Modernist Permabulations Through Time and Space
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Yiddish in Joseph Roth╎s Juden Auf Wanderschaft
In 2000, W.W. Norton and Company released a new English -language edition of Joseph Roth’s 1927 compilation of essays entitled, Juden auf Wanderschaft . The edition’s dustcover proclaims in large, bold typeface: “A masterpiece of Jewish identity emerges in English 70 years after it was first written.” While it can’t be denied that Roth’s tale documenting the mass movement of eastern Jews ( Ostjuden )1 westward across the European continent in the early twentieth century has captured both public and scholarly i nterest in German -2 and English -speaking lands, the quotation still begs the question: Why are we reading Roth again now? Even the most tentative answer to this question should include the fact that Roth’s concerns in Juden auf Wanderschaft , including the forcible displacement of a people and their subsequent dispersal throughout the world, and Roth’s suggestion of an inherent tyranny in Western culture, find remarkable resonance in our contemporary reality. Global migrations and Westernization inform curre nt research, not just on identity politics, but also on topics that seek to move beyond or reinvigorate discussions of identity —topics such as mobility, diaspora, and migration.3 Written by one who was both an assimilated Viennese and a Galician Jew born i n the eastern -most reaches of the Hapsburg Empire, Roth’s work offers an extraordinarily complex and informative perspective on issues that remain topical today. Nevertheless, Roth’s Juden auf Wanderschaft is rarely analyzed in a manner reflecting this complexity. Most reviewers, in celebratory response to the work’s themes, see it as a poignant declaration of love for the vanishing eastern Jewish culture with which Roth came of age. -
CHAPTER 2 the Period of the Weimar Republic Is Divided Into Three
CHAPTER 2 BERLIN DURING THE WEIMAR REPUBLIC The period of the Weimar Republic is divided into three periods, 1918 to 1923, 1924 to 1929, and 1930 to 1933, but we usually associate Weimar culture with the middle period when the post WWI revolutionary chaos had settled down and before the Nazis made their aggressive claim for power. This second period of the Weimar Republic after 1924 is considered Berlin’s most prosperous period, and is often referred to as the “Golden Twenties”. They were exciting and extremely vibrant years in the history of Berlin, as a sophisticated and innovative culture developed including architecture and design, literature, film, painting, music, criticism, philosophy, psychology, and fashion. For a short time Berlin seemed to be the center of European creativity where cinema was making huge technical and artistic strides. Like a firework display, Berlin was burning off all its energy in those five short years. A literary walk through Berlin during the Weimar period begins at the Kurfürstendamm, Berlin’s new part that came into its prime during the Weimar period. Large new movie theaters were built across from the Kaiser Wilhelm Memorial church, the Capitol und Ufa-Palast, and many new cafés made the Kurfürstendamm into Berlin’s avant-garde boulevard. Max Reinhardt’s theater became a major attraction along with bars, nightclubs, wine restaurants, Russian tearooms and dance halls, providing a hangout for Weimar’s young writers. But Berlin’s Kurfürstendamm is mostly famous for its revered literary cafés, Kranzler, Schwanecke and the most renowned, the Romanische Café in the impressive looking Romanische Haus across from the Memorial church. -
Idea of the West in the Magic Mountain Literary and Cultural Approaches
