A hugely important book that rediscovers three crucial, but long overlooked themes in German idealism: mythology, madness and laughter.

This article examines the respective interpretations of the Arrernte tribe of central Australian Aborigines adopted by the English biologist Baldwin Spencer and the German missionary Carl Strehlow. These interpretations are explored in relation to the broader theoretical debates in the theory of myth that took place in England and Germany in the latter half of the 19th century. In Britain, these debates were initially shaped by the comparative philology of F. Max Müller, before being transformed by the evolutionism of Edward (...) Burnett Tylor and James George Frazer. The article shows how the research of Spencer and Strehlow was both influenced by and exerted an influence upon these theoretical debates, before assessing their research findings in relation to the philosophical hermeneutics of Hans-Georg Gadamer and the theories of myth offered by Theodor W. Adorno, Max Horkheimer and Hans Blumenberg. (shrink)

The paper aims to investigate the thesis of the so-called Neue Mythologie within the fragment entitled “Das älteste Systemprogramm des deutschen Idealismus” [“The Oldest Systematic Program of German Idealism”]. The latter presents a revolutionary project of social pedagogy linked to the use of the aesthetic character of myth and poetry in the formation of the conscience and the intellect of the people. The program, therefore, formulates a fertile dialogue between the emancipatory potential of the Enlightenment and Jena Romanticism, in that (...) it proposes a re-evaluation of feelings and Sinnlichkeit [sensuousness] in connection to modern rationality and freedom. The links between the rational mythology of the program and Hegelian philosophy will be explored, starting from his early writings, which are strictly concerned with the importance of a popular and sensuous religion (Volksreligion). Secondly, the work will retrace the same sensuous externalization of philosophical ideas within the relationships between art, religion and philosophy in the mature system, addressing the problem of Hegel’s change of heart regarding art and mythology between the two phases of his thought. In the end the value of symbolical mediation of concepts and idea will be established. (shrink)

Why was mythology of vital importance for the romantics? What role did mythology play in their philosophical and literary work? And what common sources of influence inspired these writers across Britain and Germany at the turn of the nineteenth century? In this wide-ranging study, Owen Ware argues that the romantics turned to mythology for its potential to transform how we see ourselves, others, and the world. Engaging with authors such as William Blake, Friedrich Schlegel, Samuel Taylor Coleridge, Friedrich von Hardenberg (...) (Novalis), and Percy Bysshe Shelley, Ware shows why they believed that neither perception nor reason alone can sustain a vision of the unity of all things. A new mode of cognition is necessary, they claimed, one that revives the poetic origin of mythology and reveals our own mythmaking powers. _Return of the Gods_ investigates the rise of mythology in the British and German traditions and the romantics’ practices of reinterpreting old myths and inventing new ones. Their shared aim was nothing less than to elevate the human imagination to higher stages of self-development in which philosophy and poetry, as well as intellect and imagination, form an integrated whole. Far from calling us to return to the past, the romantics’ work on mythology points us to a future where we can live in harmony with the personal, social, and natural worlds we inhabit. Owen Ware combines intellectual history with philosophical analysis and literary criticism to offer a bold reflection on why mythology mattered for the romantics—and why it still matters today. (shrink)

Habermas explained the attraction of German Idealism to twentieth century Jewish philosophers by appealing to the impact of kabbalah on the German Idealists. Schelling was his principal example. In this article, I trace two lines of Jewish reception of Schelling in the nineteenth century. Among German-Jewish thinkers, Schelling was attractive because of his philosophy of mythology, not because of his relation to kabbalah. Among Galician-Jewish thinkers, Schelling was attractive because of what they took to be his non-mythological version of kabbalah. (...) In both cases, Schelling offered a middle road between, on the one hand, traditionalist rejection of modernity and non-Jewish philosophy and, on the other, varieties of antinomianism. (shrink)

Explores the metaphysical, epistemological, and hermeneutical theories of Schelling’s final system concerning the nature and meaning of religious mythology.

The following article is intended as a contribution to a reorientation of approaches to the treatment of the historical development of the concept of subjectivity. It argues for a fundamental continuity between German Idealist philosophy and Jungian psychoanalysis on certain fundamental aspects of selfhood. These continuities might seriously question certain key assumptions about the nature of 'modernity', notably as a period marked by exaggerated claims on self-identity and reflexivity. It is suggested that such claims are largely the result of the (...) Hegelian interpretation of the early Fichtean system, an interpretation that utilizes only one aspect of the intellectual resources made available by the early system of J. G. Fichte. Such an appropriation might be sub sumed under the rubric of 'Geist'. This article attempts to retrieve the other aspects of Fichte's system - the concepts of drive and primordial images; the emphasis on the 'subject' as a self-diremptive energy-flow; the aspect that points to Schopenhauer and beyond. (shrink)

This book offers an important reappraisal of Schelling's philosophy and his relationship to German Idealism. Focusing on Schelling's self-critique in early identity philosophy the author rejects those criticisms of Schelling made by both Hegel and Heidegger. This work significantly redraws the boundaries of metaphysical thinking, arguing for a dialogue between rational philosophy, mythology and cosmology.

The new mythology for which the German Romantic period called was not envisioned as antithetical to empiricism or experiential/experimental knowledge, but rather as emerging in dialogue with it to form a cultural foundation for such inquiry. Central to the mytho-scientific project were problematic theories of sexual division and generativity that established cultural baselines. This article examines the mythological investments of two influential thinkers of the period—Goethe and Schelling. It then analyzes Goethe’s unique merger of mythological approaches to sex and generation (...) with empirical observation in The Metamorphosis of Plants. It next traces Schelling’s expansion of Goethe’s theories of nature beyond their empirical justifications to develop a metaphysics of sexual differentiation. Finally, the article illuminates Goethe’s final reply to the sexual dynamics of Naturphilosophie at the end of his life, through the analysis of a single poem, “Finding Again,” in the collection God and World. Ultimately and in spite of its empirical commitments, Goethe’s more flexible view of sexual correlations would lose ground to the powerful metaphysical mythology of sexual opposition as both scientific and cultural bedrock. (shrink)

In this paper I propose to study the different combinations between temporality and the idea of totality in the beginning of Classical German Philosophy. In order to do that I will analyze the image of liberation in the philosophical and practical articulation of a new mythology in the manuscript “The Oldest Systematic Program of German Idealism”, and the outlines of a theory of the Spirit in the documents written by Hegel in the first part of his Jena stage, more specifically, (...) in the fragments of the period 1803/04. For this purpose I will take as specific objects the figures of an “eternal unity” [dieewige Einheit] to come and of an “absolute becoming” [das absolute Werden] of Spirit. The hypothesis I intend to develop holds that the confrontation of these two images can lead to duplicated consequences: on the one hand, this comparison would make it possible to relativize the binary readings that oppose as terms of a simple contradiction both conceptual lineages, Idealism and Romanticism. On the other hand it would express an insurmountable tension between two ways of thinking about the relationship between time and totality. (shrink)

