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Turkish-German Literatures from Nadolny to Pamuk
From Goethe to the Present
In this ambitious book, Kirk Wetters traces the genealogy of the demonic in German literature from its imbrications in Goethe to its varying legacies in the work of essential authors, both canonical and less well known, such as Gundolf, Spengler, Benjamin, Lukács, and Doderer. Wetters focuses especially on the philological and metaphorological resonances of the demonic from its core formations through its appropriations in the tumultuous twentieth century.
Propelled by equal parts theoretical and historical acumen, Wetters explores the ways in which the question of the demonic has been employed to multiple theoretical, literary, and historico-political ends. He thereby produces an intellectual history that will be consequential both to scholars of German literature and to comparatists.
Einleitung, Textausgabe und Anmerkungen
Die Textausgabe der Marias, ein Gedicht von Cornelis Aurelius, umfaßt eine Einleitung, den Text des Gedichtes, Anmerkungen zum Text und schließlich einen Index nominum und einen Index fontium. Die Edition basiert auf der einzigen Handschrift der Marias, die heute in der Athenaeumbibliotheek in Deventer bewahrt wird. Diese Handschrift umfaßt neben einem Widmungsbrief des Autors an den Deventer Schulmeister Jacobus Faber und einer introductio die ersten zehn Bücher des Gedichtes; die zweite und dritte Decade sind nicht erhalten. Die Einleitung zur Edition behandelt zunächst kurz das Leben des niederländischen Humanisten Cornelis Aurelius (ca. 1460 bis vor Dezember 1531). Es folgen die Datierung des Werkes (zwischen 1491 / Anfang 1492 und Herbst 1497) und ein Inhaltsverzeichnis - das Leben Marias bis zum Auftreten Jesu bei den Schriftgelehrten (Luc. 2, 41-52). Bei der anschließenden Charakterisierung des Werkes wird auch ein Passus aus dem Widmungsbrief des Aurelius erörtert. Hier erklärt der Autor, daß er den Text von Baptista Mantuanus' Parthenice prima erst nach der Vollendung der ersten Decade in die Hände bekam. Obwohl er behauptet, den überschwänglichen Stil dieses Werkes zu mißbilligen, stellt sich heraus, daß er dennoch dem Werk von Mantuanus namentlich in den ersten drei Büchern der Marias vieles entlehnt hat. Daneben hat Aurelius häufig Sabellicus' Elegiae XIII divae virginis Mariae und Agricolas Anna mater benutzt. Auffällig sind außerdem die von Aurelius wörtlich übernommenen Passagen aus der Ilias latina und aus Petrus Rigas Aurora. Obwohl seine Zeitgenossen Aurelius wegen seiner dichterischen Fähigkeiten loben, läßt er wiederholt durchblicken, dies zu bezweifeln. Aber natürlich können seine diesbezüglichen Bemerkungen auch als captatio benevolentiae gedeutet werden. Auf die Einleitung folgt der Text des oben genannten Widmungsbriefes und des Gedichtes (die introductio und die Bücher I bis X). Das gesamte Gedicht umfaßt 4452 Verse. Der Anmerkungsapparat zur Ausgabe der Marias enthält Verweise auf die von Aurelius verwendete Literatur. Neben den Passagen, die deutlich Entlehnungen darstellen, sind auch die Stellen aufgenommen, die Reminiszensen an oder Echos von - vor allem antiken - Autoren anklingen lassen. Auffälligerweise trifft man hierbei Entlehnungen aus Werken anderer Autoren nicht regelmäßig verteilt über den gesamten Text an. Offenbar hat Aurelius schon im Vorhinein für jede Passage die Stellen ausgesucht, die er aus seinen Vorlagen verwenden wollte. Dieses Verfahren kann man auch aus dem Index fontium ableiten, der zusammen mit dem Index nominum diese Edition abschließt. Die Ausgabe der Marias ist ein schönes Beispiel dafür, wie die frühen niederländischen Humanisten religiöse Poesie schrieben und dabei von italienischen Autoren wie Mantuanus und Sabellicus beeinflußt wurden.
