Around 1800, German Romantics fixated on Dante's Divine Comedy as a model for the creation of a new mythology of reason. This book traces that fixation across Romantic and Neo-Romantic texts, showing how the Romantic Dante cult in fact generated ominous amalgams of art, myth, and fascism in the twentieth century.
Around 1800, German Romantics fixated on Dante's Divine Comedy as a model for the creation of a new mythology of reason. This book traces that fixation across Romantic and Neo-Romantic texts, showing how the Romantic Dante cult in fact generated ominous amalgams of art, myth, and fascism in the twentieth century.
DANIEL DiMASSA is an assistant professor of German at Worcester Polytechnic Institute in Worcester, Massachusetts.
Inhaltsangabe
List of Figures List of Abbreviations A Note on Translation Introduction: Orienting Romanticism Part I: Romanticism 1. Discovering Dante and Theorizing Myth: The Schlegel Brothers and the Origins of the Romantic Project 2. Schelling, Novalis, and the Legitimation of a Dantean Mythology 3. Goethe¿s Dantean Mythologies of the Self and of the World Part II: Neo-Romanticism 4. Trespassing the Sign: The Mad Flight of Gerhart Hauptmann 5. Abolishing History: New Dantean Germanies in Rudolf Borchardt and Stefan George 6. Thomas Mann and the Demythologization of Dante Conclusion Acknowledgments Notes Bibliography Index
List of Figures List of Abbreviations A Note on Translation Introduction: Orienting Romanticism Part I: Romanticism 1. Discovering Dante and Theorizing Myth: The Schlegel Brothers and the Origins of the Romantic Project 2. Schelling, Novalis, and the Legitimation of a Dantean Mythology 3. Goethe¿s Dantean Mythologies of the Self and of the World Part II: Neo-Romanticism 4. Trespassing the Sign: The Mad Flight of Gerhart Hauptmann 5. Abolishing History: New Dantean Germanies in Rudolf Borchardt and Stefan George 6. Thomas Mann and the Demythologization of Dante Conclusion Acknowledgments Notes Bibliography Index
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