Book
Triumph der Rache: Joachim Wilhelm von Brawe und die Ästhetik der Aufklärung
The chapter juxtaposes Veselovsky’s theory of the persistence of forms with the set of critical practices known as New Historicism, and shows that both approaches exclude the possibility of new forms arising. The chapter suggests that both the oblivion of an old form and the rise of the new result from a fundamental shift in perception that occurs within the order of verbal creativity and does not lend itself to a historical-deterministic explanation.
Die Aufklärung wurde als historische Denkbewegung oft kritisiert, ihre (vermeintliche) Dialektik aufgedeckt und die Kluft zwischen ihren ursprünglichen Zielen und ihren Konsequenzen angesichts der Kriege und Krisen des 20. Jahrhunderts beschrieben. Trotz dieser Kritik sind Begriff und Epoche der Aufklärung nach wie vor von großer gesellschaftlicher Bedeutung. Grundforderungen der Aufklärung wie Freiheit, Öffentlichkeit, überprüfbares Wissen, Mündigkeit, Emanzipation und Selbstreflexion stellen eine fortwährende Herausforderung dar. Noch heute liefert sie Impulse für demokratische Bewegungen. Und auch (wissenschafts-)didaktisch erscheint sie zeitlos: Moderne Begriffe wie Brainstorming, Mindmapping und Networking, die innovativ, demokratisch und neu wirken, gehen auf Grundideen des selbstständigen und zugleich gemeinsamen Denkens und Arbeitens zurück, die bereits ein wichtiges Anliegen der Spätaufklärung waren. Die Beiträge des vorliegenden Bandes reichen von der historischen Einordnung der jeweiligen Disziplin in Bezug zur Epoche der Aufklärung bis hin zu Spezialfragen aus den Bereichen Wissenschaftsgeschichte, Pädagogik, Hochschulpolitik, Philosophie und Philosophiegeschichte, Medizinethik, Patient/-inneninformation und ärztliche Verantwortung, Rechtswissenschaft und -geschichte, Theologie, Post-Colonial Studies und Interkulturalität, Friedensforschung und Sexualaufklärung.
Jean Paul (Johann Paul Friedrich Richter, 1763–1825), one of the most unorthodox German writers, eludes classification under the titles of Romanticism, classicism, neo-baroque, or sentimentalism, his oeuvre embodying the cultural project of the transitional period of the turn of the nineteenth century. His texts, dubbed a “dreadful monster” by Thomas Carlyle and considered “unbelievably mature” by Goethe, seem to comprise multiple incongruous layers, aesthetic techniques, literary styles, cultures and identities, drawing the reader into a phantasmagoric space, astoundingly ordinary and yet surreal at the same time. This study seeks to demonstrate this creative (contrapuntal and ironical) multilayeredness and identify Jean Paul’s mechanisms of creating literary works and essays in philosophical aesthetics, which, on the one hand, fit into the cultural context of the “end of the age of rhetoric”, and on the other, anticipate the challenges of the upcoming age of modernist art. A large-scale symposium held several years ago in Moscow discussed the comparative issues associated with the reception of Jean Paul’s works in various national contexts where his ideas, images, techniques, and strategies have been employed for local cultural and literary needs.The reception of Jean Paul in Russian literature has been intense, with the 2010s seeing another climax in interpretation of his oeuvre.
The O.A. Zhukova's article presents the idea that Vyazemsky creates aesthetic canon of Russian classics, showing the process of universalization of aesthetic values in Russian culture. He consistently defended the thesis of the necessary of national literature in relationship with spiritual traditions and civil institutions of the people. The author reveals the aesthetic sense of the Vyzemsky's program, wich structural elements are the language as a form of expression of thought, historism in the formation of national literature and the ideas of the Enlightenment.
The paper is focused on the study of reaction of italian literature critics on the publication of the Boris Pasternak's novel "Doctor Jivago". The analysys of the book ""Doctor Jivago", Pasternak, 1958, Italy" (published in Russian language in "Reka vremen", 2012, in Moscow) is given. The papers of italian writers, critics and historians of literature, who reacted immediately upon the publication of the novel (A. Moravia, I. Calvino, F.Fortini, C. Cassola, C. Salinari ecc.) are studied and analised.
In the article the patterns of the realization of emotional utterances in dialogic and monologic speech are described. The author pays special attention to the characteristic features of the speech of a speaker feeling psychic tension and to the compositional-pragmatic peculiarities of dialogic and monologic text.