The Austrian Problem of Language and Peter Handke: a Documentation
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The Total Work of Art in European Modernism Series Editor: Peter Uwe Hohendahl, Cornell University
The Total Work of Art in European Modernism Series editor: Peter Uwe Hohendahl, Cornell University Signale: Modern German Letters, Cultures, and Thought publishes new English- language books in literary studies, criticism, cultural studies, and intellectual history pertaining to the German-speaking world, as well as translations of im- portant German-language works. Signale construes “modern” in the broadest terms: the series covers topics ranging from the early modern period to the present. Signale books are published under a joint imprint of Cornell University Press and Cornell University Library in electronic and print formats. Please see http://signale.cornell.edu/. The Total Work of Art in European Modernism David Roberts A Signale Book Cornell University Press and Cornell University Library Ithaca, New York Cornell University Press and Cornell University Library gratefully acknowledge the support of The Andrew W. Mellon Foundation for the publication of this volume. Copyright © 2011 by Cornell University All rights reserved. Except for brief quotations in a review, this book, or parts thereof, must not be reproduced in any form without permission in writ- ing from the publisher. For information, address Cornell University Press, Sage House, 512 East State Street, Ithaca, New York 14850. First published 2011 by Cornell University Press and Cornell University Library Printed in the United States of America Library of Congress Cataloging-in-Publication Data Roberts, David, 1937– The total work of art in European modernism / David Roberts. p. cm. — (Signale : modern German letters, cultures, and thought) Includes bibliographical references and index. ISBN 978-0-8014-5023-5 (pbk. : alk. paper) 1. Modernism (Aesthetics) 2. -
«Nirgends Sünde, Nirgends Laster»
Ute Kröger «NIRGENDS SÜNDE, NIRGENDS LASTER» Zürich inspiriert Literaten Mit Texten von Hugo Ball, Johannes R. Becher, Claus Bremer, Max Brod, Elias Canetti, Paul Celan, Walter Matthias Diggelmann, Alfred Döblin, Friedrich Dürrenmatt, Kasimir Edschmid, Nanny von Escher, Robert Faesi, Max Frisch, Manuel Gasser, Friedrich Glauser, Johann Wolfgang Goethe, Kurt Guggenheim, Alexander Xaver Gwerder, Max Herrmann-Neisse, David Hess, Peter Hille, Hans Rudolf Hilty, Rudolf Jakob Humm, Meinrad Inglin, James Joyce, Franz Kafka, Ossip Kalenter, Gottfried Keller, Egon Erwin Kisch, Klabund, Friedrich Gottlieb Klopstock, Arnold Kübler, Meinrad Lienert, Hugo Loetscher, Klaus Mann, Thomas Mann, Nikiaus Meienberg, Conrad Ferdinand Meyer, Oskar Panizza, Joachim Ringelnatz, Max Rychner, Salomon Schinz, Barbara Schulthess, Mario Soldati, Tom Stoppard, Fridolin Tschudi, Grete von Urbanitzky, Richard Wagner, Robert Walser, Maria Waser, PaulWehrli, Ernst Zahn, Albin Zollinger Limmat Verlag Zürich Inhalt Vorwort 10 jm 800 Meinrad Lienert Grundstein für die Wasserkirche 12 Kaiser Karl der Grosse, die Schlange und der Hirsch m 1650 Conrad Ferdinand Meyer Liebesabenteuer auf der Au 18 Der Schuss von der Kanzel rn 1700 Maria Waser Nur fort aus dem Krähennest 32 Die Geschichte der Anna Waser 1750 Friedrich Gottlieb Klopstock Liebeleien auf dem See 44 Der Zürcher See 1774 Salomen Sclunz Aufgeklärte Botanik 50 Die Reise auf den Uethberg 1775 Johann Wolfgang Goethe Skandal um Nackte im Sihlwald 64 Dichtung und Wahrheit m 1780 Robert Faesi Revoluzzer auf dem Lindenhof -
© 2021 Litrix.De 1 the Case of TV, and the Book-Review Slot on the Morning Radio Show at West German Radio (WDR)
