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Neues Jahrbuch. Band 45 – 2019
Ediert von Georges Goedert and Martina Scherbel
Cromwell, Johann Fust, Der Fächer (Libretto)
Ediert von Hans-Gert Roloff
Englishness in der englischen Romantik
Ulrike Kristina Köhler
Diese vergleichende Fallstudie richtet den Blick auf die Erscheinungsformen von Englishness in Gattungen der englischen Romantik. Aus einer produktionsästhetischen wie kontextbewussten Perspektive legt sie den politischen Essay, den Reisebericht, die Gothic novel und die Ballade unter das imagologische Mikroskop. Dabei gilt das Interesse dem Zusammenspiel von nationalen Stereotypen und Topoi mit Gattungselementen ohne nationale Konnotation. Der Adressat, kulturelles Wissen, Erzählsituation und Fokalisierung sowie lyrikspezifische Elemente stehen dabei im Fokus. In theoretischer Hinsicht zeigt dieses Buch, wie sich das Handwerkszeug der Narratologie, der kulturwissenschaftlichen Gedächtnisforschung, der Rezeptionsästhetik, der Rhetorik und der Textlinguistik weit stärker als bisher gewinnbringend in das Analyseinstrumentarium der Imagologie integrieren lässt. So lassen sich nationenbezogene Bilder zukünftig nuancierter nachzeichnen und im Zuge dessen besser dekonstruieren.
Georg Majors Edition des Justinus (1526/37) und die Chronica Carionis (1532)
This article argues that the literary reception of Classical historians through Philipp Melanchthon and his students made a decisive contribution to the pluralization and secularization of early Lutheran scholarly culture. It focuses on Georg Major’s hitherto unexplored edition of Justin’s Epitoma, which was printed in Hagenau in 1526, with a second, extended edition appearing in Magdeburg in 1537. Major’s first edition of 1526 is here scrutinized in the broader context of the emergence of Protestant universal history and the forming of Melanchthon’s understanding of the Four Kingdoms of Daniel, which is traditionally seen by scholars as the starting point of the distinction between secular and sacred history. The second edition (1537) includes a general instruction for the study of histories. Based as it is on Cicero’s historical-methodological principles of consilia, acta, and eventus, laid out in De Oratore, this handbook for Protestant Latin-school pupils is rooted in the historical thought of Italian humanists.
Angelus Silesius describes the mystical deification of the human soul as its inclusion in the Trinity. He uses traditional comparisons and metaphors, as formed on biblical basis by the Fathers to illustrate the inner Trinitarian relations, but also geometric and naturalistic analogies to lead the soul in three ways into God. These are always figurative appellations which, paradoxically, according to negative theology, can also be negated for the very essence of God, which remains unnameable. In this mystical unity, which in the teaching of the church can only happen by grace, but not in a pantheistic fashion by nature, man preserves the creaturely difference to the Creator. Even in the earliest epigrams, Scheffler’s Catholic point of view is that God cannot resist this union of love, and that therefore only man, with his free will, is responsible for its success. The model of the saints and the ethical demand for the keeping of the commandments and the doing of the good works, which confirm the authenticity of this mysticism as well as their conformity with the ecclesiastical tradition, also fit in with this result.
Die Reformationsschauspiele von Martin Rinckart und die Reformpoetik von Martin Opitz
The essay focuses on the drama-pieces planned by Martin Rinckart to celebrate the 100th anniversary of the Reformation in 1617. They are concentrated around Martin Luther as a “hero” for the protestant confession, like in Der Eißlebische Christliche Ritter where Luther figures as a warrior of true belief. Special attention is paid first to the relation between text and music with regard to the performances of the pieces; and second to the question why Rinckart has obviously realized only three of the seven planned pieces about the reformation and Luther. For answering, the essay argues that the reform in poetics and poetry initiated by Martin Opitz has challenged the poetical concept of Rinckart’s pieces in such a way that he was unable to continue them. Ironically, his most famous religious poem Nun danket alle Gott has been rescued out of the wreckage of his ambitious plan of a Luther-Heptalogy.
Neues Jahrbuch. Band 44 – 2018
Ediert von Georges Goedert and Martina Scherbel
Buddhistische Wissenstheorien und Transzendentalphilosophie
Ediert von Helmut Girndt
Beitragende sind Kogaku Arifuko, Martin Bunte, Luis Fellipe Garcia, Lutz Geldsetzer, Helmut Girndt, Katsuki Hayashi, Saša Josifović, Michael Lewin, Hitoshi Minobe, Kunihiko Nagasawa, Akira Omine, Valentin Pluder, Raji C. Steineck, Johannes Stoffers und Fabian Völker.
Thirty years of friendly connections between the Japanese Fichte Association and the International Fichte Society have found expression in volume 46 of Fichte Studien. It contains a collection of comparative studies between European and Japanese philosophy centered on transcendental philosophy (of Kant, Fichte and Husserl) and classical Mahayana Buddhism (plus Japan´s Kyoto school). Without denying irreconcilable differences between western and eastern thinking these essays demonstrate that western as well as eastern thinking is based on the universal ground of pre-reflexive cognition.
Raji C. Steineck
Nishida Kitarō (1870–1945) is considered by many as the most important 20th century Japanese philosopher for his ability to employ modern concepts and terminologies, and use them to construct a unique system carrying a distinctly East Asian flavour. In this system, the notion of nothingness plays a fundamental part both in terms of epistemology and ontology. While this conceptual choice was also inspired by Buddhist sources, Nishida also drew on the theoretical philosophy of Hermann Cohen to elaborate, how nothingness could function as both the guarantor of unity and generator of plurality. Close analysis, however, shows that Nishida’s appropriation of Cohen’s concept of the me on as a necessary feature in the „logic of pure knowledge“ sheds the constraints carefully put in place by Cohen. As becomes evident in a comparison between both thinker’s analysis of sensation, Nishida’s unrestricted use of Cohen’s terms collapses precisely those distinctions that give sensation its meaning in the rational assessment of reality. This leaves Nishida’s concept of reality without the critical potential to distinguish between different kinds of normativity and their inter-subjective validity. Nothingness, as Nishida uses the term, is not a logical concept, but functions as an aesthetic symbol invoking sublime ideas of a perfect reality that is one and whole, and at the same time rich and diverse.