Abstract This article deals with the French Hegel-reception by Jean Hyppolite and its conflict with ‘Orthodox’ Marxism.

Abstract This essay argues that the figure of the dog (Kitmīr/Qitmir) in the Seven Sleepers tradition serves as a test case for poetic and conceptual regimes in early nineteenth- century German reception. Reading Johann Wolfgang von Goethe’s West-östlicher Divan and Friedrich Rückert’s Ein Hündlein, das einst Wache that bei Schäfern … (published in the Taschenbuch für Damen , 1822, in the same context that also produced the Östliche Rosen ) alongside Qurʾān 18, Ṭabarī, Ṯaʿlabī, Hammer’s versified Qurʾān and Claudius James Rich in Fundgruben des Orients , as well as Gregory of Tours and Jacob of Serugh, the study shows how Goethe aestheticizes and stabilizes doctrinal tensions, whereas Rückert elevates the creature within a mediating, barzakh -like framework. The comparison tracks a shift from ornamental adaptation to transformative re-coding and locates key pressure points in seemingly marginal narrative details. The case sheds light on broader patterns in German engagements with Sufi metaphysics between 1800 and 1850.

Abstract A few years ago, literary critics have defined a new area of research, literary anti-Semitism. These scholars analyze the material, and comment on its political nature and implications. Museum officials have a perhaps more difficult task, as they address a more general audience, and would like to inform as well as educate. Only fairly recently, anti-Semitic objects that were part of private collections made their way into public shows. Curators are still exploring ways to present anti-Semitic texts. This essay discusses the difficulties involved, and offers examples of recent exhibits.