Abstract To begin with, this essay traces selected phases of the influence exerted by the Mannheimer Anitkensaal on (art) literature around 1800. The essay examines the strategies through which a new experience of perception is depicted: namely, the experience of an abundance of sculptures in space. It then concentrates on Goethe’s description of the Antikensaal in Dichtung und Wahrheit: while corresponding texts by Schiller and La Roche rather tend to emphasize its auratic quality by using sacred metaphors, Goethe stages a process of aesthetic education though the confrontation between the autobiographical self and the spatial dimensions of the collection and its statues. In this way, the Mannheimer Antikensaal is described as a laboratory of immediate perception.

中文翻译：

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Anschauen lernen，Standpunkte找到。歌德与曼海姆的抗日战争

摘要首先，本文回顾了曼海姆•安尼特肯萨尔（Mannheimer Anitkensaal）在1800年左右对（艺术）文学产生的影响的特定阶段。本文探讨了描绘新的感知体验的策略：即大量雕塑的体验在太空。然后，它集中于歌德在《地下城与瓦尔海特》中对安提肯萨尔语的描述：尽管席勒和拉罗什的相应文本倾向于通过使用神圣的隐喻来强调其非理性的品质，但歌德通过自传自我与诗人之间的对立进行了审美教育。集合及其雕像的空间尺寸。这样，曼海姆·安提肯萨尔（Mannheimer Antikensaal）被描述为直接感知的实验室。