Pub Date : 2023-01-02DOI: 10.1080/00787191.2023.2171033
Helena M. Tomko
This article considers the resonance of Theodor Haecker’s writing within the White Rose movement. Haecker met with the students multiple times in 1942, the year they circulated their first five leaflets, and on 4 February 1943, two weeks before the final leaflet’s distribution. Why did this Catholic inner exile, translator of Newman and Kierkegaard, and one-time Weimar public intellectual speak to the students so powerfully as they conceived their political action and wrote their leaflets? The article draws on recent departures in inner-exile studies to propose that their fluency in the rhetorical techniques of non-conformist discourse in the Third Reich equipped them to embed arguments in their leaflets that were gleaned from the interpretive community within which they encountered Haecker. His final reading to them from his book about theodicy — why things are as they are — offers a case study in reading with care the texts they read with purpose.
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Pub Date : 2023-01-02DOI: 10.1080/00787191.2023.2170956
E. Pilsworth
This article examines the first leaflet produced by the anti-Nazi White Rose group in 1942, focusing on its use of a quotation from Goethe’s festival play Des Epimenides Erwachen. I begin by exploring the appropriation of Goethe by the Nazi Regime, in particular the instrumentalisation of his works during wartime. In contrast, I then consider how the White Rose use their chosen Goethe passage to send an anti-war message and to incite passive resistance, reclaiming Goethe for an anti-Nazi agenda. Finally, I consider the passage’s political significance in Goethe’s own context ca. 1813, which was characteristically ambivalent, reflecting the lack of a singular political, nationalist narrative at the time of the Wars of Liberation.
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Pub Date : 2022-10-02DOI: 10.1080/00787191.2022.2172909
Kwinten Van De Walle
This article focuses on the headpiece engravings produced by the Leipzig-based artist Gottlieb Leberecht Crusius for Magnus Gottfried Lichtwer’s philosophical-didactic poem Das Recht der Vernunft (1758). An analysis of the designs demonstrates how the visual paratexts generate textual meaning and function as an iconic lens, bringing into focus in new ways the abstract contents of the poem. Developing a complex intermedial interpretation in his vignette series, Crusius invites reader-viewers to take part in a symbolic journey of critical reflection and moral self-improvement. The article establishes that Crusius’s illustrations represent a significant metacritical intervention and expanded the text-interpretative potential of the eighteenth-century German illustrative vignette.
本文的重点是由莱比锡艺术家Gottlieb Leberecht Crusius为Magnus Gottfried Lichtwer的哲学说教诗Das Recht der Vernunft(1758)制作的头饰雕刻。通过对这些设计的分析，我们可以看到视觉文本是如何产生文本意义的，并作为一个标志性的镜头，以新的方式聚焦于诗歌的抽象内容。克鲁修斯在他的小插图系列中发展了一种复杂的中间解释，邀请读者-观众参与批判性反思和道德自我完善的象征性旅程。本文确立了克鲁修斯的插图代表了一种重要的元批判干预，并扩展了18世纪德国插图小插图的文本解释潜力。
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Pub Date : 2022-10-02DOI: 10.1080/00787191.2022.2172905
A. Lütteken
Im Laufe des 18. Jahrhunderts wandelten sich Darstellungsformen und Verwendungszusammenhänge von Buchillustrationen auf markante Weise. Ausgehend von der Überlegung, dass dieser Stil- und Funktionswandel schlaglichtartig auch die Errungenschaften des Zeitalters der Aufklärung selbst erhellt, wird im Beitrag der Emanzipationsprozess des Schauens als sukzessive Befreiung von Bildkonventionen typologisch beschrieben. Das Spektrum reicht dabei von den weit verbreiteten, künstlerisch hochwertigen Klassiker-Illustrationen französischer Prägung über erotische Abbildungen zu libertinistischen Texten bis zur Vergegenwärtigung eines Ovid-Texts bei John Collet und Hogarths Sterne-Interpretation. Letztere belegen zudem die besondere Relevanz von Humor und doppelbödiger Ironie bei der Genese eines individualisierten Literaturverständnisses, das durch die Buchkunst weniger bevormundet als befördert worden ist. In diesem Kontext wird schließlich analysiert, wie durch Bilder angereicherte Texte von bedeutenden Literaturkritikern bewertet wurden: Als substantielle Bereicherung dort, wo das Bild als programmatische poetologische Aussage verstanden wurde, aber auch als Zeichen moralischer Verwerflichkeit von Autor wie Buchkünstler dann, wenn Illustrationen Zweideutig-Frivoles im Text drastisch vereindeutigten, was Lessing als unwürdig verurteilte.
