The study of the first love monologue of the Eneas, entrusted to Lavine, highlights how the musicality of the octosyllabic in this proto-novel is both traditional and innovative. The purpose of this study is to clarify and reconsider the art of the anonymous versifier and to reposition it in literary history: the often regular and measured scansion 4-4 of the octosyllable, the small number of discrepancies between meter and Syntax, the low proportion of rich and leonine rhymes or even feminine rhymes are all signs of a still young, evolving versification. The frequency with which the writer breaks the verse, however, similar to that observed a few decades later in Chrétien de Troyes, is a real innovation that should be restored.
委托给拉文的对埃涅阿斯的初恋独白的研究，突出了这部原型小说中八音节的音乐性是如何既传统又创新的。本研究的目的是澄清和重新考虑匿名诗体的艺术，并重新定位它在文学史上:通常规则和有节奏的八音节4-4韵律，韵律和句法之间的少量差异，丰富和狮子韵甚至女性韵的比例低，都是一个年轻的，不断发展的诗体的标志。然而，作者打破诗句的频率，与几十年后在《chrametien de Troyes》中观察到的相似，是一个真正的创新，应该被恢复。
{"title":"La poétique du premier monologue amoureux de Lavine: éléments de versification (Énéas, v. 8082–8334)","authors":"James-Raoul Danièle","doi":"10.3790/ljb.60.1.37","DOIUrl":"https://doi.org/10.3790/ljb.60.1.37","url":null,"abstract":"The study of the first love monologue of the Eneas, entrusted to Lavine, highlights how the musicality of the octosyllabic in this proto-novel is both traditional and innovative. The purpose of this study is to clarify and reconsider the art of the anonymous versifier and to reposition it in literary history: the often regular and measured scansion 4-4 of the octosyllable, the small number of discrepancies between meter and Syntax, the low proportion of rich and leonine rhymes or even feminine rhymes are all signs of a still young, evolving versification. The frequency with which the writer breaks the verse, however, similar to that observed a few decades later in Chrétien de Troyes, is a real innovation that should be restored.","PeriodicalId":114283,"journal":{"name":"Volume 60 · 2019","volume":"95 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131232662","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Speaking of a ›Golden Age‹ or a Siglo de Oro in reference to Spanish history, culture and literature transforms an ancient myth into a historiographical concept, which seems rather problematical, even contradictory, and at the same time, seen in a wider European context, exceptional. Nevertheless, the Siglo de Oro is still being used not only as a key term in contemporary academic works – inside and outside Spain – on the Early Modern period, but also as a highly controversial idea in political and ideological debates, especially on behalf of what may or may not be Spanish identity. This article seeks to give a brief overview of the discussions that try to define the concept of the Siglo de Oro and to present the literary canon as well as the ideological implications linked to it. Starting in the aftermath of the epoch itself, in other words the 18th century, it focuses on the convergence of the political and aesthetical discussions that oppose the ›Two Spains‹ during the 20th century in terms of how to choose and interpret their ›classics‹. Finally, it tries to give a (necessarily incomplete) view on the actual situation, where the Golden Age myth still interferes not only in literary but also in socio-political debates.
