When Philippe Lacoue-Labarthe & Jean-Luc Nancy remarked that, "the essence of the sudden idea consists in its being a synthesis of thoughts"1, they were referring to the Kantian project of synthetic thought. However, "Witz precisely represents an a priori synthesis in the Kantian sense, but one which is removed from Kant’s limiting conditions & critical procedures; and that involves the synthesis not only of an object but of a subject as well."2

What are these limiting conditions & critical procedures? How can a synthetic incorporate the object and the subject? The conditions and the procedures are not exclusively Kantian, but represent the romantic antipathy to ego, power and agency in the social/ intellectual domain. Any examination of the relationships between Witz, its expression, talk of essence or suddenness; glides between the need to consolidate "lightning force" and the immediacy of telling, with impactual status afforded by the logical or the persuasive. Synthetic incorporation turns into itself through making explicit certain requisite observations on the nature of the words, their reference and meaning; which inevitably carries with them the loads of placement, deniability and textual fact.

In his Athenaeum, Blanchot wrote that "if the true speech is the subject, free of every objective particularity, this means that it is so only in the existence of the poet, in which the pure subject affirms itself by saying "I""3. Read as such, the romantic project, visualised in Jena establishing, "the group"; sets up an important and pressing tension between their social existence, their behaviour, their life-force encapsulated in the lost Witz, and theory of writing on the "I", sadly after the event, nostalgic or limited, philosophical or critical.

These brief unfinished fragments, unpacked, represent a placement which goes against formulation, denies serious concerns, yet takes with them the possibility and the meaning of venturing into uncharted zones and stimulating symbolicity. To connect the telling fixatedness of Schlegel’s insights with wider explicative boundaries does not diminuate the methodology inherent in their organon. Rather any sentence can be read with ambiguity. Any linking machinations can be equally disqualified by close attention to contradiction, silence, and the paradoxes born out of the spectacle of words.

"Derrida objects to Foucault’s attempt to define the meaning of the Cartesian cogito in terms of a determinate historical structure, it is the failure to grasp that the cogito has a transcendental status, as the "zero point" where determinate meaning and non-meaning join in their common origin"4. Perhaps this "zero point", is where the fragmentary headed, making a play of the conceptions "I think", with "I do", with "I write". To breach and approach this ground cannot circumvent philosophical procedure. In it lies the very bedrock of any poetic orientation. Derrida’s objection then only opens up more light to reach some such turning, whether we react in a Heideggerian manner and unify methodology with farce, or whether we purely sit back and passively calculate the objectivity of Witz in its strata and becoming. Descartes made singular doubt a blithe reconstructive element, whereas common origins have their own will and life, pertaining to dynamic inception and injecting more value than regressive romanticism can hold in its formative structures. The situation confronting "the group" as "zero point" does hold historical determinacy whether we point out Revolution, or whether we merely take in the institute.

Unpacked more rigorously, Fichte comes sailing into view. He had an unequivocal influence on the early romantics, and his formulations strike deeply into our search for the Witz. His severity makes for sustained discussion of the "I", his play on the intuitive is systematically reciprocal to Schlegel and Novalis, as they derive ecstatic ambivalence to their own production. His fundamental aim was to "transform the scope of the concept of self-consciousness introduced by Kant"5. Circularity and "the will", then fall out in an awkward desideratum to Witz treated with humility and with faith. Fichte could not achieve his goal without falling prey to his own limitations. Nothing he could propose negated the feeling of reproach, or diminution as a body made intelligible by attaching higher status to the subject in the act of being. He "proposed to reveal the entire structure of experience, in both form and content, as the unfolding of the activity of an absolute self"6. Such structural inscription spreads its empathetic load throughout vibrational dependants, which themselves require life-force and freedom, only possibly achievable through reconciliation with event based synopses. His writing does however make space for the tendency and the need to deploy "the will". Schopenhauer and Nietzsche took up such desire and placed it, with differing levels of urgency, into arenas more fitting to its emergence potentiality. Fichte stands untethered in the lineage of German idealistic ego, which makes for inter-face with romantic subversion of his proud speculation. His exacting "self which is nothing other than the act of positing"7, initiates delightful reversal and intricate prohibition when regarded from a perspective that leapt into life and died with all the grace of a pregnant frog.

