Since the dawn of Romanticism, artists and intellectuals in Germany have maintained an abiding interest in the gods and myths of antiquity while calling for a new mythology suitable to the modern age. In this study, George S. Williamson examines the factors that gave rise to this distinct and profound longing for myth. In doing so, he demonstrates the entanglement of aesthetic and philosophical ambitions in Germany with some of the major religious conflicts of the nineteenth century. Through readings of key intellectuals ranging from Herder and Schelling to Wagner and Nietzsche, Williamson highlights three crucial factors in the emergence of the German engagement with myth: the tradition of Philhellenist neohumanism, a critique of contemporary aesthetic and public life as dominated by private interests, and a rejection of the Bible by many Protestant scholars as the product of a foreign, "Oriental" culture. According to Williamson, the discourse on myth in Germany remained bound up with problems of Protestant theology and confessional conflict through the nineteenth century and beyond. A compelling adventure in intellectual history, this study uncovers the foundations of Germany's fascination with myth and its enduring cultural legacy.

Since the dawn of Romanticism, artists and intellectuals in Germany have maintained an abiding interest in the gods and myths of antiquity while calling for a new mythology suitable to the modern age. In this study, George S. Williamson examines the factors that gave rise to this distinct and profound longing for myth. In doing so, he demonstrates the entanglement of aesthetic and philosophical ambitions in Germany with some of the major religious conflicts of the nineteenth century. Through readings of key intellectuals ranging from Herder and Schelling to Wagner and Nietzsche, Williamson highlights three crucial factors in the emergence of the German engagement with myth: the tradition of Philhellenist neohumanism, a critique of contemporary aesthetic and public life as dominated by private interests, and a rejection of the Bible by many Protestant scholars as the product of a foreign, "Oriental" culture. According to Williamson, the discourse on myth in Germany remained bound up with problems of Protestant theology and confessional conflict through the nineteenth century and beyond. A compelling adventure in intellectual history, this study uncovers the foundations of Germany's fascination with myth and its enduring cultural legacy.

Myths are a central part of our reality. But merely debunking them lets us forget why they are created in the first place and why we need them. André Fischer draws on key examples from German postwar culture, from novelists Hans Henny Jahnn and Hubert Fichte, to sculptor and performance artist Joseph Beuys, and filmmaker Werner Herzog, to show that mythmaking is an indispensable human practice in times of crisis. Against the background of mythologies based in nineteenth-century romanticism and their ideological continuation in Nazism, fresh forms of mythmaking in the narrative, visual, and performative arts emerged as an aesthetic paradigm in postwar modernism. Boldly rewriting the cultural history of an era and setting in transition, The Aesthetics of Mythmaking in German Postwar Culture counters the predominant narrative of an exclusively rational Vergangenheitsbewältigung (“coming to terms with the past”). Far from being merely reactionary, the turn toward myth offered a dimension of existential orientation that had been neglected by other influential aesthetic paradigms of the postwar period. Fischer’s wide-ranging, transmedia account offers an inclusive perspective on myth beyond storytelling and instead develops mythopoesis as a formal strategy of modernism at large.

This study of the early human sciences and their deep connections to spiritualism dispenses with the myth that separates magic and modernity. Many theorists contend that the defining feature of modernity is our collective loss of faith in spirits, myths, and magic. But in The Myth of Disenchantment, Jason A. Josephson-Storm argues against this narrative, showing that attempts to suppress magic have failed more often than not. Even the human sciences have been more enchanted than is commonly supposed. But that raises the question: How did a magical, spiritualist, mesmerized Europe ever convince itself that it was disenchanted? Josephson-Storm traces the history of the myth of disenchantment in the births of philosophy, anthropology, sociology, folklore, psychoanalysis, and religious studies. He demonstrates that the founding figures of these “mythless” disciplines were in fact profoundly enmeshed in the occult and spiritualist revivals of Britain, France, and Germany. It was in response to this milieu that they produced notions of a disenchanted world. By providing a novel history of the human sciences and their connection to esotericism, The Myth of Disenchantment dispatches with most widely held accounts of modernity and its break from the premodern past.

Conventional approaches to the Synoptic gospels argue that the gospel authors acted as literate spokespersons for their religious communities. Whether described as documenting intra-group 'oral traditions' or preserving the collective perspectives of their fellow Christ-followers, these writers are treated as something akin to the Romantic poet speaking for their Volk - a questionable framework inherited from nineteenth-century German Romanticism. In this book, Robyn Faith Walsh argues that the Synoptic gospels were written by elite cultural producers working within a dynamic cadre of literate specialists, including persons who may or may not have been professed Christians. Comparing a range of ancient literature, her ground-breaking study demonstrates that the gospels are creative works produced by educated elites interested in Judean teachings, practices, and paradoxographical subjects in the aftermath of the Jewish War and in dialogue with the literature of their age. Walsh's study thus bridges the artificial divide between research on the Synoptic gospels and Classics.

