New Studies in the Age of Goethe – serie

In the last three decades of the eighteenth century, a small but significant number of German actresses, including Sophie Albrecht (1757-1840), Marianne Ehrmann (1755-1795) and Elise Bürger (1769-1833), began to publish poetry, autobiography, drama and short fiction under their own names. These "actress-writers" came of age at a time when the status of the actress was beginning to be radically redefined in accordance with Enlightenment aesthetics and the cult of sensibility, as the model of the enterprising actress-director in the tradition of Caroline Neuber gave way to an idealizing view of the actress as sentimental heroine. The Mask and the Quill: Actress-Writers in Germany from Enlightenment to Romanticism, is an exploration of this generation of actress-writers, their significance for German literary and cultural history, and their attempts to come to terms with the new image of the actress through literature and performance.In their texts and performances, Albrecht, Ehrmann and Bürger articulated an entirely new sense of what it meant to be an actress and a woman writer. They identified themselves with the cult of sensibility, with the theater reform movement, and above all with an image of the actress as Gefühlsschauspielerin or "actress of emotion," which emerged in the mid-1770s in response to the death of the Hamburg tragedienne Charlotte Ackermann (1757-1775). While some scholars have described this generation as a silent one, forced to submit to increasingly passive ideals of domesticity, actress-writers of the era defied this trend by using the image of the Gefühlsschauspielerin as a passport to literary activity. Their close relationship to theater and the nascent genre of "paratheatrical literature" provided them with a public voice, access to literary circles and a language with which to articulate their identity as actresses and as writers. More importantly, it provided them with a space from which to critique contemporary notions of gender and virtue.

Reading Riddles: Rhetorics of Obscurity from Romanticism to Freud explores how the riddle becomes a figure for reading and writing in early German Romanticism and how this model then enables Sigmund Freud's approach to the psyche. It traces a migration of ideas from literature to psychoanalysis and argues that the relationship between them must be situated at the methodological level. Through readings of texts by August Wilhelm, Friedrich Schlegel, G.W.F. Hegel, and Ludwig Tieck Reading Riddles documents how the Romantics expand the field of poetic signification to include obscure, distorted signs and how they applied this rhetoric of obscurity to the self. The book argues that this model of self and signification plays a central role in the formulation of Freud's psychoanalytic theory. If the self is a riddle, as many in the nineteenth century claim, Freud takes the figure seriously and interprets the mind according to all the structures and techniques of that textual genre.

Reading Riddles: Rhetorics of Obscurity from Romanticism to Freud explores how the riddle becomes a figure for reading and writing in early German Romanticism and how this model then enables Sigmund Freud''s approach to the psyche. It traces a migration of ideas from literature to psychoanalysis and argues that the relationship between them must be situated at the methodological level. Through readings of texts by August Wilhelm, Friedrich Schlegel, G.W.F. Hegel, and Ludwig Tieck Reading Riddles documents how the Romantics expand the field of poetic signification to include obscure, distorted signs and how they applied this rhetoric of obscurity to the self. The book argues that this model of self and signification plays a central role in the formulation of Freud''s psychoanalytic theory. If the self is a riddle, as many in the nineteenth century claim, Freud takes the figure seriously and interprets the mind according to all the structures and techniques of that textual genre.

The concept of secular millennialism summarizes a crucial point made by Hannah Arendt in The Origins of Totalitarianism: that twentieth-century totalitarian movements, in Nazi Germany and in the Soviet Union under Stalin, are not nationalistic but essentially millennialist, focused on the achievement of a universal world order. The question of whether totalitarian thinking can be located in a secular millennialist tradition is brought to the forefront in Aesthetics as Secular Millennialism: Its Trail from Baumgarten and Kant to Walt Disney and Hitler byBenjamin Bennett. Bennett contends that the new philosophical science of aesthetics—beginning in the eighteenth century with Baumgarten, Kant, and Schiller—is the source of such a tradition. Bennett uses the term “aesthetics” to designate a tradition which begins under that name but, in the course of the nineteenth century, concerns itself less directly with questions of beauty or art while not losing its secular millennialist tendency. He argues that modern philosophical hermeneutics, in Dilthey, Heidegger, and Gadamer, belongs to the aesthetic tradition. Bennett explores the realistic novel as the main vehicle by which aesthetic tradition maintains itself in the nineteenth century and attracts a large popular following. The argument culminates in a discussion of relations among aesthetics, totalitarian propaganda, and the “totalitarian imagination” with its dream of “human omnipotence” (Arendt). Aesthetics as Secular Millennialism also maintains an attentiveness to instances of resistance against the aesthetic impetus in history—hence ultimately against totalitarianism.