Although dozens of disabled characters appear in the Grimms’ Children’s and Household Tales, the issue of disability in their collection has remained largely unexplored by scholars. In Disability, Deformity, and Disease in the Grimms’ Fairy Tales, author Ann Schmiesing analyzes various representations of disability in the tales and also shows how the Grimms’ editing (or “prostheticizing”) of their tales over seven editions significantly influenced portrayals of disability and related manifestations of physical difference, both in many individual tales and in the collection overall. Schmiesing begins by exploring instabilities in the Grimms’ conception of the fairy tale as a healthy and robust genre that has nevertheless been damaged and needs to be restored to its organic state. In chapter 2, she extends this argument by examining tales such as “The Three Army Surgeons” and “Brother Lustig” that problematize, against the backdrop of war, characters’ efforts to restore wholeness to the impaired or diseased body. She goes on in chapter 3 to study the gendering of disability in the Grimms’ tales with particular emphasis on the Grimms’ editing of “The Maiden Without Hands” and “The Frog King or Iron Henry.” In chapter 4, Schmiesing considers contradictions in portrayals of characters such as Hans My Hedgehog and the Donkey as both cripple and “supercripple”—a figure who miraculously “overcomes” his disability and triumphs despite social stigma. Schmiesing examines in chapter 5 tales in which no magical erasure of disability occurs, but in which protagonists are depicted figuratively “overcoming” disability by means of other personal abilities or traits. The Grimms described the fairy tale using metaphors of able-bodiedness and wholeness and espoused a Romantic view of their editorial process as organic restoration. Disability, Deformity, and Disease in the Grimms’ Fairy Tales shows, however, the extent to which the Grimms’ personal experience of disability and illness impacted the tales and reveals the many disability-related amendments that exist within them. Readers interested in fairy-tales studies and disability studies will appreciate this careful reading of the Grimms’ tales.
Youth, Reeducation, and Reconstruction after the Second World War
During Hitler’s reign, the Nazis deliberately developed and exploited a youthful image and used youth to define their political and social hierarchies. After the war, with Hitler gone but still requiring cultural exorcism, many intellectuals, authors, and filmmakers turned to these images of youth to navigate and negotiate the most difficult questions of Germany’s recent, nefarious past. Focusing on youth, education, and crime allowed postwar Germans to claim one last realm of sovereignty against the Allies’ own emphatic project of reeducation. Youth, reeducation, and reconstruction became important sites for the occupied to confront not only the recent past, but to negotiate the present occupation and, ultimately, direct the future of the German nation. Disciplining Germany analyzes a variety of media, including literature, news media, intellectual history, and films, in order to argue that youth and education played a central role in Germany’s coming to terms with the Nazi past. Although there has been a recently renewed interest in Germany’s coming to terms with the past, this attention has largely ignored the role of youth and reeducation. This lacuna is particularly perplexing given that the Allies’ reeducation project became, in many ways, a cipher for the occupational project as a whole. Disciplining Germany opens up the discussion and points toward more general conclusions not only about youth and education as sites for wider socio-political and cultural debates but also about the complexities of occupation and the intertwining of different national cultures. In this investigation, the study attends to both “high” and “low” cultural text—to specialized versus popular texts—to examine how youth was mobilized across the generic spectrum. With these interdisciplinary approaches and timely interventions, Disciplining Germany will find a diverse readership, including upper-division and graduate courses in German studies and German history as well as those general readers interested in Nazi Germany, cultural history, film and literary studies, youth culture, American studies, and post-conflict and occupational situations.
