The influence of Nazism on German culture was a key concern for many Anglo-American writers, who struggled to reconcile the many contributions of Germany to European civilization, with the barbarity of the new regime. In _German Literature Through Nazi Eyes_, H.G. Atkins gives an account of how the Nazis undertook a re-evaluation of German literature, making it sub-ordinate to their own interests. All reference to Jewish writers and influence was virtually eliminated, and key writers such as Goethe and (...) Lessing were re-interpreted. What was left was a military history that was avowedly militant and propagandist. (shrink)

German literature played an important role in Kierkegaard's reading, and he often relates to German authors in his writings, especially to those of the period between 1770 and 1830. Against the background of German Romanticism, he deals with Romantic irony in the second part of The Concept of Irony. His harsh verdict on famous German writers like Friedrich Schlegel and Ludwig Tieck in his master's thesis is in some cases relativized by a more balanced appreciation in (...) other writings. Some German authors like Georg Christoph Lichtenberg and Jean Paul served as stylistic models, while others like Gotthold Ephraim Lessing offered valuable inspirations for his thinking. One of the most frequently cited poets is Johann Wolfgang von Goethe, who appears in Kierkegaard's writings throughout all his working periods and is dealt with in a very comprehensive manner. (shrink)

Although the importance of the interplay of literature and philosophy in Germany has often been examined within individual works or groups of works by particular authors, little research has been undertaken into the broader dialogue of German literature and philosophy as a whole. Philosophy and German Literature 1700–1990 offers six chapters by leading specialists on the dialogue between the work of German literary writers and philosophers through their works. The volume shows that German literature, far from (...) being the mouthpiece of a dour philosophical culture dominated by the great names of Leibniz, Kant, Hegel, Marx, Heidegger and Habermas, has much more to offer: while possessing a high affinity with philosophy it explores regions of human insight and experience beyond philosophy's ken. (shrink)

One of many writers inspired by Laurence Sterne's Tristram Shandy, the German novelist Jean Paul Richter coined the term 'Shandean humour' in his work of aesthetic theory. The essays in this volume investigate how Sterne's humour functions, the reasons for its enduring appeal, and what role it played in identity-construction and in the representation of melancholy. In tracing its hitherto under-recognised impact both on literary writers, such as Jean Paul and Herman Melville, and on philosophers, including Hegel and Marx, (...) the collection reveals that Shandean humour is a Grenzgänger - a point of commerce not only between Anglophone and German discourses, but also between literature and philosophy.Klaus Vieweg is Professor of Philosophy at the Friedrich Schiller University of Jena; James Vigus is postdoctoral research fellow at the Department of English and American Studies, Ludwig Maximilian University of Munich; Kathleen M. Wheeler is Reader in English Literature at the University of Cambridge. (shrink)

Complex Pleasure deals with questions of literary feeling in eight major German writers—Lessing, Kant, Hölderlin, Nietzsche, Musil, Kafka, Trakl, and Benjamin. On the basis of close readings of these authors Stanley Corngold makes vivid the following ideas: that where there is literature there is complex pleasure; that this pleasure is complex because it involves the impression of a disclosure; that this thought is foremost in the minds of a number of canonical writers; that important literary works in the (...) class='Hi'>German tradition—fiction, poetry, critique—can be illuminated through their treatment of literary feeling; and, finally, that the conceptual terms for these forms of feeling continually vary. The types of feeling treated in Complex Pleasure include wit (the startling perception of likeness) and the disinterested pleasure of aesthetic judgment; Hölderlin’s “swift conceptual grasp,” in which “the tempo of the process of thought is stressed”; “artistic imagination,” mood, sadistic enjoyment, rapturous distraction, homonymic dissonance, and courage as a mode of literary experience. At the same time, through the deftness, range, and surprise of its execution, the book itself conveys complex pleasure. The reader will also find fascinating, hitherto untranslated material by Nietzsche (“On Moods”) and Kafka (important sections from his journals and from his unfinished novel The Boy Who Sank Out of Sight). (shrink)

Heller examines the sense of values embodied in the works of key German writers and thinkers from Goethe to Kafka, particularly the consciousness of life's depreciation.

The years of the Weimar Republic saw complex cultural change in Germany as well as political turmoil. Writing Weimar draws on the large amount of research done on the period since the 1980s in order to show how literary writers developed critical perspectives on the social and political issues of the time, and how those perspectives were related to longer-term developments in German culture which run beyond the watershed events of 1918 and 1933. Individual chapters discuss the dominant trends (...) in the poetry, the theatre, and the novel, as well as the literary representation of the city, of technology, and of the First World War. The book also sheds new light on one of the abiding mysteries of German culture in the 1920s: precisely what were the implications of the term Neue Sachlichkeit as it came to be applied to the cultural trends of the time? (shrink)

"The odium of doubtfulness" : or, the vicissitudes of Arendt's metaphorical thinking -- Why does Hannah Arendt lie? : or, the vicissitudes of imagination -- "A peculiar apparatus" : Kafka's thanatopoetics -- A strike of rhetoric : Benjamin's paradox of justice -- Pernicious bastardizations : Benjamin's ethics of pure violence -- The return of the human : Germany in autumn -- A politics of enmity : Müller's Germania death in Berlin.