Novalis pounced on the Fichtian edifice and spiced it with a reversibility fittingly interpretable for recent French critics. In his fragments, he wrote that; "There must be a non-ego in order for the Ego to posit itself as ego. Thesis, anti-thesis, synthesis. The action of the ego’s being posited by the Ego must be accompanied by the anti-thesis of an independent non-ego, which, in turn, requires a simultaneous relationship to a sphere that encompasses both"8. Here we run into a theoretical assimilation of strands and a positioning of the relationship within the ego-contradiction. Novalis has cleverly made hay with the self, in order to return it to the exacting setting of words.

With this in mind, the Fichtian caesurae is ruptured. How can it possibly manage with the non-ego? We must ask ourselves what is being undermined, and what consequences do we fruitfully gain from the destruction?

Certainly a "metaphysics of presence" has been disavowed. Yet perhaps a deeper dynamism is unlocking doors to otherwise conceptually censored forums. As Paul de Man has stated, "irony steadily undermines the claim to imitation, and substitutes for it a conscious, interpreted awareness of the distance that separates an actual experience from the understanding of this experience"9. We slide past Witz into our own subjectivity. Appropriate experiences are not difficult to discover, for example, the critical appraisal of other "works", deeply held as the unifying theme within the process of early Romanticism. Schlegel himself decreed that his project was embedded in the art that "dislodges deadly generalisations, for all poetry begins by sublating the process and the laws of logically thinking reason, and by transporting us again to the confusion of fancy, to the original chaos of human nature"10.

No small claim for the writers of journals. Yet this antagonism to "serious" philosophy does not help us to formulate a more mannered appraisal as to the effect of Witz. For tied to the chaos of poetic fantasy are harsh economic and political determinations. Survival of any "zero point", can only be achieved within the repressions and the reprisals of the other critical faculties, making judgements in realms clearly impinging on the Maya of Jena Utopia. "Taste and genius. The former designation applies if the other defining entity produces the sign as I do by referring to a mediating ground, to an imaginary re-creation of my activity in producing the sign, or just to my intention, my meaning; yet the later designation applies if the other defining entity produces the sign in a wholly unmediated fashion, just as spontaneously as I do without this mediating factor of having to think of my causality. The former is mere taste, the later the taste of genius"11.

The arousing servility of Goethe holds a dramatic backdrop to the floating Novalis. He, and other German developments, such as Wagner, high romantic music, the transition between art & the polis, make such claims to existence within theoretical postulation parasitical on one another. A certain reading of the romantics, with their will to pretension and literary ego, make it imperative to designate functional attributes to the insistence of the non-functional. I am not reading a moral into the quest for Witz, or ignoring the limiting application of paradox, yet within this move is the undeniable silence of romantic literature in relation to the symbolic death of cynicism & innocence.

In his informative introduction to ideality in fragmentation, Rodolphe Gasche observed that as regarding the ideas; "they are not written collectively and have a unifying title, they further deepen the idea of the subject, that is self-conception, and self-production as an interminable process"12. The "zero point" are then splintering in a parallel organon to their output. Witz break-up is occurring, the rupture is causing a chasm. Perhaps emotive reluctance to infidelity is too weak a judgement to impose, yet "fragments like ideas, point "towards the heart of things", or more precisely toward the centre, toward what orients all individual things"13. Zero point is then untenable, complete cycle, chaos within itself, all production flies in absolutely disordered patterns.

Witz bears this heavy load and eliminative power. It masquerades as the preponderance to dilettante, yet below, the formative energies whirl in an operatic void that has its reflexes firmly entrenched in the super sensitive and reactivity to the slightest provocation. "Many witty ideas are like the sudden meeting of two friendly thoughts after a long separation"14. Passion always heads somewhere. Zero point blessed their passions with more direction and heralded some "opening" or regime of the sensibility. This regime had its social and moral concomitants, but the motifs expressed within the latency of an "artistic movement", working hyperbolically inside closed circles, has made a far greater impact on the recurring tendency to unite and produce exclusively and devoid of authoritarian presence or the Ego. Those who impose, are imposed against, drained of life, turned into "caractere". "Wit is like someone who is supposed to behave in a manner representative of his station, but instead simply does something"15. The romantic conception then brought in its own delusionary framework and stability from the very dismemberment it achieved. Here we must turn to a discussion of value.

