Rusland, 19e eeuw

(1) Mikhaïl Bakhtine, “Esthétique et théorie du roman”, Éditions Gallimard 1978; “In the real life of spoken language, all concrete comprehension is active: it integrates this what must be understood from its own objective and expressive perspective and it is indiscriminately linked to a response, to a reasoned objection, to an acquiescence. in a certain sense, the primacy to understanding prepares it in a dynamic and self-serving way. Understanding prepares her for a dynamic and self-interested way. Understanding only matures in response. Understanding and response are dialectical confused and conditional on each other, they are impossible without the other. / The active co-understanding, by thus making participate what one should understand in the perspective of trust of that which one understands, establishes a continuation of complicated reciprocal relations, of consonances and dissonances with that which is understood, the enrichment of new elements. It is on this comprehension-the interlocutor is an orientation on the particular perspective, on the mode of this one, it introduces in its speech completely new elements because then there was a mutual action of the various contests, point of view, perspectives systems expression and accentuation, of the different social 'talks'. The speaker seeks to orient his discourse with his determining point of view on the perspective of the one understood, entering into dialogical relations with some of his aspects. He introduces himself into the strange perspective of his interlocutor, constructs his statement on a foreign territory, on the perceptive background of his interlocutor. / This new aspect of internal dialogisation distinguishes itself from that which was defined by the encounter with the speech of others in the object itself, because here it is no longer the object which serves as an arena for the encounter, but the perspective subjective to the interlocutor.

(2) Passim: Also, does this dialogisation carry a more subjective, more psychological and [often] fortuitous character, sometimes grossly conformist, sometimes even revoking controversy. Very often, especially in rhetorical forms, this orientation towards the listener and the internal dialogisation which relates to it, can simply conceal the object: the persuasion of the concrete interlocutor thus becomes an independent problem, and diverts the discourse from its work to create on the object itself.  / The dialogical relation to the parole of the other in the object, and to the speech of the other in an anticipated response to the interlocutor, being in essence different and generating distinct stylistic effects in the discourse, can nevertheless be very intertwined. narrowly, becoming difficult to distinguish one from the other for analysis. Thus Tolstoy's discourse is distinguished by a clear interior dialogue, both in the object and in the perspective of the reader, of which Tolstoy acutely perceives the semantic peculiarities of polemics in most cases] are closely united in style. of Tolstoy: his discourse, even in its few 'lyric' expressions, in its more 'epic' descriptions, is combined [and more often out of tune] with the various aspects of multilingual social and verbal consciousness that hamper the object; at the same time, this distrust is introduced in a polemic way into the objective and axiological perspective of reading, aiming to strike and destroy the appreciative basis of its active comprehension.

(3) Passim: In this sense, Tolstoy is an heir of the 18th century, in particular of Rousseau. Hence, sometimes, a narrowing of this multiple-voiced social conscience with lawful polemics, which is reduced to the conscience of its immediate contemporary, of its days, not of its time; This results in an external concretization of the dialogue [almost always polemical]. Also, this dialogue so clearly perceived in the expressive character of the Tolstoyan style, does it sometimes require a historic-literary commentary: we do not know with what exactly such and such a tone harmonizes or disagrees, and urging this consonant and this dissonance? are part of the imperatives of its system. it is true that this extreme concretion [sometimes almost that of a soap opera] is inherent only in secondary aspects, in the harmonics of the interior dialogue of Tolstoyan discourse. / In all these manipulations of the internal dialogue of discourse [internal unlike the exterior compositional dialogue], the relationships with the speech and the utterance of others are part of the style imperatives. The style organically understands the correlation of its own elements with those of the 'foreign' context. The interior policy of the style [concomitance of the elements] is inflected by its exterior policy [relating to the speech of others]. Discourse lives, it would be said, at the confines of its context, that of others. /

(4) Passim: This double life is also that of the replica of any real dialogue: it is constructed and conceived in the context of an entire dialect, composed of elements' a self '[from the point of view of the speaker], and' the 'other' [from the viewpoint of his 'partner']. From this mixed context of 'own' and 'foreign' speeches, one cannot take away a single line without losing its meaning and meaning. It is an organic part of a pivotal whole. The phenomenon of internal dialog, as we have seen, is more or less manifest in all the domains of living speech. But if, in extra-literary [colloquial, rhetorical, scientific] prose, dialog is usually singled out as an autonomous act and unfolds in direct dialogue or in certain other forms compositionally expressed, of segmentation and polemic with the word of others In literary prose, on the contrary, and particularly in the novel, dialog underlies from within the very conceptualization of its object and its expression with the aid of discourse, thus transforming the semantics and syntactic structure of the speech. The reciprocity of the dialogue orientation here becomes the event of the discourse itself, animating it and dramatizing it from within, in each of its elements. / In most poetic genres [in the fullest sense of the term] used literally; it does not enter into the 'aesthetic object' of the work, it is conventionally deadened in the poetic discourse. On the other hand, in the novel she guesses one of the capital aspects of the prosaic style, here lends itself to a practical literary elaboration. /

