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In an authorial class with dramatists and authors of literary prose such as Goethe, Schiller, Thomas Mann, Brecht, and Kafka, Heinrich von Kleist (1777-1811) remains prominent in international evaluations of artistic genius when measured by enduring popular and artistic reception; legal, philosophical, and scientific criticism; and resonance of political rage. Scholars have long been fascinated by Kleist's biography and works, in no small part due to his influence on authors, philosophers, political thinkers, and filmmakers, who regard Kleist as among the most accessible of \"classic\" artists -- one whose relevance requires neither theoretical introduction nor literary-historical justification. The present volume addresses two centuries of engagement with Kleist and his works from an angle that has proven most important to their popular canonical status -- his artistic and political legacies. What mattered to Kleist has mattered to centuries of readers, and thus all the more to artists and thinkers with similarly urgent messages to convey.

Friedrich Schiller was a dramatist and poet for the ages, an important aesthetic theorist, and among Germany's first historians. But he left few works of literary prose behind -- seven short tales and fragments, almost all from early in his career -- and although they include some of his most resonant in his own time, they are largely overlooked today. Several of the pieces -- which include 'The Ghost-Seer', 'A Magnanimous Act from Most Recent History', 'The Criminal of Lost Honor: A True Story', 'A Curious Example of Female Vengeance', 'Duke Alba at Breakfast at Castle Rudolstadt', 'Play of Fate: A Fragment of a True Story,' and 'Haoh-Kiöh-Tschuen' -- have never before appeared in English translation. But they are a seminal link in the evolution of the then-nascent German novella. They exhibit the anthropological curiosity and moral confusion that made Schiller's first drama, 'The Robbers,' a sensation, demonstrating an original artistry that justifies consideration of scholars and students today, on the eve of the 250th anniversary of his birth. New translations of the seven works appear here together with introductory critical essays. Contributors: Jeffrey L. High, Nicholas Martin, Otto W. Johnston, Gail K. Hart, Dennis F. Mahoney; Translators: Francis Lamport, Ian Codding, Jeffrey L. High, Ellis Dye, Edward T. Larkin, Carrie Ann Collenberg. Jeffrey L. High is associate professor at California State University Long Beach.

\"4 Indeed, subordination to one tribal tradition, coerced hero worship, necessitates the repression of a complementary tribal taboo, the criticism of meanwhile hypocritically inappropriate heroes. [...]the most conservative and puritanical political movements can cling to liberal, secular, founding rebels- long after the schism between ancient liberal thesis (autonomy) and revised conservative antithesis (uniformity) has become embarrassingly self-evident.5 The mere acknowledgement of a contradiction can result in a patriotic identity crisis, such as the one that accompanied renewed assaults on the \"wall of separation between church and state\" and the Texas School Board's attempted curricular exile of the ideologically suspect author of the Declaration of Independence, Thomas Jefferson, in 2010. After some eighty pages, he concludes of 1) Schiller, theology, and the Church: Schiller rejected practically the whole theological system of the Church as he understood it, and, very explicitly, all impeachments of the lawfulness of the Universe, including Special Revelation, the inspiration and peculiar authority of the Bible, the exceptional divinity of Jesus, his miraculous origin and deeds, and especial providences.25 However, 2) Schiller's \"walk . . ., his relationship to God,\" a notion that is neither explained nor documented, compensates for the 3) \"religious astigmatism\" of his statements, and thus, Carruth can conclude that, although all evidence in his study demonstrates that the opposite is likely, Schiller may nonetheless be declared \"inherently religious in the very fibre and marrow of his being\" (Carruth 580). Since Carruth concedes all of the positions (except from the belief in a personal supernatural God) that distinguish Christianity from moral philosophy, the reader can only conclude that his definition of inherent religiosity comprises a sense of awe inspired by the natural universe, a love of humankind and truth (Carruth 500), and, though only addressed peripherally, the belief in virtue and individual recognition of moral law. [...]in \"Resignation,\" the value of life, love, and morality is an earthly affair; Judgment Day is nothing but the history of life on earth; and what does live on, lives on in history and art, as described in the poems \"The Gods of Ancient Greece\" (1788) and \"Name\" (1800). Lf any reader is concerned with Mary Stuart's eternal life in a theoretical Act 6, then, according to Schiller's theory of the sublime, they have missed the point of her sublime composure in Act 5: there is nothing at stake but her freedom at the moment of ultimate coercion and the legacy of her composure. [...]the \"phase\" approach to Schiller and religion (like other approaches to a Schiller of distinct phases)50 collapses even under the feathery weight of the evidence it presents; the \"early piety\" appears only in apocryphal anecdotes and school assignments, the skepticism of the \"second phase\" is evident in all three ostensible periods (dating back to the drafts of the Philosophische Briefe from the Karlsschule), and the late \"understanding\" toward religion51 can only be found in the plausible portrayal of historical figures who were actually Christians, subsequently portrayed as such, and in references to a transitional civilizing influence of monotheism.52 IV.

The curriculum for teaching writing with computers described in the article evolved from summer 1997 through spring 2002, involving 162 first-year sections, 2926 students, and 45 instructors. The approach is process-oriented and employs low-end technology, requiring only computers equipped with word-processing programs, and follows an assignment structure that can be executed by high schools or universities. With careful attention to instructional design, focused, repetitive process editing on computers promotes the understanding of grammatical concepts, and teaches the autonomous acquisition of editing skills. Further, this use of technology saves both teaching time for instructors and learning time for students. (Verlag, adapt.).

His whole tale is nothing but a series of fabrications designed to string together the few truths that he found it in his interest to reveal to us.— The Prince in Schiller's The SpiritualistWHILE SCHILLER COULD ENVISION himself as one of Germany's leading historians, an important aesthetic theorist, and a poet and dramatist for the ages, ironically — considering the impact and resonance of his prose works — he himself laid no such claim to a place in the history of literary prose. According to Schiller, it was the necessity of broad and colorful life experience, which he believed he lacked, that distanced him from literary prose works:The author of narrative prose cannot get by with the world within himself. He needs to be familiar with and have experience in the world outside him. This is exactly what I lack, and in my opinion, it might as well be everything.His stated belief that the prose genres demand broad familiarity with the external world, and that he lacked precisely this, very strongly implies that Schiller envisioned a very brief career as an author of literary prose. However, it must be countered that it was precisely his peculiar, if limited, true life experiences — absolutist Württemberg, the proximity to the Duke, his malaria and lung ailment, his dramatic escape and exile, his patrons and friends — that provide the sources for and personally inform each of his original prose works.

The literary prose works of Friedrich Schiller (1759–1805), some among the most resonant works in his time, remain today a largely overlooked area of his oeuvre and an unrecognized link in the evolution of German short prose. Until the 1780s, the moral tale, the historical anecdote, and the nascent German Boccaccio-Cervantes-novella of Christoph Martin Wieland (“Werkchen”)¹ were the dominant German forms of short prose in number and in theoretical prominence.² Written almost entirely in his first decade as a published author, Schiller’s prose works, which experiment with the same dark anthropological curiosity and moral confusion that made his first

Enlightenment and Secularism is a collection of twenty eight essays that seek to understand the connection between the European Enlightenment and the emergence of secular societies, as well as the character or nature of those societies. The contributors are drawn from a variety of disciplines including History, Sociology, Political Science, and Literature. Most of the essays focus on a single text from the Enlightenment, borrowing or secularizing the format of a sermon on a text, and are designed to be of particular use to those teaching and studying the history of the Enlightenment within a liberal arts curriculum.