{"title":"Queering Material Nature: Bewitched Bodies and the Limits of the Enlightenment","authors":"Melissa Sheedy","doi":"10.1353/gyr.2023.0015","DOIUrl":"https://doi.org/10.1353/gyr.2023.0015","url":null,"abstract":"","PeriodicalId":385309,"journal":{"name":"Goethe Yearbook","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122310627","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}
Abstract:Sophie von La Roche exemplifies the gendered exclusion of eighteenth-century female authors from the German literary canon. Her first novel, Geschichte des Fräuleins von Sternheim (1771), has yet to be fully recognized for its generic innovations in the German epistolary genre and for its direct influence on Johann Wolfgang von Goethe's Die Leiden des jungen Werther (1774). A close side-by-side reading of both novels reveals several similarities that set the German epistolary novel apart from the English and French examples. By taking into account the mutual mentorship and collaboration between La Roche and Goethe in the years leading up to the publication of Werther, La Roche's role in the development of the genre becomes evident. The value of recentering La Roche's Sternheim in this manner lies in the ability to better identify the mechanisms that perpetuate the gendered exclusion of authors like La Roche from the German literary tradition, making visible a path to a more inclusive literary canon.
摘要:索菲·冯·拉罗奇是18世纪德国文学经典中女性作家被性别排斥的典型代表。她的第一部小说《Geschichte des Fräuleins von Sternheim》(1771年)尚未被充分认可，因为它在德国书信流派中具有普遍的创新，并对约翰·沃尔夫冈·冯·歌德的《少年Werther》(1774年)产生了直接影响。仔细阅读这两部小说，我们会发现一些相似之处，这些相似之处使德语书信体小说区别于英语和法语的例子。考虑到拉罗希和歌德在《维特》出版前几年的相互指导和合作，拉罗希在这一流派发展中的作用变得显而易见。以这种方式重新审视拉罗希的《施特恩海姆》的价值在于，能够更好地识别出使像拉罗希这样的作家在德国文学传统中被性别排斥的机制，从而开辟一条通往更具包容性的文学经典的道路。
{"title":"La Roche and Goethe: Gender, Genre, and Influence","authors":"Maryann Piel","doi":"10.1353/gyr.2023.0003","DOIUrl":"https://doi.org/10.1353/gyr.2023.0003","url":null,"abstract":"Abstract:Sophie von La Roche exemplifies the gendered exclusion of eighteenth-century female authors from the German literary canon. Her first novel, Geschichte des Fräuleins von Sternheim (1771), has yet to be fully recognized for its generic innovations in the German epistolary genre and for its direct influence on Johann Wolfgang von Goethe's Die Leiden des jungen Werther (1774). A close side-by-side reading of both novels reveals several similarities that set the German epistolary novel apart from the English and French examples. By taking into account the mutual mentorship and collaboration between La Roche and Goethe in the years leading up to the publication of Werther, La Roche's role in the development of the genre becomes evident. The value of recentering La Roche's Sternheim in this manner lies in the ability to better identify the mechanisms that perpetuate the gendered exclusion of authors like La Roche from the German literary tradition, making visible a path to a more inclusive literary canon.","PeriodicalId":385309,"journal":{"name":"Goethe Yearbook","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114281397","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}
Abstract:In the 1787 edition of Die Leiden des jungen Werthers, the revised second edition of the text, Goethe added a brief episode that shows Lotte having a bird (a canary) kiss her on the mouth—something she has trained it to do with breadcrumbs. Werther is deeply affected by what he sees, and one can read the couch scene, Werther's assault on Lotte that causes the final breakup between the two of them, as linked to this scene. The canary episode touches on one of the central problems in Die Leiden des jungen Werthers: the fact that Werther and Lotte are driven by desires and urges that we nowadays would call "sexual" (they are physical in nature, closely linked to their sense of self, and experienced as absolutely imperative), but for which they have no vocabulary—the term "sexuality" would not be invented until the second half of the nineteenth century. Read in the context of the history of sexuality, the significance of Goethe's novel consists in its production of a series of images (metaphors) as means of communication to help us understand this (sexual) dynamic as it develops between Lotte and Werther—in particular, the depiction of female desire in the text. Interpreted from this perspective, the image of the bird kissing Lotte (and also Werther) turns out to be remarkably complex but may help us understand where on the fault line between biology and culture "sexuality," in Goethe's view, is to be situated.
