abstract:Recent years have seen an authoritarian turn on a global scale which has stoked worries about the future of democracy and its institutions. Commentators, particularly in the United States, have made widespread comparisons with the 1920s and 1930s that bred fascism. Via a primary focus on a close reading of the fragmentary memoir Geschichte eines Deutschen by Sebastian Haffner (1907–1999), this article problematizes the drawing of historical analogies and assesses their validity and utility. Re-reading Haffner points to significant differences and also certain parallels between the experience of Weimar Germany and the political landscape of the present-day United States.
近年来，全球范围内出现了威权主义的转变，这引发了人们对民主及其制度未来的担忧。评论家们，尤其是美国的评论家，普遍将其与滋生法西斯主义的上世纪二三十年代进行比较。通过对塞巴斯蒂安·哈夫纳(Sebastian Haffner, 1907-1999)的散文集《德意志人的历史》(Geschichte eines Deutschen)的仔细阅读，本文对历史类比的绘制提出了质疑，并评估了它们的有效性和实用性。重新阅读哈夫纳指出，魏玛德国的经历与当今美国的政治格局之间存在重大差异，也存在某些相似之处。
{"title":"Revisiting Sebastian Haffner’s memoir Geschichte eines Deutschen in the Context of Contemporary Political Trends","authors":"F. Finlay","doi":"10.1353/gsr.2023.0038","DOIUrl":"https://doi.org/10.1353/gsr.2023.0038","url":null,"abstract":"abstract:Recent years have seen an authoritarian turn on a global scale which has stoked worries about the future of democracy and its institutions. Commentators, particularly in the United States, have made widespread comparisons with the 1920s and 1930s that bred fascism. Via a primary focus on a close reading of the fragmentary memoir Geschichte eines Deutschen by Sebastian Haffner (1907–1999), this article problematizes the drawing of historical analogies and assesses their validity and utility. Re-reading Haffner points to significant differences and also certain parallels between the experience of Weimar Germany and the political landscape of the present-day United States.","PeriodicalId":43954,"journal":{"name":"German Studies Review","volume":"46 1","pages":"207 - 225"},"PeriodicalIF":0.2,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45717971","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
abstract:Few contemporary authors challenge the binaries that govern our reading experience—mind/body, fictional/real, self/other—like Juli Zeh does. She creates fictional worlds in which the material body, the physical environment, and the world of discourse are shown to be enmeshed; collapses distinctions between fictional and real worlds; and foregrounds the material body within her own political discourse. Zeh’s works thus provide an opportunity to think through the role of embodiment when we read fiction. I contend that reading Zeh through Stacy Alaimo’s concept of trans-corporeality supports findings in the neurosciences on “embodied semantics.” Reading fiction is a full-body endeavor.
{"title":"Beyond the Simulation: Reading, Trans-Corporeality, and Juli Zeh","authors":"Necia Chronister","doi":"10.1353/gsr.2023.0039","DOIUrl":"https://doi.org/10.1353/gsr.2023.0039","url":null,"abstract":"abstract:Few contemporary authors challenge the binaries that govern our reading experience—mind/body, fictional/real, self/other—like Juli Zeh does. She creates fictional worlds in which the material body, the physical environment, and the world of discourse are shown to be enmeshed; collapses distinctions between fictional and real worlds; and foregrounds the material body within her own political discourse. Zeh’s works thus provide an opportunity to think through the role of embodiment when we read fiction. I contend that reading Zeh through Stacy Alaimo’s concept of trans-corporeality supports findings in the neurosciences on “embodied semantics.” Reading fiction is a full-body endeavor.","PeriodicalId":43954,"journal":{"name":"German Studies Review","volume":"46 1","pages":"227 - 245"},"PeriodicalIF":0.2,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46724569","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
abstract:This article investigates two contemporary German documentaries that attempt to look beyond negative stereotypes of North Korea: Eine Postkarte aus Pjöngjang (Gregor Möllers and Anne Lewald, 2019) and Meine Brüder und Schwestern im Norden (Cho Sung-hyung, 2016). I argue that the films put forward “a temporality of imminent, never-consummated arrival” by projecting multifaceted imagination onto the natural and urban landscapes of North Korea. In Postcard, the future of transnational solidarity has remained forestalled from the GDR era to the present; in Cho’s film, the affect of ethnic unity is suspended in a perpetual oscillation between identification and non-belonging.