The word “romanticism” designates in German as in other European languages a broad movement in literature that originated at the beginning of the nineteenth century and has often been characterized as an opposition to the preceding age of rationalism and Enlightenment. Situated between the classicist schools of taste of the previous century and the realistic and naturalistic trends in literature of the later nineteenth century, Romanticism or romantic literature is the product of the creative power of the imagination; it appeals (...) to the emotions, has a preference for the mysterious aspects of nature, and shows a strong predilection for the past, the Middle Ages, and mythological traditions. With its strong affinity to the novel, romantic literature departs from the classical forms and the classicist canon of literature, but when these classical forms were nevertheless used by the authors of this movement, something new was created – the romantic tale, the romantic drama, and romantic poetry. The great romantic authors in Germany were E. T. A. Hoffmann, Eichendorff, Brentano, Arnim, and Fouqué. There is both a narrower and a broader notion of Romanticism in Germany, the broader also relating to painting (Friedrich, Runge) and music (Schumann, Schubert, Mendelssohn, Bartholdy, Wagner). Romanticism had a great impact on the general view of the world and was influential in the rise of the historical consciousness, the revival of a religious spirit, and the emergence of a conservative political attitude. As far as philosophy and the sciences are concerned, Romanticism is associated with figures such as Schelling and Schopenhauer, the development of a philosophy of art, of nature, and of the subconscious. On the whole, Romanticism is one of those movements that shaped an entire age and manifested itself down to the most particular features of popular belief and scientific interest. (shrink)

After the Second World War, German intellectuals who opposed the Nazi regime, faced a crisis of consciousness. They were concerned with a critical analysis, which involved every aspect and even the very essence of their culture. In this contribution, I will turn my attention to some segments of this debate on myth, irrationality and nihilism within the field of classical scholarship and history of religions, approaching as samples the correspondence of three scholars, who are representative for three generations before, during (...) and after WWII: the Nobel Prize winner Thomas Mann, the Hungarian mythologist Karolyi Kerényi and the Italian mythologist Furio Jesi, theorist and critic of the right-wing culture. In the work and reflection of all these authors, Friedrich Nietzsche will play a key role. (shrink)

In 1935, the Russian linguist Prince Nicolai S. Trubetskoi and the French mythologist Georges Dumézil engaged in a vicious debate over a seemingly obscure subject: the structure of Northwest Caucasian languages. Based on unknown archival material in French, German, and Russian, this essay uses the debate as a pathway into the 1930s scientific and political stakes of IndoEuropeanism – the belief that European cultures emerged through the spread of a single IndoEuropean people out of a single “motherland.” Each of the (...) two authors held strong commitments to visions of European order and its origins – in “Eurasia” for Trubetskoi and a Northern European Heimat for Dumézil. The North Caucasus, long a privileged site for Russian and European scholars, now became key to the renegotiation of the origins and reach of imagined prehistoric IndoEuropean conquerors, but also the 1930s’ debate over the value of different disciplines for the origins of language, myth, and the European deep past. As a moment in the history of modern speculations about prehistory, pursued in the shadow of Nazi scholarship, the debate transformed fields of research – notably linguistics, comparative mythology, and structuralism – and the assumptions about the shape of Europe. (shrink)

On the basis of analysis of Russian and foreign scholars, the work is aimed at studying the specificity of the transformation of antique stories and images, which is the desired model in the art of the 20th century thanks to its fluidity and unlimited variability. Actualization of antique stories and images in the works of German-language writers account for life-changing moments of social life, the periods of losing of constant moral landmarks and the periods of looking for new moral and (...) aesthetic ideals. The analysis of the reception and transformation of mythological stories and images in the contemporary literature proves the conception of its polysemy. The built-in contradiction of myths is realized through the transformation of mythological stories and images in the literary works of contemporary writers and is explained by the individuality of writers and theirs aesthetic aims. On the one side, the absence de facto in German drama of the 20th century of interpretations of the story about Achilles and of the image of Achilles, and numerous variations on the topic of moral strivings of fearless and peccant Ulysses, on the other side, are proving the statements of classic aesthetic that the tragedy is based on the conflict, which is close to lofty and linked with the idea of dignity of the man, which is ready and capable of promoting the views of his own by the real acts that are often lead to suffer and death. According to Aristotle, the sympathy for the character leads to catharsis - the basis of education of real civic-mindedness and humanness. (shrink)

I explore how the "synthesis of history and nature" that defines the Anthropocene might signal the advent of the “new mythology” Schelling hoped would emerge from his Naturphilosophie. The epistemological dimension of this new mythology is to be understood through Schelling’s idea of Mitwissenschaft, in which humanity is the essential active agent in the reflexive system of the world. Such an inquiry derives not from a sentimental longing for an enchanted world, but from the impending “annihilation of nature” Schelling foresaw (...) in 1804. The resulting organic episteme introduces a new realism in which nature, because absolute, becomes normative. (shrink)

Largely neglected today, the work of Karl Philipp Moritz was a highly influential source for Early German Romanticism. Moritz considered the form of myth as essential to the absolute nature of the divine subject. This defence was based upon his aesthetic theory, which held that beautiful art was “disinterested”, or complete in itself. For Moritz, Myth, like art, constitutes a totality providing an idiom free from restriction in the imitation of the divine. This examination offers a consideration of Moritz’s aesthetics (...) and mythography, before turning briefly to consider his influence on the authors of Early German Romanticism. An understanding of the role of Moritz’s thought supports a number of recent claims that challenge the conventional reading of Romanticism. At the same time it allows us to see Romanticism’s unconventional realist theological programme, permitting us to overcome the problematic secularising readings of the movement. I would like to thank Kurt Mueller-Vollmer, as well as Fredrick Beiser and Lars Fischer for their help with this project. (shrink)