{"title":"Lotte's Bird, Female Desire, and the Language of \"Sexuality\" in Die Leiden des jungen Werthers","authors":"C. Niekerk","doi":"10.1353/gyr.2023.0002","DOIUrl":"https://doi.org/10.1353/gyr.2023.0002","url":null,"abstract":"Abstract:In the 1787 edition of Die Leiden des jungen Werthers, the revised second edition of the text, Goethe added a brief episode that shows Lotte having a bird (a canary) kiss her on the mouth—something she has trained it to do with breadcrumbs. Werther is deeply affected by what he sees, and one can read the couch scene, Werther's assault on Lotte that causes the final breakup between the two of them, as linked to this scene. The canary episode touches on one of the central problems in Die Leiden des jungen Werthers: the fact that Werther and Lotte are driven by desires and urges that we nowadays would call \"sexual\" (they are physical in nature, closely linked to their sense of self, and experienced as absolutely imperative), but for which they have no vocabulary—the term \"sexuality\" would not be invented until the second half of the nineteenth century. Read in the context of the history of sexuality, the significance of Goethe's novel consists in its production of a series of images (metaphors) as means of communication to help us understand this (sexual) dynamic as it develops between Lotte and Werther—in particular, the depiction of female desire in the text. Interpreted from this perspective, the image of the bird kissing Lotte (and also Werther) turns out to be remarkably complex but may help us understand where on the fault line between biology and culture \"sexuality,\" in Goethe's view, is to be situated.","PeriodicalId":385309,"journal":{"name":"Goethe Yearbook","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131093358","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}
printed side by side and because the individual contributions in some rubrics extend over multiple “issues” of Zeit/Schrift, one trying to read the concluding installment of a five-issue-long piece on the Deutsche Blätter, for example, will have to also page through a systematic piece on “armee-nachrichten” and a collection of headlines from various papers reporting on napoleon’s retreat following defeat at Leipzig in october 1813. admittedly, this format can sometimes lead to unwieldy results: While the systematic pieces function nicely in this format, the meticulous poststructuralist philology characteristic of the longer essays does not always lend itself well to serialization. Yet the effect conveyed to the reader by the work’s formal juxtaposition of times, themes, and rubrics is, above all, a sense that the entire continent of Europe—from the atlantic to moscow, from Riga to naples—was suffused in war during this period and could think of little else than when the next update on the all-consuming fighting would appear. Zeit/Schrift 1813–1815 thus discloses to the reader not just a chronopoetics of irregularity, but also the enduring state of temporal exception that is wartime. as i have tried to suggest, the findings of this book are significant; what its authors are able to extract from a limited selection of journals in a narrow window of time is incredibly rich and will certainly overturn more than a few pieces of conventional wisdom about the time of print periodicals. it also suggests exciting avenues for further work on the media-historical a priori of temporal experience: i have not even been able to mention the muted but persistent engagement with figures like Reinhart Koselleck, whose well-known account of the emergence around 1800 of new experiences of historical time is here shown to rest to an unexpected degree upon the intersections of war, time, and writing in the print periodicals of the napoleonic Wars. (many of these journals, for example, explicitly positioned themselves as “temporary archives” of official documents and eyewitness accounts for “future historians,” floating islands of time that would someday, when the cannon-smoke had cleared, serve as invaluable repositories for historians of the present’s past.) Zeit/Schrift 1813–1815 oder Chronopoetik des “Unregelmäßigen” is, in short, a remarkable contribution to media history, and one can only hope that more works like this will appear from this research group at regular intervals.
