Pub Date : 2023-09-02DOI: 10.1080/09593683.2023.2255983
Charlotte Woodford
Around 1900, the feminist Hedwig Dohm (1831–1919) drew attention to acts of silencing with respect to women in later years. Her essays, such as ‘Die alte Frau’ (1903) and ‘Mutter und Großmutter’ (1912), and her short story Werde, die du bist (1894) highlight how addressing the question of old age requires a transformation of attitudes towards the human. This essay draws on Simone de Beauvoir’s philosophy in The Coming of Age (La vieillesse, 1970) to explore the notion of age as a ‘cultural fact’ in relation to Hedwig Dohm’s critical engagement with the marginalization of women. Dohm’s writings — from her own later years — intervene to cast light on cultural double standards concerning a gendered life course; they also engage with the otherness of the body and reflect on ways of keeping the future open to alternative possibilities.
1900年左右，女权主义者海德薇格·多姆(1831-1919)引起了人们对后来对女性的沉默行为的关注。她的文章，如《老夫人》(1903)和《Mutter und Großmutter》(1912)，以及她的短篇小说《Werde, Die du bist》(1894)强调了如何解决老年问题需要对人类态度的转变。本文借鉴西蒙娜·德·波伏娃在《年龄的到来》(La vieille, 1970)中的哲学思想，探讨年龄作为一种“文化事实”的概念，并将其与海德薇格·多姆对女性边缘化的批判性参与联系起来。多姆晚年的作品介入并揭示了有关性别人生历程的文化双重标准;他们还参与身体的他者性，并思考如何保持未来对其他可能性的开放。
{"title":"‘Wir hätten keine Zukunft mehr?’ Hedwig Dohm’s Future-Orientated Ideas of Aging in Feminist Writings from the 1900s and her Short Story <i>Werde, die du bist</i>","authors":"Charlotte Woodford","doi":"10.1080/09593683.2023.2255983","DOIUrl":"https://doi.org/10.1080/09593683.2023.2255983","url":null,"abstract":"Around 1900, the feminist Hedwig Dohm (1831–1919) drew attention to acts of silencing with respect to women in later years. Her essays, such as ‘Die alte Frau’ (1903) and ‘Mutter und Großmutter’ (1912), and her short story Werde, die du bist (1894) highlight how addressing the question of old age requires a transformation of attitudes towards the human. This essay draws on Simone de Beauvoir’s philosophy in The Coming of Age (La vieillesse, 1970) to explore the notion of age as a ‘cultural fact’ in relation to Hedwig Dohm’s critical engagement with the marginalization of women. Dohm’s writings — from her own later years — intervene to cast light on cultural double standards concerning a gendered life course; they also engage with the otherness of the body and reflect on ways of keeping the future open to alternative possibilities.","PeriodicalId":40789,"journal":{"name":"Publications of the English Goethe Society","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134971258","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 : 2023-09-02DOI: 10.1080/09593683.2023.2255984
Hans-Joachim Hahn
ABSTRACTIn exploring the relationship between the artist and ethics this extended paper compares the role of the two protagonists, Lotte and Goethe, in Mann’s novel, with particular reference to the concepts of ‘Wiederholung’ and recreation. The statement ‘Aber aus Küssen werden keine Kinder’ serves as a leitmotiv, treating Lotte’s ‘Menschlichkeit’ with specific reference to her ‘Weiblichkeit’ in comparison to Goethe’s artistic ‘Lebenserneuerung aus dem Geist’. Mann’s work on this novel will be discussed within the framework of German fascism, experienced mainly during his exile in America. A shorter form of this paper was given at the annual conference of the Association of German Studies in Nottingham (5th to 7th September 2022).KEYWORDS: Thomas MannGoetheLotte in Weimarfeminist aestheticsirony‘Wirklichkeit’ and ‘Möglichkeit’metamorphosis‘Opfer’geniusfragmentWeimar society‘Kunstperiode’HeineGrillparzer Notes1 Werner Frizen, ‘“Den Mythos auf die Beine stellen”: Die Mensch-Werdung Goethes in Thomas Manns Roman Lotte in Weimar’, in Im Namen Goethes: Erfundenes, Erinnertes und Grundsätzliches zum 250. Geburtstag Johann Wolfgang von Goethes, ed. by Markus Hänsel-Hohenhausen (Frankfurt/Main: Goethe Gesellschaft, 1999), pp. 32–39 (p. 39).2 Friedhelm