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Journal articles on the topic 'German literature Literature German literature Classicism'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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1

Lee, David, Kim Vivian, Richard H. Lawson, and Frank Tobin. "Survey of German Literature. Vol. II: Classicism to Naturalism." Die Unterrichtspraxis / Teaching German 22, no. 2 (1989): 207. http://dx.doi.org/10.2307/3530207.

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2

van Cleve, John, Kim Vivian, Frank Tobin, and Richard Lawson. "Survey of German Literature: Volume Two: Classicism to Naturalism." German Quarterly 61, no. 4 (1988): 565. http://dx.doi.org/10.2307/406267.

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3

CHAPIN, KEITH. "SCHEIBE’S MISTAKE: SUBLIME SIMPLICITY AND THE CRITERIA OF CLASSICISM." Eighteenth Century Music 5, no. 2 (2008): 165–77. http://dx.doi.org/10.1017/s1478570608001474.

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ABSTRACTIt is as a classicist that Johann Adolph Scheibe has entered the annals of music history, either as a propagator of the principles of French literary classicism, or as a champion of a ‘galant’ style that later critics would view as a foundation for a German musical classicism. But if Scheibe insisted on a quality of striking simplicity, using words clearly indebted to those of Nicolas Boileau, the doyen of seventeenth-century French critics, he was no classicist according to the French model. While all classicists depend to a certain degree on the regulation of their material – for such regulation aids them in their quest for the perfect fit between parts and whole – they will differ in how they choose to balance the codification of technique and the regulation of style, on the one hand, with the evocation of emphatic or ‘sublime’ experiences, on the other. If Boileau sought the ‘marvellous’ quality that strikes like lightening, Scheibe wished for clarity. Drawing on scholarship in the history of literature, this article first examines the origins and point of French classicist literary aesthetics, then traces the fate of these aesthetics as they were transferred from France to Germany and from literature to music.

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4

Hohendahl, Peter Uwe. "A Precarious Balance: Adorno and German Classicism." New Literary History 42, no. 1 (2011): 31–52. http://dx.doi.org/10.1353/nlh.2011.0006.

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5

Dvorak, Paul F., Kim Vivian, Frank Tobin, and Richard H. Lawson. "Survey of German Literature Volume I: Old High German to Storm and Stress. Volume II: Classicism to Naturalism." Modern Language Journal 72, no. 3 (1988): 361. http://dx.doi.org/10.2307/327544.

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6

Conacher, Jean E. "Transformation and Education in GDR Youth Literature: A Script Theory Approach." International Research in Children's Literature 9, no. 1 (2016): 65–82. http://dx.doi.org/10.3366/ircl.2016.0183.

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Youth literature within the German Democratic Republic (GDR) officially enjoyed equal status with adult literature, with authors often writing for both audiences. Such parity of esteem pre-supposed that youth literature would also adopt the cultural–political frameworks designed to nurture the establishment of socialism on German soil. In their quest to forge a legitimate national literature capable of transforming the population, politicians and writers drew repeatedly upon the cultural heritage of Weimar classicism and the Bildungsroman, Humboldtian educational traditions and Soviet-inspired models of socialist realism. Adopting a script theory approach inspired by Jean Matter Mandler, this article explores how directive cultural policies lead to the emergence of multiple scripts which inform the nature and narrative of individual works. Three broad ideological scripts within GDR youth literature are identified which underpin four distinct narrative scripts employed by individual writers to support, challenge and ultimately subvert the primacy of the Bildungsroman genre. A close reading of works by Strittmatter, Pludra, Görlich, Tetzner and Saalmann reveals further how conceptual blending with classical and fairy-tale scripts is exploited to legitimise and at times mask critique of transformation and education inside and outside the classroom and to offer young protagonists a voice often denied their readers.

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7

Menhennet, Alan, and P. M. Mitchell. "Johann Christoph Gottsched (1700-1766): Harbinger of German Classicism." Modern Language Review 92, no. 1 (1997): 239. http://dx.doi.org/10.2307/3734776.

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8

Gelus, Marjorie, and Benjamin Bennett. "Modern Drama and German Classicism: Renaissance from Lessing to Brecht." Theatre Journal 40, no. 1 (1988): 133. http://dx.doi.org/10.2307/3207809.

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9

Hartvig, Gabriella. "Ossian Translations and Hungarian Versification, 1773–93." Translation and Literature 22, no. 3 (2013): 383–400. http://dx.doi.org/10.3366/tal.2013.0129.

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Ossianic translations in the Hungary of the1790s were the occasion of heated debates between different schools of translation. Michael Denis, Ossian's first German-language translator, was known in Hungary primarily as a bardic poet, bibliographer, and also as a Jesuit monk. He had personal connections with, and was a great inspiration for, Hungarian ‘Latinate poets’ who knew Denis’ German and Latin hexameter renderings. This essay suggests that it was through Denis’ Jesuit connections that Ossianic poetry first reached the Hungarian reading public and was interpreted in the context of Latinate classicism. It then outlines how contemporary foreign translations of Ossian contributed to translational debates in the pages of the journal Magyar Museum, which also published János Batsányi's hexameter translation of The Death of Oscar.

