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Dieser neunte Band der Studien zum achtzehnten Jahrhundert enthält Vorträge, die anlässlich der neunten Jahrestagung der Deutschen Gesellschaft für die Erforschung des achtzehnten Jahrhunderts im November 1984 an der Universität des Saarlandes in Saarbrücken gehalten wurden. Sauder: Zur Einführung Simon: Herder und Kant. Sprache und historischer Sinn Kantzenbach: Selbstheit bei Herder. Anfragen zum Pantheismusverdacht Namowicz: Der Aufklärer Herder, seine Predigten und Schulreden Rogerson: Herders Gott. Einige Gespräche im Lichte seiner Predigten Irmscher: Zur Ästhetik des jungen Herder Nisbet: Herder und Lukrez Proß Herder und Vico: Wissenssoziologische Voraussetzungen des historischen Denkens Bollacher: >NaturVernunft

This is the first comprehensive study of Herder's preoccupation with the Song of Songs, Baildam considers the importance of this poetry in his thinking, and examines his commentaries and translations of 1776 and 1778. Despite Herder's claims to the contrary, his own cultural position is revealed in his translations, and in his unique interpretation of the work as the voice of pure, paradisal love. Starting with Herder's interest in the Song of Songs between 1765 and 1778, this book sets his reflections in the wider context of his relativistic views on the nature of poetry, contemporary German culture, and the importance of primitive poetry in general and the poetry of the Bible in particular. Then Baildam looks at current literary critical theories with implications for Herder's translations of these 'Lieder der Liebe', and discusses Herder's theories of language and translation in comparison with German translation theories. Herder's reading of the Song as the most primitive, natural and sublime example of Hebrew poetry is placed in the context of earlier and contemporary interpretations, his opinion of which is examined. In the last part of the book, there is an appraisal first of Herder's commentaries themselves, analysing how the details reflect his overall concept of the work, and then of his translations, comparing them with each other, with the Lutheran text to which Herder ultimately directed his readership, and with the Hebrew text. A concluding chapter reviews the reception of Herder's work, and three appendices offer a parallel presentation of Herder's translations of 1776 and 1778, Luther's translation of 1545, and Goethe's translation of 1775.

Up to now, Johann Gottfried Herder has been seen as a symbolic figure for overcoming ""classical"" rhetoric in German Storm and Stress. This view is however at variance both with Herder`s own rhetorical practice and with his intensive study of the discipline and his objection to Kant`s condemnation of it. Björn Hambsch bases his study on Herder`s complete works and numerous manuscript sources and provides the first analysis of Herder`s engagement with classical and modern rhetoric he illuminates the complex interplay of critique, application and transformation of knowledge of rhetorical theory and practice in Herder`s life`s work.

Dieser neunte Band der Studien zum achtzehnten Jahrhundert enthält Vorträge, die anlässlich der neunten Jahrestagung der Deutschen Gesellschaft für die Erforschung des achtzehnten Jahrhunderts im November 1984 an der Universität des Saarlandes in Saarbrücken gehalten wurden. Sauder: Zur Einführung Simon: Herder und Kant. Sprache und historischer Sinn Kantzenbach: Selbstheit bei Herder. Anfragen zum Pantheismusverdacht Namowicz: Der Aufklärer Herder, seine Predigten und Schulreden Rogerson: Herders Gott. Einige Gespräche im Lichte seiner Predigten Irmscher: Zur Ästhetik des jungen Herder Nisbet: Herder und Lukrez Proß Herder und Vico: Wissenssoziologische Voraussetzungen des historischen Denkens Bollacher: >NaturVernunft

Johann Gottfried Herder (1744-1803) has been called the German Rousseau. Yet while Rousseau is recognized as a political thinker, Herder is not. This book explores each thinker's ideas--on nature and culture, selfhood and mutuality, paternalism, freedom, and autonomy--and compares their conceptions of legitimate statehood. Arguing that the crux of political legitimacy for both men was the possibility of "extended selfhood," Barnard shows that Herder, like Rousseau, profoundly altered human self-understandings, thus influencing modes of justifying political allegiance.

