Pub Date : 2020-09-01DOI: 10.1080/09593683.2020.1829234
Andrea Polaschegg
ABSTRACT This essay sees Goethe’s West-östlicher Divan in the twofold tension between the cryptic and clarity, exclusivity and popularity that has shaped the reception of the cycle for the last two hundred years. It follows the traces of the lied — defined by contemporaries as ‘popular’ — through the Divan poems and their uses in the nineteenth century and finally examines in more detail the de-popularizing strategies of the major ‘re-discoverers’ of the collection around 1900.
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Pub Date : 2020-09-01DOI: 10.1080/09593683.2020.1829198
Amir Irani-Tehrani
ABSTRACT August von Platen responded to Goethe’s West-östlicher Divan by composing original German ghazals that allowed him to explore his sexuality and relationship to the Fatherland through the rigorous embrace of a foreign poetic form. This ‘Divanic approach’ was neither exoticizing nor Orientalizing because it focused on the pre-existence of the Other within the Self. Platen’s response helps clarify that Goethe called for intracultural dialogue to serve as a prerequisite for intercultural engagement.
{"title":"Public and Poetic Wars of Liberation: August von Platen’s Ghazals, Patriotism, and Homoeroticism","authors":"Amir Irani-Tehrani","doi":"10.1080/09593683.2020.1829198","DOIUrl":"https://doi.org/10.1080/09593683.2020.1829198","url":null,"abstract":"ABSTRACT August von Platen responded to Goethe’s West-östlicher Divan by composing original German ghazals that allowed him to explore his sexuality and relationship to the Fatherland through the rigorous embrace of a foreign poetic form. This ‘Divanic approach’ was neither exoticizing nor Orientalizing because it focused on the pre-existence of the Other within the Self. Platen’s response helps clarify that Goethe called for intracultural dialogue to serve as a prerequisite for intercultural engagement.","PeriodicalId":40789,"journal":{"name":"Publications of the English Goethe Society","volume":"89 1","pages":"173 - 189"},"PeriodicalIF":0.2,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/09593683.2020.1829198","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43407093","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 : 2020-09-01DOI: 10.1080/09593683.2020.1829269
James Hodkinson
ABSTRACT This paper examines two works of contemporary art, a sculpture-cum-civic monument and a sound installation, which respond to Goethe’s Divan. The discussion combines a critical review of the political climate within which the works were conceived with original interviews with the artists to offer close analysis of the works. I evaluate the relative impact that the Divan and scholarship on it had upon the two works. I further ask whether the artists and their sponsors felt compelled to downplay more contentious themes found in that legacy, given the ideal of intercivilizational dialogue so prominent in the discourses of German-Iranian cultural diplomacy. The paper offsets this critical reading, however, by highlighting the quite sophisticated treatments of occidental-oriental relations achieved by both works within their respective media.
{"title":"The Hafis-Goethe-Denkmal and Cultural Sounds? as Artistic Responses to Goethe’s Divan: Between Close Reading and Cultural Politics","authors":"James Hodkinson","doi":"10.1080/09593683.2020.1829269","DOIUrl":"https://doi.org/10.1080/09593683.2020.1829269","url":null,"abstract":"ABSTRACT This paper examines two works of contemporary art, a sculpture-cum-civic monument and a sound installation, which respond to Goethe’s Divan. The discussion combines a critical review of the political climate within which the works were conceived with original interviews with the artists to offer close analysis of the works. I evaluate the relative impact that the Divan and scholarship on it had upon the two works. I further ask whether the artists and their sponsors felt compelled to downplay more contentious themes found in that legacy, given the ideal of intercivilizational dialogue so prominent in the discourses of German-Iranian cultural diplomacy. The paper offsets this critical reading, however, by highlighting the quite sophisticated treatments of occidental-oriental relations achieved by both works within their respective media.","PeriodicalId":40789,"journal":{"name":"Publications of the English Goethe Society","volume":"89 1","pages":"238 - 258"},"PeriodicalIF":0.2,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/09593683.2020.1829269","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43518443","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 : 2020-09-01DOI: 10.1080/09593683.2020.1829184
P. Fortmann
ABSTRACT Heinrich Heine has long been recognized as an early admirer of Goethe’s Divan. In Die romantische Schule, he issues an enthusiastic endorsement that helped popularize Goethe’s late poetry in the French-speaking world, and in his own poetic production, above all in Buch der Lieder, he repeatedly orients himself eastwards in terms of settings and designs. This article considers the language of flowers in Traumbilder I, the allegorical resonances of the Orient in the famous ‘Fichtenbaum’ poem, and the mirroring of Goethe’s Hafiz in the concluding poems of Nordsee II, ‘Fragen’, ‘Der Phönix’, and ‘Im Hafen’. Throughout the cycles of his collection, Heine embarks on West-Eastern voyages after Goethe.