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Pub Date : 2022-10-02DOI: 10.1080/00787191.2022.2172906
Daniel Fulda
Der Kostenaufwand für Buchillustrationen, den Verleger und Käufer auf sich nehmen, soll häufig zugleich ästhetische Kostbarkeit signalisieren. Eine spezifischere Wertauszeichnung als ‘Klassiker’ ist zudem möglich vermittels bestimmter Bildsemantiken. Der Beitrag untersucht, wie Frontispize und Kupfertitel im ausgehenden 18. Jahrhundert dafür eingesetzt wurden, dem Publikum ad oculos zu demonstrieren, dass die zeitgenössische deutsche Literatur nun zu Klassikerhöhen aufgestiegen sei. Untersuchungsgegenstand sind sowohl verschiedene Darstellungsstrategien als auch das jeweils ausgedrückte Klassikerverständnis: Klassizität wurde sowohl durch bildliche Antikisierung suggeriert wie auch als Resultat gegenwärtig oder sogar zukünftig vollzogener Dichter-Verehrung behauptet. Die These des Beitrags lautet: Für die seit der Jahrhundertmitte sehnsüchtig erwarteten ‘deutschen Klassiker’ und deren käuflichen Erwerb ließ sich durch augenfällige Demonstrationen ihrer Verehrungswürdigkeit und ihres Verehrtwerdens überzeugender werben als durch ein Referieren der ästhetischen oder literatursoziologischen, vor allem aber kontroversen Debatten, welche die Spezialisten der Literaturkritik führten. The expense for book illustrations, which publishers and buyers undertake, is often intended to signal aesthetic preciousness at the same time. A more specific marking of value as a ‘classic’ is also possible by means of certain pictorial semantics. This article examines how frontispieces and copperplate titles were used in the late 18th century to demonstrate ad oculos to the public that contemporary German literature had now risen to the heights of classicism. The object of investigation is both the various strategies of representation and the understanding of the classics expressed in each case. The status of a classic was both suggested by pictorial antiquisation and asserted as the result of present or even future veneration. The thesis of this article is that the ‘German classics’, which had been eagerly awaited since the middle of the 18th century, could be advertised more convincingly through eye-catching demonstrations of their venerability and veneration than by referring to the aesthetic or literary-historical, but above all controversial, debates conducted by specialists in literary criticism.
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Pub Date : 2022-10-02DOI: 10.1080/00787191.2022.2172908
Sandro Jung
This article examines the set of four full-page illustrations and a title-page vignette that the Rostock publisher Johann Christian Koppe commissioned Johann Justin Preißler to produce for his edition of Justus Friedrich Wilhelm Zachariae’s Die Tageszeiten (1756). It offers an account of the ways in which the plates fulfil a literary-critical function of making textual knowledge present by reordering textual meaning through a selective reconstitution of the poem’s discursive systems. Creating narrative illustrations that in the scenes they construct create new connections between otherwise distinct textual passages, the full-page plates reinvent Zachariae’s poem by not following the poem’s progressive structure. Instead, they foreground the episodic through the combination of different modes of representation, ranging from realist and sentimental to allegorical, at the same time redacting the sensational.
本文研究了罗斯托克出版商Johann Christian Koppe委托Johann Justin Preißler为他的Justus Friedrich Wilhelm Zachariae的Die Tageszeiten(1756)版制作的四幅全页插图和一幅标题页插图。它提供了一种方式，其中板履行文学批评功能，使文本知识呈现通过重新排序文本的意义，通过有选择地重建诗歌的话语系统。在他们构建的场景中创造了叙述性的插图，在其他不同的文本段落之间创造了新的联系，整版版通过不遵循诗歌的递进结构，重塑了撒迦利亚的诗歌。相反，他们通过结合不同的表现方式(从现实主义、感伤到寓言)来突出情节，同时编辑耸人听闻的内容。
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Pub Date : 2022-07-03DOI: 10.1080/00787191.2022.2141446
Daniela Dora
This paper examines the relationship between plastic matter and the queer in Roppongi. Requiem für einen Vater (2007) and Der Stadtschreiber von Kalkutta (2019), two texts by contemporary Austrian author Josef Winkler that depict the narrators’ travels to India and Japan. Two modes of critique within queer ecological theory are found to be fruitful for the analysis of Winkler’s text: a ‘queer as noun’ model focusing on queer people, here the narrator and his relationship to the environment, as well as the ‘queer as a verb’ critique, questioning and defamiliarizing foundational categories such as humanity and futurity. Based on Heather Davis’ invitation to imagine plastic, rather than biological children, as our planetary legacy, the function of plastic matter and its potential to question inside-outside dichotomies and divisions such as human vs human-made or waste vs nature are discussed. Despite a near dystopian vision on India, Winkler’s work also conveys a ‘queer desire’ — a desire that cannot undo the effects of plastic’s omnipresence or its participation in waste colonialism, but suggests ways of living with plastic. The work is permeated with what Davis calls ‘a queer ecological sensibility’, which instead of yearning for a pristine past offers a curious and openminded perspective on the present.
