DOCSLIB.ORG

Hermann Sudermann and the Liberal German Bourgeoisie

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Hermann Sudermann and the Liberal German Bourgeoisie 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? ...........................................................................................................................
Load more

Recommended publications
  • Precio Maketa Punk-Oi! Oi! Core 24 ¡Sorprendete!
    GRUPO NOMBRE DEL MATERIAL AÑO GENERO LUGAR ID ~ Precio Maketa Punk-Oi! Oi! Core 24 ¡Sorprendete! La Opera De Los Pobres 2003 Punk Rock España 37 100% Pure British Oi! Música Punk HC Cd 1 Punk Rock, HC Varios 6 100% Pure British Oi! Música Punk HC Cd 2 Punk Rock, HC Varios 6 100% Pure British Oi! Música Punk HC Cd 1 Punk Rock, HC Varios 10 100% Pure British Oi! Música Punk HC Cd 2 Punk Rock, HC Varios 10 1ª Komunion 1ª Komunion 1991 Punk Rock Castellón 26 2 Minutos Valentin Alsina Punk Rock Argentina 1 2 Minutos Postal 97 1997 Punk Rock Argentina 1 2 Minutos Volvió la alegría vieja Punk Rock Argentina 2 2 Minutos Valentin Alsina Punk rock Argentina 12 2 Minutos 8 rolas Punk Rock Argentina 13 2 Minutos Postal ´97 1997 Punk Rock Argentina 32 2 Minutos Valentin Alsina Punk Rock Argentina 32 2 Minutos Volvio la alegria vieja 1995 Punk Rock Argentina 32 2 Minutos Dos Minutos De Advertencia 1999 Punk Rock Argentina 33 2 Minutos Novedades 1999 Punk Rock Argentina 33 2 Minutos Superocho 2004 Punk Rock Argentina 47 2Tone Club Where Going Ska Francia 37 2Tone Club Now Is The Time!! Ska Francia 37 37 hostias Cantando basjo la lluvia ácida Punk Rock Madrid, España 26 4 Skins The best of the 4 skins Punk Rock 27 4 Vientos Sentimental Rocksteady Rocksteady 23 5 Years Of Oi! Sweat & Beers! 5 Years Of Oi! Sweat & Beers! Rock 32 5MDR Stato Di Allerta 2008 Punk Rock Italia 46 7 Seconds The Crew 1984 Punk Rock, HC USA 27 7 Seconds Walk Together, Rock Together 1985 Punk Rock, HC USA 27 7 Seconds New Wind 1986 Punk Rock, HC USA 27 7 Seconds Live! One Plus One
    [Show full text]
  • Versailles (Hellerau, 1927). Even Deutschland, Frankreich Und
    BIBLIOGRAPHICAL NOTE Most of the sources on German history from 1890 to the end of the Weimar Republic are of use in a study of Maximilian Har­ den. In the following paragraphs are noted, besides the un­ published sources, only the published materials that deal directly with Harden, and the general works or monographs on the period that have been used most extensively. Many works cited in the text are not listed here; a complete reference to each one is found in its first citation. The indispensable source of information on Harden is the magazine he edited from 1892 until 1922. The one hundred and eighteen volumes of the Zukunft contain the bulk of his essays, commentaries, and trial records, as well as many private letters to and from him. The Zukunft was the inspiration or the source for Harden's principal pamphlets and books, namely Kampfge­ nosse Sudermann (Berlin, 1903); KopJe (4 vols., Berlin, 1911-1924); Krieg und Friede (2 vols., Berlin, 1918); and Von Versailles nach Versailles (Hellerau, 1927). Even Deutschland, Frankreich und England (Berlin, 1923), written after the Zukun}t had ceased publication, was in large a repetition of Zukunft articles. Harden's earliest work, Berlin als Theaterhauptstadt (Berlin, 1889), consisted in part of pieces he had written for Die Nation. Apostata (Berlin, 1892), Apostata, neue Folge (Berlin, 1892), andLiteraturund Theater (Berlin, 1896), were collections of his essays from Die Gegenwart. The Gegenwart and the other magazines for which he wrote before 1892 - Die Nation, Die Kunstwart, and M agazin fur Litteratur - are also indispensable sources. Harden's published writings also include articles in other German and foreign newspapers and magazines.
