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1. “is to be understood as pure reason, meaning that … it is not in possession of any principles relating to content; rather it possesses formal principles, exclusively the logical principles. Reason is fundamentally an unlimited faculty of reflection, hence its universality”.

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2. “E la forma piú di tutte bastarda divenne il genere dominante della narrativa occidentale. Ché gli dèi della modernità, a differenza di quelli del Re Lear, parteggiano davvero per i bastardi”.

3. “ ‘forma simbolica’ della modernità”.

4. “i nuovi squilibri e le nuove leggi del mondo capitalistico … impongono una mobilità prima sconosciuta”.

5. “il lento e prevedibile cammino verso il lavoro del padre”, “esplorazione dello spazio sociale”.

6. “sotto la pressione della modernità, deve riformulare innanzitutto la propria concezione”, “una realtà incomprensibile e insensata”.

7. “gioventú ‘reale’ ”, “gioventú ‘simbolica’ ”.

8. “la crescente influenza della scuola”, “dei legami interni di generazione”.

9. El análisis de Rodríguez Fontela es la mayor aportación hasta el momento a los estudios sobre el Bildungsroman en lengua castellana. Se coincide aquí con su idea de que el género no se puede reducir a la gran contribución alemana. No sólo existen aportes no alemanes que hay que tomar en cuenta, sino que “[l];a estructura antropológica que sustenta el Bildungsroman no es exclusiva de este género novelístico” (98). En otras palabras, lo que subyace a la novela de formación es la “estructura mítica universal” de la “ ‘aventura del héroe’ ” (58). El estudio de Rodríguez Fontela sobre este género abre horizontes de comprensión que suelen ser ignorados. Esta investigación pretende hacer lo mismo.

10. “Il vous faut des hommes communs et des événements rares? Je crois que j’aimerais mieux le contraire”.

11. “proprement dit est né en Allemagne”.

12. “Balzac was no stranger to the novel of the hero’s apprenticeship: Les Illusions perdues, to mention only one example among many, is a far more developed example of the genre”.

13. “Ce sera la dernière Scène de la vie privée dans l’ordre et le classement définitif des idées que chacune présente. C’est la lutte entre la poésie et le fait, entre l’illusion et la société. C’est le dernier enseignement avant de passer aux scènes de l’âge mûr”.

14. “never really embraced the Germans or their culture”, “Goethe was an exception”.

15. “J’ai joui ensuite avec Goethe, near to my soul. J’ai fini Les Années d’apprentissage de Wilhelm Meister; ces idées m’avaient rendu fou, et c’est dans cette disposition que j’ai commencé à écrire”.

16. “C’est le net caractère pédagogique du roman d’apprentissage qui semble lui conférer sa spécificité française”.

17. “Goethe’s novel was not only foremost in spreading the concept of Bildung but also in modeling the genre of the Bildungsroman (apprenticeship novel)”.

18. “The Victorian sages Thomas Carlyle, J.S. Mill, and Matthew Arnold imported the concept of Bildung as an antidote to the ills they diagnosed, each somewhat differently, in English society. The genre of the Bildungsroman was introduced through ←45 | 46→Carlyle’s criticism and translation of Wilhelm Meister and through his own Sartor Resartus”.

19. “would have been inconceivable without Herder’s influence”.

20. “was very likely the first to use Bildung to denote the education of man and mankind generally. He did so, as early as the 1760s, and in his famous Account of My Travels in 1769 (Journal meiner Reise im Jahr 1769) he sketched out a philosophy of Bildung”.

21. Véase Bell, Spinoza in Germany from 1670 to the age of Goethe (1984), pp. 38–70.

22. “Herder began seriously to work through Spinoza’s ideas in 1769. In his last years in Riga he devoted himself to an intense study of Leibniz’s Nouveaux essais (published in 1765), along with some of his earlier writings, and to the study of Spinoza in a Leibnizian context. Herder read Leibniz through Spinoza and Spinoza through Leibniz to find a philosophical mode for articulating his consistently naturalist insight”.

23. “Leibniz holds that the monad is isolated, windowless, and not susceptible of alteration by external sources. It is also this Leibnizian model of the soul that was found … to underlie Goethe’s Sturm und Drang works, in particular the poem Mahomets Gesang and Werther”.

24. “Leibniz’s philosophy also demands that each monad be a living mirror or representation of the whole of God’s creation – in this way the universal and the particular are said to coalesce, thereby adding to the overarching unity of God/Nature. Werther seems to feel the force of this demand … every time he confronts the intricacies of nature”.