In this thesis I investigate the notion of experience in German Idealist Philosophy. I focus on the exploration of an alternative to the transcendental model notion of experience through Schelling's insight into the notion of logogrif. The structural division of this project into two sections reflects the two theoretical standpoints of this project, namely the logic and the logogrif of experience. The first section - the logic of experience - explores the notion of experience provided in Kant's Critique of Pure (...) Reason, Critique of Judgement and Fichte's Science of Knowledge. I argue that Kant's fundamental question about the possibility of synthetic a priori judgements succeeds in thematising the aporia of cognitive experience but results in a subject-oriented, representational model which radically confines the notion of experience to the constitutive laws of the understanding or to the normative precepts of Reason. Experience is founded upon a sharp division between faith and knowledge, will and logic, desire and reflection, absolute and finitude. Fichte's endeavour to articulate a non-representational account of experience, does not succeed in extricating itself from the representational model, so long as experience is reduced to the ever-producing deeds of the self-positing ego. Despite the serious differences between Kant's and Fichte's notions of experience, both accounts, so long as they unfold from a transcendental standpoint, attempt to resolve experience into conceptual laws or determinations of the ego's absolute will. Experience is transformed into an object of the subject's cognitive or volitional faculties. The paradoxes of man's interaction with the world are intended to be accommodated either by the law-giving spontaneity of the understanding and the Architectonic of Pure Reason or by the overpowerful primordial act of the self-positing ego. This implies the conceptualisation of the self in terms of constant identity-through-time, or sheer self-determination. However, this conceptualisation remains at the normative or prescriptive level, which in turn is projected upon the world. The latter, though appears as the subject's property, essentially remains alien and opaque, confirming the radical limitations of the ego rather than its order-giving authority. Moreover, this notion of experience is ultimately founded upon a radical expulsion of the divine from the world, the de-spiritualisation of the sensual and the de-sensualisation of the spiritual, the sharp juxtaposition between absolute and finitude. This results in a self-defeating subjectivity, whose firm identity and rule-giving authority does not rescue it from its perennial unattainability to 'organise the conditioned' or 'conquer the unconditioned'. In Kant's and Fichte's thought, however, I detect elements that potentially transgress their transcendental account of experience. These are found in Kant's concept of spontaneity and free play between understanding and imagination, and Fichte's concept of productivity. I argue that these elements lose their potential dynamism, so long as they are absorbed by the transcendental demands for the solution of the aporias of logic. However, these elements point to the need for a radical re-conceptualisation of the notion of experience. This is provided by means of Schelling's logogriflic approach, which constitutes the theme of the second section. The second section - the logogrif of experience - attempts to articulate a different approach towards the notion of experience, through an exploration of Schelling's versatile and provocative thought. This section focuses on Schelling's original insight into the notion and act of logogrif, which opens the dialogue between logos and mythos, cosmic becoming and human soul, cosmic imagination and human reflection, faith and knowledge. This section attempts to illuminate Schelling's fascinating philosophical investigations and discoveries that have been rather overlooked, possibly, due to Hegel's overwhelming critique. This section, after a brief critical examination of the Identity Philosophy, attempts to elucidate Schelling's notion of experience through his middle works, Of Human Freedom, Ages of the World, The Deities of Samothrace, which are treated as a self-developing trilogy. Schelling re-addresses the aporias of logic not as part of Reason's self-interrogation but as part of the cosmic paradoxes and living experiences. In this way, Schelling resets the scene of the debate on the conditions of possibility for cognitive experience by putting on the stage the enigmas of the cosmos and life rather than the Tribunal of Reason. Logic itself is conceived as a potency in the cosmic becoming, and consequently can no longer attempt to establish the transcendental conditions for the possibility of cognitive experience. Cosmic becoming, in which man is an active part, is conceived as the process of the movement, the interaction, the transformations and transmutations of multiple potencies. These, far beyond any mechanical conceptualisation, appear as self-moving and yet interdependent, unknown yet familiar, inscrutable and yet manifest powers, describing the mystery of life itself. The latter is depicted as an ever-recurrent act of longing for self-expression as active unity. Experience is conceived as the lived process of a network of living potencies, which may not only resist rational powers but may also puzzle and seize them. In this context, reflection acquires a plastic dimension, as opposed to its rigidity in the representational model of experience. Reflection depicts cosmic longing's self-formation, whose man is part. This self-bending formation partially illuminates the nature of longing, and from this standpoint is the logic of the longing. However, this formation is movable, transmutable and mostly ineffable, and from this standpoint is the logic of a riddle: a logogrif. Logogrif is the transitive term that attempts to describe the transition of experience from its enacted phase to its allusive conceptual utterance, and in this sense the term itself participates in both phases, as both form of thought and form of life. The logogrific approach to experience in turn transposes us as from the realm of pure concepts to the realm of the mystery of life, from pure thought to acts of longing, from the Architectonic of Pure Reason to Cosmic Theurgy. The latter term attempts to grasp the paradox and dynamism of cosmic and non-cosmic becoming by means of multiple, vanishing and ever-recurring, transmutable potencies, or in Schelling's terms 'the magic of insoluble life'. Schelling's logogrific account consists in a powerful voice for the re-enchantment of the world, the introduction into the notion of experience of the imminence of the divine. This is not suggested in terms of the adoption of old religious doctrines but by means of the discovery and re-discovery of the theurgy of life, through the intensification of our artistic mood, the creative expansion of our deeds. This notion of experience allows for the reconsideration of the notion of the self, in terms of a dynamic, conflictual process between conscious and unconscious powers and the critical revaluation of the accounts of subjectivity which reduce it to the sphere of self-consciousness. The thesis concludes with the need for an investigation into the relation between logos and mythos, which only tangentially has been introduced by the present project. In this context it will be possible to re-appraise the potential that the logogrific approach opens for an alternative to both logical and traditional mythological patterns of thinking. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Past, Present—and Future Perfect?Taking Psychiatry Beyond Its Single Message MythologiesK. W. M. Fulford (bio)I am grateful to John Sadler and his colleagues for their generous invitation to contribute to this collection marking Philosophy, Psychiatry, & Psychology (PPP)'s thirtieth birthday. True to our editorial tradition of "no nonsense" publishing, the "ask" was a reflection on PPP's past, present and future, limited to 500 words. In fact, one word does it (...) for me—collegiality.Collegiality was our watch word from the start. I still treasure a group photo taken at an early pre-meeting of the Association for the Advancement of Philosophy and Psychiatry (AAPP) convened by Michael Schwartz at his home in 1992, when, among other initiatives, PPP was conceived through transferring our then-nascent journal proposal from a small British publishing house to its current international publisher, the Johns Hopkins University Press. Michael and I had met earlier by phone when he had called the Royal College of Psychiatrists in London to enquire about its recently launched Philosophy Group and (by mere chance) I happened to be standing next to the person who took the call! PPP, with John and myself its founder editors, was subsequently born as, and has remained, a joint venture between our two groups: and Peter Zachar's recent initiative in building closer links with the International Network for Philosophy and Psychiatry (INPP) has taken us an important step towards the vision shared by Michael, John and myself that PPP should grow to reflect and represent a global open society of philosophy and mental health.As a pointer to the future, this global open society was no mere utopian vision but a joint commitment to what we conceived as a necessary ambition. Contemporary disenchantment with the repeated failures of translation of current narrowly empirical models of psychiatry, points to the truth of our German colleague, Paul Hoff's, characterization of the history of psychiatry as a history of serial collapses into single message mythologies. This disenchantment might seem to offer an opportunity for colonial expansion of philosophy into psychiatry (a re-assertion, perhaps, of phenomenology?). But PPP was born out of the "decade of the brain" and has remained throughout an ally of, not competitor to, the neurosciences. [End Page 3] So, while it is true that, with Peter's initiative, and with editorial and other innovations introduced by John, PPP is actively extending its reach (to new areas of philosophy, and to new voices, informed notably by experience as well as by training), this expansion remains a collegial not colonial enlargement of the field. I need hardly point to the challenges presented by the inclusive ambitions of such enlargement (not least to maintaining the highest standards of editorial and peer review). But PPP's collegiality provides the foundation for the work needed to deliver on these challenges. Even if imperfectly realized, this collegiality will help to take us beyond the single message mythologies by which our discipline has too long been hobbled. [End Page 4]K. W. M. Fulford K.W.M. (Bill) Fulford is a Fellow of St Catherine's College and Member of the Philosophy Faculty, University of Oxford; Emeritus Professor of Philosophy and Mental Health, University of Warwick Medical School; and Founder Director of the Collaborating Centre for Values-based Practice, St Catherine's College, Oxford (valuesbasedpractice.org).Copyright © 2023 Johns Hopkins University Press... (shrink)