说到西班牙历史上的“黄金时代”或“西格罗·德·奥罗”，文化和文学将一个古老的神话转化为一个史学概念，这似乎相当有问题，甚至是矛盾的，同时，在更广泛的欧洲背景下，这是例外的。然而，Siglo de Oro不仅在西班牙国内外的当代学术著作中被用作一个关键术语，而且在政治和意识形态辩论中也被用作一个极具争议的概念，特别是代表什么可能是或不代表西班牙身份。本文旨在简要概述试图定义Siglo de Oro概念的讨论，并呈现文学经典以及与之相关的意识形态含义。从时代本身的余波开始，换句话说，从18世纪开始，它关注的是20世纪反对“两个西班牙”的政治和美学讨论的融合，即如何选择和解释他们的“经典”。最后，它试图给出一个(必然是不完整的)对实际情况的看法，即黄金时代的神话不仅干扰文学，而且还干扰社会政治辩论。
{"title":"Das ›Goldene Zeitalter‹ im modernen Spanien","authors":"Stefan Schreckenberg","doi":"10.3790/ljb.60.1.255","DOIUrl":"https://doi.org/10.3790/ljb.60.1.255","url":null,"abstract":"Speaking of a ›Golden Age‹ or a Siglo de Oro in reference to Spanish history, culture and literature transforms an ancient myth into a historiographical concept, which seems rather problematical, even contradictory, and at the same time, seen in a wider European context, exceptional. Nevertheless, the Siglo de Oro is still being used not only as a key term in contemporary academic works – inside and outside Spain – on the Early Modern period, but also as a highly controversial idea in political and ideological debates, especially on behalf of what may or may not be Spanish identity.\u0000 This article seeks to give a brief overview of the discussions that try to define the concept of the Siglo de Oro and to present the literary canon as well as the ideological implications linked to it. Starting in the aftermath of the epoch itself, in other words the 18th century, it focuses on the convergence of the political and aesthetical discussions that oppose the ›Two Spains‹ during the 20th century in terms of how to choose and interpret their ›classics‹. Finally, it tries to give a (necessarily incomplete) view on the actual situation, where the Golden Age myth still interferes not only in literary but also in socio-political debates.","PeriodicalId":114283,"journal":{"name":"Volume 60 · 2019","volume":"60 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129943884","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article builds on current discussions about the status of the Early Middle Ages German philology and demonstrates on the basis of various thematic areas the research perspectives for the Old High German literature. Along three subject areas (historical narratology, interdisciplinarity, mediation of Old High German in school and college), currently discussed topics such as coherence, speech scenes, figures, sound studies as well as the tradition of early literature are outlined and their relevance is illustrated through selected text examples.
{"title":"Zum Aufbruch der Frühmittelaltergermanistik","authors":"G. Mierke","doi":"10.3790/ljb.60.1.9","DOIUrl":"https://doi.org/10.3790/ljb.60.1.9","url":null,"abstract":"The article builds on current discussions about the status of the Early Middle Ages German philology and demonstrates on the basis of various thematic areas the research perspectives for the Old High German literature. Along three subject areas (historical narratology, interdisciplinarity, mediation of Old High German in school and college), currently discussed topics such as coherence, speech scenes, figures, sound studies as well as the tradition of early literature are outlined and their relevance is illustrated through selected text examples.","PeriodicalId":114283,"journal":{"name":"Volume 60 · 2019","volume":"134 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123163201","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Wilhelm Klemm, Expressionist poet and military surgeon on the Western front during World War I, published approximately 60 war poems, both in his collection Gloria! (1915) and in several literary magazines such as Franz Pfemfert’s Aktion. Some of them were soon hailed as eminently critical of common, glorifying poetic visions of war. This is certainly adequate; a closer scrutiny of the entire corpus of Klemm’s war poems, however, reveals a peculiar diversity which requires an awareness for their ambivalences. The article therefore considers three fields of inquiry: the poems’ depiction of the human body, their relation to lyrical paradigms focussed on nature and Stimmung, and ways of transcending both these paradigms and naturalistic representations of war and its effects. It thus identifies Klemm’s different modes of perceiving, interpreting and processing the experience of the Great War.
{"title":"Stimmungen, Spannungen, Visionen","authors":"Max Graff","doi":"10.3790/ljb.60.1.339","DOIUrl":"https://doi.org/10.3790/ljb.60.1.339","url":null,"abstract":"Wilhelm Klemm, Expressionist poet and military surgeon on the Western front during World War I, published approximately 60 war poems, both in his collection Gloria! (1915) and in several literary magazines such as Franz Pfemfert’s Aktion. Some of them were soon hailed as eminently critical of common, glorifying poetic visions of war. This is certainly adequate; a closer scrutiny of the entire corpus of Klemm’s war poems, however, reveals a peculiar diversity which requires an awareness for their ambivalences. The article therefore considers three fields of inquiry: the poems’ depiction of the human body, their relation to lyrical paradigms focussed on nature and Stimmung, and ways of transcending both these paradigms and naturalistic representations of war and its effects. It thus identifies Klemm’s different modes of perceiving, interpreting and processing the experience of the Great War.","PeriodicalId":114283,"journal":{"name":"Volume 60 · 2019","volume":"30 9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124448417","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The thesis of the birth of opera as a result of late humanistic reception of antiquity at the turn of the 17th century has been a commonplace idea within the discussion of dramatic genres. Yet the dominant narrative of change or renewal tends to obscure phenomena of continuity and anachronism which are nonetheless relevant for the tradition of premodern theatre. Those residues of an outlasting dramatic tradition are the focus of this paper which is especially concerned with the transitions between the broad stream of medieval liturgical drama and early modern opera. It is to be shown how close the ties in particular are between the new genre of music theatre and the older theatrical models and their continuities. At the same time the specific achievements and innovations of the younger operatic genre can be accentuated even more distinctly. This paper will concentrate on a paradigmatic case from the early times of German music theatre, the Hamburg inaugural opera Adam from 1678, to demonstrate the characteristic links as well as transformations between the traditions of the medieval liturgical and early modern protestant drama and the operatic genre of the 17th century.
