Im dritten Heft des 63. Jahrgangs der Zeitschrift für Religions- und Geistesgeschichte berichtet JOACHIM H. KNOLL vom Niedergang des akademischen Stils; GERD BOCKWOLDT zeigt das Bild des Juden in den Märchen der Brüder Grimm; CHRISTIAN NIEMEYER erklärt Nietzsches Ausspruch „Ich lasse eben alle Antisemiten erschiessen…“ und erläutert die Hintergründe für dessen späte Bekenntnis zum exterminatorischen Anti-Antisemitismus und MARTIN SCHAAD schreibt über eine Rehabilitierungs-Maßnahme, in der Alfred Kurellas Kritik an Bertolt Brechts Lob der Parteidisziplin deutlich wird. Im Miszellenteil beschäftigt sich MICHAEL KNÜPPEL mit alttürkisch addmuz roš(a)n t(ä)ŋri.

ABSTRACTS:

JOACHIM H. KNOLL
Vom Niedergang des akademischen Stils. Professoren im Wandel der Zeit.
This article argues that German universities have changed in structure and style and in doing so have distanced themselves from the classic university ideal. This thesis will be illustrated with examples. This development has led to changes that make it plausible to speak of a decline of academic style and professorial culture. Even though almost all reform writings promise not to touch the legacy of the classical university idea, the continuous reform processes (regulation of the university and compartmentalization of disciplines) have made it increasingly difficult to uphold the university’s independence. These external developments have also had an effect on the social climate and the respectful cooperation of professors, staff, and students. Even if such blanket statements do not apply everywhere, the reforms should nevertheless keep the history of the university in mind and maintain „as much Humboldt as possible.“

GERD BOCKWOLDT
Das Bild des Juden in den Märchen der Brüder Grimm.
This article analyzes whether anti-Judaism, which was widespread during the German Romantic period and which was evident in organizations such as the „Christlich deutsche Tischgesellschaft“ (a German Christian Society), and here especially in Achim von Arnim, also included the Brothers Grimm. One could conclude so when considering mainly the publishing history of their collection of fairy tales, which since its third edition (1837) has been appended. The same was already true for the previously published selection of tales for children (1825). However, a closer look reveals the stylistic nature of these appendixes, which provided a linguistic characterization for the tales’ character types (Jew, farmer, soldier, etc.). The actual problem that the Brothers Grimm – especially Wilhelm Grimm – did not recognize and/or ignored is evident in the breaches of law as depicted in the fairy tales „Der gute Handel“ and „Der Jude im Dorn.“ Thus, while one cannot accuse the Brothers Grimm of clear-cut anti-Judaism, one can fault them for their careless handling of problematic texts. Their reception still causes irritation today.

CHRISTIAN NIEMEYER
„Ich lasse eben alle Antisemiten erschiessen…“ Über die Hintergründe für Nietzsches spätes Bekenntnis zum exterminatorischen Anti-Antisemitismus.
Recent studies, such as the one by Thomas Mittmann, have drawn new attention to Nietzsche’s position towards anti-Semitism. In this context, the following article will delineate a few main ideas on this topic and strive to define Nietzsche’s early anti-Semitism more clearly and with regard to the factors that influenced it. The same will be done for Nietzsche’s late anti-anti-Semitism, which culminated in his ominous statement: „Just now I am having all anti-Semites shot.“

MARTIN SCHAAD
Eine Rehabilitierungs-Maßnahme. Alfred Kurellas Kritik an Bertolt Brechts Lob der Parteidisziplin
This essay seeks to illuminate the motives behind Alfred Kurella’s damning review of Bertold Brecht’s Lehrstück The Measures Taken. This review of 1931 is commonly regarded as having turned the official marxist literary critique against Brecht, straining the relations between the playwright and the nomenklatura for the years that followed. Yet, a closer examination of Alfred Kurella‘s biography reveals that his review of The Measures Taken has much less to do with Bertold Brecht or with marxist cultural politics, than with the serious political difficulties its author was facing at the time.