Novel Reading: Pedagogies of Form in George Eliot and Thomas Mann by Laura Day Wagner a Dissertation Submitted in Partial Satis

Total Page:16

File Type:pdf, Size:1020Kb

Novel Reading: Pedagogies of Form in George Eliot and Thomas Mann by Laura Day Wagner a Dissertation Submitted in Partial Satis Novel Reading: Pedagogies of Form in George Eliot and Thomas Mann by Laura Day Wagner A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Comparative Literature in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Michael Lucey, Chair Professor Dorothy Hale Professor Niklaus Largier Fall 2017 Novel Reading: Pedagogies of Form in George Eliot and Thomas Mann ã 2017 Laura Day Wagner 1 Abstract Novel Reading: Pedagogies of Form in George Eliot and Thomas Mann by Laura Day Wagner Doctor of Philosophy in Comparative Literature University of California, Berkeley Professor Michael Lucey, Chair This dissertation examines the intersection of novel form and questions of education in the novels of George Eliot and Thomas Mann. While each of the novels I consider structures its plot around the formative experiences of a young protagonist, whose development thereby constitutes both the arc of the story and the stakes of the novel, I argue that their concern with pedagogy extends beyond the diegetic representation of education to the form of the novel itself, in ways that are both continuous and in tension with some of their more obvious didactic workings. These novels put forth an implicit argument for the way that a novel can itself contribute to the formation of its readers: namely, by teaching them to be readers of novels, through a novelistic practice that sees form as pedagogical and pedagogy as formal. My first chapter traces the conjunction of form, formation, and the work of the novel in both the eighteenth-century German concept of Bildung, in which I locate the network of ideas that become crucial to my reading of Eliot and Mann’s pedagogy of form, and in Christoph Martin Wieland’s Geschichte des Agathon, Jane Austen’s Northanger Abbey, and Johann Wolfgang von Goethe’s Wilhelm Meisters Lehrjahre, which I read as forerunners of the self-reflexive novelistic practice that Eliot and Mann exemplify. Chapters two and three examine the way Eliot’s formal pedagogy informs and also challenges the explicitly stated realist projects of her novels. I argue that both Felix Holt, the Radical and Middlemarch displace the type of education that they initially seem to center— the political reform espoused by the eponymous Felix and the modes of book learning valued by Middlemarch’s scholars— in favor of modes of formation that they link to the novelistic, such as the sentimental and sympathetic lessons of their female protagonists, the novels’ own plotting, and the work of recognition and interpretation that they demand of both their heroine and reader. In privileging such acts of readerly formation, the novels don’t, however, put forth a monolithic definition of novel form but instead underscore the multiple, often contradictory modalities through which their own form moves and whose different demands they teach their reader to negotiate. In turning to Thomas Mann in chapter four, I examine Der Zauberberg’s explicit commentary on form in its meditation on the possibilities of Bildung in post-World War I Europe, and I argue that the “middle” way that its protagonist espouses serves as a description of both the novel’s own form and the pedagogic practice it represents and seeks to enact. An afterword to the dissertation suggests that such a middle space becomes synonymous with a model of novel reading that grows out of this intersection of novel form and pedagogy in Eliot and Mann’s work. i Table of Contents Acknowledgements ii Preface iii Chapter 1 Form, Formation, and Novelistic Pedagogy 1 Chapter 2 Politics and Female Vision: The Aesthetic Education of Felix 23 Holt, the Radical Chapter 3 The Web and the Heart: Form and Education in Middlemarch 55 Chapter 4 The Pedagogic Urgency of Der Zauberberg’s Middle Way 85 Afterword In the Middle 119 Works Cited 122 ii Acknowledgments First and foremost, my sincerest thanks to my dissertation committee. From my earliest fumbled attempts to articulate this dissertation’s topic to the final iteration of these chapters, Michael Lucey has encouraged and interrogated this project in equal measure, and has helped me to identify and articulate what was most promising in it. Dorothy Hale is an exemplar of the type of reader I’d like to be, and these pages have profited enormously from the rigorous, generous attention that she has so consistently given them. It has been a pleasure and a privilege to spend these past few years thinking about novels with them both. Niklaus Largier has been an incomparable source of support from the earliest days of graduate school, and his synthesis of and questions about this project came at exactly the moment when I needed them. Thanks, too, to the many