New studies of both Goethe's relationship to the English-speaking world and its perception of Goethe and his works.Goethe's relations with the English-speaking world have been the subject of scholarly investigation ever since his lifetime. This volume brings together eighteen articles that provide new points of view, a broad range of approaches, and new and original findings on this relationship. These range from the discussion of applications of recent critical approaches such as chaos theory and Edward Said's Orientalism to Goethean texts, through other more empirical contributions that bring to light new material, some of it deriving from archives in Weimar relating to Goethe's contact with English culture. Other essays involve the reassessment of questions of influence, from both sides: inthe case of Cooper and Goethe some standard assumptions are revised, while in the case of Goethe and Edith Wharton and Goethe and George Eliot, new comparative ground is broken. Close readings of portions of well-known texts suchas Faust and Wilhelm Meister challenge standard assumptions. The analysis of selected recent translations of Goethe's poetry raises perennial questions of cultural transfer, while the survey of the role played by some of Goethe's texts in one corner of the English-speaking world, Dublin, is long overdue. Nicholas Boyle is Reader in German Literary and Intellectual History, Head of the Department of German in the University of Cambridge and Fellow of Magdalene College. John Guthrie is College Lecturer in German and Director of Studies in Modern Languages at New Hall, Cambridge.exts suchas Faust and Wilhelm Meister challenge standard assumptions. The analysis of selected recent translations of Goethe's poetry raises perennial questions of cultural transfer, while the survey of the role played by some of Goethe's texts in one corner of the English-speaking world, Dublin, is long overdue. Nicholas Boyle is Reader in German Literary and Intellectual History, Head of the Department of German in the University of Cambridge and Fellow of Magdalene College. John Guthrie is College Lecturer in German and Director of Studies in Modern Languages at New Hall, Cambridge.exts suchas Faust and Wilhelm Meister challenge standard assumptions. The analysis of selected recent translations of Goethe's poetry raises perennial questions of cultural transfer, while the survey of the role played by some of Goethe's texts in one corner of the English-speaking world, Dublin, is long overdue. Nicholas Boyle is Reader in German Literary and Intellectual History, Head of the Department of German in the University of Cambridge and Fellow of Magdalene College. John Guthrie is College Lecturer in German and Director of Studies in Modern Languages at New Hall, Cambridge.exts suchas Faust and Wilhelm Meister challenge standard assumptions. The analysis of selected recent translations of Goethe's poetry raises perennial questions of cultural transfer, while the survey of the role played by some of Goethe's texts in one corner of the English-speaking world, Dublin, is long overdue. Nicholas Boyle is Reader in German Literary and Intellectual History, Head of the Department of German in the University of Cambridge and Fellow of Magdalene College. John Guthrie is College Lecturer in German and Director of Studies in Modern Languages at New Hall, Cambridge.versity of Cambridge and Fellow of Magdalene College. John Guthrie is College Lecturer in German and Director of Studies in Modern Languages at New Hall, Cambridge.

Shakespeare as German Author, edited by John McCarthy, revisits in particular the formative phase of German Shakespeare reception 1760-1830. Following a detailed introduction to the historical and theoretical parameters of an era in search of its own literary voice, six case studies examine Shakespeare’s catalytic role in reshaping German aesthetics and stage production. They illuminate what German speakers found so appealing (or off-putting) about Shakespeare’s spirit, consider how translating it nurtured new linguistic and aesthetic sensibilities, and reflect on its relationship to German Geist through translation and cultural transfer theory. In the process, they shed new light, e.g., on the rise of Hamlet to canonical status, the role of women translators, and why Titus Andronicus proved so influential in twentieth-century theater performance. Contributors are: Lisa Beesley, Astrid Dröse, Johanna Hörnig, Till Kinzel, John A. McCarthy, Curtis L. Maughan, Monika Nenon, Christine Nilsson.

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Originally published between 1929 and 1991 the volumes in this set: Offer a comprehensive and challenging interpretation of the German past Assess Bismarck’s contribution to the German Empire and his legacy for modern Germany Examine the psyche of the Germans and discuss the psychological impact of the Second World War on the Germans Review critically not only the rise and rule of National Socialism, but also the strength of authoritarianism and militarism and the weakness of democracy in 19th Century Germany Examine the inter-relationships between social and economic change on the one hand, and political developments on the other. Analyse the significance of the Zollverein on economic growth Discuss authority and the law in the German Empire and the Weimar Republic. Analyse the contribution of German historians to 20th Century historiography Chart key events in British – German trade rivalry Include archival material from both the former East and West Germany.

A study of six modern reworkings of classic works of German literature. A "literary reworking" is a fictional work based on an earlier, usually canonical, literary work. Gundula M. Sharman considers six twentieth-century examples of this phenomenon in German literature, including Peter Schneider's Lenz as a reworking of Georg Büchner's novella of the same title, Ulrich Plenzdorf's Die neuen Leiden des jungen W. as a reworking of Goethe's Werther, Wolfgang Koeppen's Der Tod in Rom, based on Thomas Mann's Der Tod in Venedig, and three other pairs of reworkings/original works from the genres of drama, the novella, and the novel. The indebtedness of such reworkings to the original works is openly acknowledged -- often inthe title -- and this invites the reader to draw comparisons and to note contrasts between reworking and original. The twentieth-century author's interpretation and the reader's reception of the older work merge to form a subtextof the reworking, giving rise to a third narrative in the reader's imagination. The better the reader knows the literary model, the more multi-faceted the reworking appears. The purpose of each reworking is unique. One may demonstrate how much the world has changed since the publication of the original, while another argues that society has not changed at all. One may be conceived as an anti-work to the original, while another serves to endorse its message. Common to all reworkings, however, is a gain in historical depth, and in each case themes and issues arise from the relationship of reworking to original that are not immediately apparent when the reworking is considered on itsown. Gundula M. Sharman teaches in the German Department at the University of Aberdeen, Scotland.