Contents

pp v-vi

Acknowledgements

pp vii-viii

Introduction

pp 1-26

Part I - Napoleon: Art, Literature, and Occupation

pp 27-28

1 - Prelude—Pre-occupation Bonaparte: Historical and Literary Conquerors in Schiller’s Life, Thought, and Works

pp 29-55

2 - Schiller’s Johanna and Collin’s Bianca as Women(’s)-Liberators in Anti-Napoleonic Drama

pp 56-76

3 - Friedrich Hölderlin, the French Revolution, and Napoleon: Politics, Poetry, Philosophy

pp 77-93

4 - The Anecdote on the Battlefield: Napoleon—Kleist—Kluge

pp 94-118

5 - “Der große Schauspieler, Napoleon Buonaparte”: August von Kotzebue’s Antitheatrical Politics

pp 119-136

6 - An Ingenious Tyrant: The Representation of Napoleon Bonaparte by German Women Writers

pp 137-155

7 - Icons of Resistance: Kleist, Le Musée Napoléon, and Queen Luise of Prussia

pp 156-178

Part II - Napoleon: Political Science and Natural Science

pp 179-180

8 - The European Machine God: The Image of Napoleon Bonaparte in the Political Writings of Jean Paul

pp 181-199

9 - Saul Ascher’s Napoleon

pp 200-213

10 - Napoleon’s Campaigns: Models for “French” Revolutionary Science Abroad and at Home?

pp 214-236

11 - Napoleonic Occupation and the Militarization of the Sciences: The Case of Johannes Scherr and the Zurich Polytechnic

pp 237-258

Part III - Inspiration Bonaparte: German Reception from Vormärz to the Present

pp 259-260

12 - “We are all possessed!” Napoleon and Inspiration in German Naturalist Drama

pp 261-279

13 - Arnold Schoenberg’s Setting of Byron’s Ode to Napoleon: Fighting Hitler’s Regime in Byron’s and Beethoven’s Wake

pp 280-302

14 - The Emperor’s Clothes: Napoleon as a Screen Icon

pp 303-324

Notes on the Contributors

pp 325-330

Index

pp 331-346