One of the most contentious questions in contemporary literary studies is whether there can ever be a science of literature that can lay claim to objectivity and universality, for example by concentrating on philological criticism, by appealing to cognitive science, or by exposing the underlying media of literary communication. The present collection of essays seeks to open up this discussion by posing the question's historical and systematic double: has there been a science of literature, i.e. a mode of presentation and practice of reference in science that owes its coherence to the discourse of literature? Detailed analyses of scientific, literary and philosophical texts show that from the late 18th to the late 19th century science and literature were bound to one another through an intricate web of mutual dependence and distinct yet incalculable difference. The Science of Literature suggests that this legacy continues to shape the relation between literary and scientific discourses inside and outside of academia.

In this book, the author has three aims: (1) to elaborate an interpretation of Goethe's lyric poetry adequate to the intricacies of its subject matter; (2) to demonstrate the significance of that poetry to the development of European Romanticism; (3) to establish a method of inquiry that weaves together the major strands of theoretical reflection in modern literary studies. Remarkably enough, no study of Goethe's early lyric poetry has been published in English in the last fifty years. But the reading of this poetry the author presents is not intended merely to introduce an English readership to a major body of work; rather, the book delineates for the first time in any language an account of the symbolic network or organizing myth that underlies Goethe's individual poems. This marks a decisive break with the previous research on Goethe, which has tended to view his poetry as the expression of occasional experiences. The author shows, on the contrary, that Goethe's lyric work circles around a core set of problems and figures, that it evinces a systematic coherence until now unperceived despite an enormous interpretive literature. In the literature on European Romanticism, consideration of the German contribution has typically been restricted to the theoretical work of the Schlegel brothers and Novalis, and philosophers such as Schelling and Hegel. The author contends that the ideas they articulated were first worked through in Goethe's astonishingly bold poetic experimentation. In this sense, Goethe's lyric can be seen to constitute one of Romanticism's earliest and most significant beginnings. In addition to its interpretive and historical dimensions, The Specular Moment pursues a methodological aim. The author has combined the insights of linguistics, semiotics, psychoanalysis, social history, and philosophy in such a way that they yield a powerful and supple instrument of analysis. Thus, the book offers a fully developed contribution to the contemporary debate on method, a contribution that argues for interdisciplinarity, descriptive precision, controlled conjecture, and, above all, respect for literary complexity and nuance.

The discipline of rhetoric-adapted through a wide range of reformulations to the specific requirements of Greek, Roman, Medieval, and Renaissance societies-dominated European education and discourse, whether public or private, for more than two thousand years. The end of classical rhetoric's domination was brought about by a combination of social and cultural transformations that occurred between the seventeenth and ninteenth centuries. Concurrent with the "theory boom" of recent decades, rhetoric has reappeared as a center of discussion in the humanities and social sciences. Rhetorical inquiry, as it is thought and practiced today, occurs in an interdisciplinary matrix that touches on philosophy, linguistics, communication studies, psychoanalysis, cognitive science, sociology, anthropology, and political theory. Rhetoric is now an area of study without accepted certainties, a territory not yet parceled into topical subdivisions, a mode of discourse that adheres to no fixed protocols. It is a noisy field in the cybernetic sense of the term: a fertile ground for creative innovation. This volume embodies the interdisciplinary character of rhetoric. The essays draw on wide-ranging conceptual resources, and combine historical, theoretical, and practical points of view. The contributors develop a variety of perspectives on the central concepts of rhetorical theory, on the work of some of its major proponents, and on the breaks and continuities of its history. The spectrum of thematic concern is broad, extending from the Greek polis to the multi-ethnic city of modern America, from Aristotle to poststructuralism, from questions of figural language to problems of persuasion and interaction. But a common interdisciplinary interest runs through all the essays: the effort to rethink rhetoric within the contemporary epistemological situation. In this sense, the book opens new possiblities for research within the human sciences.

The discipline of rhetoric-adapted through a wide range of reformulations to the specific requirements of Greek, Roman, Medieval, and Renaissance societies-dominated European education and discourse, whether public or private, for more than two thousand years. The end of classical rhetoric's domination was brought about by a combination of social and cultural transformations that occurred between the seventeenth and ninteenth centuries. Concurrent with the "theory boom" of recent decades, rhetoric has reappeared as a center of discussion in the humanities and social sciences. Rhetorical inquiry, as it is thought and practiced today, occurs in an interdisciplinary matrix that touches on philosophy, linguistics, communication studies, psychoanalysis, cognitive science, sociology, anthropology, and political theory. Rhetoric is now an area of study without accepted certainties, a territory not yet parceled into topical subdivisions, a mode of discourse that adheres to no fixed protocols. It is a noisy field in the cybernetic sense of the term: a fertile ground for creative innovation. This volume embodies the interdisciplinary character of rhetoric. The essays draw on wide-ranging conceptual resources, and combine historical, theoretical, and practical points of view. The contributors develop a variety of perspectives on the central concepts of rhetorical theory, on the work of some of its major proponents, and on the breaks and continuities of its history. The spectrum of thematic concern is broad, extending from the Greek polis to the multi-ethnic city of modern America, from Aristotle to poststructuralism, from questions of figural language to problems of persuasion and interaction. But a common interdisciplinary interest runs through all the essays: the effort to rethink rhetoric within the contemporary epistemological situation. In this sense, the book opens new possiblities for research within the human sciences.

