as free as the will of its creator. This progressive shedding of the burden of tradition can be observed everywhere: governments have gone through similar evolution, from oriental despotisms to the socialisms of the future. [P. 154] Robert P. Morgan, professor of music at the University of Chicago, is currently writing a history of twentieth-century music and working on a study of form in nineteenth-century music. His previous contributions to Critical Inquiry are “On the Analysis of Recent Music” and “Musical Time/Musical Space”. (shrink)

Innere Bilder sind fur das Auge nicht sichtbar, sie sind kein Objekt visueller Wahrnehmung. SIe treten vor das 'geistige Auge'. ZIel des vorliegenden Buches ist die Konzeptualisierung einer Disposition fur innere Bildlichkeit als Erkenntnisorgan neben der Sprache und im Zusammenwirken mit ihr. HErausgestellt wird ein bislang weniger beachtetes menschliches Vermogen, das zunachst als allgemein anthropologische Fahigkeit untersucht wird und in einem zweiten Schritt als spezifisch dichterisches Vermogen. ES stellen sich einige grundsatzliche Fragen: Was sind innere Bilder? Inwiefern sind sie relevant (...) fur unsere Orientierung und fur unseren Zugang zur Welt? Welche Rolle spielen innere Bilder im Hinblick auf Wahrnehmung, Vorstellung und Erkenntnis? Innere Bilder sind erkenntnistheoretisch gesehen eine Herausforderung - sprachliche oder kunstlerische Darstellungsweisen ermoglichen einen Zugang zu ihnen. DIe theoriebildende Arbeit dient im abschlieSSenden Teil des Buches als Instrumentarium fur Studien uber erzahlende Literatur folgender Autoren: E.T.A. HOffmann, Joseph von Eichendorff, Theodor Fontane, Hugo von Hofmannsthal und Thomas Bernhard. (shrink)

Gilles Deleuze, les vampires, Emil Cioran, Samuel Beckett, le dandysme, Friedrich Nietzsche, Raymond Roussel, Casanova, Arthur Schopenhauer, Jean-Luc Godard, Goscinny & Uderzo, Jean-Paul Sartre, Hugo von Hofmannsthal. Le réel, le double, l’illusion, le tragique, la joie, la musique, la philosophie, la politique, le péché, l’enseignement. Faits divers sont les miscellanées de Clément Rosset : le répertoire désordonné et jubilatoire de ses passions et de ses dégoûts, de ses intérêts et de ses bâillements, de ses tocades et de ses (...) coups de sang – ainsi que de la prodigieuse liberté de ton et de pensée avec laquelle il les exprime et les pense. Un des philosophes, un des écrivains les plus singuliers de notre temps revisite les coulisses de son œuvre. Et vous êtes invités. (shrink)

We investigate the parallelism between aesthetic experience and the practice of phenomenology using Viktor Shklovsky’s theory of “estrangement”. In his letter to Hugo von Hofmannsthal, Husserl claims that aesthetic and phenomenological experiences are similar; in the perception of a work of art we change our attitude in order to concentrate on how the things appear to us instead of what they are. A work of art “forces us into” the aesthetic attitude in the same way as the phenomenological (...) epoché drives us into the phenomenological one. The change of attitudes is a condition of possibility of aesthetic and/or phenomenological experience. Estrangement is an artistic device that breaks the routinized forms of perception: one sees the thing as new and does not just “recognize” it automatically. Shklovsky insists that it is possible if one experiences or feels the form of the work of art—in an affective and even sensuous way. We claim that this is similar to the phenomenological seeing, or intuition, which, according to Husserl, should be devoid of all understanding. Phenomenological epoché can also be described as a philosophical technique that aims to arrest the “ready-made,” “taken for granted,” “pre-given” meanings in order to access a new meaning which is not yet stabilized, the “meaning-in-formation.” It is not enough to turn from what appears to how it appears; one has to oscillate between these conflicting attitudes, or rather to keep them both at the same time thus gaining a kind of a 3D-vision of meaning in its becoming. This double life in two different attitudes can be clarified in terms of Roman Jakobson’s theory of antinomic coexistence between the poetic and communicative functions of language. The notion of “double life in two attitudes” uncovers the role that ostranenie can play in the philosophical transformation of the subject based on variety and essential mobility of the affective components involved. Proposing a phenomenological interpretation of a passage from Samuel Beckett we show how the radicalization of ostranenie can lead even to “meta-estrangement”: to estrangement of the everyday “lack of estrangement.” We conclude with a remark on the productivity of this form of estrangement in the phenomenological context. (shrink)

The article is devoted to reception of Austrian literature before the Second World War in Wiadomości Literackie. It was the most popular letter, whose aim was to educate society, and popularize foreign literature and culture. The literature that was most often promoted was French literature, but also German-speaking authors were discussed. Austrian literature was not treated as distinct from German literature during that time but nontheless, the articles presents artists, of Austrian origin: Joseph Roth, Stefan Zweig, Rainer Maria Rilke, (...) class='Hi'>Hugo von Hofmannsthal, Arthur Schnitzler, Odon von Horváth, Franz Werfel and others. The article examines interviews with these writers as well as reviews their books and other texts which appeared in Wiadomości Literackie. (shrink)