(5) Passim: However, internal dialog cannot become that creative force of form which where individual dissensions and contradictions are fertilized by a social multilingualism where dialogical harmonies rustle not on the semantic summits of discourse [as in the rhetorical genres], but penetrate into its deep layers, dialogue between language itself and its worldview [the inner form of the discourse] where the dialogue of voices spontaneously arises from the social dialogue of 'languages', where the utterance of the other like to resonate like language socially foreign; where the orientation of the discourse among the 'foreign' utterances becomes maintaining orientation among the social 'foreign' languages, in the limits of a same national language ... "

Literatuur, 18e eeuw, Engeland

(1) Beate Wackwitz, “Die theorie des Prosastils im England des 18. Jahrhunderts“, Cram, de Gruyter & Co. 1962; “The demands that Johnson places on the skills of the author are still the same as in ancient times. In the first place he mentions 'a perfect knowledge of th subject'. The clear ways of thinking in the classic prose only made these preconditions even more pronounced in their style requirements. Mastery of material and clarity of style cannot be separated - the second demand, 'that he be master of the language', is not new either. Johnson, the lexicographer, sees the need very carefully to create the conditions for perfect command of the language by defining the terms and expressing language in the dictionary. - According to the language of the style: for 'science and demonstration' Johnson demands 'a style clear, pure, nervous, and expression'. If the reader's opinion is to be influenced, the following is also required: 'The super addition of elegance and imagery, to display the colors of varied diction and put forth the music of modulated periods.' // Every carrier can judge his ability for himself, because of how much effort he has put into certifying his knowledge, mastering the language and developing a style appropriate to the subject, 'Mo man is a rhetorician or philosopher by chance'. Even genius does not fall into the lap, and what has been written down without care, is usually only listlessly gleefully. So that Johnson's train of thought comes close to the ideal of correctness, against the author, can promote still education, is clear for him: 'The first task is to search books, the next to contemplate nature' [Rambler]. // Knowledge of the best authors, which all other style critics also demand for the writer, is - together with constant comparison of their advantages and examination of the factual content in their works - inevitable for Johnson, because style formation is also essential with the development of the taste at the author must be connected. Just as taste can only be attained through practice and comparison, so too  are his allies developed through tireless self-discipline and practice. Boswell emphasizes on several occasions how much this thought permeates Johnson.

(2) Passim: The second pre-condition ['contemplate nature'] is not surprising either. At Johnson she is consistently assigned more space and importance. as otherwise common, although the concept of nature was dealt with in detail in the 18th century. For Johnson, nature is the origin of all art; under it one has the double concept of nature as reality and thus the object of literature, as we understand it as a criterion for every creation of literature. / In the first case [nature as reality] Johnson subordinates this concept to the concept of a rational principle that is visible in it. It is the 'general order' that permeates everything and allows it to be explained logically. Furthermore, history also belongs to this, namely as a representation of two forms of reality; and above all the moral laws as an expression of the divine ruling reason. - In the second case [nature as a critic of literary creation], Johnson demands from the author that his representation of nature must be 'just', and not only in the area of ​​the sensually perceptible, but also for intellectual treatise and moral consideration. The dictionary definition of 'just' is 'exact, proper, accurate'. It is significant that the old stylistic concepts of propriety and precision are echoed in the concept of the representation of nature. /

(3)  Passim: To the extent that the author is supposed to convey 'instruction', he must allow both aspects of the concept of nature to be expressed in his cleverness: both nature as a 'mirror of life' and the organic, natural style of expression that is just as much a systematic order must be aligned like the laws of 'general nature'. Johnson subsumes the concept of taste and style in art under the higher ideals of nature. Rambler 152 demands 'embroidery conformity to nature', because only she can make a literary production 'beautiful and just'. / If an author fulfills these three conditions [mastery of subject, mastery of language, mastery of silence by observing 'natural' laws, he can do his job with a clear conscience, 'to instruct ignorance, reclaim error, and reform vice'. [Gentleman’s Magazine, 1739] // This task is outlined in more detail in Rambler 3: 'The task of an author is, either to teach what is not known, to recommend known truths by his manner of adoring them; either to let new light in upon their mind and to open new scenes to the prospect, so to vary the dress and situation of common objects, so as to give the fresh grace and more powerful attraction '."