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Pub Date : 2020-09-01DOI: 10.1080/09593683.2020.1829142
Hendrik Birus
ABSTRACT The years 1814–19 are often known as Goethe’s ‘Divan years’, because the West-östlicher Divan is the main product of these five years. The article follows, step by step, its genesis after a decade that was probably the most difficult of his life. But what an array of diverse projects were completed or continued: the production of a new edition of his Werke (twenty volumes, 1815–19), the first volumes of his Italienische Reise, the beginning of the ‘Hefte’ Ueber Kunst und Alterthum in den Rhein und Mayn Gegenden and Zur Naturwissenschaft überhaupt, besonders zur Morphologie, as well as a manifold poetic production – the fruits of an unbelievable surge of activity.
摘要1814-19年通常被称为歌德的“迪万年”，因为西方的迪万是这五年的主要产物。这篇文章一步一步地讲述了它的起源，这十年可能是他一生中最艰难的十年。但是，一系列不同的项目已经完成或继续：新版《Werke》（二十卷，1815-19）的制作，意大利Reise的第一卷，Rheinund Mayn Gegenden和Zur Naturwissenschaftüberhaupt的“Hefte”Ueber Kunst und Alterthum的开始，以及多方面的诗歌创作&令人难以置信的活动激增的成果。
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Pub Date : 2020-01-02DOI: 10.1080/09593683.2020.1723314
Jeremy Adler
ABSTRACT This article considers the history of the concept of human dignity from its origins in the Bible and in Stoic philosophy down to the twentieth century. The major thinkers who contributed to the development of the idea are examined, including Pico della Mirandola, Pufendorf, Kant, and Broch. Similarly, the views of contemporary philosophers such as Jürgen Habermas and Martha Nussbaum are considered. The central thesis in this argument, which diverges from the standard view, is that Goethe occupies a pivotal role in this tradition. Goethe’s creation of an organic, holistic and self-reflective view of human dignity established a new paradigm. This innovative concept of dignity as an expression of human growth and self-realization found its way into the UDHR and German Basic Law. It is a position adopted by the German Constitutional Court in several important rulings; and it continues to find an echo in the writings of contemporary philosophers.
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Pub Date : 2020-01-02DOI: 10.1080/09593683.2020.1723322
Gabriel Trop
ABSTRACT The anti-humanism of Kleist’s Über das Marionettentheater — wherein the ideal of grace is supposed to make visible mechanical forces devoid of human self-consciousness — takes the form of a temptation. The text nevertheless has a poetological function inasmuch as temptation lies at the genesis of aesthetic experience for Kleist. The paper examines the potentialities of a form of agonistic reading in response to the challenges posed by Kleist’s aesthetics of temptation, and concludes by considering Die Marquise von O.... as an elaborate ritualistic manipulation designed to integrate transgressive desire into the ethics of civil society.
{"title":"Agonistic Reading: Kleist’s Aesthetics of Temptation","authors":"Gabriel Trop","doi":"10.1080/09593683.2020.1723322","DOIUrl":"https://doi.org/10.1080/09593683.2020.1723322","url":null,"abstract":"ABSTRACT The anti-humanism of Kleist’s Über das Marionettentheater — wherein the ideal of grace is supposed to make visible mechanical forces devoid of human self-consciousness — takes the form of a temptation. The text nevertheless has a poetological function inasmuch as temptation lies at the genesis of aesthetic experience for Kleist. The paper examines the potentialities of a form of agonistic reading in response to the challenges posed by Kleist’s aesthetics of temptation, and concludes by considering Die Marquise von O.... as an elaborate ritualistic manipulation designed to integrate transgressive desire into the ethics of civil society.","PeriodicalId":40789,"journal":{"name":"Publications of the English Goethe Society","volume":"89 1","pages":"76 - 93"},"PeriodicalIF":0.2,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/09593683.2020.1723322","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44901548","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 : 2020-01-02DOI: 10.1080/09593683.2020.1723323
Carolin Duttlinger
ABSTRACT Walter Benjamin’s little-explored 1932 novella ‘Das Taschentuch’ combines theory and narrative practice. Its reflections on storytelling anticipate the argument of the ‘Erzähler’ essay, while its rescue narrative echoes Benjamin’s essay on ‘Goethes Wahlverwandtschaften’. In ‘Das Taschentuch’ Benjamin adapts Goethe’s novella ‘Die wunderlichen Nachbarskinder’ for his own, technological age, considerably increasing the drama of the original. Like his ‘Goethe’ essay, however, Benjamin’s novella is based on a misreading of Goethe’s text. His biased reading reflects the centrality of rescue, Rettung, in his thought and in particular in his later, historical writings, where rescue takes on both a political and an existential dimension.