other teachers who have shaped me as a reader and writer, and especially to Winfried Kudszus, who helped me to develop the German side of this project, from seminar discussions through my prospectus, and to the incomparable cadre of instructors at Middlebury’s German School, who made it possible for me to study German literature in the first place. I’m particularly grateful to Manfred Koch, whose seminar on Der Zauberberg in the summer of 2011 first invited me to sink into Mann’s work. My enduring thanks to Leyla Rouhi, who first inspired me to pursue comparative literature and who continues to inspire me as a teacher. This dissertation is also the product of countless conversations with those whom I’ve been lucky enough to count as fellow scholars, teachers, and friends during my time at Berkeley. Thanks especially to Ashley Brock, Keith Budner, Kathryn Crim, Emily Drumsta, Jordan Greenwald, Katie Kadue, Marianne Kaletzky, Ramsey McGlazer, Julia Nelsen, and Jane Raisch. Life in Dwinelle and beyond would not have been the same without you all. Katie Fleming, Catherine Kelly, and Margot Weller were integral members of my first intellectual community at Williams, and their abiding friendship is something for which I remain daily grateful. Thanks to my students at U.C. Berkeley and the Prison University Project at San Quentin, who have thought deeply with me about the value of literature and education, and, in allowing me to help them in their quest to become better readers, writers, and thinkers, have in turn extended the same help to me. Thanks to Sandy Richmond, Erica Roberts, Tony Soyka, Anna del Rosario, and Kathy Barrett for making the Comparative Literature department run and for their tireless efforts on behalf of their students. My deep and abiding thanks to my family— Bill, Anne, John, and Hannah— whose love and lively conversation have fostered this project from long before it began, and to Lisa and Noah, who have broadened and enriched our familial conversation in the intervening years. I’m also grateful for the support of the family I’ve gained since the start of this project—Pedro, Charo, and Andie. And finally, I’m without sufficient words to thank Paco Brito, the first and last reader of these pages, who daily provides me with pleasures and edification far exceeding even the very best of the novels he so loves, and without whom this dissertation, like so many of life’s joys, would not exist. iii Preface In an 1880 review of Émile Zola’s Nana, Henry James describes the novel form in general as “a composition that treats of life at large and helps us to know.”1 This dissertation concerns itself with novels that care deeply about what their reader comes to know by engaging with their pages, but it more importantly seeks to answer the question that we might hear hanging at the end of James’s claim, asking not just what novels want their readers to know, but how they lead us to know it. The novels at the heart of this study are obsessed with knowledge. While there’s no clear indexical relationship directly linking their writing, the novels of George Eliot and Thomas Mann share an elective affinity with one another that is, I would argue, grounded in their central concern with the questions of education that this dissertation takes up. Both authors are well known for the scale of their work— not only in the sense of the page count of their novels, but also in the extent of what these massive tomes try to encompass within those pages. Beyond their detailed rendering of the social worlds they represent, novels like Middlemarch and Der Zauberberg detail their protagonists’, their narrators’, and their authors’ prodigious knowledge of and interest in diverse disciplines of study, social trends, historical events, philosophical issues, and more. A reader might easily be intimidated or even put off by the seemingly unlimited number of ideas with which these novels are in conversation, and the readiness with which their narrators dispense this wisdom and cast judgment on the people and issues that move through their narratives. Moreover, each of these novels in turn seeks to school the protagonist placed at the center of its story, and of the web of ideas with which that story is inextricably intertwined. In this, the novels are classic examples of the novel of formation, the origin of which I’ll turn to in the first chapter, their plots structured around the formative experiences of a young protagonist whose development— intellectual, social, moral— constitutes both the formal design and the ultimate stakes of the novel. But beyond these more obvious ways in which these novels are centrally concerned with questions of knowledge and pedagogy, I’ll argue that these novels crucially imagine and enact a mode of education that extends beyond the plots of development in their story-worlds: they put forth an implicit argument for the way that the novel itself can contribute to the formation of its readers.
