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New essays on topics in the literature of Goethe and the
Goethezeit, including contributions by both eminent scholars and
new voices. The Goethe Yearbook is a publication of the Goethe
Society of North America, encouraging North American Goethe
scholarship by publishing original English-language contributions
to the understanding of Goethe and other authors of the Goethezeit
while also welcoming contributions from scholars around the world.
Volume 21 contains eleven articles, including contributions by
leading scholars David Wellbery and Katharina Mommsen; innovative
work on the reception of Goethe's works around 1900, on women
writers, and on Goethe's contemporary Albrecht von Haller;
theoretically sophisticated interpretations, including articles on
concepts of space in Alexis and Doraand on notions of sacrifice in
Faust; and interdisciplinary pieces ranging from a discussion of
contemporary psychological and medical theories of ill humor in
relation to Goethe's Werther and an economic reading ofGoethe's
Faust to an analysis of illustrations of Goethe's works. The review
section collects responses by eminent scholars to a wide swath of
recent books on Goethe and his age, both in German and English.
Contributors: Liesl Allingham, William H. Carter, Sarah Vandegrift
Eldridge, John B. Lyon, Waltraud Maierhofer, Catherine Minter,
Katharina Mommsen, David Pan, Michael Saman, Leif Weatherby, David
E. Wellbery. Adrian Daub is Associate Professor of German at
Stanford. Elisabeth Krimmer is Professor of German at the
University of California Davis. Book review editor Birgit Tautz is
Associate Professor of German at Bowdoin College.
Cutting-edge scholarly articles on diverse aspects of Goethe and
the Goethezeit, featuring in this volume a special section on
environmentalism. The Goethe Yearbook is a publication of the
Goethe Society of North America, encouraging North American Goethe
scholarship by publishing original English-language contributions
to the understanding of Goethe and other authors of the Goethezeit
while also welcoming contributions from scholars around the world.
Volume 22 features a special section on environmentalism, edited by
Dalia Nassar and Luke Fischer, with contributions on: the metaphor
of music in Goethe's scientific work and its influence on Deleuze,
Merleau-Ponty, Uexkull, and Zuckerkandl (Frederick Amrine); his
conceptualization of modern civilization in Faust (Gernot Boehme);
a non-anthropocentricvision of nature in his writings on the
intermaxillary bone (Ryan Feigenbaum); his geopoetics of granite
(Jason Groves); the historical antecedents of biosemiotics in "Die
Metamorphose der Pflanzen" (Kate Rigby); and the conceptof the
"Dark Pastoral" in Werther (Heather I. Sullivan). In addition,
there are articles on Goethe as a spiritual predecessor of
phenomenology (Iris Hennigfeld); concepts of the "hermaphrodite" in
contributions to theEncyclopedie by Louis de Jaucourt and Albrecht
von Haller (Stephanie Hilger); on Goethe's poem "Nahe des
Geliebten" (David Hill); on the link between commerce and culture
in West-oestlicher Divan (Daniel Purdy); on Goethe's thoughts on
collecting and museums (Helmut Schneider); and on intrigues in the
works of J. M. R. Lenz (Inge Stephan). Contributors: Frederick
Amrine, Gernot Boehme, Ryan Feigenbaum, Luke Fischer, Jason Groves,
Iris Hennigfeld, Stephanie M. Hilger, David Hill, Dalia Nassar,
Daniel Purdy, Kate Rigby, Helmut J. Schneider, Inge Stephan,
Heather I. Sullivan. Adrian Daub is Associate Professor of German
at Stanford. Elisabeth Krimmeris Professor of German at the
University of California Davis. Book review editor Birgit Tautz is
Associate Professor of German at Bowdoin College.
Adrian Daub's The Dynastic Imagination offers an unexpected account
of modern German intellectual history through frameworks of family
and kinship. Modernity aimed to brush off dynastic, hierarchical
authority and to make society anew through the mechanisms of
marriage, siblinghood, and love. It was, in other words, centered
on the nuclear family. But as Daub shows, the dynastic imagination
persisted, in time emerging as a critical stance by which the
nuclear family's conservatism and temporal limits could be exposed.