Which values underpin the romantic speculativity? How do these values figure and mutate our approach in conceiving and deploying Witz?

The fundamental link here is one of Witz being pivotally put into play and restrained by the nature of Ego. Ego designates a certain need for sincerity and social placement, also more pressing calls for the appropriation of space and distancing. As Nietzsche claimed:- "Egoism is the law of perspective applied to feelings: what is closest appears large and weighty, and as one moves farther away size and weight decrease"16. Nietzsche was concerned with "tokens of higher and lower culture", which does not disinterest us when speaking of the Jena romantics. Their literary and social needs were born out of a knotting fertility and cult of personality transferred through letters. Schadenfroh is the weapon they wished to wield. "Laughter means: being schadenfroh but with a good conscience"17. Nietzsche planifies and actuates Witz on a wider frame, his was a more incisive and decisive schema to eliminate any lingering social doubts as to the applicability of Witz. He grounded "higher culture" in the humiliation and cruelty of the joke, decreed its symbolism and pertinence through psychological astuteness, tore away romanticism from its mystical or nihilistic vagaries, broke ground in the assimilation of value to its cavern of unattenuated profaned irreverent blood. With Nietszche’s process before us, we may deploy the gathering of Witz to a greater degree than the less forceful Schlegel or Novalis, who would offer us the tamer conceptions to pass through a letter-based accumulation in their earlier pin-hole;"Wit is logical sociability"18.

Stepping backwards still further, but bulldozing upon a thinker endowed with the requirements of the Witz, and making explicit the struggle with Christianity, which is currently negentropic; Pascal’s maximes proffer the transforming and detailed application of Witz-theory. "Two excesses-to exclude reason, to admit nothing but reason"19. Moralism alters and alert the reading however, we cannot help but be struck by the jostling with authority:-"Great wit, bad character"20.

Claims to moralism were not unfelt by the sensitive Novalis. He made moral agency an imperative in his opening up to the poetic and religious realities he revelled in. An elusive character, he was however good at tying contradictions to beneficial effect. "It is through humour that what is specifically conditioned becomes generally interesting and achieves objective value"21. His writings benefit from the agility of metamorphosis, while emasculating themselves to such a degree that a laurel wreath of blue flowers is not unbefitting for the chimerical hermaphrodite of Jena. His conviction drew him to mystical union, to nature, to the essential unreading of commodity in his words. As Szondi has remarked, the romantics wished to "eliminate the cleft between ego & the world"22. Which brings us back to examining the harsher philosophical truths associated with ego and its effectiveness of designation within Witz. Brought closely together with effectiveness are subordination, domination and receptivity. All these shimmer helplessly, taken by charge and formatted by the "thunderbolt" of the twisted stare driven into Witz.

Ego-power-ineffectuality was inimical to the German modern thinkers. Schelling and Hegel both imbued their projects with an Ego-ego eye that transparently displaced the formation and development of German social economic progessivity. Witz stands in a transitory, if not deceptively temerarious relationship to the two great German prospects. Its liberational ideality marks the gathering of proportional libidinal and schizophrenic incarnation by which we may mediate a thorough and exhaustive reading of philosophical construction. ".....the essence of life does not consist at all in a force, but rather in a free play of forces , which is continually sustained by some external influence. What is necessary in life are the universal forces of nature that are in play; what is contingent, which sustains this play by its influence, must be something particular, in other words a material principle"23.

