Pub Date : 2018-05-04DOI: 10.1080/09593683.2018.1485352
Leslie O'bell
ABSTRACT Eckermann’s account of his conversation with Goethe on 31 January 1827, leading to the idea of world literature, refers to an unnamed Chinese novel. It has commonly been misidentified as Iu-Kiao-Li ou les Deux Cousines in Jean-Pierre Abel-Rémusat’s French translation or else as the novel known as the Fortunate Union. Building on the work of Günther Debon, Eric Blackall, and Heinz Hamm, and using translated Chinese novels now available in digital form, this study confirms Peter Perring Thoms’s 1824 translation, Chinese Courtship, as the correct referent. The reasons that such confusion has prevailed are analysed, as are the advantages of the right perspective. Importantly, Goethe’s famous statement on world literature concerns poetry, as Chinese Courtship is a novel in verse.
埃克曼在1827年1月31日与歌德的谈话中提到了一部未命名的中国小说，由此产生了世界文学的想法。在Jean-Pierre abel - r musat的法语译本中，它通常被误认为是《柳桥里的双曲》，或者是被称为《幸运联盟》的小说。本研究以gendenther Debon、Eric Blackall和Heinz Hamm的作品为基础，并使用了现在可以获得的数字形式的中国小说译本，证实了Peter Perring Thoms 1824年的译本《中国式求爱》是正确的参考。分析了这种混淆盛行的原因，以及正确视角的优势。重要的是，歌德关于世界文学的著名陈述涉及诗歌，因为中国的求爱是一部诗歌小说。
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Pub Date : 2018-05-04DOI: 10.1080/09593683.2018.1485348
Stephan Ehrig
ABSTRACT The article investigates the aesthetic and political debates around two of the three historic theatrical productions of Heinrich von Kleist’s Die Hermannsschlacht in the GDR, in Thale in 1957 and in Leipzig in 1988. The stagings can be seen to represent the two opposing extremes of GDR cultural appropriation, and the shift from political propaganda in the 1950s to Marxist critical theatre of the 1980s. In this context, Kleist’s oeuvre provides an ideal analytical tool to identify how political pragmatism in many cases replaced both ideological and Marxist cultural approaches in the nation-building years, and how dialectical culture from the 1970s onwards eventually achieved the critical appropriation of Kleist’s works.
{"title":"From ‘Völkisch’ Culture to Dialectical Marxist Aesthetics: Staging Kleist’s Hermannsschlacht in the GDR","authors":"Stephan Ehrig","doi":"10.1080/09593683.2018.1485348","DOIUrl":"https://doi.org/10.1080/09593683.2018.1485348","url":null,"abstract":"ABSTRACT The article investigates the aesthetic and political debates around two of the three historic theatrical productions of Heinrich von Kleist’s Die Hermannsschlacht in the GDR, in Thale in 1957 and in Leipzig in 1988. The stagings can be seen to represent the two opposing extremes of GDR cultural appropriation, and the shift from political propaganda in the 1950s to Marxist critical theatre of the 1980s. In this context, Kleist’s oeuvre provides an ideal analytical tool to identify how political pragmatism in many cases replaced both ideological and Marxist cultural approaches in the nation-building years, and how dialectical culture from the 1970s onwards eventually achieved the critical appropriation of Kleist’s works.","PeriodicalId":40789,"journal":{"name":"Publications of the English Goethe Society","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2018-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/09593683.2018.1485348","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42903448","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-01-02DOI: 10.1080/09593683.2018.1433484
Andrew McKenzie-McHarg
Abstract This article seeks to clarify the role played by the alchemist Georg Friedrich Johnssen (c.1726-1775) in the emergence of the notion that Freemasonry and other secret societies in the second half of the eighteenth-century were ruled by figures whose identity was a secret and who came to be described as unknown superiors. Although Johnssen’s interest in alchemy might seem to be a source of this notion of secret authority, a more probing inquiry reveals that the unknown superiors arose as a result of a historical (and not an esoteric) conception of the secret of Freemasonry.
