Batts analyses the kinds of predisposition, or bias, displayed by the authors of these works, and accounts for the persistence of certain biases over a long period of time. Histories of German literature published in other western European countries, Britain, and North America are also evaluated to determine to what extent, if any, a particular (i.e., non-German) attitude towards German literature is characteristic of a given country. The recognition of personal, religious, national, and other biases is important since the stereotypical image of the people of a given country is strongly influenced by the manner in which their literature is portrayed. Batts concludes that the history of German literature as it developed in the nineteenth century has doubly distorted history. The selection of works for inclusion in the histories on subjective grounds of "quality" conceals the fact that other, "inferior," works may in their time have had a far greater impact. As well, the authors of the histories fail to discuss those works from the past that are still being read.

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Growing out and extending beyond the period of Storm and Stress, the Young Man emerged on the stage for the first time as dramatic hero. Professor Scholl advances the thesis that Schiller's Don Carlos, Goethe's Torquato Tasso and Kleist's Prinz Friedrich von Homburg, already recognized as transitional works in the authors' lives, can be viewed as counterparts to the «Bildungsroman». Through historical and literary references from the author's own lives and works, and through detailed analysis of the three plays, she demonstrates that «Bildung» of the title hero was the primary intent of each author. Prof. Scholl concludes by asserting that the processes of growth and self- and com- munity-recognition occurred frequently enough in post Storm and Stress drama to justify their identification with the title «Bildungsdrama».

In Germany during the 18th Century several prose satires were produced that resembled each other in their basic fiction: they all pretended to be sober disquisitions on matters of scholarly concern. The writers in each case achieved their satiric effect by perverting the various formal conventions expected of the learned author. This study examines the wide range of distortive techniques employed by the satirists Liscow, Rabener, Riedel and Hess (among others) in order to define the parameters and suggest the course of development of this unique genre.