borne debris in Jeremias Gotthelf’s Die Wassernot in Emmental (1838) before considering the efforts to resist the erosion of landscape and memory in max Frisch’s Der Mensch erscheint im Holozän (1927). Finally, Part 3 (“Triviality”) looks at spaces that contain junk in Gottfried Keller’s Der grüne Heinrich (1854–55) and surfaces that collect dust and sand in two crime novels by Friedrich Glauser from 1936. Frederick’s deeply researched case studies proceed from careful textual analyses anchored in historical and philosophical contextualization. For example, the chapter on stifter offers a sophisticated reading of a lesser-known text by way of a deep dive into cryptogamic reproduction and classification. considering that collecting was practiced passionately throughout nineteenth-century Europe, it is unclear from Frederick’s study the extent to which his argument is specific to German-speaking culture. Unlike other scholarly forays into literary collecting, Frederick’s sources do not thematize collecting or utilize it as a structural principle. accordingly, his choice of texts, much like the objects they feature, are unexpected and unconventional. The chapter on Frisch, for instance, reveals how efforts to prevent deterioration involve the creation of waste itself when the protagonist’s struggle with dementia results in gathering and displaying information on unwieldy amounts of paper scraps. Thus, The Redemption of Things serves as a logical complement to Frederick’s previous monograph, Narratives Unsettled, which examines digressions and interruptions, elements normally dismissed as types of linguistic detritus. Frederick’s aptitude for discovering relevance in the irrelevant makes for a fascinating read. Even less-persuasive chapters are still richly informative and provoke readers to examine the oft-overlooked pieces and particulates of the world around them with new eyes and newfound curiosity. in the end, the author delivers what his title promises: a model for nonrestorative collecting which acknowledges collection as dispersal and underscores the continuities between realism and modernism. Through amassing such necessarily incomplete or insignificant things, the collector recognizes the precariousness of material culture as essential to modern existence. in accepting an object’s inevitable decay into immateriality, we come to accept the materiality, contingency, and irrevocable decline of our own bodies. only through loss can redemption occur. The redemption of things, as Frederick reminds us, “does not save us from the world of scattered things by ‘fixing’ or ‘restoring’ them; it allows for these things to be experienced fully.” collecting is no longer a mechanism for overcoming alienation and impermanence, but a means of coming to terms with them as conditions of modernity. Those appreciative of austrian and swiss literature along with scholars interested in material culture, collecting, and nonfunctional or “marginal” objects will like
在杰里米亚斯·戈特尔夫的《爱门塔尔的战争》(1838年)中，他先考虑了在马克斯·弗里施的《人的生活》Holozän(1927年)中抵抗景观和记忆侵蚀的努力。最后，第三部分(“琐碎”)将探讨戈特弗里德·凯勒(Gottfried Keller)的《Der gr ne Heinrich》(1854-55)中包含垃圾的空间，以及弗里德里希·格劳瑟(Friedrich Glauser) 1936年的两部犯罪小说中收集灰尘和沙子的表面。弗雷德里克的深入研究的案例研究，从仔细的文本分析锚定在历史和哲学语境。例如，关于stifter的章节提供了一个鲜为人知的文本的复杂阅读，通过深入研究密码复制和分类。考虑到整个19世纪的欧洲都热衷于收藏，从弗雷德里克的研究中我们不清楚他的论点在多大程度上是针对德语文化的。与其他对文学收藏的学术尝试不同，弗雷德里克的资料来源没有将收藏主题化，也没有将其作为一种结构原则。因此，他对文本的选择，就像它们所呈现的对象一样，是出乎意料和非常规的。例如，关于弗里施的那一章揭示了，当主人公与痴呆症作斗争时，他不得不在大量的废纸上收集和显示信息，防止信息变质的努力本身就会产生浪费。因此，《事物的救赎》是对弗雷德里克之前的专著《未解决的叙述》的逻辑补充，后者研究了离题和中断，这些元素通常被视为语言碎片的类型。腓特烈在不相关的事物中发现关联的天赋使他的作品引人入胜。即使是不那么有说服力的章节，也能提供丰富的信息，激发读者用新的眼光和新发现的好奇心来审视他们周围世界中经常被忽视的片段和细节。最后，作者提供了他的标题所承诺的:一个非恢复性收藏的模型，它承认收藏是分散的，并强调现实主义和现代主义之间的连续性。通过收集这些必然不完整或无关紧要的东西，收藏家认识到物质文化的不稳定性对现代生活至关重要。在接受一个物体不可避免地腐朽为非物质性时，我们开始接受我们自己身体的物质性、偶然性和不可逆转的衰落。只有经历损失，才能获得救赎。正如腓特烈提醒我们的那样，事物的救赎“并不是通过‘修复’或‘恢复’事物来把我们从纷乱的世界中拯救出来;它允许这些事情被充分体验。“收集不再是一种克服异化和无常的机制，而是一种作为现代性条件与它们达成协议的手段。那些欣赏奥地利和瑞士文学的人，以及对物质文化、收藏和非功能性或“边缘”物品感兴趣的学者，最有可能被弗雷德里克的书所吸引。然而，他的作品超越了这一主要读者群体，因为它关注多学科，并积极转向文学，为过去和现在的文化话语做出贡献和塑造。
