LEADER 03900nam 22006132 450 001 9911008440803321 005 20151002020706.0 010 $a1-281-94929-9 010 $a9786611949297 010 $a1-57113-673-8 024 7 $a10.1515/9781571136732 035 $a(CKB)1000000000720107 035 $a(OCoLC)301820656 035 $a(CaPaEBR)ebrary10354721 035 $a(SSID)ssj0000135877 035 $a(PQKBManifestationID)11134372 035 $a(PQKBTitleCode)TC0000135877 035 $a(PQKBWorkID)10062789 035 $a(PQKB)10115614 035 $a(UkCbUP)CR9781571136732 035 $a(MiAaPQ)EBC3003616 035 $a(DE-B1597)675826 035 $a(DE-B1597)9781571136732 035 $a(EXLCZ)991000000000720107 100 $a20120822d2006|||| uy| 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 14$aThe decline and fall of Virgil in eighteenth-century Germany $ethe repressed muse /$fGeoffrey Atherton 210 1$aSuffolk :$cBoydell & Brewer,$d2006. 215 $a1 online resource (xx, 312 pages) $cdigital, PDF file(s) 225 1 $aStudies in German literature, linguistics, and culture 300 $aTitle from publisher's bibliographic system (viewed on 02 Oct 2015). 311 08$a1-57113-306-2 320 $aIncludes bibliographical references (p. [289]-306) and index. 327 $aVirgil: a Pentheus to the Germans in the eighteenth century? -- Virgil both read and unread -- Virgil the Rhapsode -- Theorizing genre: from pastoral to idyll -- The German idyll and the Virgilian muse. 330 $aIn the early modern period, the culture of Rome, with Virgil as its greatest figure, was the model for emulation. The age of Louis XIV compared itself to the Augustan age, and Dryden hailed Virgil as 'my Divine Master.' But in 18th-century Europe, a general shift occurred in favor of Greece, a trend that was most pronounced in Germany. Winckelmann, the spokesman for philhellenism, extolled Greek art and dismissed all Roman art as derivative and Virgil as second rate and incapable of understanding true beauty. Yet he nonetheless remained indebted to Virgil for his view of Greek art, although he failed to recognize it. The export of Winckelmann's new view of Virgil and more generally Roman culture - shared to varying extents by Lessing, Herder, Goethe, and the brothers Schlegel - to the rest of Europe in the 19th century, particularly to the English-speaking world via Coleridge and Matthew Arnold] soon made it the reigning dogma: indeed it formed the point of departure for Virgil scholarship in the 20th century. This, however, did not prevent German poets from using Virgil, although neither they nor later scholars called attention to it. Virgil became a repressed muse, and has a continued, unexamined presence in the epic and idyll of Klopstock, Wieland, Goethe, and Novalis. Geoffrey Atherton's comparative investigation of the relation of modernity to antiquity through Virgil and his twofold reception represents a new perspective on this issue. Geoffrey Atherton is assistant professor in the Department of German Studies at Connecticut College. 410 0$aStudies in German literature, linguistics, and culture (Unnumbered) 517 3 $aThe Decline & Fall of Virgil in Eighteenth-Century Germany 606 $aGerman literature$y18th century$xHistory and criticism 606 $aAesthetics, German$y18th century 615 0$aGerman literature$xHistory and criticism. 615 0$aAesthetics, German 676 $a830.9/351 686 $aFB 5701$qBSZ$2rvk 700 $aAtherton$b Geoffrey$f1965-$01828073 801 0$bUkCbUP 801 1$bUkCbUP 906 $aBOOK 912 $a9911008440803321 996 $aThe decline and fall of Virgil in eighteenth-century Germany$94396167 997 $aUNINA