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Art's Challenge: an Analysis of the Role of Aesthetics in the Work Of

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Art's Challenge: an Analysis of the Role of Aesthetics in the Work Of Art’s Challenge: An Analysis of the Role of Aesthetics in the Work of Hugo von Hofmannsthal by Marlo Alexandra Burks A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Germanic Languages and Literatures University of Toronto © Copyright by Marlo Alexandra Burks 2016 Art’s Challenge: An Analysis of the Role of Aesthetics in the Work of Hugo von Hofmannsthal Marlo Alexandra Burks Doctor of Philosophy Department of Germanic Languages and Literatures University of Toronto 2016 Abstract Art poses itself to us as a challenge: when we confront a work of art, we are in turn confronted with the question of how to be after the encounter. My research pursues Hofmannsthal’s treatment of this challenge by examining his depiction of the aesthetic encounter in literary form. I argue that Hofmannsthal’s evolving understanding of the aesthetic begins to incorporate the ethical by way of a dialogical structure that emerges out of the encounter with art, things, and people. This kind of encounter is characterised simultaneously by the viewer’s creative boldness and reverential humility. To illustrate this, I analyse a selection of Hofmannsthal’s works treating the aesthetic and its role in the encounter. In Chapter 1, I consider the meaning of beauty in Das Märchen der 672. Nacht, a tale which depicts uncanny encounters with beautiful objects. For Chapter 2, I offer a reading of Die Briefe des Zurückgekehrten, a series of fictional letters which culminate in an encounter with Van Gogh’s paintings. Augenblicke in Griechenland, the focus of Chapter 3, explores what I interpret to be the dialogical nature of the encounter with art of the past. In Chapter 4, the final chapter, I analyse the tale Die Frau ohne Schatten (which forms a pendant to Das Märchen der 672. Nacht) with a view to the parallel stories of the two-fold rebirth of art and ethical human relations. Hofmannsthal’s work almost never ends in resolution, except in such fairy-tale stories as Die Frau ohne Schatten. But even the resolution of this story is, from a certain ii perspective, a false one. An analysis of the marriage of ethics and aesthetics leads us to an inescapable aporia. Hofmannsthal’s way to the aporia, however, is one that raises fundamental questions about our understanding of art, what it does, and how we respond. iii ACKNOWLEDGMENTS I am not the only person who has made a commitment these five years: my family, my research committee, and my friends have all stuck it out. My name is on the title page, but many people have contributed to the existence of this dissertation. Van Gogh once said that, in order to do a good job, one must live well, eat well, be able to smoke one’s pipe in peace, and drink coffee. I have had significant material support, which has allowed me to do most of those things. I hope the work I have done will justify those investments. Financial support from the Connaught Fund, the Joint Initiative in German and European Studies and the DAAD, the Jackman Humanities Institute, the School of Graduate Studies, and the Goethe- Universität Frankfurt allowed me to complete my research without having to take on too many extra jobs. I was able to do research in Germany on several occasions at the Goethe-Haus in Frankfurt. In Mannheim, I drank coffee in the mornings under the trees in front of one of the great examples of Baroque architecture; where the pale pink flagstones and the air, even in the 40-degree summer heatwave, worked with me as inspiration. Solitude and what German speakers call Muße – ‘leisure’ doesn’t quite translate the word, nor do ‘ease’ or ‘rest’: perhaps simply time is the word I am looking for – are necessary for creation. My dissertation advisor, John Zilcosky, has been precisely what I needed in an advisor: reliable, encouraging, challenging (a word you, dear reader, will probably be sick of by the time you have reached the last page of this dissertation!), and flexible. Most of all, though, he has been a wonderful interlocutor who has helped me to be more assertive in my writing. I thank him, also, for pointing me to Benjamin’s evaluation of Kafka and the notion of beautiful failure. My committee members, Willi Goetschel and Christine Lehleiter have done more than was required of them as committee members. During the writing phase of this dissertation, I had hour- long conversations with Professor Goetschel around some of the philosophically frustrating issues in Hofmannsthal’s work, and Professor Lehleiter has been the critical but kind voice that questioned logical connections and helped me to be clearer in my explanations. I could not have wanted more from a committee; their dedication to ‘my’ project is inspiring. I want to also mention my MA thesis advisor, Hans-Günther Schwarz, with whom I continue to work, and who has also been a constant support. We are now finalising a translation of iv Hofmannsthal’s writings on art for German Texts in English Translation, and it was he who, in 2009, introduced me to Das Märchen der 672. Nacht and the beautiful world of carpets. But whatever failures and flaws there are in this project – I should hope they are, if nothing else, at least a little beautiful! – are mine. Family and friends have offered a different kind of support. My father, who could not witness this project’s completion, would often ask me about it and let me talk incessantly. He is the person who taught me my first few German words and would occasionally use them in E-Mails. Gesundheit! Ich liebe Dich, Dein Vater. My mother, who has been through and seen so much over the years, is a model of strength for me. There aren’t words for what her presence in my life, especially these last few years, has meant to me. My partner and colleague Andrew, the most relentless of all ‘encouragers’ has been there at every stage. I only hope I can be for him what he has been for me. And Nathaniel: whom I have seen in the last four and a half years grow in maturity, talent, and kindness, and who has on many occasions brought me back down to earth, and also lifted my spirits. These two human beings are with me day-in and day-out. Presence is a funny thing, and not as easy as we think. I am thankful for their presence. v TABLE OF CONTENTS ACKNOWLEDGMENTS ..................................................................................................................... iv TABLE OF CONTENTS ...................................................................................................................... vi INTRODUCTION .................................................................................................................................1 CHAPTER 1: ON BEAUTY AND POWER ............................................................................................12 Beauty Lost – Das Märchen der 672. Nacht .............................................................................17 Beauty Regained .......................................................................................................................40 CHAPTER 2: THE DIALOGUE OF COLOURS ......................................................................................58 The Mal de Débarquement ........................................................................................................62 “Ein europäisch-deutsches Gegenwartsgefühl” ........................................................................72 Of Ghosts and Colours: From Phenomenological Crisis to Aesthetic Resolution? ..................84 CHAPTER 3: MOMENTS OF HUBRIS AND HUMILITY .......................................................................126 Eternity’s Call at “Das Kloster des Heiligen Lukas” ..............................................................129 Poetic Wanderings in “Der Wanderer” ...................................................................................136 There is Vengeance in Heaven for an Injured Dog .................................................................141 Prelude to the Aesthetic Encounter .........................................................................................151 “In diesem Augenblick geschah mir etwas” ...........................................................................165 CHAPTER 4: THE TALE OF AN AESTHETIC THEODICY ...................................................................182 The Blue Palatial Vestibule .....................................................................................................190 A Yellow River Leads to the City of Woe: The Birthplace of the Artist ................................199 An Aesthetic Encounter at the Eleventh Hour ........................................................................213 The Labour of Beauty .............................................................................................................228 Of the Rising and Setting Sun .................................................................................................235 Echoes and Colours .................................................................................................................248 Reverse Midas: Gold, Stone, & Gordian Knots ......................................................................255 A Märchen as “lovely as a Persian carpet, and as unreal” ......................................................266 vi CONCLUDING REMARKS: ART’S STUBBORN SILENCE ...................................................................271 BIBLIOGRAPHY .............................................................................................................................277
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