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10

McGowan, Moray. "Modern German Classics: Second Hand." German Life and Letters 58, no. 2 (2005): 155–63. http://dx.doi.org/10.1111/j.0016-8777.2005.00311.x.

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11

Haubold, Johannes. "AN EAST GERMAN CASSANDRA." Classical Review 53, no. 1 (2003): 235–36. http://dx.doi.org/10.1093/cr/53.1.235.

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12

Veisbergs, Andrejs. "TRANSLATION POLICIES IN LATVIA DURING THE GERMAN OCCUPATION." Vertimo studijos 7, no. 7 (2017): 31. http://dx.doi.org/10.15388/vertstud.2014.7.10529.

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The period of German occupation in Latvia came after twenty years of Latvian independence and a year of Soviet occupation. The shifts in the translation policies at these critical junctions were incredibly fast. The independence period was marked by a developed translation industry, a variety of the source languages, a variety of kinds of literature, with a broad scope in the quality of the translations. When the Soviets came, they quickly nationalized the publishers, ideologised the system and reshaped the pattern of what was translated. Russian was made the main source language, and other languages were minimized. The share of ideological literature grew exponentially, reaching one third of all books. Soon after the German invasion, the publishers regained their printing houses and publishing was renewed. The percentage of translations was similar to that of the independence period, with German literature making up 70% of the source texts. Most of the other source texts were Nordic and Estonian. Translation quality of fiction was generally high and the print runs grew. There are surprisingly few ideologically motivated translations. The official policies of the regime as regards publishing in Latvia appear to be uncoordinated and vague, with occasional decisions taken by “gate-keepers” in the Ostministerium and other authorities according to their own preferences. There was a nominal pre-censorship, but the publishers were expected to know and sense what was acceptable. In turn the latter played it safe, sticking to classical and serious works to translate and publish. Some high class translations of Latvian classics into German were also published during the period.

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13

Ilina, Kira. "Behind the Facade of Uvarov’s Classicism: Career Strategies of Classical Philologists at Russian Universities." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 2 (June 2020): 80–92. http://dx.doi.org/10.15688/jvolsu4.2020.2.6.

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Introduction. The article is focused on reconstruction of the practices of forming a disciplinary group of classical philologists in the Russian Empire universities in the 1830s – 1850s. Methods. For this purpose, the archival materials of the Ministry of Education, as well as Saint Petersburg, Moscow, Kazan and Kiev Universities are considered. The research methodology is based on a combination of both traditional general historical methods and methods of classical source studies, and approaches developed in the framework of the history of science, the sociology of knowledge and the history of disciplines. Analysis and results. It is important to analyze three points: the political context, practices in building career trajectories and academic networks of professors of Greek and Roman literature and antiquities at Russian universities. The transformation of the existing network of universities into the system of public education was carried out by the Minister of Public Education Sergey Uvarov in the 1830s. Transferring to Russia the European model of secondary education based on the study of classical languages, Uvarov created a system of general education and relentlessly promoted antiquity studies in the Russian Empire. Teaching classical disciplines was expanded at gymnasiums and universities. Following the academic personnel reform of the late 1830s, a number of “antiquity chairs” at universities was headed by young philologists and historians who had spent two or three years of training at universities in Germany, mainly in Berlin, attending lectures and seminars of leading German classical philologists. In the 1840s – 1850s, an artificially constructed group of classical philologists gradually transformed into a disciplinary community.

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Huebner, Steven. "Classical Wagnerism." Journal of Musicology 34, no. 1 (2017): 115–47. http://dx.doi.org/10.1525/jm.2017.34.01.115.

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The works of Richard Wagner have been celebrated for their impact on progressive elements in European culture, as a bridge from romanticism to modernism. In France the influence of Wagner on symbolist writers and artists, and musicians sympathetic to them, has emerged as particularly significant. But there was also a conservative response to Wagner that has received much less attention in the scholarly literature. This filiation is exemplified in the figure of Albéric Magnard and his opera Bérénice (1911), which he claimed was influenced by a “classical” Wagner. This article considers the classicism of Bérénice and its composer from several perspectives: portrayals of temperament that demonstrate consonance with classical precepts, political readings that emphasize classical values, the legacy of the French theater of the seventeenth century, and strategies of tonal organization and motivic development related to the German symphony extending back to Beethoven.

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Umachandran, Mathura. "The world in Auerbach’s mouth: Weltliteratur after philhellenism." Classical Receptions Journal 11, no. 4 (2019): 427–52. http://dx.doi.org/10.1093/crj/clz014.