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(4) Beate Wackwitz, “Die theorie des Prosastils im England des 18. Jahrhunderts“, Cram, de Gruyter & Co. 1962; “As important as the knowledge of the figures of speech is, Blair does not want to put the main emphasis on it in the style here; the content of 'sentiment or passion' is more important than the form of the introduction. The author must study the effects of natural figurative language and derive a methodology from it: the rules found in this way then have an adverse effect on style. Anyone who only brings with them learned basic knowledge for their style practice can neither give a shine to an uninspiring thought through figurative language, nor express sublime thoughts without wrong work. / Correctly used, correct figure language lends beauty in style for four reasons: 1. The language is enriched by fine, relational images; / 2. the style is raised where everyday words appear too flat; / 3. The mind is stimulated because, without the idea of ​​a hatred, an object of comparison is offered to it without confusing it; / 4. The double form of the expression aims to better illustrate the intended object ['to throw light upon it'] // Blair wants to avoid listing the individual figures of speech in the manner of scholastic rhetoric; He briefly explains the origin of the most important metaphor in a detailed presentation in Lecture XV .. / The metaphor - also for Blair a short form of simile and a longer comparison - is intended to stimulate the spirit without tiring it. Without having to deal with the problem of when to use them as a figure of thought or as a trope, Blair characterizes them as 'Expression of resemblance between tow objects' and puts together rules for their application:

(5) Passim: 1. Metaphors must be appropriate to the topic in terms of celibacy, emotional expression and level of language. Enlightening metaphors [perspicuity] are availed for argumentation; In divorces, the metaphor is admitted as a form of jewelry [embellishment]. However, it always has to be 'simple'. / 2. Metaphors have to be borrowed from nature: sensual perceptions take the place of intellectual or moralistic concepts. Unpleasant, vulgar allusions are frowned upon, even where an object should be belittled. / 3. Metaphors must not be far-fetched, otherwise confuse them. [This is followed by the usual rejection of the Metaphysical poet, the metaphors of which are somewhat consistent.] Although they are supposed to shed new light on thoughts, they must not sound like being shy: 'Metaphor ... loses is whole grace, when it does not seem natural and easy'. That is why all sasu science-borrowed metaphors are 'faulty' because of their limited comprehensibility. / 4. Metaphorical expressions, which are used in their own ['literal'] meaning, must never be mixed. / 5. An object may not be explained with different kinds of metaphors ['Mixed metaphor… is indeed one of the largest abuses of this figure']. Blair recommends visualizing the metaphors used to avoid mistakes. / 6. The overloading of an object with inherently adequate metaphors is also flawed. / 7. Metaphors that have been carried out too long become allegory; the bolder they are carried out, the more difficult it is for the reader to follow the meaning ['the reader is dazzled rather than enlightened']. //

(6) Passim: Each rule is followed by examples from ancient and contemporary literature. Lecture XVI deals with the more pronounced changes in the simple mode of expression, as given in hyperboles, personification and apostrophe. / The hyperbole arises from the human tendency to show something bigger than it is naturally. An ultimate society, whose world of ideas is shaped by the ideal of correctness, always tends to also refine linguistic expression moderately. Therefore, the hyperbole should be used very carefully: 1. in descriptions only when the subject itself is surprising and large, or when the author slowly accustoms the reader's fantasies to excessive expression; / 2. in passionate silence only when reason seems overwhelmed and exaggerations therefore produce clearer images than correct expression. ' // It should not be forgotten that the cooler reader can often not understand the hyperbolic expression of the author, who may be under intense emotional excitement during the envious writing; Even in such cases, 'good sense and just taste' should not be ignored. Even the epigram must not be based on excessive hyperbolism. "