ABSTRACT This article reevaluates Hölderlin’s social and political thought in the 1790s. Against Georg Lukács, it argues that Hölderlin’s politics of the new mythology, while utopian, are not mystical. In the Fragment of Philosophical Letters and the Oldest System-Programme of German Idealism, Hölderlin instead articulates two fundamental claims. Socially, the new mythical collectivity must elevate (erheben) the social relations produced by bourgeois society, exalting them in aesthetic-religious form, rather than sublating (aufheben) them, modifying both their form and their content. Politically, (...) realizing this new collectivity requires transcending the state, and so is essentially revolutionary. Hölderlin’s prosaic writings thus supplement Hyperion’s romantic critique of modernity. They take as their point of departure a sober exposition of the social relations of the market emerging in Hölderlin’s time and, from within these relations, excavate a new mythical collectivity capable of suturing the fragmentary divisions of modern life. (shrink)

Dr Schaffer outlines the development of the mythological school of European Biblical criticism, especially its German origins and its reception in England, and studies the influence of this movement in the work of specific writers: Coleridge Hölderlin, Browning, and George Eliot. The 'higher criticism' treated sacred scripture as literature and as history, as the product of its time, and the highest expression of a developing group consciousness; it challenged current views on the authorship and dating of the Pentateuch and the (...) Gospels, on inspiration, prophecy, and canonicity, and formulated a new apologetics closely linked with the growth of Romantic aesthetics. The importance of this study is that it shows that readings of specific literary texts can intersect with general movements of thought and action through the scrutiny of a clearly defined intellectual discipline, here the higher criticism, which developed as a particular expression of the larger trends in the history of the period. Dr Shaffer throws light on individual works of literature, the formation between England and Germany, and the bases of European Romanticism. (shrink)

Long since forgotten, Walter Flex's war-time novel The Wanderer Between the Two Worlds was one of the most popular publications during the First World War and, indeed, one of the best selling German novels in the 20th-century. While Flex's novel contributed to the sacrificial and nationalistic discourse that dominated the spiritual mobilization of German writers and intellectuals during the war, the aim of this paper is to revisit Flex’s exemplary novel in order to outline a new matrix of intelligibility for (...) an understanding of the discourse of sacrifice during the First World War. Although the focus here remains on Flex’s Der Wanderer and its German context of nationalism, this proposed analysis serves as a case-study of sacrificial discourse within the broader horizon of the relations between sacrificial discourse, the secular religious enterprise of nationalism, and the shaping of political affects. As this paper seeks to demonstrate, couched within an ideological mythologization of the experience of war, Flex’s novel nonetheless contains anthropological and cultural insights into the tenacity of sacrificial discourse for nationalism and modern social solidarity. (shrink)

In the article three tragedies: ‘The Battle of Arminius‘ by Christian Dietrich Grabbe, ‘Nibelungs‘ by Friedrich Hebbel, ‘The Ring of the Nibelung‘ by Richard Wagner are considered. The aim of this paper is to investigate how history reception and mythological material correlates with the idea of national identity. The comparative-historical, typological and historical-genetic methods are applied in this publication. The genres of historical, philosophical and mythological tragedy became the most popular genres in the socio-political conditions in the 30s of the (...) 19th century in Germany. Grabbe underlines the idea of the presence of the ‘local‘ regional history within the framework of the ‘big‘ and significant one. Grabbe paid attention to the historical process and historical figures, not to any particular historical event. In his last work, tragedy ‘The Battle of Arminius‘, Grabbe showed his understanding of the country’s historical origins and the creation of a national myth. F. Hebbel and R. Wagner comprehend the images and motifs of Norse mythology as a universal model of human existence. While interpreting the story of Nibelungs, F. Hebbel notes not only its national roots but its universal source; he models the image of the world through the prism of the microcosm of Burgundians/Nibelungs. Wagner’s tetralogy is not so much an interpretation as a creation of the ‘new myth‘. The images of Arminius and Siegfried have the features of the archaic primal forefather, ‘cultural hero‘ of the nation, who intimately related with Nature and home ground. Myth and mythological history are not only the tools of attainment of national identity but the means of reversion the modern man to the lost harmony of the Universe, which pertains to the mythological mind. (shrink)

The evolutionist theories of Bachofen on the priority of matriarchy are today no more than one of the most unusual pieces of the historical museum of anthropology. The wealth and diversity of historical and literary sources therein are juxtaposed with the construction of a conjectural chronology organizing the relationship between the sexes in a progressive mode and in accordance with an immanent finality. But it is also necessary to distinguish, on the one hand, Bachofen's historicism as an expression of the (...) evolutionist tendencies of that time, based on natural sciences and the results of Darwin's work, and, on the other, interest in the inter-sexual relationship within the social institution. For the invention of successive stages in order to propose a social history of sexuality is based as much on evolutionism as on constitutive psychic representations of the individual. By projecting these representations into a pseudo-historical period and by ordering them, at each level, in terms of the two parameters of domination / subjection and collectivity / individuality, Bachofen assigned semantics to history and an evolutionary sense to transformations in marriage and the family. And by conferring historical validity on the myths of Antiquity, he set forth an implicit denial both of the work of the imagination (not to say sub-conscious, which would be an anachronism for this pre-Freudian period) as well as of ideological ruses in the political field. Bachovian evolutionism thus developed a new myth out of the ancient myths, false witnesses of the past but authentic representatives of the ahistorical present of the psyche, endowing with scientific color the image of humanity progressing from dominance of the mother and collectivism to the triumph of the father and individualism. The idea of “matriarchy” (Mutterrecht) in Bachofen is indeed to be taken in the sense of “maternal dominance” (as the German expression better suggests), and not that of political power of women. (shrink)

1. Bd. Einleitung. Der altarische Himmelsgott, das höchste gute Wesen. -- 2. Bd. Naturverehrung und Lebensfeste.

This article argues that the discovery of unconscious elements grounding consciousness and its formation processes has favored since Kant a critical vision of the sense of history and a new comprehension of the role of mythology for human consciousnes. The study of this critical movement of reason begins 1) with some discoveries in German Classical Philosophy about the pressupositions of consciousness, which led the subsequent thought 2) to understand history as a “fall”. Schelling’s analysis of the landmarks of the past (...) – ruins, megaliths, archaic texts – shows thus historical consciousness grounded on an immemorial past from which it frees itself by a revelation. 3) The discussion of mythology as an essential phemomenon for historical consciousness leads, according to Schelling, to a litteral or “tautegorical” interpretation of myths, and 4) to an essentially mythological conception of language and meaning in general. 5) Schelling conceptions are then compared with some philosophical thought about history in the 20th century, viz. Husserl’s thesis about the relation between history and consciousness and 6) Adorno and Horkheimer’s thought about the relation between myth and Aufklärung. As a conclusion, 7) Schelling’s idea of a philosophy of identity is compared with Adorno’s conception of the non-identical, specially regarding the comprehension of historical time and its birth, and the European consciousness of colonization and violence. (shrink)