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Abstract We live in an age of globalized and globalizing phenomena: the contemporary agenda of academic inquiry takes in ‘networks’, ‘connectivity’, and other modes of articulating complex structures of human activity. In Comparative Literature and beyond, the idea of world literature has borne the weight of idealist intercultural understanding, the hopes of translation studies, and the anxieties around the failure of communication. Erich Auerbach offers a touchstone in the conceptual genealogy of world literature (Weltliteratur). This article illuminates how Auerbach’s Weltliteratur is predicated on a polemic with German philhellenism, tracked through Auerbach’s declaration that his idea is ‘ungoethisch’. Auerbach’s revisions to Weltliteratur constituted a strategy to render it a historicist concept. Since Auerbach’s notion of historicism was itself derived from nineteenth-century German humanism, this essay argues that Auerbach was attempting to go with Goethe beyond Goethe. Finally, this essay assesses how successful Auerbach’s decoupling of Weltliteratur from universalism, under the sign of Goethe and the Greeks. I suggest that Weltliteratur is still a pertinent concept today because of Auerbach’s intervention to install historicist and dialectical resources therein.

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Salmon, Hakeem. "The German Orientalist School Vis-à-vis the History of Arabic Literature: Carle Brockelmann as a Locus Classicus." International Journal of Linguistics, Literature and Translation 4, no. 5 (2021): 236–41. http://dx.doi.org/10.32996/ijllt.2021.4.5.26.

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It is an incontestable fact and incontrovertible truism that Orientalism- a term deployed to signify a socio-political trend signifying intellectual enquiry and the academic study of Eastern cultures by the Western intelligentsia – is one of the sources of information about Islam and Muslims. This is a culmination of gargantuan endeavours lent Arab autochthonous patrimony; whether the fragments scribbled in pure Arabic; or those documented in other Asian or African languages; or other Islamic languages such as Persia, Urdu and Turkish; in terms of preservation, study, editing, publication, or indexing. It would be pertinent here to mention the tremendous efforts the Muslims have made to follow what the Westerners have accomplished. The issue of Orientalism has polarized the Arab writers into two extremes: the Revolutionary, obsessed with an unbridled, enthusiastic penchant and infatuated with an irrational hallucinatory predilection to the level of deference and obsequiousness; and the Neo-conservative who discern it as a reprehensible scourge and pestilential plague that should not be embraced at all; not even with a long pole. Between these extremes, we have yet another constellation that is liberal, moderate and detached in its assessment of any matter with a scintilla of nexus to Orientalism. While identifying ourselves and pitching our tent with this coterie, we hereby present Carle Brockelmann, an iconic connoisseur and illustrious belletrist from German mise-en-scene (based on the application of the theory of ‘Aqiq’s taxonomy of Orientalists according to geographical cleavage as propounded in his Encyclopedia christened al-Istishraq wa ‘l-Mustashriqun ) and dissect through analytical framework his blazing trail feat in the stratosphere of History of Arabic Literature.

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17

R, Manikannan. "Folktales of Tamil Nadu and the Grimm brothers’ folktales - A comparison." International Research Journal of Tamil 2, no. 4 (2020): 43–54. http://dx.doi.org/10.34256/irjt2046.

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Efforts to assess tamil culture on a global scale have been made through classical literature. More new information and results will be revealed when we evaluate the original oral works on the global platform than the classical classics that have the elements of verbal literature. Although tamil comparative studies have been carried out in a wide range of different types and versatile languages, the fields of comparative research in ancient languages like Tamil are emerging. The stories in the Tamil nadu folk lore published by Dr. Ramanathan and the folklore of The German and Ireland published by the Grim brothers have been comparatively studied.

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18

Manuwald, Gesine. "Nero and Octavia in Baroque Opera: Their Fate in Monteverdi's Poppea and Keiser's Octavia." Ramus 34, no. 2 (2005): 152–66. http://dx.doi.org/10.1017/s0048671x00000990.

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The imperial history playOctavia, transmitted among the corpus of Senecan drama, has suffered from uncertainty about its date, author, literary genre and intended audience as regards its appreciation in modern criticism. Although the majority of scholars will agree nowadays that the play was not written by Seneca himself, there is still a certain degree of disagreement about its literary genre and date. Anyway, such scholarly quibbles seem not to have affected poets and composers in the early modern era: they recognised the high dramatic potential of the story of Nero and his love relationships in 62 CE along with the involvement of the historical character and writer Seneca.Indeed, this phase in imperial history was apparently quite popular in Italian and German opera of the late 17th and early 18th centuries. The earliest of a number of operatic treatments of the emperor Nero (also the first opera presenting a historical topic) and arguably the best known today is an Italian version:L'incoronazione di Poppea (The Coronation of Poppaea)to a libretto by Giovanni Francesco Busenello (1598-1659) and music attributed to Claudio Monteverdi (1567-1643), first produced in Giovanni Grimani's ‘Teatro di SS Giovanni e Paolo’ in Venice during the carnival season of 1643. Among the latest operas on this subject is a German version, which is hardly known and rarely performed today:Die Römische Unruhe. Oder: Die Edelmütige Octavia. Musicalisches Schau-Spiel (The Roman Unrest. Or: The Magnanimous Octavia. Musical Play)by the librettist Barthold Feind (1678-1721) and the composer Reinhard Keiser (1674-1739), first performed in the ‘Oper am Gänsemarkt’ in Hamburg on 5 August 1705. In this period German opera was generally influenced by Italian opera, but at the same time there were attempts, particularly in Hamburg, to establish a typically German opera.

