This chapter explores the importance of writing by early nineteenth-century women for post-structuralist accounts of philosophy of art in German Idealism and Romanticism. Work by Romantic writers Karoline von Günderrode and Bettina Brentano-von Arnim is related to post-structuralist analyses of the sublime, the fragment, the work of art, and the artist/genius.

Karoline von Günderrode (1780–1806) has long enjoyed a reputation as a Romantic poet, but her philosophical contributions have largely been neglected. This paper is one of the first to address Günderrode’s political thought, especially her view of the interrelationship between human society and the broader environment. The paper argues that Günderrode develops resources for reconceiving the relationship of human beings to the nonhuman and to each other that work against an instrumentalizing view of nature and programmatic political ideals. Günderrode’s normative (...) restraint, concept of harmony, and view of human beings as part of and the same in kind as the rest of nature contribute to a vision of sociality, grounded in her metaphysics, that envisions small communities fostering connections between human beings and the nonhuman. On Günderrode’s model, these connections can grow and strengthen and eventually, perhaps, enable the emergence of the single, perfect organism that she calls the “realized idea of the earth.”. (shrink)

This paper considers how women and gender are conceptualised within early German Romanticism and argues that work by early German Romantic women should be addressed in scholarship on this movement. The chapter addresses feminist critiques of early German Romanticism as exemplified by the work of Friedrich Schlegel and Novalis, concluding that an essentialist view of traditional gender characteristics informs central aspects of these writers’ work, including their view of the relationship between human beings and nature and their theories of language (...) and poetry. The paper argues that a thoroughgoing critique of gender categories and development of the implications of this critique are found in the early German Romantic writings, not of Schlegel and Novalis, but of Dorothea Veit-Schlegel and Karoline von Günderrode. (shrink)

Karoline von Günderrode’s reputation as a mystical writer makes her a likely candidate as a proponent of a negative philosophy. However, the historical emphasis on Günderrode’s mystical and lyrical writings reflects gender stereotypes about women’s writing and ignores Günderrode’s strengths as an epic and historical writer. It is therefore important to approach claims about Günderrode’s supposed mysticism carefully. This paper is a preliminary attempt to investigate Günderrode’s claims about knowledge, including knowledge of the absolute, asking: What does Günderrode think knowledge (...) is? What does she think the purpose of knowledge is—i.e., what does she think knowledge gets us, or does for us? And how do her claims differ from those philosophers, such as Novalis, whose thinking on knowledge (including of the absolute) seems to resemble hers? I argue that Günderrode maintains that human beings can experience, or “know,” a reality behind the discrete objects and events that comprise the world of appearances, and that she integrates this idea into a coherent worldview in a unique way. Specifically, I argue that Günderrode reconceptualizes the nature of death and selfhood in specific ways that allow her to make sense of the possibility of experiencing the true nature of the world behind the divisions that are characteristic of human knowledge and existence. (shrink)

In 1804, when asked by the aspiring writer Clemens Brentano why she had chosen to publish her work, Karoline von Günderrode wrote that she longed “mein Leben in einer bleibenden Form auszusprechen, in einer Gestalt, die würdig sei, zu den Vortreflichsten hinzutreten, sie zu grüssen und Gemeinschaft mit ihnen zu haben.” In light of this kind of statement, it is perhaps not surprising if, despite some exceptions, much of the still relatively scant literature on Günderrode reads her works largely in (...) terms of how they articulate and manifest Günderrode’s desires, frustrations, and character, for the most part ignoring their imaginary, creative, and intellectual aspects. This interpretation of the author’s works as biography is, in Günderrode’s case, often accompanied by an interpretation of her biography, particularly her suicide, as literary work. This paper is not the first to question the conflation of Günderrode’s life, death, and writing, but it is one of only a handful that aim to address the autopoietic element of Günderrode’s work in a way that does not reduce her writings to biographical and psychological expressions, or Günderrode herself to an image – or a legend – encapsulated by her writings and her relationship to them. This paper argues that Günderrode’s own position on what the self is has been largely neglected as a result of this conflation, and that taking this position into account changes how we understand Günderrode’s articulations of self in her writings. Thus this paper has two goals: to address difficulties in articulating and even constituting oneself sincerely when one’s efforts are unrecognized, belittled, censored, and forced to conform to the conventions of a society in which one is marginalized; and to unearth a neglected and potentially rich account of the modern self. (shrink)

This paper argues that Karoline von Günderrode’s unique account of the socially constructed self provides a model for satisfying relationships and a stable self on the basis of a fragmented and untransparent subjectivity. Günderrode views experience as a discontinuous series of moments out of which a self can be constructed in two ways, both involving interactions with others. One of these is narrative; the other is a form of immediate experience, including experiencing together with others, that precedes narrative accounts of (...) identity. For Günderrode, the most important ways of interacting with others involve sharing thoughts, feelings and experiences without attempting to integrate these into a more holistic image of, or story about, the person with whom one is interacting. The result is a model for relationships between transitory, opaque selves that creates a basis for social interaction and the construction of identity that can survive and flourish without a stable self that is completely known to itself and others. -/- This journal is open access and includes so many wonderful articles. (shrink)