    [Show full text]
  • J a H R E S B E R I C H T 2 0
    GUSTAV – EBERLEIN – FORSCHUNG e.V. - Hann. Münden J A H R E S B E R I C H T 2 0 1 5 1 GUSTAV – EBERLEIN – FORSCHUNG e.V. - Hann. Münden J A H R E S B E R I C H T 2 0 1 5 . I N H A L T S V E R Z E I C H N I S Seite Schwerpunkte (Ehrengrab, Amtsübergabe, Ordensverleihungen) 3 1. Restaurieren und Erhalten von Werken 5 Restaurierung und Erhaltung in Hann. Münden / Archivierung 5 Erhaltung und Restaurierung außerhalb von Hann. Münden 8 2. Entdecken von Eberlein-Werken 10 Bisher unbekannte Werke / Neues Material zu schon bekannten Werken 10 Versteigerungen bzw. Erwerbungen 11 3. Forschung / Veröffentlichungen und Quellenmaterial 13 Einzelergebnisse 13 Veröffentlichungen 16 4. Präsentation von Werken / Öffentlichkeitsarbeit 19 Öffentlichkeitsarbeit durch Ausstellungen und Vorträge 20 Öffentlichkeitsarbeit durch Medien / Internet / Presseartikel 20 Öffentlichkeitsarbeit durch Teilnahme an Ereignissen 22 5. Zusammenarbeit mit anderen Institutionen / Wissen- 22 schaftlerinnen / Wissenschaftlern / Interessierten 6. Entwicklung des Vereins / Organisation / Finanzierung 22 7. Anlage: Ordensverleihungen Prof. Grimm mit Abbildungen 24 2 GUSTAV – EBERLEIN – FORSCHUNG e.V. - Hann. Münden J A H R E S B E R I C H T 2 0 1 5 Vorbemerkung: Der Jahresbericht 2015 folgt derselben Gliederung wie die der zurückliegenden. Dadurch ist er mit ihnen leicht vergleichbar. Auf Anfrage wird er gern in digitaler Form als Mailanhang versendet. Darin blau gekennzeichnete Links können direkt aus der Datei geöffnet werden (STRG+Klicken). Hinweis: Ein USB-Stick oder eine DVD mit allen Jahresberichten seit 1982, verschiedenen Texten und Fotos (u.a.
    [Show full text]
  • 11. Heine and Shakespeare
    https://www.openbookpublishers.com © 2021 Roger Paulin This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the text; to adapt the text and to make commercial use of the text providing attribution is made to the authors (but not in any way that suggests that they endorse you or your use of the work). Attribution should include the following information: Roger Paulin, From Goethe to Gundolf: Essays on German Literature and Culture. Cambridge, UK: Open Book Publishers, 2021, https://doi.org/10.11647/OBP.0258 Copyright and permissions for the reuse of many of the images included in this publication differ from the above. Copyright and permissions information for images is provided separately in the List of Illustrations. In order to access detailed and updated information on the license, please visit, https://doi.org/10.11647/OBP.0258#copyright Further details about CC-BY licenses are available at, https://creativecommons.org/ licenses/by/4.0/ All external links were active at the time of publication unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Updated digital material and resources associated with this volume are available at https://doi.org/10.11647/OBP.0258#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. ISBN Paperback: 9781800642126 ISBN Hardback: 9781800642133 ISBN Digital (PDF): 9781800642140 ISBN Digital ebook (epub): 9781800642157 ISBN Digital ebook (mobi): 9781800642164 ISBN Digital (XML): 9781800642171 DOI: 10.11647/OBP.0258 Cover photo and design by Andrew Corbett, CC-BY 4.0.
