Abstract

Starting from the undeniable inadequacy of (poetic) language, which, as Kleist pointed out, can only provide ‘torn fragments’ without allowing fully accomplished communication, this article examines how such fragmentariness creates distinct units of meaning as part of the author’s intentionality. Kleist programmatically called his drama Penthesilea, which was published in his journal Phöbus in 1808, an ‘organic fragment’. This paradoxical term highlights an inherent contradiction: namely the unity between the fragmentary and the organic, the latter presupposing, after all, an existing whole. Whilst the author termed his drama in this case a fragment, which pretends to be organic, the opposite occurs with his comedy Der zerbrochne Krug. Here, Kleist generates a complete whole from linguistic fragmentations or, to put it provocatively, a fragmentary organism. This intricate relationship is the subject of the following philological and thematic analysis.

中文翻译：

---

碎片生物VS。有机碎片：重新诠释克莱斯特（Kleist）的zerbrochne krug和penthesilea的美学原则

摘要

正如Kleist所指出的，从（诗性）语言的不可否认性的不足开始，正如Kleist指出的那样，它只能提供“残缺的片段”，而不允许完全完成的交流，本文考察了这种片段性是如何创建不同的意义单元作为作者意图的一部分。克莱斯特（Kleist）以编程方式将他的戏曲《潘特西莉亚》（Penthesilea）称为“有机碎片”，该剧本于1808年在他的《凤凰》杂志上发表。这个自相矛盾的术语突出了一个固有的矛盾：即零碎的有机物与有机物之间的统一，毕竟有机物毕竟是一个存在的整体。虽然作者在这种情况下将自己的戏剧称为片段，假装是有机的，但与他的喜剧Der zerbrochne Krug相反。在这里，克莱斯特（Kleist）从语言上的碎片或者说是碎片有机体中产生了一个完整的整体。这种复杂的关系是以下语言学和主题分析的主题。