{"title":"The Role of Georg Friedrich von Johnssen in the Emergence of the Unknown Superiors, 1763–64","authors":"Andrew McKenzie-McHarg","doi":"10.1080/09593683.2018.1433484","DOIUrl":"https://doi.org/10.1080/09593683.2018.1433484","url":null,"abstract":"Abstract This article seeks to clarify the role played by the alchemist Georg Friedrich Johnssen (c.1726-1775) in the emergence of the notion that Freemasonry and other secret societies in the second half of the eighteenth-century were ruled by figures whose identity was a secret and who came to be described as unknown superiors. Although Johnssen’s interest in alchemy might seem to be a source of this notion of secret authority, a more probing inquiry reveals that the unknown superiors arose as a result of a historical (and not an esoteric) conception of the secret of Freemasonry.","PeriodicalId":40789,"journal":{"name":"Publications of the English Goethe Society","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/09593683.2018.1433484","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48243569","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-01-02DOI: 10.1080/09593683.2018.1433482
Christoph Schmitt-Maass
Abstract Two generations after the publication of Fénelon’s Aventures de Télémaque (1699), the educational model of rulership it proposed began to crumble. While Albrecht von Haller tries to revive this model in his novel Usong (1771), Wieland demonstrates in his Goldner Spiegel (1772) that Télémaque figures only as an idyllic memory: instead of renewing old ideals, Wieland’s complex story marks the end of all idealistic purposes of aristocratic education.
{"title":"Vom politischen Ideal zum politischen Idyll: Die Rezeption von Fénelons Télémaque durch Haller und Wieland","authors":"Christoph Schmitt-Maass","doi":"10.1080/09593683.2018.1433482","DOIUrl":"https://doi.org/10.1080/09593683.2018.1433482","url":null,"abstract":"Abstract Two generations after the publication of Fénelon’s Aventures de Télémaque (1699), the educational model of rulership it proposed began to crumble. While Albrecht von Haller tries to revive this model in his novel Usong (1771), Wieland demonstrates in his Goldner Spiegel (1772) that Télémaque figures only as an idyllic memory: instead of renewing old ideals, Wieland’s complex story marks the end of all idealistic purposes of aristocratic education.","PeriodicalId":40789,"journal":{"name":"Publications of the English Goethe Society","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/09593683.2018.1433482","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45178050","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-01-02DOI: 10.1080/09593683.2018.1433479
C. Nitschke
Abstract This article scrutinises the aporetic confrontation of different ultimate values in Kleist’s infamous Die Hermannsschlacht, namely nationalism and a basic notion of ‘human rights’. Kleist’s play does not settle for one of these priorities, but conceptualizes the nation as a facilitator, promulgator, and protector of rights and — at the very same time — as an inexorable principle of selection which ties the notions of exclusion and elimination closely to those of inclusion and participation. In this respect, Die Hermannsschlacht not only prepares and anticipates elements of Carl Schmitt’s political theory, but also comes very close to Giorgio Agamben’s analysis of sovereignty and the production of politically qualified life in his Homo Sacer series. However, it does so without completely abandoning the universal ideas of human rights.
{"title":"The German Beast Unleashed: Kleist’s Hermannsschlacht and the Suspension of 'Human Rights' in the Era of Nationalism","authors":"C. Nitschke","doi":"10.1080/09593683.2018.1433479","DOIUrl":"https://doi.org/10.1080/09593683.2018.1433479","url":null,"abstract":"Abstract This article scrutinises the aporetic confrontation of different ultimate values in Kleist’s infamous Die Hermannsschlacht, namely nationalism and a basic notion of ‘human rights’. Kleist’s play does not settle for one of these priorities, but conceptualizes the nation as a facilitator, promulgator, and protector of rights and — at the very same time — as an inexorable principle of selection which ties the notions of exclusion and elimination closely to those of inclusion and participation. In this respect, Die Hermannsschlacht not only prepares and anticipates elements of Carl Schmitt’s political theory, but also comes very close to Giorgio Agamben’s analysis of sovereignty and the production of politically qualified life in his Homo Sacer series. However, it does so without completely abandoning the universal ideas of human rights.","PeriodicalId":40789,"journal":{"name":"Publications of the English Goethe Society","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/09593683.2018.1433479","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42621369","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-01-02DOI: 10.1080/09593683.2018.1433481
Élisabeth Décultot
Abstract Not once does Winckelmann use the word ‘classical’ or any of its derivatives ‘classicism’, ‘neo-classicism’, ‘classicity’. And yet nobody’s œuvre is, or has been, more closely associated with the concept of the classical than his. By the second half of the nineteenth century, at the latest, it is regularly subsumed under the concept of the classical or classicism: a categorization that in the twentieth century has become the norm in all European countries and languages. How valid is this categorization? To what extent can a body of work that manages without the word ‘classical’ be brought under that heading? The present article suggests some answers to this question.
