Pub Date : 2019-01-02DOI: 10.1080/09593683.2019.1575030
Katherine Harloe, Lucy Russell
ABSTRACT Over the 250 years since his death, Winckelmann’s posthumously published ’private’ correspondence has shaped understandings of his life and work just as much as his aesthetic and antiquarian writings. While editions appeared as early as the 1770s, the publication of Goethe’s Winkelmann und sein Jahrhundert and the inclusion of two volumes of ’freundschaftliche Briefe’ within Josef Eiselein’s Sämtliche Werke (1825-) marked a new role for the correspondence in the nineteenth-century monumentalising of Winckelmann as a German ’classic’. We suggest that this tradition has generated a distanced, even voyeuristic, perspective on the letters, treating them as windows onto biographical scenes of emotional, and sometimes erotic, intimacy and expression. We criticise some examples of this tendency in recent Winckelmann scholarship, explore the often adventitious steps by which it arose, and, using examples of particular letters, suggest some alternative interpretations.
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Pub Date : 2019-01-02DOI: 10.1080/09593683.2019.1572971
Joanna Neilly
ABSTRACT Wilhelm Müller’s 1824 cycle Die Winterreise, and particularly its final poem ‘Der Leiermann’, are often read as nihilistic expressions of a Romantic death wish. The wanderer moves into a state of eternal alienation, symbolized by the icy landscape where he will forever rehearse his songs of loneliness and despair to the much-maligned music of the outcast hurdy-gurdy man, who has in turn been read as a harbinger of death. This article argues that such readings overlook the radically critical mode taken up by the wanderer when he stops his journey, dismissing a Romantic aesthetics of forwards striving in favour of a (paradoxically) new aesthetics of repetition. The subversive potential of this act is revealed in Elfriede Jelinek’s 2011 play Winterreise, in which a hurdy-gurdy woman challenges a modern culture obsessed with novelty by stubbornly refusing to move. By rereading Müller’s ‘Der Leiermann’ in dialogue with Jelinek’s experimental reworking, we can recognize how both works reject the chimerical lure of the future for the sake of deliberate attention to the present moment. Müller’s poem is not, then, the nadir of a self-destructive Romanticism, but an innovative escape from its logical end.
{"title":"Wilhelm Müller’s Leiermann, Elfriede Jelinek’s Leierfrau, and Radical Repetition","authors":"Joanna Neilly","doi":"10.1080/09593683.2019.1572971","DOIUrl":"https://doi.org/10.1080/09593683.2019.1572971","url":null,"abstract":"ABSTRACT Wilhelm Müller’s 1824 cycle Die Winterreise, and particularly its final poem ‘Der Leiermann’, are often read as nihilistic expressions of a Romantic death wish. The wanderer moves into a state of eternal alienation, symbolized by the icy landscape where he will forever rehearse his songs of loneliness and despair to the much-maligned music of the outcast hurdy-gurdy man, who has in turn been read as a harbinger of death. This article argues that such readings overlook the radically critical mode taken up by the wanderer when he stops his journey, dismissing a Romantic aesthetics of forwards striving in favour of a (paradoxically) new aesthetics of repetition. The subversive potential of this act is revealed in Elfriede Jelinek’s 2011 play Winterreise, in which a hurdy-gurdy woman challenges a modern culture obsessed with novelty by stubbornly refusing to move. By rereading Müller’s ‘Der Leiermann’ in dialogue with Jelinek’s experimental reworking, we can recognize how both works reject the chimerical lure of the future for the sake of deliberate attention to the present moment. Müller’s poem is not, then, the nadir of a self-destructive Romanticism, but an innovative escape from its logical end.","PeriodicalId":40789,"journal":{"name":"Publications of the English Goethe Society","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/09593683.2019.1572971","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42227276","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 : 2018-09-02DOI: 10.1080/09593683.2018.1519927
Caroline Sauter
ABSTRACT This essay demonstrates that the creation of a poetic language of love in the West-östlicher Divan is deeply rooted in a specific tradition within Western intellectual history that Goethe had actively engaged with in his early work, and that was vehemently discussed during his lifetime: namely, the translation, adaptation, and interpretation of the biblical Song of Songs (Hohes Lied). More specifically, I claim that the Song provides the model for the poetic language of love that Goethe develops in the ‘Buch Suleika’, a language which is understandable on at least two levels — on a public level, as orientalist poetry by one of the most eminent poets of his epoch, and on a deeply personal level, as a mutual declaration and confession of love.
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Pub Date : 2018-09-02DOI: 10.1080/09593683.2018.1519926
Charlotte Lee
ABSTRACT This essay explores the role of physical movement and sensation in Goethe’s Märchen, with particular emphasis on the figure of the snake. Movement is essential to the moral resolution of the tale, and the depiction of movement to the inspiration of the reader. Cognitive approaches are deployed to tease out the symbolic significance of the depiction of embodied life in the text and, moreover, to give a more detailed understanding of the effects of the piece on the reader. The article also traces in brief the lineage of modern cognitive approaches, with a particular focus on eighteenth-century aesthetics.