One of the great classics of European literature, "Faust" is Goethe's most complex and profound work. To tell the dramatic and tragic story of one man's pact with the Devil in exchange for knowledge and power, Goethe drew from an immense variety of cultural and historical material, and a wealth of poetic and theatrical traditions. What results is a tour de force illustrating Goethe's own moral and artistic development, and a symbolic, cautionary tale of Western humanity striving restlessly and ruthlessly for progress.

Capturing the sense, poetic variety, and tonal range of the German original in present-day English, Stuart Atkins's translation presents the formal and rhythmic dexterity of "Faust" in all its richness and beauty, without recourse to archaisms or interpretive elaborations.

Featuring a new introduction by David Wellbery, this Princeton Classics edition of "Faust" is the definitive English version of a timeless masterpiece.

In this book, the author has three aims: (1) to elaborate an interpretation of Goethe's lyric poetry adequate to the intricacies of its subject matter; (2) to demonstrate the significance of that poetry to the development of European Romanticism; (3) to establish a method of inquiry that weaves together the major strands of theoretical reflection in modern literary studies. Remarkably enough, no study of Goethe's early lyric poetry has been published in English in the last fifty years. But the reading of this poetry the author presents is not intended merely to introduce an English readership to a major body of work; rather, the book delineates for the first time in any language an account of the symbolic network or organizing myth that underlies Goethe's individual poems. This marks a decisive break with the previous research on Goethe, which has tended to view his poetry as the expression of occasional experiences. The author shows, on the contrary, that Goethe's lyric work circles around a core set of problems and figures, that it evinces a systematic coherence until now unperceived despite an enormous interpretive literature. In the literature on European Romanticism, consideration of the German contribution has typically been restricted to the theoretical work of the Schlegel brothers and Novalis, and philosophers such as Schelling and Hegel. The author contends that the ideas they articulated were first worked through in Goethe's astonishingly bold poetic experimentation. In this sense, Goethe's lyric can be seen to constitute one of Romanticism's earliest and most significant beginnings. In addition to its interpretive and historical dimensions, The Specular Moment pursues a methodological aim. The author has combined the insights of linguistics, semiotics, psychoanalysis, social history, and philosophy in such a way that they yield a powerful and supple instrument of analysis. Thus, the book offers a fully developed contribution to the contemporary debate on method, a contribution that argues for interdisciplinarity, descriptive precision, controlled conjecture, and, above all, respect for literary complexity and nuance.

The revolutionary spirit that animates the culture of the Germans has been alive for at least twelve centuries, far longer than the dramatically fragmented and reshaped political entity known as Germany. German culture has been central to Europe, and it has contributed the transforming spirit of Lutheran religion, the technology of printing as a medium of democracy, the soulfulness of Romantic philosophy, the structure of higher education, and the tradition of liberal socialism to the essential character of modern American life.

In this book leading scholars and critics capture the spirit of this culture in some 200 original essays on events in German literary history. Rather than offering a single continuous narrative, the entries focus on a particular literary work, an event in the life of an author, a historical moment, a piece of music, a technological invention, even a theatrical or cinematic premiere. Together they give the reader a surprisingly unified sense of what it is that has allowed Meister Eckhart, Hildegard of Bingen, Luther, Kant, Goethe, Beethoven, Benjamin, Wittgenstein, Jelinek, and Sebald to provoke and enchant their readers. From the earliest magical charms and mythical sagas to the brilliance and desolation of 20th-century fiction, poetry, and film, this illuminating reference book invites readers to experience the full range of German literary culture and to investigate for themselves its disparate and unifying themes.

Contributors include: Amy M. Hollywood on medieval women mystics, Jan-Dirk Muller on Gutenberg, Marion Aptroot on the Yiddish Renaissance, Emery Snyder on the Baroque novel, J. B. Schneewind on Natural Law, Maria Tatar on the Grimmbrothers, Arthur Danto on Hegel, Reinhold Brinkmann on Schubert, Anthony Grafton on Burckhardt, Stanley Corngold on Freud, Andreas Huyssen on Rilke, Greil Marcus on Dada, Eric Rentschler on Nazi cinema, Elisabeth Young-Bruehl on Hannah Arendt, Gordon A. Craig on Gunter Grass, Edward Dimendberg on Holocaust memorials.

This study analyses the emergence of aesthetic theory in eighteenth-century Germany in relation to contemporary theories of the nature of language and signs. As well as being extremely relevant to the discussion of literary theory, this perspective casts much light on Enlightenment aesthetics. The central text under consideration shows that the extended comparison of poetry and the plastic arts contained in that major work of aesthetic criticism rests upon a theory of signs and constitutes a complex and global theory of aesthetic signification. His analysis of Laocoon is preceded by chapters which establish the underlying structure and influence of the Enlightenment metasemiotic - that is, the place and function of the sign concept in the culture of the early eighteenth century. As an important reinterpretation of Lessing's Laocoon and of the development of German aesthetic theory, this book will be of special interest to students and scholars of German literature. Moreover, as a significant chapter in the history of semiotics, it will be read with profit by all those concerned with the history of literary criticism and aesthetic theory.