What does it mean to be a spectator to war in an era when the boundaries between witnessing and perpetrating violence have become profoundly blurred? Arguing that the contemporary dynamics of military spectatorship took shape in Napoleonic Europe, "Watching War" explores the status of warfare as a spectacle unfolding before a mass audience. By showing that the battlefield was a virtual phenomenon long before the invention of photography, film, or the Internet, this book proposes that the unique character of modern conflicts has been a product of imaginary as much as material forces.
Warfare first became total in the Napoleonic era, when battles became too large and violent to be observed firsthand and could only be grasped in the imagination. Thenceforth, fantasies of what war was or should be proved critical for how wars were fought and experienced. As war's reach came to be limited only by the creativity of the mind's eye, its campaigns gave rise to expectations that could not be fulfilled. As a result, war's modern audiences have often found themselves bored more than enthralled by their encounters with combat. Mieszkowski takes an interdisciplinary approach to this major ethical and political concern of our time, bringing literary and philosophical texts into dialogue with artworks, historical documents, and classics of photojournalism.

An interdisciplanary collection of essays focused on Kant's work on the concept of community. The concept of community plays a central role in Kant's theoretical philosophy, his practical philosophy, his aesthetics, and his religious thought. Kant uses community in many philosophical contexts: the category of community introduced in his table of categories in the Critique of Pure Reason; the community of substances in the third analogy; the realm of ends as an ethical community; the state and the public sphere as political communities; the sensus communis of the Critique of Judgment; and the idea of the church as a religious community in Religion within the Boundaries of Mere Reason. Given Kant's status as a systematic philosopher, volume editorsPayne and Thorpe maintain that any examination of the concept of community in one area of his work can be understood only in relation to the others. In this volume, then, scholars from different disciplines -- specializing in various aspects of and approaches to Kant's work -- offer their interpretations of Kant on the concept of community. The various essays further illustrate the central relevance and importance of Kant's conception of community to contemporary debates in various fields. Charlton Payne is postdoctoral fellow at Plattform Weltregionen und Interaktionen, Universitat Erfurt, Germany. Lucas Thorpe is Assistant Professor in the Department of Philosophy atBogazici University, Turkey. Contributors: Ronald Beiner, Jeffrey Edwards, Michael Feola, Paul Guyer, Jane Kneller, Beatrice Longuenesse, Jan Mieszkowski, Onora O'Neill, Charlton Payne, Susan M. Shell, Lucas Thorpe, Eric Watkins, Allen W. Wood

What does it mean to be a spectator to war in an era when the boundaries between witnessing and perpetrating violence have become profoundly blurred? Arguing that the contemporary dynamics of military spectatorship took shape in Napoleonic Europe, "Watching War" explores the status of warfare as a spectacle unfolding before a mass audience. By showing that the battlefield was a virtual phenomenon long before the invention of photography, film, or the Internet, this book proposes that the unique character of modern conflicts has been a product of imaginary as much as material forces.
Warfare first became total in the Napoleonic era, when battles became too large and violent to be observed firsthand and could only be grasped in the imagination. Thenceforth, fantasies of what war was or should be proved critical for how wars were fought and experienced. As war's reach came to be limited only by the creativity of the mind's eye, its campaigns gave rise to expectations that could not be fulfilled. As a result, war's modern audiences have often found themselves bored more than enthralled by their encounters with combat. Mieszkowski takes an interdisciplinary approach to this major ethical and political concern of our time, bringing literary and philosophical texts into dialogue with artworks, historical documents, and classics of photojournalism.

This book is a major new study of the doctrines of productivity and interest in Romanticism and classical political economy. The author argues that the widespread contemporary embrace of cultural historicism and the rejection of nineteenth-century conceptions of agency have hindered our study of aesthetics and politics. Focusing on the difficulty of coordinating paradigms of intellectual and material labor, Mieszkowski shows that the relationship between the imagination and practical reason is crucial to debates about language and ideology.From the Romantics to Poe and Kafka, writers who explore Kant's claim that poetry "sets the imagination free" discover that the representational and performative powers of language cannot be explained as the products of a self-governing dynamic, whether formal or material. A discourse that neither reflects nor prescribes the values of its society, literature proves to be a uniquely autonomous praxis because it undermines our reliance on the concept of interest as the foundation of self-expression or self-determination. Far from compromising its political significance, this turns literature into the condition of possibility of freedom. For Smith, Bentham, and Marx, the limits of self-rule as a model of agency prompt a similar rethinking of the relationship between language and politics. Their conception of a linguistic labor that informs material praxis is incompatible with the liberal ideal of individualism. In the final analysis, their work invites us to think about social conflicts not as clashes between competing interests, but as a struggle to distinguish human from linguistic imperatives.

There are few forms in which so much authority has been invested with so little reflection as the sentence. Though a fundamental unit of discourse, it has rarely been an explicit object of inquiry, often taking a back seat to concepts such as the word, trope, line, or stanza. To understand what is at stake in thinking--or not thinking--about the sentence, Jan Mieszkowski looks at the difficulties confronting nineteenth- and twentieth-century authors when they tried to explain what a sentence is and what it can do. From Romantic debates about the power of the stand-alone sentence, to the realist obsession with precision and revision, to modernist experiments with ungovernable forms, Mieszkowski explores the hidden allegiances behind our ever-changing stylistic ideals. By showing how an investment in superior writing has always been an ethical and a political as well as an aesthetic commitment, Crises of the Sentence offers a new perspective on our love-hate relationship with this fundamental compositional category.

Groundbreaking essays highlighting Goethe's relevance to contemporary theoretical debates and Goethe criticism of recent decades. The Goethe Yearbook, first published in 1982, is a publication of the Goethe Society of North America and is dedicated to North American Goethe Scholarship. It aims above all to encourage and publish original English-language contributions to the understanding of Goethe and other authors of the Goethezeit, while also welcoming contributions from scholars around the world. Goethe Yearbook 16 presents innovative interpretations by young scholars of Goethe's most prominent works. A special section on 20th-century theory, co-edited by Angus Nicholls, demonstrates the poet's importance within areas of contemporary debate such as postcolonial criticism and Heideggerian phenomenology. The volume includes Judith Ryan's 2007 Presidential Address to the Goethe Society on the aphorisms in Die Wahlverwandtschaften and the Wanderjahre, as well as essays on aspects of Hermann und Dorothea, Iphigenie, Wilhelm Meisters Lehrjahre, and Prometheus. Readers will also find a surprising interpretation of Schiller on subjectivity and military strategy, and a feminist archival history of the Hamburg actress Charlotte Ackermann. Contributors: Volker C. Doerr, Mary Helen Dupree, Ellis Dye, Bernd Hamacher, Katrin Kohl, Michael Mandelartz, Jan Mieszkowski, Angus Nicholls, Charlton Payne, Mattias Pirholt, Myriam Richter, Judith Ryan, and Christian Weber. Daniel Purdy is Associate Professor of German at Pennsylvania State University. Book review editor Catriona MacLeod is Associate Professor of German at the University of Pennsylvania.