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During the quarter century between 1780 and 1806, Berlin's courtly and intellectual elites gathered in the homes of a few wealthy, cultivated Jewish women to discuss the events of the day. Princes, nobles, upwardly mobile writers, actors, and beautiful Jewish women flocked to the salons of Rahel Varnhagen, Henriette Herz, and Dorothea von Courland, creating both a new cultural institution and an example of social mixing unprecedented in the German past.
First published in 1981. This study concentrates on the exponents of the central period of German Romanticism, regarding as characteristic the mode in which the poet’s self becomes active only in response to external stimuli, most notably those of landscape. The author traces the main strands of thought and interests that preoccupy Romantic writers; the revolutionary attitude that is yet differentiated from that of writers like Byron by the lack of emphasis on individualism, the dualism of the bourgeois world and the ‘inner self’, the interest in language as an agency for the regeneration of the German spirit, and the concentration on folk-themes and the idea of Wanderung. This title will be of interest to students of literature.
Smallholder farmers and pastoralists fulfil an invaluable yet undervalued role in conserving biodiversity. They act as guardians of locally adapted livestock breeds that can make use of even marginal environments under tough climatic conditions and therefore are a crucial resource for food security. But in addition, by sustaining animals on natural vegetation and as part of local ecosystems, these communities also make a significant contribution to the conservation of wild biodiversity and of cultural landscapes. This publication provides a glimpse into the often intricate knowledge systems that pastoralists and smallholder farmers have developed for the management of their breeds in specific production systems and it also describes the multitude of threats and challenges these often marginalized communities have to cope with.
The ambiguities and transitional structures in that early modern world have contributed to the inconsistencies that are part of Bach's legacy." "The essays are complemented by statements (never before translated) about Lutheran church music by two of Bach's close contemporaries, Gottfried Ephraim Scheibel and Johann Kuhnau."--Jacket.
In his popular book The Germans (1982), Stanford historian Gordon Craig remarked: "When German intellectuals at the end of the eighteenth century talked of living in a Frederican age, they were sometimes referring not to the monarch in Sans Souci, but to his namesake, the Berlin bookseller Friedrich Nicolai." Such was the importance attributed to Nicolai’s role in the intellectual life of his age by his own contemporaries. While long neglected by students of the period, who tended to accept the caricature of him as a philistine who failed to recognize Goethe’s genius, Nicolai has experienced a resurgence of interest among scholars reexploring the German Enlightenment and the literary marketplace of the eighteenth century. This book, drawing upon Nicolai’s large unpublished correspondence, rounds out the picture we have of Nicolai already as author and critic by focusing on his roles as bookseller and publisher and as an Aufkärer in the book trade.
Originally published as author's thesis (Ph.D.--Trinity College, Cambridge).
This book examines how the concept of the autonomous writer evolved in German culture. Its scope includes various forms of representation that both engendered the notion of the autonomous writer and became vehicles for casting the writer's tenuous position in society. Taking the «writer» as a function not only of a literary discourse, but also of a network of interlocking discourses, it explores the genesis of the autonomy concept in relation to the changing make-up of the reading public, new practices in reading, and the intermediary role of the literary market between author and public. Combining the results of sociological studies with critical readings of theoretical and literary texts, this work contributes to the ongoing reassessment of how the aesthetic and the real act dialectically in the determination of social reality. It also adds to the growing critical assault on the persistent tendency to privilege aesthetic autonomy over the interaction of art and history.
«Wie war dein Leben und Sterben so sanft und meerstille, du vergnügtes Schulmeisterlein Wutz!» Schon in den düsteren Mauern des Internats übt der spätere Schulmeister sich in der «Wutzischen Kunst, stets fröhlich zu sein». Und bereits als Schüler vollendet er diese Kunst, indem er sich am Fastnachtsmorgen in die Liebe hineintanzt. Als Schulmeister in Auenthal kann er sich selbst die wichtigsten Neuerscheinungen auf dem Buchmarkt nicht leisten – doch damit auch er etwas Gescheites zu lesen bekommt, schreibt er sich seinen Werther und seine Kritik der reinen Vernunft einfach selbst. Nur kann er sich am Ende, nach langem Studium in seiner Bibliothek, nicht erklären, warum die Buchdrucker die Texte so sehr verfälschen, dass man sie nicht wiedererkennt... Jean Paul hat mit dem Schulmeisterlein Wutz den liebenswürdigsten Sonderling der deutschen Literatur geschaffen. Seine Geschichte ist von einer warmen Menschlichkeit, die bis heute berührt.