Michael Schmitt Literature and Criticism – Immutable Canon or Ongoing Debate? A precarious trade Literary criticism can be many things - or at least aspire to be many things - and depending on one's perspective it can therefore readily be seen as either arrogant pontification, or a worthy contribution to spreading the word about new books; for many journalists, however, it is also a singularly precarious line of work. Regardless of medium - newspaper, magazine, radio , TV, internet - it is a hybrid phenomenon. Once - in days long gone - it was regarded as the very acme of cultural criticism in essay form. Over a long period of time it also served as a key factor in determining the success or failure of a book in the eyes of the public. All such considerations are highly contentious these days. But literary criticism still has its place within supra-regional German-language media, and current claims that this special place is steadily diminishing are also essentially a question of perspective. Compared to the fat years enjoyed by the German media in the 1990s the space allotted to literary criticism has indeed clearly lessened, and the fees paid to its producers are now considerably lower. But anyone dipping into the archives in search of an article from the 1960s soon comes to appreciate just how substantial today's arts supplements still are; back then the supplements even in major newspapers often consisted of just a single page serving to cover everything - theatre, films, books, opinion pieces. And there weren't as many TV and radio stations offering programmes centred on literature. -
Deutsche Gedichte Und Ihre Interpretationen
IOOO Deutsche Gedichte und ihre Interpretationen Herausgegeben von Marcel Reich-Ranicki Fünfter Band Von Arno Holz bis Rainer Maria Rilke Insel Verlag Edwin Bormann: Kinderscene (Jürgen Stenzel) Peter Hille: Seegesicht (Gertrud Fussenegger) Waldstimme (Hans Bender) Gerhart Hauptmann: Testament (Ulrich Lauterbach) Arno Holz: Er klagt/daß der Frühling so kortz blüht (Gerhard Schulz) Im Thiergarten (Reinhold Grimm) Ricarda Huch: Nicht alle Schmerzen (Werner Fuld) Uralter Worte kundig (Ulla Hahn) Wo hast du all die Schönheit hergenommen (Elisabeth Borchers) Frank Wedekind: Der Tantenmörder (Wulf Segebrecht) Otto Julius Bierbaum: Er entsagt (Hans Christoph Buch) Richard Beer-Hofmann: Schlaflied für Mirjam (Peter Härtling) Max Dauthendey: Drinnen im Strauß (Ludwig Harig) Stefan George: An baches ranft (Eugen Gomringer) Das Wort (Wolfgang Hildesheimer) der herr der insel (Wolfgang Leppmann) Der Widerchrist (Gerhard Schulz) Die Gräber in Speier (Karl Korn) Die tote Stadt (Dominik Jost) Einem jungen Führer im ersten Weltkrieg (Joachim Kaiser) Goethe-Tag (Wolfgang Leppmann) Ich bin freund und führer dir (Albert von Schirnding) Ihr tratet zu dem Herde (Wolfdietrich Rasch) Komm in den totgesagten park und schau (Rainer Gruenter) Wir schreiten auf und ab (Hans Wysling) wir stehen an der hecken gradem wall (Günter Blöcker) Else Lasker-Schüler: Die Verscheuchte (Heinz Politzer) Ein alter Tibetteppich (Horst Rüdiger) In meinem Schoße (Rolf Schneider) Jakob (Ruth Klüger) Man muß so müde sein (Christa Melchinger) Felix Dörmann: Was ich liebe (Ernst Jandl) -
ICE2014 Fascism Vs. Utopia in Ingeborg Bachmann's Malina
Fascism vs. Utopia in Ingeborg Bachmann's Malina . Nina Beguš [email protected] Resurrections: 21st International Conference of Europeanists Washington, D.C., March 14, 2014 Nina Beguš Fascism vs. Utopia in Malina CES 2014 1 / 15 Outline 1. Introduction 2. Elements of Fascism and Utopia 3. Conclusion Nina Beguš Fascism vs. Utopia in Malina CES 2014 2 / 15 Outline 1. Introduction 2. Elements of Fascism and Utopia 3. Conclusion Nina Beguš Fascism vs. Utopia in Malina CES 2014 2 / 15 Outline 1. Introduction 2. Elements of Fascism and Utopia 3. Conclusion Nina Beguš Fascism vs. Utopia in Malina CES 2014 2 / 15 componist Hanz Werner H poet Paul C novelist Max F Gruppe 47 etc. Modernism Inluences: H's and W's philosophy of language Introduction The author Ingeborg B (Klagenfurt, 1926 - Rome, 1973) Poet, playwright, author, essayist, translator Nina Beguš Fascism vs. Utopia in Malina CES 2014 3 / 15 componist Hanz Werner H poet Paul C novelist Max F Gruppe 47 etc. Inluences: H's and W's philosophy of language Introduction The author Ingeborg B (Klagenfurt, 1926 - Rome, 