Friday, October 31, 2014

Scenes from the Andy Warhol Museum

Goethe Girl
The report on the 2014 Atkins Goethe Conference would not be complete without a few photos from our finale at the Warhol Museum. I am sorry that I did not get a photo of Clark Muenzer, who was a great host, or of Heather Sullivan and Horst Lange, his co-conspirators.

Simon Richter

Dennis Mahoney and Beate Alpert

Christina Weiler and Joseph Rockelmann

Sean Hughes and Peter Schwartz

Anne Bohnenkamp warholized

Sue Gustafso, Eleanor ter Horst, Fred Amrine

Andy



Birgit Tautz and Hans Vaget

Goethe Conference keynote speakers

Jane Brown and Anne Bohnenkamp-Renken
As a finale of the 2014 Atkins Goethe Conference in Pittsburgh, we enjoyed dinner at the Andy Warhol Museum. Standing next to the serigraphs Warhol did of one of Europe's first celebrities are Jane Brown and Anne Bohnenkamp-Renken. A few hours previously Anne had given a keynote address on the work of the Freies Deutsches Hochstift, of which she is the director, and of the exhibition strategies of the Frankfurt Goethe-Museum (ditto director). It was an exciting and fast-paced presentation, one of those occasions when I feel so happy to be associated with such splendid scholars and, of course, with Goethe. Although there are many small and regional museums throughout Germany devoted to different Romantic personalities, the Hochstift's present goal is to make Frankfurt the center of Romanticism in Europe with a new museum of Romanticism. They are in the position to do this after having acquired adjoining property formerly occupied by the German Börsenverein.

Ernst Beutler vor dem Goethe Haus, 1944
Anne's talk was accompanied by slides showing the history of the Goethe's birth house since its acquisition by Otto Volger in 1859 and the simultaneous founding of the Hochstift. One was a touching photo of Ernst Beutler, director of the Hochstift from 1925 until 1960, sitting with his son amid the bombed ruins of the Goethe family home in 1944. During the Second World War, besides photographing the interior of the home, Beutler also succeeded in transferring many of its contents, including the library, to safe locations. These efforts were essential in the house's rebuilding after the war. I have always treasured his Goethe essays; now another reason to treasure Beutler.

As for Anne Bohnenkamp-Renken, I have long been a fan. In my research I have read tons of articles and books on world literature, but it is only occasionally that I come across one that enlightens my understanding of what Goethe might have had in mind. Her article, "Rezeption der Rezeption: Goethes Entwurf einer 'Weltliteratur' im Kontext seiner Zeitschrift 'Über Kunst und Altertum'" (included in this volume), is not part of the endless discussions of what world literature "means," but concerns what she calls the "weitgehend vernachlässigten Entstehungs- und Publikationskontext des Goetheschen Ausdrucks."

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Heinzelmännchenbrunnen in Cologne
On this side of the Atlantic we Germanists also have a stellar Goethe scholar, Jane K. Brown, who delivered the first keynote of the conference. Goethe studies in the U.S. have been much enriched in the past half-century by such native American talent, as is demonstrated by a recent volume in her honor, Goethe's Ghosts: Reading and the Persistence of Literature. This volume, edited by Simon Richter and Richard Block, indicates by its title an appreciation for Jane's deep explorations of the European literary heritage as it was transmitted and transformed by Goethe, especially the continuance of the allegorical tradition. Her method of close reading of literary texts -- combining erudition with deft analyses of passages, plots, and plays, once the heart of literary scholarship -- occurred during the period when "theory" insinuated itself in the field of German studies. All the more reason to be a fan of Jane's.

Her keynote concerned Goethe's "Das Märchen" and what she called the "paradigmatic status of fairy tales for Goethe's works." I suspect that this exploration of the fairy tale is related to her longstanding work on allegory.

Wednesday, October 29, 2014

Space and memory in "Dichtung und Wahrheit"

Goethe-Haus Smart Guide
Gärten, Höfe, Hintergebäude ziehen sich bis an den Zwinger heran; man sieht mehrere tausend Menschen in ihren häuslichen, kleinen, abgeschlossenen, verborgenen Zustände.

The above is the description of the view from Goethe's childhood home in Frankfurt, to be found near the beginning of Dichtung und Wahrheit. It is illustrative of what Anthony Mahler called, in his paper at the Atkins Goethe conference, "desirous spaces," which form the structural principle of the autobiography. Its chronology, as Anthony pointed out, is difficult to follow, with events seemingly disconnected. Instead of the narrative being defined by the passage of events in time, it progresses via a series of "enclosed spaces," as "topoi of narration." Goethe is specific in his description of the house's compartmentalized rooms: "unzusammenhangende Zimmer," for instance, reached via a "turmartige Treppe."

Anthony characterized the multitude of enclosures as exciting the child's imagination by making him desirous to enter such spaces. In turn, growth in the poet's consciousness is achieved "through a narrative chain of border crossings in which the child either gains permission to enter or exit an enclosure or transgresses the border against some authority."