Master of Arts Thesis Euroculture University of Groningen Palacký University of Olomouc March 2012 Idea of The West in The Magic Mountain Literary and Cultural Approaches Submitted by: Gonca Topal S2043831 Supervised by: Professor W.E. Krul Dr. Jozef Matula Goettingen, Germany 20.03.2012 Table of Contents I. Introduction …....................................................................................... 1 I.i.Introduction to the Novel and Translations ........................................... 2 I.ii Methods of Analysis …......................................................................... 3 I.iii Specific Approach to the Novel and Past Studies ..….......................... 5 I.iv Defining 'The West' Through Literature …................….................... 8 II. Settembrini and Castorp …..................................................................... 11 II.i Initial Impressions on Settembrini …................................................... 11 II.ii Castorp's Links to Mann …................................................................. 14 II.ii.i Tradition …................................................................................ 16 II.iii Settembrini the Pedagogue …............................................................ 18 II.iii.i Classicism …............................................................................. 19 II.iv The Initial Advice …........................................................................... 19 II.v Settembrini's Links to Mann ….......................................................... -
RILKE and the MODERNIST TRADITION: a BRIEF LOOK at “ARCHAIC TORSO of ••• APOLLO”* Pyeaam ABBASI**
Uluslararası Sosyal Araştırmalar Dergisi The Journal of International Social Research Cilt: 6 Sayı: 24 Volume: 6 Issue: 24 Kış 2013 Winter 2013 www.sosyalarastirmalar.com Issn: 1307-9581 RILKE AND THE MODERNIST TRADITION: A BRIEF LOOK AT “ARCHAIC TORSO OF ••• APOLLO”* Pyeaam ABBASI** Abstract The twentieth century is associated with drastic changes as well as disintegration of old beliefs and grand narratives. Modern poets felt that it was high time they searched for new potentialities of language and made changes in form in order to express and explore changes the world was experiencing. The oneness of the world within and the world without is not peculiar to Rilke. He explores human consciousness as well as the interaction between human and the non-human world. This paper argues that his poetry is an invitation to the reader to participate and create. In “Archaic Torso of Apollo” the transfixed poet finds the torso full of life and vitality, a complete work of art and suggestive of the modernist tradition. As a modern poet Rilke would see the world within and the world without as the same aspects of each other. He believes that existence consists of interactions between things and the perceiving selves and that the inner world, familiar to our consciousness, is continuous with, even identical to, the material world we think of as exterior to our conscious selves. The interaction between the poet (subject) and the torso (subject) creates the sense of transformation. The article concludes that transformation seems to be the most critical change that the modern man needs to experience in the chaotic and disjointed world of the 20 th century. -
© 2010 Julia Silvia Feldhaus ALL RIGHTS RESERVED
© 2010 Julia Silvia Feldhaus ALL RIGHTS RESERVED Between Commodification and Emancipation: Image Formation of the New Woman through the Illustrated Magazine of the Weimar Republic By Julia Silvia Feldhaus A dissertation submitted to the Graduate School – New Brunswick Rutgers, The State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in German Written under the direction of Martha B. Helfer And Michael G. Levine And approved by ____________________________ _____________________________ _____________________________ _____________________________ New Brunswick, New Jersey October 2010 ABSTRACT OF THE DISSERTATION Between Commodification and Emancipation: Image Formation of the New Woman through the Illustrated Magazine of the Weimar Republic By JULIA SILVIA FELDHAUS Dissertation Directors: Martha B. Helfer Michael G. Levine This dissertation investigates the conflict between the powerful emancipatory image of the New Woman as represented in the illustrated magazines of the Weimar Republic and the translation of this image into a lifestyle acted out by women during this era. I argue that while female journalists promote the image of the New Woman in illustrated magazines as a liberating opening onto self-determination and self- management, this very image is simultaneously and paradoxically oppressive. For women to shake off the inheritance of a patriarchal past, they must learn to adjust to a new identity, one that is still to a large extent influenced by and in the service of men. The ideal beauty image designed by female journalists as a framework for emancipation in actuality turned into an oppressive normalization in professional and social markets in which traditional rules no longer obtained. -
