Der Band basiert auf den Beitragen des Klassik-Kollegs "The Queen's Two Bodies", das im Juni 2018 an der Klassik-Stiftung-Weimar zwischen den drei Herausgeberinnen und In-stitutionen veranstaltet wurde: Elena Agazzi (Universita degli Studi di Bergamo), Gesa Dane (Freie Universitat Berlin) und Gaby Pailer (University of British Columbia, Vancouver).

Als Maler, aber auch als kunstlerischem Rollenmodell wurde Raffael im 19. Jahrhundert eine einzigartige Stellung zugesprochen. Vorbereitet durch eine lange, schon im 16. Jahrhundert einsetzende Rezeptionsgeschichte, stand die Verehrung seines Werkes wie seiner Person um die Wende zum 19. Jahrhundert auf einem Hoehepunkt. Der Raffael-Kult erfasste Kunstkritik und Kunstgeschichte ebenso wie Literatur und Musikgeschichte. Raffael wurde zum Paradigma: Auf ihn wurden nicht nur kunsttheoretische, sondern auch religioese und gesellschaftliche Vorstellungen projiziert, welche die ideale Stellung des Kunstlers und Menschen in seiner Zeit benannten. Die Raffael-Rezeption steht im 19. Jahrhundert unter einer Spannung, die sich aus dem Gegen- und Miteinander der Aktualitat eines kunstlerischen OEuvres aus dem 16. Jahrhundert und dessen Historisierung ergibt. Sie umfasst sowohl die Fortschreibung bzw. neue Entwurfe von Kunstlerlegenden als auch die Entwicklung historisch-wissenschaftlicher Methoden zu Biographie und Kunstgeschichte. Das auf den Vortragen einer trilateralen Konferenz in der Villa Vigoni im Dezember 2007 basierende Buch bildet den zweiten Band der Reihe Klassizistisch-romantische Kunst(t)raume und schliesst unmittelbar an Fragestellungen an, die im ersten Band untersucht wurden.

Hardly any other 19th century political movement aroused such a fervid response from artists and publicists as Philhellenism, which came to full fruition in the course of the Greek struggle for liberation. The combination of classicistic and romantic ideals with political, esthetic, and religious motifs gave this movement a unique dynamism whose influence on art and culture can hardly be overestimated. This volume assembles the papers presented at an interdisciplinary symposium organized at the Villa Vigoni in 2006. They investigate the role of Philhellenism in the esthetic and cultural evolution of the modern image of Europe. The volume is the first in a series titled "Classicistic and Romantic Visions of Art."

This book discusses research on the culture of postwar Germany (1945 1962). Topics such as war, destruction, homecoming, flight, expulsion, guilt, daily life, andreligion are explored systematically, using examples and by focusing on fiction, nonfiction, and film in the two German states. Historians and scholars in the field of literature and film address various core questions concerning aesthetic representation and the formation of contemporary history."

Der Band umfasst Beitrage zur Jahrestagung des italienischen Germanistenverbandes, die vom 13. bis 15. Juni 2019 an der Universitat Bergamo stattgefunden hat. Die Beitrage diskutieren literatur- und sprachwissenschaftliche Zugange der italienischen und der europaischen Germanistik zur UEbersetzung. Im Mittelpunkt stehen dabei folgende Themenkomplexe: Kanon und Verlagswesen; Narrative Muster, Metaphern und Diskursstrukturen; Textkohasion; Sprachvarietaten; Weltliteratur: UEbersetzen in der Goethezeit; Mehrsprachige Autoren, UEbersetzer als Schriftsteller, Selbstubersetzer.

The concept of a constant reformulation of the canon due to the notion of singularity or irreducibility of the case can be applied in both scientific and literary fields. In this volume, dynamics of interconnections between the case and the canon are analysed by scholars belonging to different disciplines such as physics, medicine, biology, psychoanalysis, and literature. Particular attention has been given to the science of detection since the techniques of investigation are based on the scientific acquisition of evidence and often imply a scientific (abductive) process. The book is divided into two sections: Part I concentrates mainly on literary contributions and psychological issues, while part II concentrates on scientific enquiries. The contributions have been selected according to two main guidelines: The first covers anomalies, discontinuities, metaphors between science and literature. The second focus lies on the case in crime fiction: The scientist as detective and the detective as scientist.

Light symbols are the basis of the same alphabet, as well as geometry is a geometry of light: the geometrical point is a star-light point and the straight line is a light ray. Rightness and righteousness and all related concepts have this symbolical origin. The first words are ideograms, icons, images, and the word itself is conceived on the model of manifestation of light, it's isomorphic to light as a theophany. Light is not only the central archetype of the diurnal regime of imagination, but also, through contrast, of the nocturnal regime of imagination. Every literary text is all-pervaded by the semantic field of light and of all which is related to it. Every scientific theory is a theory of light or presupposes one. Semiotics and rhetoric of light are operating and are the means to operate within every literary text and every scientific practice. This book focuses on the analysis of the entanglement between science and literature within literary texts and scientific theories through the perspective of light as archetype and absolute metaphor.

Ancient Rome has always been considered a compendium of City and World. In the Renaissance, an era of epistemic fractures, when the clash between the 'new science' (Copernicus, Galileo, Vesalius, Bacon, etcetera) and the authority of ancient texts produced the very notion of modernity, the extended and expanding geography of ancient Rome becomes, for Shakespeare and the Elizabethans, a privileged arena in which to question the nature of bodies and the place they hold in a changing order of the universe. Drawing on the rich scenario provided by Shakespeare's Rome, and adopting an interdisciplinary perspective, the authors of this volume address the way in which the different bodies of the earthly and heavenly spheres are re-mapped in Shakespeare's time and in early modern European culture. More precisely, they investigate the way bodies are fashioned to suit or deconstruct a culturally articulated system of analogies between earth and heaven, microcosm and macrocosm. As a whole, this collection brings to the fore a wide range of issues connected to the Renaissance re-mapping of the world and the human. It should interest not only Shakespeare scholars but all those working on the interaction between sciences and humanities.