本文调查了两部试图超越对朝鲜负面刻板印象的当代德国纪录片:Eine Postkarte aus Pjöngjang (Gregor Möllers and Anne Lewald, 2019)和Meine brder und Schwestern im Norden (Cho Sung-hyung, 2016)。我认为，这些电影通过将多方面的想象力投射到朝鲜的自然和城市景观上，提出了“一种迫在眉睫、从未实现的短暂性”。在《明信片》中，从民主德国时代到现在，跨国团结的未来一直处于停滞状态;在赵的电影中，民族团结的影响在身份认同和非归属之间的永恒摇摆中暂停。
{"title":"“A Temporality of Imminent, Never-Consummated Arrival”: Contemporary German Documentaries on North Korea","authors":"Qing Zhou","doi":"10.1353/gsr.2023.0042","DOIUrl":"https://doi.org/10.1353/gsr.2023.0042","url":null,"abstract":"abstract:This article investigates two contemporary German documentaries that attempt to look beyond negative stereotypes of North Korea: Eine Postkarte aus Pjöngjang (Gregor Möllers and Anne Lewald, 2019) and Meine Brüder und Schwestern im Norden (Cho Sung-hyung, 2016). I argue that the films put forward “a temporality of imminent, never-consummated arrival” by projecting multifaceted imagination onto the natural and urban landscapes of North Korea. In Postcard, the future of transnational solidarity has remained forestalled from the GDR era to the present; in Cho’s film, the affect of ethnic unity is suspended in a perpetual oscillation between identification and non-belonging.","PeriodicalId":43954,"journal":{"name":"German Studies Review","volume":"46 1","pages":"285 - 305"},"PeriodicalIF":0.2,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44772280","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Stimulated by pertinent anniversaries, researchers have reexamined the history of the Thirty Years’ War in recent years. A noteworthy aspect has been the widespread focus on individual suffering. Sigrun Haude’s study of personal experiences and coping strategies during the great central European cataclysm of the seventeenth century fits in perfectly with this scholarly reorientation. Having analyzed the confessional era in central Europe in several previous books, Haude came well-prepared for her task. In her current study, she explores how people tried to survive the Thirty Years’ War; on what resources they drew to endure violence, hunger, loss, and disease; and how they tried to make sense of a conflict that appeared ever more meaningless (6). To answer these questions, she primarily turns to well-known contemporary diaries, which she complements with archival sources from southern German archives. Haude centers her investigation on Bavaria and Franconia, which provides for both regional proximity and denominational variation, as Bavaria was strictly Catholic, whereas significant parts of Franconia were Lutheran. The core of the study draws on personal accounts by members of the clergy. These sources might be described as ego-documents, but Haude considers this term insufficient because the texts are strongly colored by their social context and thus reflect more than an individual perspective. Most important for the study are the testimonies provided by the Augustine prioress Clara Staiger, the Benedictine abbots Maurus Friesenegger and Veit Höser, the Dominican nun Maria Anna Junius, and the Lutheran pastor Bartholomäus Dietwar. These personal accounts show a complex web of experiences. Most universally, they express fear. Life had lost all stability—people lived in constant expectation of violence, dislocation, hunger, and poverty. Local governments tried to ameliorate these consequences of war but to little avail. In fact, troops sent to protect the populace were just as likely to commit violence or cause starvation as the invading armies they were supposed to repel. The ravages of war deepened the need for protection not only in military terms but also in spiritual terms. With regard to the latter, the religious remedies offered by the churches frequently proved insufficient, which increased the demand for more unorthodox measures commonly denoted as magic. Another source of resilience was humor, which several protagonists were able to muster even during the most challenging periods. Finally, some of the authors also describe the possibility of respectful interactions and exchanges between supposed enemies. Oftentimes it
