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The Long Century’s Long Shadow approaches German Romanticism and Weimar cinema as continuous developments, enlisting both in a narrative of reciprocal illumination. The author investigates different moments and media as connected phenomena, situated at alternate ends of the long nineteenth century but joined by their mutual rejection of the neo-classical aesthetic standard of placid and weightless poise in numerous media, including film, painting, sculpture, prose, poetry, and dance. Connecting Weimar filmmaking to Romantic thought and practice, Kenneth S. Calhoon offers a non-technological, aesthetic genealogy of cinema. He focuses on well-known literary and artistic works, including films such as Nosferatu , Metropolis, Frankenstein , and Fantasia ; the writings of Conrad, Kafka, Goethe, and Novalis; and the paintings of Caspar David Friedrich, one of the leading artists of German Romanticism. With an eye to the modernism of which Weimar filmmaking was a part, The Long Century’s Long Shadow employs the Romantic landscape in poetry and painting as a mirror in which to regard cinema.

\"11 Jameson has pursued the mediations that attempt to bridge the gap between phenomenological experience and historical structure in part because of his abiding concern that failure to coordinate the position of the subject with \"unlived, abstract conceptions of the geographical totality\" results in a crippling alienation.12 His often-cited imperative of \"cognitive mapping\" sought to offset precisely this danger, for it was intended \"to endow the individual subject with some new heightened sense of its place in the global system.\\n ( BH , 36-49) With her feet planted at home, the speaker's vision opens the local out to the global, the \"here\" to \"there\"-a place that she cannot literally see but whose effects (spices, silk, cotton, and, as the next lines describe, pearls and other gems) nonetheless shape life at home through an exploitative commercial economy that smith goes on to condemn: and they who reason, with abhorrence see man, for such gaudes and baubles, violate The sacred freedom of his fellow man - erroneous estimate! ( BH, 57-60) at the same time, the description of the ship of commerce involves a submerged meditation on form. smith is pointedly alluding to one of Paradise Lost's most famous epic similes, a touchstone for criticism after milton attempting to define the nature of imaginative composition. in it, satan's gradual approach to eden is compared to merchant ships sailing from the indies-\"as when far off at sea a fleet descri'd, / Hangs in the clouds, by equinoctial winds / Close sailing from Bengala . . . so seemed / far off the flying fiend.

This article continues and extends my previous efforts to characterize modernity and to map the change in state of mind constituting the transition to postmodernity. Here I make a case for marking that transition by the dramatic fall, between the early 1960s and the early 1970s, in the cultural valuation of professions and of disciplines. I show that four culturally presupposed values—proceduralism, disinterestedness, autonomy, and solidarity—along with discipline, in a characterological sense, were characteristic for modernity and indispensable to the conception and sustentation of disciplinarity. Then I evidence the inversion in contemporary culture of each of those five value presuppositions. In this way I show postmodernity to be antithetical to disciplinarity.

August Hagen (1798–1889), professor for history of art and aesthetics at the Prussian university of Königsberg, is the author of a series of historical novels on the subject of artists’ lives. Pretending to be transliterations of newly discovered or translated historical sources, Hagen re-wrote and novelized the lives of artists from the fifteenth and sixteenth century, enriching them with elements of light fiction. This paper focuses on the question of how Hagen’s novels were written, read and reviewed in a period marked by the development of history of art as an academic discipline.

Ruins evoke meditations, and none more than those of Rome. Not only historians from Gibbon to Toynbee have been inspired by those ruins. Writers of the German Classical period from Goethe to Schiller, Wilhelm von Humboldt, and A.W. Schlegel, not to mention Ludwig I of Bavaria or August von Platen, have reflected in their poems on the glory of that Roman past and its meaning for the present. The German Romantics, in contrast, shifted their gaze from antiquity to the Middle Ages and to such monuments as the castles of Heidelberg, Weibertreu, and Marienburg and the monastic ruins of Eldena and Sankt Wolfgang. Poets from Brentano and Chamisso to Eichendorff and Kerner regarded them not so much as cultural-historical treasures for the cultivated few but, rather, as popular symbols of nationalistic pride and future unification. Classicists and Romantics alike sought to preserve those pasts through memory and art.

This essay explores Percy Shelley’sThe Triumph of Lifeas a strategic revival of Lucretian poetic science: a materialism fit to connect the epochal, romantic interest in biological life to the period’s pressing new sense of its own historicity. Shelley mobilizes Lucretian natural simulacra to show how personal bodies produce and integrate passages of historical time, exercising a poetics of transience that resists the triumphalism characteristic of both historiography and vitalist biology in the post-Waterloo period. Representing aging faces as mutable registers of the “living storm” of a post-Napoleonic interval,The Triumphdepicts the face-giving trope of prosopopoeia as the unintended work of multitudes—demonstrating a nineteenth-century possibility of thinking biological, historical, and rhetorical materialisms together.

This article seeks to show how Poe has influenced writing in Greece since his somewhat late introduction into Hellenic literary spheres, despite several claims that no major Greek author or translator has yet come to understand or appreciate Poe's storytelling fully. Toward this goal I will explain some of the reasons for the late arrival of Poe's tales and poems in Greece, and will then consider a story by Emmanuel Rhoides, published in 1893, which bears numerous similarities to Poe's “The Black Cat.” Rhoides was the first Greek translator of Poe, and his admiration for the American writer will be underlined here through an overview of the points of convergence, as well as the dissimilarities, between the two works. Such a comparison will cast doubt on the position of a number of critics who have played down the significance of Poe's oeuvre in Greek literature. Finally, the present article aims to shed some additional light on Poe's impact on the Greek literary world, an insufficiently explored topic in the study of Poe, and one that serves as the prolegomenon for a forthcoming, systematic study.