Moraal, Duitse klassieke literatuur

(1) Jürgen Meier, “Amokläufe zum Ich – Der Kommunismus als Voraussetzung des Individualismus“, Neue Impulse Verlag 2011; “Schiller's greatness and boldness consists in the fact that, irrespective of the contradictions in which he had to become entangled, he ruthlessly criticized bourgeois society and yet never for a moment gave up the annihilation of the frantic step towards feudal society. / Almost fifty years later, Marx and Engels addressed this consideration of the ambivalence of bourgeois society, on the one hand progressive production, on the other hand the isolation and alienation of people: 'The bourgeoisie' they wrote, 'where they came to power, it has all the feudal, patriarchal , idyllic relationships destroyed. It mercilessly tore the motley feudal ties that tied man to his natural superior, and left no other bond between man and man than bare interests, but callous cash payment. ' / Schiller as well as Goethe, of course, different school conclusions from the ambivalent development of bourgeois society when he did Marx and Engels. Schiller and Goethe get to know each other in the aestheticizing consideration of social development, they also emerged how impossible it was to connect their desire for real freedom from bourgeois alienation in their time with reality. The bourgeois, in union with the nobility, determined, through the objective freedom of the market and the market laws, the social development for which the citizen always more readily created the framework conditions.

(2) Passim: The dynamic process of change, set in motion by volatile upheavals in the productive power of society, whose ever more differentiated division of labor, always distanced the individual men further from the goal of work and common purpose, was already recognizable for Schiller and Goethe, characterized by a general brutalization of human relationships. the facticity of knowledge was raised. late capitalist intellectuals no longer believe in the recognizability of the totality of being. Your interest in its dynamics and ontological properties decreases significantly. Instead, they throw all their might into their specialty, their science and talent. 'The enormous increase in practical rationality is opposed to irrationality' The enormous increase in partial rationality. / Schiller recognized both sides of bourgeois society at the earliest stage of its formation. On the one hand, progressive in the process of work, which pushed back the boundaries of nature with a rapidly growing dynamic ... On the other hand, Schiller felt how such a cold step hindered humanity in being awake. He would not have wanted to get rid of this obstacle through better PISA assessments, but through strengthened citizenship, through trusting the reason and educational miracles that he hoped for on the stage. Schiller would therefore have set up theatrical booths instead of, as was the case under the supreme direction of the cultural minister, to denounce them. Schiller's idealistic struggle for freedom was based on the desired liberation of the citizen from the bourgeoisie, which, of course, had to remain an unrealizable wish. Not the 'freedom of the market', not the 'freedom of the bourgeois' nor the 'freedom of the egoists' was considered Schiller's work. Freedom, for Schiller, was the duty of the individual to serve the general and generic in order to be able to actually individualize human beings as citizens."

Theater, Socialistisch realisme

(1) Jan needle & Peter Thomson, “Brecht”, Basill Blackwell 1981; “Brecht was less outraged by the practice of naturalism than by the claim that naturalistic acting was an artistic pursuit of truth. If the beginning is a lie, how can the end be truth? If the prime Endeavour of an actor in a theater is to convince the audience that he is not an actor in a theater, what has success to say to truth? There is, of course, a political point. An audience so willingly deceived in the theater will be willingly deceived at the hustings. If the appearance of accuracy is accepted as ‘truth’, then a capitalist government will be able to sustain itself by reminding the people of jam yesterday, and by creating vivid images of jam tomorrow. / Against a background in the German theater of a deceiving naturalism Brecht hoped to establish an informative realism: ‘Our conception of realism needs to be broad and political, free from aesthetic restriction and independent of convention. Realism means: laying bare society’s causal network / sowing up the dominant viewpoint as the viewpoint of the dominators / writing from the standpoint of the class which has prepared the broadest solution for the most pressing problems afflicting the human society / emphasizing the dynamics of development / concrete and so as to encourage abstraction.”

Literatuur, 18e eeuw.

(1) Marion Beaujean, “Der Trivialroman im ausgehenden 18. Jahrhundert – Inaugural-Dissertain ur Erlangung des Koktorgrades der Philosophischen Faultät der Universität Köln“, H. Bouvier & Co. 1964; “M. Thalmann explains the trivial novel as a first attempt to assure oneself of the mysterious powers and to make the transcendent certain destiny representable. 'Intrige, human fate, life relationship, wisdom and feeling of space strive under the impression of these hidden odes towards a concealment of reality, a revelation of unreality. Demonization is the will to transition, the longing for the transition from the pious art of the 17th century, from the literary breeding of forms of the 18th century, to the art of expression, to the spiritual experience of romantic. If I was able to express the understanding of the world in an internalized way, this attempt has naturally failed, since the forms of start-up and their expressions tend to fall back into rationalistic reminiscences one wants to understand it as a forerunner of romantic endeavors. Understanding and the power of representation are not yet sufficient to adequately fix what is meant. One must also face the clumsy machinery of constructed links of fate, acting representations of invisible fate, more firmly established Series to illustrate what lies beyond the rationally secured world.