This book presents and evaluates the late philosophy (Spätphilosophie) of F. W. J. Schelling (1775-1854) across a wide range of issues, ranging from relation between pure thinking and being, to the philosophy of mythology and religion, to the philosophy of history, to questions concerning the philosophy of nature and freedom. Simultaneously, it discusses Hegel's treatment of similar issues, and systematically compares the two thinkers. This is the first time, in an English-language publication, that these two major German Idealists have been (...) compared in such detail along such a broad front. The book begins with three chapters exploring the development of Schelling's thinking concerning transcendental philosophy, nature and teleology, human freedom, and the theory of history, from his earliest publications up to his middle years. Against this background, the book then presents Schelling's distinction between "positive" and "negative" philosophy, the defining mark of his late philosophy. It explores his theory of pure a priori thinking (negative philosophy), and his account of the transition from negative to positive philosophy. The major components of Schelling's positive philosophy, including his conception of "un-pre-thinkable being", and his theories of mythology and revelation, are then discussed. Throughout, a comparative assessment of Hegel's approach similar issues is sustained. Schelling emerges as a philosopher who traced his own highly distinctive path through the thicket of problems bequeathed by Kant, and whose systematic responses to these problems still merit serious consideration as alternatives to those of Hegel. (shrink)

English summary: Courtly mythologies and courtly knowledge orders are the central issues in this volume that brings together contributions from two colloquia held by the International Courtly Literature Society (ICLS).

The question of how literary fiction is used for political and ideological propaganda involves both textual and contextual comparative analysis. Using recent discussions of the literary genre of prophecy, Mehtonen explores the case of a hitherto unexplored anonymous fictional publication from 1770, which became a literary sensation and was soon translated from German into Danish, Russian, Swedish, Finnish and Dutch. Mehtonen shows how this narrative – about the 106-year-old Swiss hermit Martin Zadeck, who presented on his deathbed in 1769 a (...) prophecy about the coming of a powerful united Northern Europe – was closely attached not only to emerging ideas of Europe and its transoceanic expansion after the Seven Years War (1756–1763), but also to topical trends in the utopian fiction of the nobility and military networks in the Northern European monarchies. Mehtonen concludes that the seemingly simple prophecy by Zadeck, often catalogued as »devotion literature«, in fact addressed multiple audiences and even clashing worldviews. The monarchic and colonialist ideas of the narrative appealed to royalist patriots; the legendary and mythological layers were immediately evident to readers familiar with the Rosicrucian and Hermetic underpinnings; the millenarian vision pleased the eschatological mindset of proponents of religious awakening movements; and, ultimately, the Zadecksche Gattung was food for enlightened critiques and philosophies concerning superstition. (shrink)

Waterfowl--ducks, geese, and swans--are a pervasive, ubiquitous element in Etruscan art, just as they are in well-watered Etruria itself. From the formative Villanovan Period though the terminus of Etruscan culture, waterfowl are regularly depicted in a variety of plastic and glyphic media: pottery, painting, metalwork, and stone. Waterfowl are particularly frequent in funerary contexts. Minimal attention, however, has been accorded this unique branch of avians; waterfowl are generally assumed to have little more than decorative value in the present literature, Nonetheless, (...) it can be shown that ducks, geese, and swans were endowed with social, medicinal, magical, and religious significance in ancient culture and, indeed, in most cultures where waterfowl gather in large numbers. A goodly portion of Etruscan art, as well as comparanda from contemporaneous peoples with whom the Etruscans, directly or indirectly, enjoyed economic and cultural intercourse--the Hellenic lands, Asia Minor and Egypt, central and northern Europe--bears out the preceding statement. This study first examines the natural history of the waterfowl of Etruria, as critical an aspect in their deployment as symbols as are the natural behaviors of the snake and lion in their respective symbolisms. Next, the various roles of waterfowl in medicine, magic and mythology, as well as etymological studies of both Etruscan and Indo-European words for "waterfowl" are investigated and analyzed. Certain aspects of Etruscan conceptions of the afterlife that eventually prove germane are also discussed. Analysis of the combined data helps elucidate the meaning of a number of Etruscan monuments in which waterfowl appear, and simultaneously calls for a reassessment of others, e.g., Villanova and later armor (helmets, pectorals, shield); Orientalizing pieces such as the Regolini-Galassi fibula; Archaic and later bronze mirrors; the Aurora Krater; tomb paintings; and duck askoi. To be sure, there are representations of waterfowl in Etruscan art where the birds serve as decorative elements only -- their beauty is universally admired -- but, as have other cultures, the Etruscans saw considerably more in ducks, geese, and swans than just graceful birds gliding about the waters. (shrink)

Understood in its widest sense, the term “hermeneutics” can be taken to refer to the theory and/or practice of any interpretation aimed at uncovering the meaning of any expression, regardless of whether such expression was produced by a human or non-human source. Understood in a narrower sense, the term “hermeneutics” can be taken to refer to a particular stream of thought regarding the theory and/or practice of interpretation, developed mainly by German-speaking theorists from the late eighteenth through to the late (...) twentieth century. “Hermeneutics” in its broadest sense dates at least as far back as the ancient Greeks and is linked etymologically to the ancient Greeks’ mythological deity Hermes, who was said to deliver and interpret messages from the gods to mortals. “Hermeneutics” in its narrower sense emerged in the late eighteenth and early nineteenth century, initially for the purpose of addressing problems in the interpretation of classical and biblical tests and then later for the purpose of articulating a more “universalized” theory of interpretation of general. This chapter traces the development of hermeneutics in its narrow sense through the work of Friedrich Daniel Ernst Schleiermacher (1768-1834), Wilhelm Dilthey (1833-1911), Martin Heidegger (1889-1976) and Hans-Georg Gadamer (1900-2002), and then concludes with some observations about what Hegel’s own hermeneutical thought might mean against the backdrop of this development. (shrink)

ABSTRACT This study focuses on the notions of ‘ruins’, ‘savage knowledge’, and ‘American race’ in the works of the German naturalist Carl Friedrich Philipp von Martius (1794–1868). A somewhat neglected figure in the history of anthropology and of natural history, Martius was regarded by scholars from Europe and the Americas as a leading figure in botany and ethnology in the nineteenth century. In this article, I discuss how Martius articulated: (1) the notion of American race, that is, a broad characterization (...) of the native peoples of the Americas rooted in a complex natural history which brought together seemingly disparate fields of knowledge, such as medicine, botany, theology, philology, and mythology; (2) having ruins as a guiding concept, which helped him to make sense of American natives; and (3) savage knowledge – a concept semantically aligned to that of ruins, and among whose principal modes of expression was shamanic practice. (shrink)