本文探讨六本木的塑性物质与酷儿之间的关系。安魂曲für einen Vater（2007）和Der Stadtschreiber von Kalkutta（2019），这两部作品由当代奥地利作家约瑟夫·温克勒创作，描绘了叙述者前往印度和日本的旅行。酷儿生态理论中的两种批评模式对分析温克勒的文本是富有成效的：一种“酷儿作为名词”的模式，关注酷儿，这里是叙述者及其与环境的关系，以及“酷儿是动词”的批评，质疑和陌生化人性和未来性等基本类别。根据希瑟·戴维斯的邀请，将塑料而非生物儿童想象为我们的星球遗产，讨论了塑料物质的功能及其在内外二分法和划分中的质疑潜力，如人类与人造或废物与自然。尽管对印度的看法近乎反乌托邦，但温克勒的作品也传达了一种“奇怪的欲望”——这种欲望无法消除塑料无处不在或参与废物殖民主义的影响，但却暗示了与塑料共存的方式。这部作品充满了戴维斯所说的“奇怪的生态情感”，它不是对原始过去的向往，而是对现在的好奇和开放。
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Pub Date : 2022-07-03DOI: 10.1080/00787191.2022.2116824
Yvonne Zivkovic
In her writings, the German-Croatian author Marica Bodrožić develops a new form of feminist ecocriticism from a postmigrant perspective, which portrays the mystical encounter with the natural world as essential for the understanding of the postmodern self and the survival of diverse postmigrant communities. Drawing on Theodor W. Adorno’s concept of moral maturity, Bodrožić suggests that the epistemological and aesthetic qualities of nature may help educate individuals towards critical, independent, but also empathetic thought and action. The key to this educational experience lies in contextualizing nature within political and social processes, while also acknowledging its transcendental dimension. In her novel, Mein weisser Frieden (2014), Bodrožić merges the genres of autobiography and essay to explore the relationship between memory, nature and identity via the lens of a hybrid German and post-Yugoslav intellectual heritage. By weaving together personal narrative and intertextual references from Romanticism to the contemporary period, she also challenges common assumptions about postmigrant writing and national belonging. Bodrožić suggests that a re-enchantment of the world is necessary to create the community of morally mature citizens that is needed to meet the challenges of alienation, displacement, and systemic violence in the postmodern world.
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Pub Date : 2022-07-03DOI: 10.1080/00787191.2022.2116813
Kassi Burnett
This article analyzes Marlen Haushofer’s final novel, Die Mansarde (1969), through the critical lenses of disability studies and ecocriticism. Using these combined methods of analysis, the article uncovers a critique of species-specific bodily norms. Additionally, the article follows the protagonist’s evolution from outsider to resilient woman as she increasingly questions and eventually rejects these norms in favour of self-love and an appreciation for her own embodiment. Channelling centuries of woman-reptilian relationships, Die Mansarde sees its protagonist awaken her imaginative powers and extricate herself from the oppressive valuations tied to species-centered norms through the creation and recognition of a dragon figure; one of the protagonist’s final acts is to envision and sketch a dragon. For the protagonist, the dragon embodies defiance and resilience as a valuable, deviant, and monstrous being. She recognizes herself in this dragon as an outsider not easily classified or fit into normative categories. As the protagonist learns to accept her differences, she begins to understand herself as imperfect but valuable nonetheless, and she finally recognizes the limitations of a traditional, ableist, monological science. This article argues that in contrast to Die Wand, a cornerstone text for German ecocriticism that offers an abrupt utopic/dystopic destruction of humanity and a reconstruction of human relationships with Nature and animals, Die Mansarde offers a much subtler and slow-growing solution: that of self-love rooted in a critical understanding of species-based norms and their inherent oppression of deviant bodyminds.
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