Paolo Chiarini Libri

This collection features a series of essays exploring Heinrich Heine's significant role in modern European literature and his unique literary style. P. U. Hohendahl discusses Heine's transitional position, while P. Chiarini examines Heine's early essay, "Die Romantik," in the context of literary training and critical-social romanticism. G. Höhn presents Heine's aesthetic contrasts and his innovative writing program, and G. Oesterle analyzes the blend of folk and conversational tones in "Buch der Lieder." T. Dembeck investigates Heine's relationship with the romantic school and popular culture. D. von Wietersheim delves into the symbolic dance and pantomime in "Florentinische Nachte." A. Stasková reflects on Heine's portrayal of death within a moralistic tradition, while F. Cambi explores the discontinuous poetics in Heine's autobiographical writings. M. Rispoli discusses Heine's engagement with the bourgeois public sphere, and L. Zagari addresses the crisis of lyrical language in Heine's work. Other contributions include S. Moses on the poetics of humor, P. Chiarini contrasting Heine with Ludwig Borne, and A. Destro examining Heine's modern religiosity. The collection also features discussions on Heine's critique of idealism, the Julimonarchy's executions, erotic writing, and Hannah Arendt's interpretation of Heine.

This collection features a series of essays exploring the intricate relationship between Friedrich Schiller and ancient Greek tragedy, alongside other classical influences. Contributions include discussions on Schiller's interpretation of Roman tragedies, reflections on the connections between Schiller, Hölderlin, and classical themes, and analyses of Schiller's ballads in the context of ancient and modern paradigms. The essays delve into Schiller's adaptation of Euripides' "Iphigenie in Aulis," examining its role as a quintessential example of classicism. Further exploration includes Schiller's "Die Braut von Messina," addressing its radical formal return in response to contemporary cultural syncretism. The volume also investigates the correspondence between Schiller and Nietzsche, the emotional modeling in "Wallenstein," and the influence of Plutarch on Schiller's works. Discussions on modern rights and ancient myths in "Wilhelm Tell" highlight matriarchal resonances, while analyses of Schiller's lyrical engagement with antiquity and the dialectic of ancient and modern aesthetics are presented. The essays culminate in an exploration of visual culture in Schiller's work, particularly in relation to Pompeii and Herculaneum, providing a comprehensive view of Schiller's engagement with classical themes and their relevance to modernity.

This collection features a series of essays exploring the multifaceted relationship between art, culture, and the city of Rome from the late 18th to early 19th centuries. Contributors examine various aspects of this dynamic, starting with H. J. Schneider's analysis of Rome as a classical art body and its perception from Winckelmann to Goethe. S. Moses discusses Goethe's discovery of French landscape painting in Rome, while W. Busch focuses on Goethe's interactions with the Riepenhausen brothers. H. Tausch delves into Goethe's architectural insights during his Italian journey. E. Osterkamp contrasts German and French perceptions of Raphael's Rome, and E. Décultot highlights the gradual elevation of landscape painting among the Nazarene artists. Further contributions include N. Miller's exploration of the lesser-known artists Müller and Waiblinger in Rome, and D. Borchmeyer's examination of Wilhelm Müller's letters from the city. M. Cometa discusses the intersection of German and Roman architectural theory, while A. Assmann addresses the representation of Roman ruins in English Romanticism. The collection also features reflections on the artistic climate in Rome during the late 18th century, the myth of Amor and Psyche, and the experiences of the Nazarene artists. The volume concludes with bio-bibliographical notes, providing context for the discussed figures and their contributions to the artistic landscape of Rome.