Distinguished ethnomusicologist Philip V. Bohlman compiles Johann Gottfried Herder’s writings on music and nationalism, from his early volumes of Volkslieder through sacred song to the essays on aesthetics late in his life, shaping them as the book on music that Herder would have written had he gathered the many strands of his musical thought into a single publication. Framed by analytical chapters and extensive introductions to each translation, this book interprets Herder’s musings on music to think through several major questions: What meaning did religion and religious thought have for Herder? Why do the nation and nationalism acquire musical dimensions at the confluence of aesthetics and religious thought? How did his aesthetic and musical thought come to transform the way Herder understood music and nationalism and their presence in global history? Bohlman uses the mode of translation to explore Herder’s own interpretive practice as a translator of languages and cultures, providing today’s readers with an elegantly narrated and exceptionally curated collection of essays on music by two major intellectuals.

Distinguished ethnomusicologist Philip V. Bohlman compiles Johann Gottfried Herder’s writings on music and nationalism, from his early volumes of Volkslieder through sacred song to the essays on aesthetics late in his life, shaping them as the book on music that Herder would have written had he gathered the many strands of his musical thought into a single publication. Framed by analytical chapters and extensive introductions to each translation, this book interprets Herder’s musings on music to think through several major questions: What meaning did religion and religious thought have for Herder? Why do the nation and nationalism acquire musical dimensions at the confluence of aesthetics and religious thought? How did his aesthetic and musical thought come to transform the way Herder understood music and nationalism and their presence in global history? Bohlman uses the mode of translation to explore Herder’s own interpretive practice as a translator of languages and cultures, providing today’s readers with an elegantly narrated and exceptionally curated collection of essays on music by two major intellectuals.

J.S. Bach's first biographer Johann Forkel numbered Johann Gottfried Muthel (1728-88) among the most remarkable of Bach's pupils, while Charles Burney ranked Muthel's works as among 'the greatest productions of the present age.'; The composer's five keyboard and strings concertos, distinctly individual, displaying sophisticated rhythms and harmonic playfulness, typify his era's straddling between the Baroque and Viennese Classicism. The young Polish harpsichordist Marcin is supported by his accl

"The eye that gathers impressions is no longer the eye that sees a depiction on a surface; it becomes a hand, the ray of light becomes a finger, and the imagination becomes a form of immediate touching."—Johann Gottfried Herder Long recognized as one of the most important eighteenth-century works on aesthetics and the visual arts, Johann Gottfried Herder's Plastik (Sculpture, 1778) has never before appeared in a complete English translation. In this landmark essay, Herder combines rationalist and empiricist thought with a wide range of sources—from the classics to Norse legend, Shakespeare to the Bible—to illuminate the ways we experience sculpture. Standing on the fault line between classicism and romanticism, Herder draws most of his examples from classical sculpture, while nevertheless insisting on the historicity of art and of the senses themselves. Through a detailed analysis of the differences between painting and sculpture, he develops a powerful critique of the dominance of vision both in the appreciation of art and in our everyday apprehension of the world around us. One of the key articulations of the aesthetics of Sturm und Drang, Sculpture is also important as an anticipation of subsequent developments in art theory. Jason Gaiger's translation of Sculpture includes an extensive introduction to Herder's thought, explanatory notes, and illustrations of all the sculptures discussed in the text.

Herder, Johann Gottfried, Bunge, Marcia J.

Herder, Johann Gottfried, Bunge, Marcia J.

A seminal figure in the philosophy of history, culture, and language, Johann Gottfried Herder (1744-1803) also produced some of the most important and original works in the history of aesthetic theory. A student of Kant, he spent much of his life striving to reconcile the opposing poles of Enlightenment thought represented by his early mentors. His ideas influenced Hegel, Schleiermacher, Nietzsche, Dilthey, J. S. Mill, and Goethe. This book presents most of Herder's important writings on aesthetics, including the main sections of one of his major untranslated works, Kritische Wälder (Critical Forests). These notes, essays, and treatises, the majority of which appear here in English for the first time, show this idiosyncratic thinker both deeply rooted in the controversies of his day and pointing the way to future developments in aesthetics. Chosen to reflect the extent and diversity of Herder's concerns, the texts cover such topics as the psychology and physiology of aesthetic perception, the classification of the arts, taste, Shakespeare, the classical tradition, and the relationship between art and morality. Few thinkers have reflected so sensitively and productively on the cultural, historical, anthropological, ethical, and theological dimensions of art and the creative process. With this book, the importance of aesthetics to the evolution and texture of Herder's own thought, as well as his profound contribution to that discipline, comes fully into view.

Up to now, Johann Gottfried Herder has been seen as a symbolic figure for overcoming ""classical"" rhetoric in German Storm and Stress. This view is however at variance both with Herder`s own rhetorical practice and with his intensive study of the discipline and his objection to Kant`s condemnation of it. Björn Hambsch bases his study on Herder`s complete works and numerous manuscript sources and provides the first analysis of Herder`s engagement with classical and modern rhetoric he illuminates the complex interplay of critique, application and transformation of knowledge of rhetorical theory and practice in Herder`s life`s work.

