By Ernest Rubinstein
Interpreting romanticism within the considered Jewish thinker, Franz Rosenzweig, this publication compares his magnum opus, The celebrity of Redemption, with Leo Baeck's essay, "Romantic Religion," and Friedrich Schelling's Philosophy of paintings, texts representing particular and, to a wide quantity, antagonistic interpretations of romanticism.
Rosenzweig's proposal was once formed by means of highbrow histories: Germany's and Judaism's. simply because romanticism had one of these sure effect on glossy German writing and proposal, it turns into a query no matter if, and to what quantity, Rosenzweig, too, was once a romantic. a part of the strength of the query derives from the tensions occasionally famous among Jewish and romantic worldviews. during this publication, writer Ernest Rubinstein exhibits The celebrity of Redemption to be alongside the spectrum of rules that extends among Baeck and Schelling, and therefore illustrates a certified romanticism.
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Extra resources for An Episode of Jewish Romanticism: Franz Rosenzweig’s the Star of Redemption
114 Once again, Rosenzweig traces an evolution in Schelling's thought, this time from the Fichtean view that nature is comprehensible only as the domain in which the infinite will exercises itself, to an enhanced respect for nature itself, quite apart from any contexts it provides for moral self-realization. Newly 22 An Episode of Jewish Romanticism dignified along with nature is the sensual experience that constitutes its content. When Schelling claims that nature is, in Rosenzweig's words, "das Anwendungsgebiet der theoretischen Philosophie,,115 (the domain of application of theoretical philosophy), he means to lift theoretical philosophy out from under its subordination to moral philosophy-the subordination Kant and Fichte had decreed for it-and fashion for it a new and independent integrity, alongside nature.
The poetic tone of the work, and its idiosyncratic use oflanguage,125 defy simple, summary presentation. The synopsis that follows introduces the basic structure of the book and some of its key structural terms. The Star of Redemption was published in 1921. It is deeply imbedded in 150 years of German philosophical and literary history and is scarcely comprehensible apart from it. Its structural model, however, is visible even on the surface, through the part, book, and section titles. One commentator has suggested that the structural model is art,126 but the Star could also be taken to be patterned after an organism, that repeats the whole of itself in its parts.
But these titles also expand, macrocosmically, out of part two into the whole of the book. The preliminary conceptualizations of part one constitute a creation; the meetings of part two, revelation; and the vision of part three, redemption. The Introduction 27 titles also contract, microcosmically, into the confines of single books, especially the first and second books of part three, which analyze the Jewish and Christian liturgical cycles in terms of creation, revelation, and redemption. The definition of cosmic reality as movements of meeting takes its significance from a heritage of idealism that it rejects.