Search Results (10)

Amidst Hölderlin’s many well-known odes, elegies, and hymns, it is perhaps not surprising that Hölderlin’s occasional poem “To my Venerable Grandmother. On her 72nd Birthday” (Meiner verehrungswürdigen Grosmutter. Zu ihrem 72sten Geburtstag) has been translated into English only once and in an obscure self-published edition. Yet the poem is rich in Hölderlin’s distinctive diction and syntax, it reveals much about Hölderlin’s aspirations for himself, and it contains one of his deepest sets of reflections on Christ. Still, the poem is often overlooked. But once one reflects on its content, with its multiple attempts to name Christ, including his friendship to the earth and his knowing no strangers, one can readily see why Pope Francis elevated this poem as one of his favorite literary works. This publication presents the first accessible translation of the poem (I), after which I offer some commentary on its form, individual lines, and the translation (II). I then turn to the period of his writing the poem (III). I conclude with a few additional thoughts on Hölderlin and religion (IV). Full article

In 1802, Friedrich Hölderlin experienced his first mental breakdown, which was followed by a second one in 1805. On 15th September 1806, he was admitted to the clinic of Johann Heinrich Ferdinand von Autenrieth in Tübingen who addressed Hölderlin’s illness as “madness” (“Wahnsinn”). On 3rd May 1807, the poet was discharged as “incurable” (“unheilbar”). Until his death on 7th June 1843, he was cared for by the carpenter Ernst Zimmer. From the period between 1807 and 1843, 50 poems by Hölderlin have been preserved, in German studies known as the “Turmdichtung” (“tower poetry”). These poems have long been relegated to the margins of scholarly research. In my essay, I will discuss the modern and contemporary diagnoses, as well as Hölderlin’s literary (self-) therapy of his illness. I am suggesting that Hölderlin’s tower poetry contains a thera-peutic–poetic concept that is intended to serve the treatment of his illness. Full article

Friedrich Hölderlin (1770–1843) is widely known as a poet and sometimes described as a poet’s poet (Heidegger). However, more recent interpretations, undertaken by Dieter Henrich, Michael Franz and others, have shown that he was a genuine philosopher as well, who had an original conception of the relation between art, poetry and metaphysics, with neo-Platonic and theological roots. This paper reconstructs Hölderlin’s ideas and their relation to those of Kant and Fichte. Hölderlin emerges, on the interpretation offered here, as a metaphysician of life, a poet of the biosphere and as such most relevant to our present-day predicament. Full article

Philosophers and literary scholars have notoriously struggled with the periodization of Hölderlin’s work, showing particular reluctance to situate it within Early Romanticism. But there can be no doubt that Hölderlin’s philosophical work resides within the context of an anti-foundationalist criticism, which students of Karl Leonhard Reinhold leveled at his programmatic deduction from a “highest principle” (oberster Grundsatz) in the early 1790s and intensified following Fichte’s lectures (1794/95) on the Science of Knowledge (Wissenschaftslehre). Novalis belonged directly to the circle of Reinhold students, while Hölderlin gained access to it through Friedrich Immanuel Niethammer, his friend from student days in Tübingen and “mentor” in Jena. Niethammer encouraged both Hölderlin and Novalis to contribute to his Philosophisches Journal, conceived as a forum for discussing the pros and cons of foundational philosophy (Grundsatzphilosophie). Novalis’ Fichte-Studies and Hölderlin’s philosophical fragments from 1795/96 can be read as drafts for such an essay. Both men developed similar critiques of Reinhold’s reformulated, subject-centered “highest principle”, the “principle of consciousness” (Satz des Bewusstseins). They argued that according to Reinhold, self-consciousness is a representation, i.e., a binary relationship that provides no explanation for the certainty of unity associated with self-consciousness. Both postulate a transcendent “ground of unity”, which would address this issue while remaining inaccessible to consciousness. My article demonstrates that both men failed to disentangle themselves from the snares of Reinhold’s model of representation, and both transferred the solution for the problem of self-consciousness onto the extra-philosophical medium of art. Full article

Insofar as the caesura of tragic temporality and the movement of “tragic transport’” are said to be shaped by a tendency toward the “eccentric sphere of the dead” in Friedrich Hölderlin’s “Remarks on Oedipus”, the privileged position of this sphere within Hölderlin’s “Remarks” solicits further analysis of what this topos signifies within both Hölderlin’s poetological writings and his translation of Oedipus the King. How does the “eccentric sphere of the dead” relate to Hölderlin’s formal descriptions of the caesura that lends tragic succession a certain equilibrium, and what is implied in the qualification of this region as an “eccentric sphere”? How does the “eccentric sphere of the dead” register in the language of Sophocles’ tragedy? And conversely, what does the language of Oedipus the King indicate concerning the constitution and parameters of the “spheres” of the living and the dead? These are the questions that will be pursued in this essay, beginning with the broader resonance of the terms to which Hölderlin takes recourse in his “Remarks”, and proceeding to the ways in which the limits of life and death are articulated in Sophocles’ drama and Hölderlin’s translation. Those elaborations of the “eccentric sphere of the dead” will, in turn, allow for a reinterpretation of the more formal determinations of “tragic transport” that Hölderlin offers. Full article

