Moeller conveys the complicated story of how West Germans recast the past after the Second World War. He demonstrates the 'selective remembering' that took place among West Germans during the postwar years: in particular, they remembered crimes committed against Germans.

The volume brings together recent papers by the author, selected to form a broad picture of his teachings, all of them revised and updated, either addressing particular topics in the Histor(iograph)y of Linguistics (Part I) or offering historical accounts of linguistic subfields (Part II), in altogether 10 chapters: 1, Persistent Issues in Linguistic Historiography; 2, Metalanguage in Linguistic Historiography; 3, The Natural Science Impact on Theory Formation in 19th and 20th Century Linguistics; 4, Saussure and the Question of the Sources of his Linguistic Theory; 5, Chomsky’s Readings of the Cours de linguistique générale; 6, Toward a History of Modern Sociolinguistics; 7, Toward a History of Americanist Linguistics; 8, Toward a History of Linguistic Typology; 9, History and Historiography of Phonetics: A state-of-the-art account, and 10, The ‘Sapir-Whorf Hypothesis’: An historico-bibliographical essay. Index of authors; index of subjects & terms.

This is the first full-scale biography, in any language, of a towering figure in German and European Romanticism: August Wilhelm Schlegel whose life, 1767 to 1845, coincided with its inexorable rise. As poet, translator, critic and oriental scholar, Schlegel's extraordinarily diverse interests and writings left a vast intellectual legacy, making him a foundational figure in several branches of knowledge. He was one of the last thinkers in Europe able to practise as well as to theorise, and to attempt to comprehend the nature of culture without being forced to be a narrow specialist. With his brother Friedrich, for example, Schlegel edited the avant-garde Romantic periodical Athenaeum; and he produced with his wife Caroline a translation of Shakespeare, the first metrical version into any foreign language. Schlegel's Lectures on Dramatic Art and Literature were a defining force for Coleridge and for the French Romantics. But his interests extended to French, Italian, Spanish and Portuguese literature, as well to the Greek and Latin classics, and to Sanskrit. August Wilhelm Schlegel is the first attempt to engage with this totality, to combine an account of Schlegel’s life and times with a critical evaluation of his work and its influence. Through the study of one man's rich life, incorporating the most recent scholarship, theoretical approaches, and archival resources, while remaining easily accessible to all readers, Paulin has recovered the intellectual climate of Romanticism in Germany and traced its development into a still-potent international movement. The extraordinarily wide scope and variety of Schlegel's activities have hitherto acted as a barrier to literary scholars, even in Germany. In Roger Paulin, whose career has given him the knowledge and the experience to grapple with such an ambitious project, Schlegel has at last found a worthy exponent.

Irony and Idealism investigates the historical and conceptual structure of the development of a philosophically distinctive conception of irony in early- to mid-nineteenth century European philosophy. The principal figures treated are the romantic thinkers Friedrich Schlegel and Novalis, Hegel, and Kierkegaard. Fred Rush argues that the development of philosophical irony in this historical period is best understood as providing a way forward in philosophy in the wake of Kant and Jacobi that is discrete from, and many times opposed to, German idealism. Irony and Idealism argues, against the grain of received opinion, that among the German romantics Schlegel's conception of irony is superior to similar ideas found in Novalis. It also presents a sustained argument showing that historical reconsideration of Schlegel has been hampered by contestable Hegelian assumptions concerning the conceptual viability of romantic irony and by the misinterpretation of what the romantics mean by 'the absolute.' Rush argues that this is primarily a social-ontological term and not, as is often supposed, a metaphysical concept. Kierkegaard, although critical of the romantic conception, deploys his own adaptation of it in his criticism of Hegel, continuing, and in a way completing, the arc of irony through nineteenth-century philosophy. The book concludes by offering suggestions meant to guide contemporary reconsideration of Schlegel's and Kierkegaard's views on the philosophical significance of irony.