BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Sabre//Sabre VObject 4.6.0//EN CALSCALE:GREGORIAN BEGIN:VTIMEZONE TZID:Europe/Zurich X-LIC-LOCATION:Europe/Zurich TZURL:http://tzurl.org/zoneinfo/Europe/Zurich BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:19810329T020000 RRULE:FREQ=YEARLY;BYMONTH=3;BYDAY=-1SU END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:19961027T030000 RRULE:FREQ=YEARLY;BYMONTH=10;BYDAY=-1SU END:STANDARD END:VTIMEZONE BEGIN:VEVENT UID:news119@english.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20181128T111743 DTSTART;TZID=Europe/Zurich:20181204T130000 SUMMARY:'Transcendental Poetics and the Futures of American Romanticism': A Primer DESCRIPTION:Transcendental Poetics and the Futures of American Romanticism builds on the premise that “[R]omanticism [...] is a living\, as yet unr ealized possibility\,” as Nikolas Kompridis has put it. Accordingly\, it traces the romantic project from its inception in the late eighteenth and early to mid-nineteenth centuries through the twentieth century to today. \\r\\nIn order to do so\, I begin with American transcendentalism\, partic ularly the work of Ralph Waldo Emerson and Margaret Fuller\, which I under stand as the distillation and poignant expression of romanticism as it inc orporates and builds on the earlier European romantic discourse. Scrutiny of this original phase of romanticism yields the following definition of t he romantic project: Romanticism emerges as the attempt to draw up a compr ehensive and accurate account apt to reconcile the human (thought) and non human (nature) worlds decisively divorced by Kant’s critical project. In order to do so without relinquishing Kant’s critical insights\, it need s to be able to ground thought in nature without reducing thought to mere mechanism. Such a project remains very much a transcendental project\, but “transcendental” now comes to signify a real ground in nature\, what the romantics called the Absolute\, rather than the mere conditions of tho ught. To comply with Kant’s critical project\, this Absolute needs to be located beyond the limits of thought. That is\, the Absolute has to remai n inaccessible by means of rational\, conceptual thought. If this is the c ase\, the only remaining option is aisthesis or aesthetic intuition. It is precisely this wager on aisthesis that makes the project of the reconcili ation of thought and nature romantic. Since works of art in general and li terary works in particular (due to their linguistic constitution) amount t o the material manifestation of aesthetic intuition\, art and literature a ttain central importance in romantic discourse—they become the royal roa d to the Absolute.\\r\\nFollowing up on Kompridis’ diagnosis above\, I t race the development of this project by means of close readings of what I take to be some of its paradigmatic twentieth- and twenty-first-century ex emplars. These close readings track the very means and techniques with whi ch these texts purport to theorize and\, importantly\, unveil the Absolute . In the colloquium\, I will first elucidate the overall project as deline ated above in order to then zoom in on one of my exemplars. As additional incentive\, YOU get to decide which one. X-ALT-DESC:
Transcendental Poetics and the Futures of American Roma nticism builds on the premise that “[R]omanticism [...] is a living\ , as yet unrealized possibility\,” as Nikolas Kompridis has put it. Acco rdingly\, it traces the romantic project from its inception in the late ei ghteenth and early to mid-nineteenth centuries through the twentieth centu ry to today.\nIn order to do so\, I begin with American transcendentalism\ , particularly the work of Ralph Waldo Emerson and Margaret Fuller\, which I understand as the distillation and poignant expression of romanticism a s it incorporates and builds on the earlier European romantic discourse. S crutiny of this original phase of romanticism yields the following definit ion of the romantic project: Romanticism emerges as the attempt to draw up a comprehensive and accurate account apt to reconcile the human (thought) and nonhuman (nature) worlds decisively divorced by Kant’s critical pro ject. In order to do so without relinquishing Kant’s critical insights\, it needs to be able to ground thought in nature without reducing t hought to mere mechanism. Such a project remains very much a transcendenta l project\, but “transcendental” now comes to signify a real ground in nature\, what the romantics called the Absolute\, rather than the mere co nditions of thought. To comply with Kant’s critical project\, this Absol ute needs to be located beyond the limits of thought. That is\, the Absolu te has to remain inaccessible by means of rational\, conceptual thought. I f this is the case\, the only remaining option is aisthesis or aest hetic intuition. It is precisely this wager on aisthesis that makes the project of the reconciliation of thought and nature romantic. Since w orks of art in general and literary works in particular (due to their ling uistic constitution) amount to the material manifestation of aesthetic int uition\, art and literature attain central importance in romantic discours e—they become the royal road to the Absolute.\nFollowing up on Kompridis ’ diagnosis above\, I trace the development of this project by means of close readings of what I take to be some of its paradigmatic twentieth- an d twenty-first-century exemplars. These close readings track the very mean s and techniques with which these texts purport to theorize and\, importan tly\, unveil the Absolute. In the colloquium\, I will first elucidate the overall project as delineated above in order to then zoom in on one of my exemplars. As additional incentive\, YOU get to decide which one. DTEND;TZID=Europe/Zurich:20181204T140000 END:VEVENT END:VCALENDAR