At the beginning of the twentieth century, the mystical union of the individual with the transcendent dimension was characterized by a secularisation for which Uwe Spörl has coined the term “gottlose Mystik” or “Neomystik”. Jutta Saima Schloon has shown that Stefan George’ poems dedicated to Maximin largely correspond to Spörl’s definition of Neomysticism: By analysing the poem “Einverleibung”, Schloon has shown that the poet replaces the Christian God with an Art God. This article builds on Schloon’s findings to make a further new contribution to George studies: It aims to show that George used certain mystical linguistic formulae and figures of thought not only to celebrate an Art God, and thus poetry itself, but also – and to the same extent – to praise the divine nature of man. The evidence for this thesis is based, among other things, on the examination of previously overlooked mystical sources of inspiration for the poet, such as the work of Angelus Silesius.
Colombo, G., „Ich bin ein dröhnen nur der heiligen stimme“. Stefan Georges mystische Kenntnisse und das Göttliche im Menschen, in Kay Wolfinge, K. W. (ed.), Mystisches Schwabing. Die Münchner Kosmiker im Kontext, Ergon Verlag, Würzburg 2020: <<KLASSISCHE MODERNE>>, 2020 213- 233 [https://hdl.handle.net/10807/167281]
„Ich bin ein dröhnen nur der heiligen stimme“. Stefan Georges mystische Kenntnisse und das Göttliche im Menschen
Colombo, Gloria
2020
Abstract
At the beginning of the twentieth century, the mystical union of the individual with the transcendent dimension was characterized by a secularisation for which Uwe Spörl has coined the term “gottlose Mystik” or “Neomystik”. Jutta Saima Schloon has shown that Stefan George’ poems dedicated to Maximin largely correspond to Spörl’s definition of Neomysticism: By analysing the poem “Einverleibung”, Schloon has shown that the poet replaces the Christian God with an Art God. This article builds on Schloon’s findings to make a further new contribution to George studies: It aims to show that George used certain mystical linguistic formulae and figures of thought not only to celebrate an Art God, and thus poetry itself, but also – and to the same extent – to praise the divine nature of man. The evidence for this thesis is based, among other things, on the examination of previously overlooked mystical sources of inspiration for the poet, such as the work of Angelus Silesius.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.