Focusing on the complex interaction between dynasties and national
identity-formation in Germany, Daub shows how a lingering
preoccupation with dynastic modes of explanation, legitimation, and
organization suffused German literature and culture. Daub
builds this conception of dynasty in a syncretic study of
literature, sciences, and the history of ideas, engaging with
remnants of dynastic ideology in the work of Richard Wagner, Émile
Zola, and Stefan George, and in the work of early feminists and
pioneering psychoanalysts. At every stage of cultural progression,
Daub reveals how the relation of dynastic to nuclear families
inflected modern intellectual history.
Adrian Daub’s What Tech Calls Thinking is a lively dismantling of
the ideas that form the intellectual bedrock of Silicon Valley.
Equally important to Silicon Valley’s world-altering innovation
are the language and ideas it uses to explain and justify itself.
And often, those fancy new ideas are simply old motifs playing
dress-up in a hoodie. From the myth of dropping out to the war cry
of “disruption,” Daub locates the Valley’s supposedly
original, radical thinking in the ideas of Heidegger and Ayn Rand,
the New Age Esalen Foundation in Big Sur, and American traditions
from the tent revival to predestination. Written with verve and
imagination, What Tech Calls Thinking is an intellectual refutation
of Silicon Valley's ethos, pulling back the curtain on the
self-aggrandizing myths the Valley tells about itself. FSG
Originals × Logic dissects the way technology functions in
everyday lives. The titans of Silicon Valley, for all their utopian
imaginings, never really had our best interests at heart: recent
threats to democracy, truth, privacy, and safety, as a result of
tech’s reckless pursuit of progress, have shown as much. We
present an alternate story, one that delights in capturing
technology in all its contradictions and innovation, across borders
and socioeconomic divisions, from history through the future,
beyond platitudes and PR hype, and past doom and gloom. Our
collaboration features four brief but provocative forays into the
tech industry’s many worlds, and aspires to incite fresh
conversations about technology focused on nuanced and accessible
explorations of the emerging tools that reorganise and redefine
life today.
An advanced introduction to Benjamin's work and its actualization
for our own times. Walter Benjamin (1892-1940) has emerged as one
of the leading cultural critics of the twentieth century. His work
encompasses aesthetics, metaphysical language and narrative
theories, German literary history, philosophies of history, the
intersection of Marxism and Messianic thought, urban topography,
and the development of photography and film. Benjamin defined the
task of the critic as one that blasts endangered moments of the
past out of the continuum of history so that they attain new
significance. This volume of new essays employs this principle of
actualization as its methodological program in offering a new
advanced introduction to Benjamin's own work. The essays analyze
Benjamin's central texts, themes, terminologies, and genres in
their original contexts while simultaneously situating them in new
parameters, such as contemporary media, memory culture,
constructions of gender, postcoloniality, and theories of urban
topographies. The Companion brings together an international group
of established and emerging scholars to explicate Benjamin's
actuality from a multidisciplinary perspective. Designed for
audiences interested in literary criticism, cultural studies, and
neighboring disciplines, the volume serves as a stimulus for new
debates about Benjamin's intellectual legacy today. Contributors:
Wolfgang Bock, Willi Bolle, Dianne Chisholm, Adrian Daub, Dominik
Finkelde, Eric Jarosinski, Lutz Koepnick, Vivian Liska, Karl Ivan
Solibakke, Marc de Wilde, Bernd Witte Rolf J. Goebel is
Distinguished Professor of German and Chair of the Department of
WorldLanguages and Cultures at the University of Alabama in
Huntsville.