{"title":"Vom Adamsspiel zur Adamsoper","authors":"Christian Seebald","doi":"10.3790/ljb.60.1.205","DOIUrl":"https://doi.org/10.3790/ljb.60.1.205","url":null,"abstract":"The thesis of the birth of opera as a result of late humanistic reception of antiquity at the turn of the 17th century has been a commonplace idea within the discussion of dramatic genres. Yet the dominant narrative of change or renewal tends to obscure phenomena of continuity and anachronism which are nonetheless relevant for the tradition of premodern theatre. Those residues of an outlasting dramatic tradition are the focus of this paper which is especially concerned with the transitions between the broad stream of medieval liturgical drama and early modern opera. It is to be shown how close the ties in particular are between the new genre of music theatre and the older theatrical models and their continuities. At the same time the specific achievements and innovations of the younger operatic genre can be accentuated even more distinctly. This paper will concentrate on a paradigmatic case from the early times of German music theatre, the Hamburg inaugural opera Adam from 1678, to demonstrate the characteristic links as well as transformations between the traditions of the medieval liturgical and early modern protestant drama and the operatic genre of the 17th century.","PeriodicalId":114283,"journal":{"name":"Volume 60 · 2019","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127731841","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
From the beginning of Herzog Herpin the young protagonist seems to be chosen for the extraordinary as he is separated from his parents right after his birth and must survive in the wilderness. This is accomplished by getting him involved in relationships with animals or otherworldly figures. Guarded by three fairies and a lion, the protagonist of this infancy story experiences motherhood not from his biological mother. Motherhood is rather attributed to several different figures that look after him. Thus a multidimensional matrix of care-relationships emerges that is characterized by the interacting categories of gender, species, descent, religion, age and social positioning. The paper explores them as forms of emotionalization between animals and humans in text-image-arrangements of three versions of the Herzog Herpin by applying theoretical concepts of the Cultural Animal Studies.
{"title":"Dye lewynne stalte groß iamer","authors":"Susanne Schul","doi":"10.3790/ljb.60.1.123","DOIUrl":"https://doi.org/10.3790/ljb.60.1.123","url":null,"abstract":"From the beginning of Herzog Herpin the young protagonist seems to be chosen for the extraordinary as he is separated from his parents right after his birth and must survive in the wilderness. This is accomplished by getting him involved in relationships with animals or otherworldly figures. Guarded by three fairies and a lion, the protagonist of this infancy story experiences motherhood not from his biological mother. Motherhood is rather attributed to several different figures that look after him. Thus a multidimensional matrix of care-relationships emerges that is characterized by the interacting categories of gender, species, descent, religion, age and social positioning. The paper explores them as forms of emotionalization between animals and humans in text-image-arrangements of three versions of the Herzog Herpin by applying theoretical concepts of the Cultural Animal Studies.","PeriodicalId":114283,"journal":{"name":"Volume 60 · 2019","volume":"104 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133524930","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The encounter between Francis of Assisi and sultan Malik al-Kamil in 1219 became in its immediate aftermath object of several historiographic, hagiographic and literary accounts. One can see that a common, yet variously developed element of all these reports is the record of the future saint surprising his audience by the frankness of his preaching of the Christian faith. This continuity stretches from the Old French Chronique d’Ernoul, which firstly introduced this aspect, to Dante’s Commedia. Actually, in the light of the eye-witness account of Thomas of Split, an enthusiastic speech of Francis at the Egyptian court could well respond to the facts: following the model of the contemporary political concionatori and their biblical archetype, Salomon, Francis surely preached in a simple but theologically profound way the Truth of Christian relevation, trusting that Divine wisdom in humility is superior to an approach which is grounded exclusively in human knowledge.
