Download PDF by Frederick Burwick: Mimesis and Its Romantic Reflections
By Frederick Burwick
In Romantic theories of artwork and literature, the concept of mimesis—defined as art’s mirrored image of the exterior world—became introspective and self-reflexive as poets and artists sought to symbolize the act of creativity itself. Frederick Burwick seeks to clarify this Romantic aesthetic, first via providing an realizing of key Romantic mimetic thoughts after which through interpreting manifestations of the mimetic method in literary works of the period.
Burwick explores the mimetic options of "art for art's sake," "Idem et Alter," and "palingenesis of brain as art" via drawing at the theories of Philo of Alexandria, Aristotle, Immanuel Kant, Friedrich Schiller, Friederich Wilhelm Joseph von Schelling, Thomas De Quincey, and Germaine de Staël. Having demonstrated the philosophical bases of those key mimetic recommendations, Burwick analyzes manifestations of mimesis within the literature of the interval, together with ekphrasis within the paintings of Thomas De Quincey, reflected pictures within the poems of Samuel Taylor Coleridge and William Wordsworth, and the twice-told story within the novels of Charles Brockden Brown, E. T. A. Hoffmann, and James Hogg. even though artists of this era have routinely been disregarded in discussions of mimesis, Burwick demonstrates that mimetic options comprised a huge portion of the Romantic aesthetic.
Competing or reflected narratives are proven to name into query the character of storytelling itself, yet Burwick's dialogue of this quite established narratological element in those works is unique and concise. His e-book mirrors and renews a pressure of research in Romantic literature, giving one could to boot say a lot foodstuff for mirrored image. --David E. LatanÃ©, Jr., South Atlantic Review
One walks clear of this ebook with a powerful experience of gratitude for a pupil and critic whose command of conventional texts and present literary thought is powerful sufficient to cajole us that the top literary scholarship and theoretical dexterity can paintings an analogous highway. --Peter Brier, ecu Romantic Review
One walks clear of this publication with a robust feel of gratitude for a pupil and critic whose command of conventional texts and present literary thought is powerful adequate to cajole us that the top literary scholarship and theoretical dexterity can paintings a similar road. --Peter Brier, ecu Romantic Review
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May have formerly turned the brains of half a score of striplings, but besides that I am not much disposed to be an inamorato, she is now somewhat too advanced in life to excite strong passion” (at age thirty-seven when they met, she was only eight years older than he). “My Acquaintance with her had been a pleasing adventure, & will never be more,” he writes after the coronation of Napoleon as emperor had made the political situation for de Staël and Constant more dangerous, and he no longer has hope of her return from Berlin to Weimar.
L’idéal et le réel tiennent, dans son langage, la place de l’intelligence et de la matière, de l’imagination et de l’expérience; et c’est dans la réunion de ces deux puissances en une harmonie complète que consiste, selon lui, le principe unique et absolu de l’univers organisé. Cette harmonie, dont les deux pôles et le centre sont l’image, . . fournit à Schelling les applications les plus ingénieuses. ” 26. Constant had decided that Schelling was a Spinozist upon first learning of his philosophy.
26. Constant had decided that Schelling was a Spinozist upon first learning of his philosophy. ” 27. Schiller and Schelling both make use of Kant’s arguments on organic growth in the use of language. ” Burwick Ch1 2/14/01 3:01 PM Page 31 ' can give it the illusion of freedom, so that what is mimetically represented appears to be natural and self-determined. The manipulating hand of the artist is unseen. In his theoretical exposition of this argument in the Kallias-Briefe (1793), Schiller posited a “Heautonomie,” or “Freedom in appearance” (“Freiheit in der Erscheinung”) as a way of describing an independent purposiveness without purpose (“Zweckmäßigkeit ohne Zweck”).
Mimesis and Its Romantic Reflections by Frederick Burwick