In Gellert’s comedy “Das Loos in der Lotterie” (‘The Ticket in the Lottery’, 1747), the plot revolves less around the winning ticket mentioned in the title of the piece and more around the ideas of happiness between the main characters, who are in a contrasting symmetry to each other. The reference to the dimension of material wealth, which is constitutive of the bourgeois social order, plays a decisive role. The disciplining of passions and the institutionalisation of feelings through marriage are inseparable from the economic strategies which shape the actions of the adversaries. The acquisition of assets and the management of property appear as a form of code for desire, and the ambivalent attitude of the characters in the comedy towards the omnipresence of money-related discourses points to the processes of materialisation which determine the culture of the Enlightenment.
Sie schenken mir nicht allein Ihr Herz, sondern auch auf die großmüthigste Art Ihr Vermögen. Ökonomie der Gefühle in Gellerts Komödie “Das Loos in der Lotterie”, / M. Pirro. - In: ZEITSCHRIFT FUER DEUTSCHE PHILOLOGIE. - ISSN 0044-2496. - 140:4(2021), pp. 481-502. [10.37307/j.1868-7806.2021.04.02]
Sie schenken mir nicht allein Ihr Herz, sondern auch auf die großmüthigste Art Ihr Vermögen. Ökonomie der Gefühle in Gellerts Komödie “Das Loos in der Lotterie”,
M. Pirro
2021
Abstract
In Gellert’s comedy “Das Loos in der Lotterie” (‘The Ticket in the Lottery’, 1747), the plot revolves less around the winning ticket mentioned in the title of the piece and more around the ideas of happiness between the main characters, who are in a contrasting symmetry to each other. The reference to the dimension of material wealth, which is constitutive of the bourgeois social order, plays a decisive role. The disciplining of passions and the institutionalisation of feelings through marriage are inseparable from the economic strategies which shape the actions of the adversaries. The acquisition of assets and the management of property appear as a form of code for desire, and the ambivalent attitude of the characters in the comedy towards the omnipresence of money-related discourses points to the processes of materialisation which determine the culture of the Enlightenment.File | Dimensione | Formato | |
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