Pub Date : 2021-09-02DOI: 10.1080/09593683.2021.1999611
Marie. James
ABSTRACT From Winckelmann and Platen to Goethe and Mann, the cultural narrative of the German ‘Italian journey’ spins a highly intertextual web — one often embedded within a subtext of homoerotic interests. This article expands on the homoerotic iconography of Thomas Mann’s Der Tod in Venedig (1912) by comparing the novella’s visual language to the fin-de-siècle Sicilian photographs of Wilhelm von Gloeden. As both works play into a long-running codification of homosexual desire through the Italian imaginary of classical and Renaissance art, a comparative reading delves into tropes of pederasty, exoticism, and nostalgia.
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Pub Date : 2021-09-02DOI: 10.1080/09593683.2021.1999604
Francesco Albé
ABSTRACT The year 1925 marks both the publication of Thomas Mann’s novella Unordnung und frühes Leid and the debut of his son Klaus as a novelist with the writing of Der fromme Tanz (published in 1926), two texts deeply concerned with the disruption of normative orders. Drawing on contemporary Weimar debates around new choreographic practices and (homo)sexuality, this article develops a comparative reading of the two texts, exploring the way in which they use dance as an intergenerational site for the re-articulation of sexual codes. Inspired by Nietzschean philosophy, images of choreographic order and disorder, in particular, become the literary means through which father and son negotiate their own, contrasting relationship with same-sex desire.
{"title":"Choreographies of (Dis)order: Dance and Same-Sex Desire in Thomas Mann’s Unordnung und frühes Leid (1925) and Klaus Mann’s Der fromme Tanz (1926)","authors":"Francesco Albé","doi":"10.1080/09593683.2021.1999604","DOIUrl":"https://doi.org/10.1080/09593683.2021.1999604","url":null,"abstract":"ABSTRACT The year 1925 marks both the publication of Thomas Mann’s novella Unordnung und frühes Leid and the debut of his son Klaus as a novelist with the writing of Der fromme Tanz (published in 1926), two texts deeply concerned with the disruption of normative orders. Drawing on contemporary Weimar debates around new choreographic practices and (homo)sexuality, this article develops a comparative reading of the two texts, exploring the way in which they use dance as an intergenerational site for the re-articulation of sexual codes. Inspired by Nietzschean philosophy, images of choreographic order and disorder, in particular, become the literary means through which father and son negotiate their own, contrasting relationship with same-sex desire.","PeriodicalId":40789,"journal":{"name":"Publications of the English Goethe Society","volume":"90 1","pages":"214 - 228"},"PeriodicalIF":0.2,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45298337","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 : 2021-09-02DOI: 10.1080/09593683.2021.1999620
W. D. Wilson
ABSTRACT H. G. Fiedler and L. A. Willoughby, the most important officers of the English Goethe Society during the years 1933 to 1945, pursued the goal of peace through stronger Anglo-German ties, which led Willoughby to gestures of support for the Nazi regime. His Jewish colleague William Rose criticized him for inviting poet and Nazi literary official Hans Friedrich Blunck to an EGS reading. Willoughby then channelled his appeasement efforts into his new periodical, German Life and Letters, before abandoning rapprochement in 1937–38. Though he gave a platform to Jewish émigré writers in PEGS before and after the war, and broke with the revanchist writer Hans Grimm, he supported Blunck’s denazification and positively reviewed Blunck’s untrustworthy memoirs.
h·g·费德勒和l·a·威洛比是1933年至1945年间英国歌德学会最重要的官员，他们通过加强英德关系来追求和平的目标，这使得威洛比做出了支持纳粹政权的姿态。他的犹太同事威廉·罗斯(William Rose)批评他邀请诗人、纳粹文学官员汉斯·弗里德里希·布伦克(Hans Friedrich Blunck)参加EGS的读书会。威洛比随后在他的新期刊《德国生活与文学》上发表了他的绥靖政策，直到1937年至1938年放弃和解。虽然他在战前和战后为PEGS的犹太移民作家提供了一个平台，并与复仇主义作家汉斯·格林(Hans Grimm)决裂，但他支持布伦克的去纳粹化，并积极评价布伦克不可信的回忆录。
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Pub Date : 2021-05-04DOI: 10.1080/09593683.2021.1926064
Roger Paulin
ABSTRACT This article examines the influence of Friedrich Gottlieb Klopstock on the poetry of the young Johann Wolfgang Goethe, tracing Goethe’s brief but intense relationship with the older poet by looking at well-known examples such as ‘Auf dem See’ and noting correspondences and above all differences. A further example of Klopstock’s influence is the early dramatic fragment Mahomet. There, the themes both of Klopstock’s poetry, but also of his epic Der Messias (1748–73), are discernible. A detailed examination and comparison of idyllic passages from Der Messias and Goethe’s early poem ‘Der Wandrer’ reveal this process of assimilation, but also Goethe’s growing independence.