The figure of Johann Gottfried Herder looms increasingly important not only for his prescient contributions to many fields - biblical criticism, philosophy of language, literary criticism, philosophy of history - but also for his pivotal position between the impulses of the Enlightenment and Romanticism. Many of Herder's questions and concerns are more pressing at the end of the modern era than they were at its inception. Bunge's lucid and engaging translations of signal texts from Herder - most appearing here for the first time in English - are arranged thematically: human nature, language, and history; myth and religion; God and nature; literature and the Bible; and Christianity and theology. Along with her extensive Introduction and Bibliography, they constitute an essential resource for coming to terms with the checkered legacy of the Enlightenment.

The figure of Johann Gottfried Herder looms increasingly important not only for his prescient contributions to many fields - biblical criticism, philosophy of language, literary criticism, philosophy of history - but also for his pivotal position between the impulses of the Enlightenment and Romanticism. Many of Herder's questions and concerns are more pressing at the end of the modern era than they were at its inception. Bunge's lucid and engaging translations of signal texts from Herder - most appearing here for the first time in English - are arranged thematically: human nature, language, and history; myth and religion; God and nature; literature and the Bible; and Christianity and theology. Along with her extensive Introduction and Bibliography, they constitute an essential resource for coming to terms with the checkered legacy of the Enlightenment.

A seminal figure in the philosophy of history, culture, and language, Johann Gottfried Herder (1744-1803) also produced some of the most important and original works in the history of aesthetic theory. A student of Kant, he spent much of his life striving to reconcile the opposing poles of Enlightenment thought represented by his early mentors. His ideas influenced Hegel, Schleiermacher, Nietzsche, Dilthey, J. S. Mill, and Goethe. This book presents most of Herder's important writings on aesthetics, including the main sections of one of his major untranslated works, Kritische Wälder (Critical Forests). These notes, essays, and treatises, the majority of which appear here in English for the first time, show this idiosyncratic thinker both deeply rooted in the controversies of his day and pointing the way to future developments in aesthetics. Chosen to reflect the extent and diversity of Herder's concerns, the texts cover such topics as the psychology and physiology of aesthetic perception, the classification of the arts, taste, Shakespeare, the classical tradition, and the relationship between art and morality. Few thinkers have reflected so sensitively and productively on the cultural, historical, anthropological, ethical, and theological dimensions of art and the creative process. With this book, the importance of aesthetics to the evolution and texture of Herder's own thought, as well as his profound contribution to that discipline, comes fully into view.

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Johann Georg Hamann (1730-88) is a major figure not only in German philosophy but also in literature and religious history. In his own time he wrote penetrating criticisms of Herder, Kant, Mendelssohn, and other Enlightenment thinkers; after his death he was an important figure for Goethe, Hegel, Kierkegaard, and others. It was only in the twentieth century, however, that the full and radical extent of his 'linguistic' critique of philosophy was recognized. This volume presents a translation of a wide selection of his essays, including both famous and lesser-known works. Hamann's enigmatic prose-style was deliberately at odds with Enlightenment assumptions about language, and a full apparatus of annotation explains the numerous allusions in his essays. The volume is completed by a historical and philosophical introduction and suggestions for further reading.

Emil Wolff (1802-1879), einer der meistbeschäftigten Bildhauer seiner Zeit, ist bislang in seiner Bedeutung kaum gewürdigt worden. In dieser Arbeit wird Wolff, Neffe von Johann Gottfried Schadow, mehrere Jahre in dessen Berliner Atelier und Schüler der Akademie, erstmals in der Fülle seines Schaffens und Engagements dargestellt. Seit 1822 in Rom, erfuhr er seine entscheidende Prägung durch Bertel Thorvaldsen. Wolff traf in der Vielfalt von mythologischen Genrefiguren und durch die Virtuosität in der Bildniskunst den Geschmack der in Rom weilenden Kunsttouristen. Neben seiner künstlerischen Tätigkeit restaurierte er antike Skulpturen und engagierte sich bei der Gründung des Deutschen Archäologischen Institutes in Rom im Jahre 1829. Darüber hinaus besaß er diplomatisches Geschick als Kunstagent und Einkäufer von antiken Originalen und Gipsabgüssen für die Berliner Museen.