Marx, ‘Lotte in Weimar’, in Thomas Mann Handbuch: Leben, Werk, Wirkung, ed. by Andreas Blödorn and Friedhelm Marx (Stuttgart: Metzler, 2015), p. 65.3 Hinrich Siefken, ‘Thomas Mann’s Lotte in Weimar: A Lustspiel’, Oxford German Studies, 11 (1980), 105–22.4 ‘Comedy’ in Dictionary of World Literature, ed. by Joseph T. Shipley (Paterson, NJ: Littlefield, 1964), p. 66-71 (p. 66).5 Julius Petersen, ‘Erdentage und Ewigkeit: Rede bei der Reichsgedächtnisfeier in Weimar am 22 März 1932’, Jahrbuch der Goethe-Gesellschaft, 18 (1932), 3–22 (p. 3).6 Hannelore Mund, Understanding Thomas Mann (Columbia, SC: University of South Carolina Press, 2004), p. 156.7 Cf. Friedhelm Marx, ‘“Die Menschwerdung des Göttlichen”: Thomas Manns Goethe-Bild in Lotte in Weimar’, Thomas Mann Jahrbuch, 10 (1997), 113–32.8 Cf. Hans J. Hahn, ‘Kahlschlag und Dschungel in der deutschen Germanistik nach 1945’, GLL, 43.3 (1990), 246–66, in particular pp. 252–54.9 Heinrich Heine, Sämtliche Werke, Düsseldorfer Ausgabe, ed. by Manfred Windfuhr, 16 vols (Hamburg: Hoffmann und Campe, 1973–97), viii: Zur Geschichte der Religion und Philosophie in Deutschland. Die romantische Schule (1979), p. 155.10 Thomas Mann, ‘[On myself], 1940’, in T. Mann, Gesammelte Werke, 2nd edn, 13 vols. (Frankfurt/Main: Fischer, 1974), xiii, 127–69 (p. 169).11 Gisela Ecker, Feminist Aesthetics (London: The Women’s Press, 1985), p. 17. Cf. also: Hans J. Hahn, ‘The Unacknowledged Legislator of the Text: Some Observations on Literary Criticism in the Federal Republic of Germany’, in New Ways in Germanistik, ed. by Richard Sheppard (New York: Berg, 1990), pp. 34–57 (p. 51).12 Thomas Mann, Lotte in Weimar: Roman, ed. by Werner Frizen, 2 vols (= Große kommentierte Frankfurter Ausgabe
在探索艺术家和伦理之间的关系，这篇扩展的论文比较了两个主角，乐天和歌德的角色，在曼的小说中，特别提到了“Wiederholung”和娱乐的概念。“我爱你，我爱你”这句话作为主旨，将乐天的“人性”与她的“人性”进行了具体的比较，并与歌德的艺术“人性”进行了比较。曼在这部小说中的工作将在德国法西斯主义的框架内进行讨论，主要是在他流亡美国期间经历的。在诺丁汉举行的德国研究协会年会上(2022年9月5日至7日)发表了本文的简短版本。关键词:《魏玛女性主义美学》中的托马斯·曼·歌德(Thomas MannGoetheLotte)、《作品》、《Möglichkeit》、《变形》、《天才碎片》、《魏玛社会》、《艺术时期》、《heinegrillparzer札记》、《歌德在托马斯·曼(Thomas Manns)和《魏玛的罗马乐天》、《我是曼·歌德》、《Erfundenes》、《Erinnertes》和Grundsätzliches zum 250》。《约翰·沃尔夫冈·冯·歌德》，马库斯主编Hänsel-Hohenhausen(法兰克福/美因:歌德出版社，1999)，第32-39页弗里德海姆·马克思，“魏玛的乐天”，见托马斯·曼Handbuch: Leben, Werk, Wirkung, Andreas主编Blödorn和弗里德海姆·马克思(Stuttgart: Metzler, 2015)， 65.3页。Hinrich Siefken，“托马斯·曼的魏玛乐天:Lustspiel”，牛津德国研究，11(1980)，105-22.4“喜剧”世界文学词典，由约瑟夫·t·希普利(Paterson, NJ: Littlefield, 1964)主编，第66-71页(第66页)6 .朱利叶斯·彼得森，《时代与经济:魏玛22 März 1932》，歌德出版社，18(1932)，3 - 22(第3页)Hannelore Mund, Understanding Thomas Mann (Columbia, SC: University of South Carolina Press, 2004)， p. 156.7 Cf. Friedhelm Marx，“Die Menschwerdung des Göttlichen”:Thomas Manns Goethe-Bild in Lotte in Weimar”，Thomas Mann Jahrbuch, 10 (1997)， 113-32.8 Cf. Hans J. Hahn，“Kahlschlag und Dschungel in der deutschen Germanistik nach 1945”，GLL, 43.3(1990)， 246-66，特别是pp. 252-54.9 Heinrich Heine, Sämtliche Werke, dsseldorfer Ausgabe，主编Manfred Windfuhr, 16卷(汉堡:Hoffmann and Campe, 1973 - 1997)，第8卷:《德国的宗教与哲学》。浪漫主义学派(1979)，155.10页托马斯·曼，“[我自己]，1940年”，在T.曼，Gesammelte Werke，第二版，13卷。(法兰克福/美因:费舍尔，1974年)，13,127-69(第169页).11吉塞拉·埃克，《女性主义美学》(伦敦:妇女出版社，1985)，第17页。参见:Hans J. Hahn，“文本中未被承认的立法者:对德意志联邦共和国文学批评的一些观察”，《德意志文学的新方式》，Richard Sheppard主编(纽约:Berg出版社，1990)，第34-57页(第51页)托马斯·曼，《魏玛的乐天:罗马》，Werner Frizen主编，2卷(= Große kommentierte Frankfurter Ausgabe, ix/1, Text and ix/2, Kommentar) (Frankfurt/Main: Fischer, 2003)， ix/ 1,313。对小说的进一步参考将在括号中以简单的页码给出。对评注的引用分别记录在脚注中。13“Divan und Werther sind ja Geschwister noch mehr, besser gesagt: dasselbe auf ungleichen Stufen”(317)举个例子:“我们的Leben anders als eine sich selbst vernichtende Illusion ansieht, ist noch selbst im Leben befangen”，见Novalis ' Werke，赫尔曼·弗里德曼主编，4卷(柏林:Bong， [1913])， iii, 32 (Fragmente 1, no . 37)Novalis:“Die Welt musß romantisiert werden…”，由Paul Kluckhohn和Richard Samuel编著，5卷(斯图加特:Kohlhammer, 1960-88)， ii (1965)， 545.16 Thomas Mann, Lotte in Weimar，翻译。