Aesthetics of Renewal: Martin Buber's Early Representation by Martina Urban

By Martina Urban

Martin Buber’s include of Hasidism initially of the 20 th century was once instrumental to the revival of this renowned kind of Jewish mysticism. Hoping to instigate a Jewish cultural and religious renaissance, he released a chain of anthologies of Hasidic teachings written in German to introduce the culture to a large viewers. In Aesthetics of Renewal, Martina city heavily analyzes Buber’s writings and resources to discover his interpretation of Hasidic spirituality as a kind of cultural feedback.
For Buber, Hasidic legends and teachings weren't a static, canonical physique of data, yet have been dynamic and open to non-stop reinterpretation. city argues that this illustration of Hasidism was once necessary to the Zionist attempt to revive a feeling of cohesion around the Jewish diaspora as in basic terms non secular traditions weakened—and that Buber’s anthologies in flip performed an integral part within the extensive circulation to take advantage of cultural reminiscence as a method to reconstruct a collective id for Jews. As city unravels the wealthy layers of Buber’s imaginative and prescient of Hasidism during this insightful ebook, he emerges as one of many preeminent thinkers at the position of faith in sleek culture.

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Extra info for Aesthetics of Renewal: Martin Buber's Early Representation of Hasidism as Kulturkritik

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The hermeneutic axis of his representation of mystical experience is to attain, in Diltheyan terms, “the presence of lived experience” in which past and future glide into the consciousness of the present. Around 1900 Edmund Husserl sought to give a philosophical foundation to a generally intuitive, nonempirical phenomenological method. Together with other philosophers, he developed phenomenology as an alternative to standard scientific methodology, which in their view not only prioritized putatively objective empirical methods but also rejected lived experiences for understanding reality.

A discontent with the regnant aesthetic discourse at the turn of the century led Buber, influenced by his teacher Wilhelm Dilthey (1833–1911), to revalorize the relationship between Erfahrung as empirical experience and Erlebnis as lived experience. ”77 Dilthey’s insights found a fertile soil in the mind of an exploring Buber. Through weaving disparate Hasidic literary forms into a multifarious, experimental anthology of mystical expression, he indivisibly combined aesthetic and hermeneutic concerns.

But the cultural avant-garde was at the time only a loosely affiliated group of artists and writers in Wilhelmine Germany. It took five more years until Herwarth Waldens’ magazine Der Sturm (1910–32) would provide a literary forum for the new cultural scene. Among the contributors to the magazine were the co-founder, Alfred Döblin, Walden’s wife the poetess Else LaskerSchüler, the poet Richard Dehmel, and the journalist, satirist, and poet Karl Kraus. Together with other authors of Der Sturm they would define the horizons of Expressionism in literature, poetry, graphic art, and music.

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