At the turn of the eighteenth century, selfhood was understood as a “tabularasa” to be imprinted in the course of an individual’s life. By the middle of the nineteenth-century, however, the individual had become defined as determined by heredity already from birth. Examining novels by Goethe, Jean Paul, and E.T.A. Hoffmann, studies on plant hybridization, treatises on animal breeding, and anatomical collections, Romanticism, Origins, and the History of Heredity delineates how romantic authors imagined the ramifications of emerging notions of heredity for the conceptualization of selfhood. Focusing on three fields of inquiry—inbreeding and incest, cross-breeding and bastardization, evolution and autopoiesis—Christine Lehleiter proposes that the notion of selfhood for which Romanticism has become known was not threatened by considerations of determinism and evolution, but was in fact already a result of these very considerations. Romanticism, Origins and the History of Heredity will be of interest for literary scholars, historians of science, and all readers fascinated by the long durée of subjectivity and evolutionary thought.

At the turn of the eighteenth century, selfhood was understood as a “tabularasa” to be imprinted in the course of an individual’s life. By the middle of the nineteenth-century, however, the individual had become defined as determined by heredity already from birth. Examining novels by Goethe, Jean Paul, and E.T.A. Hoffmann, studies on plant hybridization, treatises on animal breeding, and anatomical collections, Romanticism, Origins, and the History of Heredity delineates how romantic authors imagined the ramifications of emerging notions of heredity for the conceptualization of selfhood. Focusing on three fields of inquiry—inbreeding and incest, cross-breeding and bastardization, evolution and autopoiesis—Christine Lehleiter proposes that the notion of selfhood for which Romanticism has become known was not threatened by considerations of determinism and evolution, but was in fact already a result of these very considerations. Romanticism, Origins and the History of Heredity will be of interest for literary scholars, historians of science, and all readers fascinated by the long durée of subjectivity and evolutionary thought.

The concept of secular millennialism summarizes a crucial point made by Hannah Arendt in The Origins of Totalitarianism: that twentieth-century totalitarian movements, in Nazi Germany and in the Soviet Union under Stalin, are not nationalistic but essentially millennialist, focused on the achievement of a universal world order. The question of whether totalitarian thinking can be located in a secular millennialist tradition is brought to the forefront in Aesthetics as Secular Millennialism: Its Trail from Baumgarten and Kant to Walt Disney and Hitler byBenjamin Bennett. Bennett contends that the new philosophical science of aesthetics—beginning in the eighteenth century with Baumgarten, Kant, and Schiller—is the source of such a tradition. Bennett uses the term “aesthetics” to designate a tradition which begins under that name but, in the course of the nineteenth century, concerns itself less directly with questions of beauty or art while not losing its secular millennialist tendency. He argues that modern philosophical hermeneutics, in Dilthey, Heidegger, and Gadamer, belongs to the aesthetic tradition. Bennett explores the realistic novel as the main vehicle by which aesthetic tradition maintains itself in the nineteenth century and attracts a large popular following. The argument culminates in a discussion of relations among aesthetics, totalitarian propaganda, and the “totalitarian imagination” with its dream of “human omnipotence” (Arendt). Aesthetics as Secular Millennialism also maintains an attentiveness to instances of resistance against the aesthetic impetus in history—hence ultimately against totalitarianism.