As I listened to his paper, a number of vignettes or stories that are lovingly detailed in the autobiography came to mind, e.g., the Gretchen story; the Sesenheim idyll; the Melusine story to which reference is made in that idyll; the imperial coronation ceremony; and so on. These, too, concern enclosures, but I had not previously related these vignettes to the structure of the autobiography. My own interpretation (in an essay that appeared in the Goethe Yearbook) was that the vignettes represented traditional poetic forms that the poet had to escape if he were to supersede them.

Something of the same flavor informed a second paper at the conference, by Steve Martinson. Steve presented Goethe as a "memory collector," with the autobiography representing a collection of memories. We all know that Goethe's avidity for collecting began in childhood already. According to Steve, the autobiography was an "aesthetically rich museum populated by living memories that inform and shape it: "Erinnerungsräume." Again, space, in which the individuals described take on a  statue-like character.

Both papers give me a new way of investigating Goethe's prose, especially the novels, which indeed seem to be structured by "set pieces."

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Sunday, October 26, 2014

GSNA conference: Romantic tendencies in art

The conference is over. I am heading back to NYC in a few hours. I'll try to do a wrap-up of the conference in the days ahead, but I'd like to highlight a couple of presentations, because they allow me to add lovely pictures to the post.

Catriona McLeod's subject was the illustrations of German Märchen in the early 19th century. Only slowly were the Grimm brothers open to including illustrations with their tales. They were, after all, scholars, but they became convinced that they were losing a lucrative publishing opportunity, not to mention that the English had already begun publishing translations of fairy tales with their own illustrations. The brothers kept the business in the family, commissioning Ludwig Emil Grimm. The paternal Grimms monitored Ludwig Emil's drawings, which led to Christianizing the reception of the tales. For instance, in an illustration of "Red Riding Hood" (Rotkäpchen), a Bible appears on the table in the room where Grandmother lies in bed. Another instance can be observed in the lovely illustration above of the tale about the boy who is turned into a fawn. The sister and the deadly river are of course part of the original tale, but not the angel who watches over the pair. I learned a new phrase in Catriona's talk: "discursive interventions," i.e., which describes the function of frontispieces.

Spring Landscape in Rosenthal near Leipzig by C.G. Carus, 1814
Beate Albert organized a session on painting and visual aesthetics focused on Goethe, Carl Gustav Carus, and Ludwig Tieck.  Carus (1789-1869) has been described by Peter Berglar as the "geniale Polyhistor und Polypragmatiker," who was also a medical doctor and psychologist, a "Naturwissenschaftler" and philosopher, painter, aesthetician, and writer, with over 200 writings to his name. (See the Goethe-Handbuch entry on Carus by Anton Philipp Knittel.) Their shared interest in the natural world and in art led to a correspondence between Carus and Goethe in 1818. Goethe had been enthusiastic about a book by Carus on animal anatomy, and the correspondence continued for a decade, during which time Carus sent many of his paintings to Goethe. The letters suddenly stopped three years before Goethe's death. Why is uncertain. Goethe drafted a letter to Carus in late 1831, but it was not sent.

Beate suggested some differences between the two men that may have played a role. Carus had worked on the front during the Napoleonic wars, an experience that left him with many psychic wounds, but that also led to his profound interest in "das unbewusste Seelenleben," a subject about which Goethe was very cautious and that explains much about his aversion to aspects of Romanticism. Carus seems to have been "purposive" in his life, both in medicine, in which he sought to help others, and in art, the practice of which served a therapeutic function for him. Goethe was antipathetic to art serving as therapy or, indeed, for any other purpose.

Saturday, October 25, 2014

Atkins Goethe conference in Pittsburgh

The first visit I made after my arrival in Pittsburgh was the University of Pittsburgh's Hillman Library, site of a very impressive exhibit of rare materials, including early editions of Goethe's own works or of works that he might have known and that served as sources of poetic inspiration, and of works by contemporaries. There were also some manuscripts, coins, drawings, and etching, and paintings. Here is the flyer from the event, with a contemporary watercolor satirizing the reception of Werther among readers in England, in this case a servant girl.

Friday, the first morning of the conference (here is a link), was opened by current president of the Goethe Society of North America, Clark Muenzer, who humorously detailed Goethe "connections" in the Pittsburgh environment. The closest contact Goethe had with this area was via his familiarity with the travels of Prince Bernhard of Saxe-Weimar-Eisenach who visited the state during his travels in the U.S. in 1825-26. In his account of his American travels, the prince described the Rappite community of German pietists who made their final home in the New World in a place they names "Economy," now Ambridge, Pennsylvania.

Clark's lightheartedness was followed by a panel of three previous presidents speaking on a serious topic: "Goethe and the Humanities." They were Ellis Dye, Simon Richter, and Astrida Orle Tantillo. I am not going to add my two cents to that subject here, although I did address it in my own presentation in the afternoon.

More later.

