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The embodiment of the absolute: Theo...

Padilla, Katherine Mary.

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The embodiment of the absolute: Theories of the feminine in the works of Schleiermacher, Schlegel, and Novalis.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The embodiment of the absolute: Theories of the feminine in the works of Schleiermacher, Schlegel, and Novalis./
作者:	Padilla, Katherine Mary.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 1988,
面頁冊數:	265 p.
附註:	Source: Dissertation Abstracts International, Volume: 49-12, Section: A, page: 3739.
Contained By:	Dissertation Abstracts International49-12A.
標題:	German literature. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8904323

The embodiment of the absolute: Theories of the feminine in the works of Schleiermacher, Schlegel, and Novalis.
Padilla, Katherine Mary.

The embodiment of the absolute: Theories of the feminine in the works of Schleiermacher, Schlegel, and Novalis. - Ann Arbor : ProQuest Dissertations & Theses, 1988 - 265 p.

Source: Dissertation Abstracts International, Volume: 49-12, Section: A, page: 3739.

Thesis (Ph.D.)--Princeton University, 1988.

Romantic theories of epistemology and mimesis necessitate the construct of the feminine to embody the Absolute. The creative male-self exploits the feminine's interpreted absence of subjectivity in his attempt to attain identity and knowledge.Subjects--Topical Terms:

699188
German literature.

The embodiment of the absolute: Theories of the feminine in the works of Schleiermacher, Schlegel, and Novalis.
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100 1 $a Padilla, Katherine Mary. $3 3345556
245 1 4 $a The embodiment of the absolute: Theories of the feminine in the works of Schleiermacher, Schlegel, and Novalis.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 1988
300 $a 265 p.
500 $a Source: Dissertation Abstracts International, Volume: 49-12, Section: A, page: 3739.
502 $a Thesis (Ph.D.)--Princeton University, 1988.
520 $a Romantic theories of epistemology and mimesis necessitate the construct of the feminine to embody the Absolute. The creative male-self exploits the feminine's interpreted absence of subjectivity in his attempt to attain identity and knowledge.
520 $a This study shows how the works of Schleiermacher, Friedrich Schlegel, and Novalis reveal an exploitation of the gender-specific structures of reproduction in their systems of theological and poetic epistemology. In all three writers' works, the terms Subject and Object are assigned gender in the attainment of identity: the male-Self is opposed, and thus defined by the feminine Non-Self. Further, by adhering to this gender-specific binary opposition, the feminine is also equated with all that Man perceives himself not to be, namely the Absolute.
520 $a This constructed identity of the feminine is the base for all three writers' structures of thought. Schleiermacher represents the nature of religious consciousness as a communion with the feminine Absolute. If the feminine is equated with the Absolute, then Christianity is a religion which pertains to the male only. Male identity, defined by separation from the locus of the Divine, necessitates metanoia, or conversion through the feminine. Friedrich Schlegel identifies and subsequently condemns the sociological definition of the feminine. However, in his revolutionary theory of the Roman he assigns gender to the central terms unity and variety. Through the opposition of the masculine principles of allegory and wit and the feminine principles of unity and inclusivity, Friedrich Schlegel attains the eternal dialectic of Universalpoesie. A detailed analysis of Lucinde reveals an implementation of these gender-specific poetics which refutes traditional interpretations. In his early fragments, Novalis develops a theory of being and representation which defines the feminine a pure form in opposition to masculine substance. Through this gender-specific definition of Stoff and Form, Novalis projects onto the substanceless feminine his potentiated self, namely the Absolute. In the poetic works, Lehrlinge zu Sais, Hymnen an die Nacht, and Heinrich von Ofterdingen, Novalis draws upon both his theory of representation and the definition of the feminine to create the universal art-form.
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