(2) Passim: But this assessment assumes that the novels of the miraculous in the 18th century were based on the same sphere of experience as those of romance. Then, of course, the treatment of the demonic in covenant and gossip romance would be a clumsy and inadequate precursor of romantic world penetration. But if the rationalistic world experience is a completely different metal witch is based on the physical view? Then the apparently correspondence with Romanticism consists in little more than the external "takeover of individual motifs. // This is very clear in an external appearance: in all the novels examined so far, magic and yesteryear are subsequently exposed as deception, which is now being turned on was to deprive the miraculous addict of his rational powers and om so to make the goals of the organizers submissive. The magician becomes a deceitful sleight of hand; in the rationalistic dissolution and exposure, the shoddy becomes a dream of fear, the miracle in the end just a scheming game Held against is brought to clear insight, he can evade iraational influences. Moral justice, moral knowledge stand above the demonic secret of life. // Also in the novels that refrain from exposing demonia as a deceitful game , pronounces a form of approach characterized by rationalism They just found another material means to basically find an answer to the same question. //

(3) Passim: So at the end the attitude towards the 'miraculous' may be shown once again, how the consciousness shaped by Enlightenment thinking is aware of the uncertainty in the world, and with what means it tries to represent it. // The miraculous had no in self-confident enlightenment thinking World-illuminating power. Wherever it dared to emerge, it was used for amusing or tense entertainment; for French-influenced rococo culture it became the playing field for witty and ironic jokes; in the English sphere it was a macabre game with scary emotions. Starting with Horace Walpole’s' The castle of Otranto '[1764] about the unchallenged Germany-widespread novels Miss Reeve and Miss Radcliff, the motif treasure trove of' Gothic stories' is developed into a fixed canon, which from now on is available for novels that work with tension effects that also in these horror novels as in the German ghost and fear novels the changeable is always clarified afterwards. State of mysterious, supernatural powers since the cheated hero finally as an artificial machine works, and the reader can breathe a sigh of relief, since his sensory knowledge has proven to be reliable. "

Muziek, Maatschappelijke betekenis

(1) Jürgen Meier, “Amokläufe zum Ich – Der Kommunismus als Voraussetzung des Individualismus“, Neue Impulse Verlag 2011; “ Mozart lived and designed a Utopia of a better, more humane live. However, he was not an irrationalist or a romantic, as Adorno rightly states, but a true artist who conjured up his own alienated life into self-consciousness with the means of his art in order to enable a catharsis of his own 'soul'. The commercial artists are always concerned with catharsis. Artists, part of the bourgeois subject, still want to protect the goals of the early Bourgeoise today, are merely disgusted by the ugly horrors of late bourgeois existence and consciousness, such as competition, the envy, hatred, war and the oppression of the women they meet understand how to scourge by knowing how to convey these appearances evocatively to their recipients. It goes without saying that no artist of the bourgeois subject can be prescribed 'socialist realism'; they often encounter known alienations without recognizing their essence. Art advice is closely connected with the cognitive ability of the signal system 1, and there Marxists can learn a lot from bourgeois artists. / What else are musicians like Herbert Grönemeyer or Udo Jürgens so popular? Both artists know how to translate the ugly escalation romance of capitalism into positively human evocations for their fans. For anyone who has tears rolling while hearing and seeing the 'Magic Flute' or singing songs by Grönemeyer, Jürgens is clearly visible in the concept of purifying their 'soul'. With cheesy sentimentality, as it comes over the tender 'soul' in Pilcher films, have nothing in common with Zauberflöte tears. Whether the tearful cure in everyday life, however, will lead to 'lightened mocking' knowledge and a change in life, is of course a question of awareness, which must be based on the concrete class relationships of a society.