1973) Poet, playwright, author, essayist, translator Modernism Nina Beguš Fascism vs. Utopia in Malina CES 2014 3 / 15 Introduction The author Ingeborg B (Klagenfurt, 1926 - Rome, 1973) Poet, playwright, author, essayist, translator Modernism Inluences: H's and W's philosophy of language componist Hanz Werner H poet Paul C novelist Max F Gruppe 47 etc. Nina Beguš Fascism vs. Utopia in Malina CES 2014 3 / 15 Introduction Structure of the novel & characteristics of each chapter part 1: H 2: T T 3: L I M T main character Ivan father Malina genres fairytale, 34 dreams, dramatic dialog, interview, analyzed with letters, notation letters, notation Malina level emotional subconscious rational last sentence Vienna is silent. -
Revisiting Zero Hour 1945
REVISITING ZERO-HOUR 1945 THE EMERGENCE OF POSTWAR GERMAN CULTURE edited by STEPHEN BROCKMANN FRANK TROMMLER VOLUME 1 American Institute for Contemporary German Studies The Johns Hopkins University REVISITING ZERO-HOUR 1945 THE EMERGENCE OF POSTWAR GERMAN CULTURE edited by STEPHEN BROCKMANN FRANK TROMMLER HUMANITIES PROGRAM REPORT VOLUME 1 The views expressed in this publication are those of the author(s) alone. They do not necessarily reflect the views of the American Institute for Contemporary German Studies. ©1996 by the American Institute for Contemporary German Studies ISBN 0-941441-15-1 This Humanities Program Volume is made possible by the Harry & Helen Gray Humanities Program. Additional copies are available for $5.00 to cover postage and handling from the American Institute for Contemporary German Studies, Suite 420, 1400 16th Street, N.W., Washington, D.C. 20036-2217. Telephone 202/332-9312, Fax 202/265- 9531, E-mail: [email protected] Web: http://www.aicgs.org ii F O R E W O R D Since its inception, AICGS has incorporated the study of German literature and culture as a part of its mandate to help provide a comprehensive understanding of contemporary Germany. The nature of Germany’s past and present requires nothing less than an interdisciplinary approach to the analysis of German society and culture. Within its research and public affairs programs, the analysis of Germany’s intellectual and cultural traditions and debates has always been central to the Institute’s work. At the time the Berlin Wall was about to fall, the Institute was awarded a major grant from the National Endowment for the Humanities to help create an endowment for its humanities programs. -
Klirnt and Schiele Stephan Kleinschuster May 6, 1997 AR592
The Evolution of Expressionism In Turn-of-the-Century Vienna: Klirnt and Schiele Stephan Kleinschuster May 6, 1997 AR592 1 1 Until 1897, Classicism in Viennese high art had served as a mimetic construct of the elite society who were both art's staunchest supporters and the purveyors of moral and philosophical values that served as it's staple of judgment. In the following years, from 1898 to 1918, were revolutions of both natures, political and philosophical. The artistic transformation from the Classicism of the Habsburg Monarchy to the expressionism of the Cafe "Nihilism" could be seen most obviously in two of Vienna's foremost artists of the time, Gustav Klimt and Egon Schiele. This paper seeks to compare and contrast the works of these two artists who seem to crystallize the moral, social, political, and artistic upheaval of early Twentieth Century Vienna. It lS fitting that Gustav Klimt and Egon Schiele died six months from one another, both of the Spanish influenza, and both in 1918. It is important to note that even though stylistic variables call for their ultimate contrast, they loved and admired one another, and they both stood for the values that defined Secessionism. Their proximity in philosophy makes it all the more profound to discover their differences. In Klimt came classical objectivity housed in a contemporary conceptual framework. In Schiele came the shift to brutal subjectivity that pushed the limits of this framework. Even though, as will be discussed, the similarity of the subject matter seems to remain a constant, the execution becomes the variable upon which the change becomes dependent. -
