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Goethe Yearbook 203 welche der Liebende zum Licht, zur Erkenntnis Gottes gelangt" (218).The latter part of her reading tends to be fairly representative of the general tone of Mommsen's text. Throughout it is measured and almost reverential, often missing the evident light-heartedness of so many poems. Mommsen's repeated emphasis on the spiritual quality of the Divan, almost as if like the Koran, it too were a sacred text, risks disrupting the delicate balance between "Scherz und Ernst" that Goethe so assiduously sought to maintain. St. Lawrence University Ingrid Stipa Dietrich Briesemeister and Harald Wentzlaff-Eggebert, eds., Von Spanien nach Deutschland und Weimar-Jena: Verdichtung der Kulturbeziehungen in der Goethezeit. Heidelberg: Winter, 2003.365 pp. The fifteen essays in this book, eleven in German and four in Spanish, were first presented at a conference in 2001 that examined the relationship between Spanish culture and Weimar/Jena around 1800. Edited by two leading scholars on the Spanish/German connection, Dietrich Briesemeister and Harald Wentzlaff-Eggebert, they supplement the earlier work on the topic by Jorge Fernando Benevent, Rotf Günter Renner, Hans Juretschke, Gerhart Hoffmeister, and Christian von Zimmermann. The contributors to this volume are all recognized scholars Ui the field. The book is divided into four segments: Spanish perceptions of Germany; German perceptions of Spain; Spanish literature in Weimar; and Goethe and Spain. In thetf introduction the editors provide a synthesis of the papers, emphasizing the re-evaluation of the German image of Spain in the Age of Goethe (from negative to positive), the medial role that France played in the transformation, and finally offering a foreshadowing of those who observed or participated in that evolution: Bertuch, A. W Schlegel, Herder,Wieland, Goethe, et al. In as much as the role of Spain Ui the Age of Goethe is relatively understudied, this volume wUl benefit scholars who seek to expand their view of the cultural practices and beliefs of those at the Weimar court and the University at Jena, much as the culture-makers in Weimar sought to expand their own views by coming to terms with Spanish culture. In the opening essay Francisco Sánchez-Blanco affirms the influence that the writings of Johann G. Heinecke, Jakob Friedrich von Bielfeld and Johannes Heinrich Gottlob Justi had in Spain in the areas of natural law and political phUosophy in light of the shared desire for modernization within the Bourbon regime and in Prussia. Then Beatrice Osdrowski examines the largely conservative and theoretical impact of A. W Schlegel's lectures Ui Vienna on the Romanticismo in Spain, which remained wedded to the neoclassical model of drama. Ulrike Hönsch argues that the anonymous author of the article on Spain in Zedler's Universal Lexicon offers a simplification and generalization of Information found in the influential Madame d'Aulnoy's Reise durch Spanien beschrieben von der Gräfin D'Aulnoy, which appeared in German in 1695, and reinforces, albeit attractively, "das konventionelle Stereotypenrepertoire" (63). In a so-called "BeschreibungsmodeU" Margrit Raders lists important works on Spain published in Germany in the eighteenth century, and notes the relevant impressions of Herder, Goethe, SchiUer and especiaUy WUhelm von Humboldt. In her attempt to undo the simplicity of the "schwarze Legende" 204 Book Reviews versus "rosa Legende" dichotomy between the Enlightenment and the Romantic perception of Spain (and to encourage empirical study of the perception of Spain in Weimar), she provides several avenues of examination for future scholars and an extensive bibliography. Klaus Pietschmann discusses how the lascivious fandango, which was danced on all social levels, had served as a negative example of Spanish culture in the eighteenth century. Noting the use of Spanish music by Mozart, Gluck and Weber, as weU as the re-evaluation of the Spanish folksong by Herder, he argues that the cUché of the fandango ultimately gives way to another less clichéed perception, which incorporates elements of the Bolero and fandango. Harald Wentzlaff-Eggebert examines the six different translations from 1780-1826 (all from the French) of the popular novel Historia de la vida del Buscón, Llamado don Pablos; exemplo di vagamundos, y espejo de tacaños (1626) by Quevedos.The translations suggest that the...

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