{"title":"Optische Autritte. Marktszenen in der medialen Konkurrenz von Journal-, Almanachs- und Bücherliteratur by Stephanie Gleißner et al. (review)","authors":"C. Macleod","doi":"10.1353/gyr.2023.0026","DOIUrl":"https://doi.org/10.1353/gyr.2023.0026","url":null,"abstract":"borne debris in Jeremias Gotthelf’s Die Wassernot in Emmental (1838) before considering the efforts to resist the erosion of landscape and memory in max Frisch’s Der Mensch erscheint im Holozän (1927). Finally, Part 3 (“Triviality”) looks at spaces that contain junk in Gottfried Keller’s Der grüne Heinrich (1854–55) and surfaces that collect dust and sand in two crime novels by Friedrich Glauser from 1936. Frederick’s deeply researched case studies proceed from careful textual analyses anchored in historical and philosophical contextualization. For example, the chapter on stifter offers a sophisticated reading of a lesser-known text by way of a deep dive into cryptogamic reproduction and classification. considering that collecting was practiced passionately throughout nineteenth-century Europe, it is unclear from Frederick’s study the extent to which his argument is specific to German-speaking culture. Unlike other scholarly forays into literary collecting, Frederick’s sources do not thematize collecting or utilize it as a structural principle. accordingly, his choice of texts, much like the objects they feature, are unexpected and unconventional. The chapter on Frisch, for instance, reveals how efforts to prevent deterioration involve the creation of waste itself when the protagonist’s struggle with dementia results in gathering and displaying information on unwieldy amounts of paper scraps. Thus, The Redemption of Things serves as a logical complement to Frederick’s previous monograph, Narratives Unsettled, which examines digressions and interruptions, elements normally dismissed as types of linguistic detritus. Frederick’s aptitude for discovering relevance in the irrelevant makes for a fascinating read. Even less-persuasive chapters are still richly informative and provoke readers to examine the oft-overlooked pieces and particulates of the world around them with new eyes and newfound curiosity. in the end, the author delivers what his title promises: a model for nonrestorative collecting which acknowledges collection as dispersal and underscores the continuities between realism and modernism. Through amassing such necessarily incomplete or insignificant things, the collector recognizes the precariousness of material culture as essential to modern existence. in accepting an object’s inevitable decay into immateriality, we come to accept the materiality, contingency, and irrevocable decline of our own bodies. only through loss can redemption occur. The redemption of things, as Frederick reminds us, “does not save us from the world of scattered things by ‘fixing’ or ‘restoring’ them; it allows for these things to be experienced fully.” collecting is no longer a mechanism for overcoming alienation and impermanence, but a means of coming to terms with them as conditions of modernity. Those appreciative of austrian and swiss literature along with scholars interested in material culture, collecting, and nonfunctional or “marginal” objects will like","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":"128903023","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}
