Dietrich Boueke and Brigitte Röttger, “Severin Rüttgers: Ein Beitrag zum Irrationalismus in der Literaturdidaktik,” Pädagogische Rundschau 28 (1974): 23–41.ĭelightful and childlike simplicity. The quality of his scholarship degenerated. Jack David Zipes, Fairy Tales and the Art of Subversion: The Classical Genre for Children and the Process of Civilization (London: Heinemann Educational Books, 1983), 137. Warp children’s literature to their political purposes. The poem comprises sixteen octaves of octosyllabic lines. Cited by August Andrae, “Das Weiterleben alter Fablios, Lais, Legenden und anderer alter Stoffe,” Romanische Forschungen 16 (1904): 321–53, at 327. Robert Waldmüller, “Das tanzende Mönchlein,” Über Land und Meer: Deutsche illustrirte Zeitung 39 (October 1894–1895). For example, see Enoch Arden (Hamburg, Germany: Grüning, 1868), and Freundes-Klage: Nach Alfred Tennyson’s “In Memoriam” (Hamburg, Germany: Grüning, 1870). Texts by the British author that he chose to put into German. “Ein Besuch bei Victor Hugo,” Die Gartenlaube 26 (1867): 408–10. Saler, The Avant-Garde in Interwar England: Medieval Modernism and the London Underground (New York: Oxford University Press, 1999), 61–62. Silverman, The New Bibliopolis: French Book Collectors and the Culture of Print, 1880–1914 (Toronto: University of Toronto Press, 2008). 28 (Stockholm: Almqvist & Wiksell International, 1977), 29–30 (on Luc-Olivier Merson and Georges-Antoine Rochegrosse). Roger Tanner, Acta Universitatis Stockholmiensis: Stockholm Studies in History of Art, vol. Rolf Söderberg, French Book Illustration, 1880–1905, trans. William Morris, Hopes and Fears for Art (Boston, MA: Roberts Brothers, 1882), 20 delivered on Decemas “The Lesser Arts.” Notes to Chapter 1Īn art which we have made our own. Rolf Tiedemann and Hermann Schweppenhäuser, 7 vols. Walter Benjamin, “Über den Begriff der Geschichte,” in idem, Gesammelte Schriften, ed.
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