Johannes Endres joined the departments of Art History and Comparative Literature at UC Riverside in summer 2015 as Assistant Professor. He has received his academic education in Germany, at the Universities of Trier and Leipzig, where he earned his Dr.phil. in 1995, and his Habilitation (Dr.phil.habil.) in 2004, respectively. In the US, he has been teaching as Visiting Professor at the Universities of California in Riverside and Irvine, at San Diego State University, Vanderbilt University, and Cal State Long Beach.
Areas of Specialization
19th Century Art History
German and European Literature 1750-1900 in Interdisciplinary Perspectives (Visual Arts, Film, Music, Sciences)
Important emphases of his research and teaching lie in the area of the history and arts of the ‘long 19th century’, from enlightenment to Weimar Culture and Vienna Moderne. He has published extensively on the intersections of text, visual arts, music, intellectual history, natural sciences, and the history of science. His most recent research projects are dedicated to Friedrich Schlegel, a pivotal figure of German and European intellectualism, and to concepts of fetishism in art, culture, and social studies.
Recent Courses Taught:
AHS 120 (CPLT 111/EUR120/GER 111/MCS 178)
Berlin Metropolis in Literature, Film, Music, and Art
The course provides an introduction to Berlin and the modern concept of the metropolis as a gateway between the East and West, past and present, private and public life. It explores the topography of the city and the urban space through visual art, film, music, and text. We discuss aspects of city life and its changing expressions in 20th-century culture.
World Art: Images, Issues, Ideas
This course is an introduction to artistic achievements of the world’s cultures and to the ways in which they can be viewed. It provides students with a sound understanding of major art works from all ages and corners of the world, and the theoretical concepts and historical circumstances to which they owe their existence. We ask questions such as: What is art? What is an artist? How has their perception changed over time? What is an image? Why does art exist? What is ‘world art’? Why do we study art history?
- »David Friedrich Strauß und Lessing,« Lessing Yearbook XLII, 2015, 173-193
- »Meaningful Complexity: Goethe’s Concept of Similarity,« Modern Language Notes (MLN) 130/3, 2015, 466-486
- »Die Geburt der Metapher aus dem Selbstmord des Dichters. Zu Hölderlins Empedokles (The Birth of Metaphor from the Poet’s Suicide: On Hölderlin’s Empedocles),« Ökonomie des Opfers. Literatur im Zeichen des Suizids (Morphomata, Bd. 14), Munich 2014, 133-166
- »Zeitkapsel und Paratext (Time Capsule and Paratext),« Verborgen, unsichtbar, unlesbar – zur Problematik restringierter Schriftpräsenz (Workshop SFB 933), New York: de Gruyter 2014, 215-232
- »Notes from the Field: Detail,« The Art Bulletin 94/4, 2012, 481‑485
- »Unähnliche Ähnlichkeit: Zu Analogie, Metapher und Verwandtschaft (Unsimilar Similarity: On Analogy, Metaphor, and Kinship),« Konzepte der Ähnlichkeit in den Künsten (Concepts of Similarity in the Arts), ed. Martin Gaier et al., Munich: Fink, 2012, 29‑58
- »Textures and Cuts. The Textile Metaphor in Jörg Wickram’s The Golden Thread,« Unfolding the Textile Medium in Early Art and Literature, ed. Tristan Weddigen, Berlin: Edition Imorde, 2011, 15‑30
- »Freud und die Komödie der Antike (Freud and Ancient Comedy),« Freud und die Antike (Freud and Antiquity), ed. Claudia Benthien et. al., Göttingen: Wallstein, 2011, 315‑340
- »›Si wunder wol gemachet wîp.‹ Gesicht, Körper und das Paradox der sichtbaren Unsichtbarkeit (Face, Body, and the Paradox of Visibile Invisibility),« Zeitschrift für Kunstgeschichte 2009, 297‑312
- »Evolution und Erbe. Zur Problemgeschichte der ›Wahlverwandtschaften‹ bei Goethe und Darwin (Evolution and Legacy. ›Elective Affinities‹ in Goethe and Darwin),« KulturPoetik 9, 2009, 45–66
- »›I can see something you don’t see,‹ or: There is no Alternative to the Culture of Arguments,« Journal for Literary Theory (JLT) 2, 2008, 157-166
European eighteenth-century discourse saw the advent of two concepts, which have been central to our understanding of man’s relationship to the world and himself ever since: the proclamation of the autonomous artwork and the stigmatization of un-enlightened attitudes towards reality as ›fetishistic‹. The book argues that this is not a coincidence. Thus, it explores the discourse on and the phenomenon of fetishism in its major historical manifestations in ethnology, religious philosophy, social and economic theory, and finally psychoanalysis from the eighteenth to the twentieth century. Particular interest is paid to the metaphorical transfer of the veil motif between images and text, including the comparison of both media in the history of aesthetics from Lessing over Kant, Hegel and Nietzsche up to Benjamin and Warburg. The history of modern art thus appears as a revision of a teleology that implies an evolutionary escape of man from its fetishistic beginnings.
The book contains contributions from scholars from literary, visual and media studies, history, the social sciences, philosophy, anthropology, psychoanalysis, and fashion history. It is the first to focus on the role of fetishism in the arts and their relevance for the discourse on fetishism. Fetishism is a key phenomenon of modern societies. It not only influences religious and mental dispositions but also libidinous object relations in consumerism and mass culture. The contributions thus focus on fetishism as a cultural ‘index fossil’ and pursue its traces into the fields of force between artists, works, collections, art reception, and beyond. In doing so, the book traces back present cultures of fetishism in art, media, and economy to the origin of fetishism as an intercultural and colonialist concept in the 18th century.
This volume gathers the proceedings of the conference “Veil: Image, Text, Ritual”, co-organized with Gerhard Wolf at the University of Trier in 2001. Its contributions discuss the veil as an artistic motif, a literary metaphor and an episteme in aesthetics, ethnology, anthropology, philosophy, social and political sciences. Both conference and book brought together specialist from various fields to explore the changes and continuities of representations of the veil. The contributions are tied together by conceptual essays from the editors, which highlight overarching aspects such as textures of opacity, allegories of seeing and reading, thresholds between media, and specters and their garments‹. Conference and book realize a fruitful collaboration between academics from literary history, art history, philosophy, and beyond.
Kleist scholars tend to imagine the author as the paradigmatic exponent of a tragic mind. The shadows of his tragedies in life and literature seem too heavy and gloomy to leave room for comic tendencies. Although Kleist’s two comedies have always been acknowledged as true highlights in the history of the genre, his comic “strategies” – as well as their precedents from Lessing to Freud – have mostly been ignored. However, with such strategies in mind, the author’s situation appears as one in which the demands of an idealist worldview provoke a retreat to the limited and reduced formats of comedy. Kleist’s massive ›struggle with Schiller‹ – his predominant role model and antipode – is here reexamined in the light of a general struggle to avoid tragic inevitabilities.