articulates the pioneering work of Polo in establishing relations with the imperial court. His efforts laid the foundations for the creation of missionary networks by the Jesuits beginning in 1582 and first established by the italian priest matteo Ricci. chapters 2, 3, and 4 focus on these Jesuit missionary networks and on the Jesuits’ efforts to win china for christianity by cultivating alliances with highly placed confucians and playing that religion off against Buddhism. The Jesuits’ rather convoluted attempts to show the affiliation between confucianism and catholicism culminated in the Rites controversy, (a dispute Purdy cites but never really defines), which led to rifts in the carefully cultivated ties to the imperial chinese court, for the Jesuit missionaries came under increasing pressure from the catholic hierarchy in Rome, which could not accept the idea that confucianism and christianity were theologically compatible. chapters 4 and 5 delineate the collapse of the ming Dynasty and its effects on relations with the Westerners in the chinese empire. This collapse was viewed by many in the West as tragic and led the Baroque Dutch playwright Joost van den Vondel to write a drama on the chinese emperor’s failure to avert the invasion of his kingdom by the manchus. This work, Zungchin (1667) is redolent with elements of the German Trauerspiele roughly contemporary to it and is the focus of chapter 5. Purdy also shows the affiliations with this work and the sympathetic treatment of other leading non-European leaders, such as montezuma in contemporary works illustrating colonial depravity. chapter 6 shows how Wieland’s secular cosmopolitanism also helped shape the world literature paradigm as grounded in sentimentalism and sympathetic identification in contrast to the early Jesuits’ religious syncretism. chapter 7 illustrates how such sympathetic identification across space, time, and cultures is evident in the work of adam smith, who speculated on how Europeans might develop an emotional bond with the chinese in the event of a major earthquake in china. chapters 8, 9, and 10 explore how Goethe drew parallels between Buddhist/Jesuit disputations in china and the German debates between Kantians and idealists in the later years of his life. Goethe’s establishment of such parallels led to his speculative synthesis of chinese and European poetic works, culminating in his late poetry inspired by his reading of such chinese novels as The Two Fair Cousins. albeit somewhat marred by numerous typos and grammatical errors, Purdy’s book breaks new ground in showing how mercantile, political, religious, and cultural border crossings between china and Europe significantly shaped the contours of the mature Goethe’s thought and oeuvre.
阐明了波罗在与朝廷建立关系方面的开创性工作。他的努力为1582年开始由意大利神父利玛窦(matteo Ricci)建立的耶稣会传教士网络的建立奠定了基础。第2、3、4章聚焦于这些耶稣会传教士网络，以及耶稣会为基督教赢得中国的努力，他们与位高权重的儒教结盟，让儒教与佛教对立。耶稣会士试图表明儒教和天主教之间的关系，这一曲折的尝试在礼仪争议中达到高潮，(Purdy引用了这一争议，但从未真正定义)，这导致了他们与中国朝廷精心培养的关系出现裂痕，因为耶稣会传教士受到罗马天主教等级制度越来越大的压力，罗马天主教等级制度不能接受儒教和基督教在神学上相容的观点。第四章和第五章描述了明朝的灭亡及其对中华帝国与西方人关系的影响。在许多西方人看来，这种崩溃是一场悲剧，巴洛克风格的荷兰剧作家约斯特·范登·冯德尔(Joost van den Vondel)因此创作了一部戏剧，讲述了中国皇帝未能阻止满族人入侵他的王国。这幅作品，《仲钦》(1667)，散发着与之同时代的德国特劳尔斯皮勒的气息，是第五章的重点。珀迪还展示了与这部作品的联系，以及对其他非欧洲领导人的同情对待，比如蒙特祖玛在当代作品中描绘了殖民主义的堕落。第六章展示了维兰的世俗世界主义如何帮助塑造了以感伤主义和同情认同为基础的世界文学范式，与早期耶稣会的宗教融合形成鲜明对比。第7章说明了这种跨越空间、时间和文化的同情认同在亚当·斯密的著作中是如何明显的，他推测了欧洲人如何在中国发生大地震时与中国人建立情感纽带。第8章、第9章和第10章探讨了歌德晚年如何将中国佛教与耶稣会的争论与德国康德主义者与理想主义者之间的争论相提并论。歌德对这种相似性的建立导致了他对中国和欧洲诗歌作品的思辨性综合，并在他阅读《两个美丽的表兄弟》等中国小说的启发下创作了晚期诗歌。尽管有许多错别字和语法错误，但珀迪的书在展示中欧之间的商业、政治、宗教和文化边界如何显著地塑造了成熟的歌德思想和作品的轮廓方面开辟了新天地。
{"title":"Morgenländischer Glanz. Eine deutsche jüdische Literaturgeschichte (1750–1850) by Kathrin Wittler (review)","authors":"Carsten Schapkow","doi":"10.1353/gyr.2023.0030","DOIUrl":"https://doi.org/10.1353/gyr.2023.0030","url":null,"abstract":"articulates the pioneering work of Polo in establishing relations with the imperial court. His efforts laid the foundations for the creation of missionary networks by the Jesuits beginning in 1582 and first established by the italian priest matteo Ricci. chapters 2, 3, and 4 focus on these Jesuit missionary networks and on the Jesuits’ efforts to win china for christianity by cultivating alliances with highly placed confucians and playing that religion off against