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The. German literature (German: Deutschsprachige Literatur) comprises those literary texts written in the German language. This includes literature written in Germany, Austria, the German parts of Switzerland and Belgium, Liechtenstein, Luxembourg, South Tyrol in Italy and to a lesser extent works of the German diaspora.
17th–18th centuries. The Baroque (UK: / bəˈrɒk / bə-ROK, US: /- ˈroʊk / -ROHK; French: [baʁɔk]) is a Western style of architecture, music, dance, painting, sculpture, poetry, and other arts that flourished from the early 17th century until the 1750s. [ 1 ] It followed Renaissance art and Mannerism and preceded the Rococo (in the ...
Sturm und Drang. Sturm und Drang (/ ˌʃtʊərm ʊnt ˈdræŋ, - ˈdrɑːŋ /, [1] German: [ˈʃtʊʁm ʔʊnt ˈdʁaŋ]; usually translated as "storm and stress" [2]) was a proto- Romantic movement in German literature and music that occurred between the late 1760s and early 1780s. Within the movement, individual subjectivity and, in particular ...
Middle High German literature refers to literature written in German between the middle of the 11th century and the middle of the 14th. In the second half of the 12th century, there was a sudden intensification of activity, leading to a 60-year "golden age" of medieval German literature referred to as the mittelhochdeutsche Blütezeit (c. 1170 – c. 1230).
Instead of focusing on the more famous examples of baroque drama from around the world, such as Pedro Calderón de la Barca and William Shakespeare, Benjamin chose to write about the minor German dramatists of the 16th and 17th century: Martin Opitz, Andreas Gryphius, Johann Christian Hallmann, Daniel Caspar von Lohenstein, and August Adolf von Haugwitz.
The doctrine of the affections, also known as the doctrine of affects, doctrine of the passions, theory of the affects, or by the German term Affektenlehre (after the German Affekt; plural Affekte) was a theory in the aesthetics of painting, music, and theatre, widely used in the Baroque era (1600–1750). [1][2] Literary theorists of that age ...
Schultz--the other member of Benjamin's committee who seems to have directed him to the subject of Baroque drama in the first place, only to reject the thesis that derived from this recommendation--is virtually altogether forgotten. The episode in the history of the German academy is immortalized in the bon mot, "One cannot habilitate intellect."
Georg von Bertouch. Balthasar Christian Bertram. Samuel Besler. Johann Samuel Beyer. Johann Adam Birkenstock. Erhard Bodenschatz. Sebastian Bodinus. Philipp Friedrich Böddecker. Georg Böhm.