German Ecocriticism an Overview
Citation for published version: Goodbody, A 2014, German ecocriticism: an overview. in G Garrard (ed.), The Oxford Handbook of Ecocriticism. Oxford Handbooks of Literature, Oxford University Press, Oxford, U. K., pp. 547-559. Publication date: 2014 Document Version Early version, also known as pre-print Link to publication University of Bath Alternative formats If you require this document in an alternative format, please contact: [email protected] General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 27. Sep. 2021 ‘German Ecocriticism: An Overview’1 Axel Goodbody (for Oxford Handbook of Ecocriticism, ed. Greg Garrard) The contrast between the largely enthusiastic response to ecocriticism in the Anglophone academy and its relative invisibility in the German-speaking world is a puzzle. Why has it yet to gain wider recognition as a field of literary study in Germany, Austria and Switzerland, countries in whose philosophy and cultural tradition nature features so prominently, whose people are shown by international surveys of public opinion to show a high degree of environmental concern, and where environmental issues rank consistently high on the political agenda? One reason may be that German scientists, political thinkers and philosophers have been pioneers in ecology since Humboldt and Haeckel, and non-fiction books have served as the primary medium of public debate on environmental issues in Germany. -
Ten Thomas Bernhard, Italo Calvino, Elena Ferrante, and Claudio Magris: from Postmodernism to Anti-Semitism
Ten Thomas Bernhard, Italo Calvino, Elena Ferrante, and Claudio Magris: From Postmodernism to Anti-Semitism Saskia Elizabeth Ziolkowski La penna è una vanga, scopre fosse, scava e stana scheletri e segreti oppure li copre con palate di parole più pesanti della terra. Affonda nel letame e, a seconda, sistema le spoglie a buio o in piena luce, fra gli applausi generali. The pen is a spade, it exposes graves, digs and reveals skeletons and secrets, or it covers them up with shovelfuls of words heavier than earth. It bores into the dirt and, depending, lays out the remains in darkness or in broad daylight, to general applause. —Claudio Magris, Non luogo a procedere (Blameless) In 1967, Italo Calvino wrote a letter about the “molto interessante e strano” (very interesting and strange) writings of Thomas Bernhard, recommending that the important publishing house Einaudi translate his works (Frost, Verstörung, Amras, and Prosa).1 In 1977, Claudio Magris held one of the !rst international conferences for the Austrian writer in Trieste.2 In 2014, the conference “Il più grande scrittore europeo? Omag- gio a Thomas Bernhard” (The Greatest European Author? Homage to 1 Italo Calvino, Lettere: 1940–1985 (Milan: Mondadori, 2001), 1051. 2 See Luigi Quattrocchi, “Thomas Bernhard in Italia,” Cultura e scuola 26, no. 103 (1987): 48; and Eugenio Bernardi, “Bernhard in Italien,” in Literarisches Kollo- quium Linz 1984: Thomas Bernhard, ed. Alfred Pittertschatscher and Johann Lachinger (Linz: Adalbert Stifter-Institut, 1985), 175–80. Both Quattrocchi and Bernardi -
Core Reading List for M.A. in German Period Author Genre Examples
Core Reading List for M.A. in German Period Author Genre Examples Mittelalter (1150- Wolfram von Eschenbach Epik Parzival (1200/1210) 1450) Gottfried von Straßburg Tristan (ca. 1210) Hartmann von Aue Der arme Heinrich (ca. 1195) Johannes von Tepl Der Ackermann aus Böhmen (ca. 1400) Walther von der Vogelweide Lieder, Oskar von Wolkenstein Minnelyrik, Spruchdichtung Gedichte Renaissance Martin Luther Prosa Sendbrief vom Dolmetschen (1530) (1400-1600) Von der Freyheit eynis Christen Menschen (1521) Historia von D. Johann Fausten (1587) Das Volksbuch vom Eulenspiegel (1515) Der ewige Jude (1602) Sebastian Brant Das Narrenschiff (1494) Barock (1600- H.J.C. von Grimmelshausen Prosa Der abenteuerliche