Purdue University Purdue e-Pubs Open Access Dissertations Theses and Dissertations Summer 2014 Dreams, hallucinations, moving statues, and Ekphrasis in Ludwig Tieck's visual writings Joseph D. Rockelmann Purdue University Follow this and additional works at: https://docs.lib.purdue.edu/open_access_dissertations Part of the German Literature Commons Recommended Citation Rockelmann, Joseph D., "Dreams, hallucinations, moving statues, and Ekphrasis in Ludwig Tieck's visual writings" (2014). Open Access Dissertations. 353. https://docs.lib.purdue.edu/open_access_dissertations/353 This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. *UDGXDWH6FKRRO(7')RUP 5HYLVHG 0114 PURDUE UNIVERSITY GRADUATE SCHOOL Thesis/Dissertation Acceptance 7KLVLVWRFHUWLI\WKDWWKHWKHVLVGLVVHUWDWLRQSUHSDUHG %\ Joseph D. Rockelmann (QWLWOHG Dreams, Hallucinations, Moving Statues, and Ekphrasis in Ludwig Tieck's Visual Writings Doctor of Philosophy )RUWKHGHJUHHRI ,VDSSURYHGE\WKHILQDOH[DPLQLQJFRPPLWWHH Beate Allert Frederick Burwick Shaun Hughes Jennifer William 7RWKHEHVWRIP\NQRZOHGJHDQGDVXQGHUVWRRGE\WKHVWXGHQWLQWKHThesis/Dissertation Agreement. Publication Delay, and Certification/Disclaimer (Graduate School Form 32)WKLVWKHVLVGLVVHUWDWLRQ adheres to the provisions of 3XUGXH8QLYHUVLW\¶V³3ROLF\RQ,QWHJULW\LQ5HVHDUFK´DQGWKHXVHRI FRS\ULJKWHGPDWHULDO Beate Allert $SSURYHGE\0DMRU3URIHVVRU V BBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBB BBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBBB $SSURYHGE\ Madeleine M. Henry 8/18/2014 +HDGRIWKHDepartment *UDGXDWH3URJUDP 'DWH i DREAMS, HALLUCINATIONS, MOVING STATUES, AND EKPHRASIS IN LUDWIG TIECK'S VISUAL WRITINGS A Dissertation Submitted to the Faculty of Purdue University by Joseph D. Rockelmann In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy December 2014 Purdue University West Lafayette, Indiana ii This dissertation is dedicated to my father Joseph V. Rockelmann, who left us on December 6th, 1995. iii ACKNOWLEDGEMENTS I would never have been able to finish my dissertation without the guidance of my committee members, help from friends, and support from my family and partner. I would like to express my deepest gratitude to my advisor, Dr. Beate Allert, for her excellent guidance, patience, and belief in me. Because of her I have a developed a profound appreciation for German Romanticism and German Studies in general. I cannot thank her enough for what she has done for me within the last four years. I would like to thank Dr. Shaun Hughes, who patiently corrected my writing and provided me with excellent feedback throughout the writing process. I would also like to thank Dr. Jennifer William for guiding my research for the past several years and always being available when I had an emergency or thought I could not finish this dissertation. Special thanks goes to Dr. Frederick Burwick, who was willing to become the fourth member of the committee, despite residing in California. His expertise and feedback will help me tremendously when I start working on turning the dissertation into my first monograph. I would like to thank Dr. Julien Simone, who as a good friend was always willing to help and give his best suggestions. I will always remember our walks through downtown Indianapolis during which we would brainstorm how I could finish the iv dissertation successfully and find a job in academia. No matter when I needed his support, he was there for me. I would also like to thank my mother, Sylvia Rockelmann, whose continuous financial and emotional support allowed me to earn my PhD. Whenever I doubted myself and wanted to give up she talked sense into me and gave me the strength I needed to continue writing. Also I would like to thank my younger sister Alexandra Rockelmann, who never lost faith in my academic abilities and encouraged me with her sweet and funny pep-talks. Finally, I would like to thank my partner, Christina Weiler. She continuously motivated me to do my best work and complete this project in the most creative ways and stood by me through the good times and bad. v TABLE OF CONTENTS Page LIST OF FIGURES ........................................................................................................... vi ABSTRACT ............................................................................................................. vii CHAPTER 1. INTRODUCTION ................................................................................. 1 CHAPTER 2. ANDREW BECKER’S FOUR LEVELS OF EKPHRASIS IN FRANZ STERNBALD'S WANDERUNGEN ...................................................... 14 CHAPTER 3. DYNAMIC AND STATIC EKPHRASIS IN “DIE GEMÄLDE” ...... 