Buddhism. The Jesuits’ rather convoluted attempts to show the affiliation between confucianism and catholicism culminated in the Rites controversy, (a dispute Purdy cites but never really defines), which led to rifts in the carefully cultivated ties to the imperial chinese court, for the Jesuit missionaries came under increasing pressure from the catholic hierarchy in Rome, which could not accept the idea that confucianism and christianity were theologically compatible. chapters 4 and 5 delineate the collapse of the ming Dynasty and its effects on relations with the Westerners in the chinese empire. This collapse was viewed by many in the West as tragic and led the Baroque Dutch playwright Joost van den Vondel to write a drama on the chinese emperor’s failure to avert the invasion of his kingdom by the manchus. This work, Zungchin (1667) is redolent with elements of the German Trauerspiele roughly contemporary to it and is the focus of chapter 5. Purdy also shows the affiliations with this work and the sympathetic treatment of other leading non-European leaders, such as montezuma in contemporary works illustrating colonial depravity. chapter 6 shows how Wieland’s secular cosmopolitanism also helped shape the world literature paradigm as grounded in sentimentalism and sympathetic identification in contrast to the early Jesuits’ religious syncretism. chapter 7 illustrates how such sympathetic identification across space, time, and cultures is evident in the work of adam smith, who speculated on how Europeans might develop an emotional bond with the chinese in the event of a major earthquake in china. chapters 8, 9, and 10 explore how Goethe drew parallels between Buddhist/Jesuit disputations in china and the German debates between Kantians and idealists in the later years of his life. Goethe’s establishment of such parallels led to his speculative synthesis of chinese and European poetic works, culminating in his late poetry inspired by his reading of such chinese novels as The Two Fair Cousins. albeit somewhat marred by numerous typos and grammatical errors, Purdy’s book breaks new ground in showing how mercantile, political, religious, and cultural border crossings between china and Europe significantly shaped the contours of the mature Goethe’s thought and oeuvre.","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":"127593561","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:Der Artikel diskutiert Wielands Alceste, einen Schlüsseltext der Empfindsamkeit und Auslöser des "Literaturstreits" mit Goethe und stellt sowohl strukturelle Ähnlichkeiten von Alceste mit Lessings bürgerlichem Trauerspiel fest als auch Alceste als Vorläufer zur deutschen Oper dar. Wielands Abhandlungen zum Singspiel, einem Genre "zur Beförderung der Humanität," bleiben zentral; wir sehen daher die Zähmung der Leidenschaften und Konzentration auf einen "mittleren Charakter" zur Hervorhebung "rein menschlicher Emotionen." In der Interpretation der Alceste stehen Betonung von Freundschaft, Liebe und Tugend und einer mitmenschlichen Opferbereitschaft im Mittelpunkt, ebenso die Rolle Admets, einem an Lessing gemahnenden mittleren Charakter und eine "Vermenschlichung" von Herkules, während das "Elysium" ins wirkliche Leben verlegt wird. Goethes Götter, Helden und Wieland wird als Lukianisches Totengespräch verstanden; vorgeblich gegen Alceste gerichtet, erscheint es hauptsächlich aber als eine Verteidigung des Sturm und Drang, insbesondere des Götz von Berlichingen. Wielands Responz zu Goethes Pasquill, seine Verteidigung des mittleren Helden gegen das Übermenschkonzept des Sturm und Drang, ebenso Hinweise auf Shakespeare und die französischen Tragödien, erscheinen als weitere Aspekte in diesem Literaturstreit. Der Aufsatz endet mit einer partiellen Versöhnung Goethes mit Wieland nach dessen Ankunft in Weimar und Wielands "Mitwirkung" an der Komposition von Goethes Iphigenie.