Erstmals thematisieren die Beiträge dieses Bandes Friedrich W. J. Schellings Münchener Akademievortrag »Ueber die Gottheiten von Samothrake« (1815) in ihrem problem- und zeitgeschichtlichen Kontext und werfen so ein neues Licht auf dessen philosophische Entwicklung zwischen 1812 und 1817. In die Untersuchung werden Schellings Zeitschriften-Projekt »Allgemeine Zeitschrift von Deutschen für Deutsche« von 1813 sowie der von ihm im Jahre 1817 herausgegebene »Bericht über die Aeginetischen Bildwerke« Johann Martin Wagners einbezogen. Auf diese Weise entsteht anhand der kleineren Schriften Schellings ein bislang nur (...) wenig beachtetes Bild seines Schaffens in seiner ersten Münchener Zeit. The contributions in the volume deal for the first time with Friedrich W. J. Schelling's Munich Academy Lecture »Ueber die Gottheiten von Samothrake« (1815) in its problem- and contemporary historical context, thus shedding new light on its philosophical development between 1812 and 1817. The study includes Schelling's journal project »Allgemeine Zeitschrift von Deutschen für Deutsche« from 1813 as well as the »Bericht über die Aeginetischen Bildwerke« by Johann Martin Wagner, which he published in 1817. In this way, Schelling's smaller writings provide a picture of his work in his early Munich period that has received little attention so far. (shrink)

That a symbolic object or work of art participates in what it signifies, as a part within a whole, was a controversial claim discussed with particular intensity in the wake of Immanuel Kant's Critique of Judgment. It informed the aesthetic theories of a constellation of writers in Jena and Weimar around 1800, including Moritz, Goethe, Schelling and Hegel. Yet the twin concepts of symbol and intuition were not only tools of literary and mythological criticism: they were integral even to questions (...) of epistemology and methodology in the fields of theology, metaphysics, history and natural philosophy. The international contributors to this volume further explore how both the explanatory potential and peculiar dissatisfactions of the symbol entered the Anglo-American discourse, focusing on Coleridge, Crabb Robinson and Emerson. Contemporary debates about the claims of symbolic as opposed to allegorical art are kept in view throughout. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Notes and Fragments PLATONIC ELEMENTS IN KAFKA'S "INVESTIGATIONS OF A DOG" by Lewis W. Leadbeater Few critics of Kafka, and certainly few German critics of Kafka, have been willing to allow for much of any classical influence on his works. There are exceptions, but for the most part these commentators can bring themselves to admit only the fact Kafka endured with distaste his lengthy involvement with the classical languages (...) and literature and that, if in any way, he was influenced only in terms of syntax or style.1 Yet it is certain that Kafka read classical literature with interest and that he was well acquainted with classical epic, tragedy, philosophy, and mythology. The wandering Odysseus, the sea god Poseidon, tortured Prometheus —all these and other classical figures are to be found in his works. Indeed, a recent interpretation of The Trial involves a discussion of it in comparison with the trial of Socrates.2 The fact is that Kafka knew Plato's Apology and counted as one of his prized possessions a copy of Plato's Phaedrus. He and Brod read Plato together in high school.3 Are we really to assume, then, that, given Kafka's philosophical bent, he saw no relationship between Plato and the later philosophers, like Kierkegaard for instance, with whom he was quite taken, and that given his fertile mind and penchant for metaphor, Kafka reflects only Platonic syntax?4 Quite the contrary; we must, I think, cede his classicism to Kafka, and in the discussion which follows I should like to point out that in one of the short stories, "Investigations of a Dog," parable and metaphor blend as well as they do because of Platonic influence, and especially that of the Apology and the Phaedrus. Kafka's animals pervade his works in both metaphor and simile. Gregor Samsa awakes one morning to find himself transformed into a gigantic beetle; Joseph K dies, at the end of his trial, like a dog, and it is a questioning canine which investigates the meaning of dog104 Lewis W. Leadbeater105 ness in "Forschungen eines Hundes." Generally the animalistic metaphor involves removal, alienation, and isolation— a loss of kinship with humanity to be sure, but more important a loss of communication, an inability to communicate, and hence an emphasis on all-encompassing, frustrating silence. The natural result for these people turned animal is an involvement in a process of severe introspection frequently linked with the pursuit of some idea or ideal which will provide a hitherto unknown, transcendent nourishment for a famished, alienated soul. Such is certainly the case with Gregor Samsa and quite possibly the case with Joseph K; it is in fact such pursuits which lie at the heart of the researches of our investigating Dog. Though any attempt to pinpoint the source of Kafka's penchant for animalistic metaphors is quite certainly futile, one might well posit as paradigmatic the alienation plays of Aristophanes involving animals, and certainly the notion of a psychological link between man and beast is present in Plato's Phaedrus, a dialogue in which the soul metaphor itself involves horses, and one in which there is considerable discussion of the interchangeability of the souls of men and beasts.5 As noted above such interchangeability or transformation occurs regularly in Kafka; within the ugly form of beetle lay the psyche of Gregor Samsa. Perhaps within the not-so-ugly canine form of our investigating hound lies the soul of Socrates. Consider for a moment the character of our Dog in light of Plato's Socrates as he appears in the Apology. To begin with, the Dog, as he tells us, is a solitary creature, withdrawn and involved solely in his "investigations" (p. 278).6 In addition, he fully realizes that he is different from the rest of his species (p. 279) and that indeed at times he feels rejected by his kind, realizing as he does that his investigations run counter to the traditional values of his species, a species by which he had hoped at one time to be accepted with great honor (p. 308). What he has capitulated to is "questions" which, furthermore, have quite removed him from normal... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Dante in Deutschland: An Itinerary of Romantic Myth by Daniel DiMassaBrenda Deen SchildgenDaniel DiMassa. Dante in Deutschland: An Itinerary of Romantic Myth. Lewisburg: Bucknell University Press, 2022. 242 pp., hardcover, $150.00. ISBN 9781684484195.Dante in Deutschland is an eloquently written study of the "itinerary," as the author labels it, of the myth of Dante's personage and his works in Germany from the Romantic period to the Second World War. (...) The latest book in Bucknell University Press's series New Studies in the Age of Goethe, edited by John B. Lyon, the book's central argument is that "to the Romantics, the Commedia was more than a touchstone—it was a lodestar, its author no less vital to them than Shakespeare had been to the Sturm und Drang" (3). This premise lays the foundation for a reception study that is a model of Comparative Literature research. As Daniel DiMassa explains, his approach does not just examine "the Romantics' attempt at a mythology, but their attempt at a Dantean mythology" (5). Combining philology, hermeneutics, and history, he promises to [End Page 276] "open new interpretations of Romantic works" and to "trace an itinerary of Romantic myth, highlighting the waystations of a path that has remained in obscurity" (5–6). Indeed, the book succeeds in this endeavor.In terms of utopian studies, this is not a consoling literary story, for as DiMassa demonstrates, this study turns our "attention to a familiar yet puzzling trajectory of Romanticism—its move from radicality and revolution to Catholicism and conservatism" (9) in Germany. But, in contrast to Lukács's "straight line from Schelling to Hitler," DiMassa proposes a Romanticism inflected by the myth of Dante and "culminat[ing] in a trio of figures who embodied one form of fascism or another—Hauptmann, Borchardt, and George" (9). In highlighting this trajectory, DiMassa provokes thought about the dangers of utopian ideologies as well as how to confront them.Following an introduction that succinctly lays out the argument and the methodology, DiMassa historically situates, in six thoughtful and thoroughly researched chapters, pivotal figures in German Romanticism and the neo-Romanticism of the twentieth century. He then provides close readings of their major texts to show how Dante and his Commedia are "recovered, repurposed, revered, and reduplicated" to shape "the origins of German Romanticism and the attempts at its rehabilitation" in the twentieth century (177). This review of the book cannot do justice to such a complex and fascinating argument, so this cursory overview of some of the chapters is intended as a recommendation to read the study in its entirety.Chapter 1, "Discovering Dante and Theorizing Myth," examines the "Schlegel Brothers and the Origins of the Romantic Project." The eighteenth century was the nadir of Dante's reception, even in Italy, but the "myth of Dante" burst onto the stage of cultural and political history in the nineteenth century. By the end of the eighteenth century, according to DiMassa, writers such as Bodmer, Herder, and Goethe had prepared the way for a new reception of long neglected "barbarians" like Dante. Signaling this imminent change in taste, framed in nationalistic terms, in a 1772 essay, "On German Architecture," having recently revisited Strasbourg Cathedral, Goethe exclaimed, "This is German architecture! Our architecture!"1 He insists, "what unexpected emotions seized me when I finally stood before the edifice! My soul was suffused with a feeling of immense grandeur."2 Earlier, Goethe had labeled medieval buildings "barbaric," he admits in the same essay,3 but his experience of the cathedral awakened a nationalist intensity suggestive of utopian emotion. A. W. Schlegel's projection of [End Page 277] Dante "as a man of action who, in an age devoid of political leadership, had drafted a poetry teeming with manliness and vitality" (25) smacks of the same Romantic enthusiasm, but A. W. Schlegel was eager to celebrate the once "barbaric" Dante as the apogee of an emerging "Weimar Classicism and Jena Romanticism" (25), an idyll of the contemporary romantic enthusiasm. In a decade, the work of early German Romantics, including A. W. Schlegel's translations, Schelling's lectures, and Friedrich Schlegel's advocacy, buried Dante's so-called barbarism... (shrink)