Cutting-edge scholarly articles on diverse aspects of Goethe and
the Goethezeit, featuring in this volume a special section on
Goethe and visual culture. The Goethe Yearbook is a publication of
the Goethe Society of North America, encouraging North American
Goethe scholarship by publishing original English-language
contributions to the understanding of Goethe and other authors of
the Goethezeit while also welcoming contributions from scholars
around the world. Volume 23 features a special section on visual
culture with contributions on the visual aesthetics of Goethe's
1815 production ofProserpina (Bersier); on the Farbenlehre (Lande);
on Tableaux Vivants in Goethe's Die Wahlverwandtschaften (Solanki);
on the relationship between Goethe and C. G. Carus and their
respective views on the representation of nature in art and science
(Allert); and on visual and verbal bricolage in Clemens Brentano's
Gockel, Hinkel und Gackeleia (MacLeod). There are also articles on
Goethe and ancient mystery religions (Amrine); on Goethe's
fairy-tale aesthetics (Brown); on the concept of neutrality
(Holland); on the concept of the mathematical infinite (Smith); on
virginity and maternity in Werther (Nossett); on the Classical
aesthetics of Schlegel'sLucinde (ter Horst); and on motherless
creations in Faust (Nielsen). Contributors: Beate Allert, Frederick
Amrine, Gabrielle Bersier, Jane K. Brown, Jocelyn Holland, Joel B.
Lande, Catriona MacLeod, WendyC. Nielsen, Lauren Nossett, John H.
Smith, Tanvi Solanki, Eleanor ter Horst. Adrian Daub is Associate
Professor of German at Stanford. Elisabeth Krimmer is Professor of
German at the University of California Davis. Bookreview editor
Birgit Tautz is Associate Professor of German at Bowdoin College.
Adrian Daub's The Dynastic Imagination offers an unexpected account
of modern German intellectual history through frameworks of family
and kinship. Modernity aimed to brush off dynastic, hierarchical
authority and to make society anew through the mechanisms of
marriage, siblinghood, and love. It was, in other words, centered
on the nuclear family. But as Daub shows, the dynastic imagination
persisted, in time emerging as a critical stance by which the
nuclear family's conservatism and temporal limits could be exposed.
Focusing on the complex interaction between dynasties and national
identity-formation in Germany, Daub shows how a lingering
preoccupation with dynastic modes of explanation, legitimation, and
organization suffused German literature and culture. Daub builds
this conception of dynasty in a syncretic study of literature,
sciences, and the history of ideas, engaging with remnants of
dynastic ideology in the work of Richard Wagner, Emile Zola, and
Stefan George, and in the work of early feminists and pioneering
psychoanalysts. At every stage of cultural progression, Daub
reveals how the relation of dynastic to nuclear families inflected
modern intellectual history.
Cutting-edge scholarly articles on diverse aspects of Goethe and
his age, featuring in this volume a special section on the poetics
of space in the Goethezeit. The Goethe Yearbook is a publication of
the Goethe Society of North America, encouraging North American
Goethe scholarship by publishing original English-language
contributions to the understanding of Goethe and other authors of
the Goethezeit while also welcoming contributions from scholars
around the world. Volume 24 features a special section titled "The
Poetics of Space in the Goethezeit," co-edited by John Lyon and
Elliott Schreiber, with contributions on blind spots in Goethe's
Elective Affinities; on the topography and topoi of Goethe's
autobiographical childhood; on disorientation and the subterranean
in Novalis; on selfhood, sovereignty, and public space in Die
italienische Reise and Dichtung und Wahrheit; on Goethe's theater
of anamnesis in Wilhelm Meisters Lehrjahre; and on spatial
mobilization in Kleist's Berliner Abendblatter. There are also
articles on the horror of coming home in Caroline de la Motte
Fouque's "Der Abtrunnige" and on Friedrich Heinrich Jacobi's Eduard
Allwills Papiere. Contributors: Colin Benert, Stephanie Galasso,
Tove Holmes, Edgar Landgraf, Sara Luly, John B. Lyon, Anthony
Mahler, Monika Nenon, Joseph O'Neil, Elliott Schreiber, Inge
Stephan, Gabriel Trop, Christian P. Weber. Adrian Daub is Associate
Professor of German at Stanford. Elisabeth Krimmer is Professor of
German at the University of California Davis. Book review editor
Birgit Tautz is Associate Professor of German at Bowdoin College.