在相关纪念日的刺激下，研究人员近年来重新审视了三十年战争的历史。一个值得注意的方面是对个人痛苦的广泛关注。西格伦·豪德对17世纪中欧大灾难期间的个人经历和应对策略的研究完全符合这种学术的重新定位。Haude在之前的几本书中分析了中欧的忏悔时代，她为自己的任务做好了充分的准备。在她目前的研究中，她探讨了人们如何试图在三十年战争中幸存下来;他们依靠什么资源来忍受暴力、饥饿、损失和疾病;以及他们如何试图理解一场似乎越来越无意义的冲突(6)。为了回答这些问题，她主要求助于著名的当代日记，她补充了来自德国南部档案馆的档案资料。Haude将她的研究集中在巴伐利亚和弗朗哥尼亚，这提供了区域接近和教派差异，因为巴伐利亚是严格的天主教徒，而弗朗哥尼亚的大部分是路德教徒。这项研究的核心是神职人员的个人描述。这些来源可能被描述为自我文件，但Haude认为这个词是不够的，因为这些文本被他们的社会背景强烈地着色，因此反映的不仅仅是个人的观点。这项研究最重要的证据是奥古斯丁修道院院长克拉拉·斯泰格、本笃会修道院院长Maurus Friesenegger和Veit Höser、多米尼加修女Maria Anna Junius和路德会牧师Bartholomäus Dietwar提供的证词。这些个人描述显示了一个复杂的经历网络。最普遍的是，他们表达了恐惧。生活完全失去了稳定——人们生活在暴力、流离失所、饥饿和贫困的预期之中。地方政府试图改善这些战争的后果，但收效甚微。事实上，被派去保护民众的军队与他们本应击退的入侵军队一样，有可能实施暴力或造成饥荒。战争的破坏不仅在军事上而且在精神上加深了对保护的需要。对于后者，教会提供的宗教补救措施往往被证明是不够的，这增加了对通常被称为魔法的非正统措施的需求。韧性的另一个来源是幽默，即使在最具挑战性的时期，几个主角也能鼓起勇气。最后，一些作者还描述了假想的敌人之间相互尊重的互动和交流的可能性。通常它
{"title":"Coping With Life during the Thirty Years’ War (1618–1648) by Sigrun Haude (review)","authors":"Peter Thaler","doi":"10.1353/gsr.2023.0049","DOIUrl":"https://doi.org/10.1353/gsr.2023.0049","url":null,"abstract":"Stimulated by pertinent anniversaries, researchers have reexamined the history of the Thirty Years’ War in recent years. A noteworthy aspect has been the widespread focus on individual suffering. Sigrun Haude’s study of personal experiences and coping strategies during the great central European cataclysm of the seventeenth century fits in perfectly with this scholarly reorientation. Having analyzed the confessional era in central Europe in several previous books, Haude came well-prepared for her task. In her current study, she explores how people tried to survive the Thirty Years’ War; on what resources they drew to endure violence, hunger, loss, and disease; and how they tried to make sense of a conflict that appeared ever more meaningless (6). To answer these questions, she primarily turns to well-known contemporary diaries, which she complements with archival sources from southern German archives. Haude centers her investigation on Bavaria and Franconia, which provides for both regional proximity and denominational variation, as Bavaria was strictly Catholic, whereas significant parts of Franconia were Lutheran. The core of the study draws on personal accounts by members of the clergy. These sources might be described as ego-documents, but Haude considers this term insufficient because the texts are strongly colored by their social context and thus reflect more than an individual perspective. Most important for the study are the testimonies provided by the Augustine prioress Clara Staiger, the Benedictine abbots Maurus Friesenegger and Veit Höser, the Dominican nun Maria Anna Junius, and the Lutheran pastor Bartholomäus Dietwar. These personal accounts show a complex web of experiences. Most universally, they express fear. Life had lost all stability—people lived in constant expectation of violence, dislocation, hunger, and poverty. Local governments tried to ameliorate these consequences of war but to little avail. In fact, troops sent to protect the populace were just as likely to commit violence or cause starvation as the invading armies they were supposed to repel. The ravages of war deepened the need for protection not only in military terms but also in spiritual terms. With regard to the latter, the religious remedies offered by the churches frequently proved insufficient, which increased the demand for more unorthodox measures commonly denoted as magic. Another source of resilience was humor, which several protagonists were able to muster even during the most challenging periods. Finally, some of the authors also describe the possibility of respectful interactions and exchanges between supposed enemies. Oftentimes it","PeriodicalId":43954,"journal":{"name":"German Studies Review","volume":"46 1","pages":"317 - 318"},"PeriodicalIF":0.2,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47061046","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Forms of Life: Aesthetics and Biopolitics in German Culture by Andreas Gailus (review)","authors":"Johannes Türk","doi":"10.1353/gsr.2023.0048","DOIUrl":"https://doi.org/10.1353/gsr.2023.0048","url":null,"abstract":"","PeriodicalId":43954,"journal":{"name":"German Studies Review","volume":"46 1","pages":"331 - 333"},"PeriodicalIF":0.2,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43447694","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
