Consciousness Thought

Thinking the Unconscious: Nineteenth-Century German Thought by Angus Nicholls

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By Angus Nicholls

For the reason that Freud's earliest psychoanalytic theorization round the starting of the 20th century, the idea that of the subconscious has exerted a major impact upon psychoanalysis and psychology, and literary, serious and social thought. but, sooner than Freud, the idea that of the subconscious already possessed a posh family tree in nineteenth-century German philosophy and literature, starting with the aftermath of Kant's severe philosophy and the origins of German idealism, and lengthening into the discourses of romanticism and past. regardless of the various key thinkers who contributed to the Germanic discourses at the subconscious, the English-speaking global is still relatively blind to this history and its impression upon the origins of psychoanalysis. Bringing jointly a suite of specialists within the fields of German reviews, Continental Philosophy, the background and Philosophy of technology, and the background of Psychoanalysis, this quantity examines a number of the theorizations, representations, and variations passed through by way of the idea that of the subconscious in nineteenth-century German idea.

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Magill, ed. ” Epochenschwelle und Epochenbewußtsein, ed. , The Literature of Weimar Classicism, The Camden House History of German Literature, vol. VII (Rochester, NY: Camden House, 2005); Rolf Selbmann, Deutsche Klassik (Paderborn: Schöningh, 2005); and Volker C. Dörr, Weimarer Klassik (Paderborn: Fink, 2007). 7 Unconscious from Storm and Stress to Weimar classicism 29 embodied in the character of Werther, had emphasized the potentially transgressive qualities of individual subjectivity and genius – while also rejecting, on a formal level, the prescriptive aesthetic tendencies of the French neo-classicism which had preceded it – Weimar classicism expressed the need once again to bring subjectivity and genius within formal bounds derived from the aesthetic models of the ancients.

47 In Schiller’s paraphrase, Schelling had argued that “in nature one starts from the unconscious in order to raise it to consciousness, whereas, in art, one proceeds from consciousness to the unconscious” [in der Natur von dem Bewußtslosen angefangen werde um es zum Bewußtsein zu erheben, in der Kunst hingegen man vom Bewußtsein ausgehe zum Bewußtlosen]. The Correspondence between Schiller and Goethe, from 1794 to 1805, trans. L. Dora Schmitz, 2 vols. (London: George Bell and Sons, 1877), vol.

Dora Schmitz, 2 vols. (London: George Bell and Sons, 1877), vol. II, 371; Der Briefwechsel zwischen Schiller und Goethe in den Jahren 1794 bis 1805, ed. Manfred Beetz, 2 vols. (Munich: Goldmann, 2005), vol. I, 851. ] Correspondence between Schiller and Goethe, vol. II, 372; Briefwechsel zwischen Schiller und Goethe, vol. I, 852. 49 For further discussion of Schiller’s use of the psychological concept of the unconscious in his writings with specific reference to The Robbers (Die Räuber, 1777–80; pub.

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