25. “the Leibnizian conception of the individual as a rational soul or monad that must expand at all costs”.

26. “a rebellion against the narrow intellectualism of the Enlightenment, a defense of the rights of feeling against the hegemony of reason”.

27. “Werther suggests to us that when someone tries to develop into a full human being – ‘ein Mensch’ – and finds himself denied the social outlet for his energies, the upshot may be a catastrophic disjunction between self and world”.

28. “Goethe’s choice of the form of the novel in this instance stemmed from a desire to instil in the reader a will to resist Fate by means of Bildung”.

29. Wilhelm Dilthey comenta el Leibniz de Wilhelm Meister en su ensayo “Friedrich Hölderlin (1910)”, incluido en la antología Poetry and Experience (1985).

30. “[i]t is clear how Leibniz’s stress on the self-determination and evolutionary coherence of the monad could pave the way for Goethe’s concept of Bildung”.

31. “Werther shows what happens to the ‘windowless’ monadic soul, both socially and psychologically, when Leibniz’s preestablished harmony is absent, and when subjective, non-rational emotions refuse to recognize any Grenzen”.

32. “all the letters [are] written by one and the same person”.

33. “the threat of solipsism”.

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34. “protagonists as developed or gebildet by virtue of, and not as confirmed in spite of, the obstacles crossing their paths”.

35. “peripatetic meanderings and unexpected bifurcations that impel the protagonists towards reflexive transformation”.

36. “the progress of a young person toward self-knowledge and a sense of social responsibility”.

37. “not only in its episodic plot … but also in all the scenes in inns and roads, with their colorful gallery of rogues”.

38. “Werther … asks the reader not to behold from the outside a drama of tangled motivations and stratagems, but, rather to … imaginatively reenact the movements of a particular subjectivity”.

39. “aesthetic concretization”, “subjectivity per se”, “the per se of subjectivity”.

40. “is the monadic soul gone wrong – the individual who cannot adapt his internal emotions, longings, and desires to external reality”.

41. “the ‘windowless’ monadic soul” (Nicholls), “the conflict between the hero and society by suicide” (Anchor).

42. “the transformation of youth into maturity”, “the socio-cultural forms into which the novelistic hero is ceremoniously inserted at the novel’s conclusion”.

43. “knowledge of the self the model for knowledge of the world”.

44. “[t]he self that emerged … was sometimes moderate and restrained, as for Herder or Goethe, who conceived Bildung as an individual’s path to assuming the particular place the world had in store for her or him. But for others the world offered no restrictions to the unfolding of such a self; the very forms of its finitude were the vessels of its boundlessness”.

45. “as a frightening possibility”, “the idea that objectivity arises out of subjectivity, that there are no laws but only conventions or mores”.

46. “describes Le Rouge et le Noir as a novel that deserved a place on the bookshelf alongside ‘the immortal Tom Jones’ ”.

47. “Jusqu’à quel point doit aller le ton de familiarité de l’auteur qui raconte le roman? L’extrême familiarité de Walter Scott et de Fielding prépare bien à le suivre dans ses moments d’enthousiasme? Le ton du Rouge n’est-il pas trop romain?”.

48. Tampoco se puede subestimar la importancia de Rousseau como una fuente fundamental o alternativa dentro del pensamiento occidental en lo que respecta a la formación personal en relación con el mundo exterior. Por ejemplo, en su artículo “Jean-Jacques Rousseau on Alienation, Bildung and Education” (2012), Kimmo Kontio plantea que el pensador francófono “introduced, without using the term, perhaphs the first modern theory of Bildung” (31).

49. Para ver un importante tratamiento del viaje en la novela de formación hispanoamericana, se recomienda el libro Journeys of Formation: The Spanish American Bildungsroman (Peter Lang, 2010), de Yolanda A. Doub.

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50. “Such an emphasis can be seen by Gadamer’s choice of word for ‘universal’: namely, ‘allgemein.’ ‘Allgemein’ is more suggestive of that which is common and general than that which is transcendent, as reflected by the German ‘Universalität’ ”.

51. “Thus the movement away from ourselves is always understood in the humanistic tradition as a move outward toward others and not upwards towards a heavenly realm”.

52. “the movement toward the universal is only the first part of the movement. We must also make the return … The point of Bildung is not to remain alienated or distanced from oneself but to cultivate what one has gained in the maneuver of withdrawing so that one can subsequently make the return”.