Schelling had in mind the ideality of the self when positing the contingent scientifically. His importance lies in the pressure and the production of the self in a two-way street signed Fichte and Hegel. "They must engage in this struggle for they must raise their certainty of being for themselves to truth, both in the case of the other and in their own case. It is only through staking one’s own life that freedom is one; only thus is it proved that for self-consciousness, its essential being is not being, not the immediate form in which it appears, not its submergence in the expanse of life, but rather that there is nothing present in it which could not be regarded as a vanishing moment, that is only pure-being-for-self"24. The stakes are raised when Hegel is confronted. His lordship & bondage are both Witz poetic. His displacement within "the vanishing point", is an essential Witz determination. He must have been aware that his dialectic was an attempt to articulate and expound Witz in its momentary and catastrophic certainty; whilst keeping the vestiges of canon to satisfy and frustrate the logical apparatus of blind rational criticism. Hegel more explicitly alludes to Witz when he wrote:- "Desire has reserved to itself the pure negating of the object and thereby its unalloyed feeling of self. But only that is the reason why this satisfaction is itself only a fleeting one, for it lacks the side of objectivity and permanence"25. Hegel as such is an important Witz thinker. He extended the semiotics by which we may usefully transform power-ego-Ego considerations, by thinking through philosophical being into unbeing. Schelling was still wrapped in his Witz deficient syndrome, and did not appreciate the more implicit implications of Witz identification, whether it is couched in a "vanishing moment" or "zero point" or "unalloyed feeling". Schelling rather became a Witz target, his degenerational process made the breakdown of ego to Ego intensify and so much space filled his conceptions that they were latently devoid of punch so as to be nonsensical in their deviant impotency. ""Self-consciousness", writes Schelling, is no free act of the immutable, but an enforced striving of the mutable, I, which, conditioned by the not-I, struggles to save its identity and to find itself again in the onward-rushing stream of change"26.

Hegel gave the mediating ground of the negative a sharper edge which made possible Witz status and the Ego-ego to be spoken through language. If we ignore the ideality of his system, we may purposefully entrust some of the groundwork in joining our Witz with the ego to Hegel. Any phantasmagorical monsters which emerge are due to the more formative dynamism of "zero point", and these "lightning flashes", can only leave us breathless before, after and during thought. "....it can be argued that the true metaphysics of Romanticism allows for an initiation into the mysteries of Night that does not necessarily entail the abolition of the sense of self nor departure from this life"27. Frankenstein deriding Hegelian dialectics on empirical grounds? We are not so lucky as to have the actual words of the monster, yet an imperative attack on anthropomorphic attributability, does signify a huge area of consensus and critical probing. Wolf pack and rat infestation take a salutary, modernist weapon from the armourment of Kleist to ravage the distinguished man of letters. Yet where have we got in our foraging for the Witz?

"The motif of Witz is consequently almost continually divided into two: on one hand, one must retain or contain the "chaotic", "telluric" Witz that provokes "fright & coagulation" in the terms of several of Friedrich Schlegel’s posthumous fragments; yet on the other hand, and this is in fact the major exigency with regard to Witz, one must abandon oneself to its fundamentally involuntary character"28. These modern French critics do not sustain their "abandonment", nor do they take into account the absolutely inconsolable rejectionism of such claims. This is why they fundamentally misconstrue the Witz in terms of a debasement of formative Ego-ego. This impoverishment even results in the Witz-Blitz pun and almost unbearably target formulations of divestment countering complexity theory in secular linguistic experimentation. A more fruitful detour into "zero point", the actuality of writing processes, carrying with them literary Witz and insights beyond the theatre of critical striving, takes us to the energetic mind of Shelley brokering for his identity in parallel circles.

English Witz had the mask of social development to a greater degree than the German. Philosophical method was lacking, yet Witz assessment and "literature" had made interesting leaps in the guises of several romantic archetypes. "Every original language near to its source is in itself the chaos of a cyclic poem: the copiousness of lexicography and the distinctions of grammar are the works of a later age, they are merely the catalogue and the form of the creations of poetry"29. Metaphor instantiation, rhythm and the modular segmentation of extreme experience do intrude on any Witz repressions in Shelley. Chaotic language and the paradox of flux induction make less impactual movement in time, yet our reflections on the historical call for greater awareness of the concerns already manifest so not as to fall blindly into nostalgic re-affirmation of the institute. "The words, I, you, are not signs of any actual difference subsisting between the assemblage of thoughts thus indicated.....but they are grammatical devices invented simply for arrangement and totally devoid of the intense and exclusive sense usually attached to them"30.