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19

Adamik, Verena. "Making worlds from literature: W.E.B. Du Bois’s The Quest of the Silver Fleece and Dark Princess." Thesis Eleven 162, no. 1 (2021): 105–20. http://dx.doi.org/10.1177/0725513621993308.

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While W.E.B. Du Bois’s first novel, The Quest of the Silver Fleece (1911), is set squarely in the USA, his second work of fiction, Dark Princess: A Romance (1928), abandons this national framework, depicting the treatment of African Americans in the USA as embedded into an international system of economic exploitation based on racial categories. Ultimately, the political visions offered in the novels differ starkly, but both employ a Western literary canon – so-called ‘classics’ from Greek, German, English, French, and US American literature. With this, Du Bois attempts to create a new space for African Americans in the world (literature) of the 20th century. Weary of the traditions of this ‘world literature’, the novels complicate and begin to decenter the canon that they draw on. This reading traces what I interpret as subtle signs of frustration over the limits set by the literature that underlies Dark Princess, while its predecessor had been more optimistic in its appropriation of Eurocentric fiction for its propagandist aims.

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20

Popper, K. R. "How the Moon might throw some of her Light upon the Two Ways of Parmenides." Classical Quarterly 42, no. 1 (1992): 12–19. http://dx.doi.org/10.1017/s0009838800042531.

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I first met Parmenides – together with Xenophanes, Heraclitus, and the other great Presocratics – in a German translation by Wilhelm Nestle, famous as the editor of the later editions of Zeller's magnum opus. I was 15 or 16 years old, and I was overwhelmed by the meeting. The verses that I liked best were Parmenides' story of Selene's love for radiant Helios (DKB 14–15). But I did not like it that the translation made the moon male and the sun female (these being their genders in German), and it occurred to me to give the couplet in German a title like ‘Moongoddess and Sungod’, or perhaps ‘Selene and Helios’, in order to rectify the genders. So I began fiddling about with the translations. The volume, which I still possess, shows many traces of this.

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Urválková, Zuzana. "Die Dialoge des Lukian von Samosata im literarischen Kontext des tschechischen Klassizismus." Zeitschrift für Slawistik 65, no. 1 (2020): 21–59. http://dx.doi.org/10.1515/slaw-2020-0002.

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SummaryThe study is focused on the reception of the then-popular Dialogues of the Dead / Conversations by Syrian philosopher and rhetorician Lucian of Samosata (120 AD-180 AD) in Czech literature on the turn of the 18th and 19th centuries, with occasional insight into the intermediary French and German reception. Thanks to their linguistic refinement, Lucian’s dialogues quickly became a popular reading for the learning of Greek at the time, and in the 18th century, they contributed significantly to the development of journalism. This tendency was also present in the revivalist journal Hlasatel český during the period of 1806–1808 when it featured translations of several of Lucian’s dialogues alongside Jungmann’s conversation On the Czech Tongue (1808). The said conversations evoke the form of Lucianesque dialogues of the dead, which was to be the model of antiquity for the Czech classicism of the time, and they fill this form with thoughts of enlightenment and contemporary nationalism while capitalizing on the models of contemporary educational practices at Prague universities.

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22

Andersen, Claus Esmann. "Teorier om det tragiske: med særligt henblik på det moderne tragiske og med udblik til Blichers »Hosekræmmeren«." K&K - Kultur og Klasse 37, no. 108 (2009): 128–59. http://dx.doi.org/10.7146/kok.v37i108.22001.

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Theories of the Tragic – with Special Reference to the Modern Tragic and with a View to »The Hosier and His Daughter« (»Hosekræmmeren«) by St. St. Blicher:The term ‘tragic’ is often used in descriptions and analyses of modern (here: post-classical) literature. Yet, only rarely is this use sound and critically based. The purpose of the present article is to introduce the reader to the theory of the tragic – with a particular focus on possible definitions of the modern tragic.In the article, three phases of theoretical history are identified: 1) a genre-based, normative-poetological phase (classic and classicism), 2) a philosophical phase (German idealism and post-idealism), and 3) a current, more pluralistic phase (crosscutting literary criticism, aesthetics, and the history of ideas). The article’s general approach to the theories is, however, systematic rather than historical. A Nietzschean and a Hegelian line are being sketched out and contrasted, the former as a metaphysically (vertical) and the latter as a historically (horizontal) oriented theory of tragedy. The third line in the theoretical history is that of psychoanalysis.At the end of the article – using the short story »The Hosier and His Daughter« (»Hosekræmmeren«) by St. St. Blicher as an example – it is shown how the different approaches are able to throw light on a modern prose text. It is suggested that, having become a problematic genre with the breakdown of classicism, tragedy lives on as a modus within other genres, such as the short story and the novel.