the film is in critical dialogue with Walter Benjamin’s views on childhood and youth; recent developments in cinema and the rise of child stars in Hollywood; and the current political situation between Nazi Germany and France. It is less clear how the text, based on a “Rashomon effect” of subjective perception, should be read not only as a plea for political realism and enlightenment but also as a critique of the Enlightenment famously elaborated in his “Ornament der Masse” (1927), as Rühse argues (210–212). Chapter six starts with the observation that Kracauer intended in his “Marseiller Entwurf,” his most developed attempt to write a book on film during his last year in France (1940/1941), to include a final chapter on one of Eisenstein’s unfinished film projects in Mexico, the short film Death Day (1934), independently edited by Sol Lesser. While Kracauer’s view of Eisenstein turned more critical in his Theory of Film towards the end of his life, Rühse pursues the striking claim that Kracauer’s theory of film originally hinged on his—misguided—understanding of Eisenstein’s political film work in Mexico and his view of the relationship between film and death, of which only a brief and enigmatic passage survives as a draft for an introduction to his “Marseiller Entwurf” (237). The book closes with a concise resume (chapter seven) that will prove useful for a hurried reader of Rühse’s work, as it contains several insights for scholars interested in Kracauer, film history, and cultural histories of Weimar Germany. In addition, Rühse’s book includes towards the ends of the chapters several passages that “update” Kracauer’s early work by connecting it further to literature, art, architecture, and film, including works by the French author and former cashier Anna Sam and the American artist Edward Hopper, contemporary dine-in cinema in New York, the Swiss short film Sounds of Nature (2013) by Simon Weber, as well as recent Academy award winners such as The Great Beauty by Paolo Sorrentino (2013) and Coco by Lee Unkrich and Adrian Molina (2017). These digressions, while largely convincing in their respective analyses, leave the reader somewhat puzzled, as their relevance to the book largely rests on the fact that motifs of early cinema persist—as mirrors—under considerably different circumstances in the contemporary popular culture of the Western world. Frederic Ponten, University of Regensburg
这部电影与沃尔特·本雅明关于童年和青年的观点进行了批判性的对话；电影的最新发展和好莱坞童星的崛起；以及当前纳粹德国和法国之间的政治局势。不太清楚的是，基于主观感知的“罗生门效应”，文本不仅应该被解读为对政治现实主义和启蒙运动的恳求，而且应该被解读成对启蒙运动的批判，正如Rühse所说（210-212），在他的《大众的装饰》（1927）中著名地阐述了这一点。第六章从克拉考在他的《马赛恩特武夫》（Marseille Entwurf）中的观察开始，这是他在法国的最后一年（1940/1941）写一本关于电影的书的最新尝试，其中包括爱森斯坦在墨西哥未完成的电影项目之一的最后一章，由索尔·莱瑟独立编辑的短片《死亡日》（1934）。虽然克拉考对爱森斯坦的看法在他生命的尽头在他的电影理论中变得更加批判性，但Rühse提出了一个惊人的主张，即克拉考的电影理论最初取决于他对爱森斯斯坦在墨西哥的政治电影工作的被误导的理解，以及他对电影与死亡之间关系的看法，其中只有一段简短而神秘的段落作为介绍他的《马赛恩特武夫》（237）的草稿留存下来。这本书以一份简洁的简历（第七章）结尾，这将对匆匆阅读吕塞斯作品的读者有用，因为它包含了对克拉考、电影史和魏玛德国文化史感兴趣的学者的一些见解。此外，Rühse的书在章节末包括了几段“更新”克拉考早期作品的段落，将其进一步与文学、艺术、建筑和电影联系起来，其中包括法国作家、前收银员Anna Sam和美国艺术家Edward Hopper的作品，纽约的当代影院用餐，西蒙·韦伯（Simon Weber）的瑞士短片《自然之声》（Sounds of Nature）（2013），以及最近的奥斯卡奖得主，如保罗·索伦蒂诺（Paolo Sorrentino）的《大美人》（2013）和李·昂克里奇（Lee Unkrich）和阿德里安·莫利纳（Adrian Molina）的《可可》（2017）。这些离题虽然在各自的分析中基本上令人信服，但却让读者感到有些困惑，因为它们与本书的相关性很大程度上取决于这样一个事实，即早期电影的主题在西方世界当代流行文化中相当不同的情况下仍然存在——就像镜子一样。弗雷德里克·庞滕，雷根斯堡大学