Novalis himself brought out the nebula, and his skin peeled with moral sentiment rather than allowing Bubonic similes to deride any such Black Hole to infest the drama of a limited literary ego. "It is the poet’s task to see behind the apparently arbitrary events and situations that are our life, and the higher order of meaning to which they conform and because of which our life is a meaningful whole rather than an irrational collection of unconnected bits & pieces of experience"31. Novalis did not expend himself enough. His Witz-irony made an unbridgable gulf between the practice and the selectivity in Witz, however he did partake in the grounding of romanticism, and as Paul de Man has pointed out: " The Rhetoric of Temporality presents Romantic irony as a dizzy endless regress which undermines the finality of any assertion, let alone a mystical thesis"32.

"A witticism is an epigram on the death of a feeling"33. But ego instantiation denies a certain positive Platonic discussion as it works through negative Alcibiadian relationships, to be frenzied or rhetorical, or in an intoxicated love of the primal festivals, which are at heart at least irrelevant. Then, to transfer knowledge to the ephemeral plane:- ".....the poets flit through the gardens and the woody dells of the Muses bringing us their songs from springs that flow with honey, like bees, and borne up, as they are, upon wings......he is inspired and bereft of his senses, his mind no longer within him"34. The Socratic wink does not destroy psychoanalytic formulations. They have eventually made explicit Witz considerations, and taken discourse back to the more philosophically centred encounter with "error".

"In the dream, the lapsus, the symptom, and the joke, or mot d’esprit, everywhere the unconscious works, we can with Freud, read the distortions of the signifier-signified relation, the linearity of the signifier, the discrete sign. This distortion of discourse, excess & transgression of language, where the phantasm operates, marks enjoyment"35. Baudrillard is reading Freud. Witz power is liberational to Ego or super ego in Freudian terms. It sets into action a typically detrimental probity that desanctions language of its claims to ethnocentricity. Censor and licence are then handed to the field of fun; to leisure bound in expansion, endless useless twirling, Schlegel’s use of the orgy metaphor. The process of repression is inbuilt into our desire to be repressed. Thus Witz draws semiotic lines throughout every qualia of considered analyses. We ask the question, what do our unconsciousnesses consist of? "In the polygon of forces that is the psychical apparatus, enjoyment is like the result of a sort of short-cut, or rather of the transversability of the Witz, which cutting a diagonal across the diverse layers of the psychical apparatus catches up with its objective with less expenditure, even effortlessly attaining unforeseen objectives, yielding a kind of energetic surplus value, the enjoyment "premium", the yield of pleasure"36. So Witz is the detour, Witz is the way through, the way out, the made head or foot or man or animal. Witz is the glib end of the microscope, peering methodologically at our distinctive functions and the processes of the law. Witz is no articulate. Its agency is bound reflexively in the unconscious, to exist at all it requires "institutional codes (situations, roles, social characters)"37. The unconscious is not "revealed" via Witz, but Witz, bending the Ego to ego, makes a vacuum unto which we may search. Comic proportions change space, reverses time, eliminates, draws back to "zero point", to Jena, to a single moment of the flesh continued. Witz also essentially twists. In every positive reading of Witz is the structurally necessary negative. Liberationality requires the thesis to be false. We can say nothing of the Witz, it is not there to be expounded. "But nonsense is not the hidden hell of meaning [sens], nor the emulsion of all repressed and contradictory meanings. It is the meticulous reversibility of every term- subversion through reversal"38.

Witz can only be saved through exhaustive and rigorous philosophical argument. As I have stated above, Hegel and Nietzsche both exemplify this rigorousness, perhaps we may also include Heidegger, if we accept the extension to method as farce. Witz is a "symbolic exchange", it is directly symmetrical to economic enjoyment and to any quantum of expenditure calculable. It is as such not to be riddle read or paradox exclaimed as the later group in Jena and certain commentators are tempted to do. It can only be productively read by placement to and by the articles it wishes to purchase. These are metaphysical and humanistic artifices, which weigh heavily or are brought out of themselves by denial of the will. "There must be something other than unconscious economic mechanisms to compel reciprocity. This something else is precisely the symbolic cancellation of value. It is because terms are symbolically exchanged, that is to say, become reversible, and are cancelled in their own operations, that the poetic and the Witz institute a social relation of the same type"39. By following Baudrillard closely we may approach some semblance of Witz investigation. We do not have to become embroiled in the poverty of comparison or thematic literary futility. Yet by the "cancellation of operations" which relations do we institute? How can this exercise validate itself if its essential nature is the invalid?

