As humorous appendix to his great work Titan (1800-1803) Jean Paul placed the text aboard Journal Giannozzo aeronaut, who recently published the editorial Gallo Nero in Spain. But who or what is Giannozzo? For exactly the perfect picture of the character type of transition between the Enlightenment and Romanticism. Such a character prototypical proto-Romanticism that filled that F. Schlegel called sick wit. In "Letter on the novel" Schlegel Amalia dialogue with the strange prose of Jean Paul. Amalia says Jean Paul's works are full of wit sick. This disqualification, the irony of Schlegel, seems wonderful. Yes It's true, it is unhealthy and that ingenuity is fascinating. But what does it mean that the novelist must carry a heavy dose of wit sick? Schelegl says: "I attach the colorful mixture of wit sick, but I'm out in his defense and hold strictly to such grotesque and confessions are by far the only romantic productions." For Schlegel's confession, the narrative of self is the centerpiece of the new novel to produce novel expanded flame (Novalis will like to talk about poetry expanded). But this is not a linear and maudlin confessional, but a veiled confessional, where the narrator plays to show and hide in the act of writing. And later adds Schlegel, perhaps taking some novels in his head, as follows: "And what trip report, which collection of letters, autobiography which would not be for those who read them in a romantic sense, a novel better than the best of all those? ". Not interested in the confessional as a fact but its distortions. He writes: "What has also added confessions no longer seems strange, when you recognized a true story is the foundation of all Romantic poetry, and if you reflect on the matter, you will easily account and you will be convinced that the best of the best novels is not nothing but a self-confession, more or less disguised author, the result of his experience, the quintessence of its particularity. " In this character so called confessional evening in a fascinating character autopseudista .
Jean Paul is a model of this novel. One of the authors Schlegel has in mind as it represents (along with Sterne and Diderot) model overcomes the above. Jean Paul, from the idea of \u200b\u200bthe sublime ridiculous plays to establish a conceptual review of the whole aesthetic of the present. In his work the highest philosophical concepts will be faced with the reality stupid. And in a book like Journal airman aboard the Giannozzo perfectly demonstrates his wit sick. Well, but again, what or who is Giannozzo? We could say that, while imitation of Jean Paul, is a nihilistic kind, full of dissatisfaction with life, uninterested in the world, tired of human stupidity. Is in fact, a portrait of the character who has lost all reference in the social world. In this context, Jean Paul is and is not Giannozzo. Cleverly, in the preface to the newspaper, Jean Paul stands as editor of the book, marking the distances with respect to the alleged author of the newspaper and with respect to the reader. But their presence is continuous throughout the text. More than we can understand the presence and constant interference in the development of the text. Jean Paul appears on this trip in two ways: a) through the notes, and glosses, added to the text to extend or criticize, b) and also intrudes through autoparódica quoted, ie Giannozzo will talk about the work of one Jean Paul. Thus the text, a formal level, it raises issues of concern such as the issue of authorship, which is suspended (or blown) through references to the footnotes, for example. But not only is remarkable in formal terms this piece but also the narrative level (storyteller, even) offers inseparable elements of the formal processing. First, it drew attention to the construction of the character, Giannozzo, and another review of landscape concepts that are ridiculed by the alter ego of Jean Paul. Let us see something about Giannozzo. Jean Paul describes it: "This Giannozzo, a relentless rate, ready to carry off everything, tired of living in a prosaic century [...] plunged into a deep bitterness at seeing that people are able to lie and deceive others as he shows his softer side, convinced of the need to forcefully rejected warm praise and capricious, [...] this man, whom the air of a dungeon and the lanes gave him a great distress that he had decided to extend their hands into the ether to find freedom in the mountain air .... " But what did Giannozzo? Then simply leave the land (literally so) to live in a balloon (which he calls Lazareto ) and look down the world under his feet as the control room of the aircraft was the glass floor to see "to down there." And this is something we know from the diary of Giannozzo, Jean Paul finally recovered and show the world. Giannozzo writes: "Below are a hundred mountains, rendered in a giant snake, threatening the human anthill angry with the poison of lava flows and avalanches, while up here in this quiet, sacred region, no you notice anything that happens below, or voices, or groans, or pomp. " He adds: "If I am to be honest, I live up by pleasure and for those who live below me are truly disgusting."
Giannozzo sees itself as a ghost in life that observes the movement of the world. This is the story: "I thought about the possibility of being a ghost ... [...] It would be great to enjoy the privileges that the spirits use their masks, take a frightening figure and go around scaring people. [...] Yes, sir! I would not let a day pass without organizing any mess. " This fantasy of being an invisible spirit is what leads to the aerial life, away. He adds: "However, when I inflate my balloon and rose into the air, something unexpected happened. [...] [N] o soon occurred to different ways and strategies to act on men in an efficient, throwing stones and carrying ballast, down from the sky like a revenant , throw on these sinners like a hawk or become invisible keeping me high in an area of \u200b\u200blow pressure. " This, then, another traveler, very different from the typical romantic traveler. As a kind of renewed Diablo cripple, describes this distance and unease to the world as follows: "I looked through the glass floor of my car and used a long vision goggles British army to see the gardens and streets. I could see what was happening in every home through the windows and go to comedy, with vocals included, interpreted every time there's a visit. " He added: "Our mission is to watch." Just as in Sterne, Jean Paul plays every sense fracturing lifting aesthetic discourse. That is, the sublime is skillfully ridiculed by the juxtaposition of high and low elements. Jean Paul, as nihilistic and sentimental traveler, describes the sublime ridiculous that double look at the same time, to as high and the banal, as follows: "Your feelings acted as sensitive probes which managed to penetrate the beauty of nature, either the stars or that of a dung beetle. "
With his ship, perfectly designed and furnished to contemplate what was happening at his feet, runs the Alpine scenery that had generated so much sentimentality of the time travelers. However, its distant position, ironic, even cynical, leads him to see the Alps as a vulgar excuse for travelers to select a narcissistic sentimentality. Jean Paul ridiculed the passion alpina. While Giannozzo flies that huge "piece of rock," he wrote in his logbook: "There is no doubt that mountains are a good lugar para hacer acopio de sentimentalismo”. E incluso él mismo se da cuenta mientras viaja por los Alpes: “¡Cielos! ¡Veo ante mi cuarenta caminos y todos desembocan en la broma!”. Jean Paul desconfía de los grandes conceptos, como el de lo sublime, y desconfía, precisamente, por ser un concepto que ha perdido su sentido psicológico para transformarse (Kant mediante) en una categoría estético-moral-cultural. Su descripción es inevitable: “Pero esa noche, hacia las once, se levantó una espléndida tormenta, demasiado hermosa y demasiado sublime para aquella ciudad de trámite, que vivía día a día”. ¿Cómo puede darse lo sublime in a "city of procedure? Impossible. Unthinkable. Even talk of "outgrowths of the sublime." "The same thing happens when a poet, with the collaboration of its public release in the theater or stool on paper what we know as virtuous feelings." Finally, it is sublime, as a kind of crude revenge, which ultimately killing Giannozzo, who perishes in a storm while flying over the Alps. He writes, not without irony, by the end of his book: "The wind blows fresh leads me directly to the Alps, where he could land this evening after having spent the day writing and eating. It's what I've been. My ship is full of food, but I have drunk and eaten so much that I think every time it flies higher. " The shocks are increasing until finally his death and falls senses: "I'm falling! The fog, steam envelops everything! I do not see anything. " Adios, she says, and disappears.
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