Few figures in art and literature embody the tensions and contradictions of modernity with the same intensity as Faust: the pursuit of knowledge and the frustration of its limits, the need for and the crisis of a relationship with transcendence, the alliance between the demonic and the diabolical, the allure of action and the discovery of its impossible innocence—in short, the strife of human life between the eternity of its aspirations and the finiteness of its destiny. From Christopher Marlowe to Goethe—who cemented the myth of Faust more than any other—from Thomas Mann to Fernando Pessoa and Paul Valéry, from the musical adaptations of Schumann, Liszt, Wagner, and Gounod to the cinematic interpretations by René Clair, Richard Burton, and Aleksandr Sokurov, each version of this myth has brought out different nuances, adapting the archetype of the deal with the Devil to ever-changing audiences and contexts.
Through the lens of Faust, modern art, in some way, continually feels the need to reflect upon itself. The central idea of this special issue Faust and Philosophy is that, precisely for this reason, the figure of Faust holds a unique—yet often overlooked—philosophical significance. What has been or can still be thought through the figure of Faust? What spaces and horizons does this modern myth assign to thought and its ambitions? The relationship between Faust and philosophy is deeply intimate not only because Faust, as a lover of wisdom, represents in some ways the myth of philosophy itself, but also because many philosophers (from Hegel to Nietzsche, from Adorno to Benjamin, from Bloch to Böhme, from Spengler to Lukács, from Steiner to Jung and Gadamer) have explicitly engaged with his tragedy, particularly in Goethe’s version, first and foremost in order to question whether it should be read as a critique or a celebration of the modern world.
This special issue, Faust and Philosophy, invites scholars to submit contributions that explore the various dimensions of this relationship in one or more of the following (or other) directions:
– The philosophical significance of the figure of Faust and/or of works about Faust. What philosophical (or even meta-philosophical) issues does the myth of Faust allow us to explore? How is philosophy represented through Faust—or through various versions of his drama? In particular, what aesthetic perspectives arise from the different adaptations of this tragedy in relation to the concept of genius, the theme of beauty, and the relationship between discursive knowledge and the realm of sensibility and immanence? Of course, special attention will be granted to Goethe’s Faust, which encapsulates the aesthetic sensibility of its author and engages in a complex and multifaceted way with the speculative debates of its time.
– The philosophical appropriation of Faust. The story of Faust—especially Goethe’s version thereof—has been often referred to in philosophical texts. What recurring elements emerge in these appropriations? Conversely, what are the extreme interpretative positions that they reach? We welcome contributions that examine and critically engage with interesting cases of philosophical readings of Faust, particularly those that are lesser-known.
– “Faust” as a case study: philosophy, art, and literature. The widespread influence of the Faust myth across multiple artistic fields and philosophy makes it a compelling case study for exploring aesthetic questions concerning the relationship between philosophy and the arts, as well as between philosophy and its “forms”. How can philosophy engage with literature or art? Conversely, how can art and literature themselves be philosophical? Can Goethe’s Faust, for example, be considered part of the long tradition of the “philosophical poem”? We particularly encourage contributions that examine, from a philosophical perspective, the dynamics of intermediality and intertextuality within this tradition, especially regarding how the myth of Faust transitions across different artistic languages or between the domains of art and philosophy.
– Faust as an Archetype of the Human Condition and Experience. The figure of Faust has often been regarded as a portrait of the modern existential condition. Although different versions of the tragedy present different diagnoses, all of them attempt to grapple with fundamental aspects of existence, such as the experience of finitude, the need for meaning, transcendence, and wisdom, and the sense of striving that often accompanies their quest. Which different understandings of human life underlie the versions of this tragedy? To what extent can Faust be considered an archetype of the human condition in general, and to what extent is his figure instead rooted in modernity? Can the myth of Faust be used as a lens to interpret our contemporary world and life? What is the connection, if any, between the figure of Faust and the aesthetic-philosophical sensibility of nihilism? Contributions that seek to highlight the existential relevance of the Faust myth will be particularly welcome.
Abstracts and full papers should be sent to the following email addresses:
alberto.merzari@accademiadiurbino.it
Abstract submission deadline: June 15th, 2025 (decisions on abstracts before: June 30th, 2025)
Full Paper submission deadline: January 31st, 2026
Languages: English, German, French, Italian
Length of the paper: up to 40.000 characters (bibliography included)
All submitted papers must include a short abstract in English and five keywords also in English
Please prepare your submission for double-blind peer-review.