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23

Newbold, R. F. "Sensitivity to Shame in Greek and Roman Epic, with Particular Reference to Claudian and Nonnus." Ramus 14, no. 1 (1985): 30–45. http://dx.doi.org/10.1017/s0048671x0000504x.

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English shame and German scham derive from the Gothic schama, ‘to hide, cover, conceal’. German Hemd (shirt) and English and French chemise are other derivatives. In some languages the word for ‘shame’ and the word for ‘wound’ are the same. A wound exposes and can thereby advertise vulnerabilty and a cause for shame. Hiding or covering may seek to guard against wounding, humiliating exposure. Shame is self-evidently an important human emotion. Insofar as animals are innocent of shame, experience of it is a mark of humanity. Much human behaviour is influenced by fear of shame and embarrassment. Living in the face and eyes, shame is very close to the experienced self. Self-image and self-esteem are heavily determined by one's susceptibility to shame. Experience of shame is impossible without a sense of individuation, without a sense of discreteness from the world and of being an object in the eyes of another. Study of shame sensitivity therefore offers many clues to an individual's or a culture's behaviour, sense of identity and relationship to the environment.

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24

Myers, Sara. "The Metamorphosis of a Poet: Recent Work on Ovid." Journal of Roman Studies 89 (November 1999): 190–204. http://dx.doi.org/10.2307/300740.

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It is by now obvious that Ovidian studies have ‘arrived’, apologies are no longer issued, nor are defences launched at the beginning of books. The nineties alone have seen so far the appearance of over fifty new books on Ovid in English, French, Italian, and German, and not just on the Metamorphoses, but on the Fasti, the Amores and Ars Amatoria, and the exile poetry, including the little known Ibis. Most importantly, there is a flourishing growth industry in commentaries on all of Ovid's works, with a greatly anticipated forthcoming commentary from Italy on the Metamorphoses authored by an international team, new Cambridge Greek and Latin Classics commentaries, including a recent excellent edition on Fasti 4 by Elaine Fantham (with an extremely useful and much-needed section on Ovid's style), the vastly learned commentaries of J. McKeown on the Amores, among others (all seemingly getting longer and longer). The appearance of a series of excellent English translations has made Ovid’s works more widely available for teaching. A number of companion volumes on Ovid are also forthcoming. N. Holzberg's recent impressive German introduction to Ovid evidently made the author, for a while at least, a sort of celebrity in Germany, and the book has already been reissued in a second edition. The rehabilitation of later Latin epic of the first century has more than anything served to place Ovid's work within a vigorous post-Vergilian literary tradition.

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Trybuś, Krzysztof. "Norwid w badaniach Rolfa Fiegutha." Studia Norwidiana 39 Specjalny (2021): 169–88. http://dx.doi.org/10.18290/sn2139s.6.

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This article aims discusses Rolf Fieguth’s studies of works by Norwid, focusing primarily on the German Slavist’s interpretations of the cycle Vade-mecum and the long poem Quidam. The first work reconstructed here, along with its assumptions and conclusions, is Fieguth’s 1985 study on “poetry in a critical phase”and the second is the 2005 essay on the comparative contexts of Norwid’s famous cycle (the latter was published in Polish in 2011). A lot of room is devoted in this section to Fieguth’s analysis of distortions introduced by Norwid at various levels of the poem’s organization. These remarks are complemented with an account of Fieguth’s comparatist conceptof “cultural confrontation,” which goes beyond dualistic accounts of literary creativity, revealing the invariably broad, European context of meetings between poets and texts, facilitated by the process of national cultures permeating each other. The second part of the article is devoted to Fieguth’s 2014 book Zaproszenie do „Quidama”. Portret poematu Cypriana Norwida [An invitation to Quidam. A portrait of Cyprian Norwid’s long poem]. Reflections on this publication concern not only its detailed findings about Norwid’s long poem but also the critic’s methodological assumptions, which have helped him to update the long-standing genre in the history of literature, namely the “author and his particular work” type of monograph. Among the issues addressed in the book, the article discusses, in particular, the difficulties accompanying interpretations of Quidamand the question of Norwid’s classicism. The third part of the article draws attention to Fieguth’s remarks onNorwid made in recent years (2017, 2018, 2020). The article thus summarizes Rolf Fieguth’s thirty years of research on the most important poetic achievements of the Polish poet.

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Berrens, Dominik. "Names and Things: Latin and German Mining Terminology in Georgius Agricola’s Bermannus." Antike und Abendland 65-66, no. 1 (2020): 232–43. http://dx.doi.org/10.1515/anab-2019-0011.

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27

Wardle, D. "An allusion to the Kaisereid in Tacitus Annals 1.42?" Classical Quarterly 47, no. 2 (1997): 609–13. http://dx.doi.org/10.1093/cq/47.2.609.