Ernst Cassirer occupies a unique space in Twentieth-century philosophy. A great liberal humanist, his multi-faceted work spans the history of philosophy, the philosophy of science, intellectual history, aesthetics, epistemology, the study of language and myth, and more. Cassirer's thought also anticipates the renewed interest in the origins of analytic and continental philosophy in the Twentieth Century and the divergent paths taken by the 'logicist' and existential traditions, epitomised by his now legendary debate in 1929 with the philosopher Martin Heidegger, over (...) the question "What is the Human Being?" The Philosophy of Symbolic Forms is Cassirer's most important work. It was first published in German in 1923, the third and final volume appearing in 1929. In it Cassirer presents a radical new philosophical worldview - at once rich, creative and controversial - of human beings as fundamentally "symbolic animals," placing signs and systems of expression between themselves and the world. This major new translation of all three volumes, the first for over fifty years, brings Cassirer's magnum opus to a new generation of students and scholars. Taken together, the three volumes of The Philosophy of Symbolic Forms are a vital treatise on human beings as symbolic animals and a monumental expression of neo-Kantian thought. Correcting important errors in previous English editions, this translation reflects the contributions of significant advances in Cassirer scholarship over the last twenty to thirty years. Each volume includes a new introduction and translator's notes by S. G. Lofts, a foreword by Peter Gordon, a glossary of key terms, and a thorough index. (shrink)

This article explores the much neglected work of the German philosopher and cultural theorist Hans Blumenberg, a figure still relatively little known in the Anglophone world. The thesis is defended that Blumenberg's conception of The Legitimacy of the Modern Age (1966) offers valuable resources for addressing some important questions about the philosophical self-understanding of the modern social sciences in relation to theological and religious sources of thought and language. The article begins with an assessment of the contemporary relevance of Blumenberg's (...) critique of the idea of modern scientific culture as a merely `secularized form' of theological thinking. This critique is then compared with Blumenberg's account of the relationship of theoretico-scientific inquiry to mythological consciousness in his second major philosophical monograph of 1979, Work on Myth. The article concludes with a range of reflections on ways in which Blumenberg's work helps us understand how certain explanatory constructs and devices employed in the modern social sciences can be said to incorporate, assimilate, and at the same time critically transform figures of thought and language that display a mythic, religious and theological context of historical origination, provenance or genealogy. (shrink)

Richard Wagner has come to be seen as the quintessential artist of the nineteenth century, whose work embraces all the arts of the period. Dieter Borchmeyer here provides the first systematic and comprehensive account of Wagner's aesthetic theory, examining his hitherto neglected prose writings and his ideas on music drama from the various standpoints of literature, the linking of ideas, and the sociology of art. The pre-eminent importance for Wagner of classical Greek art and mythology emerges with particular clarity, while (...) his links with the great figures and forms of world theatre - Shakespeare, the commedia dell'arte, the popular theatre, and the puppet theatre - are traced in detail. The influence on Wagner of the historical and social novel is also discussed. The author provides the first comprehensive analysis of Cosima Wagner's Diaries, and throws unexpected sidelights on Wagner's relationship with Nietzsche, in particular his important contribution to Nietzsche's The Birth of Tragedy. Central to the present study are Wagner's music dramas from Die Feen to Parsifal. These are examined in their literary, ideological, and socio-political contexts. First published in German in 1982, this book has become established as a standard work of Wagner scholarship, and now appears for the first time in English in a completely revised edition incorporating a number of new chapters on the music dramas. (shrink)

In the course of his collaboration with GAKhN, whose task was to create a systemic ‘scientific’ theory of art, Losev undertook a systematic interpretation of German classical aesthetics as the historical presupposition for his own Christian, Platonist doctrine of art conceived as a dialectical universe comprising totalizing connections at all levels. This interpretation was concealed in a masterful way within the ‘Commentaries’ to Dialektika khudožestvennoj formy. Independently of the significant results achieved by this revival of the classical tradition, Losev’s mythologized (...) theory of art called forth a critical reaction on the part of his GAKhN colleagues and brought to light some of the broader theoretical attitudes present among GAKhN’s collaborators. (shrink)

