Abstract
In The Literary Absolute, the authors narrowly define German Romanticism as Friedrich Schlegel's (et al's) Athenaeum Fragments, arguing that the Jena circle worked in this sensible, intuitional genre to complete the Kantian subject in a Darstellung of the subject's freedom. In the event, however, they encountered the free force of existence that radically unworked the very Work they strove to complete and left them speechless before the Ereignis they inaugurated. This book would repeat Romanticism, this time setting a proper measure on the experience of freedom: "d�s�vrement," Blanchot's interminable interruption that threatens Lacoue-Labarthe's and Nancy's entire program with utter ruin.
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