{"title":"Wielands Singspiel Alceste, ein Stein des Anstoßes für Goethe?","authors":"H. Hahn","doi":"10.1353/gyr.2023.0001","DOIUrl":"https://doi.org/10.1353/gyr.2023.0001","url":null,"abstract":"Abstract:Der Artikel diskutiert Wielands Alceste, einen Schlüsseltext der Empfindsamkeit und Auslöser des \"Literaturstreits\" mit Goethe und stellt sowohl strukturelle Ähnlichkeiten von Alceste mit Lessings bürgerlichem Trauerspiel fest als auch Alceste als Vorläufer zur deutschen Oper dar. Wielands Abhandlungen zum Singspiel, einem Genre \"zur Beförderung der Humanität,\" bleiben zentral; wir sehen daher die Zähmung der Leidenschaften und Konzentration auf einen \"mittleren Charakter\" zur Hervorhebung \"rein menschlicher Emotionen.\" In der Interpretation der Alceste stehen Betonung von Freundschaft, Liebe und Tugend und einer mitmenschlichen Opferbereitschaft im Mittelpunkt, ebenso die Rolle Admets, einem an Lessing gemahnenden mittleren Charakter und eine \"Vermenschlichung\" von Herkules, während das \"Elysium\" ins wirkliche Leben verlegt wird. Goethes Götter, Helden und Wieland wird als Lukianisches Totengespräch verstanden; vorgeblich gegen Alceste gerichtet, erscheint es hauptsächlich aber als eine Verteidigung des Sturm und Drang, insbesondere des Götz von Berlichingen. Wielands Responz zu Goethes Pasquill, seine Verteidigung des mittleren Helden gegen das Übermenschkonzept des Sturm und Drang, ebenso Hinweise auf Shakespeare und die französischen Tragödien, erscheinen als weitere Aspekte in diesem Literaturstreit. Der Aufsatz endet mit einer partiellen Versöhnung Goethes mit Wieland nach dessen Ankunft in Weimar und Wielands \"Mitwirkung\" an der Komposition von Goethes Iphigenie.","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":"128367766","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":"Chinese Sympathies: Media, Missionaries, and World Literature from Marco Polo to Goethe by Daniel Leonhard Purdy (review)","authors":"J. Pizer","doi":"10.1353/gyr.2023.0029","DOIUrl":"https://doi.org/10.1353/gyr.2023.0029","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":"127356241","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}
Emmanuel macron, Elon musk, und andy Warhol, erwähnt. Zitiert werden nicht nur stellen aus verschiedenen literarischen Werken, wie z. B. diejenigen von Platon, aristoteles, sophokles, aber auch aus einem Lied von Frank Zappa: “information is not knowledge. Knowldege is not wisdom. Wisdom is not truth. Truth is not beauty. Beauty is not love. Love is not music. music is the best.” Die schwäche christians arbeit liegt in der Tatsache, dass die Frauen fast unerwähnt blieben. im Personen Register findet der Leser 323 männer und nur sieben Frauen. Dadurch entsteht eine informationslücke. Es stellt sich nämlich die Frage, ob die Frauen zum Thema Bildung nichts zu sagen vermochten. im Hinblick auf die Bedürfnisse der Leser wird diese arbeit für alle Forscher, die sich mit der medienwissenschaften (insbesondere aber nicht nur in Deutschland) beschäftigen, vom nutzen sein.
