the social scale. In the second play Venzl examines, Staps ein Recrüte, written by an author identified only as J. E. R. and printed in the 1740s, a peasant saves his beloved from an officer, but he is then captured and forced to become a soldier. This is followed by an analysis of Der Officier, a 1755 work by an anonymous author, in which the hero, a veteran, tests the morality of his beloved and her family by keeping his better-paying promotion to captain a secret. The final work is a play from 1773, written by Johann Gottlieb Stephanie the Younger, one of the authors of the libretto for Mozart’s 1782 opera The Abduction from the Seraglio. In Der Deserteur aus Kindesliebe, the hero tries to help his impoverished parents by pretending to desert. Each of the plays depicts and compares the values, methods, and attitudes of civilian and military individuals and institutions, commenting on their coexistence and reminding—or alerting—the audience to a novel element in their lives, namely, the new everyday reality of the military in German society. The author concludes his study by turning to a more serious literary work: JakobMichael Lenz’s Die Soldaten, about which much has already been written. Unlike the other dramas Venzl discusses (except forMinna von Barnhelm), this one does rise above primitive theatricality. It is a play that “develops society’s need for reform according to the concepts of [Jean Jacques] Rousseau’s social philosophy” (494). Whereas both Lessing’s and Lenz’s works analyze and interpret, the vast majority of the military dramas written for traveling groups of actors mainly reported on and reacted to the specific ways in which the world in which their authors lived was changing. These lesser dramas are documents produced by immediate witnesses, whose statements are enriched both by their ability to communicate with the barely educated and by their effort to bring together parts of the civilian and military past that, despite their constant and profound interaction, are too often addressed separately in the historical and literary scholarship. An image in the work’s introduction appropriately symbolizes the rich, integrative analysis on display here. It is a pen-and-ink sketch that Johann Wolfgang von Goethe made in 1779, while serving as a secret councilor and war commissar of Saxony-Weimar. In this capacity, Goethe had to register the duchy’s young males for military service, and his sketch shows a hall in which one officer measures a young man, another turns away a pleading woman, and a third leads a recruit through a door, above which stand the words “Gate of Glory” (it is accompanied by a painted laurel wreath, with a gallows in the center). Like the plays that Venzl analyzes, this image is another document of culture, politics, and war that scholars active in any one of these fields should not ignore if they wish to understand better the military and social transformation of this period.

中文翻译：

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晚期帝国奥地利的卖淫世界。南希·温菲尔德（Nancy M. 纽约：牛津大学出版社，2017年。xv +272。布$ 81.00。ISBN 978-0198801658。

社会规模。在第二本剧《旺兹》（Vennzl）的研究中，《斯塔普斯·恩·雷克鲁特》（Staps einRecrüte）由一位仅被确认为JER的作家撰写，并印制于1740年代，一位农民从军官手中拯救了他心爱的人，但随后他被俘虏并被迫当兵。接下来是对一位匿名作家1755年创作的《 Der Officier》的分析，其中的主人公英雄通过保留薪水更高的秘密升职来测试他心爱的家人的道德。最后的作品是1773年的戏曲，由年轻的约翰·戈特利布·斯蒂芬妮（Johann Gottlieb Stephanie）撰写，该作品是莫扎特1782年歌剧《从后卫的绑架》的歌词的作者之一。在金德斯利比大沙漠，英雄试图通过假装去帮助贫困的父母。每个剧本都描绘并比较了值，方法，以及平民和军人个人和机构的态度，评论他们的共存并提醒或提醒观众他们生活中的新要素，即德国社会中军队的新的日常现实。作者的研究结束时，他转向了更为严肃的文学作品：雅各布·迈克尔·伦茨（JakobMichael Lenz）的《死士兵》（Die Soldaten），对此已经有很多著作。不同于旺众所讨论的其他戏剧（除了明娜·冯·巴恩海姆），这部戏剧的确超越了原始戏剧性。这是一部戏剧，“根据[让·雅克]卢梭的社会哲学概念发展社会对改革的需求”（494）。莱辛和伦茨的作品都进行了分析和解释，为旅行中的演员团体编写的绝大多数军事戏剧主要报道并回应了其作者所居住的世界正在发生变化的具体方式。这些较小的戏剧是直接目击者制作的文件，他们的发言不仅因其与受过教育的人的沟通能力以及使部分平民和军事人员过去的努力而丰富，尽管他们之间经常而深刻地互动，但他们经常在历史和文学奖学金中分别论述。作品简介中的图像适当地象征着这里展示的丰富，综合的分析。这是约翰·沃尔夫冈·冯·歌德（Johann Wolfgang von Goethe）在1779年担任萨克森·魏玛（Saxony-Weimar）的秘密议员和战争委员时所写的钢笔画。以这种身份，歌德必须为该公爵的年轻男性登记服兵役，他的素描画显示了一个大厅，其中一名军官测量一名年轻男子，另一名军官拒绝一名恳求的妇女，而第三名则带领新兵穿过一扇门，在门上刻有“荣耀之门”（它伴随着一个彩绘的月桂花冠，中间有绞架）。就像Vennzl分析的戏剧一样，这幅图像是文化，政治和战争的另一种文件，活跃于这些领域中任何一个领域的学者们如果希望更好地理解这一时期的军事和社会变革，都不应忽视。上面有“荣耀之门”字样（上面有彩绘的月桂花环，中间有绞架）。就像Vennzl分析的戏剧一样，这幅图像是文化，政治和战争的另一种文件，活跃于这些领域中任何一个领域的学者们如果希望更好地理解这一时期的军事和社会变革，都不应忽视。上面有“荣耀之门”字样（上面有彩绘的月桂花环，中间有绞架）。就像Vennzl分析的戏剧一样，这幅图像是文化，政治和战争的另一种文件，活跃于这些领域中任何一个领域的学者们如果希望更好地理解这一时期的军事和社会变革，都不应忽视。