(2) Passim: What remained in the 'Magic Flute' on the 'holy all' of the Freemasons, should become the general life of people, so at least Mozart made sense. At Mozart, the simple should still be combined with the abstract human existence. This ‘Depth’, as Adorno Mozart calls it, made him a role model and teacher Beethoven’s, whose 'Ode to Freiheit' is of course much more combative in its social commitment. But the Mozart song 'Brothers reach out to the covenant' is not a little an appeal to solidarity in the sense of humanity, for which everything that is isolated and alienated must be removed. The fact that the 'Magic Flute' moves the hearts of modern people makes the longing clear, with which we still try to organize our lives according to species, i.e. according to human considerations. We do not want to be cogs in an objective market mechanism that follows all interests of capital, but rather as humans we want to wash into subjects who consciously and democratically shape the abrupt categories of the economy. The 'depth' of Mozart, however, does not express marketing. To make people aware of the many alienations in our lives and to feel them is not their thing, as they live from our alienations. What actually prevents us from wanting to follow Sarastro's message in the 'Magic Flute'? In his aria it says: 'In these holy halls' If one does not know the revenge, and a person has fallen, / leads love to the duty. Then he walks by friend’s hand / Happy and froth to the better country. // In these holy Moors, / Where man loves man, no traitor can lurk / Because the enemy is forgiven. / Whom such honor does not please, / Do not deserve to be human. ' / Sure, the way to 'better and' is still a long one and rich in thunder, but especially with Mozart's music it is not only beautiful, it is also possible! "

Literatuur, Franse revolutie

(1) Marion Beaujean, “Der Trivialroman im ausgehenden 18. Jahrhundert – Inaugural-Dissertain ur Erlangung des Koktorgrades der Philosophischen Faultät der Universität Köln“, H. Bouvier & Co. 1964; “ ... Müller-Fraureut sees the geological historical horizon, in which the three types of novels he has drawn up, far too narrow. It is not simply a matter of imitating great role models; because if a topic, once it has been raised, quickly attracts broad interest, it must meet with a willingness to accept it. Touillon therefore correctly recognizes: 'It was not Götz, the robbers and the yesterday's seers who, as was usually heard, brought about the novels of the knights, robbers and ghosts of the 18th century. ... The outstanding phenomena ... only through their example gave the still hesitant courage to come out publicly with these motifs of the literary subconscious in the time of rationalism: The motive chat, however, with which they operate, goes back to the much older literary tradition "It, is still the property of the nation before Götz appears". / The prerequisite for the revitalization of the previously frowned upon motifs of the heroic-gallant novels was the newly awakened historical consciousness. Only u gen do the authors seize the rehabilitated materials because they were With its colorful abundance, it is suitable to finally break the predominance of the moral-didactic environmental novel. But to blame only the addiction to novelty and the hunger for material for the development of the new 'adventure novel' would mean seeing the phenomenon too superficially. Instead, the old motifs became more in Characteristic way adapted to the contemporary forms of acquisition The trivial obscurity novel unfolds on the horizon: Inspired by the forward-looking new historical consciousness, it depicts the contemporary human and world view with literary forms stemming from the overflow. /

(2) Passim: It is best shown in the preoccupation with the wonderful that is now beginning. As the moral-didactic environmental novel as an expression of the rationalistic trend recognize how this was perceived by the crowds, because in general consciousness the break between irrationalism and enlightenment thinking does not take place abruptly, but enters into a strange mixture. the longing for overcoming the sober intellectual literature is violently stirred. The utilitarian Eden of rationalism has not only excluded the sphere of feeling, but has also dissolved private religion and made people religiously rootless. The reaction of sensitivity is therefore approaching the mystical treasure trove, which is expressed in both denominations in the pietistic and Jansenist currents. From them the richness of feeling of subjectivism develops, the totality of the classical image of man and the all-round experience of romanticism. // But the broader consciousness picks up these thoughts only externally. In principle, the rule of reason remains recognized, since it gives the citizen the self-confidence necessary in his social and economic position. Thus, a greater consideration of the mysterious, the miraculous cannot feel the once set limits of reason and advance into the totality of world experience, but the irreallity leads to this worldliness, where it freezes into sensationalism and superstition. That would have made the wonderful alone a game of fantasy, as we know it from the Roko literature. 