Helen Lowe-Porter (Harmondsworth: Penguin, 1982)，第217.17页，《大英百科全书》，[访问日期:2022年9月30日].18J. p. Eckermann, Gespräche mit Goethe, Hellmuth Steger主编(m<s:1> nchen: Pong, 1949)，第241页(1828年3月11日)。弗里岑在他的版本的注释中提到了这份文件(第530-32页)Eckermann, Gespräche mit Goethe, p. 244.20 Manfred Lurker, Wörterbuch der Symbolik，第4版(斯图加特:Kröner, 1988)， p. 409:“der Kuss ist Ausdruck der seelischen Hingabe”。这个词条也指宗教传统中的接吻托马斯·曼，“Goethe als Repräsentant des b<e:1> rgerlichen Zeitalters”，在他的论文中，由赫尔曼·库兹克和斯蒂芬·斯塔乔斯基编辑(法兰克福/美因:费舍尔，1993-97)，iii, 297-332(第318页)。关于歌德与比德曼的谈话，见弗里岑的评论(第306页)Laura Trafi-Prats，“作为存在的女权主义美学的育儿”，载于实践社区:早期儿童的艺术，游戏和美学，由Christopher M. Schulte和Christine marm<s:1> Thompson主编(Cham: Springer, 2018)，第197-211页(第200页)也引用了曼在“歌德也Repräsentant”(论文，iii, 328)。24参见Frizen的评论，第6页。
{"title":"<i>Lotte in Weimar</i> : ‘Aber aus Küssen werden keine Kinder.’ Thomas Mann’s Reflections on the Artist: The Dilemma between the Artist and ‘Menschlichkeit’","authors":"Hans-Joachim Hahn","doi":"10.1080/09593683.2023.2255984","DOIUrl":"https://doi.org/10.1080/09593683.2023.2255984","url":null,"abstract":"ABSTRACTIn exploring the relationship between the artist and ethics this extended paper compares the role of the two protagonists, Lotte and Goethe, in Mann’s novel, with particular reference to the concepts of ‘Wiederholung’ and recreation. The statement ‘Aber aus Küssen werden keine Kinder’ serves as a leitmotiv, treating Lotte’s ‘Menschlichkeit’ with specific reference to her ‘Weiblichkeit’ in comparison to Goethe’s artistic ‘Lebenserneuerung aus dem Geist’. Mann’s work on this novel will be discussed within the framework of German fascism, experienced mainly during his exile in America. A shorter form of this paper was given at the annual conference of the Association of German Studies in Nottingham (5th to 7th September 2022).KEYWORDS: Thomas MannGoetheLotte in Weimarfeminist aestheticsirony‘Wirklichkeit’ and ‘Möglichkeit’metamorphosis‘Opfer’geniusfragmentWeimar society‘Kunstperiode’HeineGrillparzer Notes1 Werner Frizen, ‘“Den Mythos auf die Beine stellen”: Die Mensch-Werdung Goethes in Thomas Manns Roman Lotte in Weimar’, in Im Namen Goethes: Erfundenes, Erinnertes und Grundsätzliches zum 250. Geburtstag Johann Wolfgang von Goethes, ed. by Markus Hänsel-Hohenhausen (Frankfurt/Main: Goethe Gesellschaft, 1999), pp. 32–39 (p. 39).2 Friedhelm Marx, ‘Lotte in Weimar’, in Thomas Mann Handbuch: Leben, Werk, Wirkung, ed. by Andreas Blödorn and Friedhelm Marx (Stuttgart: Metzler, 2015), p. 65.3 Hinrich Siefken, ‘Thomas Mann’s Lotte in Weimar: A Lustspiel’, Oxford German Studies, 11 (1980), 105–22.4 ‘Comedy’ in Dictionary of World Literature, ed. by Joseph T. Shipley (Paterson, NJ: Littlefield, 1964), p. 66-71 (p. 66).5 Julius Petersen, ‘Erdentage und Ewigkeit: Rede bei der Reichsgedächtnisfeier in Weimar am 22 März 1932’, Jahrbuch der Goethe-Gesellschaft, 18 (1932), 3–22 (p. 3).6 Hannelore Mund, Understanding Thomas Mann (Columbia, SC: University of South Carolina Press, 2004), p. 156.7 Cf. Friedhelm Marx, ‘“Die Menschwerdung des Göttlichen”: Thomas Manns Goethe-Bild in Lotte in Weimar’, Thomas Mann Jahrbuch, 10 (1997), 113–32.8 Cf. Hans J. Hahn, ‘Kahlschlag und Dschungel in der deutschen Germanistik nach 1945’, GLL, 43.3 (1990), 246–66, in particular pp. 252–54.9 Heinrich Heine, Sämtliche Werke, Düsseldorfer Ausgabe, ed. by Manfred Windfuhr, 16 vols (Hamburg: Hoffmann und Campe, 1973–97), viii: Zur Geschichte der Religion und Philosophie in Deutschland. Die romantische Schule (1979), p. 155.10 Thomas Mann, ‘[On myself], 1940’, in T. Mann, Gesammelte Werke, 2nd edn, 13 vols. (Frankfurt/Main: Fischer, 1974), xiii, 127–69 (p. 169).11 Gisela Ecker, Feminist Aesthetics (London: The Women’s Press, 1985), p. 17. Cf. also: Hans J. Hahn, ‘The Unacknowledged Legislator of the Text: Some Observations on Literary Criticism in the Federal Republic of Germany’, in New Ways in Germanistik, ed. by Richard Sheppard (New York: Berg, 1990), pp. 34–57 (p. 51).12 Thomas Mann, Lotte in Weimar: Roman, ed. by Werner Frizen, 2 vols (= Große kommentierte Frankfurter Ausgabe","PeriodicalId":40789,"journal":{"name":"Publications of the English Goethe Society","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134971254","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 : 2023-09-02DOI: 10.1080/09593683.2023.2255986