{"title":"Heidegger in the Literary World: Variations on Poetic Thinking ed. by Florian Grosser and Nassima Sahraoui (review)","authors":"Elias Schwieler","doi":"10.1353/gsr.2023.0025","DOIUrl":"https://doi.org/10.1353/gsr.2023.0025","url":null,"abstract":"the film is in critical dialogue with Walter Benjamin’s views on childhood and youth; recent developments in cinema and the rise of child stars in Hollywood; and the current political situation between Nazi Germany and France. It is less clear how the text, based on a “Rashomon effect” of subjective perception, should be read not only as a plea for political realism and enlightenment but also as a critique of the Enlightenment famously elaborated in his “Ornament der Masse” (1927), as Rühse argues (210–212). Chapter six starts with the observation that Kracauer intended in his “Marseiller Entwurf,” his most developed attempt to write a book on film during his last year in France (1940/1941), to include a final chapter on one of Eisenstein’s unfinished film projects in Mexico, the short film Death Day (1934), independently edited by Sol Lesser. While Kracauer’s view of Eisenstein turned more critical in his Theory of Film towards the end of his life, Rühse pursues the striking claim that Kracauer’s theory of film originally hinged on his—misguided—understanding of Eisenstein’s political film work in Mexico and his view of the relationship between film and death, of which only a brief and enigmatic passage survives as a draft for an introduction to his “Marseiller Entwurf” (237). The book closes with a concise resume (chapter seven) that will prove useful for a hurried reader of Rühse’s work, as it contains several insights for scholars interested in Kracauer, film history, and cultural histories of Weimar Germany. In addition, Rühse’s book includes towards the ends of the chapters several passages that “update” Kracauer’s early work by connecting it further to literature, art, architecture, and film, including works by the French author and former cashier Anna Sam and the American artist Edward Hopper, contemporary dine-in cinema in New York, the Swiss short film Sounds of Nature (2013) by Simon Weber, as well as recent Academy award winners such as The Great Beauty by Paolo Sorrentino (2013) and Coco by Lee Unkrich and Adrian Molina (2017). These digressions, while largely convincing in their respective analyses, leave the reader somewhat puzzled, as their relevance to the book largely rests on the fact that motifs of early cinema persist—as mirrors—under considerably different circumstances in the contemporary popular culture of the Western world. Frederic Ponten, University of Regensburg","PeriodicalId":43954,"journal":{"name":"German Studies Review","volume":"46 1","pages":"169 - 171"},"PeriodicalIF":0.2,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42953211","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Interest in the mid-twentieth-century German Jewish political theorist Hannah Arendt seems to be anything but waning. For many, it seems, she remains an important companion to come to grips with the contemporary world, how it came to be, and how scared or hopeful we should feel. The three books reviewed here are centered on significantly different themes, but they all reflect thought-provoking attempts to keep Arendt as a companion for thinking about the present, even when they deal with the past or with seemingly abstract philosophical questions. Toward the end of the introduction to her biography on Arendt, Samantha Rose Hill notes that while Arendt did not expect her poems, journals, and love letters to be made public, she might have imagined others “discovering her papers and finding friendship in them as she had done with Rahel [Varnhagen]” (15). Perhaps more than anything, Hill’s biography is indeed an intimate portrayal of Arendt, as if she was writing about an old friend. It is an especially common tendency among commentators on Arendt to write either with a sense of palpable hostility or, as here, a strangely deep familiarity and intimacy. One may even speculate that the choice to write a biography of Arendt was driven more by a wish to share this intimacy and familiarity than by a
