By Sandra Richter
Because the Nineties, following the top of postmodernism, literary thought has misplaced a lot of its dynamics. This ebook goals at revitalising literary conception exploring of its ancient bases: German poetics and aesthetics. starting within the 1770s and finishing within the Nineteen Fifties, the ebook examines approximately two hundred years of this background, thereby delivering the reader with a primary heritage of poetics in addition to with bibliographies of the subject
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Extra resources for A History of Poetics: German Scholarly Aesthetics and Poetics in International Context, 1770-1960
Throughout the early 19th century, the publication of poetics was limited, with one or two versions or theories appearing a year. A steady increase in production from the middle of the century onwards is notable, even though this is partially due to new editions of earlier works being put on the market. A peak is reached in the year 1888. 17 is the one and only ‘authentic’ language in which to communicate; on this discussion, cf. Author: Poetiken: Poetologische Lyrik, Poetik und Ästhetik von Novalis bis Rilke.
In the 1980s, this field was still mainly associated with Wilhelm Scherer and Wilhelm Dilthey. But many names need to be added, among them the little-known teacher Heinrich Viehoff and the popular writer Richard Müller-Freienfels who disseminated psychological poetics (chapter 6). Some works, notably those of Scherer und Eugen Wolff point to a seventh tendency which is best described as methodological pluralism. II. Aesthetics and Academic Poetics in Germany 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 37 This tendency characterised the field of aesthetics and poetics between 1890 and 1910, which then included almost all fields of knowledge in the study of poetry.
Taking into account popular cultural contexts such as theatre,9 literary criticism and the growing book market, the eclectics pursue didactical aims. The greatest number of them presupposes that the knowledge about the beautiful arts enhances humanity. In the German-speaking countries this presupposition is often underlined with rational psychology, mainly the idea of perfection of the individual, and the emerging ‘teachings of the experiences of the soul’ (“Erfahrungsseelenlehre”) which explore emotions, sentiments and attitudes in theoretical, as well as literary, form.