Band 120, Heft 3

Surveying the 11 volumes of Anglia published under Nazi rule, this article investigates in how far this scholarly journal of international renown was politically compromised during that period and to what degree it could steer clear of pro-Nazi ideology or could even incorporate potentially subversive tendencies. The picture that emerges is far more differentiated than former general assessments suggest, but it also raises disturbing questions about continuities and discontinuities in our discipline.

This paper examines the appearance of manufactured objects in the art theories of William Hogarth and the Third Earl of Shaftesbury. I suggest that a consideration of the textual depictions of such objects can shed light on quite central questions in each discourse, most notably around notions of pleasure, but also on their more general constructions of subjectivity and perception. The specific forms taken by manufactured objects, and what I argue are tensions in their representation, are discussed in connection with economic and social changes taking place in the first half of the eighteenth century in England. I suggest that through a detailed attention to the object it is possible to reassess our view of the relation of these theories to the wider historical sphere; and, in consequence, that the relation between Shaftesbury and Hogarth, who are often taken as representatives of quite opposed tendencies in British aesthetics and art theory in this period, might also be reassessed.

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