Abstract

This article argues that the works of Ludwig Tieck—specifically the fairy tales collected in Phantasus—and the poems of Friedrich Hölderlin operate according to an aesthetics of impotentiation. Impotentiation designates the coexistence of seemingly opposed operations: on the one hand, the generation of forms that can be developed further in unexpected directions; and on the other hand, impotence, a condition whereby processes of emergence are brought to a standstill. The works of Tieck and Hölderlin draw on these operations to imbue sites of deviant emergence with uncertainty, albeit directed toward different ends. Tieck dramatizes the shifting of states in which everyday forms of intelligibility are briefly suspended, thereby allowing individuals to explore alternative forms of being, some of which are transgressive, some of which are redemptive, if but for a short while; his tales gesture at impotent forms not capable of development, but nevertheless invested with a critical force over and against problematic reality. Hölderlin situates his poetic voice on the cusp of an emergent order that would entail a revolutionary suspension of cultural norms; poised between the possibility of renewal and the danger of annihilation, his poetry invests such inflection points with an increased sense of urgency.

摘要

这篇文章认为，路德维希·蒂克的作品——特别是收集在Phantasus中的童话故事——弗里德里希·荷尔德林的诗歌根据一种无力的美学来运作。赋能指的是看似相反的操作并存：一方面，可以在意想不到的方向上进一步发展的形式的产生；另一方面，阳痿，一种使出现过程停滞不前的情况。Tieck 和 Hölderlin 的作品利用这些操作为异常出现的场所注入不确定性，尽管指向不同的目的。蒂克戏剧化了状态的转变，在这种状态下，日常形式的可理解性被短暂地搁置，从而允许个人探索存在的替代形式，其中一些是越界的，其中一些是救赎的，如果只是一小段时间的话；他的故事以无法发展的无能为力，但仍然投入了批判的力量来反对有问题的现实。荷尔德林将他诗意的声音置于一种新兴秩序的风口浪尖，这种秩序将导致文化规范的革命性悬置；在复兴的可能性和毁灭的危险之间徘徊，他的诗歌赋予了这样的转折点更多的紧迫感。