1219年，阿西西的方济各和苏丹马利克·卡米尔的相遇成为了几个史学、圣徒传记和文学作品的直接后果。我们可以看到，在所有这些报告中，有一个共同的，但又有不同发展的因素，那就是这位未来圣徒的记录，他坦率地宣讲基督教信仰，让听众感到惊讶。这种连续性从古法国的《纪事》(Chronique d’ernoul)一直延伸到但丁的《喜剧》(Commedia)。实际上，根据斯普利特的托马斯(Thomas of Split)的目击记录，方济各在埃及法庭上发表的一篇热情的演讲可以很好地回应这些事实:遵循当代政治信奉者和他们的圣经原型所罗门(Salomon)的模式，方济各肯定以一种简单但神学意义深远的方式宣讲基督教启示的真理，相信谦卑中的神圣智慧优于完全基于人类知识的方法。
{"title":"»Se voues nous volés oïr et entendre, nous vos mosterrons par droite raison […] que vostre lois est noiens«","authors":"Matthias Bürgel","doi":"10.3790/ljb.60.1.87","DOIUrl":"https://doi.org/10.3790/ljb.60.1.87","url":null,"abstract":"The encounter between Francis of Assisi and sultan Malik al-Kamil in 1219 became in its immediate aftermath object of several historiographic, hagiographic and literary accounts. One can see that a common, yet variously developed element of all these reports is the record of the future saint surprising his audience by the frankness of his preaching of the Christian faith. This continuity stretches from the Old French Chronique d’Ernoul, which firstly introduced this aspect, to Dante’s Commedia. Actually, in the light of the eye-witness account of Thomas of Split, an enthusiastic speech of Francis at the Egyptian court could well respond to the facts: following the model of the contemporary political concionatori and their biblical archetype, Salomon, Francis surely preached in a simple but theologically profound way the Truth of Christian relevation, trusting that Divine wisdom in humility is superior to an approach which is grounded exclusively in human knowledge.","PeriodicalId":114283,"journal":{"name":"Volume 60 · 2019","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130436106","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper analyses how Heinrich von dem Türlin creates a metadiscourse about generic issues and conventions of Arthurian tales in his Romance Diu Crône by outlining the importance of narration itself for the Arthurian court. Based on two scenes where first the Arthurian court and than Gawein as main character of the tale are on the verge of forgetting themselves, the anaysis shows how processes of telling one’s own story are crucial not only for memoria but even for one’s own existence. By shifting these observations from the level of the narrated world to the narration itself the close connections between telling and being can be understood as an implicit theory of performative narration.
{"title":"Erzählend erinnern","authors":"Selena Rhinisperger","doi":"10.3790/ljb.60.1.63","DOIUrl":"https://doi.org/10.3790/ljb.60.1.63","url":null,"abstract":"This paper analyses how Heinrich von dem Türlin creates a metadiscourse about generic issues and conventions of Arthurian tales in his Romance Diu Crône by outlining the importance of narration itself for the Arthurian court. Based on two scenes where first the Arthurian court and than Gawein as main character of the tale are on the verge of forgetting themselves, the anaysis shows how processes of telling one’s own story are crucial not only for memoria but even for one’s own existence. By shifting these observations from the level of the narrated world to the narration itself the close connections between telling and being can be understood as an implicit theory of performative narration.","PeriodicalId":114283,"journal":{"name":"Volume 60 · 2019","volume":"72 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115958328","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Gesine Mierke (Chemnitz), Zum Aufbruch der Frühmittelaltergermanistik ... 9 Danièle James-Raoul (Bordeaux), La poétique du premier monologue amoureux de Lavine: éléments de versification (Énéas, v. 8082–8334) ........... 37 Selena Rhinisperger (Zürich), Erzählend erinnern. Erzählen als performativer Akt in der Crône Heinrichs von dem Türlin ........................... 63 Matthias Bürgel (Venedig), »Se voues nous volés oïr et entendre, nous vos mosterrons par droite raison […] que vostre lois est noiens«. Franz von Assisi als Prediger vor Malik al-Kamil ................................ 