Angermion-Yearbook for Anglo-German Literary Criticism Intellectual History and Cultural Transfers-Jahrbuch fuer Britisch-Deutsche Kulturbeziehungen最新文献

{"title":"Alexander Popes biographische Legende in Deutschland, 1740–1781. Entstehung, Genese und Funktion einer Imago des freien Schriftstellers","authors":"Robert Leucht","doi":"10.1515/anger-2020-0003","DOIUrl":"https://doi.org/10.1515/anger-2020-0003","url":null,"abstract":"|| Der Aufsatz folgt methodisch dem mit Magnus Wieland herausgegebenen Band Dichterdarsteller. Fallstudien zur biographischen Legende des Autors im 20. und 21. Jahrhundert. Göttingen 2016. Eine frühere Version des vorliegenden Textes habe ich bei der 2017 in London abgehaltenen Konferenz Biography in Britain and Germany. Comparing Theories and Practices zur Diskussion gestellt, die vom Internationalen Morphomata-Kolleg (Köln), dem Centre for Anglo-German Cultural Relations (London) und dem Ludwig Boltzmann Institut für Geschichte und Theorie der Biographie (Wien) organisiert wurde. Für fachliche Hinweise danke ich den Mitorganisatoren, Günter Blamberger und Rüdiger Görner, sowie Hans-Georg von Arburg, Susanne Reichlin und Peter Schnyder; dem Institute of Modern Languages Research (London) für ein Sylvia Naish Fellowship (2019) zur weiteren Bearbeitung des Themas.","PeriodicalId":40371,"journal":{"name":"Angermion-Yearbook for Anglo-German Literary Criticism Intellectual History and Cultural Transfers-Jahrbuch fuer Britisch-Deutsche Kulturbeziehungen","volume":"13 1","pages":"35 - 62"},"PeriodicalIF":0.1,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/anger-2020-0003","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42137847","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Theodor Fontane as Realist Novelist","authors":"Helen E. Chambers","doi":"10.1515/anger-2020-0009","DOIUrl":"https://doi.org/10.1515/anger-2020-0009","url":null,"abstract":"Theodor Fontane as realist novelist ... where to start? I’ll begin by considering the origins and nature of his Anglo-German interests before trying to give some sense of what, to my mind, are among the key aspects of his distinctive version of literary realism. Theodor Fontane, the son of a pharmacist of French Huguenot extraction, was born in Neuruppin, a small town North West of Berlin, but when he was seven his family moved to the Baltic port of Swinemünde (today Świnoujście) for five years. He loved the river and the sea and used to watch the English dredger for half hours at a time. The engineer, an old Scot called MacDonald, was a particular friend. He had a lifelong interest in British literature and history, fuelled from an early age by his father’s enthusiasm for Walter Scott, whose novels Fontane began reading as a boy of thirteen or fourteen. From a young age he lived with Shakespeare’s works too, seeing the plays on stage in Dresden in the 1840s, where, following his father’s trade, he was working as a pharmacist’s assistant. He translated Hamlet at this time and probably a Midsummer Night’s Dream. Later, as press correspondent in the 1850s in London and as theatre critic in Berlin in the 1870s and ’80s, he saw and wrote about dozens of productions. He had a more intimate knowledge of English-language literature than any other German writer of his time and declared himself a Nordlandsmensch,1 a Northerner. Fontane was no stranger to the exigences of literary anniversaries, being called on in 1864 to front the celebrations for Shakespeare’s 300th anniversary at the Berlin Schauspielhaus, a task that caused him no little anxiety and last-minute head-scratching as he worked on the Prologue he had been commissioned to both compose and to deliver on stage.2 In 1871, for Scott’s centenary, despite","PeriodicalId":40371,"journal":{"name":"Angermion-Yearbook for Anglo-German Literary Criticism Intellectual History and Cultural Transfers-Jahrbuch fuer Britisch-Deutsche Kulturbeziehungen","volume":"13 1","pages":"139 - 152"},"PeriodicalIF":0.1,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/anger-2020-0009","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49303025","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"“Our inimitable Shakespeare is a Stumbling-block to the whole Tribe of these rigid Criticks”: English and German Women in Eighteenth-Century Debates on Shakespeare","authors":"G. Golinelli","doi":"10.1515/anger-2020-0005","DOIUrl":"https://doi.org/10.1515/anger-2020-0005","url":null,"abstract":"In the preface to the Dutch Lover, performed in 1673, Aphra Behn justifies her profession as dramatist claiming a strong affinity between women and Shakespeare: “We all well know that the immortal Shakespeare’s Plays (who was not guilty of much more of this than often falls to women’s share) have better pleas’d the World than Jonson’s works”1. Drawing from Shakespeare’s presumed ignorance, his “small latine, and less Greek”,2 Behn’s words not only suggest an association between Shakespeare’s lack of knowledge