Inhaltsverzeichnis
Inhaltsverzeichnis Vorwort : 17 I. Mittelalter 21 Hrabanus Maurus Veni creator, spiritus 28 Unbekannt St. Galler Übersetzung des Paternoster 28 Otfrid von Weißenburg Aus dem Evangelienbuch 29 Unbekannt Der zweite Merseburger Zauberspruch 30 Unbekannt Das Hildebrandslied 30 Unbekannt Carmina Burana 33 Unbekannt Volkstümliches Liebeslied 33 Der von Kürenberg Ich zöch mir einen valken 33 Albreht von Johansdorf Ich vant äne huote 34 Heinrich von Morungen Owe, sol aber mir iemer me 35 Wolfram von Eschenbach Tagelied 35 Hartmann von Aue Erec. Auszug 36 Gottfried von Straßburg Tristan und Isolde. Auszug 40 Unbekannt Das Nibelungenlied. 1. Aventiure. Auszug 41 Walther von der Vogelweide Nemt, frouwe, disen kränz! . 42 Walther von der Vogelweide Under der linden 43 Walther von der Vogelweide Ich saz üfeime steine 43 Oswald von Wolkenstein Zergangen ist meins hertzen we 44 II. Humanismus — Reformation — Barock 47 Johannes von Tepl Der Ackermann aus Böhmen. Auszug 54 http://d-nb.info/900275324 6 Inhaltsverzeichnis Conrad Celtis Ars versificandi et carminum. Auszug 55 Ulrich von Hutten und Crotus Rubeanus Epistolae obscurorum virorum (Dunkelmännerbriefe). Erster Brief 56 Unbekannt Ein kurtzweilig lesen von Dyl Ulenspiegel. Die 31. Histori 58 Ulrich von Hutten Ain new Lied herr Virichs von Hutten 59 Martin Luther Eine feste Burg ist unser Gott 60 Martin Luther Sendbrief vom Dolmetschen. Auszug 61 Martin Opitz Buch von der Deutschen Poeterey. Auszug 63 Unbekannt Sonett 64 Martin Opitz Sonett. Aus dem Italienischen Petrarchae 64 Paul Fleming Er verwundert sich seiner Glückseeligkeit 64 Andreas Gryphius Vanitas, vanitatum et omnia vanitas 65 Andreas Gryphius Threnen des Vatterlandes. Anno 1636 65 Sigmund von Birken Die Rechtens Wage 65 Friedrich von Logau Sinn-Gedichte 66 Angelus Silesius Geistreiche Sinn- und Spruchreime 66 Christian Hofmann von Hofmannswaldau Vergänglichkeit der Schönheit 67 Christian Hofmann von Hofmannswaldau Er ist gehorsam 67 Christian Hofmann von Hofmannswaldau Poetische Grabschrifften 67 Daniel Casper von Lohenstein Sophonisbe. -
Mind-Crafting: Anticipatory Critique of Transhumanist Mind-Uploading in German High Modernist Novels Nathan Jensen Bates a Disse
Mind-Crafting: Anticipatory Critique of Transhumanist Mind-Uploading in German High Modernist Novels Nathan Jensen Bates A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2018 Reading Committee: Richard Block, Chair Sabine Wilke Ellwood Wiggins Program Authorized to Offer Degree: Germanics ©Copyright 2018 Nathan Jensen Bates University of Washington Abstract Mind-Crafting: Anticipatory Critique of Transhumanist Mind-Uploading in German High Modernist Novels Nathan Jensen Bates Chair of the Supervisory Committee: Professor Richard Block Germanics This dissertation explores the question of how German modernist novels anticipate and critique the transhumanist theory of mind-uploading in an attempt to avert binary thinking. German modernist novels simulate the mind and expose the indistinct limits of that simulation. Simulation is understood in this study as defined by Jean Baudrillard in Simulacra and Simulation. The novels discussed in this work include Thomas Mann’s Der Zauberberg; Hermann Broch’s Die Schlafwandler; Alfred Döblin’s Berlin Alexanderplatz: Die Geschichte von Franz Biberkopf; and, in the conclusion, Irmgard Keun’s Das Kunstseidene Mädchen is offered as a field of future inquiry. These primary sources disclose at least three aspects of the mind that are resistant to discrete articulation; that is, the uploading or extraction of the mind into a foreign context. A fourth is proposed, but only provisionally, in the conclusion of this work. The aspects resistant to uploading are defined and discussed as situatedness, plurality, and adaptability to ambiguity. Each of these aspects relates to one of the three steps of mind- uploading summarized in Nick Bostrom’s treatment of the subject. -
Introduction