Recommended publications
  • Christoph Martin Wieland - Dichter Und Kanzleiverwalter in Biberach (1760-1769)"
    Von Dr. Yvonne Häfner, Biberach Dauerausstellung im Wieland-Gartenhaus Biberach „Christoph Martin Wieland - Dichter und Kanzleiverwalter in Biberach (1760-1769)" In dokumentarischer Form beherbergt das Wieland­ 2. Thematische Schwerpunkte der Gartenhaus an der Saudengasse 10/1 in Biberach seit neuen Ausstellung dem 12. September 2009 eine Dauerausstellung zum Thema„Christoph Martin Wieland - Dichter und Kanz­ Am 30. März 1769 teilt Christoph Martin Wieland leiverwalter in Biberach (1760-1769)".1 Möglicherwei• dem Evangelischen Magistrat in Biberach brieflich mit, se schon im Herbst 1765, spätestens aber seit Sommer dass ihm vom Kurfürsten und Erzbischof von Mainz die 1766 hat sich Wieland außerhalb der damaligen Stadt­ doppelte Stelle eines Regierungsrats und eines Profes­ mauern ein kleines Gartenhaus gemietet. Hier fand er sors der Philosophie in Erfurt angetragen worden sei: in Mußestunden die notwendige Ruhe, um sich ganz Diesem „mit dem Finger der göttlichen Providenz so seinen literarischen Vorhaben widmen zu können.Ziel sonderbahr bezeichneten Ruf" 5 könne er sich - schreibt der neuen Ausstellung im Wieland-Gartenhaus ist es, Wieland - unmöglich entziehen. Zwei Tage nach Pfings­ den Besuchern die Bedeutung dieses Ortes - gleich­ ten desselben Jahres 17 69 macht sich Wieland auf den sam den„Genius Iod" - in Erinnerung zu rufen und Weg. Auf seiner Reise über Augsburg, Nürnberg, Erlan­ Interesse für Wielands dichterische und berufliche gen, Coburg, Frauenwalde, Illmenau und Arnstadt nach Tätigkeit während seiner Biberacher Jahre zu
    [Show full text]
  • MIDDLEMARCH Adam Roberts Epigraphs and Mirrors A
    MIDDLEMARCH AdAm RobeRts Epigraphs and Mirrors A AdAm RobeRts d A m Using epigraphs as a lens to open up new vistas, this study explores a wide range R of connectons. Moving freely between epigraphs and the main text, Roberts obe succeeds in throwing fresh light on the manifold ‘middleness’ of Middlemarch and the richness and sophistcaton of George Eliot’s realism. R ts John Rignall In Middlemarch, George Eliot draws a character passionately absorbed by abstruse allusion and obscure epigraphs. Casaubon’s obsession is a cautonary tale, but Adam Roberts nonetheless sees in him an invitaton to take Eliot’s use of epigraphy and allusion seriously, and this book is an atempt to do just that. Roberts considers the epigraph as a mirror that refracts the meaning of a text, and that thus carries important resonances for the way Eliot’s novels generate their meanings. In this lively and provoking study, he tracks down those allusions and quotatons that have hitherto gone unidentfed by scholars, examining their MIDDLEMARCH relatonship to the text in which they sit to unfurl a broader argument about the novel – both this novel, and the novel form itself. Middlemarch: Epigraphs and Mirrors is both a study of George Eliot and a meditaton on the textuality of fcton. It is essental reading for specialists and students of George Eliot, the nineteenth century novel, and intertextuality. It will also richly reward anyone who has ever taken pleasure in Middlemarch. This is the author-approved editon of this Open Access ttle. As with all Open Book publicatons, this entre book is available to read for free on the publisher’s website.