{"title":"Rescue Narratives: Goethe’s Die Wahlverwandtschaften and Benjamin’s ‘Das Taschentuch’","authors":"Carolin Duttlinger","doi":"10.1080/09593683.2020.1723323","DOIUrl":"https://doi.org/10.1080/09593683.2020.1723323","url":null,"abstract":"ABSTRACT Walter Benjamin’s little-explored 1932 novella ‘Das Taschentuch’ combines theory and narrative practice. Its reflections on storytelling anticipate the argument of the ‘Erzähler’ essay, while its rescue narrative echoes Benjamin’s essay on ‘Goethes Wahlverwandtschaften’. In ‘Das Taschentuch’ Benjamin adapts Goethe’s novella ‘Die wunderlichen Nachbarskinder’ for his own, technological age, considerably increasing the drama of the original. Like his ‘Goethe’ essay, however, Benjamin’s novella is based on a misreading of Goethe’s text. His biased reading reflects the centrality of rescue, Rettung, in his thought and in particular in his later, historical writings, where rescue takes on both a political and an existential dimension.","PeriodicalId":40789,"journal":{"name":"Publications of the English Goethe Society","volume":"89 1","pages":"110 - 94"},"PeriodicalIF":0.2,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/09593683.2020.1723323","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46983679","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 : 2020-01-02DOI: 10.1080/09593683.2020.1723306
R. Ockenden
ABSTRACT Mörike’s poem has been neglected, for various possible reasons, and often misread. The poem’s three time layers are distinct. It has some echoes of Goethe and Voss, uses some Homeric devices, and claims links to Hebel and to Theocritus. The central character is problematic, recalling Odysseus. Despite its title the poem has an elegiac quality.
{"title":"Some Neo-Classical and Classical Eddies in Mörike’s Idylle vom Bodensee","authors":"R. Ockenden","doi":"10.1080/09593683.2020.1723306","DOIUrl":"https://doi.org/10.1080/09593683.2020.1723306","url":null,"abstract":"ABSTRACT Mörike’s poem has been neglected, for various possible reasons, and often misread. The poem’s three time layers are distinct. It has some echoes of Goethe and Voss, uses some Homeric devices, and claims links to Hebel and to Theocritus. The central character is problematic, recalling Odysseus. Despite its title the poem has an elegiac quality.","PeriodicalId":40789,"journal":{"name":"Publications of the English Goethe Society","volume":"89 1","pages":"1 - 16"},"PeriodicalIF":0.2,"publicationDate":"2020-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/09593683.2020.1723306","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42541334","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 : 2020-01-02DOI: 10.1080/09593683.2020.1723320
D. Vecchiato
ABSTRACT This article reconstructs and contextualizes the development of the Vehmic Court motif in late eighteenth- and early nineteenth-century German literature by examining both canonical texts, such as Goethe’s Götz von Berlichingen and Kleist’s Das Käthchen von Heilbronn, and works commonly classified as Trivialliteratur. As a popular subset of Ritter- and Geheimbundliteratur, Secret Tribunal fiction from the Age of Goethe has generally been considered by critics as a merely entertaining genre. A more probing inquiry, however, reveals that the historical material was used to add to historical and political knowledge, to sensitize readers to questions of law and legal process, and to reflect on the problematic nature of human justice.
摘要本文通过对歌德的《伯利钦根》和克莱斯特的《海尔布隆的Käthchen von Heilbronn》等经典文本以及通常被归类为Trivialliteratur的作品的考察，重建并语境化了18世纪末和19世纪初德国文学中车辆法庭主题的发展。歌德时代的《秘密法庭》小说是里特和格海姆邦迪拉图的一个流行子集，评论家们普遍认为它只是一种娱乐类型。然而，更深入的调查表明，这些历史材料被用来增加历史和政治知识，使读者对法律和法律程序问题敏感，并反思人类正义的问题性质。
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