{"title":"The Enduring Radicality of Hannah Arendt","authors":"S. Lederman","doi":"10.1353/gsr.2023.0016","DOIUrl":"https://doi.org/10.1353/gsr.2023.0016","url":null,"abstract":"Interest in the mid-twentieth-century German Jewish political theorist Hannah Arendt seems to be anything but waning. For many, it seems, she remains an important companion to come to grips with the contemporary world, how it came to be, and how scared or hopeful we should feel. The three books reviewed here are centered on significantly different themes, but they all reflect thought-provoking attempts to keep Arendt as a companion for thinking about the present, even when they deal with the past or with seemingly abstract philosophical questions. Toward the end of the introduction to her biography on Arendt, Samantha Rose Hill notes that while Arendt did not expect her poems, journals, and love letters to be made public, she might have imagined others “discovering her papers and finding friendship in them as she had done with Rahel [Varnhagen]” (15). Perhaps more than anything, Hill’s biography is indeed an intimate portrayal of Arendt, as if she was writing about an old friend. It is an especially common tendency among commentators on Arendt to write either with a sense of palpable hostility or, as here, a strangely deep familiarity and intimacy. One may even speculate that the choice to write a biography of Arendt was driven more by a wish to share this intimacy and familiarity than by a","PeriodicalId":43954,"journal":{"name":"German Studies Review","volume":"46 1","pages":"145 - 151"},"PeriodicalIF":0.2,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42245637","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Reviewed by: Goethe's Wilhelm Meister's Apprenticeship and Philosophy ed. by Sarah Vandegrift Eldridge and C. Allen Speight Tanvi Solanki Goethe's Wilhelm Meister's Apprenticeship and Philosophy. Edited by Sarah Vandegrift Eldridge and C. Allen Speight. New York: Oxford University Press, 2020. Pp. 296. Paper $39.81. ISBN 978-0190859251. Philosophical approaches to Goethe's oeuvre generally do not include Wilhelm Meister's Apprenticeship, but rather Goethe's morphology, theory of colors, or explicit literary engagements with philosophers such as Spinoza. Wilhelm Meister's Apprenticeship, a novel of formation or a Bildungsroman, tells of a young man from a well-off merchant family, who rebels against his father and flees his home to join precarious traveling theater troupes, falls in love and has several affairs, and eventually is somewhat socialized into bourgeois society. It is unusual to suggest that it is a philosophical novel or philosophy as such. As of 2021, the collaborative "Goethe-Lexicon of Philosophical Concepts" treats Goethe as a philosopher rather than a poet, dramatist, or novelist and selects terms treated as philosophical rather than poetic concepts, most of which do not concern Wilhelm Meister specifically. Eldridge and Speight's timely volume can thus be situated as a valuable contribution to recent debates about how Goethe's literary works can be approached philosophically. The editors seek to explore what the particularities of a work of literature can tell us about universal and fundamental questions about life such as gender and sexuality, contingency, and authority. Rather than limiting their aim to argue for the novel to be included within the Western philosophical canon, the editors seek to redefine what would and would not count as a philosophical question, and how such questions could be best addressed in the open-ended, all-inclusive genre of the novel. While this might be new to some contemporary philosophers, especially those hailing from the Anglo-American tradition of analytic philosophy, it is still worth emphasizing, though it was already an inspiration for Friedrich Schlegel's 1799 philosophical novel Lucinde. For anyone reading, writing about, and teaching Wilhelm Meister in the current political climate, the question concerning the protagonist Wilhelm's identity is unavoidable. It