{"title":"Zwischen Norm und Geschichte: Winckelmanns Kunsthistoriographie und der Begriff des Klassischen","authors":"Élisabeth Décultot","doi":"10.1080/09593683.2018.1433481","DOIUrl":"https://doi.org/10.1080/09593683.2018.1433481","url":null,"abstract":"Abstract Not once does Winckelmann use the word ‘classical’ or any of its derivatives ‘classicism’, ‘neo-classicism’, ‘classicity’. And yet nobody’s œuvre is, or has been, more closely associated with the concept of the classical than his. By the second half of the nineteenth century, at the latest, it is regularly subsumed under the concept of the classical or classicism: a categorization that in the twentieth century has become the norm in all European countries and languages. How valid is this categorization? To what extent can a body of work that manages without the word ‘classical’ be brought under that heading? The present article suggests some answers to this question.","PeriodicalId":40789,"journal":{"name":"Publications of the English Goethe Society","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/09593683.2018.1433481","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48064254","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-09-02DOI: 10.1080/09593683.2017.1376386
T. J. Reed
1. ‘Thomas Mann, Heine, Schiller: the mechanics of self-interpretation’, Neophilologus, 47 (1963), 41–50. 2. ‘Mann and Turgenev: a first love’, German Life and Letters, 17 (1964), 313–18 3. ‘Kafka und Schopenhauer: philosophisches Denken und dichterisches Bild’, Euphorion, 59 (1965), 160–72. 4. ‘“Geist und Kunst”: Thomas Mann’s abandoned essay on literature’, Oxford German Studies, 1 (1966), 53–101. 5. ‘Critical consciousness and creation: the concept Kritik from Lessing to Hegel’, OGS 3 (1968), 87–113. 6. (Ed.) Thomas Mann, Der Tod in Venedig, Clarendon German Texts (Oxford: Clarendon Press, 1969). 7. ‘Thomas Mann and tradition: some clarifications’, in The Discontinuous Tradition, ed. by P. F. Ganz (Oxford: Oxford University Press, 1971), pp. 158–81. 8. ‘The Goethezeit and its aftermath’, in Germany: A Companion to German Studies, ed. by Malcolm Pasley (London: Methuen, 1972), pp. 493–554. 9. Thomas Mann: The Uses of Tradition (Oxford: Clarendon Press, 1974). 10. ‘Der Zauberberg: Zeitenwandel und Bedeutungswandel 1912–1924', in Besichtigung des Zauberbergs, ed. by Heinz Saueressig (Biberach a.d. Riss: Wege und Gestalten, 1974), pp. 81–139. 11. ‘Thomas Mann: the writer as historian of his time’, Modern Language Review, 71 (1976), 82–96. 12. ‘Thomas Mann: der Schriftsteller als Historiker seiner Zeit’, in Akten des V. Internationalen Germanisten-Kongresses Cambridge 1975 (Bern: Herbert Lang, 1977), pp. 333–40. 13. ‘Nietzsche’s animals: idea, image and influence’, in Nietzsche: Imagery and Thought, ed. by Malcolm Pasley (London: Methuen, 1978), pp. 159–219. 14. ‘Theatre, enlightenment and nation: a German problem’, Forum for Modern Language Studies, 14 (1978), 143–64. 15. (Ed.) Thomas Mann, Der Tod in Venedig (Munich: Hanser, 1979). 16. The Classical Centre: Goethe and Weimar, 1775–1832 (London: Croom Helm, 1980; Oxford: Clarendon Press, 1986). 17. ‘Paths through the labyrinth: finding your way in the eighteenth century’, Publications of the English Goethe Society, 51 (1981), 81–113. 18. Die klassische Mitte: Goethe und Weimar, 1775–1832, tr. Heinz-Peter Menz and Christoph Gutknecht (Stuttgart: Kohlhammer, 1982).
