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Memory in fragments: "Gedaechtnis" ...

Johnson, Laurie Ruth.

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Memory in fragments: "Gedaechtnis" and "Erinnerung" in early Romanticism (Friedrich Schlegel, Novalis).

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Memory in fragments: "Gedaechtnis" and "Erinnerung" in early Romanticism (Friedrich Schlegel, Novalis)./
Author:	Johnson, Laurie Ruth.
Description:	298 p.
Notes:	Chairperson: Paul Michael Lutzeler.
Contained By:	Dissertation Abstracts International58-04A.
Subject:	Literature, Germanic. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9730954
ISBN:	0591403528

Memory in fragments: "Gedaechtnis" and "Erinnerung" in early Romanticism (Friedrich Schlegel, Novalis).
Johnson, Laurie Ruth.

Memory in fragments: "Gedaechtnis" and "Erinnerung" in early Romanticism (Friedrich Schlegel, Novalis). - 298 p.

Chairperson: Paul Michael Lutzeler.

Thesis (Ph.D.)--Washington University, 1997.

The dissertation's main argument is that the German Early Romantics' understanding of memory and remembering is important for their theories of representation, theories found in large part in the form of fragments and fragmentary texts. This argument leads to new interpretations of Romantic fragments and of the relevance of Early Romanticism for contemporary thinking about memory and history. Although Novalis and Friedrich Schlegel in particular are often read as prefiguring later theories of representation, their comments on memory have much to do with eighteenth-century theories of the appropriate use of past experience in art. The Romantics integrate insights from these aesthetic theories with concepts of consciousness developed by critical philosophers, but their portrayals of memory also reflect the influence of contemporary psychology and natural science, and of debates about the relationship between body and soul. By examining the psychological as well as the philosophical influences on Early Romantic theories of memory, the dissertation departs from the majority of analyses of Jena literary production. An exploration of Romantic depictions of memory as a faculty of body as well as of mind demonstrates that when the subtext on remembrance in Early Romantic texts turns to questions about memory's employment and depiction in art--to the aestheticization of recollection--these texts become sites of serious doubt about the explanatory ability of the supposedly discrete philosophical, psychological, and aesthetic discourses against which Romantic, and modern, thought is constructed. The above arguments are based on the following theses: (1) The Early Romantics represent the experience and presentation of memory as privileged and creative, but also as not always capable of giving reliable information about the actual past. But rather than depicting representations as systems of signifiers with no stable referents, their portrayal of memory and remembering as creative displays a belief that meaning is accessible through its representations. (2) The Romantic critique of the knowability of origins and of memory's reliability results in an emphasis on originality over imitation, but also blurs distinctions between memory and historiography. (3) The form of the fragment embodies the dilemmas and possibilities that the Romantics associate with memory.

ISBN: 0591403528Subjects--Topical Terms:

1019072
Literature, Germanic.

Memory in fragments: "Gedaechtnis" and "Erinnerung" in early Romanticism (Friedrich Schlegel, Novalis).
LDR:03308nam 2200277 a 45 001 927297
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008 110425s1997 eng d
020 $a 0591403528
035 $a (UnM)AAI9730954
035 $a AAI9730954
040 $a UnM $c UnM
100 1 $a Johnson, Laurie Ruth. $3 1250854
245 1 0 $a Memory in fragments: "Gedaechtnis" and "Erinnerung" in early Romanticism (Friedrich Schlegel, Novalis).
300 $a 298 p.
500 $a Chairperson: Paul Michael Lutzeler.
500 $a Source: Dissertation Abstracts International, Volume: 58-04, Section: A, page: 1297.
502 $a Thesis (Ph.D.)--Washington University, 1997.
520 $a The dissertation's main argument is that the German Early Romantics' understanding of memory and remembering is important for their theories of representation, theories found in large part in the form of fragments and fragmentary texts. This argument leads to new interpretations of Romantic fragments and of the relevance of Early Romanticism for contemporary thinking about memory and history. Although Novalis and Friedrich Schlegel in particular are often read as prefiguring later theories of representation, their comments on memory have much to do with eighteenth-century theories of the appropriate use of past experience in art. The Romantics integrate insights from these aesthetic theories with concepts of consciousness developed by critical philosophers, but their portrayals of memory also reflect the influence of contemporary psychology and natural science, and of debates about the relationship between body and soul. By examining the psychological as well as the philosophical influences on Early Romantic theories of memory, the dissertation departs from the majority of analyses of Jena literary production. An exploration of Romantic depictions of memory as a faculty of body as well as of mind demonstrates that when the subtext on remembrance in Early Romantic texts turns to questions about memory's employment and depiction in art--to the aestheticization of recollection--these texts become sites of serious doubt about the explanatory ability of the supposedly discrete philosophical, psychological, and aesthetic discourses against which Romantic, and modern, thought is constructed. The above arguments are based on the following theses: (1) The Early Romantics represent the experience and presentation of memory as privileged and creative, but also as not always capable of giving reliable information about the actual past. But rather than depicting representations as systems of signifiers with no stable referents, their portrayal of memory and remembering as creative displays a belief that meaning is accessible through its representations. (2) The Romantic critique of the knowability of origins and of memory's reliability results in an emphasis on originality over imitation, but also blurs distinctions between memory and historiography. (3) The form of the fragment embodies the dilemmas and possibilities that the Romantics associate with memory.
590 $a School code: 0252.
650 4 $a Literature, Germanic. $3 1019072
650 4 $a Philosophy. $3 516511
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710 2 0 $a Washington University. $3 1250147
773 0 $t Dissertation Abstracts International $g 58-04A.
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790 1 0 $a Lutzeler, Paul Michael, $e advisor
791 $a Ph.D.
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856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9730954