"What a strange invention marriage is!" wrote Kierkegaard. "Is it
the expression of that inexplicable erotic sentiment, that
concordant elective affinity of souls, or is it a duty or a
partnership...or is it a little of all that?" Like Kierkegaard a
few decades later, many of Germany's most influential thinkers at
the turn of the eighteenth century wondered about the nature of
marriage but rejected the easy answers provided by biology and
theology. In "Uncivil Unions", Adrian Daub presents a truly
interdisciplinary look at the story of a generation of
philosophers, poets, and intellectuals who turned away from
theology, reason, common sense, and empirical observation to
provide a purely metaphysical justification of marriage. Through
close readings of philosophers like Fichte and Schlegel, and
novelists like Sophie Mereau and Jean Paul, Daub charts the
development of this new concept of marriage with an insightful
blend of philosophy, cultural studies, and theory. The author
delves deeply into the lives and work of the romantic and idealist
poets and thinkers whose beliefs about marriage continue to shape
ideas about gender, marriage, and sex to the present day.
Hitler's Face The Biography of an Image Claudia Schmolders.
Translated by Adrian Daub "With "Hitler's Face," Claudia Schmolders
has written an explosive book and delivered a thrilling
contribution to physiognomy."--"Suddeutsche Zeitung" "It contains
fascinating insights into the mindset of the Twenties."--Ian
Kershaw "Despite the innumerable books devoted to Hitler's imposing
presence and the Nazi dictatorship of the media, no single work has
provided a comprehensive and focused study of the sights and sounds
which allowed an otherwise unimpressive-looking individual to
become a compelling site of attention and allegiance. This is
precisely the project of Claudia Schmolders's significant book. She
scrutinizes photographs, paintings, filmic representations, and
verbal descriptions of the leader to 'read' these artifacts as
texts. One might best describe her book as the history of a face
and an image, the chronicle of its construction, transformation,
and reception."--Eric Rentschler, Harvard University "This is a
work that can be read with profit by all those interested in the
biography of Adolf Hitler and the mythology surrounding his person
and image, as well as by those enticed by a biographical
methodology that concentrates on the history of visual
representations rather than on biographical 'facts.' This book, in
short, well deserves the wider readership it will garner in English
translation."--"Biography" In "Hitler's Face" Claudia Schmolders
reverses the normal protocol of biography: instead of using visual
representations as illustrations of a life, she takes visuality as
her point of departure to track Adolf Hitler from his first arrival
in Munich as a nattily dressed young man to his end in a Berlin
bunker--and beyond. Perhaps never before had the image of a
political leader been so carefully engineered and manipulated, so
broadly disseminated as was Hitler's in a new age of mechanical
reproduction. There are no extant photographs of him visiting a
concentration camp, or standing next to a corpse, or even with a
gun in his hand. If contemporary caricatures spoke to the
calamitous thoughts, projects, and actions of the man, officially
sanctioned photographs, paintings, sculptures, and film
overwhelmingly projected him as an impassioned orator or heroically
isolated figure. Schmolders demonstrates how the adulation of
Hitler's face stands at the conjunction of one line stretching back
to the eighteenth-century belief that character could be read in
the contours of the head and another dating back to the late
nineteenth-century quest to sanctify German greatness in a gallery
of national heroes. In Nazi ideology, nationalism was conjoined to
a forceful belief in the determinative power of physiognomy . The
mad veneration of the idealized German face in all its various
aspects, and the fanatical devotion to Hitler's face in particular,
was but one component of a project that also encouraged the
ceaseless contemplation of supposedly degenerate "Jewish" physical
traits to advance its goals. Claudia Schmolders lectures at the
Humboldt University in Berlin. She is the author of numerous books
in German, including "The Eccentric Look: A Discourse on
Physiognomy" and "The Invention of Love: Famous Testimonies from
Three Millennia." With Sander L. Gilman, she is the coeditor of
"The Faces of the Weimar Republic: A Physiognomic Cultural
History." Material Texts 2005 - 240 pages - 6 x 9 - 91 illus. ISBN
978-0-8122-2081-0 - Paper - $24.95s - 16.50 World Rights - History,
Cultural Studies Short copy: From his emergence on the German
political scene in 1914 and subsequent public infatuation with him,
to his fall in 1945 and the growing revulsion as his horrific acts
were revealed to the world, Adolf Hitler's visage, Claudia
Schmolders argues, was the first political image manufactured for
the modern media."
