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Hermann Sudermann and the Liberal German Bourgeoisie

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University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations Dissertations and Theses July 2016 Pessimism in Progress: Hermann Sudermann and the Liberal German Bourgeoisie Jason Doerre University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_2 Part of the European History Commons, German Literature Commons, and the Intellectual History Commons Recommended Citation Doerre, Jason, "Pessimism in Progress: Hermann Sudermann and the Liberal German Bourgeoisie" (2016). Doctoral Dissertations. 652. https://doi.org/10.7275/8322692.0 https://scholarworks.umass.edu/dissertations_2/652 This Open Access Dissertation is brought to you for free and open access by the Dissertations and Theses at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. PESSIMISM IN PROGRESS: HERMANN SUDERMANN AND THE LIBERAL GERMAN BOURGEOISIE A Dissertation Presented by JASON J. DOERRE Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2016 German and Scandinavian Studies © Copyright by Jason J. Doerre 2016 All Rights Reserved PESSIMISM IN PROGRESS: HERMANN SUDERMANN AND THE LIBERAL GERMAN BOURGEOISIE A Dissertation Presented by JASON J. DOERRE Approved as to style and content by: ____________________________________________________ Susan Cocalis, Chair ____________________________________________________ Andrew Donson, Member ____________________________________________________ Jon Olsen, Member _______________________________________________ William Moebius, Department Head Languages, Literatures and Cultures DEDICATION I dedicate this dissertation to my grandparents Jerome and Lucilla Schultz for inspiring my interest of the past. ACKNOWLEDGMENTS Like most dissertations, this one would not have been possible without the generous, caring support of many others. First of all, the continuous support provided by many friends and family members over the years enabled me to have made it this far. I will not forget the help provided by these people and I shall be forever grateful. I am thankful to all of the many educators over the years, who prepared me for this final stage of my Lehrjahre. As an undergraduate at Minnesota State University Mankato, Larry Witherell prepared me for the next stages of my studies, as he instilled in me an understanding of the importance of history. I am fortunate for having been an M.A. student at the University of Salzburg in Austria and Bowling Green State University Ohio, and I am likewise fortunate to have been trained by so many competent academics there. While completing my PhD studies at the University of Massachusetts Amherst I am thankful to the whole section of German and Scandinavian Studies, as well as the DEFA Film Library for opening up to me new interests and opportunities. I owe much to the generosity of the William J. Fulbright Foundation, which enabled me on two separate occasions extended stays in Germany, providing me with the chance to teach for the first time, as well as complete research at the German Literature Archive in Marbach am Neckar, forming the backbone of this dissertation. At Trinity College in Hartford, where I was fortunate enough to have the opportunity to teach, I am thankful to the Department of Language and Culture Studies, especially my two colleagues Johannes Evelein and Julia Assaiante-Goesser, from whom I have gained remarkable knowledge both in teaching, the profession, and life. Lastly, all dissertations need a committee. I am v especially blessed to have one that encouraged me with this project from start to finish. Susan Cocalis, my primary advisor during my PhD studies, guided me through thick and thin, past the exams, and through the dissertation writing process. Her advice and interest in my work was constantly a source of motivation for me. I am forever grateful. Andrew Donson’s style of honest constructive criticism throughout the years helped me get to this point. Last but not least, I am thankful to Jon Olsen for agreeing to be a committee member. His generosity and kindness has been remarkable. vi ABSTRACT PESSIMISM IN PROGRESS: HERMANN SUDERMANN AND THE LIBERAL GERMAN BOURGEOISIE May 2016 JASON DOERRE, B.A., MINNESOTA STATE UNIVERSITY MANKATO M.A., BOWLING GREEN STATE UNIVERSITY Ph.D., UNIVERSITY OF MASSACHUSETTS AMHERST Directed by: Professor Susan Cocalis Once ranked among the most internationally read authors at the turn of the nineteenth century, the name Hermann Sudermann (1857–1928) today has been all but forgotten. This dissertation frames the life and work of this once famous author in the context of the liberal German bourgeois milieu. Not only was Sudermann a liberal bourgeois, his works reflected the preferred styles, attitudes, and worldview of this social class. I argue that the rise and fall of Hermann Sudermann’s career, as it was inextricably connected to the fortunes of the liberal German bourgeoisie, mirrors the trajectory thereof. As the appeal of bourgeois liberalism waned from the late nineteenth century into the twentieth, so too did the reception of its author par excellence. With the end of his life in 1928, and then the end of the Weimar Republic in 1933, Hermann Sudermann and the legacy of the liberal German bourgeoisie came to an abrupt end. Most peculiar was that Hermann Sudermann had written about the decline of bourgeois liberalism for decades in advance of its collapse. This is part of a self-fulfilling prophecy, an affliction that affected many of his vii contemporaries. Instead of emanating a persistently progressive force and survivalist spirit, the tendency was aestheticist withdrawal, and resignation to fate. Using his roman à clef, titled Der tolle Professor, as an entry point into the life work and worldview of Hermann Sudermann, this dissertation focuses attention on the representation of liberalism, the bourgeoisie, and pessimism. viii TABLE OF CONTENTS Page ACKNOWLEDGMENTS .............................................................................................................................. v ABSTRACT .................................................................................................................................................. vii CHAPTER I. INTRODUCTORY CHAPTER: THE LIFE AND WORK OF HERMANN SUDERMANN IN CONTEXT .................................................................................................. 1 A. Introduction ............................................................................................................................. 1 B. The Forgotten Life and Work of Hermann Sudermann ......................................... 3 C. Pessimissim in Progress: Hermann Sudermann And The Liberal German Bourgeoisie ......................................................................................................... 14 II. HERMANN SUDERMANN'S DER TOLLE PROFESSOR IN CONTEXT ..................... 33 A. Der tolle Professor: Ein Roman aus der Bismarckzeit (1928) ............................. 33 B. Der tolle Professor Within The Oeuvre of Hermann Sudermann ..................... 36 C. Entstehungsgeschichte: Origins of Der tolle Professor .......................................... 40 D. Rezeptionsgeschichte: Reactions to Der tolle Professor ........................................ 50 III. THE GERMAN BOURGEOISIE AND HERMANN SUDERMANN: BOURGEOISOPHOBIA? .......................................................................................................... 69 A. Introduction: Der tolle Professor and the German Bourgeoisie ....................... 69 1. Sieburth and the Philosophy of Ethical Life ............................................... 70 2. Sieburth and the Bourgeois Salon Life of Königsberg ........................... 73 3. Sieburth's Love and Intrigues .......................................................................... 80 4. Bourgeois Surveillance and Social Control ................................................. 84 5. Sieburth's Fate is Sealed ..................................................................................... 92 B. Hermann Sudermann's Reception among the German Bourgeoisie ............. 98 1. Hermann Sudermann as an Icon of the German Bourgeoisie ......................................................................................................... 101 ix a. "Die Ehre" ................................................................................................ 102 b. "Sodoms Ende" ...................................................................................... 105 c. "Heimat" ................................................................................................... 110 2. A Typical Self-Loathing German Bourgeois? .......................................... 115 a. Born of the Bourgeoisie ..................................................................... 117 b. The Mind of the Bourgeoisie ........................................................... 123 IV. GERMAN LIBERALISM AND HERMANN SUDERMANN: AN IDEOLOGY IN CRISIS? ........................................................................................................................................ 135 A. Introduction: Hermann Sudermann and German Liberalism. Love and Hate? ...........................................................................................................................
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  • THOMAS MANN's INTERPRETATIONS of DER TOD in VENEDIG and TMEIR RELIABILITY by Herbert Lehnert

