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This essay outlines Goethe's portrayal of movement as an essential form of nonverbal communication in his essay Über Laokoon and in Wilhelm Meisters Lehrjahre and Wilhelm Meister's Wanderjahre. Goethe's depiction of movement as a venue through which people can express themselves and can understand those who are moving predates and aligns with modern theories of movement. Both Goethe and modern theorists highlight that physical movement is an essential nonverbal form of self-expression that draws people together as they become aware of both the emotions that are being expressed and their emotional reactions to and interpretations of those physical movements.

The COVID-19 pandemic not only disrupted classroom learning but, for many world language teachers, it also disrupted the ability to travel abroad with students. For high school German teachers in the United States, the preeminent exchange program is GAPP, or the German American Partnership Program, which saw trips being cancelled due to the pandemic in 2020. In response, GAPP developed the German American Virtual Exchange (GAVE), which provides \"a framework, materials, and support for teachers interested in connecting their students remotely with their partner school in Germany\" (Goethe Institut USA, 2023).

In their Xenien project, Goethe and Schiller weaponized the classical epigrammatic distich on behalf of their own vision of a public sphere. In response to an oversaturated market in journals and in the context of falling subscription numbers for their own journal Die Horen, they published hundreds of epigrams attacking rival journals and authors. Taking a cue from new formalist approaches, this article analyzes the specific structural and rhetorical affordances of the distich and the broader formal strategies the authors deploy in this cultural intervention. The generic resources of the epigram are deployed to disrupt a commercial circulation generated by second-rate journals and their networks of \"Philistine\" writers and critics, to deconstruct false paradigms and overblown conceptions, to parody the overaccelerated or excessively sluggish pace of cultural production and exchange, and to expose those forces bent on overturning established social or political hierarchies. At the same time, the epigrams aim to set in motion a more rhythmic circulation that aligns with natural processes and classical antecedents, is shaped by the reciprocal exchange characterizing Goethe and Schiller's own friendship, gives rise to more elastic and internally differentiated conceptions of the whole, and ultimately sustains rather than overturns societal structures.

This article draws on a teaching experience in the form of a literary conversation in a German as a foreign language class and presents didactic approaches to the travel report The Walk from Rostock to Syracuse by F.C. Delius. As it thematises the motif of the educative journey as a longing for education and freedom, the work is analyzed in a close relation to the genre of the Bildungsreise based on classical models such as the Italian journey of Seume and Goethe. The literary educative journey leads the learners into a wider contextual knowledge as traveling in times of the German separation. As educative aspects of the reading, strangeness and aesthetic experience are taken into reflection by adopting different didactic methods such as the focus and integration method. In order to reach an adequate reading comprehension, learners are challenged by coping with the intertextuality and hybridity of the text.

NINA L. DUBIN, MEREDITH MARTIN, AND MADELEINE C. 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STEVENS “Their Own Happiness”: The Ownership of Enslaved Africans’ Emotions in William Warburton’s SPG Sermon 307...KEVIN BOURQUE Heady Similitudes: Kitty Fisher, Mezzotint Culture, and Material Narratives of Celebrity, ca. 1750 337...NATALIA ZORRILLA The Reinvention of Pythagoreanism during the Eighteenth Century: Sade’s Libertine Strategy 357...ROGER MAIOLI The First Avowed British Atheist: Lord Hervey? Special Issue Reviews 187...NATALIE ROXBURGH Michael Genovese, The Problem of Profit: Finance and Feeling in Eighteenth-Century British Literature 190...DANIEL JÜTTE Francesca Trivellato, The Promise and Peril of Credit: What a Forgotten Legend about Jews and Finance Tells Us about the Making of European Commercial Society Review Essays 193...ALA ALRYYES Marina MacKay, Ian Watt: The Novel and the Wartime Critic 1065...DAVID PHILIP MILLER Tim Fulford and Sharon Ruston, eds., The Collected Letters of Humphry Davy 1072...ANDREA STONE Kelly A. 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The article focuses on graphic reproductions in Johann Wolfgang von Goethe’s Italian Journey. This travel account gives a clear sense of how important prints were as part of Goethe’s education and preparation for the encounter with classical Roman monuments. As the text itself was edited and rewritten thirty to forty years after the journey itself, however, prints also became crucial in the attempt to remember that journey. In other words, the author of the Journey, in contrast to the youthful traveler, no longer sees engravings of Rome, but Rome through engravings.The discussion takes as a point of departure Goethe’s vast collection of prints, still kept in Weimar. Measured up against the references in the travel journal, prints not only reflected his impression of monuments, but also structured those impressions, as the elderly man looks back and reassembles his memories to make an official account of his life. However, it is too easy to ascribe this reliance on prints to a fading memory — on the contrary. As he grows into old age, Goethe’s idea of graphic reproduction evolves in parallel with his increasingly refined theories of nature. His growing preference for prints depicted as ruins reflects the aging author’s own sense of change and transformation.

The 1990s and early 2000s saw the efforts of earlier scholars pay off with an increase in print collections, anthologies, and databases dedicated to the works of women writers as well as an uptake in scholarly publications drawing attention to issues of gender and sexuality. Taking stock in 2019, we can conclusively say that while substantive progress has been made, this recovery process is ongoing and faces new challenges. Can current tools and methods offered by cultural analytics that consider the \"many\" rather than only the \"few\" assist scholars, specifically at the intersection of feminist inquiry and eighteenth-century German studies, not only in recovering and preserving the works of women writers-and, indeed, all authors who have been traditionally marginalized-but in increasing their presence and significance within scholarship? [...]making claims about shifts in the representation of gender traits in novels or the relevance of gender in the publication rates of authors is currently problematic, not simply because the works of women writers represent an inherently small sample size compared to those of their male counterparts, as Ted Underwood recently demonstrated in Distant Horizons,4 but because the data on which algorithms are run and from which conclusions are drawn are not comprehensive and, at times, reinforce existing, nineteenth-century preferences when it came to constructing model national histories and the canon.5 To illustrate this point about comprehensive representation in existing digitized collections, a quick search for Benedikte Naubert, one of the most prolific women writers around 1800, in open-access sources such as HathiTrust Library, TextGrid Repository, and Google Books reveals the limitations and challenges of conducting computational analysis on works by women writers.6 Traditional literary scholars have identified some sixty works published by Naubert, most of which were published anonymously during her lifetime-ranging from historical novels, to fairy tale collections, to short stories. [...]search results of open-access sources do not fully represent her oeuvre and indicate that digital scholarship on such authors necessitates time and labor-intensive hand-curation of collections in order to run script that yields consequential results.7 The point here is that we have not yet reached the tipping point in digitized libraries where traditional modes of archival research and targeted collecting are no longer necessary.

This essay investigates Goethe's 1786–88 Italian journey in the context of the history of \"getting lost\"—from Greek epics, to fairy tales, to postmodernity—and asks: Why does Goethe get lost on purpose? What were the literary, psychological, and political stakes of this? And how does it relate to his apparent \"discovery\" of classicism? By comparing Goethe's contemporaneous travel notes with his revisions for the 1816–29 publication, the author argues that Goethe deliberately repeats the Odyssean narrative of lost-and-found in order triumphantly to find himself, both psychologically and as a writer. Yet Goethe simultaneously demonstrates a strikingly sophisticated anticipation of modern theories of literature and travel. Realizing that he can never really lose himself—geographically, psychologically, literarily—he meditates on this impossibility and discovers the necessity of walking in others' footsteps.