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New essays providing an account of the shaping beliefs, preoccupations, motifs, and values of Weimar Classicism.
Reconsiders the role played by mimesis - and by Goethe's Wilhelm Meister as a mimetic work - in the novels of Early German Romanticism. Mimesis, or the imitation of nature, is one of the most important concepts in eighteenth-century German literary aesthetics. As the century progressed, classical mimeticism came increasingly under attack, though it also held its position in the works of Goethe, Schiller, and Moritz. Much recent scholarship construes Early German Romanticism's refutation of mimeticism as its single distinguishing trait: the Romantics' conception of art as the very negationof the ideal of imitation. In this view, the Romantics saw art as production (poiesis): imaginative, musical, transcendent. Mattias Pirholt's book not only problematizes this view of Romanticism, but also shows that reflections on mimesis are foundational for the German Romantic novel, as is Goethe's great pre-Romantic novel Wilhelm Meister's Apprenticeship. Among the novels examined are Friedrich Schlegel's Lucinde, shown to be transgressive in its use of the aesthetics of imitation; Novalis's Heinrich von Ofterdingen, interpreted as an attempt to construct the novel as a self-imitating world; and Clemens Brentano's Godwi, seen to signal the endof Early Romanticism, both fulfilling and ironically deconstructing the self-reflective mimeticism of the novels that came before it. Mattias Pirholt is a Research Fellow in the Department of Literature at Uppsala University, Sweden.
This book follows several major European literary «echoes» still reverberating since the mysterious emergence of such archetypal figures as Faust, Hamlet, Quixote, and Don Juan alongside lingering ancient and medieval protagonists in the Renaissance. Four centuries of attempts to redefine «modern» identity are traced against the evolution of a new genre of totalizing encyclopaedic literature, the «humoristic» tradition which re-weaves the positive and negative strands of the European, and today also New World, «grand narrative.» The book's method, inspired by Joyce, is to «listen» to recurrent motifs in the cultural flow from Humanism to Postmodernism for clues to an identity transcending the personal.
'A New History of German Literature' offers some 200 essays on events in German literary history.
Recently considerable interest has developed about the degree to which anthropological approaches to kinship can be used for the study of the long-term development of European history. From the late middle ages to the dawn of the twentieth century, kinship - rather than declining, as is often assumed - was twice reconfigured in dramatic ways and became increasingly significant as a force in historical change, with remarkable similarities across European society. Applying interdisciplinary approaches from social and cultural history and literature and focusing on sibling relationships, this volume takes up the challenge of examining the systemic and structural development of kinship over the long term by looking at the close inner-familial dynamics of ruling families (the Hohenzollerns), cultural leaders (the Mendelssohns), business and professional classes, and political figures (the Gladstones)in France, Italy, Germany, and England. It offers insight into the current issues in kinship studies and draws from a wide range of personal documents: letters, autobiographies, testaments, memoirs, as well as genealogies and works of art.
This book explores the cultural, intellectual, and artistic fascination with camera-eye metaphors in film culture of the twentieth century. By studying the very metaphor that cinema lives by, it provides a rich and insightful map of our understanding of cinema and film styles and shows how cinema shapes our understanding of the arts and media. As current new media technologies are attempting to shift the identity of cinema and moving imagery, it is hard to overstate the importance of this metaphor for our understanding of the modalities of vision. In what guises does the "camera eye" continue to survive in media that is called new?
The origins of the incest taboo have puzzled many of the most influential minds of the West, from Plutarch to St. Augustine, St. Thomas Aquinas, Martin Luther, David Hume, Lewis Henry Morgan, Sigmund Freud, Emile Durkheim, Edward Westermarck, and Claude Lévi-Strauss. This book puts the discussion of incest on a new foundation. It is the first attempt to thoroughly examine the rich literature, from philosophical, theological, and legal treatises to psychological and biological-genetic studies, to a wide variety of popular cultural media over a long period of time. The book offers a detailed examination of discursive and figurative representations of incest during five selected periods, from 1600 to the present. The incest discussion for each period is complemented with a presentation of dominant kinship structures and changes, without arguing for causal relations. Part I deals with the legacy of ecclesiastical marriage prohibitions of the Middle Ages: Historians dealing with the Reformation have wondered about the political and social implications of theological debates about the incest rules, the Enlightenment opted for sociological considerations of the household and a new anthropology based on the passions, Baroque discourse focused upon sexual relations among kin by marriage, while Enlightenment and Romantic discussions worried the intimacy of siblings. The first section of Part II deals with the six decades around 1900, during which European and American cultures obsessed about the sexuality of women. Almost everyone concurred in the idea that mother made the family what it was; that she configured the household, kept the lines of kinship vibrant, and stood at the threshold as stern gatekeeper, and many thought that she managed these tasks through her sexuality and an eroticized relationship with sons. Another story line, taken up in the section "Intermezzo," this one about the physical and mental consequences of inbreeding, appeared after 1850. To what extent do close-kin marriages pose risks for progeny? At its center, lay the incest problematic, now restated: Is avoidance of kin genetically programmed? Do all cultures know about risks of consanguinity? As for the twenty-first century, evolutionary and genetic assumptions are challenged by a living world population containing roughly one billion offspring of cousin marriages. Part III deals with one of the perhaps most remarkable reconfigurations of Western kinship in the aftermath of World War I: The shift from an endogamous to an exogamous alliance system centered on the "nuclear family." An historical anomaly, this family form began to dissolve almost as soon as it came together and, in the process, shifted the focus of incest concerns to a new pairing: father and daughter. By the 1970s, when the father/daughter problematic swept all other considerations of incest aside, that relationship had come to be modeled, for the most part, around power and its abusive potential. As for "incest," its representations in the last three decades of the twentieth century no longer focused on biologically damaged progeny but rather on power abuses in the nuclear family: sexual "abuse." By the mid-1990s, Western culture at least partly redirected its gaze away from father and daughter towards siblings, especially towards brothers and sisters and the sexual boundaries and erotics of their relationships. Correspondingly, siblings became a "model organism" for psychotherapy, evolutionary biology, and the science of genetics.