By Hilda M. Brown

ISBN-10: 1571133488

ISBN-13: 9781571133489

ISBN-10: 1571136835

ISBN-13: 9781571136831

Critics have lengthy sought to clarify the multilayered texts of E. T. A. Hoffmann by way of using to them a selected set of theories and ideas that Hoffmann himself subsumed lower than the heading of the "Serapiontic Principle." This precept, which Hoffmann expounded in his choice of stories Die Serapionsbr?der, contains a fancy intersection of the artist's colleges of mind's eye and belief. besides the fact that, Hoffmann's mode of offering his concept provides an strange challenge: instead of the standard type of an essay or treatise, he adopts a fictional framework, entire with a suite of "characters"; this in flip units up a few views at the idea itself. this mixture of literary and theoretical components offers a critical problem to critics, and never strangely there was little contract approximately what the "principle" really includes or its wider relevance. With the primary as leading concentration, this publication offers specified research of a largely established choice of Hoffmann's texts, either theoretical and literary. It bargains new views on his narrative invention and the diversity of his theoretical pursuits, hence redefining his position on the vanguard of German Romanticism. Hilda Meldrum Brown is professor of German at St Hilda's university, college of Oxford.

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T. A. Hoffmanns Imaginationslehre als Prinzip seiner Erzählkunst (Tübingen: Niemeyer, 1971), 103; Claudia Liebrand, Aporie des Kunstmythos (Freiburg im Breisgau: Rombach, 1996), 10. 12 See Petra Liedke Konow, “Sich hineinschwingen in die Werkstatt des Autors: Asthetische Rekurrenzphänomene in E. T. A. Hoffmanns Rahmenzyklus Die Serapionsbrüder,” ETAHJb 2 (1994): 57–68. Japp, “Das Serapiontische Prinzip,” in E. T. A. Hoffmann, Text ϩ Kritik, ed. H. L. Arnold, 63. ” 15 See, for example, points raised in the discussion of Nußknacker und Mausekönig, part 2, chapter 10, below.

A. Hoffmanns Erzählungen (Stuttgart: J. B. Metzler, 1993) 227, 324; Peter von Matt, Die Augen der Automaten: E. T. A. Hoffmanns Imaginationslehre als Prinzip seiner Erzählkunst (Tübingen: Niemeyer, 1971), 103; Claudia Liebrand, Aporie des Kunstmythos (Freiburg im Breisgau: Rombach, 1996), 10. 12 See Petra Liedke Konow, “Sich hineinschwingen in die Werkstatt des Autors: Asthetische Rekurrenzphänomene in E. T. A. Hoffmanns Rahmenzyklus Die Serapionsbrüder,” ETAHJb 2 (1994): 57–68. Japp, “Das Serapiontische Prinzip,” in E.

This is not intrusive, and no philosophers’ names are mentioned, but its terminology immediately betrays its origins in post-Kantian Idealist philosophy, specifically “Naturphilosophie,” which was gaining ground from the late 1790s and through the early 1800s among the Frühromantiker, as their initial enthusiasm for Fichte started to wane. This had as its main practitioner Friedrich Wilhelm Joseph Schelling (1775–1854), who produced a series of widely publicized lectures and influential works, the most relevant of which to Hoffmann are “Ideen zu einer Philosophie der Natur” (1797), “Von der Weltseele” (1798), and “Erster Entwurf eines Systems der Naturphilosophie” (1799).

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E. T. A. Hoffmann and the Serapiontic Principle: Critique and Creativity (Studies in German Literature Linguistics and Culture) by Hilda M. Brown


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