In the twenty-first century, intense debates concerning the university have flared up in Germany. An underlying factor is the general feeling that the country's once so excellent universities have been irredeemably left behind. This book anchors the current debate about the university in the past by exploring the history and varying meanings of the tradition of Wilhelm von Humboldt. It first provides a history of the Humboldt-Universität zu Berlin and the history and content of the Humboldtian tradition. Humboldt was involved in Greek antiquity, theory of education, Prussian educational system, and comparative linguistics. If, in spite of this versatility, a comprehensive idea, his Lebensthema, is to be found, it would have to be human beings and their Education. The book discusses the contributions of Adolf von Harnack and Eduard Spranger who emphasised Humboldt as a prominent figure in German university history. It focuses on three of the most influential figures in the post-war debate on the university: philosopher Karl Jaspers, historian Gerhard Ritter, and Germanic philologist Werner Richter. The 150th anniversary celebrations of the university in 1960 saw the eastern Berlin academia claiming to be the bearers of the true Humboldtian spirit and the west demonstrating itself as taking over Humboldt's original idea. The years following 2000 saw most European countries realising university reforms without any notable opposition, but in Germany the Bologna process gave rise to heated discussions in the public sphere.
This book situates witchcraft drama within its cultural and intellectual context, highlighting the centrality of scepticism and belief in witchcraft to the genre. It is argued that these categories are most fruitfully understood not as static and mutually exclusive positions within the debate around witchcraft, but as rhetorical tools used within it. In drama, too, scepticism and belief are vital issues. The psychology of the witch character is characterised by a combination of impious scepticism towards God and credulous belief in the tricks of the witch’s master, the devil. Plays which present plausible depictions of witches typically use scepticism as a support: the witch’s power is subject to important limitations which make it easier to believe. Plays that take witchcraft less seriously present witches with unrestrained power, an excess of belief which ultimately induces scepticism. But scepticism towards witchcraft can become a veneer of rationality concealing other beliefs that pass without sceptical examination. The theatrical representation of witchcraft powerfully demonstrates its uncertain status as a historical and intellectual phenomenon; belief and scepticism in witchcraft drama are always found together, in creative tension with one another.