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Tacitus gives lavish treatment to the mutiny of the German legions in the aftermath of Augustus' death in a.d. 14 and provides an excellent centrepiece in a speech (given in oratio recta) by Germanicus to the troops of the Lower German army at Ara Ubiorum (Cologne). After the harsh treatment of a delegation from Rome, Germanicus responded to requests that he send Agrippina and Caligula to safety. As the family was leaving the camp the troops surrounded Germanicus, who moved them to repentance by his speech. Previous writers have already discussed particular debts to Livy and to Virgil, but none has, I think, pointed to the most likely source for Germanicus' opening remarks: ‘Non mihi uxor aut filius patre et re publica cariores sunt…’. Goodyear dismisses the sentiment as a variety of the ‘commonplace’. that the state was more important than the individual and refers the reader to Béranger. However, none of these passages is as close or as pointed as the examples I consider below.

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Clegg, Cyndia Susan. "Pacific Ancient and Modern Language Association." PMLA/Publications of the Modern Language Association of America 110, no. 4 (1995): 882. http://dx.doi.org/10.1632/s0030812900173201.

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The association's most significant news is its change in name from PAPC to PAMLA to strengthen its identification with the Modem Language Association and to maintain the historic presence of classical languages. The association's ninety-third annual meeting will be held 3-5 November 1995 at the University of California, Santa Barbara, hosted by the College of Letters and Science with its Division of the Humanities, and cosponsored by the Interdisciplinary Humanities Center, the Department of Classics, the Comparative Literature Program, the Department of English, the Department of Germanic, Semitic, and Slavic Studies, and the Department of Spanish and Portuguese. Gerhart Hoffmeister, professor of German, is serving as chair of the local committee.

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Harloe, Katherine. "Eighteenth-Century German Classicism - (V.) Rosenberger (ed.) Die Ideale der Alten. Antikerezeption um 1800. (Friedenstein-Forschungen 3.) Pp. 199, ills. Stuttgart: Franz Steiner Verlag, 2008. Cased, €44. ISBN: 978-3-515-09000-1." Classical Review 60, no. 2 (2010): 595–97. http://dx.doi.org/10.1017/s0009840x10001265.

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30

Seidman, Jessica. "REMEMBERING THE TEUTOBURG FOREST:MONVMENTAINANNALS1.61." Ramus 43, no. 1 (2014): 94–114. http://dx.doi.org/10.1017/rmu.2014.5.

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A first-time reader of Tacitus'Annalsis as unprepared for this shocking description of the Teutoburg Forest as the Roman soldiers who viewed the site themselves. Here, about three quarters of the way through the first book, sandwiched between an unremarkable summary of Roman/German relations and Germanicus' pursuit of Arminius, Tacitus has composed one of the most vivid, horrifying, poetic descriptions in the entire work. The visual details are stunning: a field covered with ‘whitening bones’, ‘bits of weapons’, ‘the limbs of horses’, and heads of men ‘fastened to the trunks of trees’. This is not merely an archaeological site, to be regarded by tourists with dispassionate curiosity; survivors are present to tell the story of the tragedy, a story at once their own and that of the relatives and friends of their audience. The men could hardly fail to reflect on thecasus bellorum et sortem hominum.

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Booth, N. B. "Propertius 4.1.8." Classical Quarterly 37, no. 2 (1987): 528–29. http://dx.doi.org/10.1017/s0009838800030822.

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The manuscript version of this line, apart from a nonsensical variant tutus for bubus, is et Tiberis nostris advena bubus erat. The trouble here has been that scholars have taken advena to mean ‘stranger’, ‘foreigner’, ‘alien’, or German ‘fremd’. Clearly the sentence and Tiber was a stranger to our oxen makes no sense in the context, and for this reason many scholars have either produced strange translations (‘alien Tiber served our oxen’, Butler and Barber) or else have dabbled in dubious emendation (temptus Baehrens, tortus Postgate, Tuscus Havet in place of bubus).

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Solanki, Tanvi. "Aural philology: Herder hears Homer singing." Classical Receptions Journal 12, no. 4 (2020): 401–24. http://dx.doi.org/10.1093/crj/claa007.

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Abstract In 1769, Johann Gottfried Herder describes a private reading experience of a remarkably paradoxical nature. He tells us that he can only read ‘his’ Homer properly when he hears Homer singing Greek, while silently reading and translating by means of his German thoughts and mother tongue. Herder’s performative reading is anchored in what I call aural philology, a method innovative in its emphasis on the aural dimension in reconstructively imagining historical epochs. It is one which demarcates cultural difference through practices of listening and their remediation into reading. The problem, for Herder, is how to constitute the particularity of the German people even in affective acts of reading that, however momentarily, suspend cultural differentiation through effects of presence. I distinguish Herder’s philology from Vico and others who emphasized the oral origins of the Homeric epic, along with recent theories of philology as an affective, aurally mediated process. The article is an alternative view on the role of media in enlightenment theories of literature and culture separate from Friedrich Kittler’s Discourse Networks 1800/1900. Herder’s aural philology identifies a moment in the history of aurality and cultural difference, one that does not move fixedly towards modernity.

