Schlegel was a nephew of the author Johann Elias Schlegel.
Anthony Schlegel will serve as Meyer’s strength and conditioning coordinator.
In explaining the spirit of the Romantic, Schlegel himself is being very romantic.
And when we return to our present-day lives, after experiencing this bolstering of the spirits, we—unlike the Schlegel sisters—can vote.
Novalis had died in March, and Schlegel had become somewhat distanced from his brother and Caroline.
Schlegel was a son of a Protestant pastor and a nephew of the author Johann Elias Schlegel.
In his Lectures on Dramatic Art Schlegel was very critical towards the present state of German theatre (LDA: 438).
In this way, Schlegel is somehow anticipating Saussure’s extremely influential distinction between langue and parole.
The youngest of five sons, Schlegel was born in Hanover into a distinguished and culturally prominent literary family.
The irony Schlegel sees in Shakespeare’s characterizations also extends to the whole of the action, as well as to the separate characters.
Schelling, Schlegel became Mme. de Staël’s constant companion on her travels in Germany, Italy, France, and Sweden until her death in 1817.
In this specific sense, Schlegel could be understood as a thinker of difference in a much more radical way than other philosophers of his time.
In some of the lecture series, there is a good deal of repetition and argumentative flaccidity of a sort the young Schlegel would no doubt have sharply criticized.
During his time in Berlin, Schlegel also began a relationship with Dorothea Veit, daughter of Moses Mendelssohn, who had left her banker husband Simon Veit in 1798.
It is all the more striking, of course, that the politics of the later Schlegel, as he takes up a position in the Austrian court, turn decisively more conservative.
Metternich asked him in 1813 to draw up proposals for a future German constitution, and Schlegel served (until he was recalled) as first secretary of the Austrian legation to the Diet of Frankfurt.
The scandalous and unfinished Lucinde, subtitled “Confessions of a Blunderer,” was, according to Schlegel, an attempt at “shaped, artistic chaos,” a work that was meant to be “chaotic and yet systematic.”
Schlegel and Dorothea moved to Cologne in 1804, where Schlegel studied German Gothic architecture, gave lectures on the development of philosophy (Die Entwicklung der Philosophie) and turned, with some hopes of finally establishing himself in an academic position, to a new intellectual interest: the study of Sanskrit and Hindu religious writings.
. | aesthetics: German, in the 18th century | art, definition of | Gadamer, Hans-Georg: aesthetics | Hegel, Georg Wilhelm Friedrich | Herder, Johann Gottfried von | Kant, Immanuel: aesthetics and teleology | Nietzsche, Friedrich | Nietzsche, Friedrich: aesthetics | Schelling, Friedrich Wilhelm Joseph von | Schlegel, Friedrich | Schopenhauer, Arthur | Schopenhauer, Arthur: aesthetics
For example, it enabled the Schlegel brothers to achieve a much deeper understanding of tragedy than had been achieved before, and it enabled Friedrich Schlegel to develop a new, highly sophisticated form of art history (especially in his work on paintings in the Louvre and on cathedral architecture), thereby preparing the way for nineteenth- and twentieth-century scholarship on tragedy and art history.
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For example it enabled the Schlegel brothers to achieve a much deeper understanding of tragedy than had been achieved before and it enabled Friedrich Schlegel to develop a new highly sophisticated form of art history especially in his work on paintings in the Louvre and on cathedral architecture thereby preparing the way for nineteenth- and twentieth-century scholarship on tragedy and art history