and that of women, but also become emblematic of the significant role that English women would play, from the last decades of the seventeenth century onwards, in the promotion of Shakespeare as a cultural figure that deserved to be more carefully interrogated in England and, as today we well know, abroad. Since then, Shakespeare has continued to be seen as a national but also global emblematic figure. The analysis of his reception, appropriation and criticism has always been helpful in exploring the way in which languages, ideas and models travel through time and space, acquiring new political-cultural meanings, and becoming important elements of exchange ‒ Kulturtransfer‒ between different cultures. Compelling in this respect are the recent","PeriodicalId":40371,"journal":{"name":"Angermion-Yearbook for Anglo-German Literary Criticism Intellectual History and Cultural Transfers-Jahrbuch fuer Britisch-Deutsche Kulturbeziehungen","volume":"13 1","pages":"79 - 96"},"PeriodicalIF":0.1,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/anger-2020-0005","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47340290","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Prince Albert, the Great Exhibition of 1851, and the German Connection","authors":"John R. Davis","doi":"10.1515/anger-2020-0012","DOIUrl":"https://doi.org/10.1515/anger-2020-0012","url":null,"abstract":"In popular and general historical accounts, the Great Exhibition of 1851 is closely associated with Prince Albert, and Prince Albert is closely associated with the Great Exhibition. When one is being discussed, the other invariably appears.1 Recurrently and generally, Albert is believed to have come up with the exhibition idea, designed it, led it and somehow ‘owned’ it. Symptomatically, the Wikipedia webpage on the Great Exhibition currently states, in an anodyne and yet equally misleading fashion, that “The Great Exhibition was organised [...] by Prince Albert”.2 A closer examination of literature on, and discussion of, the matter reveals a perplexing level of uncertainty regarding the exact relationship between Albert and the Exhibition, however. Other figures, for example Henry Cole, are also sometimes recognised as having played a leading role, while the exhibition is also interpreted as a biproduct of industrialisation, Free Trade, and the High Victorian period. Still, the Exhibition, it is widely if naively believed, was Albert’s project. These associations are also intermingled, reflected and reinforced in material culture. Significantly, many of the memorials erected in Albert’s memory after his untimely death in 1861 display and reinforce themes suggesting the centrality of the exhibition to his life’s work and his responsibility for it. Foremost among them is that in Hyde Park overlooking ‘Albertopolis’ and Exhibition Road.3 As these memorials show, this way of thinking, lazy and superficial as it may be, has a long history. In fact, even as the exhibition was being organised and taking place, many people presented or saw it as Albert’s project, and claims were made at the time, even by those associated with the exhibition, that Albert had","PeriodicalId":40371,"journal":{"name":"Angermion-Yearbook for Anglo-German Literary Criticism Intellectual History and Cultural Transfers-Jahrbuch fuer Britisch-Deutsche Kulturbeziehungen","volume":"13 1","pages":"183 - 196"},"PeriodicalIF":0.1,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/anger-2020-0012","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45517706","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Theodor Fontane: A German Traveller in England and Scotland","authors":"P. Howe","doi":"10.1515/anger-2020-0010","DOIUrl":"https://doi.org/10.1515/anger-2020-0010","url":null,"abstract":"Travel writing is a presentation of self and place, a form of non-fiction increasingly perceived as “life-writing”, that is as “literature whose historical assertions and representational intentions are by definition an effort to fix our identity within the world around us.”1 Like other forms of non-fiction, it is read, according to Daniel W. Lehmann, “over the edge of text and experience”, in the knowledge that behind it there are real human lives.2 Lehmann describes “the resulting transaction among writer, reader, and subject” as “implicated”, a term that suggests a deeper involvement in both history and text than concepts of “ideal” or “implied” authors and readers.3 Travel writing is thus a hybrid form, a non-fiction narrative that intersects with autobiography, but has both imaginary, descriptive and interpretive elements, and structures and strategies similar to those of fiction. As the traveller engages with the foreign environment his or her sense of identity and narrative skill are challenged.4 From the end of the eighteenth century the classical autobiographical travel narrative is characterised by linearity, fostering the reader’s sense that he or she is also travelling. As