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Primarily celebrated for his dramatic works Minna von Barnhelm, Emilia Galotti and Nathan der Weise, Gotthold Ephraim Lessing's diverse pursuits extended far beyond the stage. From incisive journalism to innovative reflections on poetry, aesthetics and theology, his wide-ranging intellectual interests place him firmly alongside contemporary polymaths such as Diderot. In this extensive study an international team of experts explores Lessing's contribution to both the German and broader European Enlightenments to reveal: the energy and acuity of his critical writing, which made him an exemplar for subsequent German authors; the originality and lasting significance of Laocoon, his groundbreaking treatise on aesthetics, which distinguished the domains of poetry and the visual arts, and is still a major point of reference; how his reflections on theology and the Bible helped shape a view of Christianity as a historical phenomenon without absolute truth; how his Enlightenment curiosity and open-mindedness were nourished by an interest in natural science, particularly astronomy; how activities such as his adaptation of English domestic tragedy and his translations of Diderot's theatrical writings placed him at the heart of the pan- European Enlightenment.

The series Studien zur deutschen Literatur (Studies in German Literature) presents outstanding analyses of German-speaking literature from the early modern period to the present day. It particularly embraces comparative, cultural and historical-epistemological questions and serves as a tradition-steeped forum for innovative literary research. All submitted manuscripts undergo a double peer-review process. Please contact the editor Marcus Bhm (marcus.boehm [at] degruyter.com) for further information regarding manuscript submission and subsidies.

Christianity proposes claims that stand in some relation to history. This linkage was captured in an image proposed by G.E. Lessing in the 18th century when he spoke of an "ugly ditch" between historical and religious truths. There exists a "ditch" because of the conceptual divide between discrete, contingent occurrences and religious truths of a presumably universal significance. The "ditch" is ugly because there has been no obvious way of mediating this conceptually odd divide.This book aims to disclose the ways we have been misled or confused by the use of Lessing's image, the net effect of which is a series of misplaced theological battles due to an incorrect naming of the enemy. The book is an effort to untangle those issues intrinsically important yet debated in confusing ways; it is a piece of philosophical writing with a theological interest. The conclusion is that while this theological shadowboxing has been occurring, the crucial, substantive issue posed by Lessing's image has been neglected. This is the issue of historical revelation and its relation to natural modes of human knowing and apprehension.

Despite the benevolent intellectual climate of the 1960s in Germany which had witnessed a reappraisal of earlier attitudes towards the eighteenth century in general, and towards the Aufklärung in particular, relatively little has since been done to pursue this stimulus to its logical conclusion – or to a discussion of possible conclusions. By looking beyond artificial literary classifications at the historical data and by accumulating detailed empirical evidence this study seeks to reappraise this situation, firstly by establishing a case which overcomes the traditional antithesis of Aufklärung and Sturm und Drang, and secondly by presenting a clear picture of the degree and nature of Lessing’s influence on German dramatists from Herder to Schiller.

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Gotthold Ephraim Lessing is the most representative figure of the German Enlightenment. His defense of Spinoza, who had traditionally been condemned as an atheist, provoked a major controversy in philosophy, and his publication of Reimarus' radical assault on Christianity led to fundamental changes in Protestant theology. This volume presents the most comprehensive collection in English of Lessing's philosophical and theological writings, several of which are translated for the first time.

This study analyses the emergence of aesthetic theory in eighteenth-century Germany in relation to contemporary theories of the nature of language and signs. As well as being extremely relevant to the discussion of literary theory, this perspective casts much light on Enlightenment aesthetics. The central text under consideration shows that the extended comparison of poetry and the plastic arts contained in that major work of aesthetic criticism rests upon a theory of signs and constitutes a complex and global theory of aesthetic signification. His analysis of Laocoon is preceded by chapters which establish the underlying structure and influence of the Enlightenment metasemiotic - that is, the place and function of the sign concept in the culture of the early eighteenth century. As an important reinterpretation of Lessing's Laocoon and of the development of German aesthetic theory, this book will be of special interest to students and scholars of German literature. Moreover, as a significant chapter in the history of semiotics, it will be read with profit by all those concerned with the history of literary criticism and aesthetic theory.

Primarily celebrated for his dramatic works Minna von Barnhelm, Emilia Galotti and Nathan der Weise, Gotthold Ephraim Lessing's diverse pursuits extended far beyond the stage. From incisive journalism to innovative reflections on poetry, aesthetics and theology, his wide-ranging intellectual interests place him firmly alongside contemporary polymaths such as Diderot. In this extensive study an international team of experts explores Lessing's contribution to both the German and broader European Enlightenments to reveal: the energy and acuity of his critical writing, which made him an exemplar for subsequent German authors; the originality and lasting significance of Laocoon, his groundbreaking treatise on aesthetics, which distinguished the domains of poetry and the visual arts, and is still a major point of reference; how his reflections on theology and the Bible helped shape a view of Christianity as a historical phenomenon without absolute truth; how his Enlightenment curiosity and open-mindedness were nourished by an interest in natural science, particularly astronomy; how activities such as his adaptation of English domestic tragedy and his translations of Diderot's theatrical writings placed him at the heart of the pan- European Enlightenment.