Guston, Philip Guston 9/8/10 6:04 PM Page 1 INTRODUCTION DORE ASHTON “Create, artist! Don’t talk!” the aging Goethe counseled his contemporaries in 1815. The painter Degas seconded the old sage when he told the young poet Paul Valéry that when the muses finished their day’s work they didn’t talk, they danced. But then, as Valéry vividly recalled, Degas went on to talk of his own art for hours on end. Painters have always talked, and some, such as Delacroix, Mondrian, Kandinsky, Malevich, and Motherwell, also wrote. Certain painters, Goya, for example, also deftly used language to augment their imagery. Like Degas, who liked to talk with poets and even engaged the inscrutable Mallarmé, Guston liked talking with poets, and they with him. Among his most attentive listeners was his friend the poet Clark Coolidge, whose ear was well attuned to Guston’s sometimes arcane utterances and who has selected some of the painter’s most eloquent sessions of writing and talking, resulting in a mosaic of a life - time of thought. I was also one of Guston’s interlocutors for almost thirty years. I recognize with pleasure Coolidge’s unfurling of Guston’s cycles of talk and non-talk; his amusing feints and dodges when confronted with obtuse questioners, his wondrous bursts of language when he felt inspired, his sometimes playful contrariness, his satisfaction in being a provocateur, and his consistent preoccupation with serious aesthetic ques - tions through out his working life as a painter. Above all, I recognize Guston’s funda - mental rebelliousness, which manifested itself not only in his artistic preferences but in his politics, his choice of artistic battlefields, and his intimate studio life. -
Kafka and the Postmodern Divide: Hebrew and German in Aharon Appelfeld’S the Age of Wonders (Tor Ha-Pela’Ot)
THE GERMANIC REVlEW Kafka and the Postmodern Divide: Hebrew and German in Aharon Appelfeld’s The Age of Wonders (Tor Ha-pela’ot) DAVID SUCHOFF uch recent cultural criticism has argued that postmodern culture can be di- M agnosed as an unworked-through period of mourning, unable to come to terms with the Holocaust and the definitive break with modernist categories that it represents.’ Aharon Appelfeld’s Hebrew novella The Age of Wonders (1978) portrays the story of an assimilated Jewish writer and his family in Austria be- fore the Holocaust, and the story of his son Bruno, who returns to Austria from Jerusalem after the war in search of his past. The text’s very structure seems to affirm the traditional categories of the modedpostmodern divide. Bruno’s father seems to represent the formalism of modernist fiction and its paradigmatic eth- nic self-denial. As the Holocaust draws near in the first half of the novella, Jew- ish history is truly the nightmare from which the writer, as the “father” of Bruno’s apparently rootless, postmodern fate, unsuccessfully tries to awaken. “Father” (his only consistent name in the novella) constantly seeks to become an “Austrian writer,” with German as his “only language” and “mother tongue,” while critics constantly racialize him as a Jew and compare his writing to Kafka’s “parasitism” and unhealthy Jewish style.2 “Father” seems to represent classical modernism, struggling to break with the mass and enter elite culture, only to con- front the question of Jewish culture in its own terms, and those of its enemies, everywhere he turns. -
Robert Walser, Paul Scheerbart, and Joseph Roth Vi
Telling Technology Contesting Narratives of Progress in Modernist Literature: Robert Walser, Paul Scheerbart, and Joseph Roth Vincent Hessling Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2018 © 2018 Vincent Hessling All rights reserved ABSTRACT Telling Technology Contesting Narratives of Progress in Modernist Literature: Robert Walser, Paul Scheerbart, and Joseph Roth Vincent Hessling Telling technology explores how modernist literature makes sense of technological change by means of narration. The dissertation consists of three case studies focusing on narrative texts by Robert Walser, Paul Scheerbart, and Joseph Roth. These authors write at a time when a crisis of ‘progress,’ understood as a basic concept of history, coincides with a crisis of narra- tion in the form of anthropocentric, action-based storytelling. Through close readings of their