Flavio Auer
ABSTRACTWhen Ludwig Tieck started to publish his Schriften in 1828, he opened the edition with Kaiser Octavianus (1804), thereby setting the drama as the capstone to Early Romanticism. In this essay, I intend to explore what might have motivated Tieck’s decision and to what extent it can be justified. Firstly, I will argue that Kaiser Octavianus fulfils a requirement for good poetry formulated in the early essay ‘Über Shakspeare’s Behandlung des Wunderbaren’ (1793) that the poet should take subjects from folklore and sublimate them, thus creating a combination of simplicity and artificiality. Secondly, the drama can also be considered a contribution to the creation of a new mythology as proposed by Tieck’s associate Friedrich Schlegel. Thirdly, Kaiser Octavianus constitutes an example of Schlegel’s ‘Universalpoesie’, mixing genres and styles in a drama of epic proportions.KEYWORDS: TieckKaiser OctavianusRomanticismnew mythologychapbook adaptationuniversal poetry Notes2 Ludwig Tieck’s Schriften, 28 vols (Berlin: Reimer, 1828–54). References to the first volume of this edition are given as Schriften I in the main text, followed by page numbers.3 All quotations are taken from the first edition: Kaiser Octavianus: Ein Lustspiel in zwei Teilen von Ludwig Tieck (Jena: Frommann, 1804). References are given as simple page numbers in the text.4 Ludwig Tieck, ‘Über Shakspeare’s Behandlung des Wunderbaren’, in Schriften, ed. by Hans Peter Balmes and others, 12 vols (Frankfurt/Main: Deutscher Klassiker Verlag, 1985–95), i: Schriften 1789–1794, ed. by Achim Hölter (1991), pp. 685–722 (pp. 686–87).5 This question is also discussed in the frame narrative of Phantasus, where a nuanced answer is given: in prose fiction, the poet should invent the plot himself, whereas the dramatic poet does not have to (Tieck, Schriften, ed. by Balmes and others, vi: Phantasus, ed. by Manfred Frank (1985), p. 147).6 Cf. Stefan Scherer, Witzige Spielgemälde: Tieck und das Drama der Romantik (Berlin: De Gruyter, 2003), p. 365.7 Ludwig Tieck, Peter Lebrecht: Eine Geschichte ohne Abentheuerlichkeiten, in Ludwig Tieck’s Sämmtliche Werke, 8 vols (Berlin: Nicolai, 1799), iv/2, 31–32.8 Ludwig Tieck, ‘Die Geschichte von den Heymons Kindern, in zwanzig altfränkischen Bildern’, in Ludwig Tieck’s Sämmtliche Werke, VI, 243–366 (p. 246).9 Cf. Ernst Lüdtke, ‘Ludwig Tiecks Kaiser Octavianus: Ein Beitrag zur romantischen Geistesgeschichte’ (unpublished doctoral thesis, University of Greifswald, 1925), p. 14. In this essay, the edition Florent et Lyon = Kaiser Octavianus, trans. by Wilhelm Salzmann, ed. by Xenja von Ertzdorff and Ulrich Seelbach (Amsterdam: Rodopi, 1993) is used.10 Cf. Lüdtke, p. 123.11 Cf. Ernst Halter, Kaiser Octavianus: Eine Studie über Tiecks Subjektivität (Zürich: Juris, 1967), pp. 55–159.12 Friedrich von Schlegel, Gespräch über die Poesie, in Kritische Friedrich-Schlegel-Ausgabe, ed. by Ernst Behler and others (Darmstadt: Wissenschaftliche Buchgesellschaft, 1958–), ii: Chara
我们同意这一观点，但还是建议稍微区分一下:既然浪漫主义诗人也出现在序言中，浪漫主义应该被看作是浪漫主义诗歌的精神，而不是浪漫主义文学的物质形式关于Hölderlin被纳入浪漫主义哲学，参见曼弗雷德·弗兰克，einfinhrung in die frhromantische Ästhetik，第6版(法兰克福/美因:Suhrkamp, 2015)，第222.22页Cf. Halter，第24.23页。在Tieck稍早的戏剧如Zerbino和Genoveva之后，也有其他浪漫主义戏剧以类似的方向为目标，例如Zacharias Werner的die Söhne des Tals(1802)。参见Claudia Stockinger, Das theatsche Werk Friedrich de la Motte fouqu<s:1>: Ein Beitrag zur Geschichte des浪漫主义戏剧(<s:1>宾根:尼迈耶出版社，2000)，第59.24页。的确，该剧也以“Musikalischer Tanz”结束。虽然它从来没有打算作为一个歌词(不像Das Ungeheuer und der verzauberte Wald)，但不能否认它与理查德·瓦格纳的Gesamtkunstwerk有轻微的相似之处若要进行更全面的比较，请参阅l<s:1> dtke，第17-47.27页。参见Anneliese Bodensohn，《路德维希·提克的凯撒·奥克塔维亚斯的浪漫主义论》(Frankfurt/Main: Diesterweg, 1937)， p. 21.28 Cf. Bodensohn, p. 61。作者简介:flavio Auer是慕尼黑大学的一名博士生。他曾在慕尼黑大学、牛津大学和斯坦福大学学习物理、德国文学和哲学。他的出版物包括“Hölderlins Elegie Brod und Wein and die Neue Mythologie”(Athenäum, 30(2020)， 117-40)和“schiller Geisterseher zwischen Spätaufklärung und Romantik”(GRM-Beiheft, 108: Venedig in der deutschen literature，由Erik Schilling和Oliver Bach编辑(2022)，89-102)。