79 CHAPTER 4. PALACES, SCULPTURES, DREAMS AND HALLUCINATIONS IN “DIE FREUNDE” (1797), “DER RUNENBERG” (1804), “DIE ELFEN” (1812), “LIEBESZAUBER” (1812), AND “DAS ALTE BUCH UND DIE REISE IN’S BLAUE HINEIN” (1834) ............... 103 CHAPTER 5. CONCLUSION ................................................................................. 187 WORKS CITED ........................................................................................................... 194 VITA ........................................................................................................... 209 vi LIST OF FIGURES Figure ............................................................................................................................. Page Figure 1. Raffael: “Madonna Sistina” ................................................................................. 9 Figure 2. Albrecht Dürer: Tanzende Bauern ..................................................................... 31 Figure 3. Albrecht Dürer: Hieronymus im Gehäus ........................................................... 39 Figure 4. Albrecht Dürer: Hl. Eustachius ......................................................................... 46 Figure 5. Lukas van Leyden: Eulenspiegel ....................................................................... 48 Figure 6. Raphael: Venus zeigt dem Armor das Volk ....................................................... 52 Figure 7: Raphael: Die Verklärung Christi ...................................................................... 55 Figure 8. Francesco Traini: Die Freuden der Welt ........................................................... 58 Figure 9. Francesco Traini: Die Parabel von den drei Lebenden und den drei Toten (1350) ................................................................................................................................ 60 Figure 10. Corregio: Leda mit dem Schwan...................................................................... 65 Figure 11. Michelangelo: Das Jüngste Gericht ................................................................ 69 vii ABSTRACT Rockelmann, Joseph D. Ph.D., Purdue University, December 2014. Dreams, Hallucinations, Moving Statues, and Ekphrasis in Ludwig Tieck's Visual Writings. Major Professor: Beate Allert. When reading Ludwig Tieck’s texts the reader becomes aware that dreams, the unconscious, and art play a key role. This study seeks to posit that Ekphrasis and dream interpretation are similar due to both analyzing a visual image and attempting to translate the visual into the verbal in order to gain a better and more complete understanding of it. G.E. Lessing believed that poetry and the visual arts were equal since each art form has its own strengths and when combined they create a complete art form. The artist focuses on portraying a single moment and its beauty so that when it is viewed it overwhelms the senses of the viewers. The poet is unable to achieve the same in words, since the poem is temporal and therefore unable to flood the senses of the viewer at once. However, a poem is superior at another level since it can go beyond the single moment. A poem describes everything that has led up to the single moment depicted on the canvas and what will follow. “The liberty to extend his description over that which preceded and that which followed the single moment represented in the work of art; and the power of showing not only what the artist shows, but also that which the artist must leave to the imagination. Only by means of this liberty and power can the poet again raise himself to equality with the artist” (Lessing, Laocoön, trans. McCormick, 99). viii I will show on hand of Ludwig Tieck’s texts Franz Sternblads Wanderungen, “Die Gemälde,” “Die Freunde,” “Die Elfen,” “Der Runenberg,” “Liebeszauber,” and “Das alte Buch und die Reise ins Blaue hinein” that Ekphrasis and dream interpretations are essential for gaining a more comprehensive understanding of the visual and dream image, and that by doing so, it will result in new readings of and insights into Tieck’s texts. Furthermore, this study will demonstrate that Tieck made major contributions to Ekphrasis studies by integrating notional, dynamic, and static prose Ekphrasis into his fictional works and thus should play a more important role in the current Ekphrasis debate. 1 CHAPTER 1. INTRODUCTION The current study investigates how eighteenth and early ninteenth century dream theory, approaches to cognition, and Ekphrasis studies can be linked for the first time, leading to new interpretations of Ludwig Tieck’s narratives. His protagonists in “Die Freunde” (1797), Franz Sternbalds Wanderungen (1798), “Der Runenberg” (1804), “Die Elfen” (1812), “Liebeszauber” (1812), “Die Gemälde” (1821), and “Das alte Buch und die Reise ins Blaue hinein”