87 Susanne Schul (Kassel), Dye lewynne stalte groß iamer. Prozesse der Emotionalisierung zwischen Tieren und Menschen im spätmittelalterlichen Prosaepos Herzog Herpin ................................................ 123 Florian Mehltretter (München), Herrscherlob als schöne Kunst betrachtet. Überlegungen zu Boiardo, Ariost und Josquin Desprez ................. 159 Steffen Schneider (Graz), Urteil und Komödie in der italienischen Renaissance und in Giordano Brunos Candelaio. .................................. 181 Christian Seebald (Köln), Vom Adamsspiel zur Adamsoper. Zu den Übergängen zwischen mittelalterlichem geistlichen Spiel und frühem deutschen Musiktheater am Beispiel der Hamburger Oper ........................ 205 Carmen Rivero (Münster), »Lope, Réactionnaire ou révolutionnaire ?« Fuenteovejuna face à l’Institution de la réligion chrétienne ................... 227 Jan-Henrik Witthaus (Kassel), Provecho e interés. El pensamiento económico entre las narrativas picarescas y la Ilustración. Aproximación a una historia conceptual continuada desde el Siglo de Oro hasta la Ilustración ......... 243 Stefan Schreckenberg (Paderborn), Das ›Goldene Zeitalter‹ im modernen Spanien. Zur Wirkmächtigkeit und Problematik eines kulturellen und literarischen Kanons ...................................................... 255 Mirjam Haas (Mainz) und Leonie Kirchhoff (Tübingen), Genre Maketh Dog?, Francis Coventry’s Pompey the Little and Virginia Woolf’s Flush ......... 277 Angelika Zirker (Tübingen), Huckleberry Finn: Aktuelle Zensur eines Klassikers?. ............................................................. 299 Nicolas Detering (Bern), Heroischer Fatalismus. Denkfiguren des ›Durchhaltens‹ von Nietzsche bis Seghers ...................................... 317 Max Graff (Heidelberg), Stimmungen, Spannungen, Visionen. Beobachtungen zur Kriegslyrik Wilhelm Klemms ..................................... 339 Eduard R. Müller (Seelisberg, CH), Bajla Gelblung und Johannes Bobrowskis Gedicht BERICHT. ................................................ 373 Carsten Dutt (Notre Dame, USA), Phantasmatisches Erinnern als Dimension lyrischer Memoria. Zur Meditationsfunktion eines Gedichts von Günter Eich .............................................................. 389 BUCHBESPRECHUNGEN
库欣费尔太太(Chemnitz)，中世纪中世纪的德国文学出发。9Danièle James-Raoul(波尔多),La poétique你首相monologue amoureuxde Lavine:éléments versification (deÉnéas v 8082-8334 ) ...........我在苏黎世做过37ena RhinispergerperformativerAkt相比告诉Crô下来海因里希Türlin ...........................63Matthias Bürgel(威尼斯)第一卷,»voues我們és oïr之类entendre我們vosmosterrons pat droite小东西[...]玄武vostre露意丝斯noiens«.弗兰茨vonAssisi Malik al-Kamil前是个牧师 ................................98年苏珊娜·苏勒、杜恩·鲁恩跟踪着埃默尔进程Emotionalisierungzwischen动物和人在spätmittelalterlichen ProsaeposHerzog Herpin ................................................我相信你的表扬是一种美丽的艺术依马加特和阿里托克也是呢159stette在意大利文艺复兴时期和乔唐诺·坎戴尔的审判和戏剧181年克里斯汀·西默德(科隆)从亚当赛场到亚当歌剧在英王文学中，英王中世纪神术和早期的德耳进教，包括汉堡歌剧在内。205Carmen Rivero(大教堂),»箴言17:22,Réactionnaire你Révolutionnaire ?«Fuenteovejunafaceàl宴会厅de la Réligion ~étienne ...................227Jan-Henrik Witthaus(卡塞尔)Provecho e阿森纳és .El pensamiento económicoentre读narrativas picarescas y la Ilustración .Aproximación a una historiaconceptual continuada desde el Siglo de Oro再见Ilustración .........243Stefan Schreckenberg (Paderborn)›‹现代的西班牙黄金时代.以Wirkmächtigkeit和问题文化和literarischenKanons的 ......................................................255次米利亚姆哈斯(美因茨)和莱奥妮·科希霍夫(图宾根)，特玛费尔德狗?弗朗西斯·考文的喧嚣是一只小巧可爱的花277Angelika Zirker(图宾根),哈克贝利费恩:当前的审查Klassikers ?..............................................................29991有名的圣诞老人Denkfiguren的›Durchhaltens‹尼采至Seghers ......................................317Max Graff(海德堡)，情绪，紧张，眼神Beobachtungenzur Kriegslyrik Wilhelm Klemms .....................................339Eduard r·穆勒(Seelisberg f) Bajla Gelblung和约翰BobrowskisGedicht报告 . ................................................373carst Dutt(美国圣母院)，丰富的诗歌记忆。以诗的Meditationsfunktion GünterEich ..............................................................389BUCHBESPRECHUNGEN
