By Michael John Kooy
Employing principles drawn from modern serious thought, this publication historicizes psychoanalysis via a brand new and important theorization of the Gothic. The relevant premise is that the nineteenth-century Gothic produced an intensive critique of bills of sublimity and Freudian psychoanalysis. This ebook makes an incredible contribution to an figuring out of either the 19th century and the Gothic discourse which challenged the dominant principles of that interval. Writers explored comprise Mary Shelley, Edgar Allan Poe, Robert Louis Stevenson, and Bram Stoker.
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Extra info for Coleridge, Schiller and Aesthetic Education
Com - licensed to Universitetsbiblioteket i Tromso - PalgraveConnect - 2011-03-18 26 27 uses that trust to bring the prince to ruin. At one point the Armenian tells the story of two brothers, the younger of whom, Lorenzo, has his older brother murdered in order to steal both his betrothed and his inheritance. At the wedding, though, his evil plans are spoiled when the ghost of the dead brother appears before the assembled guests and exposes the crime. Is this divine justice, by which family wrongs are revenged, or simply an invention by the Armenian to mislead further his enraptured audience?
Like many such plans, this one was postponed and then only partly realized. But it is a strong indication of the high regard in which Coleridge held Schiller, singled out from his generation. Here was an accomplished German contemporary, rivalling Shakespeare in the control he exercised over his material, who impressed Coleridge with his interest in liberal politics, the psychology of guilt, the claims of reason and of belief – all this even before Coleridge knew of Wallenstein, the aesthetic essays and the emerging discourse about ‘aesthetic education’.
That Schiller’s project could so readily be inverted in an ironic fashion was, and remains, one of its most interesting features, not least because such a move seems sanctioned by at least some passages in the aesthetic essays themselves. For Schiller, though, there was no question of going back to rework the theory in the light of recent criticism; his response came in the shape of brand new drama. The goal Schiller began to formulate with Goethe in the 1790s was nothing less than the establishment of a new German literature of a European standard and quality, based on indigenous but not parochial traditions.
Coleridge, Schiller and Aesthetic Education by Michael John Kooy