Indeed, Georg Lukacs—one of the most trenchant opponents of Benjamin’s aesthetics—singled out this work as one of the main sources of literary modernism in the twentieth century.The Origin of German Tragic Drama begins with a general theoretical introduction on the nature of the baroque art of the sixteenth and seventeenth centuries, concentrating on the peculiar stage-form of the royal martyr dramas called Trauerspiel. Benjamin also comments on the engravings of Durer, and the theatre of Shakespeare and Calderon. Baroque tragedy, he argues, was distinguished from classical tragedy by its shift from myth into history.The characteristic atmosphere of the Trauerspiel was consequently ‘melancholy’. The emblems of baroque allegory point to the extinct values of a classical world that they can never attain or repeat. Their suggestive power, however, remains to haunt subsequent cultures, down to this century.

    I Volume X was published in 1966. Its editor, Rudolf Boehm, provided the title: Zur Phiinomen%gie des inneren Zeitbewusst- seins (1893-1917). Some of the texts included in Volume X were published during HusserI's lifetime, but the majority were not. Given the fact that the materials assembled in Volume X do not constitute a single and previously published Husserlian work, some acquaintance with their history and chronology is indis- pensable to understanding them. These introductory remarks are intended to provide the outlines of such an acquaintance, together with a brief account of the main themes that appear in the texts. The Status of the Texts In 1928, HusserI's "Vorlesungen zur Phanomenologie des inneren Zeitbewusstseins" appeared in the Jahrbuch fur Philoso- I Edmund Husserl, Zur Phiinomen%gie des inneren Zeitbewusstseins (1893 1917) [On the phenomenology of the consciousness of internal time (l893 1917)I, herausgegeben von Rudolf Boehm, Husserliana X (The Hague: Martinus Nijhoff, 1966). The references in Roman numerals that occur in parentheses in this Introduction are to Rudolf Boehm's "Editor's Introduction" to Husserliana X. References in Arabic numerals, unless otherwise noted, will be to this translation. Corresponding page numbers of Husserliana X will be found in the margins of the translation. The translation includes Parts A and B of Husserliana X, with Boehm's notes.

    For the scope of its critical imagination, it is the most radical work of Laura Riding's early period. This period extends from the end of 1925, when she left America for Europe and Robert Graves, to 1939, the year she returned to America, renounced any further writing of poetry, and soon after married Schuyler Jackson.Published in 1928, when Riding was twenty-seven, Anarchism is a kind of early autobiographia literaria. Long out of print and now available for the first time in paperback, this is one of the most imaginative and daring works of literary theory ever written by a modernist figure. Lisa Samuels's edition sets the work in its historical context and elucidates its central intellectual difficulties. Her introduction and notes are a valuable aid to an understanding of Riding's work.