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Hawley, Richard. "Imperial Greek and Latin Literature - A. Dihle (tr. M. Malzahn): Greek and Latin Literature of the Roman Empire. From Augustus to Justinian. Pp. vii+647. London, New York: Routledge, 1994 (first published in German in 1989). Cased, £45.00." Classical Review 45, no. 2 (1995): 274–75. http://dx.doi.org/10.1017/s0009840x00293724.

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Most, Glenn W. "One Hundred Years of Fractiousness: Disciplining Polemics in Nineteenth-Century German Classical Scholarship." Transactions of the American Philological Association (1974-) 127 (1997): 349. http://dx.doi.org/10.2307/284398.

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35

Komorowski, Jaroslaw. "Shakespeare and the Birth of Polish Romanticism: Vilna 1786–1846." Theatre Research International 21, no. 2 (1996): 141–46. http://dx.doi.org/10.1017/s0307883300014723.

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The first phase of a long and complex process of the Polish reception of William Shakespeare's oeuvre ended in the middle of the nineteenth century with the popularization of new translations and the gradual elimination of French and German classicist adaptations. Vilna, vital centre of Polish culture, science and art, was the birthplace of Polish Romanticism and a hotbed of theatrical innovation. Vilna was also, at the turn of the eighteenth century, the capital of the Grand Duchy of Lithuania, and one of the major cities of the Polish-Lithuanian Commonwealth. The school stage of Vilna Academy, established by Stefan Batory in 1578, had been active since 1582. In 1639, English actors belonging to Robert Archer's company may have visited the town; though the performances planned by King Wladyslaw IV did not take place. A permanent professional theatre was opened in 1785, when Wojciech Boguslawski, the greatest personality of the theatre of the Polish Enlightenment, came up from Warsaw with his troupe.

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Magnavacca, Adalberto. "The Phases of Venus in Germanicus: A Note on German. fr. 4.73–76." Philologus 162, no. 1 (2018): 183–87. http://dx.doi.org/10.1515/phil-2017-0015.

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Faber, Riemer A. "INTERMEDIALITY AND EKPHRASIS IN LATIN EPIC POETRY." Greece and Rome 65, no. 1 (2018): 1–14. http://dx.doi.org/10.1017/s0017383517000183.

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The concept of intermediality arose in the theoretical discourse about the relations between different systems or products of meaning, such as the relations between music and art, or image and text. The word gained currency in the 1980s in German- and French-language studies of theatre performance, and in scholarship on opera, film, and music, in order to capture the notion of the interconnections between different art forms. For reasons of utility, the concept has been divided into three kinds: intermediality may refer to the combination of media (as in opera, in which music, dance, and song are conjoined into one aesthetic experience); the transformation or transposition of media (as in a film version of a book); and intermedial references or connections, whereby attention is drawn to another system of meaning, as in the references in literature to a work of art. The term has entered the field of classics especially via the study of the relations between the narrative and inscriptional modes in literary epigram.

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Marchenko, Tatiana. "A miracle in a dairy shop: On a typology of an “emigrant” novel." Literary Fact, no. 16 (2020): 337–59. http://dx.doi.org/10.22455/2541-8297-2020-16-337-359.

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Alja Rachmanowa (real name Galina Dyuryagina-Hoyer) is a Russian writer with a European success in 1930s. Her books were published in German translation made by her husband Arnulf Hoyer, and still remain obscure in Russia. The phenomenon is rather fascinating from the point of view of typology of émigré prose. A novel “Milchfrau in Ottakring” (1933) of the prolific author of three dozen books was extremely popular, not only it remains relevant, but looks very modern as an “emigrant” novel of special type. In a diary form based on a personal experience, the writer sets out a story of success. A qualified philologist, Alja Rachmanowa (her literary pseudonym is usually referred to) was forced to become for a couple of years a saleswoman in a rented dairy shop. This experience of a “foreigner”, her national and sociocultural identity, adaptation, and ultimately successful integration are reflected in the diary autobiographical novel. The Russian component of the book in German whose author / heroine balances between the spheres of “own” and “stranger,” has driven a success of the “Milchfrau in Ottakring”. Russian realities, Russian mentality, nostalgie for the native country permeating the narration, especially attracted the readership. One of the important markers of “Russianness” is a citation of Russian literature, not in the form of a mere quotation, but as a rethinking, re-interpretation, a dispute with the classics. The article deals with some examples of such citing (F.M. Dostoevsky, A.V. Koltsov, A.N. Pleshcheev, Z.N. Gippius). A fragment of the novel in Russian translation is given in Annex

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Rindisbacher, Hans J. "German Literature as World Literature." European Legacy 21, no. 7 (2016): 759–61. http://dx.doi.org/10.1080/10848770.2016.1211415.

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Aspisova, O. S. "ALL THIS GOETHE: CULT AND ANTICULT." Human Being: Image and Essence. Humanitarian Aspects, no. 3 (2020): 144–69. http://dx.doi.org/10.31249/chel/2020.03.09.