In this era of intense migration, the topic of the foreigner is of paramount importance. Joanne Wieland-Burston examines the question of the 'foreign' and 'foreigner' from multiple perspectives and explores how Jung and Freud were more interested in the wide phenomenon of the foreign in the unconscious rather than in their own personal lives. She analyses cultural approaches to the archetype of the foreigner throughout history using literary, cultural (as seen in mythological texts and fairy tales) and psychological references and (...) interprets the scapegoating of foreign minorities as a projection of the monster onto the foreigner. The book includes contemporary perspectives on immigration and displacement throughout, from analysing patient case material, the archetypal needs of people who join terrorist groups, feelings of alienation, and the work of Palestinian-German psychologist Ahmad Mansour. Throughout this personal and highly topical study, Wieland questions and studies C. G. Jung's own reflections on himself as a foreigner and her own personal experiences. (shrink)

This essay interprets Hölderlin’s prose fragment On Religion as an extension of and response to The Oldest System Program of German Idealism. After a brief discussion of the historical reasons for considering these fragments in this relation, I argue that On Religion demonstrates Hölderlin’s sympathy to the goals of the System Program, but that it also provides a more satisfactory account of how Hölderlin planned to make good on the goals presented in the System Program. I argue that On Religion (...) develops a conception of freedom that can only be ‘grounded’ through mythic, poetic discourse. I then explore the political implications of this point and claim that On Religion considers the creation of mythology as a public, communal event, in which the poet plays the role of giving measure and form, but not content, to the creation of mythology. (shrink)

This paper analyzes the hitherto neglected political philosophy contained in Schelling’s Berlin lectures on the philosophy of mythology and of revelation in the context of the complex and politically charged debates of the German Vormärz period. It will be shown that, in his political philosophy, the Berlin Schelling rejects social contract models of the state and follows conservative theorists who conceive of the state as a collective order that supersedes the individual, while at the same time preserving the freedom of (...) the individual and rejecting religious legitimizations of the state. Schelling’s theory of the state is characterized by its distinctive internal tensions and by its multidimensionality. This complexity of his theory of the state helps to account for the diverse range of receptions and assessments of his political philosophy, both among his contemporaries and by subsequent commentators. (shrink)

This article, taking a social semiotic approach, analyses two pieces of music written, shared and exalted by two pre-1945 European fascist movements – the German NSDAP and the British Union of Fascists. These movements, both political and cultural, employed mythologies of unity, common identity and purpose in order to elide the realities of social distinction and political–economic inequalities between bourgeois and proletarian groups in capitalist societies. Visually and inter-personally, the fascist cultural project communicated a machine-like certainty about a vision for (...) a new society based on discipline, conformity and the might of the nation. In this article, we are interested in the ways that these very same discourses are also communicated through sound and music in two songs: The Horst Wessel Lied and the BUF marching song, two songs that used the same melody. We analyse the discourses communicated by the semiotic choices made in melody, arrangements, sound qualities, rhythms as well as in lyrics. The article first identifies some of the underlying semiotic resources for meaning making in sound and then shows how these are used in order to communicate specific ideas, values and attitudes. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Historical Destiny and National Socialism in Heidegger's 'Being and Time.'Robert C. ScharffJohannes Fritsche, Historical Destiny and National Socialism in Heidegger's 'Being and Time.'Berkeley: University of California Press, 1999. Pp. 356 + xix. Cloth, $60.00.Focusing on the relatively neglected fifth chapter of Being and Time's Division Two (BT, Sections 72-77), Fritsche argues that BT is an essentially political work. Even Victor Farías, although he talks of "shared attitudes" and (...) "implicit direction," settles for the conclusion that "in no sense can we read National Socialism into Being and Time, but we can identify philosophical beliefs that foreshadow Heidegger's later conviction."(Victor Farías, Heidegger and Nazism, trans. Paul Burrell and Gabriel R. Ricci [Philadelphia: Temple University Press, 1989], 60.) Fritsche, however, evidently intends to out-Farías Farías. For him, BT just is "a brilliant summary of the politics of the revolutionary Right" (xii; cf., xv, 216).Following Tom Rockmore, Fritsche insists that by grounding ontological inquiry in a distinction between authentic and inauthentic existence, Heidegger is "committed" to "a political understanding of human being" that "culminates" in the analysis of authentic historicity in Section 74 (29). According to Fritsche, BT proceeds, "in conventional metaphysical fashion," to work out a "hierarchical" presentation of the structures and activities of our existence as a "drama in three acts." The first act is Heidegger's analysis of the conflicted, inauthentic, "downward plunging" condition of everyday life. In act two, there arises out of this condition a "crisis" (of conscience) that calls for a "dramatic solution." The third act "consists in authentic Dasein stepping out of the world in which it has been living as ordinary Dasein, turning back to this world, and canceling it... in order to rerealize the past" (x, 29-30).Fritsche plays BT off primarily against three sources, Richard Wolin's Politics of Being (1990), articles by Peg Birmingham (1991), and Charles Guignon (1992), in order to distance BT from "decisionist," "anarchist," and "politically neutral" interpretations, respectively. Like this selection of foils, Fritsche's comparison of texts often seems merely convenient. In general, if two people use the same term, they probably mean the same thing; and key concepts are typically assumed to have uniform definitions. Hence, if Scheler speaks of a hierarchy of values and Hitler, of a hierarchy of races, they must be employing "the same logic" (108-9). And because vorlaufen [anticipating/running ahead] was the term used by right wing German authors to mythologize the gallant but foolish young "heroes of Langemarck" who "stepped out of their trenches, into the open," and "ran toward" French lines, one should also employ this image a "methodological ideal type to interpret Heidegger's concept of resoluteness" (3, 196, 233). Finally, Fritsche makes no systematic distinction between what an author has once said and what either we or the author might later make of it. Hence, if Heidegger says in 1933 that he is drawing on BT for political purposes, he must have had these purposes in mind when writing it ten years earlier (216ff.). And obviously, choosing "Volksgemeinschaft" to talk of community in BT's Section 74 already unmistakably reveals "Heidegger's option for National Socialism" (217-18).One need carry no brief for an apolitical Heidegger to see that Fritsche's reading is problematic on several levels. Heidegger's own account of BT's purpose and method is ignored rather than challenged. Numerous Heideggerian notions are construed, without [End Page 455] argument, as "really" being just right-wing political or "conventional metaphysical" usage. Moreover, categories of Left and Right are sometimes handled so loosely that, for example, Scheler writing in 1913, Heidegger writing in 1921-24, and Hitler in Mein Kampf, all must "belong" to the revolutionary Right, because they all privilege traditional Gemeinschaft over modern Gesellschaft. By the same reasoning, Heidegger's concept of historicity is "identical" to Scheler's and Hitler's. This has to be right because "Heidegger's text is just too excellent a summary of the revolutionary rightist notion to be the result of a somnambulistic thinking" (136). Fritsche's handling of technical terminology, when not outright political, often seems poorly... (shrink)