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Der alt­-neue Vampir. Das Schauerliche und die Figur des Nachzehrers in „Vampirismus” von E. T. A. Hoffmann

100%
Cieśliński S., Universität Łódź P. F.
Acta Universitatis Lodziensis. Folia Germanica
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2014
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vol. 10
EN
E. T. A. Hoffmann is one of the most famous representatives of early German horror literature. He has been both, inspired by its predecessors, as well as having influenced the work of many of his successors, and hence the development of the whole genre. The present article examines a story by E. T. A. Hoffmann, “Vampirismus” from the collection of short stories “Serapions Brüder” (1819–1821). Emphases are, on the one hand, on the mechanisms that cause readers’ fear and uncertainty and, on the other hand, the peculiarity of the vampire or Nachzehrer figure and their function in the story. Firstly, it will be shown that the vampire depicted in the work is not actually a vampire. We find here a ghoul; that is a demon from Arab culture. However, the ghoul has more to do with the monster outlined by Antoine Galland in his translation of the “One Thousand and One Nights” than with traditional folk beliefs. Secondly, the author comes to the conclusion that Hoffmann has functionalized the Horrible. This element does not work by itself, but serves the author as the background of the action. And he is using this background to let the characters reveal all their weaknesses and dark sides. The violation of the order ruling in the world as it is represented engages the reader and at the same time raises his fear. The resulting excited feelings and general alienation are further reinforced for the figure of the Nachzehrer that occurs instead of a formerly innocent, graceful girl. The emergence of the supernatural – the final confirmation of the breach of order – is responsible for the effect just described.
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Filozofia muzyki Artura Schopenhauera

94%
Lorenz A.
IDEA. Studia nad strukturą i rozwojem pojęć filozoficznych
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2016
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vol. 28/1
22-40
EN
The aim of this article is to present the philosophical understanding of the essence and the meaning of music, which was shaped in the early nineteenth century, under the influence of instrumental music of Ludwig van Beethoven. It is an attempt at outlining the main areas of similarity that exist between E.T.A. Hoffmann and Arthur Schopenhauer in terms of theoretical thinking about the metaphysical essence and aesthetic sense of instrumental music in the spirit of nineteenth-century philosophy of music. At the beginning of the nineteenth century aesthetic reflection on music reached an epochal point marking a remarkable breakthrough in the understanding, reception and evaluation of individual musical works. The theoretical definition of the hierarchy of aesthetic experience of human spirituality assigns the pure instrumental music of Ludwig van Beethoven the highest rank, thus creating a new concept of romantic musical aesthetic.
3
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Mechanika hrůzy: K hororovým příběhům německého romantismu

94%
Novotný P.
Svět literatury – Časopis pro novodobé literatury (World of Literature – Journal for Modern Literatures)
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2018
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vol. 58
85-99
EN
Mechanics of awe: The horror tales of German romanticism
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