53. “[p]arcourir le roman d’apprentissage au XIXe siècle, c’est parcourir la chronologie historique de ce temps. La petite histoire privée des jeunes héros de roman qui partent à l’assaut de la société est représentative de la grande histoire de toute une génération. La cassure de 1789 a occasionné cette rencontre entre le roman et l’histoire. Véritable traumatisme social, elle a modifié le sens de l’histoire et de la littérature en montrant que le destin individuel est commandé par des impératifs extérieurs qui le dépassent. Le recours à l’histoire apparaît donc comme indispensable pour comprendre l’individu au XIXe siècle. Le roman d’apprentissage démontre bien, à cet égard, que le sort de chacun se comprend dans une perspective collective”.

54. “expansionary drive of capitalism”.

55. “welcomed positivism for having challenged not only scholasticism but also romanticism”.

56. “the rise of U.S. interventionism … provoked fears that modernization could only mean Americanization. They all resisted the instrumentalist implications of the debased form of positivism that had taken hold among many Latin American elites in the late nineteenth century”.

57. “alternative version … of the role of reason”.

58. “but more in terms of what Habermas has called communicative reason, which highlights the processes of reasoning (rather than their outcomes) and aims to be intersubjective (rather than based on subject-object relations). Rationality in Latin America … has been conceptualized as ‘the intelligibility of its totality,’ open to aesthetics (which instrumental rationality turned into an alienated enemy) and to ethics (which technocratic modernity, enthralled by science, delegated to organized religion)”.

59. “Habermas does seem to believe that it is an age of enlightenment because lifeworld members now allegedly deal more or less freely, through rational, critical debate, with what they need for their spiritual welfare”, “enlightened reason ultimately triumphed over superstitious belief systems”.

60. “the lifeworld is … grounded in a material substratum without which it could not even begin symbolically to reproduce itself”.

61. “the rise of capitalism, which took place in the context of a rising nation state, brought that state to fruition”.

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62. “we are constantly being told that the global expansion of capitalism has ruptured its historic association with the nation state”.

63. “the world today is more than ever before a world of nation states”.

64. “an unattainable ideal”.

65. “state control of social institutions”, “rationalization of bureaucratic functions”, “the Humboldtian ideal of Bildung to occupy an excluded middle ground”.

66. “put into play a Bildung process that harkens back to the classical mode, in which the goal is inner culture, but that also inevitably confronts the impossibility of either a unified, harmonious consciousness or a unified, harmonious relationship with the social world”.

67. “If the modernist Bildungsroman harbors within it a conceptual throwback in its embrace of classical Bildung, it is of the sort that Adorno describes in his theory of negative dialectics … In an attempt to avoid what he perceives to be the totalizing tendencies in Hegelian dialectics, Adorno insists on the critical power of contradiction and nonidentity within dialectics. An unresolved contradiction …, which is ever-present in Hegel, is of a different order than identity as contradiction, which is in fact what Adorno seeks in Negative Dialectics”.

68. “the ‘vocation for aesthetic change’ manifests itself as a ‘negative’ desire for self-formation that embraces disunity and disharmony; it is a mode of aesthetic consciousness that takes subjectivity as its object but not in order to objectify it”.

69. Si bien no se puede considerar un pensador “husserliano”, el mundo de la vida al que se refiere Echeverría se entenderá como el mismo fenómeno al que hace referencia Edmund Husserl cuando habla del “mundo de la vida”.

70. “real time is that in which people live; it is qualitative, not quantitative”.

71. “memory is the bridge between the perceptions of an event or object and the recollection of it”.

72. “[i]n A Portrait of the Artist as a Young Man, Joyce makes his first full-fledged attack on the conventional novel. His main deviations involve the narrative structure of the work, which is an assemblage of several epiphanies, and the characterization of Stephen Daedelus. Interestingly, Joyce chooses to attack the conventions of the novel from within one of its most traditional forms, the Bildungsroman … For example, no attempt is made in Portrait to provide the reader with a well-delineated, chronological account of Stephen’s growth. Instead, one is thrust into various moments of his life … Readers, immersed in the main character’s durée, see Stephen’s consciousness grow in front of them. Thus the outer world is understood only in terms of the inner one; reality becomes dependent upon understanding the inner world of self”.

73. “a subordinate and peripheral latecomer to the modernity show”.

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