{"title":"Inhaltsverzeichnis","authors":"","doi":"10.3790/ljb.60.1.toc","DOIUrl":"https://doi.org/10.3790/ljb.60.1.toc","url":null,"abstract":"Gesine Mierke (Chemnitz), Zum Aufbruch der Frühmittelaltergermanistik ... 9\u0000Danièle James-Raoul (Bordeaux), La poétique du premier monologue amoureux\u0000de Lavine: éléments de versification (Énéas, v. 8082–8334) ........... 37\u0000Selena Rhinisperger (Zürich), Erzählend erinnern. Erzählen als performativer\u0000Akt in der Crône Heinrichs von dem Türlin ........................... 63\u0000Matthias Bürgel (Venedig), »Se voues nous volés oïr et entendre, nous vos\u0000mosterrons par droite raison […] que vostre lois est noiens«. Franz von\u0000Assisi als Prediger vor Malik al-Kamil ................................ 87\u0000Susanne Schul (Kassel), Dye lewynne stalte groß iamer. Prozesse der Emotionalisierung\u0000zwischen Tieren und Menschen im spätmittelalterlichen Prosaepos\u0000Herzog Herpin ................................................ 123\u0000Florian Mehltretter (München), Herrscherlob als schöne Kunst betrachtet.\u0000Überlegungen zu Boiardo, Ariost und Josquin Desprez ................. 159\u0000Steffen Schneider (Graz), Urteil und Komödie in der italienischen Renaissance\u0000und in Giordano Brunos Candelaio. .................................. 181\u0000Christian Seebald (Köln), Vom Adamsspiel zur Adamsoper. Zu den Übergängen\u0000zwischen mittelalterlichem geistlichen Spiel und frühem deutschen\u0000Musiktheater am Beispiel der Hamburger Oper ........................ 205\u0000Carmen Rivero (Münster), »Lope, Réactionnaire ou révolutionnaire ?« Fuenteovejuna\u0000face à l’Institution de la réligion chrétienne ................... 227\u0000Jan-Henrik Witthaus (Kassel), Provecho e interés. El pensamiento económico\u0000entre las narrativas picarescas y la Ilustración. Aproximación a una historia\u0000conceptual continuada desde el Siglo de Oro hasta la Ilustración ......... 243\u0000Stefan Schreckenberg (Paderborn), Das ›Goldene Zeitalter‹ im modernen Spanien.\u0000Zur Wirkmächtigkeit und Problematik eines kulturellen und literarischen\u0000Kanons ...................................................... 255\u0000Mirjam Haas (Mainz) und Leonie Kirchhoff (Tübingen), Genre Maketh Dog?,\u0000Francis Coventry’s Pompey the Little and Virginia Woolf’s Flush ......... 277\u0000Angelika Zirker (Tübingen), Huckleberry Finn: Aktuelle Zensur eines Klassikers?.\u0000............................................................. 299\u0000Nicolas Detering (Bern), Heroischer Fatalismus. Denkfiguren des ›Durchhaltens‹\u0000von Nietzsche bis Seghers ...................................... 317\u0000Max Graff (Heidelberg), Stimmungen, Spannungen, Visionen. Beobachtungen\u0000zur Kriegslyrik Wilhelm Klemms ..................................... 339\u0000Eduard R. Müller (Seelisberg, CH), Bajla Gelblung und Johannes Bobrowskis\u0000Gedicht BERICHT. ................................................ 373\u0000Carsten Dutt (Notre Dame, USA), Phantasmatisches Erinnern als Dimension\u0000lyrischer Memoria. Zur Meditationsfunktion eines Gedichts von Günter\u0000Eich .............................................................. 389\u0000BUCHBESPRECHUNGEN","PeriodicalId":114283,"journal":{"name":"Volume 60 · 2019","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116815918","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The category of interest has formed part of the economic discourse since the 17th century and in this context adopts a variety of meanings, for instance the interest of credits or the individual advantages of a business or a contract. Conceptual history, however, points out that this concept has a strategic function within the introduction of economic sciences in the Enlightenment: the sublimation of passions which turns them into economic interests and which helps to improve the mutual treatment of human beings in society. The following article provides a short overview showing the evolution of the category of interest from the picaresque literature to the treaties and articles published in the context of the first liberalism in Spain that is to say the second half of the 18th century.
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