{"title":"Ludwig Tieck’s <i>Kaiser Octavianus</i> as the Capstone of Early Romanticism","authors":"Flavio Auer","doi":"10.1080/09593683.2023.2255986","DOIUrl":"https://doi.org/10.1080/09593683.2023.2255986","url":null,"abstract":"ABSTRACTWhen Ludwig Tieck started to publish his Schriften in 1828, he opened the edition with Kaiser Octavianus (1804), thereby setting the drama as the capstone to Early Romanticism. In this essay, I intend to explore what might have motivated Tieck’s decision and to what extent it can be justified. Firstly, I will argue that Kaiser Octavianus fulfils a requirement for good poetry formulated in the early essay ‘Über Shakspeare’s Behandlung des Wunderbaren’ (1793) that the poet should take subjects from folklore and sublimate them, thus creating a combination of simplicity and artificiality. Secondly, the drama can also be considered a contribution to the creation of a new mythology as proposed by Tieck’s associate Friedrich Schlegel. Thirdly, Kaiser Octavianus constitutes an example of Schlegel’s ‘Universalpoesie’, mixing genres and styles in a drama of epic proportions.KEYWORDS: TieckKaiser OctavianusRomanticismnew mythologychapbook adaptationuniversal poetry Notes2 Ludwig Tieck’s Schriften, 28 vols (Berlin: Reimer, 1828–54). References to the first volume of this edition are given as Schriften I in the main text, followed by page numbers.3 All quotations are taken from the first edition: Kaiser Octavianus: Ein Lustspiel in zwei Teilen von Ludwig Tieck (Jena: Frommann, 1804). References are given as simple page numbers in the text.4 Ludwig Tieck, ‘Über Shakspeare’s Behandlung des Wunderbaren’, in Schriften, ed. by Hans Peter Balmes and others, 12 vols (Frankfurt/Main: Deutscher Klassiker Verlag, 1985–95), i: Schriften 1789–1794, ed. by Achim Hölter (1991), pp. 685–722 (pp. 686–87).5 This question is also discussed in the frame narrative of Phantasus, where a nuanced answer is given: in prose fiction, the poet should invent the plot himself, whereas the dramatic poet does not have to (Tieck, Schriften, ed. by Balmes and others, vi: Phantasus, ed. by Manfred Frank (1985), p. 147).6 Cf. Stefan Scherer, Witzige Spielgemälde: Tieck und das Drama der Romantik (Berlin: De Gruyter, 2003), p. 365.7 Ludwig Tieck, Peter Lebrecht: Eine Geschichte ohne Abentheuerlichkeiten, in Ludwig Tieck’s Sämmtliche Werke, 8 vols (Berlin: Nicolai, 1799), iv/2, 31–32.8 Ludwig Tieck, ‘Die Geschichte von den Heymons Kindern, in zwanzig altfränkischen Bildern’, in Ludwig Tieck’s Sämmtliche Werke, VI, 243–366 (p. 246).9 Cf. Ernst Lüdtke, ‘Ludwig Tiecks Kaiser Octavianus: Ein Beitrag zur romantischen Geistesgeschichte’ (unpublished doctoral thesis, University of Greifswald, 1925), p. 14. In this essay, the edition Florent et Lyon = Kaiser Octavianus, trans. by Wilhelm Salzmann, ed. by Xenja von Ertzdorff and Ulrich Seelbach (Amsterdam: Rodopi, 1993) is used.10 Cf. Lüdtke, p. 123.11 Cf. Ernst Halter, Kaiser Octavianus: Eine Studie über Tiecks Subjektivität (Zürich: Juris, 1967), pp. 55–159.12 Friedrich von Schlegel, Gespräch über die Poesie, in Kritische Friedrich-Schlegel-Ausgabe, ed. by Ernst Behler and others (Darmstadt: Wissenschaftliche Buchgesellschaft, 1958–), ii: Chara","PeriodicalId":40789,"journal":{"name":"Publications of the English Goethe Society","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134971256","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 : 2023-09-02DOI: 10.1080/09593683.2023.2256007