{"title":"The Dynastic Imagination: Family and Modernity in Nineteenth-Century Germany by Adrian Daub (review)","authors":"Joseph D. O’Neil","doi":"10.1353/gyr.2023.0021","DOIUrl":"https://doi.org/10.1353/gyr.2023.0021","url":null,"abstract":"Emmanuel macron, Elon musk, und andy Warhol, erwähnt. Zitiert werden nicht nur stellen aus verschiedenen literarischen Werken, wie z. B. diejenigen von Platon, aristoteles, sophokles, aber auch aus einem Lied von Frank Zappa: “information is not knowledge. Knowldege is not wisdom. Wisdom is not truth. Truth is not beauty. Beauty is not love. Love is not music. music is the best.” Die schwäche christians arbeit liegt in der Tatsache, dass die Frauen fast unerwähnt blieben. im Personen Register findet der Leser 323 männer und nur sieben Frauen. Dadurch entsteht eine informationslücke. Es stellt sich nämlich die Frage, ob die Frauen zum Thema Bildung nichts zu sagen vermochten. im Hinblick auf die Bedürfnisse der Leser wird diese arbeit für alle Forscher, die sich mit der medienwissenschaften (insbesondere aber nicht nur in Deutschland) beschäftigen, vom nutzen sein.","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":"122300138","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}
themselves. a fashion plate in the Wiener Zeitschrift of 1842, for example, which published serial reportage by adalbert stifter on the solar eclipse of that year, alongside articles by other authors responding to the same event, reacted in a subsequent issue to the eclipse. The July 21 plate, which postdates the eclipse, pictures two ladies equipped with a telescope but who are focusing instead on the already effected medial conversion of the natural event into reading material: one presents to the other a brochure in a format reminiscent of the Wiener Zeitschrift and which bears the title “Beschreibung der sonnenfinsterniß 1842.” This argumentative thrust is a very helpful corrective, indeed, to scholarly views that have accepted more or less at face value receptions such as annette von Droste-Hülshoff’s caustic remarks about the 1846 Rheinisches Taschenbuch: if she, unlike schlegel, appreciated its visually appealing bindings and illustrations, it was now its chaotic and middlebrow literary contents that fell far short of its material form. What the authors of Optische Auftritte collectively demonstrate is that serial publications of the first half of the nineteenth century called not for simple-minded consumption but for poetically active readers who could read backward while anticipating future installments across issues and publications, who could parse the interactions between words and images, and who were attuned to the medial differences and exchanges between Taschenbücher, calendars, journals, weekly newspapers, and books. a richly argued, documented, visualized, and informative survey of journal production across a range of German and austrian literary marketplaces in the first half of the nineteenth century, the heyday of the serial journal, this volume will be essential reading for scholars of book history and the material text.
他们自己。例如，1842年《维也纳日报》的一个时尚板块刊登了阿德伯特·斯蒂特关于当年日食的系列报道，以及其他作者对同一事件的文章，在随后的一期中对日食做出了反应。这张7月21日的盘子是日食之后的照片，照片上的两位女士都带着望远镜，但她们的注意力却集中在已经完成的将自然事件转化为阅读材料的医学上:一位女士向另一位女士展示了一本小册子，其格式让人想起《维也纳时代》(Wiener Zeitschrift)，书的标题是“1842年的sonnenfinsterniß”。事实上，这种论证性的推进是一种非常有益的纠正，对于那些或多或少在表面上被接受的学术观点，比如annette von droster - h lshoff对1846年《莱茵训示书》(Rheinisches Taschenbuch)的刻薄评论:如果她不像施莱格尔那样欣赏其视觉上吸引人的装订和插图，那么现在是它混乱而中流的文学内容远远达不到它的物质形式。《透视》的作者们共同展示的是，19世纪上半叶的系列出版物不需要头脑简单的消费，而是需要富有诗意的活跃读者，他们可以在预测未来的问题和出版物的同时向后阅读，他们可以分析文字和图像之间的互动，他们能够适应taschenb、日历、期刊、周报和书籍之间的媒介差异和交流。19世纪上半叶，系列期刊的鼎盛时期，对一系列德国和奥地利文学市场的期刊生产进行了丰富的论证，记录，可视化和信息丰富的调查，本卷将是书籍历史和材料文本学者的重要读物。
{"title":"Die Aufklärung der Aufklärung: Lessing und die Herausforderung des Christentums by Hannes Kerber (review)","authors":"Joseph A. Haydt","doi":"10.1353/gyr.2023.0027","DOIUrl":"https://doi.org/10.1353/gyr.2023.0027","url":null,"abstract":"themselves. a fashion plate in the Wiener Zeitschrift of 1842, for example, which published serial reportage by adalbert stifter on the solar eclipse of that year, alongside articles by other authors responding to the same event, reacted in a subsequent issue to the eclipse. The July 21 plate, which postdates the eclipse, pictures two ladies equipped with a telescope but who are focusing instead on the already effected medial conversion of the