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Special volume treating exemplars of the vast number of texts
arising from historic and imaginary encounters between Jews and
non-Jewish Germans, from the early modern period to the present.
Nexus is the official publication of the biennial German Jewish
Studies Workshop, which was inaugurated at Duke University in 2009
and is now held at the University of Notre Dame. Together, Nexus
and the Workshop constitute the first ongoing forum in North
America for German Jewish studies. Nexus publishes innovative
research in German Jewish Studies, introducing new directions,
analyzing the development and definition of the field, and
considering its place vis-a-vis both German Studies and Jewish
Studies. Additionally, it examines issues of pedagogy and
programming at the undergraduate, graduate, and community levels.
Nexus 5 features essays written in honor of the memory of Jonathan
M. Hess, a leading scholar in German Jewish Studies who, through
both his person and publications, opened up the field for many
others to explore new areas of research and inquiry. It offers
exemplary instances of historic and imaginary encounters based on
interactions of Jews and "other Germans" from the early modern
period to the present day. It also discusses adaptations and
translations of Yiddish and German texts, presenting insights into
connections between literary texts and their Jewish and non-Jewish
readers alike. By exploring multimodal cultural works ranging from
performance to poems and illustrated fairy tales, and literature in
German, Yiddish, and other languages, Nexus 5 works to expand the
field of German Jewish studies in the spirit of Jonathan Hess
himself.
This study explores three works in which the protagonist undertakes
to fashion a literary artwork out of himself: Ovid's "Ars
Amatoria", Kierkegaard's "Diary of the Seducer", and Thomas Mann's
"Felix Krull". For each work, particular attention is paid to the
self-conscious interplay between the author's project of
book-making and the character's project of self-making, as well as
to the effect of changing notions of self-identity on the
protagonist's attempt at life as literature. For "Felix Krull",
this includes a sustained analysis of Mann's incorporation and
problematization of various Nietzschean models of aesthestics,
reality, and self-identity. In Ovid and Kierkegaard, this study
also considers a related project, the attempt to fashion a literary
artwork out of another, namely out of a woman.
"Double Exposures" aims not only to focus attention on competing
meanings of realism and mimesis in nineteenth-century German
narrative fiction, but also to supply a quite different account of
how realism's typically submerged structures allow readers to
explore some of the basic phenomena and contradictions of their
extra-literary, social existence. It challenges the currently
dominant critical perspective on German poetic realism (and on
literary realism in general), which considers this seemingly
transparent mode of representation a deeply ideological and
self-deceiving form of cultural discourse that reiterates, and so
reinforces, powerful social constraints already at work in the
extra-literary sphere.
By rethinking the landmark theories of Jacobson and Barthes,
Horkheimer and Adorno, and Freud and Lacan--especially their
attention to repetition--to point out that any instance of formal
repetition produces effects that cannot be contained, the author
articulates how the supposedly marginal moments of faltering to
both its own and its other cultural discourses are, in fact,
intrinsic effects of poetic realism's double, conflictual nature.
Through a series of close readings of several realist novellas by
Adalbert Stifter, Gottfried Keller, Theodor Storm, C. F. Meyer, and
Wilhelm Raabe, the book explores a number of realism's array of
"redundant" motifs having to do with nature, gender, family, class,
and aesthetics. It demonstrates that the realist project was always
about more than simply reinforcing bourgeois ideology, and always
fostered a form of self-awareness and reflection inseparable from
what we value as literature.
New essays providing an overview of the major movements, genres,
and authors of 19th-century German literature in social and
political context. This volume provides an overview of the major
movements, genres, and authors of 19th-century German literature in
the period from the death of Goethe in 1832 to the publication of
Freud's Interpretation of Dreams in 1899. Although the primary
focus is on imaginative literature and its genres, there is also
substantial discussion of related topics, including music-drama,
philosophy, and the social sciences. Literature is considered in
its cultural and socio-political context, and the German literary
scene takes its place in a wider European perspective. Following
the editors' introduction, essays consider the impact of
Romanticism on subsequent literary movements, the effectsof major
movements and writers of non-German-speaking Europe on the
development of German literature, and the impact of politics on the
changing cultural scene. The second section presents overviews of
the principal movements ofthe time (Junges Deutschland, Vormarz,
Biedermeier, Poetic Realism, Naturalism, Symbolism, and
Impressionism), and the third section focuses on the major genres
of lyric poetry, prose fiction, drama, and music-drama. The final
section provides bibliographical resources in the form of a
critical bibliography and a list of primary sources. Contributors
to the volume are distinguished scholars of German literature,
culture, and history from North America andEurope: Andrew Webber,
Lilian Furst, Arne Koch, Robert Holub, Gail Finney, Ernst
Grabovszki, Benjamin Bennett, Jeffrey Sammons, Thomas Pfau,
Christopher Morris, John Pizer, Thomas Spencer. Clayton Koelb is
Guy B. Johnson Distinguished Professor of German at the University
of North Carolina-Chapel Hill, and Eric Downing is Associate
Professor of German at the same institution.
'You want to buy a truck? What with? You dirty stinking tramp; go
on get your stinking carcass out of here.' Mr Smith blew his top
and shouted: 'You call me a dirty stinking tramp, how dare you. You
are the rudest salesman that I have ever met.' Then he turn and
stormed out of the door. He was angry with the salesman for
treating him with such contemp. His wife's words came back to him.
'Damn it, why is it that she is always right, and I am always
wrong. I've let Victor down, he wanted a Bedford truck but now he
is going to get an Austin.'
