Cosmopolitan translation and patriotic sensibilities in German garden art

ABSTRACT

My focus in this article is on a small group of German theorists, designers and patrons who thought extensively about the relationship between national identity and garden design: Christian Hirschfeld, Prince Franz von Anhalt-Dessau and his wife Luise, Johann Wolfgang von Goethe, and Prince Pückler. These garden enthusiasts knew one another through personal contact or their writings, and they responded to and developed their ideas in relation to the newly framed creative enterprise in German lands of “garden-landscape-art”. What they shared was a conviction that garden forms affect feelings, with the role of the garden artist to determine paths that would alter and diversify the visitor’s experience of place. This essay explores how spontaneous emotions, elicited by movement through the garden, were linked with a growing sense of patriotism that contrasted with cosmopolitan judgments in the writings of Hirschfeld, Pückler, and Goethe.     

DWELLING WITHIN: THE INHABITED RUINS OF HISTORY1

Addressing the recent call to rethink history as a form of presence, the essay works toward a recovery of a space in which such presence of history is encoded. I argue that history as a form of active perception is akin to virtual witnessing of the past in the moment of our encounter with historical artifacts, be they texts, photographs, or buildings. To this end, I engage with the conceptual and material aspects of historical perception, deriving a model of history as “inhabited ruins,” the way it emerges together with historical consciousness and finds an especially dynamic expression in Georg Simmel's philosophy of culture. Throughout, I work with the notion of distance and trans‐dimensional presence as the forces that shape and reshape historical awareness. Ruins, intimately connected to the modern historical imagination, are approached not as sites of commemoration or nostalgia, but as spaces of active exchange between presence and disappearance. As such, they are taken to be the models for the transitive character of history itself, blurring the division between perception and thought. In other words, ruins are taken as structures that evoke and summon the past to an encounter with contemporary reality—a type of co‐appearance that opens the possibility of virtually witnessing the past. I conclude that the logic of “inhabited ruins” constitutes the event‐horizon of modern identity, always placing history right at the threshold of fragmentation.     

The grotesque in the plays of Enda Walsh

This article attempts to outline the aesthetic of Enda Walsh's dramatic oeuvre, viewing it as fundamentally grotesque. Plays such as The New Electric Ballroom, The Walworth Farce, and Penelope have generally enjoyed a most enthusiastic reception; however, reviewers and critics have remained largely baffled as to where exactly these intoxicating pieces have left them. A plausible way of addressing the distinctive combination of citationality, the intermingling of genres, linguistic brilliance, circuitous structure, pathological interaction between characters, and the darkest humour, may consist in juxtaposing Walsh's technique with concepts of the grotesque as outlined, alternately, by Mikhail Bakhtin and Wolfgang Kayser. The consequent observations on the grotesque in Walsh's plays are followed by a query as regards the moral dimension of Walsh's aesthetic, focusing on their position in relation to Bakhtin's assertion of the liberating potential of the grotesque as opposed to Kayser's insistence on the grotesque coming across as essentially bleak and hopeless.     

The Influence of Goethe's Farbenlehre on Early Geological Map Colouring: Goethe's Contribution to Christian Keferstein's General Charte von Teutschland (1821)

An analysis of Goethe's Farbenlehre (Theory of Colours), and of its significance for the development of geological mapping, requires an interdisciplinary approach and specific knowledge of both the history of cartography and the science of chromatics. Thus far there has been little research in either of these areas by historians of geological cartography or by students of Goethe's Farbenlehre. In particular, the influence of Goethe's Theory of Colours on early geological map colouring has not yet been explored, and the present article is an attempt to rectify that omission. After an introduction to the emergence of geological maps during the Age of Enlightenment, the discussion focuses on Goethe's substantial contribution to the selection of colours for Christian Keferstein's General Charte von Teutschland (1821). Detailed study of the available textual and cartographical source material reveals that Goethe applied the principles of his Farbenlehre as a basis for the colour chart that Keferstein used to delineate the rock formations shown on his map. The article concludes with a brief consideration of the extent to which the joint Goethe–Keferstein venture influenced the future of geological map design.     

Überlegungen zur Verortung der Nanotechnologie in einem wissenschafts‐ und technikgeschichtlichen Kontinuum

Reflections about an embedding of nanotechnology in a continuum of the history of science and technology. Nanotechnology is not a completely new technology, we can rather understand it as a continuation and extension of chemical technology. Along this line, it is not only problematic to characterize nanotechnology as a new ‘key technology’ but also the definition of nanotechnology as looking at a particular causality between properties and dimensions of materials seems hardly new. For embedding nanotechnology in such a greater historical context, the development of colloid chemistry at the beginning of the 20^th century by Richard Zsigmondy and Wolfgang Ostwald is shown as an important reference point. Modern theories of supramolecular chemistry as those constituted by Jean‐Marie Lehn and others refer to this line of research in colloid chemistry and lead currently to scientific foundations of some nanotechnological fields. The historical embedding of nanotechnology can hence be used as a contribution for a more realistic evaluation of the technological possibilities as well as for a critical estimation of technological visions.