{"title":"Wilhelm Meisters Erbe. Deutsche Bildungsidee und globale Digitalisierung by Heiko Christians (review)","authors":"Renata T. Fuchs","doi":"10.1353/gyr.2023.0020","DOIUrl":"https://doi.org/10.1353/gyr.2023.0020","url":null,"abstract":"printed side by side and because the individual contributions in some rubrics extend over multiple “issues” of Zeit/Schrift, one trying to read the concluding installment of a five-issue-long piece on the Deutsche Blätter, for example, will have to also page through a systematic piece on “armee-nachrichten” and a collection of headlines from various papers reporting on napoleon’s retreat following defeat at Leipzig in october 1813. admittedly, this format can sometimes lead to unwieldy results: While the systematic pieces function nicely in this format, the meticulous poststructuralist philology characteristic of the longer essays does not always lend itself well to serialization. Yet the effect conveyed to the reader by the work’s formal juxtaposition of times, themes, and rubrics is, above all, a sense that the entire continent of Europe—from the atlantic to moscow, from Riga to naples—was suffused in war during this period and could think of little else than when the next update on the all-consuming fighting would appear. Zeit/Schrift 1813–1815 thus discloses to the reader not just a chronopoetics of irregularity, but also the enduring state of temporal exception that is wartime. as i have tried to suggest, the findings of this book are significant; what its authors are able to extract from a limited selection of journals in a narrow window of time is incredibly rich and will certainly overturn more than a few pieces of conventional wisdom about the time of print periodicals. it also suggests exciting avenues for further work on the media-historical a priori of temporal experience: i have not even been able to mention the muted but persistent engagement with figures like Reinhart Koselleck, whose well-known account of the emergence around 1800 of new experiences of historical time is here shown to rest to an unexpected degree upon the intersections of war, time, and writing in the print periodicals of the napoleonic Wars. (many of these journals, for example, explicitly positioned themselves as “temporary archives” of official documents and eyewitness accounts for “future historians,” floating islands of time that would someday, when the cannon-smoke had cleared, serve as invaluable repositories for historians of the present’s past.) Zeit/Schrift 1813–1815 oder Chronopoetik des “Unregelmäßigen” is, in short, a remarkable contribution to media history, and one can only hope that more works like this will appear from this research group at regular intervals.","PeriodicalId":385309,"journal":{"name":"Goethe Yearbook","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125092536","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}
{"title":"Fractured Visions, New Horizons: Debates in Eighteenth-Century Studies beyond German Studies","authors":"B. Tautz","doi":"10.1353/gyr.2023.0008","DOIUrl":"https://doi.org/10.1353/gyr.2023.0008","url":null,"abstract":"","PeriodicalId":385309,"journal":{"name":"Goethe Yearbook","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127469565","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}
{"title":"Re-Examining (White) Enlightenment Legacies through a German Lens: An Introduction","authors":"P. Simpson, B. Tautz","doi":"10.1353/gyr.2023.0007","DOIUrl":"https://doi.org/10.1353/gyr.2023.0007","url":null,"abstract":"","PeriodicalId":385309,"journal":{"name":"Goethe Yearbook","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116941687","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}
biography of a particular concept, or set of concepts, it becomes apparent that the authors often mean very different things when they say Klassik, Klassizismus, or Klassizität. While some, Pfotenhauer, for example, focus on classicism in the narrower sense of the word, that is, on the eighteenth-century conception of classical, primarily Greek, art and literature, others, Gschwandtner and Degner, among others, address the oppressive presence of a national canon, Goethe’s, in particular. some contributions hardly address Klassizität at all. michael Bies’s chapter on Goethe and Kathrin Rosenfield’s on Hölderlin are both excellent interpretations of Goethe’s concept of Handwerk and Hölderlin’s famous translations of sophocles, but the battles they zoom in on are not really between classicism and anticlassicism. Both texts are convincing and thought-provoking studies, but they significantly widen the scope of the book as a whole. Furthermore, one or two possible topics remain underdeveloped. schiller plays a surprisingly small role in the various discussions of the German classicist tradition, whereas Grillparzer is only mentioned in passing by the editors. nor is the polemic entanglement of classicism and romanticism, to which the chapters occasionally refer, dealt with sufficiently. in fact, the conflict between classicist Weimar and romantic Jena contains everything that the book focuses on: the drawing of arbitrary dividing lines, the use and abuse of the classical tradition, changing loyalties within the various constellations, etc. Ehrmann devotes no more than approximately two pages to this historically crucial conflict. instead, one has to turn to sabine schneider’s important 2002 essay, “Klassizismus und Romantik,” or to Harald Tausch’s 2011 book, Literatur um 1800, for more thorough investigations of the “klassisch-romantischen Doppelepoche.” With that said, to anyone interested in historical disputes over art—and quite frankly, who isn’t interested?—Ehrmann and Wolf’s volume offers important insights into the unending conflict over a key concept in aesthetics as well as innovative interpretations of individual contributions to this conflict. in spite of new trends and ideals, Klassizität proves to be an inescapable point of reference, regardless of whether you side with classicism or with anticlassicism or find yourself lost in the no man’s land between these front lines of aesthetics.