the prevailing forms of factual guide, scientific, analytical record and sentimental “travel notes” become more diverse and differentiated the process of hybridisation intensifies. Oliver Lubrich credits Alexander von Humboldt’s account of his South American travels with a critical role in this process. Lubrich identifies the variables of the classical travel narrative as follows: “(1) an identifiable subject (2) travels to foreign countries (3) and offers his readers at home (4) a written report of his experience”.5 Lubrich suggests that Humboldt problematises each of its elements in a way that destabilises the narrative.6 The identifiable subject reveals himself variously as author, traveller and nar-","PeriodicalId":40371,"journal":{"name":"Angermion-Yearbook for Anglo-German Literary Criticism Intellectual History and Cultural Transfers-Jahrbuch fuer Britisch-Deutsche Kulturbeziehungen","volume":"13 1","pages":"153 - 170"},"PeriodicalIF":0.1,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/anger-2020-0010","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45022797","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Albert the Traveller","authors":"A. Wilson","doi":"10.1515/anger-2020-0011","DOIUrl":"https://doi.org/10.1515/anger-2020-0011","url":null,"abstract":"","PeriodicalId":40371,"journal":{"name":"Angermion-Yearbook for Anglo-German Literary Criticism Intellectual History and Cultural Transfers-Jahrbuch fuer Britisch-Deutsche Kulturbeziehungen","volume":"13 1","pages":"171 - 182"},"PeriodicalIF":0.1,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/anger-2020-0011","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46485714","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Heroischer Kapitalismus. Ayn Rand und die Apotheose der freien Wirtschaft","authors":"D. Pietzcker","doi":"10.1515/anger-2020-0014","DOIUrl":"https://doi.org/10.1515/anger-2020-0014","url":null,"abstract":"Der reaktionäre Geist ist ein hartnäckiger Wiedergänger. Während Ayn Rand für ihre Anhänger, darunter auch etliche libertäre und rechtskonservative Publizisten, als eine Art post-nietzscheanische Hohepriesterin der kapitalistischen Lebensphilosophie figuriert, gilt sie für liberale Intellektuelle als Vertreterin eines egoistischen Materialismus, dessen moralische Überhöhung lediglich seine innere Rücksichtslosigkeit kaschiere.1 Rands Bücher, vor allem ihre beiden wohl bekanntesten Werke The Fountainhead (1943) und Atlas Shrugged (1957), finden auch in der Gegenwart ein breites Leserecho.2 Beide Romane wurden mehrfach verfilmt; The Fountainhead 1949 mit Gary Cooper in der Hauptrolle. Eine glamourösere Besetzung war in der goldenen Ära von Hollywood wohl kaum vorstellbar. Mit über fünfzig Millionen verkauften Büchern weltweit3 gehört Ayn Rand, als russisch-jüdische Emigrantin aus St. Petersburg mittellos in die USA eingewandert, zweifellos zu den erfolgreicheren Autorinnen des letzten Jahrhunderts. Die orthodoxe Literaturwissenschaft betrachtet ihre ideologisch hochgradig aufgeladenen Romane traditionell kritisch4 und bemängelt nicht ohne Grund die","PeriodicalId":40371,"journal":{"name":"Angermion-Yearbook for Anglo-German Literary Criticism Intellectual History and Cultural Transfers-Jahrbuch fuer Britisch-Deutsche Kulturbeziehungen","volume":"13 1","pages":"215 - 226"},"PeriodicalIF":0.1,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/anger-2020-0014","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41866710","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Schakespear in der Klemme: Johann Friedrich Schink and the Problem of Adaptation","authors":"Maria Elisa Montironi","doi":"10.1515/anger-2020-0006","DOIUrl":"https://doi.org/10.1515/anger-2020-0006","url":null,"abstract":"In his short play Schakespear in der Klemme, oder wir wollen doch auch den Hamlet spielen,1 Johann Friedrich Schink pictures the ghosts of William Shakespeare and David Garrick in heaven as they meet the ghost of Jean-François Ducis, author of the famous 1769 French adaptation of Hamlet, and two actors of Schink’s Theater Schule, directed by Müller, who are about to perform Hamlet. This hilarious play is, in Andreas Höfele’s words, “a solid, if none-too-subtle piece of theatrical entertainment combining the ever-popular sport of bashing the French with a laugh at the current craze for Hamlet”.2 This paper aims to demonstrate that the play’s nationalist lampoons and hilarious gags are also significant metatextual elements, which are worth investigating to outline Schink’s insights into the problematic issue of Shakespearean adaptations. Studies on Shakespeare’s afterlife, particularly in Germany, build up the theoretical basis of this contribution, and the ‘close reading’ methodology is used in the analysis of the play.","PeriodicalId":40371,"journal":{"name":"Angermion-Yearbook for Anglo-German Literary Criticism Intellectual History and Cultural Transfers-Jahrbuch fuer Britisch-Deutsche Kulturbeziehungen","volume":"13 