Thursday, October 16, 2014

World literature and progress

Several posts on this blog have discussed Peter Goßens book, which concerns the reception of Goethe's concept of world literature already in Goethe's lifetime and in the decades following his death. World literature was appropriated in the context of social and political reform. For instance, prominent in Goßens’ treatment is the influence of Karl August Varnhagen and the penetration of the ideas of the followers of Saint-Simon, especially among Goethe admirers in Varnhagen’s Berlin circle. Cyrus Hamlin has written that Varnhagen’s reading of the Wanderjahre was a “Gebrauchsanweisung für die zukünftige soziale Ordnung Europas in 19. Jahrhundert,” thereby forming, in Goßens’ words, “der Grundstein einer sozialistischen Goethedeutung.”

So "progessive Universalpoesie," although not in the sense in which Friedrich Schlegel meant. World literature was the inspiration for reformers, not only of their own society, but also of the world. The project was utopian: formal analysis was set aside, and aesthetics was subsumed into ethics.  It was this utopian vision that drew Marx’s ironic response to world literature in The Communist Manifesto and to the more scathing ridicule in Engels’ Anti-Dühring.

Goethe himself had of course asserted that literary exchange among the European nations would erode the prejudices that existed among them and, in the future, extend beyond Europe to encompass the world. Echoing Goethe, if not in his own words, the German-American comparatist Louis-Paul Betz (for Betz, see my earlier post) wrote the following in 1903:

 "Comparative literature not only creates new and more liberal insights into  both national literature and foreign literature, it not only reveals errors and corrects traditions, but it also achieves useful, ideal, and ethical purposes: world peace, mediation between peoples, a humanity that, regardless of the inner life of a nation, also has heart and feeling for that which takes place on the other side of the boundary post. … it leads to the recognition that the concord of peoples and progressive national development are based on an continuously growing consciousness of the richness of all peoples and of their universal unity and on the principle of being forever true to oneself and of joining with the Other."

French soldier and Indian bride return from Paris, 1720
In an essay in 1924 ("Mr Bennett and Mrs Brown") Virginia Woolf claimed that "on or about December 1910 human character changed." She was not saying that literature produced this change, but that literature began to record or reflect changes on the ground. In my last post, I suggested that commerce and trade, beginning in 16th century already, was the major factor in diminishing enmity among the people of the various countries, if not among their rulers. Trade produced a need for new products and inventions. The result was "progress," at first of a material nature. Such progress, however, would upend the the traditional order of life, open people's horizons, and and make them codependent on others for their comforts and their way of life. This term, however, came to be moralized: progress meant an advance on the past, which began to be considered retrograde. As the painting above shows (click to enlarge), Europeans also sought to improve the conditions of non-Europeans, to help them to "advance," which meant becoming European.

Picture credit: Anglais pour le Bac

Monday, October 13, 2014

World literature and trade and commerce

In my paper on the construction of Europe as a cultural space, I am drawing attention to three thinkers who stressed the connection between trade and commerce, on the one hand; and the "advance" of manners and customs and the amity among nations, on the other. These are Voltaire, Montesquieu, and Nicholas Barban.

First, Voltaire, in his 1736 work Le Mondaine (The Worldling):


See how that fleet, with canvas wings,
From Texel, Bordeaux, London brings,
By happy commerce to our shores,
All Indus, and all Ganges stores;
Whilst France, that pierced the Turkish lines,
Sutans make drunk with rich French wines.
Just as the time of Nature’s birth,
Dark ignorance o’erspread the earth;
None then in wealth surpassed the rest,
For naught the human race possessed.
Of clothes, their bodies then were bare,
They nothing had, and could not share:
Then too they sober were and sage,
Martialo lived not in that age.
Eve, first formed by the hand divine,
Never so much as tasted wine.
Do you our ancestors admire,
Because they wore no rich attire?
Ease was like wealth to them uknown,
Was’t virtue? Ignorance alone.
Would any fool, had he a bed,
On the bare ground have laid his head?


Next, Montesqieu, from Spirit of the Laws (1748):

“Commerce cures destructive prejudices, and it is an almost general rule that everywhere there are gentle mores, there is commerce and that everywhere there is commerce, there are gentle mores. ... Commerce has spread knowledge of the mores of all nations everywhere; they have been compared to each other, and good things have resulted from this.” (ch. 1)

“The natural effect of commerce is to lead to peace. Two nations that trade with each other become reciprocally dependent; if one has an interest in buying, the other has an interest in selling, and all unions are founded on mutual needs.” (ch. 2)

“It is the nature of commerce to make superfluous things useful, and useful things necessary.” (ch. 23)

Finally, the interesting figure of Barban, one of the earliest exponents of free trade, who makes concrete a point made by Goethe in his comments on world literature, namely, that commerce with other nations lessens our prejudices toward our neighbors. From A Discourse of Trade (1790):

"Nature may be satisfied with little; but it is the wants of the Mind, Fashion, and desire of Novelities, and Things scarce, that causeth Trade. A Person may have English-Lace, Gloves, or Silk, as much as he wants, and will Buy no more such; and yet, lay out his Money on a Point of Venice, Jessimine-Gloves, or French-Silks; he may desire to Eat Westphalian-Bacon, when he will not English ...”