Simplizissimus Teutsch (1669) 1720) Schelmenroman Martin Opitz Lyrik Andreas Gryphius Paul Fleming Sonett Christian v. Hofmannswaldau Paul Gerhard Aufklärung (1720- Gotthold Ephraim Lessing Prosa Fabeln 1785) Christian Fürchtegott Gellert Gotthold Ephraim Lessing Drama Nathan der Weise (1779) Bürgerliches Emilia Galotti (1772) Trauerspiel Miss Sara Samson (1755) Lustspiel Minna von Barnhelm oder das Soldatenglück (1767) 2 Sturm und Drang Johann Wolfgang Goethe Prosa Die Leiden des jungen Werthers (1774) (1767-1785) Johann Gottfried Herder Von deutscher Art und Kunst (selections; 1773) Karl Philipp Moritz Anton Reiser (selections; 1785-90) Sophie von Laroche Geschichte des Fräuleins von Sternheim (1771/72) Johann Wolfgang Goethe Drama Götz von Berlichingen (1773) Jakob Michael Reinhold Lenz Der Hofmeister oder die Vorteile der Privaterziehung (1774) -
Carl Und Gerhart Hauptmann – Jahrbuch
Carl und Gerhart Hauptmann – Jahrbuch Bd. VII 2013 Carl und Gerhart Hauptmann - Jahrbuch Redaktion Prof. Dr. Krzysztof A. Kuczyński Katedra Badań Niemcoznawczych \ Lehrstuhl für Deutschlandstudien Uniwersytet Łódzki \ Universität Lodz ul. Narutowicza 59 a, PL 90- 131 Łódź Tel.\Fax. 0048 -42 – 66 55 401 E-Mail: [email protected] Herausgeber der Reihe „Carl und Gerhart Hauptmann – Jahrbuch“ Prof. Dr. Krzysztof A. Kuczyński Herausgeber des Bandes VII, 2013 Prof. Dr. Grażyna Barbara Szewczyk Gutachter: Prof. Dr. Marek Hałub Uniwersytet Wrocławski \ Universität Wrocław Wissenschaftlicher Beirat: Prof. Dr. Mirosława Czarnecka, Universität Wrocław Prof. Dr. Marek Hałub, Universität Wrocław Prof. Dr. Peter Sprengel, FU Berlin Prof. Dr. Anna Stroka, Universität Wrocław Prof. Dr. Grażyna Szewczyk, Universität Katowice ISSN 2084-2511 Vertrieb des Carl und Gerhart Hauptmann-Jahrbuchs Państwowa Wyższa Szkoła Zawodowa we Włocławku / Staatliche Fachhochschule Włocławek Wydawnictwo Naukowe PWSZ we Włocławku Wissenschaftlicher Verlag der Staatlichen Fachhochschule in Włocławek PL 87-800 Włocławek, ul. 3 Maja 17 Fax: 0048 54 321 43 52 E-Mail: [email protected] * Für unverlangt eingesandte Materialien wird keine Haftung übernommen Skład, druk i oprawa Partner Poligrafia Białystok, ul. Zwycięstwa 10; tel. 85 653-78-04; [email protected] Lehrstuhl für Deutschlandstudien der Universität Łódź Gerhart-Hauptmann-Museum Erkner Carl und Gerhart Hauptmann – Jahrbuch Bd. VII Wissenschaftlicher Verlag der Staatlichen Fachhochschule in Włocławek -
Staging Memory: the Drama Inside the Language of Elfriede Jelinek
Studies in 20th & 21st Century Literature Volume 31 Issue 1 Austrian Literature: Gender, History, and Article 13 Memory 1-1-2007 Staging Memory: The Drama Inside the Language of Elfriede Jelinek Gita Honegger Arizona State University Follow this and additional works at: https://newprairiepress.org/sttcl Part of the Film and Media Studies Commons, and the German Literature Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Honegger, Gita (2007) "Staging Memory: The Drama Inside the Language of Elfriede Jelinek," Studies in 20th & 21st Century Literature: Vol. 31: Iss. 1, Article 13. https://doi.org/10.4148/2334-4415.1653 This Article is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Studies in 20th & 21st Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. Staging Memory: The Drama Inside the Language of Elfriede Jelinek Abstract This essay focuses on Jelinek's problematic relationship to her native Austria, as it is reflected in some of her most recent plays: Ein Sportstück (A Piece About Sports), In den Alpen (In the Alps) and Das Werk (The Plant). Taking her acceptance speech for the 2004 Nobel Prize for Literature as a starting point, my essay explores Jelinek's unique approach to her native language, which carries both the burden of historic guilt and the challenge of a distinguished, if tortured literary legacy. Furthermore, I examine the performative force of her language. Jelinek's "Dramas" do not unfold in action and dialogue, rather, they are embedded in the grammar itself.