Your purchase has been completed. Your documents are now available to view.
In its series of publications on Classicism and Modernism the Foundation of Weimar Classics presents the fruits of its transdisciplinary academic research into European cultural history since 1750. The starting point is provided by the Age of Goethe and Schiller, which is perceived as the formative phase of aesthetic modernism. Internationally renowned scholars working from different perspectives illuminate those cultural historical traditions which were founded in the epochal historical context of Weimar Classicism and persist right up to debates in the present day.
In the 1930s and 1940s, the term “humanism” was commonly used by journalists and became a keyword in contemporary crisis discourse. Taking literary, philosophical, sociological, and legal historical perspectives, the essays in this volume reconstruct the varied notions of a new humanism traversing these two decades. They also shed light on contemporary critiques of humanism.
Throughout his life, Borchardt was deeply concerned with the decline of ancient Greece and Rome and involved in efforts to bring back to life the ancient European cultural tradition. At the same time, Borchardt also regarded various post-ancient epochs as classical periods, resulting in reciprocally overlapping normative and stylistic considerations.
Although Goethe’s Morphology drew little notice from natural scientists, his way of conceptualizing the innumerable forms that occur in nature as organic variations of a few basic archetypes was received with immediate interest by scholars in the humanities. This volume compiles studies on Droysen, Dilthey, Simmel, and Wittgenstein, who relied on Goethe’s Morphology trying to master a modern age experienced as increasingly confusing.
Goethe’s lyrical works had a major impact upon the emergence of the modern discourse of love. Along with the texts of his creative period in Weimar, the poems of his Leipzig, Strasbourg, and Frankfurt years represent an ever-changing poetics of love that competed with contemporary perspectives from the Enlightenment to Late Romanticism. Goethe’s formal innovations over the course of his love poetry, often accompanied by intercultural references, have proven to be singular.
The archeological and source-critical research of ancient history in the 19th century confronted its aesthetic realization with a general problem: literary and visual art imaginations cannot ignore the scientific findings yet the fragmentary evidence of the past can only be given a voice by means of aesthetic forms of organization. Whereas it is not unusual for poetic and visual art works to become storage media for archeological knowledge, the historiographical conveyance of Antiquity often feeds on the strategies of representation specific to literature and painting.
Around 1800 the modern tragedy manifested itself in constant dispute with a philosophical tragedy discourse, making the traditional genre criteria which were still mainly oriented on Aristotle's drama aesthetics fade into the background and bringing to the fore definition attempts which were grounded in cultural theory. The tension between the philosophical discourse and concrete theatre practice led in the 19th and 20th centuries to initiatives of drama-aesthetic innovation which lastingly changed the physiognomy of modern tragedy.
Friedrich Nietzsche had a formative influence on numerous classical modern writers. It was in particular the visionary calls for a new dawn in his late philosophical writings which were taken up with enthusiasm by many artists. Whereas the early reception of Nietzsche's work was marked by expressions of enthusiastic homage, in which however were also mixed acerbic attacks, the years after 1900 see more conciliatory positions. The papers in this collected volume examine Nietzsche's influence on writers such as Stefan George, Franz Kafka, Thomas Mann, Robert Musil, Gerhart Hauptmann and Gottfried Benn. In addition, light is cast on Nietzsche's reception in France.