ArgumentWhen Copernicus pointed out that the apparent movement of the sun was in fact the effect of the rotation of the earth, he explained his view by referring to a passage in Virgil's Aeneid. Thus he established the link between science and literature. This topic recurred frequently in both science and literature whenever the question of the relativity of motion arose. In this article, I will focus above all on two authors who took up this question: Ernst Mach and (...) class='Hi'>Hugo von Hofmannsthal. Moreover I will try to show the different roles of scientific and literary prose in the works of Mach and in Hofmannsthal's Das Glück am Weg. (shrink)

Leyendo algunos textos «marginales» de Jacques Derrida, especialmente en sus últimos trabajos, desde la perspectiva de las relaciones entre la experiencia biográfica y los intereses filosóficos, este ensayo trata, por un lado, de las reflexiones del filósofo acerca del cine como un desarrollo de la tradición contemporánea fundada muy particularmente por Walter Benjamin y Hugo von Hofmannsthal; y por otro, el artículo se centra en el «fantasma» o «espectro»: un concepto básico a la par que clásico tanto del (...) cinematógrafo como del psicoanálisis. De este modo, se quiere mostrar cómo el pensamiento derridiano introduce una variación radical y original en la estética moderna, incluyendo su primera o primitiva acepción: «percepción por los sentidos». -/- Based on the reading of some marginal texts of Jacques Derrida, especially his later works, from the perspective of the relation between biographical experience and philosophical interests, this essay deals, on one hand, with this philosopher´s reflections as to Cinema and its development as a contemporary tradition, as founded very particularly by Walter Benjamin and Hugo von Hofmannsthal. On the other hand, this papers concentrates on another basic and also classical concept of Cinema and psychoanalysis: the concept of phantom or spectre. In this way, the intention is to show how derridian thought introduces a radical and original variation in modern esthetics, including its first or primitive acceptation or perception by the senses. (shrink)

The existence of extensive written communications between Verdi and his librettists should have prompted scholars to prepare editions of the correspondence and to analyze its meaning and implications. Only rarely can we participate directly in the formative stages of an opera, and available material such as the correspondence between Richard Strauss and Hugo von Hofmannsthal is invaluable.1 Obeisance, at least, has been done to Verdi's correspondence. Alessandro Luzio calls the letters of Verdi to Antonio Ghislanzoni, "versifier" of Aida (...) , "the most marvelous course in musical aesthetics in action." Yet, for no opera do we have available a complete editions of the surviving letters between Verdi and a librettist. · 1. Willi Schuh, ed., Richard Strauss - Hugo von Hofmannsthal: Briedwechsel, 4th ed. . An English edition, made from an earlier German edition with many omissions, was published as A Working Friendship: The Correspondence between Richard Strauss and Hugo von Hofmannsthal, trans. Hans Hammelmann and Ewald Osers . Philip Gossett is the general editor of the critical edition of the works of Rossini and author of numerous articles on Renaissance music, Italian opera, Beethoven, and musical theory. (shrink)

In der Buchreihe Deutsche Neudrucke werden Texte der Barockliteratur in originalgetreuen Nachdrucken zeitgenössischer Ausgaben wieder zugänglich gemacht. Den einzelnen Bänden sind jeweils Register, Bibliographien und ein Nachwort zur Überlieferung und geistesgeschichtlichen Stellung der Texte beigegeben.

Wir sind Teil einer Natur, die uns übersteigt - Grund genug, die Natur wieder zum Gegenstand philosophischer Reflexionen zu machen. Durch den Essentialismus-Verdacht schien der Begriff bereits für die Philosophie disqualifiziert. Doch Robert Hugo Ziegler zeigt, gestützt unter anderem auf Lukrez und Spinoza, dass die Natur, sobald man sie ernsthaft ins Auge fasst, alles andere als essentialistisch ist. Er ordnet das philosophische Problem der Natur damit in eine Wiederentdeckung metaphysischer Fragestellungen ein, die er originell vorantreibt - und beweist, dass (...) sich die Philosophie dadurch nicht nur zur bloßen Kommentatorin der Naturwissenschaften machen muss. (shrink)

Friedrich Schleiermacher is among the philosophers who influenced Karoline von Günderrode's thought. Although this influence is relevant, it has received little attention. Both authors agree on distinguishing “spirit” and “body” or “the inner and the outer” in similar terms. However, there was a significant difference between them. In Schleiermacher's works that Günderrode considered (On Religion and Soliloquies), he conceives of the relationship as one in which the world or outer depends on the spirit or inner. For Günderrode, this relationship is (...) polar, as “spirit” and “world” form part of an original totality. This difference from the philosopher influences the issue that both raised of access to the “primordial ground.” For Schleiermacher, the world depends on spirit; the issue of access to that foundation is circumscribed to access to the spiritual dimension. In contrast, for Günderrode, “spirit” and “body” are poles of a previous original totality. Hence, access to the primordial ground does not coincide with the spirit's access to itself. Instead, access to unity is both spiritual and corporeal. Günderrode's differences from Schleiermacher are based on an argument we attempt to elucidate and evaluate in this article. (shrink)

Seckendorff's »Teutsche Reden« of 1691 and the outline of his ideas on natural law published with them are a uniquely eloquent testimony of German Baroque culture. Seckendorff was the only 17th century aristocratic practitioner of courtly and political life to publish a number of his speeches in book form during his own lifetime and to supplement them with a theoretical superstructure substantiating his practical convictions. The text is centrally concerned with the connection between civilization and language culture and the dependence (...) of public speaking on the nature of the state. Seckendorff's unfinished outline of natural law betokens the critical engagement with the rise of secular natural law by a genuinely significant theoretician on the essential issues posed by government and administration. (shrink)