    [Show full text]
  • The Blue Review Literature Drama Art Music
    Volume I Number III JULY 1913 One Shilling Net THE BLUE REVIEW LITERATURE DRAMA ART MUSIC CONTENTS Poetry Rupert Brooke, W.H.Davies, Iolo Aneurin Williams Sister Barbara Gilbert Cannan Daibutsu Yone Noguchi Mr. Bennett, Stendhal and the ModeRN Novel John Middleton Murry Ariadne in Naxos Edward J. Dent Epilogue III : Bains Turcs Katherine Mansfield CHRONICLES OF THE MONTH The Theatre (Masefield and Marie Lloyd), Gilbert Cannan ; The Novels (Security and Adventure), Hugh Walpole : General Literature (Irish Plays and Playwrights), Frank Swinnerton; German Books (Thomas Mann), D. H. Lawrence; Italian Books, Sydney Waterlow; Music (Elgar, Beethoven, Debussy), W, Denis Browne; The Galleries (Gino Severini), O. Raymond Drey. MARTIN SECKER PUBLISHER NUMBER FIVE JOHN STREET ADELPHI The Imprint June 17th, 1913 REPRODUCTIONS IN PHOTOGRAVURE PIONEERS OF PHOTOGRAVURE : By DONALD CAMERON-SWAN, F.R.P.S. PLEA FOR REFORM OF PRINTING: By TYPOCLASTES OLD BOOKS & THEIR PRINTERS: By I. ARTHUR HILL EDWARD ARBER, F.S.A. : By T. EDWARDS JONES THE PLAIN DEALER: VI. By EVERARD MEYNELL DECORATION & ITS USES: VI. By EDWARD JOHNSTON THE BOOK PRETENTIOUS AND OTHER REVIEWS: By J. H. MASON THE HODGMAN PRESS: By DANIEL T. POWELL PRINTING & PATENTS : By GEO. H. RAYNER, R.P.A. PRINTERS' DEVICES: By the Rev.T. F. DIBDIN. PART VI. REVIEWS, NOTES AND CORRESPONDENCE. Price One Shilling net Offices: 11 Henrietta Street, Covent Garden, W.G. JULY CONTENTS Page Post Georgian By X. Marcel Boulestin Frontispiece Love By Rupert Brooke 149 The Busy Heart By Rupert Brooke 150 Love's Youth By W. H. Davies 151 When We are Old, are Old By Iolo Aneurin Williams 152 Sister Barbara By Gilbert Cannan 153 Daibutsu By Yone Noguchi 160 Mr.
    [Show full text]
  • Irish Gothic Fiction
    THE ‘If the Gothic emerges in the shadows cast by modernity and its pasts, Ireland proved EME an unhappy haunting ground for the new genre. In this incisive study, Jarlath Killeen shows how the struggle of the Anglican establishment between competing myths of civility and barbarism in eighteenth-century Ireland defined itself repeatedly in terms R The Emergence of of the excesses of Gothic form.’ GENCE Luke Gibbons, National University of Ireland (Maynooth), author of Gaelic Gothic ‘A work of passion and precision which explains why and how Ireland has been not only a background site but also a major imaginative source of Gothic writing. IRISH GOTHIC Jarlath Killeen moves well beyond narrowly political readings of Irish Gothic by OF IRISH GOTHIC using the form as a way of narrating the history of the Anglican faith in Ireland. He reintroduces many forgotten old books into the debate, thereby making some of the more familiar texts seem suddenly strange and definitely troubling. With FICTION his characteristic blend of intellectual audacity and scholarly rigour, he reminds us that each text from previous centuries was written at the mercy of its immediate moment as a crucial intervention in a developing debate – and by this brilliant HIST ORY, O RIGI NS,THE ORIES historicising of the material he indicates a way forward for Gothic amidst the ruins of post-Tiger Ireland.’ Declan Kiberd, University of Notre Dame Provides a new account of the emergence of Irish Gothic fiction in the mid-eighteenth century FI This new study provides a robustly theorised and thoroughly historicised account of CTI the beginnings of Irish Gothic fiction, maps the theoretical terrain covered by other critics, and puts forward a new history of the emergence of the genre in Ireland.
    [Show full text]
  • Images of Otherness: the Double First-Year Seminar GERM 197 · Fall 2021 T/Th 1:05-2:25Pm · 688 Sherbrooke St
    Images of Otherness: The Double First-Year Seminar GERM 197 · Fall 2021 T/Th 1:05-2:25pm · 688 Sherbrooke St. W. room 495 Two souls, alas, are dwelling in my breast -Goethe, Faust I Ernst Ludwig Kirchner, Double Self Portrait Professor Tove Holmes email: [email protected] office hours (Zoom): M 12-1pm (link on MyCourses) Course Description and Objectives: The double, or Doppelgänger, is a phenomenon that haunts German literature of the nineteenth and twentieth centuries with remarkable persistence. This figure of repetition or revenance both blurs the distinction between reality and fantasy, and indicates a crisis of identity and coherent subjectivity, the specifically modern condition of the divided self. In this course we will take Sigmund Freud's seminal essay “The Uncanny” as one articulation of a theory of the double before turning to the figure's manifestation in literature and the arts. These creative forms will be shown as both confirming and challenging theoretical frameworks of dualism, often formulating theories of their own. We will read texts from Romanticism to 1945 with particular attention to the relationship of the double to the literary or artistic genre in which it appears, whether novella, lyric poetry, painting, music, or early film. We will also examine the double's particular affinity to visuality. Students will become acquainted with the fundamental skills of literary analysis, and will hone their abilities in verbal expression and presentation. All readings and discussions will be in English. Method of Instruction: This course will be taught through a mix of asynchronous, online activities and weekly in-class meetings (dates for in-class meetings bolded in schedule below).