1","pages":"97 - 110"},"PeriodicalIF":0.1,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/anger-2020-0006","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49601940","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Schlegel’s Hamlet Then and Later","authors":"M. Pfister","doi":"10.1515/anger-2020-0002","DOIUrl":"https://doi.org/10.1515/anger-2020-0002","url":null,"abstract":"What an intriguing romance: that between German culture and the Danish prince made in England! Among its most important matchmakers was the poet, polymath, professor and literary critic August Wilhelm von Schlegel (1776–1845). Already as a student at Göttingen, in 1793, he turned to translating Hamlet, for him the crucial play in the canon, and he first published his Hamlet as part of his work in progress, a complete translation of all the plays, in 1798. In this, he had, however, by no means been the first. He had been preceded by the poet Christoph Martin Wieland’s attempt at translating all of the plays, begun in 1762, abandoned in dismay in 1766, and completed and emended by a professional philologist, Johann Joachim Eschenburg (1775–1777). Both Wieland and Eschenburg had translated Shakespeare’s poetic drama into German prose, believing that this way they could render the original meaning more faithfully. This was the very point of departure for Schlegel’s verse translations, to whose Romanticism the poetry of Shakespeare’s verse was an essential part of his dramatic works and had to be orchestrated by the translator in its full range of styles, images, and metrical forms. Friedrich Schiller welcomed this as a liberation from Eschenburg’s „dreariness“2 and both the young Romantics and Weimar celebrated Schlegel’s new poetic Shakespeare. Just consider Hamlet’s famous last words: „The rest is silence.“ Wieland translated them vaguely as „Es ist vorbey.“;","PeriodicalId":40371,"journal":{"name":"Angermion-Yearbook for Anglo-German Literary Criticism Intellectual History and Cultural Transfers-Jahrbuch fuer Britisch-Deutsche Kulturbeziehungen","volume":"137 29","pages":"25 - 34"},"PeriodicalIF":0.1,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/anger-2020-0002","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41264938","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A Sketch of Anglo-German Relations in the Nineteenth Century","authors":"R. Ashton","doi":"10.1515/anger-2020-0007","DOIUrl":"https://doi.org/10.1515/anger-2020-0007","url":null,"abstract":"The year 1819 saw the birth of many a famous Briton, among them John Ruskin, the architectural historian and social prophet, and Joseph Bazalgette, the brilliant engineer who built the Thames Embankment and the tunnels underneath to take away London’s sewage. Two of the most important and enduring subjects of our British bicentenary celebrations not only share the distinction of being influential women, but also represent in their very different ways a pioneering relationship with German life and culture. I mean, of course, Queen Victoria, born on 24 May 1819, and George Eliot, born Mary Anne Evans, on 22 November 1819. Joining these two – the monarch who reigned over Britain’s greatest period as a world power and the writer of wonderful works of fiction, including the novel thought by many to be the greatest in the English language, namely Middlemarch – are two Germans, also born in 1819, and deserving of our attention in Britain. In 1840, at the age of twenty, Prince Albert of Saxe-Coburg and Gotha, born on 26 August 1819, left for good his small town in rural Germany, “his little native Coburg”, as Britain’s foremost enthusiast for German culture, Thomas Carlyle, described it in a letter to his mother on the royal wedding day, 11 February 1840.1 Albert came to London to marry his cousin Victoria and attempt the near-impossible task of being Prince Consort to his beloved but willful young wife and at the same time become accepted by a suspicious and superior British political class and a general public not inclined to look favourably on another foreign intruder into the royal family. Finally, Theodor Fontane, born on 30 December 1819, made his contribution to Anglo-German relations through his newspaper articles as London correspondent of the Berlin newspaper, the Neue Preussische Zeitung, and a series of books describing his time in Britain in the 1850s. As it happened, Fontane went on later in life to become Germany’s greatest nineteenth-century author of novels of psychological realism, as George Eliot was Britain’s.","PeriodicalId":40371,"journal":{"name":"Angermion-Yearbook for Anglo-German Literary Criticism Intellectual History and Cultural Transfers-Jahrbuch fuer Britisch-Deutsche Kulturbeziehungen","volume":"13 1","pages":"113 - 128"},"PeriodicalIF":0.1,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/anger-2020-0007","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41623760","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}