Anja Rekeszus
This article explores how women writers and collectors of fairy tales in the nineteenth century situated themselves within different contemporary tropes of the tale-telling woman in order to follow their own social and political agendas. By focussing on fairy tales written by Laura Gonzenbach (Sicilianische Märchen, 1870) and Carmen Sylva (Pelesch-Märchen, 1883), this paper shows how these writers apparently adapted to and embraced stereotypes of the female storyteller — particularly women’s alleged role as intermediaries, rather than editors, of fairy tales, and their supposed inherent connection to nature. However, historical contextualization as well as in-depth textual analyses expose how the writers in question instrumentalized these tropes in order to follow their own agendas, namely: amplifying women’s voices and questioning gender categories (Gonzenbach), and laying claim to power that is legitimized by a connection with nature (Sylva).
{"title":"Reclaiming the Female Storyteller in the Nineteenth Century: Strategies of Adaptation and Resistance in the Works of Laura Gonzenbach and Carmen Sylva","authors":"Anja Rekeszus","doi":"10.1080/09593683.2023.2256007","DOIUrl":"https://doi.org/10.1080/09593683.2023.2256007","url":null,"abstract":"This article explores how women writers and collectors of fairy tales in the nineteenth century situated themselves within different contemporary tropes of the tale-telling woman in order to follow their own social and political agendas. By focussing on fairy tales written by Laura Gonzenbach (Sicilianische Märchen, 1870) and Carmen Sylva (Pelesch-Märchen, 1883), this paper shows how these writers apparently adapted to and embraced stereotypes of the female storyteller — particularly women’s alleged role as intermediaries, rather than editors, of fairy tales, and their supposed inherent connection to nature. However, historical contextualization as well as in-depth textual analyses expose how the writers in question instrumentalized these tropes in order to follow their own agendas, namely: amplifying women’s voices and questioning gender categories (Gonzenbach), and laying claim to power that is legitimized by a connection with nature (Sylva).","PeriodicalId":40789,"journal":{"name":"Publications of the English Goethe Society","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134971255","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 : 2023-09-02DOI: 10.1080/09593683.2023.2256068
Astrid Köhler, Charlotte Lee, Charlie Louth
{"title":"Chronicle","authors":"Astrid Köhler, Charlotte Lee, Charlie Louth","doi":"10.1080/09593683.2023.2256068","DOIUrl":"https://doi.org/10.1080/09593683.2023.2256068","url":null,"abstract":"","PeriodicalId":40789,"journal":{"name":"Publications of the English Goethe Society","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134971257","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 : 2023-05-04DOI: 10.1080/09593683.2023.2212442
Michael White
ABSTRACT Whether it is in the notion of ‘Bildung’ or the daemonic, the reflective engagement with the self lies at the heart of what makes Goethe compelling for modern readers. This article traces the language and imagery of one notion of self-realization, moral character, in Iphigenie auf Tauris and Torquato Tasso. It identifies recurrent metaphors associated with character in eighteenth and nineteenth century theoretical and popular texts, such as stability, independence, influence, and limitation or focus. It demonstrates how this imagery of character informs the inner logic of the plays, structures the relationships between the individual characters, and how, through it, the dramas can be seen as offering literary reflections on character as a concept. Character emerges as a modern ideal, difficult to achieve yet realistic, worthy of admiration, yet universal.
