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Far from being a forerunner of Weimar Classicism or an addendum to the Enlightenment, the Sturm und Drang is best seen as part of an autonomous culture of impatience-as literature in which Germans, frustrated with their fragmented land, simulated a sense of power and effectiveness that political realities did not afford.

Explores some of the more significant aspects of Storm's literary technique. The treatments of some of Storm's Novellen

Rendered into English for the first time by Wayne Wonderley and provided with a critical introduction, this rollicking tale of baroque satire by Christian Reuter not only illuminates the mores and mentality of the time but forms a noteworthy link in the development of the European novel.

Through an analysis of the works of the Berlin Aufklarer Friedrich Gedike, Friedrich Nicolai, G.E. Lessing, and Moses Mendelssohn, Matt Erlin shows how the rapid changes occurring in Berlin challenged these intellectuals to engage in the kind of nuanced thinking about history that has come to be seen as characteristic of the German Enlightenment.

Heinrich Wittenwiler's Ring, written in a Swiss dialect and presented in English translation for the first time in this 1956 volume, is a comic-didactic and religious allegory that documents late medieval views on many aspects of literature, history, law and religion.

Presents a picture of the ideals of courtly love in Europe in the latter half of the twelfth and beginning of the thirteenth centuries. A long chapter on Parzival focuses especially on the introduction of Christian themes and changing ideas of the compatibility of love and marriage.

Originally published in 1950, this collaboration of two accomplished translators resulted in the first English verse translation of a major work of German literature. Rather than a translation of the entire poem, the translators present key passages connected by prose summaries, and include an introduction giving an overview of the work.

Praised highly by Mann himself, Weigand's book is an essential piece of criticism on Mann's monumental novel. In his study of The Magic Mountain Weigand comments on the novel's genre and organisation before dissecting the themes of disease and mysticism, Mann's use of irony, and other aspects of this masterpiece of German literature.

Mariana Scott, poet and translator of Hofmannsthal, Meyrink, Celan, and others, translates the eighth-century Old Saxon Heliand into its original meter in this work originally published in 1966. This anonymous masterpiece presents the life of Christ and affords an excellent insight into medieval life.

This 1952 study is an investigation into the nature of language that focuses on reinterpreting Hamann's theories of language in light of twentieth century linguistic philosophy. One of the first studies of Hamann to be presented in English, it poses many questions of universal concern and interest.

This translation of all the poems in the main body of the work of George extensively revises the first publication of The Works of Stefan George which appeared in 1949. The editors have also expanded the volume, adding a number of George's early poems, two essays, and the lyrical drama The Lady's Praying.

First published as an American contribution to the 1959 bicentennial celebration of Friedrich Schiller's birth, Krumpelmann's translation of the poet's Joan of Arc drama retains the iambic pentameter of the original. This revised second edition, published in 1962, corrects typographical errors and includes some changes to the text.

The poetry of Wilhelm Muller, to whom Heine expressed indebtedness for his renewal of the forms of the German Volkslied, had rarely been discussed in depth prior to this volume, originally published in 1970.

Identifies the underlying patterns of persistent biblical allusion in the work of renowned playwright Bertolt Brecht. Rather than reducing Brecht's use of the Bible to the purely satirical, the author interprets the full dramatic function of Brecht's complex use of scripture.

An imperishable gem of German literature, Kleist's The Broken Pitcher is pure comedy. The author's handling of the theme - the judge as culprit - shows supreme mastery. This translation by Bayard Morgan, originally published in 1961, is faithful in form.

Originally published in 1955, this volume provides English translations of one hundred of Goethe's poems divided into nine periods. The biographical introduction traces Goethe's development as seen in his poems and an appendix gives information on musical settings to the poems.

Presents twenty-four essays on the many-sided topic of German exile literature during and after Hitler's Third Reich. Leading American and European specialists in the field are contributors to the volume, which discusses the work of Thomas Mann, Bertolt Brecht, Hermann Broch and Karl Wolfskehl among others.

Contains Lessing's most explicit observations on the distinction between poetry and prose as well as a unique proposal for emending Aristotle's interpretation of the dramatic method. Lessing significantly modifies Abbe Dubos' doctrine by ideas derived from Alexander Baumgarten, Moses Mendelssohn, and Edmund Burke.

Originally published in 1959, this first scholarly study of the origin and development of the concept of honor in German literature traces its role from ancient Germanic to modern works and shows how the transformation from external to internal conceptions of honor were influenced by Christian and Stoic ideals.

Originally published in 1954, Hiebel's Novalis is a critical evaluation of the life and works of Novalis, the German Romantic poet. This book presents a fully rounded picture of the man, the philosopher and scientist, the writer, the mystic, and a commentary on one of the most influential and fruitful periods in German intellectual life.

Interest in the intersections of various kinds of discourse provides the basis for a closer look at diverse textual strategies of cultural legitimation. This collection presents an introductory essay and eleven studies (written in English and German) that address claims to authority associated with differing kinds of texts from such varied perspectives as political performance, popular culture, history of science, interrelations between verbal texts and other arts, and artistic professionalism. Read together, these studies illuminate historical contingencies and reveal important changes in the "technologies of authority" from the twelfth through the eighteenth centuries.The contributors are Claire Baldwin, Thomas Cramer, Arthur Groos, Walter Haug, C. Stephen Jaeger, Jane O. Newman, James F. Poag, David Price, Rudiger Schnell, Lynne Tatlock, Horst Wenzel, and Gerhild Scholz Williams.

Examining the relationship between German poetry, philosophy, and visual media around 1900, Carsten Strathausen argues that the poetic works of Rainer Maria Rilke, Hugo von Hofmannsthal, and Stephan George focused on the visible gestalt of language as a means of competing aesthetically with the increasing popularity and "reality effect" of photography and film.

Focuses on the striking relationship between one of the most enigmatic poets of the twentieth century and the artists of the Art Nouveau. The author explores the depth of the relationship itself, examines Rilke's activities as an art critic, and analyses the influence of Art Nouveau on the themes, motifs, and structure of the poet's early works.

In this 1954 study of poetic realism and the Novelle form, Silz examines nine Novellen by Brentano, Arnim, Droste-Hulshoff, Stifter, Grillsparzer, Keller, Meyer, Storm and Hauptmann. Through his textual interpretation of these works Silz draws the threads of the transition from Romanticism to Naturalism and the development of the Novelle form.

This first complete modern edition of Peter Schott's Lucubraciunculae opened a treasure-trove of information to students of German literature, historians of Humanism, folklorists, and theologians on its publication in 1963. Also included in this volume are the De mensirus syllabarum epithoma and a letter in German to Schott's sister Anna.

Jill Kowalik reevaluates J.J. Breitinger's Critische Dichtkunst (1740) with regard to a heretofore neglected aspect of aesthetics in the early eighteenth century, namely how poesis and historiography could increasingly come to resemble each other in their assumptions, purposes, and methods of representation.