Arnold Schoenberg and Thomas Mann, two towering figures of
twentieth-century music and literature, both found refuge in the
German-exile community in Los Angeles during the Nazi era. This
complete edition of their correspondence provides a glimpse inside
their private and public lives and culminates in the famous dispute
over Mann's novel Doctor Faustus. In the thick of the controversy
was Theodor Adorno, then a budding philosopher, whose contribution
to the Faustus affair would make him an enemy of both families.
Gathered here for the first time in English, the letters in this
essential volume are complemented by diary entries, related
articles, and other primary source materials, as well as an
introduction by German studies scholar Adrian Daub that
contextualizes the impact these two great artists had on
twentieth-century thought and culture.
An advanced introduction to Benjamin's work and its actualization
for our own times. Walter Benjamin (1892-1940) has emerged as one
of the leading cultural critics of the twentieth century. His work
encompasses aesthetics, metaphysical language and narrative
theories, German literary history, philosophies of history, the
intersection of Marxism and Messianic thought, urban topography,
and the development of photography and film. Benjamin defined the
task of the critic as one that blasts endangered moments of the
past out of the continuum of history so that they attain new
significance. This volume of new essays employs this principle of
actualization as its methodological program in offering a new
advanced introduction to Benjamin's own work. The essays analyze
Benjamin's central texts, themes, terminologies, and genres in
their original contexts while simultaneously situating them in new
parameters, such as contemporary media, memory culture,
constructions of gender, postcoloniality, and theories of urban
topographies. The Companion brings together an international group
of established and emerging scholars to explicate Benjamin's
actuality from a multidisciplinary perspective. Designed for
audiences interested in literary criticism, cultural studies, and
neighboring disciplines, the volume serves as a stimulus for new
debates about Benjamin's intellectual legacy today. Contributors:
Wolfgang Bock, Willi Bolle, Dianne Chisholm, Adrian Daub, Dominik
Finkelde, Eric Jarosinski, Lutz Koepnick, Vivian Liska, Karl Ivan
Solibakke, Marc de Wilde, Bernd Witte Rolf J. Goebel is
Distinguished Professor of German and Chair of the Department of
WorldLanguages and Cultures at the University of Alabama in
Huntsville.
Cutting-edge scholarly articles on diverse aspects of Goethe and
the Goethezeit, featuring in this volume a special section on
acoustics around 1800. The Goethe Yearbook is a publication of the
Goethe Society of North America, encouraging North American Goethe
scholarship by publishing original English-language contributions
to the understanding of Goethe and other authors of the Goethezeit
while also welcoming contributions from scholars around the world.
Volume 25 features a special section on acoustics around 1800,
edited by Mary Helen Dupree, which includes, among others,
contributionson sound and listening in Ludwig Tieck's Der blonde
Eckbert (Robert Ryder) and on the role of the tympanum in Herder's
aesthetic theory (Tyler Whitney). The volume also contains essays
on Goethe and stage sequels(Matthew Birkhold), on figures of
armament in eighteenth-century German drama (Susanne Fuchs), on the
dialectics of Bildung in Wilhelm Meister (Galia Benziman), on the
Gothic motif in Goethe's Faust and "Von deutscher Baukunst"
(Jessica Resvick), on Goethe and Salomon Maimon (Jason Yonover), on
Goethe's "Novelle" (Ehrhard Bahr), and on Schiller's Burger
critique (Hans Richard Brittnacher). Contributors: Ehrhard Bahr,
Galia Benziman, Matthew H. Birkhold, Hans Richard Brittnacher,
Linda Dietrick, Mary Helen Dupree, Susanne Fuchs, Deva Kemmis,
Jessica C. Resvick, Robert Ryder, Patricia Anne Simpson, Chenxi
Tang, Tyler Whitney, Jason Yonover, Chunjie Zhang. Adrian Daub is
Associate Professor of German at Stanford University. Elisabeth
Krimmer is Professor of German at the University of California
Davis.