1.“托马斯·曼，海涅，席勒：自我解释的机制”，新哲学，47（1963），41-50。2.《曼与屠格涅夫：初恋》，《德国生活与文学》，17（1964），313-183卡夫卡与叔本华：《哲学与哲学》，《图片集》，《幸福论》，59（1965），160-72。4.“Geist und Kunst”：托马斯·曼放弃的文学随笔，牛津德语研究，1（1966），53-101。5.“批判意识与创造：从莱辛到黑格尔的克里提克概念”，OGS 3（1968），87-113。6.（编辑）Thomas Mann，Der Tod in Venedig，Clarendon德语文本（牛津：Clarendon出版社，1969年）。7.“托马斯·曼与传统：一些澄清”，载于P·F·甘茨主编的《不连续的传统》（牛津：牛津大学出版社，1971年），第158–81页。8.《歌德及其后果》，载于《德国：德国研究指南》，马尔科姆·帕斯利主编（伦敦：Methuen，1972年），第493-554页。9.托马斯·曼：《传统的用途》（牛津：克拉伦登出版社，1974年）。10.“Zauberberg:Zeitenwandel und Bedeutungswandel 1912-1924”，载于《Zauberberg的历史》，Heinz Saueressig编辑（Biberach a.d.Riss:Wege und Gestalten，1974），第81–139页。11.“托马斯·曼：他那个时代的作家兼历史学家”，《现代语言评论》，71（1976），82-96。12.“Thomas Mann:der Schriftsteller als Historiker seiner Zeit”，载于1975年剑桥国际日耳曼人协会（Akten des V.International Germanisten Kongress Cambridge）（伯尔尼：Herbert Lang，1977），第333–40页。13.“尼采的动物：观念、意象和影响”，载于《尼采：意象与思想》，马尔科姆·帕斯利主编（伦敦：Methuen，1978），第159–219页。14.“戏剧、启蒙与民族：一个德国问题”，现代语言研究论坛，第14期（1978年），143-64页。15.（编辑）托马斯·曼（Thomas Mann），《在威尼斯的托德》（Der Tod in Venedig）（慕尼黑：汉瑟出版社，1979年）。16.古典中心：歌德和魏玛，1775-1832（伦敦：克鲁姆海姆出版社，1980年；牛津：克拉伦登出版社，1986年）。17.“迷宫之路：在十八世纪找到你的路”，英国歌德学会出版物，51（1981），81–113。18.《米特：歌德与魏玛》，1775-1832年，海因茨·彼得·门茨和克里斯托夫·古特内赫特（斯图加特：科尔哈默出版社，1982年）。
{"title":"Bibliography","authors":"T. J. Reed","doi":"10.1080/09593683.2017.1376386","DOIUrl":"https://doi.org/10.1080/09593683.2017.1376386","url":null,"abstract":"1. ‘Thomas Mann, Heine, Schiller: the mechanics of self-interpretation’, Neophilologus, 47 (1963), 41–50. 2. ‘Mann and Turgenev: a first love’, German Life and Letters, 17 (1964), 313–18 3. ‘Kafka und Schopenhauer: philosophisches Denken und dichterisches Bild’, Euphorion, 59 (1965), 160–72. 4. ‘“Geist und Kunst”: Thomas Mann’s abandoned essay on literature’, Oxford German Studies, 1 (1966), 53–101. 5. ‘Critical consciousness and creation: the concept Kritik from Lessing to Hegel’, OGS 3 (1968), 87–113. 6. (Ed.) Thomas Mann, Der Tod in Venedig, Clarendon German Texts (Oxford: Clarendon Press, 1969). 7. ‘Thomas Mann and tradition: some clarifications’, in The Discontinuous Tradition, ed. by P. F. Ganz (Oxford: Oxford University Press, 1971), pp. 158–81. 8. ‘The Goethezeit and its aftermath’, in Germany: A Companion to German Studies, ed. by Malcolm Pasley (London: Methuen, 1972), pp. 493–554. 9. Thomas Mann: The Uses of Tradition (Oxford: Clarendon Press, 1974). 10. ‘Der Zauberberg: Zeitenwandel und Bedeutungswandel 1912–1924', in Besichtigung des Zauberbergs, ed. by Heinz Saueressig (Biberach a.d. Riss: Wege und Gestalten, 1974), pp. 81–139. 11. ‘Thomas Mann: the writer as historian of his time’, Modern Language Review, 71 (1976), 82–96. 12. ‘Thomas Mann: der Schriftsteller als Historiker seiner Zeit’, in Akten des V. Internationalen Germanisten-Kongresses Cambridge 1975 (Bern: Herbert Lang, 1977), pp. 333–40. 13. ‘Nietzsche’s animals: idea, image and influence’, in Nietzsche: Imagery and Thought, ed. by Malcolm Pasley (London: Methuen, 1978), pp. 159–219. 14. ‘Theatre, enlightenment and nation: a German problem’, Forum for Modern Language Studies, 14 (1978), 143–64. 15. (Ed.) Thomas Mann, Der Tod in Venedig (Munich: Hanser, 1979). 16. The Classical Centre: Goethe and Weimar, 1775–1832 (London: Croom Helm, 1980; Oxford: Clarendon Press, 1986). 17. ‘Paths through the labyrinth: finding your way in the eighteenth century’, Publications of the English Goethe Society, 51 (1981), 81–113. 18. Die klassische Mitte: Goethe und Weimar, 1775–1832, tr. Heinz-Peter Menz and Christoph Gutknecht (Stuttgart: Kohlhammer, 1982).","PeriodicalId":40789,"journal":{"name":"Publications of the English Goethe Society","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/09593683.2017.1376386","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41338084","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-09-02DOI: 10.1080/09593683.2017.1368924