A Pedagogy of Observation argues that the fascination with learning about the past and new locations in panoramic form spread far from the traditional sites of popular entertainment and amusement. Although painted panoramas captivated audiences from Hamburg to Leipzig and Berlin to Vienna, relatively few people had direct access to this invention. Instead, most Germans in the early nineteenth century encountered panoramas for the first time through the written word. The panorama experience described inthis book centers on the emergence of a new type of visual language and self-fashioning in material culture adopted by Germans at the turn of the nineteenth century, one that took cues from the pedagogy of observing and interpreting space at panorama shows. By reading about what editors, newspaper correspondents, and writers referred to as “panoramas,” curious Germans learned about a new representational medium and a new way to organize and produce knowledge about the scenes on display, even if they had never seen these marvels in person. Like an audience member standing on a panorama platform at a show, reading about panoramas transported Germans to new worlds in the imagination, while maintaining a safe distance from the actual transformations being portrayed. A Pedagogy of Observation identifies how the German bourgeois intelligentsia created literature as panoramic stages both for self-representation and as a venue for critiquing modern life. These written panoramas, so to speak, helped German readers see before their eyes industrial transformations, urban development, scientific exploration, and new possibilities for social interactions. Through the immersive act of reading, Germans entered an experimental realm that fostered critical engagement with modern life before it was experienced firsthand. Surrounded on all sides by new perspectives into the world, these readers occupied the position of the characters that they read about in panoramic literature. From this vantage point, Germans apprehended changes to their immediate environment and prepared themselves for the ones still to come.

Literary recognition is a technical term for a climactic plot device. Odysseys of Recognition claims that interpersonal recognition is constituted by performance, and brings performance theory into dialogue with poetics, politics, and philosophy. By observing Odysseus figures from Homer to Kleist, Ellwood Wiggins offers an alternative to conventional intellectual histories that situate the invention of the interior self in modernity. Through strategic readings of Aristotle, this elegantly written, innovative study recovers an understanding of interpersonal recognition that has become strange and counterintuitive. Penelope in Homer’s Odyssey offers a model for agency in ethical knowledge that has a lot to teach us today. Early modern and eighteenth-century characters, meanwhile, discover themselves not deep within an impenetrable self, but in the interpersonal space between people in the world. Recognition, Wiggins contends, is the moment in which epistemology and ethics coincide: in which what we know becomes manifest in what we do.Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.

Literary recognition is a technical term for a climactic plot device. Odysseys of Recognition claims that interpersonal recognition is constituted by performance, and brings performance theory into dialogue with poetics, politics, and philosophy. By observing Odysseus figures from Homer to Kleist, Ellwood Wiggins offers an alternative to conventional intellectual histories that situate the invention of the interior self in modernity. Through strategic readings of Aristotle, this elegantly written, innovative study recovers an understanding of interpersonal recognition that has become strange and counterintuitive. Penelope in Homer’s Odyssey offers a model for agency in ethical knowledge that has a lot to teach us today. Early modern and eighteenth-century characters, meanwhile, discover themselves not deep within an impenetrable self, but in the interpersonal space between people in the world. Recognition, Wiggins contends, is the moment in which epistemology and ethics coincide: in which what we know becomes manifest in what we do.Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.

We are inundated with game play today. Digital devices offer opportunities to play almost anywhere and anytime. No matter our age, gender, social, cultural, or educational background—we play. Play in the Age of Goethe: Theories, Narratives, and Practices of Play around 1800 is the first book-length work to explore how the modern discourse of play was first shaped during this pivotal period (approximately 1770-1830). The eleven chapters illuminate critical developments in the philosophy, pedagogy, psychology, politics, and poetics of play as evident in the work of major authors of the period including Lessing, Goethe, Kant, Schiller, Pestalozzi, Jacobi, Tieck, Jean Paul, Schleiermacher, and Fröbel. While drawing on more recent theories of play by thinkers such as Jean Piaget, Donald Winnicott, Jost Trier, Gregory Bateson, Jacques Derrida, Thomas Henricks, and Patrick Jagoda, the volume shows the debates around play in German letters of this period to be far richer and more complex than previously thought, as well as more relevant for our current engagement with play. Indeed, modern debates about what constitutes good rather than bad practices of play can be traced to these foundational discourses. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.