Arnold Schoenberg and Thomas Mann, two towering figures of
twentieth-century music and literature, both found refuge in the
German-exile community in Los Angeles during the Nazi era. This
complete edition of their correspondence provides a glimpse inside
their private and public lives and culminates in the famous dispute
over Mann's novel Doctor Faustus. In the thick of the controversy
was Theodor Adorno, then a budding philosopher, whose contribution
to the Faustus affair would make him an enemy of both families.
Gathered here for the first time in English, the letters in this
essential volume are complemented by diary entries, related
articles, and other primary source materials, as well as an
introduction by German studies scholar Adrian Daub that
contextualizes the impact these two great artists had on
twentieth-century thought and culture.
Das Rheingold, Die Walkure, and Siegfried. Parsifal. Tristan und
Isolde. Both revered and reviled, Richard Wagner conceived some of
the nineteenth century's most important operatic productions - and
created some of the most indelible characters ever to grace the
stage. But over the course of his polarizing career, Wagner also
composed nearly twenty volumes of writing on opera. His influential
concept of Gesamtkunstwerk - the "total work of art" - famously and
controversially offered a way to unify the different media of an
opera into a coherent whole. Less well-known, however, are Wagner's
strange theories on sexuality - like his ideas about erotic
acoustics and the metaphysics of sexual difference. Drawing on the
discourses of psychoanalysis, evolutionary biology, and other
developing fields of study that informed Wagner's world, Adrian
Daub traces the influence of Gesamtkunstwerk and eroticism from
their classic expressions in Tristan und Isolde into the work of
the generation of composers that followed, including Zemlinsky,
d'Albert, Schreker, and Strauss. For decades after Wagner's death,
Daub writes, these composers continued to grapple with his ideas
and with his overwhelming legacy, trying in vain to write their way
out from Tristan's shadow.
In the course of the nineteenth century, four-hand piano playing
emerged across Europe as a popular pastime of the well-heeled
classes and of those looking to join them. Nary a canonic work of
classical music that was not set for piano duo, nary a house that
could afford not to invest in them. Duets echoed from the student
bedsit to the Buckingham Palace, resounded in schools and in
hundreds of thousands of bourgeois parlors. Like no other musical
phenomenon it could cross national, social and economic boundaries,
bringing together poor students with the daughters of the
bourgeoisie, crowned heads with penniless virtuosi, and the
nineteenth century often regarded it with extreme suspicion for
that very reason. Four-hand piano playing was often understood as a
socially acceptable way of flirting, a flurry of hands that made
touching, often of men and women, not just acceptable but
necessary. But it also became something far more serious than that,
a central institution of the home, mediating between inside and
outside, family and society, labor and leisure, nature and nurture.
And writers, composers, musicians, philosophers, journalists,
pamphleteers and painters took note: in the art, literature and
philosophy of the age, four-hand playing emerged as a common motif,
something that allowed them to interrogate the very nature of the
self, the family, the community and the state. In the four hands
rushing up and down the same keyboard the nineteenth century
espied, or thought espy, an astonishing array of things.
Four-Handed Monsters tells the story of that practice, but also the
story of the astonishing array of things the nineteenth century
read into it.
Starting with 1964's Goldfinger, every James Bond film has followed
the same ritual, and so has its audience: after an exciting action
sequence the screen goes black and the viewer spends three long
minutes absorbing abstract opening credits and a song that sounds
like it wants to return to 1964. In The James Bond SongsR authors
Adrian Daub and Charles Kronengold use the genre to trace not only
a changing cultural landscape, but also evolving conceptions of
what a pop song is. They argue that the story of the Bond song is
the story of the pop song more generally, and perhaps even the
story of its end. Each chapter discusses a particular segment of
the Bond canon and contextualizes it in its eras music and culture.
But the book also asks how Bond and his music reflected and
influenced our feelings about such topics as masculinity, race,
money, and aging. Through these individual pieces the book presents
the Bond song as the perfect anthem of late capitalism. The Bond
songs want to talk about the fulfillment that comes from fast cars,
shaken Martinis and mindless sex, but their unstable speakers,
subjects, and addressees actually undercut the logic of the
lifestyle James Bond is sworn to defend. The book is an invitation
to think critically about pop music, about genre, and about the
political aspects of popular culture in the twentieth century and
beyond.
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