    [Show full text]
  • AS.450 ( Liberal Arts) 1
    AS.450 ( Liberal Arts) 1 AS.450.605. Art Since 1960. 3 Credits. AS.450 ( LIBERAL ARTS) What is contemporary art, and what are the factors that shaped it? This course will attempt to answer those questions through a chronological AS.450.082. MLA Capstone: Portfolio. and thematic investigation of some of the most influential artworks, The MLA Portfolio is a zero-credit Capstone option. Students who select movements, and theories of the past 60 years. Beginning with a close the Portfolio option will take 10 courses in the program (one core course look at mid-century modernism, we will move into a consideration of Pop, and 9 electives), and register for the zero-credit portfolio in their final Minimalism, conceptual art, land art, performance art, postmodernism, semester. The portfolio will be completed within the same semester as AIDS activism, and relational aesthetics. Along the way, we will also the 10th course. The portfolio consists of a sampling of the best papers consider the relevance of feminist and phenomenological theory and of and projects written over the course of the student's graduate career, institutional critique and globalization; at the same time, we will explore and it is designed to highlight the intellectual points of convergence in ways in which art of our own time constitutes both an extension of, and each student's course of study, presenting the student's reflections on reaction against, some of the historical ideas we encounter. Throughout, knowledge gained and lessons learned. students will have a chance to read and discuss both primary and AS.450.600.
    [Show full text]
  • Core Reading List for M.A. in German Period Author Genre Examples
    Core Reading List for M.A. in German Period Author Genre Examples Mittelalter (1150- Wolfram von Eschenbach Epik Parzival (1200/1210) 1450) Gottfried von Straßburg Tristan (ca. 1210) Hartmann von Aue Der arme Heinrich (ca. 1195) Johannes von Tepl Der Ackermann aus Böhmen (ca. 1400) Walther von der Vogelweide Lieder, Oskar von Wolkenstein Minnelyrik, Spruchdichtung Gedichte Renaissance Martin Luther Prosa Sendbrief vom Dolmetschen (1530) (1400-1600) Von der Freyheit eynis Christen Menschen (1521) Historia von D. Johann Fausten (1587) Das Volksbuch vom Eulenspiegel (1515) Der ewige Jude (1602) Sebastian Brant Das Narrenschiff (1494) Barock (1600- H.J.C. von Grimmelshausen Prosa Der abenteuerliche Simplizissimus Teutsch (1669) 1720) Schelmenroman Martin Opitz Lyrik Andreas Gryphius Paul Fleming Sonett Christian v. Hofmannswaldau Paul Gerhard Aufklärung (1720- Gotthold Ephraim Lessing Prosa Fabeln 1785) Christian Fürchtegott Gellert Gotthold Ephraim Lessing Drama Nathan der Weise (1779) Bürgerliches Emilia Galotti (1772) Trauerspiel Miss Sara Samson (1755) Lustspiel Minna von Barnhelm oder das Soldatenglück (1767) 2 Sturm und Drang Johann Wolfgang Goethe Prosa Die Leiden des jungen Werthers (1774) (1767-1785) Johann Gottfried Herder Von deutscher Art und Kunst (selections; 1773) Karl Philipp Moritz Anton Reiser (selections; 1785-90) Sophie von Laroche Geschichte des Fräuleins von Sternheim (1771/72) Johann Wolfgang Goethe Drama Götz von Berlichingen (1773) Jakob Michael Reinhold Lenz Der Hofmeister oder die Vorteile der Privaterziehung (1774)
    [Show full text]
  • In --Thomas Mann
    Postmodern Pathologies: Living with Disbelief in The Fictions of Angela Carter AU interest in diseuse and death is only another expression of interest in life. --Thomas Mann Jennifer J. Gustar A thesis submitted in conformity with the requirements for the degree of Doctorate Graduate Department of English University of Toronto O Copyright by Jennifer Joyce Gustar 1997 Bibliothéque nationale du Canada Acquisitions and Acquisitions et Bibliographic Services services bibliographiques 395 Wellington Street 395. rue Wellington Ottawa ON K1A ON4 OttawaON KIAON4 canada CaMda The author hm granted a non- L'auteur a accordé une licence non exclusive licence dlowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in ths thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or otheMrise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. ABSTRACT Postrnodem Pathologies: Living with Disbelief in the Fictions of Angela Carter Jennifer Joyce Gustar PhD Degree-June 1997 Graduate English Department University of Toronto This study of the narrative techniques employed in Angela Carter's novels, The Infernal Desire Machines of Doctor Hoffman and Nights at the Cireur.
