Karl Philipp Moritz (d. 1793) was one of the most innovative writers of the late Enlightenment in Germany. A novelist, travel writer, editor, and teacher he is probably best known today for his autobiographical novel Anton Reiser (1785-90) and for his treatises on aesthetics, foremost among them Über die bildende Nachahmung des Schönen (On the Formative Imitation of the Beautiful), published in 1788. In this treatise, Moritz develops the concept of aesthetic autonomy, which became widely known after Goethe included a lengthy excerpt of it in his own Italian Journey (1816-17). It was one of the foundational texts of Weimar classicism, and it became pivotal for the development of early Romanticism.

In The Topography of Modernity, Elliott Schreiber gives Moritz the credit he deserves as an important thinker beyond his contributions to aesthetic theory. Indeed, he sees Moritz as an incisive early observer and theorist of modernity. Considering a wide range of Moritz's work including his novels, his writings on mythology, prosody, and pedagogy, and his political philosophy and psychology, Schreiber shows how Moritz's thinking developed in response to the intellectual climate of the Enlightenment and paved the way for later social theorists to conceive of modern society as differentiated into multiple, competing value spheres.

"This book will provoke intellectually, ideologically, and emotionally loaded responses in the U.S., Germany, and Israel. Barnouw's critique of the 'enduringly narrow post-Holocaust perspective on German guilt and the ensuing fixation on German remorse' questions taboos that the political and cultural elites in those three countries would rather leave alone.... [Barnouw] makes us understand why the maintenance of a privileged memory of the Nazi period and World War II may not survive much longer." -- Manfred Henningsen, University of Hawai'i

In Germany, the reemergence of memories of wartime suffering is being met with intense public debate. In the United States, the recent translation and publication of Crabwalk by Günter Grass and The Natural History of Destruction by W. G. Sebald offer evidence that these submerged memories are surfacing.

Taking account of these developments, Barnouw examines this debate about the validity and importance of German memories of war and the events that have occasioned it. Steering her path between the notions of "victim" and "perpetrator," Barnouw seeks a place where acknowledgment of both the horror of Auschwitz and the suffering of the non-Jewish Germans can, together, create a more complete historical remembrance for postwar generations.

Women in German Yearbook is a refereed publication presenting a wide range of feminist approaches to all aspects of German literature, culture, and language, including pedagogy. Reflecting the interdisciplinary perspectives that inform feminist German studies, each issue contains critical inquiries employing gender and other analytical categories to examine the work, history, life, literature, and arts of the German-speaking world.