By Ernest Rubinstein
Reading romanticism within the considered Jewish thinker, Franz Rosenzweig, this e-book compares his magnum opus, The megastar of Redemption, with Leo Baeck's essay, "Romantic Religion," and Friedrich Schelling's Philosophy of paintings, texts representing detailed and, to a wide quantity, antagonistic interpretations of romanticism.
Rosenzweig's proposal was once formed via highbrow histories: Germany's and Judaism's. simply because romanticism had this type of yes impression on smooth German writing and concept, it turns into a question no matter if, and to what volume, 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 booklet, writer Ernest Rubinstein exhibits The big name of Redemption to be alongside the spectrum of rules that extends among Baeck and Schelling, and therefore illustrates a professional romanticism.
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Additional info for An Episode of Jewish Romanticism: Franz Rosenzweig’s the Star of Redemption
The essay illustrates Baeck's apologetic stance. "s4 In chapter two, we shall consider what Baeck means by romantic religion. Suffice it here to note that, in attacking it, Baeck was following a tradition of antiromantic polemics that was already established in Germany. The first documented uses of the word romantisch, applied by seventeenth century writers to the reality-stretching sagas and legends of the Middle Ages, already carried a negative connotation. 85 By the end of the eighteenth century, the romantic had come to be seen as a distinct literary category, about which writers like Schiller and Jean Paul could unpejoratively theorize.
What Baeck means to describe is all four at once: an emotive and miraculous experience of dependence. This characterization of romantic religion has a curious parallel in The Star of Redemption, where Rosenzweig briefly presents the features of "idealistic religion" (SR 193-194). What is in part so curious is the phrase itself. It occurs as a subsection heading in the chapter on creation, but not within the body of the text, oddly disconfrrming Rosenzweig's claim in "The New Thinking" that the word "Religion" does not at all (ueberhaupt) occur in the Star.
But then, if Fichte was right about philosophical preferences, that they are rooted in personality, Rosenzweig's affection for Schelling is only to be expected, for none of the idealists, and very few philosophers from any period, offer as much appearance of inverting or reversing positions as Schelling does. Indeed, there is so much appearance of reversal, between the competing claims to preeminence of nature, art, and mythology, or of thought, action, and being, that it can become a positive task, which Rosenzweig takes up, to show that the idea of a string of mutually contradicting Schellingian reversals must itself be reversed, that from start to finish of Schelling's philosophical life, a unified intellectual project unfolds.
An Episode of Jewish Romanticism: Franz Rosenzweig’s the Star of Redemption by Ernest Rubinstein