By Kenneth S. Calhoon
Affecting Grace examines the significance of Shakespeare’s poetry and performs inside of German literature and notion after 1750 – together with its dating to German classicism, which favoured unreflected ease over theatricality. Kenneth S. Calhoon examines this stress opposed to an intensive backdrop that features a variety of canonical German authors – Goethe, Schiller, Herder, Lessing, von Kleist, and Nietzsche – in addition to the appearance of Meissen porcelain, the portray of Bernardo Bellotto and Francesco Guardi, and points of German kinds of architecture.
Extending from Shakespeare’s The service provider of Venice (c. 1597) to Kleist’s The damaged Jug (1806), this examine activates the anomaly that the German literary global had all started to include Shakespeare simply because it used to be toning up the large yet suggested anti-Baroque sensibility came upon pivotally in Lessing’s severe and dramatic works. via those investigations, Calhoon illuminates the deep cultural adjustments that essentially affected Germany’s literary and inventive traditions.
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Extra resources for Affecting Grace: Theatre, Subject, and the Shakespearean Paradox in German Literature from Lessing to Kleist
The reluctant pilgrim swoons at the parade of misery just as he chokes on Hell’s unbearable stench, indeed he is overcome by the mere memory of all he sees, hears, and smells. His powerful affective response not only marks the experience as antithetical to disinterested contemplation but also positions the latter as the contrary of belief. Auerbach, the theorist of Dante’s “realism,” writes the history of Western literature as a departure from the world of the Homeric poems, which, in contrast to their Biblical counterparts, do not compel the reader to credit them with being true.
50 This capacity for oblivion is shared by the Classical object and marks it as a fetish, its purpose being that of erasing memory and with Introduction 21 it the very debt around which the subject is constructed. The Classical object and theatrical subject are the conceptual parameters in this study, which examines the afterlife of Portia’s famous appeal in a period of German literature and thought that mounts a rearguard action against the history unleashed by the jug’s destruction. ” It may in fact be Nietzsche, more than Lessing, for whose work Shakespeare’s play has the sharper conceptual resonance.
The tale looks forward to the Nietzschean theme of individuals who grow sick (and ugly) from nursing a noxious rancour and holding it in reserve. 85]). The latter half of the eighteenth century, with its emphasis on a “language of the heart,” positions itself less against overt theatrics than the practice of hiding what lies within. Lessing’s generation established norms of representation that were not conducive to existing forms of socially sanctioned deception, in particular flattery, which is itself a theatre of calculated self-deprecation.