KITSCH in the PROSE WORKS of THEODOR STORM By
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KITSCH IN THE PROSE WORKS OF THEODOR STORM by RACHEL CARNABY, B.A. Thesis submitted for the degree of Doctor of Philosophy in the Department of Germanic Studies University of Sheffield. March 1985 ABSTRACT RACHEL CARNABY KITSCH IN THE, PROSE WORKS OF THEODOR STORM. The twofold purpose of this study is to clarify, on the one hand, the question of literary evaluation in general and of kitsch in particular, and, on the other, to analyse the prose works of Theodor Storm in the light of the theories of literary evaluation thus established. It therefore follows that the investigation falls into two main sections. The first is in essence theoretical. It consists of seven chapters, in which are examined the terminology, etymology and history of literary evaluation; the many different approaches to tackling and understanding the problem of kitsch (pedagogic, socio—economic, political, religious, moral, philosophical etc.); kitsch in its relationship to art; kitsch in literature and elsewhere (kitsch of both style and philosophy); kitsch and the consumer, especially the female consumer; kitswh's causes and functions under a variety of political and socipa regimeA4.and, lastly, the possible dangers of kitsch and the remedies suggested to help counteract it. The second section commences with a survey of prominent trends in Storm research old and new, followed by an exploration of Storm's awareness of and relationship to his reading public and to his publishers, and the effect on his work of the demands of family finances. Three chapters are devoted specifically to Storm's wide—ranging techniques for appealing to his reading public, and four to one of the most important aspects of his work in relation to kitsch, the women figures and love and marriage in the 'Novellen'. Three more are given over to problems in his works, with particular emphasis on the function of social critic now widely claimed for him. Two chapters deal with Storm's literary aims, both in respect of artistic achievement and popular acclaim, how far he was successful in achieving them, and what shortcomings threatened to diminish the literary value of his works. Finally, there is a chapter on Storm's reception under various regimes and how prevailing ideological factions adapted the works for their own use, whilst Storm's reception in the immediate post—war era and in the present day is the subject of the conclusion. CONTENTS SECTION ONE Introduction 1 Justifications and Terminology 3 Kitsch and Art - The 'Kitsch-Mensch' - The Bestseller 21 'Kitsch Style' - Rgsumg of Approaches 41 Etymology - Some Historical Aspects - Nazi Kitsch 64 Marxism and Kitsch - Pedagogic Aspects - Mass Culture 82 Causes and Functions 98 Dangers and Remedies 118 Notes 135 Bibliography 200 SECTION TWO Predominant Trends in Theodor Storm Research 227 Theodor Storm and his Reading Public 245 Literary Techniques for Public Appeal - I 263 Literary Techniques for Public Appeal - II 289 Literary Techniques for Public Appeal - III 314 Theodor Storm's Women Figures - The 'Femme Fragile' 343 Love and Marriage - I 369 Love and Marriage - II 390 Love and Marriage - III 410 % Problems in Storm - I (Nobility, Religion, Race) 439 Problems in Storm - II (Heredity, Alcoholism, Illness, Death, Politics, War) 463 Problems in Storm III (History, Social Criticism, Transience) 483 Theodor Storm's Alias and Shortcomings - I 51b Theodor Storm's Aims and Shortcomings - II 530 Storm - Reception and Ideology 559 Conclusion - Theodor Storm Post-War 596 Notes 614 Bibliography 718 1 INTRODUCTION The title of this study, "Kitsch in the Prose Works of Theodor Storm", is to some degree misleading in that not only is a good half of it devoted to a wide—ranging analysis of the problem of kitsch, but because it suggests that the sole aim is to denigrate an author whose works by no means belong exclusively to those lower echelons of literary production implied by the word 'kitsch'. Nevertheless, this study does tackle the problem of aesthetic evaluation and 'Rangordnung', and that probably to a degree greater than is normally inherent in academic critical investigations. It is always possible to question the validity of imposing a scheme of values on works of literature which, whilst they may make no pretensions to the status of art, may perform some function in moral, political, social or other spheres (which does not imply that a work of literature cannot combine the aesthetic along with other functions). However, in cases where an author claims to have produced a work or works deserving in his opinion of the status of art, it is perhaps justifiable to enquire into the legitimacy of this claim. This is very relevant as far as Theodor Storm is concerned in the light of attestations which he himself repeatedly makes in his correspondence with family, friends and fellow—authors, regarding his own literary