By Ernest Rubinstein
Studying 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 artwork, texts representing designated and, to a wide volume, adverse interpretations of romanticism.
Rosenzweig's concept was once formed by way of highbrow histories: Germany's and Judaism's. simply because romanticism had this kind of sure effect on sleek German writing and concept, it turns into a query even if, and to what quantity, Rosenzweig, too, used to be 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 hence illustrates a professional romanticism.
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Extra resources for An Episode of Jewish Romanticism: Franz Rosenzweig’s the Star of Redemption
Romantic Religion" shows its propaedeutic usefulness to a reading of the Star already in its first few pages. Baeck takes the apostle Paul for the first of a long line of Christian romantics. His thesis is that Paul combined the Jewish hope in a future messiah, a distinctly classical idea, with the belief in the dying and rising god of the mystery cults, those exotic exemplars of ancient pagan romanticism. After a few introductory paragraphs, it is Baeck's comments on Paul that open the specifics of his essay.
By subsuming the sensual representations that, for Kant, were simply given and that had constituted the content of the categories of theoretical philosophy, under the free act of self-consciousness, so that the free consciousness is cast as producer of its own only seemingly given representations, Schelling effects the synthesis of theoretical and practical philosophy that had eluded Kant. The free self of the System-Program that simultaneously creates out of its own self-consciousness and, what amounts to the same thing, out of nothing, resembles the primal, synthetic act of the Schellingian self.
It is in this sense that, if we take eternity for God and follow the first definition of redemption, eternity's growth among the living is redemption. But what is the concord between creation and revelation that, according to the third definition, constitutes redemption? The answer is bound up with the state from which God has "freed" the human so that he can behave redemptively. At the heart of Rosenzweigian revelation stands the concept of love. The love is of God for the human. As redemption is the relation between world and human, so revelation is the relation between God and human.
An Episode of Jewish Romanticism: Franz Rosenzweig’s the Star of Redemption by Ernest Rubinstein