This reading, validates itself through the process initiated which investigates philosophically, and regulates Witz determination in its profane squirming unattachment. This is to make good of a joining of metaphysics to humanism. No being is read into this, no central human concerns are being re-posited. Thus moral deniability is as mundane as the literary text itself. All words sit in the parameters of judgement and Witz exposure to their body. To make the pun explicit...... "The image of anal violation that organises the rat delirium has all the traits of a compromise formation, a sublimation of utter unexpectedness into linearized passage fortified by a sadistically invested and ego-co-opted sphincter"40.

The Jena romantics lacked humour. Their penetration does make sense of the botched novels, the tedious literary studies, the endless circularity which goes against the one spark of consolation at the heart of "zero point". Their complete waste of time, read intimately and repressively, makes a statuesque remembrance to the inheritors of this death. Perhaps more recent founders of "avant guard" movements sifted through Schlegel’s notebooks to once again demarcate the romanticism of alloying; "against the system", or "breaking the rules", or "inventing something new". However, more maudlin indulgence cannot convince us of such relations and their never lacking super charge of powerlessness. We are left naked, raped and empty, before our sneaking prejudices may once again alight on the fortuitous PR man basking at "zero point", when he scribed;- "A witty idea is a disintegration of spiritual substances which, before being suddenly separated, must have been thoroughly mixed. The imagination must first be satiated with all sorts of life before one can electrify it with the friction of free social intercourse so that the slightest friendly or hostile touch can elicit brilliant sparks & lustrous rays- or smashing thunderbolts"41.

The romantics fearlessly exemplified that which they lacked, and hyperbolically transformed the minute into the preponderant, the draining into the initiating. They represent a reversal of values, important in its efficacy. Their maiden voyages into the borrowed, stolen and plagiarised may present something more than a diligence with its falsehoods, a play of Witz Ego-ego inversions. They perhaps could be read with a more satisfying indiscretion, and simplified beyond recognisable textual fact and called;- "Twilight revolutionaries". This is of course, to be irrelevant to our knowledge, and to make of Witz a canon. But the detours do not end here. The pace of it all can be started off and killed as easily as the organisation of the Surrealists or the Expressionists or the Vorticists. Paul Eluard and Raymond Roussel rarely touched the Witz, rather sensibility transforms and adheres itself to whatever the ego does not sufficiently overcome. The Witz instead bores its super valence at some conjecture unrealisable, fantasising and delusionary, for example the reality of computer logic’s and our make believe world of the techne.

Medieval theology also had its Witz determinates. These black shadows are the perfect repositories of slicing word attack and the Ego-Witz-ego disintegration. In our contemporary mind set, with the assemblage of utilitarian machination omnipotent, what could be better than to cock a snoop at the teleological avant guard? Foremost amongst such Witz authors was Larochefoucauld:- "La gravite est un mystere du corps invente pour cacher les defauts de l’espirit"42. His singular maximes stratify medieval Catholic institution into its component social regimes. They are also funny. "La sobriete est l’amour de la sante, ou l’impuissance de manger beaucoup"43. Yet we are taken back even further, perhaps Witz break-up is occurring, we are becoming the brunets of our own jokes.

ego-Witz-Ego debauchery bridges to the amphitheatre as the ghosts of the Schlegels hover near to us. Here Roman contra Greek tension and Witz compartmentalisation make play of the inherent mumbling designating the formative guidance of not seeking at all;-

"Beauty is not enough:who wishes to be fair

Must not content herself with average care

Talk, be witty and smile to show your wit-

If Nature’s unaided, nothing comes of it.

Art 0is beauty’s aid, her finest dress:

Beauty, if scornful, dies of nakedness"44.