production. It is the purpose of the initial section of the present study to explore the many different aspects of the kitsch problem, in order to help formulate some of the precepts upon which the later assessment of Theodor Storm is to be founded. As an author, the latter has constantly been a topic for literary criticism, and interest in him has perceptibly increased in the last twenty or thirty years. However, despite the mass of critical material, there is as yet no study which focusses on the difficulties associated with kitsch and kitsch criticism with specific reference to Theodor Storm. This is surprising in view of the fact that 2 quite a number of critics have recognised definite leanings towards a sentimental 'Weltanschauung' and an ofttimes sentimental expression of it in his works. Moreover, it is precisely this problematical angle which renders Storm suitable for a diagnosis of this nature - his works are particularly challenging in that they could be said to lie on many occasions in the peripheral areas between kitsch and art, and it could be for this very reason that many have tended to overpraise him, as an over-reaction, perhaps, to his obvious sentimentality. His case is relevant, too, in that it illustrates both something of the relationship between the author and his reading public and that between the author and his publisher in the nineteenth century, a formative era for modern literary practice and literary production, above all for the mass society, which is evidently essential to the problem of kitsch. It is for this reason that the present study concentrates mainly on the prose rather than the poetic works, for generally speaking, poetry will always enjoy a smaller and probably more select audience, so that it is less easy to illustrate its effects on a mass public and the techniques it employs to achieve this. Storm's extensive correspondence demonstrates his consciousness of his readership and some of his attitudes towards the literary practice of the day. If his works are designed to achieve public sympathy, how this is done, and how far the works accord with Storm's avowed artistic credo, is revealed in his correspondence and elsewhere, as well as in the works themselves. It is the aim of the following investigation, then, to assist in establishing a clearer picture of the phenomenon 'kitsch', as well as illustrating it by recourse to a particular example, Theodor Storm. 3 CHAPTER I JUSTIFICATIONS AND TERMINOLOGY Prior to embarking upon an examination of the works of Theodor Storm, it is necessary to look at the subject of kitsch and the present I Forschungsstand' in order to determine whether unambiguous and feasible 1 theories can be brought to bear upon this "Kobold Kitsch". However, before moving on to a more detailed discussion, it is an unavoidable necessity to draw attention to certain opinions which place in jeopardy the entire raison d' Otre not only of the present study, but also of all others connected with kitsch, despite Burghard Rieger's optimistic contention that it is superfluous nowadays to justify dealing 2 with trivial literature. It has been asserted that even if the term 'literature' may be applicable, 3 works of inferior literary standing are scarcely worthy of the attention of critics, whose efforts would be more profitably directed towards the investigation of works of generally accepted literary merit. Formerly, 'literarische Wertung' itself was not deemed an integral part of literary criticism, and for a long time was even considered 'unwissen- schaftlich'. 4 'Wertung' and 'Interpretation' were therefore commonly held to be two completely separate procedures. Many, such as Fritz Lockemann, still ascribe to this view, 5 though others, such as Rent Wellek and Austin Warren, rightly suppose that "though separation between the exegesis of meaning (Deutung) and the judgement of value (Wertung) can certainly be made, it is rarely, in 'literary criticism', either practised or practicable",6 so that the inference may be drawn that Wertung l will be at least implicit in any form of literary definition or designation. 7 Any value judgements that were undertaken in the early decades of this century seldom extended into areas other than those enjoying the general sanction of literary 4 criticism. Leonhard Beriger, in his early study of 'literarische Wertung', was not unduly concerned with kitsch or anything approaching it; he believed that it was "wertvoller, EinwAnde gegen Goethe zu erheben als 8 gegen Kotzebue." This attitude has become increasingly outmoded in the course of the present century, though there are those who still espouse it. Jochen Schulte-Sasse has justifiably taken Walter Maller-Seidel to task for the expression of a similarly restricted view. Speaking of Hedwig Courths-Mahler, the latter states: "Solche Prosa verdient in der Tat das Etikett Kitsch. Wir nehmen es zur Kenntnis, wenn wir es nicht schon wussten, und regen uns nicht weiter auf.