对于一个特定概念或一组概念的传记，很明显，当作者说“古典”、“古典”或“Klassizität”时，他们的意思往往是非常不同的。有些人，比如普夫滕豪尔，专注于狭义的古典主义，也就是说，专注于18世纪的古典概念，主要是希腊语，艺术和文学，而其他人，比如格施万特纳和德格纳，在其他人中，解决了国家经典的压迫性存在，尤其是歌德。一些文章根本没有提到Klassizität。迈克尔·比斯关于歌德的那一章和凯瑟琳·罗森菲尔德关于Hölderlin的那一章都是对歌德的手工概念和Hölderlin对索福克勒斯的著名翻译的出色诠释，但他们所关注的斗争并不是真正的古典主义和反古典主义之间的斗争。这两个文本都是令人信服和发人深省的研究，但它们显著地扩大了整本书的范围。此外，还有一两个可能的主题尚未开发。席勒在关于德国古典主义传统的各种讨论中扮演着令人惊讶的小角色，而格里尔帕泽只是被编辑们顺便提到。章节中偶尔提到的古典主义和浪漫主义的争论也没有得到充分的处理。事实上，古典主义的魏玛和浪漫主义的耶拿之间的冲突包含了本书所关注的一切:随意划分分界线的划定，古典传统的使用和滥用，不同星座内部忠诚的改变等等。埃尔曼用了不到两页的篇幅来描述这场历史上至关重要的冲突。相反，人们必须求助于sabine schneider 2002年的重要论文《古典主义与浪漫主义》(Klassizismus und Romantik)，或者Harald Tausch 2011年的著作《文学1800》(literature um 1800)，以对“古典浪漫主义的Doppelepoche”进行更深入的研究。话虽如此，对于那些对艺术的历史争议感兴趣的人——坦率地说，谁不感兴趣呢?——埃尔曼和沃尔夫的书对美学中一个关键概念的无休止的冲突以及对这种冲突的个人贡献的创新解释提供了重要的见解。尽管有新的趋势和理想，Klassizität被证明是一个不可避免的参考点，无论你是站在古典主义还是反古典主义一边，或者发现自己迷失在这些美学前沿之间的无人区。
{"title":"Wilhelm Meister's Apprenticeship and Philosophy ed. by Sarah Vandegrift Eldridge and C. Allen Speight (review)","authors":"Juliana Gondim de Albuquerque","doi":"10.1353/gyr.2023.0023","DOIUrl":"https://doi.org/10.1353/gyr.2023.0023","url":null,"abstract":"biography of a particular concept, or set of concepts, it becomes apparent that the authors often mean very different things when they say Klassik, Klassizismus, or Klassizität. While some, Pfotenhauer, for example, focus on classicism in the narrower sense of the word, that is, on the eighteenth-century conception of classical, primarily Greek, art and literature, others, Gschwandtner and Degner, among others, address the oppressive presence of a national canon, Goethe’s, in particular. some contributions hardly address Klassizität at all. michael Bies’s chapter on Goethe and Kathrin Rosenfield’s on Hölderlin are both excellent interpretations of Goethe’s concept of Handwerk and Hölderlin’s famous translations of sophocles, but the battles they zoom in on are not really between classicism and anticlassicism. Both texts are convincing and thought-provoking studies, but they significantly widen the scope of the book as a whole. Furthermore, one or two possible topics remain underdeveloped. schiller plays a surprisingly small role in the various discussions of the German classicist tradition, whereas Grillparzer is only mentioned in passing by the editors. nor is the polemic entanglement of classicism and romanticism, to which the chapters occasionally refer, dealt with sufficiently. in fact, the conflict between classicist Weimar and romantic Jena contains everything that the book focuses on: the drawing of arbitrary dividing lines, the use and abuse of the classical tradition, changing loyalties within the various constellations, etc. Ehrmann devotes no more than approximately two pages to this historically crucial conflict. instead, one has to turn to sabine schneider’s important 2002 essay, “Klassizismus und Romantik,” or to Harald Tausch’s 2011 book, Literatur um 1800, for more thorough investigations of the “klassisch-romantischen Doppelepoche.” With that said, to anyone interested in historical disputes over art—and quite frankly, who isn’t interested?—Ehrmann and Wolf’s volume offers important insights into the unending conflict over a key concept in aesthetics as well as innovative interpretations of individual contributions to this conflict. in spite of new trends and ideals, Klassizität proves to be an inescapable point of reference, regardless of whether you side with classicism or with anticlassicism or find yourself lost in the no man’s land between these front lines of aesthetics.","PeriodicalId":385309,"journal":{"name":"Goethe Yearbook","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128364644","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}
Abstract:Poetry versus love, aesthetic form versus sensual experience, ancient past versus present: Goethe's Römische Elegien works through a series of opposites that dominate scholarly discussion to this day. This essay interprets the things of art and Amor as the common ground of a comprehensive mediation that underlies the oppositions noted in scholarship and places lyric form above all else. In a journey through selected elegies of the cycle, the paper thereby focuses on the function of Amor who regulates mediation in various roles. Amor as a clever guide (elegy II*), as a matchmaker (II), as a servant (V), as a rogue and committed teacher (XIII), and as an authority (XIX) who advances to become the leading figure in Goethe's cycle. In its continuous dynamics of playful mediation, it has one clear goal: poetic form.
