By James H. Overfield
This research of the highbrow lifetime of German universities within the 15th and early 16th centuries demonstrates that humanist-scholastic kinfolk weren't the immense struggles depicted within the humanists' personal arguments or in lots of smooth chronicles. Eschewing neat yet deceptive dichotomies, the writer desribes the German humanists' critique of scholasticism from the 1450s to the 1510s and the scholastics' reaction. He lines the reception of humanists in Germany's universities, together with their position within the educational company, the "opposition" they confronted, and the velocity of humanist curriculum reforms, and he locations the well-known Reuchlin affair and different highbrow feuds within the context of humanist-scholastic relations.
After 1500 the calls of the early humanists for the reform of Latin grammar guide and the instructing of the studia humanitatis gave method to extra encompassing assaults on scholastic theology and the philosophical choices of the humanities path. This examine attracts on a large choice of resources to explain either the slow emergence of Renaissance humanism after 1450 and its speedy triumph after 1500.
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Extra info for Humanism and Scholasticism in Late Medieval Germany
Sample text
So too the exiled Berlin Neo-Freudian psychoanalyst Erich Fromm in Fear of Freedom (American title,E,capefrom Freedom) (1941). Kracauer has been criticized for an over-deterministic thesis that the rise of Hitler was inevitable, given the German psychology and predilection for authoritarianism. That tendency, he argued, was already apparent in the early expressionist film, The Cabinet of Dr Caligari, hence the book's title. 2o Psychoanalysis was in the air, and though Kracauer never mentioned Freud,2l he probably took his Freudian categories from Fromm.
20 Despite the decline in Germany's military fortunes, its cinema flourished. " By the time the war ended, German cinema was on a firm financial footing. As a direct consequence of the war, and with help from the military, its film industry emerged strengthened. ' It also severely damaged the economy and destroyed the old political order. Germany's film industry, however, expanded during the war. After 1918 it indeed overtook the industries of the victorious nations, France. Italy and Britain, to become the dominant industry in interwar Europe, second only to Hollywood, though in the immediate post -war period it had to contend with the reluctance of the victorious nations to screen German films, which they considered an invasion in commercial form.
L5 A ban on films produced in enemy countries was introduced and not lifted NAZIS AND THE CINEMA until 31 December 1920. Initially films from France, Britain and Russia were affected, later Italy (in 1915) and the USA (1917). Aside from Russia, these countries had had a sizeable share of the German market. The ban proved a boon to German film production. Actors, directors and writers from the world of theatre overcame their disdain. Their belated contribution resulted in two film classics, Der Go/em (1915) and Homunculus (1916), forerunners of the Expressionist films of the Weimar period.