S. Davies
Abstract This essay uses memory to cut through conventional, binary distinctions that seem to offer analytical approaches to Egmont, but ultimately disappoint. It contrasts memory and history as markers of different attitudes to the past, and ways of knowing, among the drama’s characters. After showing that Egmont’s appeal is based on the affective immediacy that distinguishes memory from history, the essay argues that he is as much a ‘new politician’ as Alba and Oranien, well aware of the political power of the imagination, fully conscious of what the Spanish occupation means in Brussels, and as capable as his antagonists of a calculated response. This approach also allows a reading of the fifth act, and of Egmont’s final vision, that is consistent with the rest of the play.
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Pub Date : 2017-09-02DOI: 10.1080/09593683.2017.1368925
Eckart Goebel
Abstract This article argues that Goethe reduced the rich myth of Proserpina to a sequence of pure repetitions, which in their various forms then dominate the entire text of the drama. Goethe reproduces the myth as a rhetorical skeleton or, rather, as the skeleton of rhetoric. Put differently, Goethe’s Proserpina, executing a meta-theatrical experiment with the rich linguistic possibilities repetition provides, is a monodrama whose actual heroine is repetition.
{"title":"Chewing: Goethe’s Proserpina","authors":"Eckart Goebel","doi":"10.1080/09593683.2017.1368925","DOIUrl":"https://doi.org/10.1080/09593683.2017.1368925","url":null,"abstract":"Abstract This article argues that Goethe reduced the rich myth of Proserpina to a sequence of pure repetitions, which in their various forms then dominate the entire text of the drama. Goethe reproduces the myth as a rhetorical skeleton or, rather, as the skeleton of rhetoric. Put differently, Goethe’s Proserpina, executing a meta-theatrical experiment with the rich linguistic possibilities repetition provides, is a monodrama whose actual heroine is repetition.","PeriodicalId":40789,"journal":{"name":"Publications of the English Goethe Society","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/09593683.2017.1368925","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42280077","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-09-02DOI: 10.1080/09593683.2017.1368923
M. Bell
Abstract The relative backwardness of eighteenth-century German literature and the presumed ambivalence of German writers towards political power have traditionally been explained by the lack of a copyright law in Germany, which meant that German writers, in contrast to their British contemporaries, were often financially dependent on the state. This paper argues that the differences between British and German writers in economic terms have been overstated. British copyright law did not in fact serve the interests of writers to the extent that has traditionally been supposed. In Germany and Britain the situation of writers was determined more by the underlying economics of the publishing trade, especially the high cost of book production, which enabled publishers to pursue monopolistic practices and tilted the tables in favour of publishers and against writers. This argument has further implications for our understanding of the politics of German literature in the late eighteenth century.
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