By Stephen Brockmann
Nuremberg: The Imaginary Capital is a vast research of German cultural historical past when you consider that 1500, with specific emphasis at the interval when you consider that 1800. It explores the ways that Germans have imagined Nuremberg as a cultural and non secular capital, focusing emotions of nationwide id and belonging at the urban -- or on their snapshot of it. Chapters specialize in town of D?rer and Sachs on the threshold of the trendy period, the consideration of which grew to become the root for the entire different imaginary Nurembergs; the Romantic rediscovery of town within the overdue 18th century and the institutionalization of Nuremberg discourse throughout the Germanic nationwide Museum within the mid nineteenth; Wagner's Meistersinger von N?rnberg, the main recognized inventive invocation of the Nuremberg fable; the Nazi use and misuse of the Nuremberg delusion, besides Leni Riefenstahl's movie Triumph des Willens, not just the best-known Nuremberg movie but additionally the main major documentary of Hitler's 3rd Reich; and eventually the postwar improvement within which ''Nuremberg'' grew to become the logo of a brand new type of overseas legislations and justice. Stephen Brockmann analyzes how town got here to be obvious, in Germany and in different places, as consultant of the nationwide complete. He is going past the research of specific ancient sessions by way of exhibiting how successive epochs and their pictures of Nuremberg outfitted on these previous them, hence viewing German cultural and highbrow background as an intelligible cohesion based round fascination and veneration for a selected urban. Stephen Brockmann is professor of German at Carnegie Mellon college. he's the recipient of the 2007 DAAD (German educational trade carrier) Prize for unusual Scholarship in German and ecu Studies/Humanities.
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Additional resources for Nuremberg: The Imaginary Capital
England had expelled its Jews in 1290, and Spain expelled its Jews seven years before Nuremberg did, in 1492, the year of the Catholic reconquest of Spain and Columbus’s discovery of the New World. All in all, Nuremberg at the beginning of the sixteenth century presents a picture of remarkable economic, political, and artistic success. Its fame had spread through all of Germany and Europe, its craftsmen and their wares were valued far and near, and the city had great weight in the affairs of the Empire.
17 The great woodcarver Veit Stoss was not well-treated by Nurembergers at the end of the eighteenth and the beginning of the nineteenth century. Wackenroder himself complained that Stoss’s masterpiece, the “Angelic Salutation,” was kept wrapped up at the church of St. ”18 Two decades after Wackenroder’s complaint, the citizens of Nuremberg tried to save money by replacing the metal chain from which the “Angelic Salutation” was suspended with a rope made of hemp. In 1817 the rope snapped, and the priceless artwork crashed to the ground.
20 For the city fathers, meanwhile, the end of the eighteenth and the beginning of the nineteenth centuries was the time to get rid of the old and make way for the new. qxd 6/15/06 1:52 PM Page 37 THE CAPITAL OF NOSTALGIA 37 traffic. At the beginning of the nineteenth century it looked as if Nuremberg, too, might be modernized. And for most of the city’s visitors this would not have been a bad thing. ”21 Such negative descriptions of Nuremberg were entirely in keeping with the prejudices of the Enlightenment against the medieval period generally and Gothic architecture in particular.