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The motifs of island and shipwreck have been present in literature and the arts from ancient times. Whether they occur as plot elements, as part of literary or film imagery, as symbols in paintings, as leitmotifs in songs, or as concepts in philosophical theories, both have always been a source of fascination to authors, artists and scholars. In Shipwreck and Island Motifs in Literature and the Arts, Brigitte Le Juez and Olga Springer have gathered essays that explore shipwreck and island figures in texts as historically, culturally and artistically diverse as Walter Scott’s The Lord of the Isles, Cristina Fernández Cubas’ “The Lighthouse”, reality TV series Treasure Island, pop songs of the BBC Radio programme Desert Island Discs, or The Otolith Group’s essay-film Hydra Decapita.
In fünfzehn Kapiteln fragt diese Studie nach im wesentlichen literarischen und musikalischen Erscheinungsformen einer in der Romantik maßgeblich entwickelten poetischen Denkweise, die hier als eine pluralektische vorgestellt wird. Im Romantischen kristallisiere sich die 'Lektüre des Heterogenen', wie Novalis notierte. Er war es auch, der eine 'Theorie der Berührung' und des Übergangs entwerfen wollte. Noch für die in der Forschung vergleichsweise weniger beachtete Spätromantik, der im dritten Teil dieses Buches besondere Aufmerksamkeit zuteil wird, blieb dieser Ansatz verbindlich. Der unverwechselbare Beitrag der Romantik zur Ideengeschichte, so die Hauptthese dieser Arbeit, liegt in ihrer den dialektischen Schematismus entgrenzenden Pluralektik, die sich mit mythologischer Motivik verband, im Roman exponierte und in der poetischen Musik selbst besang.
Foreword by Dennis F. Mahoney The German Library is a new series of the major works of German literature and thought from medieval times to the present. The volumes have forwards by internationally known writers and introductions by prominent scholars. Excerpts six texts (by La Roche, Forster, Wieland, Moritz, Heinse, and Braker) that show a cross-section of forms and themes that are representative as well as special examples of 18th-century German prose.
Utopian thinking embraces fictional descriptions of how to create a better (but not a perfect) alternative way of life as well as intentional communities (that is, groups of people leading lives in small communities for their own betterment and the betterment of others). The first edition almost exclusively dealt with the intentional-community side of utopianism; this second edition offers a much more inclusive definition of the key term utopia by offering a great many entries devoted to describing fictional or literary utopian works. It is also heavily illustrated with plates from utopian works, especially those from the heyday of utopianism in the late nineteenth century. This second edition of Historical Dictionary of Utopianism contains a chronology, an introduction, appendixes, and an extensive bibliography. The dictionary section has over 1000 cross-referenced entries on broad conceptual entries; narrower entries about specific works; and narrower entries about specific intentional communities or movements. This book is an excellent resource for students, researchers, and anyone wanting to know more about Utopianism.
Wearied by his life as an administrator at the Duke's court in Weimar, in 1786 Johann Wolfgang von Goethe departed unannounced in the middle of the night for what had been the destination of his imagination since childhood: Italy. His extended stay there dramatically affected his views of art, architecture, prose, poetry, and science. When he returned to Germany and Weimar, Goethe's experiences translated into his life and work in ways that influenced countless others as they developed Germany's own brand of high culture. The Spell of Italy: Vacation, Magic, and the Attraction of Goethe tracks the peculiar space Italy occupies in the cultural consciousness of German writers by reconsidering the Italian journeys of Goethe and Winckelmann and the legacy of those journeys in the works of Heine, Nietzsche, Freud, Mann, Carossa, and Bachmann. Author Richard Block contests previous assumptions about Italy as a place to encounter classical culture and creative rebirth. His study examines the degree to which Germany's literary and cultural traditions appropriated a phantasmic Italy, showing how Winckelmann's art history and Goethe's Italian journey predisposed later writers to search for an aesthetic ideal in Italy that did not exist, and how their search for this absent ideal eventually resulted in disillusionment and deception. Building on previous work on Goethe, literary theory, and cultural history, The Spell of Italy offers compelling new ways of understanding Germany's fascination with Italy from the eighteenth century to its troubled political history of the twentieth century.
Mythic Paradigms in Literature, Philosophy, and the Arts approaches literary and visual texts from the perspective of Hesperian identification and representation. Included is the first translation into English of Fichte's Supplement of 1801, a document whose content sheds light not only on the atheism controversy of the 1790s, but also on literary/philosophical polarizations in the «Republic of Letters». Condensed from the Hesperian atmospherics of Italy and Latin elegy, Faust II entails a Goethean celebration of auditory and visual sensation. In a text devoted to Shelley, Gregory Corso is seen elaborating a prosopopoeia involving Hypnos, god of sleep, a figure dispelling the effects of reading - the hypnoticon. Eisenhauer reads Hölderlin in the context of Pindar, philosophical idealism, and autobiographical projection.
The profound impact of Jean-Jacques Rousseau on Western thought has been frequently examined, yet the extent of Goethe's relationship to Rousseau has never before received thorough study. Carl Hammer Jr. here analyzes Goethe's works, paying particular attention to his mature production, to reveal the profound affinities of thought between these two European giants. Scholars have long recognized the direct influence of Rousseau on Goethe's first novel, Werther, but have believed that Goethe's enthusiasm waned thereafter. Hammer, in contrast, finds the affinity revealed even more strongly in Goethe's later works.