本文考察了弗里德里希·戈特利布·克洛普施托克对年轻的约翰·沃尔夫冈·歌德诗歌的影响，通过观察著名的例子，如“Auf dem See”，追踪歌德与这位老诗人短暂而强烈的关系，并注意到他们之间的对应关系和最重要的差异。克洛普斯托克影响的另一个例子是早期的戏剧片段《穆罕默德》。在那里，克洛普斯托克的诗歌和他的史诗《弥赛亚》(1748-73)的主题都是清晰可辨的。对《弥赛亚》和歌德早期诗歌《漫游者》中的田园诗段落进行详细的考察和比较，揭示了这一同化过程，也揭示了歌德日益增长的独立性。
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Pub Date : 2021-05-04DOI: 10.1080/09593683.2021.1926067
{"title":"In memoriam: Hugh Barr Nisbet (24 August 1940 - 6 February 2021)","authors":"","doi":"10.1080/09593683.2021.1926067","DOIUrl":"https://doi.org/10.1080/09593683.2021.1926067","url":null,"abstract":"","PeriodicalId":40789,"journal":{"name":"Publications of the English Goethe Society","volume":"90 1","pages":"163 - 166"},"PeriodicalIF":0.2,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/09593683.2021.1926067","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43840081","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 : 2021-05-04DOI: 10.1080/09593683.2021.1926066
Karolina Watroba
ABSTRACT Sanatorium Arktur, Konstantin Fedin’s Russian novel of 1940, is fashioned as a communist response to Thomas Mann’s Der Zauberberg (1924). In different ways, Fedin and his characters are shown to be both critical of the ideological backdrop of Mann’s novel and intensely drawn to the story world he portrays. This paper contextualizes a comparative reading of Der Zauberberg and Sanatorium Arktur with reference to discussions of and reactions to Mann’s work by many other communist, Marxist, or generally socially critical readers, ranging from Bertolt Brecht, Vittorio de Sica, and Thomas Bernhard to an anonymous Russian steamship machinist described by Peter Huchel.
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Pub Date : 2021-05-04DOI: 10.1080/09593683.2021.1926060
T. Baynes
ABSTRACT The anonymous translation of Werther that was published by James Dodsley (1724-1797) in 1779 has been attributed to both Daniel Malthus (1730-1800) and Richard Graves (1715-1804). The case for the latter can be appreciably strengthened if the Dodsley Werther is re-examined in the context of Graves’s life and work. The death of his wife in 1777 precipitated an emotional crisis, which could have led him to identify with Goethe’s protagonist. The Dodsley Werther exhibits, moreover, some notable similarities to Graves’s Columella (1779) and Lucubrations (1786) (both of which are indicative of a complex, ambivalent attitude to Goethe’s novel). In the light of these findings, the evidence for Malthus’s authorship of the translation should now be subjected to a thoroughgoing reappraisal.
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Pub Date : 2021-05-04DOI: 10.1080/09593683.2021.1926063
Kevin Hilliard
ABSTRACT This article discusses a pirated translation and edition of a work by the German theologian Gotthilf Samuel Steinbart (1738–1809) and shows that it can be attributed to Jakob Mauvillon (1743–1794), an important figure of the late Radical Enlightenment in Germany. In this Examen des motifs à la vertu (1774) Mauvillon submerges the primary text in a flood of commentary, with the aim of discrediting Steinbart’s claims. Steinbart’s work was itself a response to a treatise by Frederick II of Prussia (1712–1786). Mauvillon’s intervention was intended to warn against the alliance between church and state that he saw emerging in Frederick’s treatise and Steinbart’s response
本文讨论了德国神学家施泰因巴特(1738-1809)的一部作品的盗版翻译，并指出该作品的作者是德国激进启蒙运动后期的重要人物雅各布·莫维隆(1743-1794)。在这本《动机的检验》(Examen des motifs la vertu, 1774)中，莫维龙将主要文本淹没在大量评论中，目的是质疑斯坦巴特的主张。施泰因巴特的工作本身就是对普鲁士的腓特烈二世(1712-1786)的一篇论文的回应。莫维隆的干预是为了警告教会和国家之间的联盟，他在腓特烈的论文和斯坦巴特的回应中看到了这一点
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Pub Date : 2021-01-02DOI: 10.1080/09593683.2021.1887583
B. Murnane
ABSTRACT Coined by Christoph Martin Wieland and promoted by Johann Wolfgang Goethe, Weltliteratur/‘world literature’ has gained extraordinary traction in comparative literature, post-colonial studies, and Goethe studies. This article provides an overview of the emergence of Weltliteratur in Goethe’s critical activities, offering a comparison to its mutation into the contemporary critical framework of world literature. Adopting a genealogical approach, Edward Said’s ‘worldliness’ concept allows a consideration of literature’s materiality — from ‘bibliomigrancy’ (Mani) to the socio-economic locatedness of authors, works, and their critics — in relation to Weltliteratur/world literature. The article concludes with an overview of the essays in this special thematic issue of PEGS on ‘Literature in the World’.
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Pub Date : 2021-01-02DOI: 10.1080/09593683.2021.1887599
Caroline Jessen
ABSTRACT The article explores the ways in which German-Jewish émigré readers in Mandate Palestine/Israel referred to the idea of world literature, and to Goethe as its most prominent proponent, in order to advocate for the continuous significance of ‘German’ literature in spite of the break with tradition that the genocide of European Jewry caused. World literature emerges as a Kassiber, a coded message, enabling German-Jewish readers to hold on to familiar literary texts (and the particular memories tied to them) by adapting them to new ideological contexts as well as to new linguistic and cultural settings.
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