Peter Winch, Chicago , 9.
Translations of Nietzsche are my own, unless indicated. CrossRef Google Scholar. Aristotle, Poetics, Basic Works , ed.
Mohammed Abed Al-Jabri: Kritik der arabischen Vernunft – Einführung - Begleitschreiben
Plato, Collected Dialogues , ed. Alan Bass, Chicago , , Derrida undermines this approach in Speech and Phenomena , trans. David B. Allison, Chicago , 32— Anscombe, Berkeley , as a text which is less a visual study than a discussion distinguishing imaginable from non-imaginable colors as the verbally conceivable and the verbally inconceivable. See also the exchange over Wittgenstein and deconstruction that has arisen between Staten and John M.
Ellis in New Literary History 19 Michael Morton, in The Critical Turn , refreshingly attempts to bridge this gap. Richter ed. Alan Bass, Chicago , Injustice comes about when one such lan guage game imposes itself upon another. Boulder USA. Personalised recommendations. Cite article How to cite? But it was also a time of instability and disappointment.
He was restless and travelled frequently; more often than not he was short of money. From to he was in Berlin, working in spite of his aversion to posts in government and civil administration in financial management. His hope seems to have been to bring a measure of order and security into his life. But he was soon discontented and left in Later necessity again impelled him to seek civil service employment — but without success.
His literary career was not without its ups and downs. Cotta published Penthesilea in But it was a signal failure not least because it was split into three acts.
Goethe , who was in charge of the Weimar theatre, was, it seems, merely following performance convention and there was no ill will involved. But relations between the two men were problematic. Goethe could not accept the ferocity and violence of Penthesilea.
By the end of his short life he had a considerable reputation as a writer. There are many gaps and discontinuities in that life. In terms of weighty emotional ties, it is clear that he and his half sister Ulrike were particularly close. From to he was engaged to Wilhelmine von Zenge. In the autumn of he met Henriette Vogel, a married woman with whom he shared an interest in early, particularly religious, art and in music. It seems that she was incurably ill and her intense emotional disarray brought her close to Kleist.
They exchanged rhapsodic letters and finally made a suicide pact. On 21 November, at the Wannsee near Potsdam, Kleist shot her, then himself. And as regards his inner life and temperament, while we know a certain amount, we can only register contradictions and discontinuities wherever we look. We know that he cherished Rousseau and sometimes longed for a simple life in the natural world at one point he even wanted to become a smallholding farmer in Switzerland. His Pietist upbringing gave him a feeling for religious experience and briefly he was attracted to Catholicism.
Having previously believed in the moral integrity and strength of the individual, he now felt that there was no perceptual or cognitive certainty available to the human subject. Kant had argued that a thoroughgoing understanding of the conditions on our knowing — and therefore of the conditionality of our knowing — provided grounds not for ontological despair but for a scrupulously reflective awareness of the value and dignity of human being in the world. Put simply; for Kant , limitation was salutary; in Kleist it triggered existential heartbreak.
One strand of his personality displayed an almost military need for order and discipline. They urge her to focus her thoughts on certain key topics and issues. Du liest doch zuweilen meine Instruktionen durch? You do keep reading through my instructions? Yet on other occasions we do derive — particularly from his letters — a powerful sense of the inner life, and, above all as the end draws near, of the consuming disarray that threatens him. Just four prefatory remarks before we turn to the literary and essayistic work.
Yet at the same time as with Kafka there is the sense that literature is all that he has to offer. Secondly : as I have just suggested, the tensions of his life which destroyed him become truly lucid and expressive when when transposed into literary statement.
The oscillation between order and disarray produces in his creative self an acute feel for the shape of any given literary genre — and at the same the burning need to subvert those structures. Thirdly : the clashing imperatives of foregrounded physicality on the one hand and the need for metaphysical certainties on the other generates a kind of existential melodrama in which the faultiness of the world order triggers immortal longings in the protagonists. Fourthly : Kleist is a master of the German language. Time and again he uses it at full stretch, indeed almost to breaking point. Remarkably to employ a metaphor of which he was very fond the tension serves not to fracture the sentence but to hold it together.
What was not true of the life was emphatically true of the art.