Among the most striking aspects of modern literature—expecially of modern German literature—are its frequent references to a notion called ‘reality’. The philosophical question this raises, ‘What is reality?’, is to one side of this enquiry, and so is the question whether or not this is a sensible question: this essay is intended as a contribution not to philosophy but to its connections with literary history and criticism. My present purpose, which determines my procedure, is to outline the various closely (...) related meanings of the word ‘Wirklichkeit’ throughout its very long history; to describe the polarization of meanings which occurred in the course of the nineteenth century, and Nietzsche's part in making the new polarity available to his literary heirs; to illustrate the way German literature became involved in this process in the first decade of our century; and, finally, to point to some of its political implications. My argument is part of a much larger topic, one that is not confined either to the German-speaking countries or indeed to literature. The topic, the ideologizing of ‘ reality ’, is relevant to all modern cultures. The present paper offers no more than a sketch of this development in one cultural area of our world. (shrink)

The paper is dealing with the foundation of the Division for German Literature and Language at the Hebrew University of Jerusalem from the point of view of its first head, Prof. Stéphane Mosès.

Richard McCormick examines the concepts of postmodernity and postmodernism as they apply to West Germany, discussing them against the background of cultural and political upheaval in that country since the 1960s, rather than exclusively in the more familiar setting of intellectual history. Considering six literary and cinematic texts that are marked by a preoccupation with the self and subjectivity, he underscores the crucial influence of feminism on writers and filmmakers--and on the "postmodern." In a broad international context he describes the (...) conflicting forces that affected the West German student movementthe rationalistic tradition of the Weimar Left and more "irrational" influences such as French existentialism and surrealism (as well as the American "Beat" movement and rock & roll)--and shows how these forces played themselves out so that dogmatic Marxist Leninism was repudiated in favor of a "New Subjectivity.". At the center of the discussion are the novels Lenz by Peter Schneider, Class Love (Klassenliebe) by Karin Struck, and Devotion by Botho Strauss, and the films Wrong Move written by Peter Handke and directed by Wim Wenders, Germany, Pale Mother by Helma Sanders-Brahms, and The Subjective Factor by Helke Sander. The author shows how ongoing attempts to attack the separation of emotion from reason, life from art, the private from the public, and the personal from the political brought about changes in outlook, from the 1960s to the early 1980s, that are related to the rise of new political movements--ecology, nuclear disarmament, and feminism. Originally published in 1991. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

During the late eighteenth century the Bible underwent a shift in interpretation so radical as to make it virtually a different book from what it had been a hundred years earlier. Even as its text was being revealed as neither stable nor original, the new notion of the Bible as a cultural artefact became a paradigm for all literature. In Origins of Narrative one of the world's leading scholars in biblical interpretation, criticism and theory describes how, while formal religion declined, (...) the prestige of the Bible as a literary and aesthetic model rose to new heights: not merely was English, German and French Romanticism steeped in biblical references of a new kind, but hermeneutics and, increasingly, theories of literature and criticism were biblically derived. Professor Prickett reveals how the Romantic Bible became simultaneously a novel-like narrative work, an on-going site of re-interpretation, and an all-embracing literary form giving meaning to all other writing. (shrink)

In seventeenth-century Germany art and reality stood in a contradictory relationship to one another, and this contradiction was a fruitful one: it contained, in an undeveloped and indistinct form, the paths that art was to take in the centuries that followed. From the point of view of the history of culture, it is important to feel the basic contradiction of this period, the pledge of the developments of the future, even though the period itself perhaps suffered from this contradiction. We (...) ourselves will be helped in this direction—that is, towards the elucidation of the central contradiction of seventeenth-century art—by a few isolated comments and observations on the literary texts of the time. (shrink)

On the basis of analysis of Russian and foreign scholars, the work is aimed at studying the specificity of the transformation of antique stories and images, which is the desired model in the art of the 20th century thanks to its fluidity and unlimited variability. Actualization of antique stories and images in the works of German-language writers account for life-changing moments of social life, the periods of losing of constant moral landmarks and the periods of looking for new moral (...) and aesthetic ideals. The analysis of the reception and transformation of mythological stories and images in the contemporary literature proves the conception of its polysemy. The built-in contradiction of myths is realized through the transformation of mythological stories and images in the literary works of contemporary writers and is explained by the individuality of writers and theirs aesthetic aims. On the one side, the absence de facto in German drama of the 20th century of interpretations of the story about Achilles and of the image of Achilles, and numerous variations on the topic of moral strivings of fearless and peccant Ulysses, on the other side, are proving the statements of classic aesthetic that the tragedy is based on the conflict, which is close to lofty and linked with the idea of dignity of the man, which is ready and capable of promoting the views of his own by the real acts that are often lead to suffer and death. According to Aristotle, the sympathy for the character leads to catharsis - the basis of education of real civic-mindedness and humanness. (shrink)