{"title":"Iphigenie auf Tauris, Torquato Tasso, and the Imagery of Character","authors":"Michael White","doi":"10.1080/09593683.2023.2212442","DOIUrl":"https://doi.org/10.1080/09593683.2023.2212442","url":null,"abstract":"ABSTRACT Whether it is in the notion of ‘Bildung’ or the daemonic, the reflective engagement with the self lies at the heart of what makes Goethe compelling for modern readers. This article traces the language and imagery of one notion of self-realization, moral character, in Iphigenie auf Tauris and Torquato Tasso. It identifies recurrent metaphors associated with character in eighteenth and nineteenth century theoretical and popular texts, such as stability, independence, influence, and limitation or focus. It demonstrates how this imagery of character informs the inner logic of the plays, structures the relationships between the individual characters, and how, through it, the dramas can be seen as offering literary reflections on character as a concept. Character emerges as a modern ideal, difficult to achieve yet realistic, worthy of admiration, yet universal.","PeriodicalId":40789,"journal":{"name":"Publications of the English Goethe Society","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46031555","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 : 2023-05-04DOI: 10.1080/09593683.2023.2212446
Helena de Guise
ABSTRACT In the background of the European era of nationalism, Thomas Mann’s Der Tod in Venedig (1912), Unordnung und frühes Leid (1925), and Mario und der Zauberer (1929) reveal the authority of narrative in the discursive construction of identity. By analysing the interrelation of Mann’s characteristic irony and productions of discourses of racialization, this essay draws attention to the constructed nature of German national identity. This identity is revealed to be underpinned by colonial tropes of difference which simultaneously structure internal European hierarchies. Yet, far from simply affirming a naturalistic or fixed hierarchy of cultural authority, irony at a narrative level elucidates how norms are both socially and textually constructed, and, by extension, unstable. In this way, troubling the distinction between cultural truths and social fictions, this essay explores the way in which the works problematize to what extent norms are, in fact, normative.
摘要在欧洲民族主义时代的大背景下，托马斯·曼的《威尼斯的陶德》（1912）、《Unordnung und frühes Leid》（1925）和《Mario und Der Zauberer》（1929）揭示了叙事在身份话语建构中的权威性。本文通过分析曼恩特有的反讽与种族化话语的产生之间的相互关系，来引起人们对德国民族身份建构本质的关注。这种身份被揭示是由殖民地的差异比喻所支撑的，这些差异同时构成了欧洲内部的等级制度。然而，讽刺并不是简单地肯定一种自然主义或固定的文化权威等级制度，而是在叙事层面阐明了规范是如何在社会和文本上构建的，进而是不稳定的。通过这种方式，在文化真理和社会小说之间的区别问题上，本文探讨了作品在多大程度上质疑规范实际上是规范的。
{"title":"(De)constructing Nationalism: Understanding Irony in Thomas Mann’s Der Tod in Venedig (1912), Unordnung und frühes Leid (1925), and Mario und der Zauberer (1929)","authors":"Helena de Guise","doi":"10.1080/09593683.2023.2212446","DOIUrl":"https://doi.org/10.1080/09593683.2023.2212446","url":null,"abstract":"ABSTRACT In the background of the European era of nationalism, Thomas Mann’s Der Tod in Venedig (1912), Unordnung und frühes Leid (1925), and Mario und der Zauberer (1929) reveal the authority of narrative in the discursive construction of identity. By analysing the interrelation of Mann’s characteristic irony and productions of discourses of racialization, this essay draws attention to the constructed nature of German national identity. This identity is revealed to be underpinned by colonial tropes of difference which simultaneously structure internal European hierarchies. Yet, far from simply affirming a naturalistic or fixed hierarchy of cultural authority, irony at a narrative level elucidates how norms are both socially and textually constructed, and, by extension, unstable. In this way, troubling the distinction between cultural truths and social fictions, this essay explores the way in which the works problematize to what extent norms are, in fact, normative.","PeriodicalId":40789,"journal":{"name":"Publications of the English Goethe Society","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47754203","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 : 2023-05-04DOI: 10.1080/09593683.2023.2212444
Catherine Angerson
ABSTRACT George Canning and John Hookham Frere’s satire on German plays and their radical English readers, The Rovers; or, The Double Arrangement (1798), marked the beginning of a short period of intense engagement with German drama and philosophy in the conservative periodical press in Britain. The Rovers appeared in the Anti-Jacobin; or, Weekly Examiner, a magazine written largely by Foreign Office politicians. The Anti-Jacobin’s monthly successor, the Anti-Jacobin Review, mounted a more earnest attack on German philosophy, and its contributors introduced some of the ideas of Fichte, Kant, and Herder to a conservative Anglican and Scottish Episcopalian readership. This article shows that some contributions display signs of extreme paranoia and exaggeration inspired by Jacobin-Illuminati conspiracy theories, while others demonstrate a considerable knowledge of the German books and ideas that they are attacking.
