From Portrait to Tableau Vivant: The Pictures of Emilia Galotti
1985; Johns Hopkins University Press; Volume: 19; Issue: 1 Linguagem: Inglês
10.2307/2739129
ISSN1086-315X
Autores ResumoBOURGEOIS CLASS CONSCIOUSNESS, as far as it had awakened at all in the [eighteenth] century, found its culmination, so to speak, in Emilia Galotti.' Ever since the Marxist critic Franz Mehring first advanced this argument in 1894, the question of whether a revolutionary class consciousness is at work in Lessing's drama has been a major topic for students of eighteenth-century German literature. Luk'acs, for example, also viewed Lessing's play as a historic confrontation between characters and an absolute monarchy ... condemned to revolutionary destruction.2 Later critics have tended to modify and refine earlier Marxist readings of Emilia Galotti as a straightforward indictment of autocratic monarchy, embodied in the figure of the Prince. Interpretations have begun to stress the sympathetic side of the Prince's character, while exposing the political and ideological failings of the proto-bourgeois or pseudo-bourgeois or bourgeois manque family of the Galottis. But whether the blame for the tragic events of the story is placed on the bourgeois or the aristocratic side, discussions of the play that are at all concerned with its political implications have consistently
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