technographic writing, the case studies investigate how the three authors develop alter- native forms of narration so as to tackle the questions posed by the sweeping technological change in their day. Along with a deeper understanding of the individual literary texts, the dissertation establishes a theoretical framework to discuss questions of modern technology and agency through the lens of narrative theory. Table of Contents ABBREVIATIONS ii ACKNOWLEDGEMENTS iii INTRODUCTION: Toward a Narratology of Technological Change 1 CHAPTER I: Robert Walser’s Der Gehülfe: A Zero-Grade Narrative of Progress 26 1. The Employee as a Modern Topos 26 2. The Master and the Servant: A Farce on Progress 41 3. Irony of ‘Kaleidoscopic Focalization’ 50 4. The Inventions and their Distribution 55 5. -
List of Illustrations Preface
CONTENTS List of Illustrations xiii Preface XV General Introduction 1 PART ONE. BOOMING METROPOLIS 1· The Metropolitan Panorama 9 وإ (Jules Laforgue,Berlin: ế Court and the City (1887 .1 2. Wilhelm Loesche,Berlin North (1890) 16 3. Mark Twain , ằ German Chicago (1892) 17 4. Heinrich Schackow,Berolina : A Metropolitan Aesthetic (1896) 19 5. Alfred Kerr,Berlin and London (1896) 25 6. Alfred Kerr,I Transformation ofPotsdamer Strasse (1895» 1897) 27 7. Max Osborn, I Destruction ofBerliti (1906) 30 8. Werner Sombart, Vienna (1907) 31 وو (Robert falser,Good Morning, Giantess! (1907 .9 10. August Endell,l e Beauty ofthe Great City (1908) 35 11. Oscar Bie,Life Story ofa Street (1908) 41 12. Robert Walser,Friedrichstrasse (1909) 41 13. Max Weber,speechfor a Discussion (1910) 44 14. VorwartSt [Town Hall Tower Panorama】 (1902) 44 15. Ernst Bloch,Berlin, Southern City (1915-16) 46 2· Building and Regulating the Metropolis 49 16. Theodor Goecke,Traffic loroughfares and Residential Streets (1893) 52 17. Rudolf Adickes,l e Need for Spacious Building Programs in City Expansions and the Legal and Technical Means to Accomplish l i s (1895) 18. Vorwärts, [Deforestation around Berlin】 (1908) 57 19. Die Bank, [Speculation in Tempelhof](1910-11) 57 20. p. A. A. [Philip A. Ashworth],Berlin (1911) 59 21. Walter Lewitz, Architectural Notes on the Universal Urban Planning Exhibition, Berlin (1911) 62 22. Various authors, ế Greater Berlin Competition 1910: 1 Prize-Winning Designs with Explanatory Report (1911) 64 ٠ƒ Greater Berlin and The Greater Berlin Cornelius Gurlitt,Review .23 Competition 1910(1911) 69 24. -
Kafka's Anti-Wagnerian Philosophy Of
53 (2/2019), pp. 109–123 The Polish Journal DOI: 10.19205/53.19.6 of Aesthetics Ido Lewit* “He Couldn’t Tell the Difference between The Merry Widow and Tristan and Isolde”: Kafka’s Anti-Wagnerian Philosophy of Music Abstract This essay exposes an anti-Wagnerian philosophy of music in Franz Kafka’s “Researches of a Dog” and “The Silence of the Sirens.” Themes of music, sound, and silence are over- whelmingly powerful in these stories and cannot be divorced from corporeal and visual aspects. These aspects are articulated in the selected texts in a manner that stands in stark opposition to Richard Wagner’s philosophy of music as presented in the composer’s sem- inal 1870 “Beethoven” essay. Keywords Richard Wagner, Franz Kafka, Philosophy of Music, Transcendence, Acousmatic Sound, Silence Max Brod, Franz Kafka’s close friend and literary executor, recalls in his bi- ography of the author that Kafka once said that “he couldn’t tell the differ- ence between The Merry Widow and Tristan and Isolde” (1995, 115). Brod evokes this memory in order to exemplify Kafka’s supposed lack of musi- cality. Indeed, for a German-speaking intellectual such as Kafka, not being able to differentiate Franz Lehár’s light operetta from Richard Wagner’s solemn, monumental music-drama would not simply be an example of unmusicality, but a symptom of cultural autism. While Brod’s recollection is sssssssssssss * Yale University Department of Germanic Languages and Literatures and the Program in Film and Media Studies Email: [email protected] 110 I d o L e w i t __________________________________________________________________________________________________ the only documented reference by Kafka to Wagner or his works,1 it does not necessarily follow that Kafka was unaware of Wagner’s views of music and its effects.