How did the Bhagavadgãtà first become an object of German philosophical and philological inquiry? How were its foundational concepts initially interpreted within German intellectual circles, and what does this episode in the history of cross-cultural encounter teach us about the status of comparative philosophy today? This book addresses these questions through a careful study of the figures who read, translated and interpreted the Bhagavadgãtà around the turn of the nineteenth century in Germany: J.G. Herder, F. Majer, F. Schlegel, A.W. Schlegel, W. von Humboldt, and G.W.F. Hegel. Methodologically, the study attends to the intellectual contexts and prejudices that framed the early reception of the text. But it also delves deeper by investigating the way these frameworks inflected the construction of the Bhagavadgãtà and its foundational concepts through the scholarly acts of excerpting, anthologization, and translation. Overall, the project contributes to the pluralization of Western philosophy and its history while simultaneously arguing for a continued critical alertness in cross-cultural comparison of philosophical and religious worldviews.

This is the first book-length critical analysis in any language of Hans Blumenberg’s theory of myth. Blumenberg can be regarded as the most important German theorist of myth of the second half of the twentieth century, and his Work on Myth (1979) has resonated across disciplines ranging from literary theory, via philosophy, religious studies and anthropology, to the history and philosophy of science. Nicholls introduces Anglophone readers to Blumenberg’s biography and to his philosophical contexts. He elucidates Blumenberg’s theory of myth by relating it to three important developments in late nineteenth- and early twentieth-century German philosophy (hermeneutics, phenomenology and philosophical anthropology), while also comparing Blumenberg’s ideas with those of other prominent theorists of myth such as Vico, Hume, Schelling, Max Müller, Frazer, Sorel, Freud, Cassirer, Heidegger, Horkheimer and Adorno. According to Nicholls, Blumenberg’s theory of myth can only be understood in relation to the ‘human sciences,’ since it emerges from a speculative hypothesis concerning the emergence of the earliest human beings. For Blumenberg, myth was originally a cultural adaptation that constituted the human attempt to deal with anxieties concerning the threatening forces of nature by anthropomorphizing those forces into mythic images. In the final two chapters, Blumenberg’s theory of myth is placed within the post-war political context of West Germany. Through a consideration of Blumenberg’s exchanges with Carl Schmitt, as well as by analysing unpublished correspondence and parts of the original Work of Myth manuscript that Blumenberg held back from publication, Nicholls shows that Blumenberg’s theory of myth also amounted to a reckoning with the legacy of National Socialism.

From the end of the Baroque age and the death of Bach in 1750 to the rise of Hitler in 1933, Germany was transformed from a poor relation among western nations into a dominant intellectual and cultural force more influential than France, Britain, Italy, Holland, and the United States. In the early decades of the 20th century, German artists, writers, philosophers, scientists, and engineers were leading their freshly-unified country to new and undreamed of heights, and by 1933, they had won more Nobel prizes than anyone else and more than the British and Americans combined. But this genius was cut down in its prime with the rise and subsequent fall of Adolf Hitler and his fascist Third Reich-a legacy of evil that has overshadowed the nation's contributions ever since. Yet how did the Germans achieve their pre-eminence beginning in the mid-18th century? In this fascinating cultural history, Peter Watson goes back through time to explore the origins of the German genius, how it flourished and shaped our lives, and, most importantly, to reveal how it continues to shape our world. As he convincingly demonstarates, while we may hold other European cultures in higher esteem, it was German thinking-from Bach to Nietzsche to Freud-that actually shaped modern America and Britain in ways that resonate today.

This book offers a complete narrative of the development of Nordicism, from its roots in the National Romantic movement of the late eighteenth century, through to its most notorious manifestation in Nazi Germany, and finally to the fragmented forms that still remain in contemporary society. It is distinctive in treating Nordicism as a phenomenon with its own narrative, rather than as discreet episodes in works studying aspects of Eugenics, Nationalism, Nazism and the reception history of Old Norse culture. It is also distinctive in applying to this narrative a framework of analysis derived from the parallel theories of Roger Griffin and Zygmunt Bauman, to examine Nordicism as a process of myth creation protecting both the individual and society from the challenges and terror of an ever-changing and accelerating state of modernity.

Brilliantly conceived and majestically written, this monumental work of European history recasts the five-hundred-year history of Germany. With Germany in the World, award-winning historian David Blackbourn radically revises conventional narratives of German history, demonstrating the existence of a distinctly German presence in the world centuries before its unification—and revealing a national identity far more complicated than previously imagined. Blackbourn traces Germany’s evolution from the loosely bound Holy Roman Empire of 1500 to a sprawling colonial power to a twenty-first-century beacon of democracy. Viewed through a global lens, familiar landmarks of German history—the Reformation, the Revolution of 1848, the Nazi regime—are transformed, while others are unearthed and explored, as Blackbourn reveals Germany’s leading role in creating modern universities and its sinister involvement in slave-trade economies. A global history for a global age, Germany in the World is a bold and original account that upends the idea that a nation’s history should be written as though it took place entirely within that nation’s borders.