Abstract

This article examines the often neglected ‘reversal side’ of early Romanticism, for which Friedrich Schlegel’s critical philosophy of the infinite, developed in his Lectures on Transcendental Philosophy of 1800/1801, is exemplary. Therein Schlegel aims to synthesize Spinoza’s philosophy of substance with Fichte’s subjective foundationalism. This synthesis finds its particular challenge in the consequences that follow from the cosmological antinomies of Kant's Critique of Pure Reason. Since the antinomies no longer allow adherence to the constitutive totality of the world, Schlegel is forced to take a radical step. His conception, however, does not aim at a uniform and harmonious universe, as is usually assumed. Because the modern, reflexive I must reject every positive order of being as inconsistent, Schlegel concludes, that the world itself has to be regarded as unfinished, or indeterminate which results in the idea of an unfinished deity. Contrary to common understandings, this article argues that Schlegel’s concept of “world” is based on an acosmism that also has a formative influence on his theoretical foundations of poetry and art. Romantic universal poetry it could be said, therefore, is not only a benign manifesto of poetics, but also a resolute response to the impossible union of the subject with the cosmos. The rejection of a positive order of being motivates Romanticism to its own acosmic poetics, which evokes a fundamentally new conception of poetry by reflecting this insight.

摘要

本文考察了早期浪漫主义经常被忽视的“逆转面”，对此，弗里德里希·施莱格尔（Friedrich Schlegel）在其1800/1801年的先验哲学讲义中提出的关于无限的批判哲学就是典范。施莱格尔旨在将斯宾诺莎的实质哲学与费希特的主观基础主义进行综合。这种综合在康德对“纯粹理性的批判”的宇宙学矛盾所带来的后果中发现了特殊的挑战。。由于矛盾不再允许坚持世界的全部构成，施莱格尔被迫采取了激进的步骤。但是，他的构想并不像通常所认为的那样针对统一和和谐的宇宙。施莱格尔总结说，因为现代的，反身的我必须拒绝存在的所有不一致的积极顺序，所以必须将世界本身视为未完成或不确定的结果，从而导致神未完成的想法。与通常的理解相反，本文认为施莱格尔的“世界”概念是基于一种世界主义的，对他的诗歌和艺术的理论基础也具有形成性的影响。因此，可以说浪漫主义普遍诗歌不仅是诗学的良性宣言，而且是对主题与宇宙不可能融合的坚决回应。