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Pub Date : 2018-09-02DOI: 10.1080/09593683.2018.1519983
Kevin Hilliard, A. Nicholls, W. Wilson
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Pub Date : 2018-09-02DOI: 10.1080/09593683.2018.1519924
Heidi M. Schlipphacke
ABSTRACT Johann Wolfgang Goethe famously includes performances of tableaux vivants in Die Wahlverwandtschaften. The tableau vivant bridges social classes, kinship models, and aesthetic media (painting, sculpture, and drama). This essay argues that the representation of tableaux vivants in Goethe’s novel invites reflections on shifting social forms in the Goethezeit. In dialogue with G.W.F Hegel’s expressed frustration with Goethe’s inclusion of the tableau vivant in his novel, the essay contends that a hybrid aesthetic informs Die Wahlverwandtschaften, complicating assumptions about the centrality of interiority and aesthetic depth in the novel. A semiotics of the tableau vivant is intrinsic to Goethe’s work, inviting a critical reflection on developing kinship structures in the nineteenth century and on the concomitant development of the interior subject in the modern novel.
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Pub Date : 2018-09-02DOI: 10.1080/09593683.2018.1519925
J. O. Jost-Fritz
ABSTRACT Ludwig Tieck’s Italian journey of 1805–6 is usually considered to be a turning point in the life and oeuvre of this author. The poetological and aesthetic differences between works he wrote before and after the time in Italy cannot be ignored. The lived experience of early romanticism turns into ‘remembered romanticism’ in the first decade of the nineteenth century, and in ‘Reisegedichte eines Kranken’ and ‘Rückkehr des Genesenden’, both of which were composed during the Italian journey, the ironic playfulness of ‘Universalpoesie’ seemingly makes way for a realistic view both of experiences gained in Italy and of the contingency of history. However, a closer look at the realism of the ‘Reisegedichte’ reveals traces of exactly that early romanticism from which the poems allegedly depart. The introductory poems, in particular, constitute a poetic and self-referential framework for the double cycle that connects the texts to Tieck’s earlier ideas on aesthetics. Tieck’s realism, this essay argues, is less the result of a complete reorientation in his aesthetics than it is a realignment of early romantic modes of thought.
路德维希·提克1805年至1806年的意大利之旅通常被认为是这位作家一生和作品的转折点。他在意大利前后所写作品在诗学和美学上的差异是不容忽视的。早期浪漫主义的生活经历在19世纪的第一个十年变成了“记忆中的浪漫主义”，在“Reisegedichte eines Kranken”和“rckkehr des Genesenden”中，这两首诗都是在意大利旅行期间创作的，“普遍诗歌”的讽刺戏谑似乎为在意大利获得的经验和历史偶然性的现实主义观点让路。然而，仔细观察“Reisegedichte”的现实主义，就会发现早期浪漫主义的痕迹，而这些诗歌据称是背离了这种浪漫主义。尤其是引言诗，构成了一个诗意和自我指涉的框架，将文本与蒂克早期的美学思想联系起来。本文认为，蒂克的现实主义与其说是他美学完全重新定位的结果，不如说是对早期浪漫主义思想模式的重新调整。
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Pub Date : 2018-05-04DOI: 10.1080/09593683.2018.1485350
Sean Williams
ABSTRACT Specialization, or the division of labour, defined European economies around 1800. The cultural response of German literary writers such as Goethe, Schiller, and the Early German Romantics to the conceptual nexus of consumption and production is well known. But other canonical writers, such as E. T. A. Hoffmann, have been misunderstood in relation to classical-cum-Romantic thought. This essay offers an overview of contemporary authors’ attitudes towards specialization, and to consumer culture around 1800 specifically. It then embeds a close reading of Hoffmann’s story Der Sandmann (1816) into that historical context. Consumerism is the source of Hoffmann’s creativity and becomes the subject of his critique. But it is not the counter-concept of his art. Hoffmann’s literary works achieve their critique of consumption through an immanent form of irony that is enacted within literature as a self-conscious commodity, without transcendence or some theoretical (Hegelian) overcoming. Thus the final part of this article asks how we might describe Hoffmann’s position theoretically, drawing critically upon the twentieth-century thought of Guy Debord.
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Pub Date : 2018-05-04DOI: 10.1080/09593683.2018.1485349
Andrea Speltz
ABSTRACT This article examines the New Right’s reception of Johann Gottfried Herder. In recent years, members of the far-right German media have enlisted the name of Herder in support of their attacks on multiculturalism and globalization. This article probes the historical accuracy of their claims. Although select passages from Herder’s works do indeed lend support to the New Right’s doctrines, a comprehensive examination of the historical and biographical contexts renders the New Right’s appropriation of Herderian thought one-sided and superficial. Herder’s works are characterized by a sustained tension between nationalism and cosmopolitanism, which must be taken into account in any effort (liberal or conservative) to make his thought fruitful for a contemporary context.
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Pub Date : 2018-05-04DOI: 10.1080/09593683.2018.1485351
P. Fortmann
ABSTRACT The article considers Goethe’s engagement with the doctrines of Franz Joseph Gall, the founder of phrenology. Using the sketch of their first face-to-face meeting in the Tag- und Jahreshefte of 1805 as a guide, it argues that Goethe views phrenology through the lens of his scientific methodology and reshapes it accordingly, when needed. In particular, he seeks to render Gall’s account of the skull as the brain’s imprint into a phenomenon worthy of extensive observation and description but still open to interpretation. Moreover, Goethe immediately relates Gall’s anatomical structuring of the brain to the concept of metamorphosis, thus paving the way to integrating organology into his morphology. On occasion, Goethe also succumbs to the allure of the skull that craniology has created, such as when he agrees to give material self-evidence in the form of a face mask.
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