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This study provides a thorough examination of a Lucianic genre which enjoyed great popularity in 18th-century Germany. While preliminary attention is given to the nature of the dialogue of the dead, the main portion of the book explores the varied uses of the form, and traces its historical development in Germany. Dialogues of the dead by Bodmer, Wieland, D.C. Seybold, W.E. Neugebauer, Goethe and Grillparzer are analyzed and discussed. An appendix supplies a chronological listing of many German «Totengespräche».
Starting from the little reliable information available, Riccarda Suitner conducts an exciting investigation of the authors, production, illustrations, circulation and plagiarism of a series of anonymous "dialogues of the dead" in the intellectual world of the early eighteenth century, proposing a new image of the German Enlightenment.
The Bloomsbury Dictionary of Eighteenth-Century German Philosophers is a landmark work. Covering one of the most innovative centuries for philosophical investigation, it features more than 650 entries on the eighteenth-century philosophers, theologians, jurists, physicians, scholars, writers, literary critics and historians whose work has had lasting philosophical significance. Alongside well-known German philosophers of that era-Gottfried Wilhelm Leibniz, Immanuel Kant, and Georg Wilhelm Friedrich Hegel-the Dictionary provides rare insights into the lives and minds of lesser-known individuals who influenced the shape of philosophy. Each entry discusses a particular philosopher's life, contributions to the world of thought, and later influences, focusing not only on their most important published writings, but on relevant minor works as well. Bibliographical references to primary and secondary source material are included at the end of entries to encourage further reading, while extensive cross-referencing allows comparisons to be easily made between different thinkers' ideas and practices. For anyone looking to understand more about the century when enlightenment thinking arrived in Germany and established conceits were challenged, The Bloomsbury Dictionary of Eighteenth-Century German Philosophers is a valuable, unparalleled resource.
New historical insights into one of the most infamous episodes in the history of anti-Semitism Joseph Süss Oppenheimer—“Jew Süss”—is one of the most iconic figures in the history of anti-Semitism. In 1733, Oppenheimer became the “court Jew” of Carl Alexander, the duke of the small German state of Württemberg. When Carl Alexander died unexpectedly, the Württemberg authorities arrested Oppenheimer, put him on trial, and condemned him to death for unspecified “misdeeds.” On February 4, 1738, Oppenheimer was hanged in front of a large crowd just outside Stuttgart. He is most often remembered today through several works of fiction, chief among them a vicious Nazi propaganda movie made in 1940 at the behest of Joseph Goebbels. Investigating conflicting versions of Oppenheimer’s life and death as told by his contemporaries, Yair Mintzker conjures an unforgettable picture of “Jew Süss” in his final days that is at once moving, disturbing, and profound. The Many Deaths of Jew Süss is a masterful work of history and an illuminating parable about Jewish life in the fraught transition to modernity.
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This volume re-examines traditional interpretations of the rise of modern aesthetics in eighteenth-century Britain and Germany. It provides a new account that connects aesthetic experience with morality, science, and political society. In doing so, it challenges long-standing teleological narratives that emphasize disinterestedness and the separation of aesthetics from moral, cognitive, and political interests. The chapters are divided into three thematic parts. The chapters in Part I demonstrate the heteronomy of eighteenth-century British aesthetics. They chart the evolution of aesthetic concepts and discuss the ethical and political significance of the aesthetic theories of several key figures: namely, the third Earl of Shaftesbury, David Hume, and Adam Smith. Part II explores the ways in which eighteenth-century German, and German-oriented, thinkers examine aesthetic experience and moral concerns, and relate to the work of their British counterparts. The chapters here cover the work of Kant, Moses Mendelssohn, Alexander Gottlieb Baumgarten, and Madame de Staël. Finally, Part III explores the interrelation of science, aesthetics, and a new model of society in the work of Goethe, Johann Wilhelm Ritter, Friedrich Hölderlin, and William Hazlitt, among others. This volume develops unique discussions of the rise of aesthetic autonomy in the eighteenth century. In bringing together well-known scholars working on British and German eighteenth-century aesthetics, philosophy, and literature, it will appeal to scholars and advanced students in a range of disciplines who are interested in this topic. The Introduction and Chapters 2, 10, and 12 of this book are freely available as downloadable Open Access PDFs at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.
The reputation which O'Neill enjoyed in Germany is treated as well as the critical and popular response to his individual works. Greeted during the thirties as a very American dramatist and a revolutionary influence in the theater of his own country, the playwright was seen abroad as a conservative successor to the European tradition of Strindberg, Ibsen, and Hauptmann. After World War II, however, all this changed. He was heard then as the voice from America that provided existential hope to an audience beset by economic hardship, the anxieties of the cold war, feelings of guilt and uncertainty. Extremely popular, his works were performed more frequently during the decades of the fifties and thereafter than any other foreign dramatist except Shakespeare.
In this lively and pathbreaking book, William Monter sketches Europe's increasing acceptance of autonomous female rulers between the late Middle Ages and the French Revolution. Monter surveys the governmental records of Europe's thirty women monarchs—the famous (Mary Stuart, Elizabeth I, Catherine the Great) as well as the obscure (Charlotte of Cyprus, Isabel Clara Eugenia of the Netherlands)—describing how each of them achieved sovereign authority, wielded it, and (more often than men) abandoned it. Monter argues that Europe's female kings, who ruled by divine right, experienced no significant political opposition despite their gender.
The author examines the relationship between the narrator and the reader in Wilhelm Raabe's Im alten Eisen (1887) both as an aspect of narrative structure and as a reflection of social and cultural criticism. Using W. Iser's concept of the «implied reader», the interpretation progresses from an investigation of Raabe's actual readers to a Im alten Eisen is linked to its unusual synthesis of the fairy-tale and the novelistic genres and to its parody of the family-journal novels of E. Marlitt.
'I love the German character more than anything else in the world, and my breast is an archive of German song' So wrote Heinrich Heine in 1824, adding: 'It is likely that my Muse gave her German dress something of a foreign cut from annoyance with the German character'. Here Heine sums up the ambivalent emotions of Jews who felt at home in German culture and yet, even in the age of emancipation, foundGermany less than welcoming. This anthology illustrates the history of Jews in Germany from the eighteenth century, when it was first proposed to give Jews civil rights, to the 1990's and the problems of living after the Holocaust. The texts include short stories, plays, poems, essays, letters anddiary entries, all chosen for their literary merit as well as the light they shed on the relations between Jews in Germany and Austria and their Gentile fellow-citizens. Ritchie Robertson's lucid introduction provides the necessary historical context and his translations make available in Englishin some cases for the first time - both Jewish writers on various aspects of Jewish experience and responses of Gentile writers to the Jews in their midst. Each is introduced by a short illuminating preface.