{"title":"The Anti-Jacobin Reaction against German Drama and Philosophy in Britain, 1798–1804","authors":"Catherine Angerson","doi":"10.1080/09593683.2023.2212444","DOIUrl":"https://doi.org/10.1080/09593683.2023.2212444","url":null,"abstract":"ABSTRACT George Canning and John Hookham Frere’s satire on German plays and their radical English readers, The Rovers; or, The Double Arrangement (1798), marked the beginning of a short period of intense engagement with German drama and philosophy in the conservative periodical press in Britain. The Rovers appeared in the Anti-Jacobin; or, Weekly Examiner, a magazine written largely by Foreign Office politicians. The Anti-Jacobin’s monthly successor, the Anti-Jacobin Review, mounted a more earnest attack on German philosophy, and its contributors introduced some of the ideas of Fichte, Kant, and Herder to a conservative Anglican and Scottish Episcopalian readership. This article shows that some contributions display signs of extreme paranoia and exaggeration inspired by Jacobin-Illuminati conspiracy theories, while others demonstrate a considerable knowledge of the German books and ideas that they are attacking.","PeriodicalId":40789,"journal":{"name":"Publications of the English Goethe Society","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49617017","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 : 2023-05-04DOI: 10.1080/09593683.2023.2212445
C. M. Cross
ABSTRACT This paper undertakes a disability studies reading of blindness in selected early Grimms Kinder- und Hausmärchen (KHM). I argue for the use of the religious model of disability as a methodology for this reading and develop a new model known as the moral model: as I demonstrate, the religious model locates disability in the individual. In contrast, the moral model — which is often conflated with the religious model — should be a symbiotic methodological approach that locates the disability in the moral fabric of the tales rather than in the individual. My analysis shows that blindness equals damnation in the KHM. Evil characters are punished with it due to sin and a lack of morality, whereas good characters are saved from such a punishment. This salvation often takes the form of miraculous healing, often by God.
{"title":"Reines Licht: Blindness, Religion, and Morality in Selected Early Grimms’ Kinder- und Hausmärchen","authors":"C. M. Cross","doi":"10.1080/09593683.2023.2212445","DOIUrl":"https://doi.org/10.1080/09593683.2023.2212445","url":null,"abstract":"ABSTRACT This paper undertakes a disability studies reading of blindness in selected early Grimms Kinder- und Hausmärchen (KHM). I argue for the use of the religious model of disability as a methodology for this reading and develop a new model known as the moral model: as I demonstrate, the religious model locates disability in the individual. In contrast, the moral model — which is often conflated with the religious model — should be a symbiotic methodological approach that locates the disability in the moral fabric of the tales rather than in the individual. My analysis shows that blindness equals damnation in the KHM. Evil characters are punished with it due to sin and a lack of morality, whereas good characters are saved from such a punishment. This salvation often takes the form of miraculous healing, often by God.","PeriodicalId":40789,"journal":{"name":"Publications of the English Goethe Society","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45013542","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 : 2023-01-02DOI: 10.1080/09593683.2023.2168149
W. Lepenies
ABSTRACT The Wilkinson-Willoughby-Lecture of the English Goethe Society for 2022 was given by Wolf Lepenies. The text of his talk is given below.
摘要英国歌德学会2022年威尔金森-威洛比讲座由Wolf Lepenies主讲。他的演讲全文如下。
{"title":"‘Incredible, that’s Literature!’ Attempts at Remoralizing Academic Disciplines, Politics, and the Professions with the Help of ‘Belles-Lettres’","authors":"W. Lepenies","doi":"10.1080/09593683.2023.2168149","DOIUrl":"https://doi.org/10.1080/09593683.2023.2168149","url":null,"abstract":"ABSTRACT The Wilkinson-Willoughby-Lecture of the English Goethe Society for 2022 was given by Wolf Lepenies. The text of his talk is given below.","PeriodicalId":40789,"journal":{"name":"Publications of the English Goethe Society","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47599717","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}
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：