natural event into reading material: one presents to the other a brochure in a format reminiscent of the Wiener Zeitschrift and which bears the title “Beschreibung der sonnenfinsterniß 1842.” This argumentative thrust is a very helpful corrective, indeed, to scholarly views that have accepted more or less at face value receptions such as annette von Droste-Hülshoff’s caustic remarks about the 1846 Rheinisches Taschenbuch: if she, unlike schlegel, appreciated its visually appealing bindings and illustrations, it was now its chaotic and middlebrow literary contents that fell far short of its material form. What the authors of Optische Auftritte collectively demonstrate is that serial publications of the first half of the nineteenth century called not for simple-minded consumption but for poetically active readers who could read backward while anticipating future installments across issues and publications, who could parse the interactions between words and images, and who were attuned to the medial differences and exchanges between Taschenbücher, calendars, journals, weekly newspapers, and books. a richly argued, documented, visualized, and informative survey of journal production across a range of German and austrian literary marketplaces in the first half of the nineteenth century, the heyday of the serial journal, this volume will be essential reading for scholars of book history and the material text.","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":"127535448","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:This article investigates how Heinrich von Kleist's gestures interrupt cognitive processes and implicate the embodied reader in the text—as a participant in the collective performance of meaning. While Kleist does not present a comprehensive theory of gesture, he provides threads to follow that address the role of gesture in epistemology and aesthetics in two of his two well-known essays, "Über die allmähliche Verfertigung der Gedanken beim Reden" ("On the Gradual Formulation of Thoughts While Speaking") and "Über das Marionettentheater" ("On the Theater of Marionettes"). By reading these essays with and through Kleist's novella Das Erdbeben in Chili (The Earthquake in Chile), gestures become visible as productive interruptions of cognition that both disrupt hermeneutic interpretations and draw matter into the process of meaning-making—including the body of the reader. This dynamic comes into sharp relief when considered in conjunction with contemporary theories (e.g., those of Karen Barad, Donna Haraway, and Rebecca Schneider) of performance that illuminate the role of bodies in conceptual activity. With a performative approach, the reader can embrace their entanglement in the text and participate in the ongoing (re)configuration of meaning—two features that are unique to aesthetic engagement with Kleist's writing.
摘要:本文研究海因里希·冯·克莱斯特(Heinrich von Kleist)的手势如何中断认知过程，并将具身读者作为集体意义表演的参与者牵连到文本中。虽然克莱斯特没有提出一个全面的手势理论，但他在两篇著名的论文中提供了线索，以解决手势在认识论和美学中的作用，“Über die allmähliche Verfertigung der Gedanken beim Reden”(“论说话时思想的逐渐形成”)和“Über das Marionettentheater”(“论木偶的戏剧”)。通过与克莱斯特的中篇小说《智利的地震》(Das Erdbeben in Chili)一起阅读这些文章，我们可以看到，手势作为认知的生产性中断，既破坏了解释学的解释，又将物质引入了意义创造的过程——包括读者的身体。当与当代表演理论(如凯伦·巴拉德、唐娜·哈拉威和丽贝卡·施耐德的理论)结合起来考虑时，这种动态就会显现出来，这些理论阐明了身体在概念活动中的作用。通过表演的方法，读者可以接受他们在文本中的纠缠，并参与正在进行的(重新)意义配置——这是克莱斯特写作中美学参与的两个独特特征。
{"title":"Reading Texts Performatively: Disruptive Gestures in Heinrich von Kleist","authors":"Katherine Pollock","doi":"10.1353/gyr.2023.0006","DOIUrl":"https://doi.org/10.1353/gyr.2023.0006","url":null,"abstract":"Abstract:This article investigates how Heinrich von Kleist's gestures interrupt cognitive processes and implicate the embodied reader in the text—as a participant in the collective performance of meaning. While Kleist does not present a comprehensive theory of gesture, he provides threads to follow that address the role of gesture in epistemology and aesthetics in two of his two well-known essays, \"Über die allmähliche Verfertigung der Gedanken beim Reden\" (\"On the Gradual Formulation of Thoughts While Speaking\") and \"Über das Marionettentheater\" (\"On the Theater of Marionettes\"). By reading these essays with and through Kleist's novella Das Erdbeben in Chili (The Earthquake in Chile), gestures become visible as productive interruptions of cognition that both disrupt hermeneutic interpretations and draw matter into the process