    [Show full text]
  • Basic Concepts in the Philosophy of Gottfried Keller
    Basic Concepts in the Philosophy of Gottfried Keller From 1949 to 2004, UNC Press and the UNC Department of Germanic & Slavic Languages and Literatures published the UNC Studies in the Germanic Languages and Literatures series. Monographs, anthologies, and critical editions in the series covered an array of topics including medieval and modern literature, theater, linguistics, philology, onomastics, and the history of ideas. Through the generous support of the National Endowment for the Humanities and the Andrew W. Mellon Foundation, books in the series have been reissued in new paperback and open access digital editions. For a complete list of books visit www.uncpress.org. Basic Concepts in the Philosophy of Gottfried Keller herbert w. reichert UNC Studies in the Germanic Languages and Literatures Number 1 Copyright © 1949 This work is licensed under a Creative Commons cc by-nc-nd license. To view a copy of the license, visit http://creativecommons. org/licenses. Suggested citation: Reichert, Herbert W. Basic Concepts in the Philoso- phy of Gottfried Keller. Chapel Hill: University of North Carolina Press, 1949. doi: https://doi.org/10.5149/9781469658179_Reichert Library of Congress Cataloging-in-Publication Data Names: Reichert, Herbert W. Title: Basic concepts in the philosophy of Gottfried Keller / by Herbert W. Reichert. Other titles: University of North Carolina Studies in the Germanic Languages and Literatures ; no. 1. Description: Chapel Hill : University of North Carolina Press, [1949] Series: University of North Carolina Studies in the Germanic Languages and Literatures. | Includes bibliographical references. Identifiers: lccn 49011614 | isbn 978-1-4696-5816-2 (pbk: alk. paper) | isbn 978-1-4696-5817-9 (ebook) Subjects: Keller, Gottfried, 1819-1890.
    [Show full text]
  • The Education of the Protagonist As Reader In
    THE EDUCATION OF THE PROTAGONIST AS READER IN THE EARLY BILDUNGSROMAN by Zsuzsa Horváth B.A. equivalent, German Literature, University of Augsburg, Germany, 1999 M.A., Germanic Languages and Literatures, University of Pittsburgh, 2001 M.A., Hungarian Language and Literature, University of Szeged, Hungary, 2006 Submitted to the Graduate Faculty of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2009 UNIVERSITY OF PITTSBURGH ARTS AND SCIENCES This dissertation was presented by Zsuzsa Horváth It was defended on October 2, 2009 and approved by Attilio Favorini, PhD, Professor John Lyon, PhD, Associate Professor Sabine von Dirke, PhD, Associate Professor Dissertation Advisor: Clark Muenzer, PhD, Associate Professor ii Copyright © by Zsuzsa Horváth 2009 iii THE EDUCATION OF THE PROTAGONIST AS READER IN THE EARLY BILDUNGSROMAN Zsuzsa Horváth, PhD University of Pittsburgh, 2009 The dissertation investigates reading behaviors in Goethe’s Wilhelm Meisters Lehrjahre (1795-96), Tieck’s Franz Sternbalds Wanderungen (1798/1843) and Novalis’ Heinrich von Ofterdingen (1802) within the framework of the history of reading and book production. Social and technological pressures during the latter part of the eighteenth century resulted in a re- definition and re-invention of the reading process as the modern book was being “invented.” New themes and genres appeared on the literary horizon that had as a goal the education of a new kind of reader. Goethe’s, Tieck’s, and Novalis’s novels, which were products of the paradigm shift in reading, did not, however, just embrace changes that were already in place. By engaging in the contemporary discussion about new and old reading behaviors, each of these works promoted a new kind of reading that in one way or another maintained older forms while still recognizing the revolution that the irreversible technological advances had initiated.
