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Kurt Wolff (1887-1963) was a singular presence in the literary world of the twentieth century, a cultural force shaping modern literature itself and pioneering significant changes in publishing. During an intense, active career that spanned two continents and five decades, Wolff launched seven publishing houses and nurtured an extraordinary array of writers, among them Franz Kafka, Lou Andreas-Salomé, Boris Pasternak, Günter Grass, Robert Musil, Paul Valéry, Julian Green, Lampedusa, and Anne Morrow Lindbergh.
Since the 1990s, following the end of postmodernism, literary theory has lost much of its dynamics. This book aims at revitalising literary theory exploring two of its historical bases: German poetics and aesthetics. Beginning in the 1770s and ending in the 1950s, the book examines nearly 200 years of this history, thereby providing the reader with a first history of poetics as well as with bibliographies of the subject. Particular attention is paid to the aesthetics and poetics of popular philosophy, of the Hegel-school, empirical and psychological tendencies in the field since the 1860s, the first steps towards a plurality of methods (1890–1930), theoretical confrontations during the Nazi-period as well as the rise of formalist and anthropological approaches from the 1930s onwards. All approaches are evaluated regarding their relevance for academia as well as for the general history of education. If possible, international references and contexts of the relevant theories are taken into account. In sum, the analysis not only shows how differentiated historical accounts in the field were but also reflects how current literary theory could move forward through the rediscovery of sunken ideas.
In fünfzehn Kapiteln fragt diese Studie nach im wesentlichen literarischen und musikalischen Erscheinungsformen einer in der Romantik maßgeblich entwickelten poetischen Denkweise, die hier als eine pluralektische vorgestellt wird. Im Romantischen kristallisiere sich die 'Lektüre des Heterogenen', wie Novalis notierte. Er war es auch, der eine 'Theorie der Berührung' und des Übergangs entwerfen wollte. Noch für die in der Forschung vergleichsweise weniger beachtete Spätromantik, der im dritten Teil dieses Buches besondere Aufmerksamkeit zuteil wird, blieb dieser Ansatz verbindlich. Der unverwechselbare Beitrag der Romantik zur Ideengeschichte, so die Hauptthese dieser Arbeit, liegt in ihrer den dialektischen Schematismus entgrenzenden Pluralektik, die sich mit mythologischer Motivik verband, im Roman exponierte und in der poetischen Musik selbst besang.
This 1994 book addresses literary theory and criticism, comparative studies in terms of theme, genre movement and influence, and interdisciplinary perspectives.