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Val Scullion

This essay proposes that the polyphonic and transgressive aspects of Gothic forms are influenced by music. It examines formal connections between the sonnets of Sturm und Drang poet, Friedrich Hölderlin, their musical setting by Benjamin Britten, and Susan Hill‘s novel The Bird of Night, arguing that Hill and Britten have, in common, processes of writing or musical composition which mix together disparate discursive or musical components. These inter-genre borrowings suggest that the sound and compositional practices of certain types of music allow for the expression of tensions, dualities, transformations and extreme states of mind which the Gothic novel has developed its own tropes to express.

Gothic Studies
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Tracing literary sites of activism
Author: John Kinsella

The essential purpose of my work is to challenge familiar topoi and normatives of poetic activity as they pertain to environmental, humanitarian and textual activism in ‘the world-at-large’: to show how ambiguity can be a generative force when it works from a basis of non-ambiguity of purpose. The ‘disambiguation’ is a major difference with all other critical works on generative ambiguities: I state there is a clear unambiguous position to have regarding issues of justice, but that from confirmed points, ambiguity can be an intense and useful activist tool. There is an undoing of an apparent paradox of text in terms of ‘in the real world’ activism. It becomes an issue of consequences arising from creative work and positioning. Whether in discussing a particular literary text or ‘event in the world’, I make use of creative texts at specific sites of a broader, intertextual and interconnected activism.

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‘A quoi bon la littérature?’
Jeannette Baxter, Valerie Henitiuk, and Ben Hutchinson

Friedrich Hölderlin visited whilst traveling (on foot) from Stuttgart to Bordeaux, and which was the site of an SS massacre ‘am 9. Juni 1944, gerade drei Wochen nachdem ich im Seefelder-Haus in Wertach das sogenannte Licht der Welt erblickte, und fast auf den Tag genau einhundert Jahre und eines nach Hölderlins Tod’ (‘on 9 June 1944, exactly three weeks after I first saw the light of day in the Seefeld house in Wertach, and almost exactly a hundred and one years after Hölderlin’s death’ (2003b: 247; 2005a: 214)). Illustrated in crystallized form here are some of the

in A literature of restitution
Fichte, Hölderlin and Novalis
Andrew Bowie

. Fichte’s real insight is that reflection upon the subject by the subject reveals a reality which will never exhaust itself in what could be known objectively. It is this insight that will make him so important to those engaged in aesthetic theory and aesthetic praxis. Hölderlin Some of the problems in Fichte’s philosophy were quickly seen by the poet, Friedrich Hölderlin (1770–1843), who in his youth was friends with both Schelling and Hegel, and who was in contact with the intellectual circles which established both Idealism and Romanticism.2 The fact that an

in Aesthetics and subjectivity
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J. A. Smith

break. Clarissa’s remarkably resilient work of positioning herself in this way is  – I  have tried to show from Chapter  2 onwards  – represented by Richardson as the direct cause of the breakdown of the received notions that have been permitted to reign in the novel prior to this. It is Clarissa’s own refusal to give ground in this way that the novel symptomatises in the caesural break it introduces at the point of the rape itself. And this is what makes the novel consistent with Friedrich Hölderlin’s notion that both Benjamin and Lacan invoke: the rhythmic

in Samuel Richardson and the theory of tragedy
Open Access (free)
Ingmar Bergman, Henrik Ibsen, and television
Michael Tapper

Systemprogramm des deutschen Idealismus ( The Oldest Programme for a System of German Idealism ) by Friedrich Hölderlin. 8 Idealism fused aesthetics, ethics, and religion into a utopian vision of human perfection. It prescribed the triumph of ‘humanity’ over ‘animality’, which essentially signified the sublimation of sex. Since the idealists regarded women rather than men as the bearers of human sexuality, they stressed the importance of the idealization of female sexuality. Their view was that the spirit must rule

in Ingmar Bergman
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W. G. Sebald and the writing of the negative
Shane Weller

himself matches ‘unglücklich’ with ‘calamitous’ in the German and English versions of his 1976 essay on Kaf ka (1995b: 98; 1972: 52). Understood as calamity, ‘Unglück’ inhabits a liminal space, pointing in two directions simultaneously, challenging the reader to resist any simple answer to the question of why modernity should be a ‘historia calamitatum’ (1994b: 12). Sebald’s ‘Unglück’ is at once personal – as he observes of Friedrich Hölderlin’s in the essay ‘Ein Versuch der Restitution’ (2003b: 245; 2006a: 212) – and collective, at once natural and historical, and it

in A literature of restitution
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John Kinsella

example. I have been working on versions of Friedrich Hölderlin’s poems for years – ever since visiting his ‘tower’ in Tübingen during the horrific war in the Balkans. I wrote a sequence of poems critiquing global politics while considering the ‘nature’ of place, of the lyric, of the memorialised poet. I do not have access to the subtleties of his German, and I rely on translations into English by other writers, including my partner and academic friends. But I follow the German as much as I can, and I bring to the

in Beyond Ambiguity
Constructing the Danube
Joanne Yao

Friedrich Hölderlin, 1803 Diplomats gathered at Vienna in 1855 and then in Paris in 1856 to negotiate a peace treaty to end the Crimean War. All parties agreed on four main points that must be addressed to restore order to European international society. The second point centered on establishing freedom of commerce and navigation at the Danube's mouth, based on principles outlined at the 1815 Congress of Vienna. However, taming the Danube was a fundamentally different task than taming the Rhine – not only

in The ideal river
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J. A. Smith

of this book. In his compressed and mysterious ‘Notes on the Oedipus’ (1804), Friedrich Hölderlin claims that tragedy is always a genre of ‘emptiness’, ‘interruption’, ‘caesura’, or what he calls here ‘the pure word’: The tragic transport is essentially empty, and the most unbounded of all. Hence the rhythmic succession of ideas wherein the transport manifests itself demands a counter-rhythmic interruption, a pure word, that which in metrics is called a caesura, in order to confront the speeding alternation of ideas at its climax, so that not the alternation of the

in Samuel Richardson and the theory of tragedy