    THOMAS MANN's INTERPRETATIONS of DER TOD in VENEDIG and TMEIR RELIABILITY by Herbert Lehnert

    THOMAS MANN'S INTERPRETATIONS OF DER TOD IN VENEDIG AND TMEIR RELIABILITY by Herbert Lehnert One of the last comments by Thomas Mann on his Der Tod in Venedig is found in a letter to Franz H. Mautner, the author of a valuable study on the Greek elements in Mann's st0ry.l In this letter Mann claimed his memory to be the source of an Odyssey quotation in the text. Homer's verses, he writes, had been well preserved in his memory from his days as a boy. There is ample evidence, however, that the source for the Homer quotation in the text was Erwin Rohde's Psyche, a book from which Mann also took other material for Der Tod in Venedig.2 Why did he not name Rohde's book as a source of Der Tod in Venedig? Psyche is a most respectable book, written in a beautiful style rarely found among German scholars, and it is still recognized as the standard work on the topic, namely the Greek beliefs concerning the existence of the soul after death. Could he have forgotten the rather elaborate process, that we can reconstruct, of not only reading the book, but also pencil-marking some passages, excerpting some of these, and then using them in the story? This is quite possible after forty years, although he still owned the book when living in his last home in Switzerland, and placed it in his library among works on mythology which he used for Joseph. He had mentioned his early knowledge of classical legends much earlier in "Kinderspiele" (1904).