{"title":"Things of Art and Amor: Mediation in Goethe's Römische Elegien","authors":"Sebastian Meixner, Carolin Rocks","doi":"10.1353/gyr.2023.0005","DOIUrl":"https://doi.org/10.1353/gyr.2023.0005","url":null,"abstract":"Abstract:Poetry versus love, aesthetic form versus sensual experience, ancient past versus present: Goethe's Römische Elegien works through a series of opposites that dominate scholarly discussion to this day. This essay interprets the things of art and Amor as the common ground of a comprehensive mediation that underlies the oppositions noted in scholarship and places lyric form above all else. In a journey through selected elegies of the cycle, the paper thereby focuses on the function of Amor who regulates mediation in various roles. Amor as a clever guide (elegy II*), as a matchmaker (II), as a servant (V), as a rogue and committed teacher (XIII), and as an authority (XIX) who advances to become the leading figure in Goethe's cycle. In its continuous dynamics of playful mediation, it has one clear goal: poetic form.","PeriodicalId":385309,"journal":{"name":"Goethe Yearbook","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127742042","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}
{"title":"Unexpected Bodies in Eighteenth-Century German Culture","authors":"P. Simpson, B. Tautz","doi":"10.1353/gyr.2023.0012","DOIUrl":"https://doi.org/10.1353/gyr.2023.0012","url":null,"abstract":"","PeriodicalId":385309,"journal":{"name":"Goethe Yearbook","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125063996","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}
critical Whiteness studies in the German context has thus far not examined the literature of the Goethezeit with the same detail as the philosophy of the period or literature and culture of later eras. This discipline also frequently draws on foundational work from the anglo-american context; Julia Roth remarks that “most German texts on Critical Whiteness relate themselves (at least on the margins) to Toni morrison’s publications.”1 indeed, although Toni morrison’s 1992 Playing in the Dark: Whiteness and the Literary Imagination is concerned specifically with how an “africanist presence” emerges in and defines literature by white american authors in the nineteenth and twentieth centuries, she poses a series of questions and calls for further examination that i see as entirely applicable to other (pre)national literatures and periods as well.2 in her preface, morrison questions the relationship between race and notions of humanistic or universal literature: “How is ‘literary whiteness’ and ‘literary blackness’ made, and what is the consequence of that construction? How do embedded assumptions of racial (not racist) language work in the literary enterprise that hopes and sometimes claims to be ‘humanistic?’” (xii–xiii) Later in the text, she offers an explicit series of calls for projects that she views as essential to understanding literary whiteness. morrison asks, “in what ways does the imaginative encounter with africanism enable white writers to think about themselves?”3 she then elaborates on this question by outlining multiple areas for future study:
{"title":"Interior Whiteness: Race and the \"Rise of the Novel\"","authors":"S. Eldridge","doi":"10.1353/gyr.2023.0010","DOIUrl":"https://doi.org/10.1353/gyr.2023.0010","url":null,"abstract":"critical Whiteness studies in the German context has thus far not examined the literature of the Goethezeit with the same detail as the philosophy of the period or literature and culture of later eras. This discipline also frequently draws on foundational work from the anglo-american context; Julia Roth remarks that “most German texts on Critical Whiteness relate themselves (at least on the margins) to Toni morrison’s publications.”1 indeed, although Toni morrison’s 1992 Playing in the Dark: Whiteness and the Literary Imagination is concerned specifically with how an “africanist presence” emerges in and defines literature by white american authors in the nineteenth and twentieth centuries, she poses a series of questions and calls for further examination that i see as entirely applicable to other (pre)national literatures and periods as well.2 in her preface, morrison questions the relationship between race and notions of humanistic or universal literature: “How is ‘literary whiteness’ and ‘literary blackness’ made, and what is the consequence of that construction? How do embedded assumptions of racial (not racist) language work in the literary enterprise that hopes and sometimes claims to be ‘humanistic?’” (xii–xiii) Later in the text, she offers an explicit series of calls for projects that she views as essential to understanding literary whiteness. morrison asks, “in what ways does the imaginative encounter with africanism enable white writers to think about themselves?”3 she then elaborates on this question by outlining multiple areas for future study:","PeriodicalId":385309,"journal":{"name":"Goethe Yearbook","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134524950","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：