Hans-Georg Gadamer, the major proponent of philosophical hermeneutics, reveals himself here as a highly sensitive reader and critic of the German literary tradition. This is not the work of a specialist as narrowly defined in the typical literary study. Although he is a master of the techniques of criticism, Gadamer always sees the study of literature as a fundamentally human activity where human beings, generation after generation, pose their questions to an encroaching darkness that threatens to rob them of (...) their confidence in the meaning of life and death. Never pedantic or antiquarian, these studies show such literary giants of the German past as Goethe and Hölderlin as our contemporaries. Gadamer demonstrates his ability to achieve the creative interplay of literature and philosophy which, in isolation, easily degenerate into sterile academic games. Typical of this dialogue are essays on Rainer Maria Rilke, including an examination of a problem of punctuation in one of his poems. What would be, in less capable hands, one more solution to a literary problem, turns out to be one of Gadamer's creative approaches to the mystery of man's relation to time and death. (shrink)

The following dissertation shows how German Literature negotiates the relationship between language and the visual arts, particularly in Romantic narratives. In contrast with authors of the Enlightenment, the Romantics tend to deny specificity to visual experience and in so doing dedifferentiate visual experience from the textual. ;The initial, methodological, chapter explicates perceptual models informed by the interplay of the philosophical approaches of Kant and Wittgenstein with the psychoanalytic discourse of Freud. In Chapter Two, I turn to Lessing's Laokoon Uder (...) uber die Grenzen der Malerei und Poesie , in which he divides the arts into pictoral and linguistic signs. While the boundary between the two appears quite clear in Laokoon, his play Emilia Galotti reveals Lessing's anxiety that the difference cannot be so easily maintained. ;The subsequent chapter explores the representation of the visual arts in Tieck's Franz Sternbalds Wanderungen . After a discussion of Wackenroder's Herzensergiessungen eines kunstliebenden Klosterbruders , 1 turn to Tieck's novel about a young student of Albrecht Durer. The novel responds to the ostensible binary between language and the visual arts by transmuting the distinction into one between readable landscape paintings and phantasmatic images that guide the protagonist. ;As another example of this Romantic viewpoint, I analyze Brentano's Godwi oder das steinerne Bild der Mutter . Here I use the distinction between symbol and allegory to point out the ways in which the text turns the difference between the arts into one between rhetorical figures. A similar manifestation of the problem occurs in Eichendorff's Das Marmorbild , discussed in Chapter Five. The novella follows the same lines as Lessing's Laokoon, thematizing the materiality of its eponymous marble statue. My final chapter concerns Kleist's model of visual perception, which is closely bound to his theology in his tales "Die heilige Cacilie" and "Der Findling" . ;Writing Images interprets the role of visuality in German Romantic literature in order to understand an unresolved problematic of late eighteenth and early nineteenth-century thought for those who would too quickly either differentiate between or conflate the visual and the written. (shrink)

The Theory of Literature in German Romanticism Philippe Lacoue-Labarthe, Jean-Luc Nancy. Preface: The. Literary. Absolute. I. "There are classifications that are bad enough as classifications, but that have nonetheless dominated entire ...

Platonic Production presents Prof. Stanley Rosen's Etienne Gilson Lectures, delivered at the Institut Catholique de Paris and now available in English for first time. His lectures bring Heidegger and Plato into a conversation around a basic philosophical question: Does the acquisition of truth resemble discovery or production? While Rosen undertakes a close examination of Heidegger's engagement with Plato, exposing some ways in which that engagement constitutes a misreading, the goals of his study are not exclusively critical. In arguing against the (...) claim that Plato stands at the beginning of Western metaphysical history which culminates in late modern nihilism, Rosen also points out how close Plato is to some characteristically Heideggerean themes and formulations. Heidegger is critiqued from the standpoint of Plato, but it is equally true that Platonic themes (such as the hypothesis of the Forms) are read anew in light of the questions raised by Heidegger. In keeping with the overarching theme of the Gilson Lectures, Rosen's six talks, and the introduction by the volume's editor aim to demon-strate that metaphysics is always possible, indeed inescapable, by meditating on the two philosophers whose thinking, especially where it diverges, centers on that very point. While Platonic Production takes up some of the most contentious issues in the Heidegger-Plato relationship, issues which are addressed in the always expanding scholarly literature and in Rosen's own earlier work, it is not at all intended exclusively for specialists in Plato or Heidegger. Rather, it is hoped that this volume will appeal to all who are interested in Greek and German thought and in the foundational questions which underlie the history of philosophy as a whole, both ancient and modern. (shrink)