of meaning-making—including the body of the reader. This dynamic comes into sharp relief when considered in conjunction with contemporary theories (e.g., those of Karen Barad, Donna Haraway, and Rebecca Schneider) of performance that illuminate the role of bodies in conceptual activity. With a performative approach, the reader can embrace their entanglement in the text and participate in the ongoing (re)configuration of meaning—two features that are unique to aesthetic engagement with Kleist's writing.","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":"114677673","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":"The Redemption of Things: Collecting and Dispersal in German Realism and Modernism by Samuel Frederick (review)","authors":"A. Meyertholen","doi":"10.1353/gyr.2023.0025","DOIUrl":"https://doi.org/10.1353/gyr.2023.0025","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":"131704404","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}
in My recent book on German women novelists around 1800, i argue that a canon of German literature around 1800 exists, whether scholars desire it or not. optimists might counterargue that there are multiple canons, multiple methods by which titles are selected. a more pessimistic view would look at the field of German studies and see the persistence of a gendered, not to say sexist lens, despite at least three waves of change brought on by feminist literary critics and theorists. opinion is certainly divided. in this think piece, i take the pessimistic view that yes, we have a canon and despite inroads and new research, it unfortunately skews persistently toward male bias. i put forth this viewpoint in hopes of stimulating discussion and contributing actively to positive change in the field. To support my opinion, i argue as a scholar for other scholars and begin by looking back at the same relevant issues of canonicity and period themselves and measure both how times have changed and how they have not, comparing the specific case of women authors in German literature to more general developments in the humanities overall. in 1783, sophie von La Roche published the passage below in her journal, Pomona für Teutschlands Töchter, addressing her readers directly, speaking as a woman to women about women:
在我最近一本关于1800年前后德国女性小说家的书中，我认为，无论学者们是否愿意，1800年前后的德国文学经典都是存在的。乐观主义者可能会反驳说，选择书名有多种标准和方法。一种更悲观的观点是，尽管女权主义文学批评家和理论家至少掀起了三波变革，但从德国研究领域来看，性别视角(更不用说性别歧视视角)依然存在。意见当然是有分歧的。在这篇思考文章中，我持悲观的观点，是的，我们有一部佳能，尽管有进展和新的研究，但不幸的是，它一直倾向于男性偏见。我提出这一观点是希望能激发讨论，并为该领域的积极变化做出积极贡献。为了支持我的观点，我以学者的身份为其他学者辩护，首先回顾与正典相关的问题，并对自己进行评估，衡量时代是如何变化的，以及时代是如何不变的，将德国文学中女性作家的具体情况与人文学科的总体发展进行比较。1783年，sophie von La Roche在她的杂志《Pomona f r Teutschlands Töchter》中发表了下面这段话，她以女性的身份直接向读者讲述了女性:
{"title":"The Persistence of Bias in German Eighteenth-Century Studies","authors":"M. Daley","doi":"10.1353/gyr.2023.0004","DOIUrl":"https://doi.org/10.1353/gyr.2023.0004","url":null,"abstract":"in My recent book on German women novelists around 1800, i argue that a canon of German literature around 1800 exists, whether scholars desire it or not. optimists might counterargue that there are multiple canons, multiple methods by which titles are selected. a more pessimistic view would look at the field of German studies and see the persistence of a gendered, not to say sexist lens, despite at least three waves of change brought on by feminist literary critics and theorists. opinion is certainly divided. in this think piece, i take the pessimistic view that yes, we have a canon and despite inroads and new research, it unfortunately skews persistently toward male bias. i put forth this viewpoint in hopes of stimulating discussion and contributing actively to positive change in the field. To support my opinion, i argue as a scholar for other scholars and begin by looking back at the same relevant issues of canonicity and period themselves and measure both how times have changed and how they have not, comparing the specific case of women authors in German literature to more general developments in the humanities overall. in 1783, sophie von La Roche published the passage below in her journal, Pomona für Teutschlands Töchter, addressing her readers directly, speaking as a woman to women about women:","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":"134297324","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}
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