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In Translating the World, Birgit Tautz provides a new narrative of German literary history in the late eighteenth and early nineteenth centuries. Departing from dominant modes of thought regarding the nexus of literary and national imagination, she examines this intersection through the lens of Germany's emerging global networks and how they were rendered in two very different German cities: Hamburg and Weimar. German literary history has tended to employ a conceptual framework that emphasizes the nation or idealized citizenry, yet the experiences of readers in eighteenth-century German cities existed within the context of their local environments, in which daily life occurred and writers such as Lessing, Schiller, and Goethe worked. Hamburg, a flourishing literary city in the late eighteenth century, was eventually relegated to the margins of German historiography, while Weimar, then a small town with an insular worldview, would become mythologized for not only its literary history but its centrality in national German culture. By interrogating the histories of and texts associated with these cities, Tautz shows how literary styles and genres are born of local, rather than national, interaction with the world. Her examination of how texts intersect and interact reveals how they shape and transform the urban cultural landscape as they are translated and move throughout the world. A fresh, elegant exploration of literary translation, discursive shifts, and global cultural changes, Translating the World is an exciting new story of eighteenth-century German culture and its relationship to expanding global networks that will especially interest scholars of comparative literature, German studies, and literary history.

In Translating the World , Birgit Tautz provides a new narrative of German literary history in the late eighteenth and early nineteenth centuries. Departing from dominant modes of thought regarding the nexus of literary and national imagination, she examines this intersection through the lens of Germany's emerging global networks and how they were rendered in two very different German cities: Hamburg and Weimar. German literary history has tended to employ a conceptual framework that emphasizes the nation or idealized citizenry, yet the experiences of readers in eighteenth-century German cities existed within the context of their local environments, in which daily life occurred and writers such as Lessing, Schiller, and Goethe worked. Hamburg, a flourishing literary city in the late eighteenth century, was eventually relegated to the margins of German historiography, while Weimar, then a small town with an insular worldview, would become mythologized for not only its literary history but its centrality in national German culture. By interrogating the histories of and texts associated with these cities, Tautz shows how literary styles and genres are born of local, rather than national, interaction with the world. Her examination of how texts intersect and interact reveals how they shape and transform the urban cultural landscape as they are translated and move throughout the world. A fresh, elegant exploration of literary translation, discursive shifts, and global cultural changes, Translating the World is an exciting new story of eighteenth-century German culture and its relationship to expanding global networks that will especially interest scholars of comparative literature, German studies, and literary history.

[...]Roman put forth an overarching plea for new stories of origin that, unlike the biblical text or sciences with their data and experiments, remain stories of imagination, which, however, encourage us to see the world-and its mythological translations-through a material remnant or illusion, namely a mysterious rock buried beneath an ocean. Conroy explained how three different types of maps circulating in the eighteenth century shaped the visual field for perceiving the world, ultimately establishing scale, dominance, and hierarchies of importance in a visually persuasive though manipulative manner. [...]it is the \"New Horizons\" panel that I have been thinking about since March 2022, returning frequently to facets of the discussion as well as to individual books and articles written by a few of the panelists but also to Henry Louis Gates, Jr. and Andrew Curran's magisterial study Who's Black and Why: A Hidden Chapter from the Eighteenth-Century Invention cfRace (2022), in which the authors revisit and translate from the French the entries of a 1741 prize competition revolving around the same question.

Very few literary scholars (and interested non-specialists!) would dispute the eighteenth century's relevance to German literature and culture: the century proved fruitful not just for any notion of German national literature to emerge, but also for the broader concept of Kulturnation to take hold. 1800/1900 has served as a stark reminder-and entirely outside any Kittlerian paradigm-that national aspiration preceded the reality of national unity by at least 100 years. Over the last few decades, numerous alternate narratives and literary histories of the \"German\" eighteenth century have been proposed.

[...]the film puts the performance artist center-stage. By referencing both the show’s participatory element and the erstwhile taboo element of perpetually invading people’s personal space, the film simultaneously enacts and inverses the motto of its title: [...]the title transports us first and foremost into the history, not to say reality, of moving images and turns us, the spectators, into co-producers—not only of the images on screen, but also of the documentary’s affective dimension. [...]he needs an alternate currency, a substitute currency. According to Paul Poet, the votes were also a marker of Aktion as fiction.

[...]each of them delineates different historical moments or events that have inspired, even required, ethical responses; accordingly, we have arranged them by following the historical chronology of events: beginning with the years 1943/1949 and the being-caught between ideology of German victimhood and defeat in World War II (Weber); the 1986 nuclear disaster in Chernobyl and its resonance in East Germany and beyond, leading to a revival of an inter-arts book two decades later (Eigler); and the rise of populist and xenophobic politics in Central Europe around 2000, which sought legitimacy by making the influx of refugees a central theme (Tautz). First and foremost, Weber’s contribution reconstructs the circumstances that led to the creation and circulation of an iconic World War II image; from the outset, it was meant to capture the devastating impact that allied bombings had on Nazi-Germany. [...]Fischer’s Cologne tour was part of a propaganda campaign directed by Joseph Goebbels; the image of the old woman had already been disseminated on leaflets in 1944, condemning the Allied bombardments as war atrocities. [...]Poet re-creates an image of a sovereign, domineering artist and restores an image of art as unified messaging that undermines performance’s potential, while unleashing images and their empathetic work that run the whole gamut of ethical response, from good to bad.

This book investigates the contested ways in which Eighteenth-century German philosophers, scientists, poets, and dramatists perceived and represented China and Africa from 1680 to 1830.

The next essay in the line-up, Things of Art and Amor: Mediation in Goethes Römische Elegien',' by Sebastian Meixner and Carolin Rocks, offers an innovative and compelling reading of the figure of Amor as poetic guide, matchmaker, rogue, servant, and mediator to Goethes own Roman past. Introduced by Birgit Tautz and Patricia Anne Simpson- \"Reexamining (White) Enlightenment Legacies Through a German Lens\"- the section builds on novel attention to literature, race, and the Global South in two exemplary ASECS sessions that Tautz attended (\"New Horizons\"), as well as Simpson's reflection on \"Black Actors: Eighteenth-Century Cultures and Decolonial Fantasies.\" Sarah Eldridge's \"Interior Whiteness: Race and the 'Rise of the Novel\"' previews the incoming coeditor's book in progress.