From the paranoia of the Roman sexual organ, emerges a slice of a more passive overview which broke Witz from its intransigent cradle. The Romans did after all have the war machine still as a relative novelty, and an aspersive taste for higher life. The intransigent cradle was first and foremost a Greek. "While the Romans were god fearing and renowned for keeping their word, to the Greeks insiuradum ioces est, testimonium ludus- "an oath is a joke, the truth a plaything""45.

We Greeks? You Greeks?

You Romans? We Romans?

1)/2) Phillipe Lacoue-Labarthe The Literary Absolute State University of

&Jean-Luc Nancy ` New York Press.

First two quotes taken from discussion on Witz and fragmentation, p52,53.

3) Maurice Blanchot The Infinte Conversation University of

Minnesota Press.

From "The Athenaeum". p357.

4)/5)/6)/7) P.Dews Logics of Disintegration Verso.

First quote and Fictian discussion taken from discussion of philosphy on contemporary issues. p6,p20,p20,p21.

Extra text, Fichte Foundations of Transcendental Cornell Uni

Philosophy, trans D.Breazeale. Press.

8) Geza von Molnar Romantic Vision, Ethical Minnesota

Content-Novalis & Artistic University

Autonomy. Press.

Quote from "Fichte Studies", Fragments 7 & 8, p36.

9) ibid (8), Paul de Man from Forward by Jochem Schulte-Sasse, p22.

10)ibid (9), Schlegel from the Forward, p25.

11)ibid (8), Geza von Molnar, p31, II, 104. 1-7-19.

12)/13) R.Gasche Forward-Ideality in University of

Fragmentation. Minnesota Press.

From, p13/14.

14)/15) F.Schlegel Athenaeum Fragments University of

Minnesota Press.

Fragments 37/120.

16)/17) Friedrich Nietzsche `The Gay Science Vintage Books.

Sections 162/200.

18) Friedrich Schlegel Critical Fragments University of

Minnesota Press.

Fragment 56.

19)/20) Pascal Pensees Penguin.

Maximes 183/670.

21) Ed A. Leslie Willson German Romantic Criticism Continuum N.Y.

From Aphorisms & Fragments of Novalis 29, p65.

22) P.Szondi On textual understanding Manchester Uni

Press, Vol 15.

From essay, Friedrich Schlegel & Romantic irony, p21.

23) A Bowie Schelling & modern European Routledge.

Quote from, "On the world soul". p37.

24)/25) Hegel The Phenomenology of Spirit- Oxford Uni Press.

From "Lordship & bondage", p114/118.

26) ibid (4),P.Dews, p22.

27) R.Cardinel German Romantics Studio Vista

Quote from p33.

28) ibid (1), p54.

29)/30) K.Wheeler Romanticism/Pragmatism & Blackwell.

Both from Shelley, p11/p5.

31) K.Pfefferkorn Novalis, A Romantic’s theory Yale Uni Press.

32) Irving Wohlfarth Benjamin’s German Romantic Glyph 7.

Quote from Paul de Mann, p135.

33) Friedrich Nietzsche Human all too human Cambridge Uni Press.

Aphorism 202, Assorted maximes & opinions.

34) Plato Ion JM Dent & Sons.

Section 534 (5 Dialogues).

35)/36)/37)/38) J.Baudrillard Symbolic Exchange & Death Sage Publications.

Extracts from the essay:-The Witz, or The Phantasm of the Economic in Freud. p223/224/232/233.

39) N.Land Spirit & Teeth North Western Press Uni.

p54, essay among collection, Derrida, Heidegger & Spirit, ed D.Wood.

40) Schlegel’s critical fragment 37, ibid (18).

Extra text- Paul Eluard by Robert Nugent, Twayne Publishers. Impressions Of Africa by Raymond Roussel, John Calder.

41)/42) Larochefoucauld Maximes Garnier Freres.

Maxime, 257 1, 289 & MS 24, 1 135.

43) Petronius The Satyricon & the Penguin.

p177, LIII- Fragment usually not attributed to Petronius.

44) E.Segal Roman laughter-The Oxford.

45) Glycon Greek anthology JW Longmans,Green.

Theodore Ziolkowski German Romanticism & Princeton Uni

its Institutions. Press.

F. Schlegel On Incomprehensibility Minnesota Uni

Press.

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