The Politics of Emotion in Postwar West German Culture
Novels of the German Popular Front, 1933-1945
Reckoning with Past and Present in German Literature
In Ethics and the Dynamic Observer Narrator: Reckoning with Past and Present in German Literature, Katra A. Byram proposes a new category—the dynamic observer form—to describe a narrative situation that emerges when stories about others become an avenue to negotiate a narrator’s own identity across past and present. Focusing on German-language fiction from the nineteenth and twentieth centuries, Byram demonstrates how the dynamic observer form highlights historical tensions and explores the nexus of history, identity, narrative, and ethics in the modern moment. Ethics and the Dynamic Observer Narrator contributes to scholarship on both narrative theory and the historical and cultural context of German and Austrian literary studies. Narrative theory, according to Byram, should understand this form to register complex interactions between history and narrative form. Byram also juxtaposes new readings of works by Textor, Storm, and Raabe from the nineteenth century with analyses of twentieth-century works by Grass, Handke, and Sebald, ultimately reframing our understanding of literary Vergangenheitsbewältigung, or the struggle to come to terms with the past. Overall, Byram shows that neither the problem of reckoning with the past nor the dynamic observer form is unique to Germany’s post-WWII era. Both are products of the dynamics of modern identity, surfacing whenever critical change separates what was from what is.
Translator-Authors in the Age of Goethe
The turn of the nineteenth century was a particularly fertile period in the history of translation theory and practice. With an unprecedented number of works being carefully translated and scrutinized, this era saw a definite shift in the dominant mode of translation. Many translators began attempting, for the first time, to communicate the formal characteristics, linguistic features, and cultural contexts of the original text while minimizing the paraphrasing that distorted most eighteenth-century translations. As soon as these new rules became the norm, authorial translators—defined not by virtue of being authors in their own right but by the liberties they took in their translations—emerged to challenge them, altering translated texts in such a way as to bring them into line with the artistic and thematic concerns displayed in the translators’ own “original” work. In the process, authorial translators implicitly declared translation an art form and explicitly incorporated it into their theoretical programs for the poetic arts. Foreign Words provides a detailed account of translation practice and theory throughout the eighteenth and early nineteenth centuries, linking the work of actual translators to the theories of translation articulated by Goethe, Wilhelm von Humboldt, and, above all, Friedrich Schleiermacher. Employing a variety of critical approaches, author Susan Bernofsky discusses in depth the work of Kleist, Hölderlin, and Goethe, whose virtuoso translations raise issues that serve to delineate a theory of translation that has relevance at the turn of the twenty-first century as well. Combining a broad historical approach with individual readings of the work of several different translators, Foreign Words paints a full picture of translation during the Age of Goethe and provides all scholars of translation theory with an important new perspective.
Nationalism, Cosmopolitanism, and the "Bildungsroman"
The Bildungsroman, or "novel of formation," has long led a paradoxical life within literary studies, having been construed both as a peculiarly German genre, a marker of that country's cultural difference from Western Europe, and as a universal expression of modernity. In Formative Fictions, Tobias Boes argues that the dual status of the Bildungsroman renders this novelistic form an elegant way to negotiate the diverging critical discourses surrounding national and world literature.
Since the late eighteenth century, authors have employed the story of a protagonist's journey into maturity as a powerful tool with which to facilitate the creation of national communities among their readers. Such attempts always stumble over what Boes calls "cosmopolitan remainders," identity claims that resist nationalism's aim for closure in the normative regime of the nation-state. These cosmopolitan remainders are responsible for the curiously hesitant endings of so many novels of formation.
In Formative Fictions, Boes presents readings of a number of novels-Goethe's Wilhelm Meister's Apprenticeship, Karl Leberecht Immermann's The Epigones, Gustav Freytag's Debit and Credit, Alfred Döblin's Berlin Alexanderplatz, and Thomas Mann's Doctor Faustus among them-that have always been felt to be particularly "German" and compares them with novels by such authors as George Eliot and James Joyce to show that what seem to be markers of national particularity can productively be read as topics of world literature.