Translated here into English for the first time, F. W. J. Schelling's 1842 lectures on the Philosophy of Mythology are an early example of interdisciplinary thinking. In seeking to show the development of the concept of the divine Godhead in and through various mythological systems (particularly of ancient Greece, Egypt, and the Near East), Schelling develops the idea that many philosophical concepts are born of religious-mythological notions. In so doing, he brings together the essential relatedness of the development of philosophical systems, human language, history, ancient art forms, and religious thought. Along the way, he engages in analyses of modern philosophical views about the origins of philosophy's conceptual abstractions, as well as literary and philological analyses of ancient literature and poetry.

In The Construction of Testimony: Claude Lanzmann's Shoah and Its Outtakes, editors Erin McGlothlin, Brad Prager, and Markus Zisselsberger gather contributions on how Shoah (1985) fundamentally changed the nature and use of filmed testimony and laid the groundwork for how historians and documentarians regard and understand the history of the Holocaust. Critics have taken long note of Shoah's innovative style and its place in the history of documentary film and in cultural memory, but few scholars have touched on its extensive outtakes and the reams of documentation archived at the United States Holocaust Memorial Museum and at Yad Vashem, or the release of five feature-length documentaries based on the material in those outtakes. The Construction of Testimony, which contains thirteen essays by some of the most notable scholars in Holocaust film studies, reexamines Lanzmann's body of work, his film, and the impact of Shoah through this trove-over 220 hours-of previously unavailable and unexplored footage. Responding to the need for a sustained examination of Lanzmann's impact on historical and filmic approaches to testimony, this volume inaugurates a new era of scholarship, one that takes a critical position vis-a-vis the filmmaker's posturing, stylization, and editorial sleight-of-hand. The volume's contributors engage with a range of dimensions central to Lanzmann's filmography and the outtakes, including the dynamics of gender in his work, his representation of Nazi perpetrators, and complex issues of language and translation. In light of Lanzmann's invention of a radically new form of witnessing and remembrance, Shoah laid the framework for the ways in which subsequent filmmakers have represented the Holocaust cinematically; at the same time, the outtakes complicate this framework by revealing new details about the filmmaker's complex editorial choices. Scholars and students of film studies and Holocaust studies will value this close analysis.

The first sustained interrogation of travel in Sebald's literary and essayistic work, employing multivalent and new critical perspectives. W.G. Sebald (1944-2001) is the most prominent and perhaps the most enigmatic German-language writer of recent decades. His books have had a more profound impact outside the German-speaking world than those of any other. His innovative approach to writing brings to the fore concerns that are central to contemporary culture: the relationship between memory, history, and trauma; the experience of exile and our relation to place; and the role of literature (and photography) in the remembrance of the past. This collection of essays places travel at the center of Sebald's poetics and shows how his appropriation of travel in its myriad historical and cultural forms -- tourism, the pilgrimage, the walking vacation, travel as escape -- works to craft intertextual narratives in which the pursuit of individual life stories is mapped onto a wider European cultural history of loss and destruction. Following these cues,the contributors wander the various modalities of travel in Sebald's writing in order to discover how walking, flying, sojourning, and other kinds of peregrination inform the relationship between writing, reading, memory, and place in Sebald's work. At the same time, the essays uncover in innovative ways the affinities between Sebald and literary travelers like Bruce Chatwin, Franz Kafka, Adalbert Stifter, Christoph Ransmayr, and Joseph Conrad. Contributors: Christian Moser, J. J. Long, Carolin Duttlinger, Martin Klebes, Alan Itkin, James Martin, Brad Prager, Neil Christian Pages, Margaret Bruzelius, Barbara Hui, Dora Osborne, Peter Arnds. Markus Zisselsbergeris Assistant Professor of German at the University of Miami, Florida.

In The Construction of Testimony: Claude Lanzmann's Shoah and Its Outtakes, editors Erin McGlothlin, Brad Prager, and Markus Zisselsberger gather contributions on how Shoah (1985) fundamentally changed the nature and use of filmed testimony and laid the groundwork for how historians and documentarians regard and understand the history of the Holocaust. Critics have taken long note of Shoah's innovative style and its place in the history of documentary film and in cultural memory, but few scholars have touched on its extensive outtakes and the reams of documentation archived at the United States Holocaust Memorial Museum and at Yad Vashem, or the release of five feature-length documentaries based on the material in those outtakes. The Construction of Testimony, which contains thirteen essays by some of the most notable scholars in Holocaust film studies, reexamines Lanzmann's body of work, his film, and the impact of Shoah through this trove-over 220 hours-of previously unavailable and unexplored footage. Responding to the need for a sustained examination of Lanzmann's impact on historical and filmic approaches to testimony, this volume inaugurates a new era of scholarship, one that takes a critical position vis-a-vis the filmmaker's posturing, stylization, and editorial sleight-of-hand. The volume's contributors engage with a range of dimensions central to Lanzmann's filmography and the outtakes, including the dynamics of gender in his work, his representation of Nazi perpetrators, and complex issues of language and translation. In light of Lanzmann's invention of a radically new form of witnessing and remembrance, Shoah laid the framework for the ways in which subsequent filmmakers have represented the Holocaust cinematically; at the same time, the outtakes complicate this framework by revealing new details about the filmmaker's complex editorial choices. Scholars and students of film studies and Holocaust studies will value this close analysis.