Friedrich Hölderlin’s late hymns Patmos (first version) and Mnemosyne (early draft) create an intriguing tension between the “solid letter” that must be deciphered faithfully and the evocation of a “sounding script” that, together with an equally enigmatic “echo”, refuses direct hermeneutic understanding. At the point where the reader’s interpretive desire threatens to fail, musical settings like Peter Ruzicka’s MNEMOSYNE: Remembrance and Forgetting can be listened to as an attempt to actualize what Hölderlin’s original writing must leave unrealizable: the presence of real sound. In this audio-hermeneutic transfer, the act of listening opens up possibilities of the audible that are promised by the literary text without being actualized. The present essay interrogates this intermedial translatability between letter and sound by isolating a few selected passages from the facsimile reproduction of Hölderlin’s palimpsestic manuscript of multiple revisions, as provided by the Frankfurter Ausgabe. Mindful of the discontinuities and gaps in the original poems, my own analysis foregrounds its own fragmentary mode of reading Hölderlin’s poetry and listening to Ruzicka’s music. Full article

This article considers the work and reception of Friedrich Hölderlin with regard to the impact of German Idealism on religion. To this end, two questions must be clarified in advance: can Hölderlin, who is known primarily as a poet, also be placed in the context of German Idealism, and does his work have a significant relationship to religion? I argue that both questions should be answered in the affirmative. Ernst Cassirer’s study Hölderlin und der deutsche Idealismus (1918/19) clearly laid the foundation for appreciating Hölderlin’s place within German Idealism, and the question of God is a leitmotif of Hölderlin’s entire oeuvre. I seek to trace Hölderlin’s influence on understanding religion in three steps: First, I want to show that Hölderlin, in a critical continuation of Kant, does not consider religion solely within the matrix of practical reason, but brings into play the dimension of aesthetics. By situating religion in relation to the two focal points of ethics and aesthetics, a fundamental question of the philosophy of religion is addressed. Second, I employ several examples to show the various conceptions of the divine that the poet elucidates and juxtaposes in his work (Christian motifs, Greek mythology, pantheistic concepts, etc.). This leads to a philosophy of religion that is not determined by dogmatic boundaries. Third, I point out how religion plays a major role in the reception of Hölderlin. Full article

This paper highlights the limitations of narrative logic in mental health care, and in particular of “narrative vigilance”—the tendency to watch over experience via narrativisation, and to tether the concrete particulars of experience to the hypothetical structure of a narrative signification. Narrative logic is grounded in hypotaxis—the syntactic structuring whereby a discourse is characterised by different levels of subordination using linking words that connect, especially in terms of temporal and explanatory consequentiality. I offer an alternative approach based on parataxis—the practice of placing phrases or parts of speech next to each other without subordinating conjunctions. Sentences are juxtaposed without a clear connection; the contrast may generate novel and unexpected combinations between these dissimilar fragments. After distinguishing between parataxis and psychopathological phenomena like disturbances of association, I take inspiration from the work and life of a poet, Johann Christian Friedrich Hölderlin (1770–1843), considered among the greatest. He suffered for half his life from a severe form of mental illness that would perhaps, today, be diagnosed as schizophrenia. In the poems written during his illness, hypotaxis and narrative vigilance seem to blur, and parataxis takes centre stage. The fading of narrative structure in no way coincides with the absence of meaningfulness. Rather, meaningfulness is left to parataxis itself, that is, to the recombining power of words, sentences, and images. Parataxis itself can provide meaningfulness or, at least, provide the soil in which it can germinate. The void of narration opens the door for the fullness of “emergent” connections. In the final part of the paper, with the help of Freud’s ideas on the relationship between “analysis” and “synthesis” in psychoanalytic treatment, some implications are derived about the relevance of parataxis to the logics of discovery in psychotherapeutic care, especially that of persons with severe mental conditions. Full article

The birth of modern aesthetics cannot be separated from the emergence of a new, non-dogmatic conception of religion and theology. Friedrich Schlegel advocated ‘art as new religion’ while Friedrich Schleiermacher developed a vision on religion as a deeply aesthetic experience. In this rich intellectual context, one author stands out as deeply steeped in this field of innovative dialogues between philosophy, religion and art (against the backdrop of profound historical transformations) and as a singular figure beckoning towards a future (and a future language) that was still to come: Friedrich Hölderlin. In his later work, Hölderlin’s poetic voice retreats into a process of meticulous reading and writing, a complex score of traces and signs that articulate difference, not-yet-presence and potentiality, which is nothing other than the experience of finite time. In doing so, Hölderlin retraces the divine in history and in human existence: its retreat and expected arrival. In this article, we present readings and interpretations of Hölderlin’s later poetry, with a specific focus on the Winke or hints of the gods, and the vocabulary of nods and signs (Zeichen) signifying the experience of time’s passing as the announcement of an unthinkable future. By involving Jean-Luc Nancy’s rethinking of the Winke as intersections of the divinity of humanity and the humanity of divinity, we will arrive at a new understanding of Hölderlin’s emblematic figures of modernity: the stranger and the passer-by as receivers and transmitters of these Winke. Full article

This is a short (fragmentary) history of fragmentary writing from the German Romantics (F. W. Schlegel, Friedrich Hölderlin) to modern and contemporary concrete or visual poetry. Such writing is (often deliberately) a critique of the logic of subsumption that tries to assimilate whatever is singular and irreducible into totalities of various categorical or systematic sorts. Arguably, the fragment (parataxis) is the distinctive feature of literary Modernism, which is a rejection, not of what precedes it, but of what Max Weber called “the rationalization of the world” (or Modernity) whose aim is to keep everything, including all that is written, under surveillance and control. Full article