is no longer possible to treat as unmarked and normative that the central figure of Goethe's hugely influential Bildungsroman hails from a wealthy [End Page 155] family and is a white, heterosexual, European male who has the privilege to opt to lead a wayward life of an artist who earns little or no money, though he has the option to follow his father's profession as a businessman. While the editors acknowledge Wilhelm's privileged identity, they argue that the novel nonetheless has relevance today and raises important questions with which all can engage. One strength of the volume is its inclusion of a collection of high-quality ess
由Sarah vandergrift Eldridge和C. Allen Speight Tanvi Solanki编辑的歌德的Wilhelm Meister的学徒和哲学。由莎拉·范德格里夫特·埃尔德里奇和c·艾伦·斯佩特编辑。纽约:牛津大学出版社，2020。296页。论文39.81美元。ISBN 978 - 0190859251。对歌德作品的哲学研究通常不包括威廉·迈斯特的《学徒》，而是包括歌德的形态学、色彩理论或与斯宾诺莎等哲学家的明确文学接触。威廉·梅斯特的《学徒》是一部成长小说，讲述了一个来自富裕商人家庭的年轻人反抗父亲，逃离家园，加入岌岌可危的流动剧团，坠入爱河，经历了几次婚外情，最终在某种程度上融入了资产阶级社会。说它是一部哲学小说或哲学本身是不寻常的。截至2021年，《歌德哲学概念词典》(Goethe- lexicon of Philosophical Concepts)将歌德视为哲学家，而不是诗人、戏剧家或小说家，并选择了被视为哲学概念而不是诗歌概念的术语，其中大多数术语与威廉·迈斯特(Wilhelm Meister)无关。因此，埃尔德里奇和斯佩特的这本及时的著作可以被视为对最近关于如何从哲学角度看待歌德文学作品的辩论的宝贵贡献。编辑们试图探索文学作品的特殊性可以告诉我们关于生活的普遍和基本问题，如性别和性，偶然性和权威。编辑们并没有将他们的目标局限于将小说纳入西方哲学经典，而是试图重新定义什么可以算作哲学问题，什么不可以算作哲学问题，以及如何在开放式、包罗万象的小说类型中最好地解决这些问题。虽然这对一些当代哲学家来说可能是新的，尤其是那些来自英美分析哲学传统的哲学家，但它仍然值得强调，尽管它已经是弗里德里希·施莱格尔1799年哲学小说《露辛德》的灵感来源。对于任何在当前政治气候下阅读、写作和教授威廉·迈斯特的人来说，关于主人公威廉的身份的问题是不可避免的。歌德这部极具影响力的成长小说的中心人物来自一个富裕的家庭，是一个白人、异性恋的欧洲男性，他有权选择过一种随心所欲的艺术家生活，收入很少或根本没有，尽管他也可以选择跟随父亲的职业，成为一名商人，但这已经不可能被视为平淡无奇和规范的了。虽然编辑们承认威廉的特权身份，但他们认为，这部小说在今天仍然具有相关性，并提出了所有人都可以参与的重要问题。这本书的一个优点是它包含了一系列高质量的文章，这些文章代表了从方法论上不同的角度来思考这部小说与更广泛的、普遍可理解的问题的相关性，这些问题不局限于威廉的时间、地点、阶级和其他特点。这与歌德自己的观点一致，即个人是由不断变化的历史环境动态塑造的。如果作者在他们出色的引言中明确了文章组织的原则，那将是有帮助的。也有一些人提到威廉·迈斯特是现代性的先驱，但现代性这个词本身相对模糊。质疑“现代性”的假设将是富有成效的，“现代性”是一个经常被抛出而没有批判性定义或重新定义的术语，并进一步探讨本书寻求解决的普遍主题是否确实是普遍的。卷开始与Eckart Förster的文章，巧妙地翻译由埃尔德里奇和斯贝特，其中讨论了歌德作为一个哲学家，特别是通过他的研究自然。斯佩特的第二章主张整部小说的可修正性，为哲学思辨提供了一种开放性。埃尔德里奇的第三篇文章对小说中的许多情节进行了娴熟而细致的分析，并在语言学上与小说的早期草稿《戏剧》(Theatralische Sendung)进行了严密的比较，这让人印象深刻，它展示了这部小说如何教会我们利用叙事方向来管理生活中的偶然性。伊丽莎白……
{"title":"Goethe's Wilhelm Meister's Apprenticeship and Philosophy ed. by Sarah Vandegrift Eldridge and C. Allen Speight","authors":"Tanvi Solanki","doi":"10.1353/gsr.2023.0018","DOIUrl":"https://doi.org/10.1353/gsr.2023.0018","url":null,"abstract":"Reviewed by: Goethe's Wilhelm Meister's Apprenticeship and Philosophy ed. by Sarah Vandegrift Eldridge and C. Allen Speight Tanvi Solanki Goethe's Wilhelm Meister's Apprenticeship and Philosophy. Edited by Sarah Vandegrift Eldridge and C. Allen Speight. New York: Oxford University Press, 2020. Pp. 296. Paper $39.81. ISBN 978-0190859251. Philosophical approaches to Goethe's oeuvre generally do not include Wilhelm Meister's Apprenticeship, but rather Goethe's morphology, theory of colors, or explicit literary engagements with philosophers such as Spinoza. Wilhelm Meister's Apprenticeship, a novel of formation or a Bildungsroman, tells of a young man from a well-off merchant family, who rebels against his father and flees his home to join precarious traveling theater troupes, falls in love and has several affairs, and eventually is somewhat socialized into bourgeois society. It is unusual to suggest that it is a philosophical novel or philosophy as such. As of 2021, the collaborative \"Goethe-Lexicon of Philosophical Concepts\" treats Goethe as a philosopher rather than a poet, dramatist, or novelist and selects terms treated as philosophical rather than poetic concepts, most of which do not concern Wilhelm Meister specifically. Eldridge and Speight's timely volume can thus be situated as a valuable contribution to recent debates about how Goethe's literary works can be approached philosophically. The editors seek to explore what the particularities of a work of literature can tell us about universal and fundamental questions about life such as gender and sexuality, contingency, and authority. Rather than limiting their aim to argue for the novel to be included