Christianity proposes claims that stand in some relation to history. This linkage was captured in an image proposed by G.E. Lessing in the 18th century when he spoke of an "ugly ditch" between historical and religious truths. There exists a "ditch" because of the conceptual divide between discrete, contingent occurrences and religious truths of a presumably universal significance. The "ditch" is ugly because there has been no obvious way of mediating this conceptually odd divide.This book aims to disclose the ways we have been misled or confused by the use of Lessing's image, the net effect of which is a series of misplaced theological battles due to an incorrect naming of the enemy. The book is an effort to untangle those issues intrinsically important yet debated in confusing ways; it is a piece of philosophical writing with a theological interest. The conclusion is that while this theological shadowboxing has been occurring, the crucial, substantive issue posed by Lessing's image has been neglected. This is the issue of historical revelation and its relation to natural modes of human knowing and apprehension.

Theological Writings: Selected in Translation

This study analyses the emergence of aesthetic theory in eighteenth-century Germany in relation to contemporary theories of the nature of language and signs. As well as being extremely relevant to the discussion of literary theory, this perspective casts much light on Enlightenment aesthetics. The central text under consideration shows that the extended comparison of poetry and the plastic arts contained in that major work of aesthetic criticism rests upon a theory of signs and constitutes a complex and global theory of aesthetic signification. His analysis of Laocoon is preceded by chapters which establish the underlying structure and influence of the Enlightenment metasemiotic - that is, the place and function of the sign concept in the culture of the early eighteenth century. As an important reinterpretation of Lessing's Laocoon and of the development of German aesthetic theory, this book will be of special interest to students and scholars of German literature. Moreover, as a significant chapter in the history of semiotics, it will be read with profit by all those concerned with the history of literary criticism and aesthetic theory.

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In these twenty-four provocative interviews, Doris Lessing talks frankly to a variety of interviewers--among them Joyce Carol Oates and Studs Terkel--about a wide range of subjects that concern her deeply. We hear about her early years in Southern Rhodesia (now Zimbabwe), her involvement in Marxist politics, her views on feminism and "space fiction," and her own work, especially The Golden Notebook and The Good Terrorist. Included is a recent talk on the failure of Communism. These interviews, informed by Lessing's unfailing intelligence and refreshing directness, present an invaluable and up-to-date view of the mind and art of a distinguished contemporary writer.

This volume views Doris Lessing's writing as a whole and in retrospect, focusing on her innovative attempts to rework literary form to engage with the challenges thrown up by the sweeping historical changes through which she lived.

It is against this background of the theater's high prestige as a forum for ideas, as the summit of the literary arts, as the place where all the arts coalesce in a Wagnerian 'Gesamtkunstwerk' or dialectically oppose and ironize each other in Brechtian epic 'alienation, ' of the drama as a method of thought, of concrete philosophizing, that the astounding wealth of critical and theoretical writings about drama and theater that the German-speaking world has produced over the last two hundred and fifty years must be seen and appreciated.

This volume views Doris Lessing's writing as a whole and in retrospect, focusing on her innovative attempts to rework literary form to engage with the challenges thrown up by the sweeping historical changes through which she lived.

Delves through interviews with Lessing's friends and associates, as well as her autobiographical novels and memoirs, to explore her life and literary career.

Lessing's Spinozism looms up out of the numerous intellectual riddles of the past. Almost everything has been tried in an effort to sound and weigh the exact amount of Spinozism Lessing betrayed in his conversations with Jacobi. This volume contains in translation the main writings relative to the famous 'pantheism debate' between Jacobi and Mendelssohn, which was prompted by Jacobi's revelation of the Spinozist leanings of the late Lessing. The Introduction provides the context of the debate and draws upon recent studies of 'Lessing's Spinozism' in an attempt to unravel the murky question of Lessing's philosophical legacy. Co-published with McMaster University

Gotthold Ephraim Lessing is the most representative figure of the German Enlightenment. His defense of Spinoza, who had traditionally been condemned as an atheist, provoked a major controversy in philosophy, and his publication of Reimarus' radical assault on Christianity led to fundamental changes in Protestant theology. This volume presents the most comprehensive collection in English of Lessing's philosophical and theological writings, several of which are translated for the first time.