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The article examines the almost religious worship of Goethe as an unattainable universal genius and classical author, analyzing both the «Goethe cult» and the «anti-cult» in the German culture before the first half of the 20th century. The Goethe cult, that had started shortly after his death, largely contributed to the development of modern literary studies as a new science in Europe. The anniversary years invariably intensified the cult. Resistance to this cult became especially noticeable after WWI when, for the first time, a real «anti-cult» unfolded. It is documented, for example, in a series of articles by comedian C. Sternheim (1878-1942), where Goethe appears as the symbol for «Kulturphilister», in the «Steppenwolf» by H. Hesse, essays by Ortega y Gasset. The «standard education» turned Goethe into a «blank sign», referring to the national-patriotic cult of the «classics». Both the cult of Goethe and his anti-cult turned out to be very productive not only for literature and journalism, but also for literary criticism.

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Lorenz, Dagmar C. G., and Pol O'Dochartaigh. "Jews in German Literature Since 1945: German-Jewish Literature?" German Studies Review 25, no. 2 (2002): 435. http://dx.doi.org/10.2307/1433071.

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Roemer, Nils. "Jews in German Literature since 1945: German-Jewish Literature?" Journal of Jewish Studies 55, no. 2 (2004): 388–89. http://dx.doi.org/10.18647/2576/jjs-2004.

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43

Taberner, Stuart, and Pol O'Dochartaigh. "Jews in German Literature since 1945: German-Jewish Literature?" Modern Language Review 98, no. 3 (2003): 796. http://dx.doi.org/10.2307/3738386.

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Лучка, Л. "BOOK SHOWS AND THE READING UNIVERSE PROFESSOR VK YAKUNINA." Problems of Political History of Ukraine, no. 15 (February 5, 2020): 34–40. http://dx.doi.org/10.33287/11924.

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The research deals with creating a diverse reader image of an intellectual personality of a historian. V.K. Yakunin started his reading career as a student of Dnipropetrovsk State University in the 1960’s. During his studies he constantly visited the scientific library. It was at this time when he first became acquainted with rare and valuable editions on historical subjects. The reading experience of the historian is about 60 years. While writing his Candidate dissertation (1972) and PhD thesis (1990), he worked with a significant number of sources and literature, and he also used interlibrary loan services. He was a high-level bibliographer, he constantly searched and selected carefully new books of political and historical content. V.K.Yakunin began to collect his own library from the late 1960s. The analysis of his reader cards from the departments of scientific literature and fiction shows that scientist V.K. Yakunin paid primary attention to documents, book sources and periodicals. He perfectly knew the works of foreign historical science classics. He was interested in memoir literature. Psychological and art literature was not ignored by the scientist. The historian always turned to classical works and editions of contemporary Ukrainian writers. V. K. Yakunin’s private library totals about 2000 copies in Ukrainian, Russian and German. It has been stored in the Scientific Library since 2017. Each copy of the professor’s book collection received the stamp «Professor V.K. Yakunin’s Library». The chronological limits of the book collection cover the 20th – the beginning of the 21st century. Most publications are books of social and humanitarian directions. He was interested in the history of the 20th century: political history, public opinion, World War II, history of Nazism, the Ukrainian national movement. Memories held a special place in the book collection. Ways of acquisition to the Library: donations and purchasing. The historian was surrounded by books during his life. Thus, the value of the book collection of Professor V.K. Yakunin is in the presence of a large number of publications that give an idea of the state of book publishing in Ukraine and Russia and indicate the high intellectual level of its owner.

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Martin, Philip L., Rainer Muenz, Wolfgang Seiffert, et al. "German Immigration Literature." International Migration Review 32, no. 2 (1998): 491. http://dx.doi.org/10.2307/2547194.

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Khalil, Iman O., and Jeannette Iocca. "Arab-German Literature." World Literature Today 69, no. 3 (1995): 521. http://dx.doi.org/10.2307/40151390.

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Bottigheimer, Ruth B. "German Children's Literature." Children's Literature 17, no. 1 (1989): 176–81. http://dx.doi.org/10.1353/chl.0.0493.

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Herminghouse, Patricia. "Whose German Literature? GDR-Literature, German Literature and the Question of National Identity." GDR Bulletin 16, no. 2 (1990): 6–11. http://dx.doi.org/10.4148/gdrb.v16i2.960.

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Hanson, R. P. C. "Klaus Wengst: Pax Romana and the Peace of Jesus Christ (Translated from the German by J. Bowden). Pp. x + 245. London: SCM Press, 1987. Paper, £8.50." Classical Review 38, no. 2 (1988): 441. http://dx.doi.org/10.1017/s0009840x00122772.

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Strauss, Philipp. "GERMAN NEOHUMANISM - B. Van Bommel Classical Humanism and the Challenge of Modernity. Debates on Classical Education in 19th-century Germany. (Philologus Supplementary Volume 1.) Pp. xiv + 234. Berlin and Boston: De Gruyter, 2015. Cased, £74.99, €99.95, US$140. ISBN: 978-3-11-036543-6." Classical Review 66, no. 2 (2016): 578–80. http://dx.doi.org/10.1017/s0009840x16000548.

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