(3) Passim: But also the bourgeois-enlightened novel of the past wants to make use of this anti-rational motive, which increases the material tension stimulus with its scouring romance and hidden secrets, and it is all the sooner as the temporal remoteness of its subjects reduces the immediate demand for reality. It is only a reasonable contradiction to the basic rationalist attitude if the wonderful is preserved in some novels, while it is usually set in motion as machineries, but is resolved by a reasonable explanation. / The wonderful is introduced into the novels of forgetfulness in three ways: as a secret society, as an adventure and as a ghost apparition. These motivational circles often permeate each other in practice, even though they have different intellectual roots and each have a very specific function and a new meaning in terms of content. "

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(4) Marion Beaujean, “Der Trivialroman im ausgehenden 18. Jahrhundert – Inaugural-Dissertain ur Erlangung des Koktorgrades der Philosophischen Faultät der Universität Köln“, H. Bouvier & Co. 1964; “ In conclusion, we may state that the Trivia novel is a product of the 18th century. many factors, sociological, literary, spiritual, mental in its coming into being with, and then the special circumstance that coincide with each other, restrains his existence and being. / Let us summarize the reasons for its emergence once again in a short overview: 1 A social class that was consolidated in the course of the 17th and 18th centuries, the bourgeoisie demanded literary statements appropriate to them and found them through the path of edification writings which she had first been introduced to reading, in the novel, the art form that is best united due to its possibility of arbitration and free handling, to make 'the world' visible. Therefore, the increasing interest in him in the course of the century, which struggles for the modern interpretation of the world, must be explained and given the possibility of his triumphant advance. / 2. The trivial novel develops within the framework of this possibility. In the course of the secularizing attitude of mind, he changes from a moral-didactic tendency novel to a free entertainment novel in accordance with the reading expectations attached to him, in that he takes up material and stylistic features of the older avant-garde novel. Only when both factors that we rent tend and tension circumscribed, to think through, the trivial novel is born in its peculiar form. /

(5) Passim: 3. The trivial novel can come into being all the more easily, as its aesthetic laws have not yet been established by the art throes and, unaffected by the discussion that has only now gradually begun, it only takes into account the practical requirements. This benefits the development of the ancient novel, since it retains its originality beyond an a priori compulsory rule; but at the same time there is the danger that he is moving away from poetics. When, towards the end of the century, the discussion about the autonomy of the epc began, it was basically already too late because the trivial novel had already found its own form. He only takes into account the reader's expectations, while the artistic novel, in the context of a changed conception of the essence of art, is understood only as an expressively subjective world experience. However, this claim can no longer be met by the trivial novel // 4. He is the vehicle for expressing the forms of perception that remain dominant in his readership. His guides do not follow the spiritual overcoming of the Enlightenment in the way that subjectivism and idealism came into play with the storm and onslaught, but remain at the level of a rationalistic natural consciousness to solve theodicy, fatalism and the need for redemption, which the Enlightenment with its rational optimism had ignored. The trivialization process is therefore not only possible at the time of the end of the Enlightenment, but necessary: ​​the bourgeoisie had to adhere to the guiding principle of reason, since it constitutes the basis of its existence. With the help of the moral-didactic and the philanthropic ideal, it first tries to organize personal and social life according to principles of reason; But there remains an unexplained question, which in the case of a one-sided connection to reality and in the absence of transcendent cannot be classified, but can only be perceived as a threat. Resignation develops from the ideal of serenity, but also from fatalism a longing for redemption, which opens the way to a new piety.

(6) Passim: The trivial novel is made possible by the emergence of a new literary audience; it becomes necessary because this new audience can no longer take part in the last stage of 'recollection', but remains on the stage of 'natural consciousness' which is what determines its existence. This separates the further development of poetry and philosophy from the opportunities for experience of the broad public, which from now on tries to meet its literary needs and not the demands of potency. It deserves 'tension' and 'tendency' in zich, but it means rational approach and material-formal unity, and thus takes on an understandable interpretation of 'bourgeois' being. / All mentioned conditions of its possibility, necessity and reality appear in the course of the 18th century At the end of the century the division between the initial form of the general and that of the intellectual elite and at the same time the literary production that had become necessary for the masses reached its first climax. From now on, both go their separate ways, while the experience of the absolute in a positive or negative direction remains decisive for poetry and philosophy, the general form of perception adheres to natural consciousness and remains binding until the realism of the present is flattened.

(7) Passim: Both currents can be traced side by side in the course of the 19th and 20th centuries, but also show how they influence and fertilize each other, just as a first encounter took place at the time of the Biedermeier restoration, in which the forms of connection reflected in our trivial novels clearly show live a synthesis with the newly won but weakened ideas of the classical-romantic spirit. / So the trivial novel, which at first glance is an inferior product of literary mass consumption and as such does not deserve any attention, has proven to be a necessary product of the special intellectual situation of the 18th century. It is the price that had to be paid for conquering the absolute and knowing the world from one's self-awareness. "

