Tweet on Twitter 1 A miner at the Camp Bird mine in Ouray County, Colorado, shows a degree of sophistication with his books, plates, photo collection, flowers, and the guitar — in a place of pride on the table.
Pen and ink, dated November Quotations from the German are provided in the original; unless otherwise indicated, the accompanying English translations are by the respective contributors or by their own translator.
I am most grateful to Dorothee Racette, Bernadette Malinowski, and David Wood for the help they provided me in translating chapters 6, 7, and 10 of this volume, and to Sean Callagy for the assistance rendered to Fabian Lampart on stylistic matters in chapter 8.
To the distinguished contributors to this volume I owe a sincere debt of thanks for their commitment to this project and for their willingness to undertake editorial revisions — particularly when these had to do with the task of situating our volume within the overall design of the Camden House History of German Literature.
Thanks also to Jim Hardin and Jim Walker at Camden House for their unfailingly prompt and helpful answers to my many questions, as well as to my beloved wife, Angelika Mahoney, for all the moral support she has provided me. Within my own department, Wolfgang Mieder has been a source of much encouragement and good advice; our departmental administrative assistant, Janet Sobieski, has been of great help in formatting matters.
I also owe many thanks to my graduate assistant, Courtney Magwire, for her proofreading skills and her assistance in preparing the bibliography of primary and secondary literature. Above all, I would like to thank Klaus Peter, my dissertation advisor at the University of Massachusetts, Amherst, for the insights, inspiration, and encouragement he has provided me over the years.
It is to him that I dedicate this volume. Ernst Behler et al. Apart from these two historical-critical editions, which are used throughout the volume, the individual contributors have selected whatever other editions they found most helpful.
Frequently quoted sources, whether primary or secondary literature, are given their full bibliographical information in an endnote, along with the abbreviation that thereafter will be used as a parenthetical reference within the main text itself.
While many literary historians of the nineteenth and early twentieth centuries regarded German Romanticism as the polar opposite to Enlightenment rationalism — with the evaluation of such a purported opposition depending on the ideological orientation of the critic — it might be more productive to view the Romantic era in Germany as a time when discordances latent in eighteenth-century society and thought became manifest.
In this way, Enlightenment and Romanticism become part of a continuum of development in European intellectual history that also includes more narrowly confined literary movements in Germany such as the 1 Sturm und Drang and Weimar Classicism.
Regardless of whether one chooses to accept this tripartite division or else simply speaks of Early and Late Romanticism, there is no doubt that the first phase of this movement overlaps with the literary partnership of Goethe and Schiller between and known as Weimar Classicism.
The principal strength of the Schlegel brothers was their critical acumen, which they later were to display in public lectures in Berlin and Vienna that were then translated and distributed throughout the Western world, aiding in the development of other national schools of Romanticism after Collaborative work was to become characteristic of the Romantic generation, although the personal configurations shifted from year to year and place to place.
The Early Romantics, for example, are often known as the Jena Romantics, as this small university town near Weimar is where August Wilhelm Schlegel was appointed professor inhis brother Friedrich immersed himself in the study of the philosopher Johann Gottlieb Fichte —and Tieck became friends with Hardenberg in the summer and fall of But Berlin, a city hitherto regarded as a citadel of the Enlightenment, has equal claims to be regarded as a center of Romanticism — from the work of Tieck and Wackenroder through that of Late Romantics like E.
It was in Berlin, after all, that the Athenaeum was published and where Friedrich Schlegel first met his future wife Dorothea Veit-Schlegel —the daughter of the Jewish Enlightenment leader Moses Mendelssohn — 86and also brought the theologian Friedrich Schleiermacher — into the orbit of the Early Romantic movement.
Consequently, Schlegel strives in this work to recreate the lively discussions among the Early Romantics. Had he only known that Anglo-American critics would come to regard 4 him as a key figure in European Romanticism!
Goethe and his younger contemporary Schiller are too protean in their development to be confined to any single literary movement — within the Camden House History of German Literature they also are treated in the volumes on the Sturm und Drang and Weimar Classicism; but in this volume Arnd Bohm helps us to consider their significance for the English and German Romantics as well as the ways in which Goethe in particular strove to distinguish himself from tendencies in Romanticism that he regarded with deep reserve.
Even with later Romantics such as Clemens Brentano — and Joseph von Eichendorff —the apparent simplicity of their tales and poems is the product of conscious artifice, as the ensuing discussion of these works will show. This next set of four chapters on the novels, short prose works, dramas, and poetry of German Romanticism uses as a starting point the traditional distinctions between epic, dramatic, and lyric genres, all the while realizing that, particularly in the Romantic novel, there was a conscious, programmatic attempt to intermingle these three modes of writing.
Although also written with an audience of fellow Romanticists in mind, these chapters by Gerhart Hoffmeister, Ulrich Scheck, Claudia Stockinger, and Bernadette Malinowski should be of particular value for graduate student and generalist readers looking for a reliable guide to the literature of and scholarship on German Romanticism.
It has been maintained that — for better or worse — Romanticism had a deeper and more wide-ranging impact on German society and culture than it did in other European countries.
Helfer, Kristina Muxfeldt, and Beate Allert focus on the most significant aspects of German Romanticism and their interplay with folklore, politics, natural science, gender presentation and representation, music, and the visual arts.
The penultimate chapter by Paul Bishop and R. The concluding chapter by Nicholas Saul, though, should leave no doubt as to the extent that the writings of the German Romantics have stimulated literary production throughout the twentieth century.
If, as we hope, this volume is read from cover to cover, its organization is such that the argument of each chapter should flow seamlessly into the succeeding piece. Goethe, for example, once compared Achim von Arnim — to a cooper who forgets to put rings around his 5 barrel, thus causing the contents to spill all over the place.
The opening and concluding chapters by Gerhard Schulz and Nicholas Saul on the genesis and twentieth-century reception of German Romanticism provide a chronological and thematic frame for the volume as a whole.
The two chapters on Goethe at either end of the volume also relate to each other as a matter of course. Chapters 3—7 and 9—13, meanwhile, provide opportunities for multiple reflections on a single work or author from different perspectives.
In analogy to the structure of Lucinde: These authors, along with Joseph von Eichendorff, belong to the so-called Heidelberg group of Romantics, who congregated intermittently in this southern German university town in the years between and and attempted to preserve and renew the German cultural heritage through collections of folk songs and fairy tales, as well as their own 7 literary production.Introduction to Literature.
STUDY. PLAY. A dead chronicle is one where the author gathers his list of events up to the time of his writing, but does not record further events as they occur. almost telegrammatic language. Fabliau. Definition: Fabliau is a short metrical tale; a short narrative in verse, usually comic, often cynical.
It. The word also operates as an acronym for “Forsythia Out Race Spring’s Yellow Telegram Hope Insists Action,” a telegrammatic sentence that conjures up the role of the forsythia as a harbinger of spring.
Here are fantastic examples of sentences with "find that". One possible technological solution, which has been discussed on both sides of the border, is that you carry out any check that may be necessary—which, by the way, would be a really tiny quantity, if you know the amount of checks currently carried out on all our borders—maybe 20 miles in on both sides.
A short poem, even by Dickinson’s brief, telegrammatic standards, but as with so many of Dickinson’s poems, it carries an arresting opening line, and reminds us that the river and the sea are endlessly linked in one great cycle (as our pick of the best sea poems serves to prove).
James Ellroy is an American writer and producer, who is known forL.A. Confidential,Street Kings, Dark Blue andThe Black Dahlia. Ellroy has become known for his writing in crime genre, which has dramatic and telegrammatic stylein most of his works.