In The Chain of Things, Eric Downing shows how the connection
between divinatory magic and reading shaped the experience of
reading and aesthetics among nineteenth-century realists and
modernist thinkers. He explores how writers, artists, and critics
such as Gottfried Keller, Theodor Fontane, and Walter Benjamin drew
on the ancient practice of divination, connecting the Greek idea of
sympathetic magic to the German aesthetic concept of the attunement
of mood and atmosphere. Downing deftly traces the genealogical
connection between reading and art in classical antiquity,
nineteenth-century realism, and modernism, attending to the ways in
which the modern re-enchantment of the world-both in nature and
human society-consciously engaged ancient practices that aimed at
preternatural prediction. Of particular significance to the
argument presented in The Chain of Things is how the future figured
into the reading of texts during this period, a time when the
future as a narrative determinant or article of historical faith
was losing its force. Elaborating a new theory of magic as a
critical tool, Downing secures crucial links between the governing
notions of time, world, the "real," and art.
Focuses critical attention once again on the nature and process of
reading, taking into account both current theory and historical
investigations. Thirty years ago, when theory emerged as integral
to literary studies, investigations into the nature of reading
dominated academic criticism. Since then, as cultural studies and
historical approaches have gained ascendancy, critical focus on
reading has waned. This collection of new essays by leading
scholars of German and comparative literature, inspired by the work
of the long-time and influential scholar of reading Clayton Koelb,
puts the study of reading back at center stage, considering current
theory on reading, emotion, and affect alongside historical
investigations into cultural practices of reading as they have
changed over time. Topics addressed include ancient practicesof
magic reading; Christian conversionary reading; the emergence of
silent reading in the Middle Ages; Renaissance ekphrastic reading;
homeopathy, reading and Romanticism; and German-Jewish reading
cultures in the nineteenth century. The volume will be of interest
to scholars and students of literary criticism, German Studies,
comparative literature, and European history. Contributors: Richard
V. Benson, Stanley Corngold, Eric Downing, Darryl Gless, Ruth V.
Gross, Jonathan Hess, Janice Hewlett Koelb, Alice Kuzniar, Ann
Marie Rasmussen, Jeffrey L. Sammons, Gary Shapiro, Kathryn Starkey,
Christopher Wild. Eric Downing is Hanes Distinguished Term
Professor of German, English, and Comparative Literature at the
University of North Carolina-Chapel Hill. Jonathan M. Hess is
Professor of German and Moses M. and Hannah L. Malkin Distinguished
Term Professor of Jewish History and Culture at theUniversity of
North Carolina at Chapel Hill. Richard V. Benson is Visiting
Assistant Professor of German at Valparaiso University.
In The Chain of Things, Eric Downing shows how the connection
between divinatory magic and reading shaped the experience of
reading and aesthetics among nineteenth-century realists and
modernist thinkers. He explores how writers, artists, and critics
such as Gottfried Keller, Theodor Fontane, and Walter Benjamin drew
on the ancient practice of divination, connecting the Greek idea of
sympathetic magic to the German aesthetic concept of the attunement
of mood and atmosphere. Downing deftly traces the genealogical
connection between reading and art in classical antiquity,
nineteenth-century realism, and modernism, attending to the ways in
which the modern re-enchantment of the world-both in nature and
human society-consciously engaged ancient practices that aimed at
preternatural prediction. Of particular significance to the
argument presented in The Chain of Things is how the future figured
into the reading of texts during this period, a time when the
future as a narrative determinant or article of historical faith
was losing its force. Elaborating a new theory of magic as a
critical tool, Downing secures crucial links between the governing
notions of time, world, the "real," and art.
After Images explores the intersections of photography,
archaeology, and psychoanalysis and their effect on conceptions of
the subject and his formation or Bildung in the literature and
theory of the late nineteenth and early twentieth centuries. All
three disciplines emerge out of the same historical context, and
both photography and archaeology had major impacts on how
psychoanalysis came to conceive of the subject, his memory, and the
formation of his identity; and psychoanalysis had an equally major
impact on how contemporary authors came to think about these same
things. In ""After Images"", Eric Downing examines works from
Thomas Mann, Sigmund Freud, and Walter Benjamin to find evidence of
the reconceiving and dismantling of the tradition of Bildung in
literature of this historical period. This volume begins by using
the work of Bergson, Proust, Darwin, and others to elaborate a
peculiarly modernist model of memory as a photographic plate and
explores the ramifications of that model for the project of Bildung
in Mann's ""The Magic Mountain"". The second section focuses on
Freud's reading, and the author's own, of Wilhelm Jensen's novella
""Gradiva"", considering the effects of taking classical
archaeology - a key institution in the official culture of Bildung
and the formation of national German identity - as a model for the
formation of individual psychological identity. The first two
sections also consider the impact of the introjected field -
photography and archaeology, respectively - on the conception of
gender and sexuality at stake in Bildung. In the third section, the
author examines Walter Benjamin's ""Berlin Chronicle"" and its use
of photography and archaeology to imagine both the process of
memory and the project of analysis. The final section is an
epilogue that considers the fate of these constellated themes in
the postmodern works of W. G. Sebald, focusing on his novel
""Austerlitz"". The confrontation of photography, archaeology, and
psychoanalysis with nineteenth-century ideals of the self led to
many changes in contemporary literature. Scholars, students, and
teachers of German studies, comparative literature, cultural
studies, and classical studies will appreciate this insightful
volume.
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