    [Show full text]
  • 9. Gundolf's Romanticism
    https://www.openbookpublishers.com © 2021 Roger Paulin This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the text; to adapt the text and to make commercial use of the text providing attribution is made to the authors (but not in any way that suggests that they endorse you or your use of the work). Attribution should include the following information: Roger Paulin, From Goethe to Gundolf: Essays on German Literature and Culture. Cambridge, UK: Open Book Publishers, 2021, https://doi.org/10.11647/OBP.0258 Copyright and permissions for the reuse of many of the images included in this publication differ from the above. Copyright and permissions information for images is provided separately in the List of Illustrations. In order to access detailed and updated information on the license, please visit, https://doi.org/10.11647/OBP.0258#copyright Further details about CC-BY licenses are available at, https://creativecommons.org/ licenses/by/4.0/ All external links were active at the time of publication unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Updated digital material and resources associated with this volume are available at https://doi.org/10.11647/OBP.0258#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. ISBN Paperback: 9781800642126 ISBN Hardback: 9781800642133 ISBN Digital (PDF): 9781800642140 ISBN Digital ebook (epub): 9781800642157 ISBN Digital ebook (mobi): 9781800642164 ISBN Digital (XML): 9781800642171 DOI: 10.11647/OBP.0258 Cover photo and design by Andrew Corbett, CC-BY 4.0.
    [Show full text]
  • H. Stern Action at a Distance: German Ballads and Verse Entertainments from Goethe to Morgenstern
    H. Stern Action at a Distance: German ballads and verse entertainments from Goethe to Morgenstern in English translation © 2017 H. Stern i TABLE OF CONTENTS Johann Wolfgang Goethe 1 SIMILE 2 THE SINGER 3 DIGGING FOR TREASURE 5 AN EXERCISE IN THE STANZA OF GOETHE'S "HOCHZEITLIED" 7 WEDDING SONG 8 THE BARD AND THE CHILDREN ("BALLADE") 11 OLD RELIABLE ECKART 14 "GREAT IS ARTEMIS OF THE EPHESIANS" 16 ACTION AT A DISTANCE 17 DANCE OF DEATH 19 SELF-DECEPTION 21 OLD AGE 22 SONNET XV 23 THE SEVEN HOLY SLEEPERS OF EPHESUS 24 Friedrich Schiller 27 DIVISION OF THE EARTH 28 THE LADY'S GLOVE 30 -- from Wallenstein's Camp: THE CAPUCHIN FRIAR'S SERMON 33 Heinrich von Kleist 38 TERROR DOWN BY THE LAKE 39 Annette von Droste-Hülshoff 45 OLD ROOMMATES 46 Eduard Mörike 49 TO PHILOMELA 50 SWEET ORTRUDE ("SCHÖN-ROHTRAUT) 51 JUST KIDDING 52 DEPARTURE 53 THE FOSSIL COLLECTOR 54 ONE LAST TIME BEFORE I DIE 56 A VISIT TO THE CHARTERHOUSE 58 DOMESTIC SCENE 62 LONG, LONG AGO! 66 ON A LAMP 68 AN IMITATION OF MÖRIKE ("DENK ES, O SEELE!") 69 Gottfried Keller 70 COUNT VON ZIMMERN HIS JESTER 71 Conrad Ferdinand Meyer 73 DARK-SHADOWING CHESTNUT 74 FINGERBELL 75 ii Detlev von Liliencron 80 TO A WOMAN WHO DIED 81 THE OLD STONE CROSS IN NEW MARKET (BERLIN-CÖLLN) 83 ABDALLAH'S EARS 86 TRANSLATOR'S METALOGUE 88 Theodor Fontane 90 THE TROUBLE WITH ME 91 FRITZ KATZFUSS 92 Christian Morgenstern 95 HOW PHILOSOPHY WAS BORN 96 THE AESTHETE 97 THE RIVER 98 SIMILE 99 KORF'S AMAZING SENSE OF SMELL 100 THE ATOMIZER ORGAN 101 THE AROMATERIA 102 THE SPECTACLES 103 PALMSTRÖM TO A NIGHTINGALE
    [Show full text]