within the Western philosophical canon, the editors seek to redefine what would and would not count as a philosophical question, and how such questions could be best addressed in the open-ended, all-inclusive genre of the novel. While this might be new to some contemporary philosophers, especially those hailing from the Anglo-American tradition of analytic philosophy, it is still worth emphasizing, though it was already an inspiration for Friedrich Schlegel's 1799 philosophical novel Lucinde. For anyone reading, writing about, and teaching Wilhelm Meister in the current political climate, the question concerning the protagonist Wilhelm's identity is unavoidable. It is no longer possible to treat as unmarked and normative that the central figure of Goethe's hugely influential Bildungsroman hails from a wealthy [End Page 155] family and is a white, heterosexual, European male who has the privilege to opt to lead a wayward life of an artist who earns little or no money, though he has the option to follow his father's profession as a businessman. While the editors acknowledge Wilhelm's privileged identity, they argue that the novel nonetheless has relevance today and raises important questions with which all can engage. One strength of the volume is its inclusion of a collection of high-quality ess","PeriodicalId":43954,"journal":{"name":"German Studies Review","volume":"58 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135003427","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
These questions should be discussed in a polyphonic way in German studies, as they also trigger a reflection on the discipline itself. Can German studies—here I refer to Max Czollek’s quote at the beginning of my paper—really afford to exclude a significant portion of society (students, readers, scholars, etc.)? The answer is clearly no. Falling student numbers show that German studies must expand to include new content, methods, and theories, and critically question itself. Black German literature is not a trend, but has long been a part of German society, and it should be treated with such respect. I see my research as a contribution against its simplification, marginalization, and racialization. For the near future, I would like to see Black German literature brought into the spotlight as a part of literary history and society in all its beauty, complexity, and plurality. If German studies wants to continue to exist and become part of a pluralistic society, it must change, or it will no longer be.
{"title":"Ideologies on Learner Subjectivity in the German Integration Course","authors":"Richmond Embeywa","doi":"10.1353/gsr.2023.0009","DOIUrl":"https://doi.org/10.1353/gsr.2023.0009","url":null,"abstract":"These questions should be discussed in a polyphonic way in German studies, as they also trigger a reflection on the discipline itself. Can German studies—here I refer to Max Czollek’s quote at the beginning of my paper—really afford to exclude a significant portion of society (students, readers, scholars, etc.)? The answer is clearly no. Falling student numbers show that German studies must expand to include new content, methods, and theories, and critically question itself. Black German literature is not a trend, but has long been a part of German society, and it should be treated with such respect. I see my research as a contribution against its simplification, marginalization, and racialization. For the near future, I would like to see Black German literature brought into the spotlight as a part of literary history and society in all its beauty, complexity, and plurality. If German studies wants to continue to exist and become part of a pluralistic society, it must change, or it will no longer be.","PeriodicalId":43954,"journal":{"name":"German Studies Review","volume":"46 1","pages":"127 - 130"},"PeriodicalIF":0.2,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44185712","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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