Dichtkunst, L’art pour l’art

(1) Henriette Levillian, “Le ritual poétique de Saint-John Perse”, Editions Gallimard 1977; “Like rhetoric, lyricism is a mortal evil for Being. The poesy and Manifesting arts destroy the death of mortality, but cannot cure her either. The poet will therefore have recourse, here again, to the tangible violence of recourse, here come, to the tangible violence of purifying breaths. when we sit, according to his own expression. poetry quenches thirst and fills the void created by the negativized efficiency of purifications. / On very frequent occasions, inside the work and the correspondence, the poet condemns lyricism. Each year, it designates the most immediate lyricism: the narcissistic lyricism of romantics. Let us not be surprised at such a caricatured reduction: the poet's allegory is so violent that it does not allow us to enter into subtleties and distinctions. / Romantic lyricism and sometimes associated with a flavor, sometimes perceived as a music. /

(2) Passim: The taste is so 'delectable' that it leaves a suspicious aftertaste in the mouth. This is the case with 'this beautiful guttural phrase', uttered by a lama met in the Gobi desert who is ready to go home, friends, to mouth in the desert '. This is also the case with these 'cat of forgetfulness' of which Musset Purrati is either the merchant, as he is the author of the Malibran stanzas cited in the same strophe. They are as light as the waffle cones which enter into the fabrication of forgetfulness. Bland and often realized like the perishable butter cream that garnishes them. / The whole of the romantic lyricism is perceived like music, but music hails like the sound of the 'harpsichord', precious like the music of the boudoir'. It is the little music of the Verlainian interior twilights, the nostalgic timbre of Chopin's Nocturnes and Liszt's Years of Pilgrimage. Amidst the rhythmic gusts of the wind, the military rhythm of the rains and the great undulations of the swell, these 'songs' clash and irritate. But the immediate malaises given to Saint-John Perse by the blandness of forgetfulness and the harpsichord's feverishness is the symptom of a more internal evil: the disgust of purely sensitive feelings. It takes us back beyond a denunciation of the formal expression of lyricism, to the very birth of its inspiration. "

Verband tussen dichtkunst en antropologie

(1) Henriette Levillian, “Le ritual poétique de Saint-John Perse”, Editions Gallimard 1977; “The winds and the rains have evacuated from the earth all the foreign elements which enclosed it, cloistered it and protected it. They made birth the desire for a very vast and vacant at the borders of which exceptional alliances are tied. At the same time, they have fought against the men who plunge their ideal into a control of the land and their interest in the interests, which are narrowed for this calculation of profits and precautions. They have, on the other hand, opened the way for men of action who, on unknown borders, rediscover elementary energy. but the operation of loosening, like that of the volatilization of dust, is an operation on three levels: in the end, it unchains the poetic inspiration of all that seals it to the earth.

(2) Passim: This is how Saint-John Perse saw each of his works as one saw an anabases: he begins it at the level of the earth, in the great desert platitudes or in the Dead seas, situated below the level of the earth; attracted by the horizon lines in the West, he climbs the flat huts, climbs in the height of the cordilleras, descends the steps of the mountains and theaters in order to reach the object of his tropism: the sea. In less concrete terms, the most of his work is presented in less concrete terms, each work is presented both as an ascent and a projection in the direction of an absolute which, like the sea, is liveliness and permanent mobility, universal gathering and enlargement. It is therefore, each time, to escape the attempts of an earthy poetry, because it is characterized by a 'crystallization' which scleroses the imagination. On the other hand, it is a question of tender towards a poetry of the sea, because it allows the poet to commune with the very movement of Being. "

Dagboek

(1) Elias Canetti, “Das Gewissen der Worte – Essays”, Fischer 1981; “In the diary you speak to yourself. But what does that mean? Do you actually become two characters who have a real conversation with each other? And who are the two? Why are there only two? Couldn’t it, shouldn’t there be many? Why would a diary be worthless in which one is always fed up with too many phrases? / The first advantage of the fictional self that you turn to is that it actually sounds to you. It’s always there, it doesn’t turn away. It pretends to be of no interest, it is not polite. It doesn’t interrupt you, it lets you finish. It’s not just curious, it’s patient too. I can only speak from my own experience here: but I am repeatedly told that someone who listens to me so patiently gives way to others. But don’t imagine that this listener will make it easy for you. Since he has the advantage of understanding you, you can’t fool him. He’s not just patient, he’s mean too. He doesn’t let you slip by, he sees everything. He remembers the slightest detail, and as soon as you start counterfeiting, he vehemently comes back to it. “