The article deals with the polemical procedures in the constitution of the bourgeois-literary public sphere in the mid-18th century, exemplified by the work of the philosopher, literary critic and Lessing’s successor at the Berliner Literaturbriefe Thomas Abbt. His public-constitutive polemical practice is realized as theological polemics, as polemical classicism, as considerations about publicity and with a constant reflexive shift from strategic or ethical points of view. The theoretical basis of the study is a concept of polemics as a variable, non-dialogical (...) and public mode of speech with epistemic, aesthetic and political productivity and a strong reflexive tendency. (shrink)

Robert Walser’s short prose of the Berlin years is examined with respect to the acoustic performance of its characters. In the two volumes of Aufsätze and Geschichten, Walser shows a paradoxical poetic ideal of written orality which relates to his later narrative style in the decade of 1910. Although the Berlin prose is explicitly marked as textual and narrative, the foregrounded scene mostly contributes to a soundstage, that introduces acoustic effects of voices, talking modes, etc., so that telling is transformed (...) into voicing. (shrink)

The blank verse as ›unbound‹ verse has been the object of lively discussions about the freedom of poetry since its emergence in the Renaissance. The basis of these discussions is the status of rhyme. Its absence opens up new possibilities of representation. Against the fetters of rhyme, blank verse is increasingly stylised as a form of freedom in the 18th century, according to the thesis presented here. This article focuses on the discourses on tragic blank verse throughout Europe up to (...) 1800. It examines which poetological potentials are attributed to the form and the historical and political ideas associated with the rhymeless but classical verse. (shrink)

The article starts with a reconstruction of Bernard Bolzano’s aesthetics as a paradigmatic example of the logical-semantic aesthetics tradition following Leibniz, which has been marginalized in Germany. It ends with perspectives for a future reconstruction of post-Hegelian aesthetics in the light of the semantic problem that became virulent in the analytical philosophy of language and in linguistics in the early 20th century. As a result, a continuity becomes visible between the allegedly idealistic 19th century and the theoretical developments in the (...) wake of the linguistic turn that emphasize the irreducible linguistic character and sign structure of semantics. (shrink)

Günter Grass entschied sich bereits 1956 unter dem Eindruck von Adornos Analyse der Kultur nach dem Zivilisationsbruch Auschwitz für eine asketische, »graue« Sprache als Maßstab der Dichtung – eine Maxime, die für Paul Celan zu grundlegenden Entscheidungen für die Skelettierung seiner lyrischen Sprache führte. Der Austausch zwischen dem Autodidakten Grass und seinem »Lehrer« Celan hatte andererseits fundamentale Bedeutung für die Konzeption von Hundejahre als episches Korrelat zum Sprachkosmos des Lyrikers. Als »kommunizierende Gefäße« sind sie durch einen gemeinsamen Code miteinander verbunden, (...) den dieses Essay zu entschlüsseln versucht. (shrink)

ZusammenfassungDie Schnitzler-Forschung hat gezeigt, dass die medizinischen und die literarischen Schriften des Schriftsteller-Arztes eng verflochten sind. Dennoch haben pharmakologische Problemstellungen, wie sie für die ärztliche Praxis der Moderne grundlegend sind, bislang nur wenig Aufmerksamkeit bei der Auseinandersetzung mit Schnitzlers Werk erfahren, obwohl sie dort immer wieder zentral werden. Ausgehend von einem Fund im Archiv des Pharmakonzerns Bayer – die Firma nahm Anstoß an der Verwendung des Schlafmittels Veronal in Fräulein Else – liest dieser Aufsatz Schnitzlers Novelle erstmals vor dem Hintergrund (...) der ›Veronal-Kultur‹ des frühen zwanzigsten Jahrhunderts. Dabei erweist sich, dass Fräulein Else auch eine Intervention in die Public Health-Diskurse seiner Zeit beinhaltet. (shrink)

Since antiquity, Western thinking about art has known and cultivated the myth of the artist as a unique (male) individual who produces marvellous things. This myth is fed, among other texts, by the Naturalis Historia (Natural History) of the Roman scholar Pliny the Elder (23/24-79 AD). The last five volumes of this encyclopaedia are an essential source for our knowledge about ancient painting, sculpture, etc. Plenty of anecdotes deal with the value of artworks, with problems of mimesis and aesthetic judgement, (...) artistic rivalry, the relationship between artist and beholder, artist and political ruler, etc. For centuries, these minimal narratives have been repeated, retold and adapted to changing situations and interests, triggering theory and history of art. What has not been realised, however, is that they also open the way to a concept quite different from the well-known understanding: to art as a complex reciprocal exchange of gifts between more than two agents. Analysing two of the pertinent anecdotes (NH 35.86-87 and NH 35.140), the paper attempts to show the significance of agonistic gift giving in this art discourse. (shrink)

The question of how literary fiction is used for political and ideological propaganda involves both textual and contextual comparative analysis. Using recent discussions of the literary genre of prophecy, Mehtonen explores the case of a hitherto unexplored anonymous fictional publication from 1770, which became a literary sensation and was soon translated from German into Danish, Russian, Swedish, Finnish and Dutch. Mehtonen shows how this narrative – about the 106-year-old Swiss hermit Martin Zadeck, who presented on his deathbed in 1769 a (...) prophecy about the coming of a powerful united Northern Europe – was closely attached not only to emerging ideas of Europe and its transoceanic expansion after the Seven Years War (1756–1763), but also to topical trends in the utopian fiction of the nobility and military networks in the Northern European monarchies. Mehtonen concludes that the seemingly simple prophecy by Zadeck, often catalogued as »devotion literature«, in fact addressed multiple audiences and even clashing worldviews. The monarchic and colonialist ideas of the narrative appealed to royalist patriots; the legendary and mythological layers were immediately evident to readers familiar with the Rosicrucian and Hermetic underpinnings; the millenarian vision pleased the eschatological mindset of proponents of religious awakening movements; and, ultimately, the Zadecksche Gattung was food for enlightened critiques and philosophies concerning superstition. (shrink)

Der Beitrag nimmt Erich Auerbachs Postulat einer transnationalen Ideengeschichte als Ausgangspunkt, um aktuelle Potenziale einer ideenhistorisch geprägten Literaturwissenschaft zu prüfen. Einerseits ausgehend von der sozialgeschichtlichen bzw. sprachkritisch geprägten Neuausrichtung der Ideengeschichte, wie man sie mit dem Schlüsseljahr 1969 und den Namen Foucault und Skinner in Verbindung bringen kann, und andererseits vor dem Hintergrund ihrer kulturwissenschaftlichen Expansion lotet der Artikel die Möglichkeiten einer Ideengeschichte aus, die sich wieder stärker der Interpretation von Bedeutung, von Ideen als geistigen Tatsachen zuwendet. Dazu schlägt er (...) einen topisch-rhetorischen Begriff der Texthandlung vor, der es dem Leser gestattet, sich dem Autor als dem eklektischen Nutzer und Neuarrangeur verfügbaren Wissens zu nähern. Die Literaturwissenschaft könnte sich auf diese Weise als hermeneutisches Leitverfahren der Ideengeschichte empfehlen, mit dem der Stellenwert eines souveränen Lesersubjekts auch angesichts zur Unübersichtlichkeit neigenden Text-Kontext-Formationen aufrechterhalten werden kann. (shrink)