    [Show full text]
  • Ftaketettflugplafc Berlin
    A 1015 F MITTEILUNGEN DES VEREINS FÜR DIE GESCHICHTE BERLINS GEGRÜNDET 1865 88. Jahrgang Heft 1 Januar 1992 Rcisbifoliofhek ig der Ber!!f»r StodtbiWiathe» Der „Bogenschütze" im Schloßpark von Sanssouci, Parterre der Neuen Orangerie, Aufnahme November 1990 (Foto: Schmidt) Plastiken in Berlin: Der „Bogenschütze" von Ernst Moritz Geyger Ein Berliner Bildhauer und sein populärstes Werk Von Martin H. Schmidt Nur schwer läßt sich die gigantisch erscheinende Skulptur des „Bogenschützen" von Ernst Moritz Geyger im Schloßpark von Sanssouci übersehen. Seit 1961 steht der — von dem Potsda­ mer „Blechner" Gustav Lind1 in Kupfer getriebene — nackte Jüngling im Parterre der Neuen Orangerie; er hatte ursprünglich (seit 1902) im Sizilianischen Garten und zwischenzeitlich (1927—1960) in der Nähe des Hippodroms Aufstellung gefunden. Folgende Bemerkungen seien zunächst dem Schöpfer des „Bogenschützen" gewidmet: Der Künstler Ernst Moritz Geyger — Sohn eines Schuldirektors2 — wurden am 9. November 1861 in Rixdorf (heute Berlin-Neukölln) geboren. Mit sechzehn Jahren begann er seine künst­ lerische Ausbildung in der Malklasse der Kunstschule in Berlin und setzte sie von 1878 bis 1883 an der akademischen Hochschule fort. Wie auf viele junge Künstler übte sein Lehrer, der Tier­ maler Paul Meyerheim, auf die früh entstandenen Gemälde und Graphiken des Eleven einen unübersehbaren Einfluß aus.3 Trotz positiver Erwähnungen aus den Reihen zeitgenössischer Kritiker scheiterte Geygers Versuch, im Atelier des staatstragenden Künstlers der Wilhelmini­ schen Ära, Anton von Werner, unterzukommen. Als Geygers Hauptwerk in der Gattung der Malerei gilt das große Ölgemälde „Viehfütterung" von 1885. Ein breites Publikum erreichte der Künstler mit satirischen Tiergraphiken; die Radierungen, Kranich als „Prediger in der Wüste", „Elephant bei der Toilette" oder „Affen in einem Disput über den von ihrer Sippe ent­ arteten Menschen", riefen bei jeder öffentlichen Präsentation „das Entzücken der Laien wie der Kenner in gleichem Maße hervor.
    [Show full text]
  • Rammstein - Rosenrot Nur Ein Jahr Nach Dem Release Von „Reise,Reise“ Haben Rammstein Den Nächsten Longplayer Auf Den Markt Geworfen
    Rammstein - Rosenrot Nur ein Jahr nach dem Release von „Reise,Reise“ haben Rammstein den nächsten Longplayer auf den Markt geworfen. Und wer jetzt denkt, na, da haben wir gewiß nur einen Schnellschuß zum schnellen Kohle machen veröffentlicht,wird sich nach dem Hören dieser CD eines besseren belehren lassen müssen. Rammstein - Rosenrot 1.Benzin 2.Mann gegen Mann 3.Rosenrot 4.Spring 5.Wo bist du 6.Stirb nicht vor mir // Dont Die Before I Do Feat. Sharleen Spiteri 7.Zerstören 8.Hilf mir 9.Te Quiero Puta! 10.Feuer und Wasser 11.Ein Lied Universal (Universal) Till Lindemann – Gesang Paul Landers – Gitarre Richard Kruspe Bernstein – Gitarre Christoph Schneider – Schlagzeug Oliver Riedel – Bass Christian "Flake" Lorenz – Keyboard Nur ein Jahr nach dem Release von „Reise,Reise“ haben Rammstein den nächsten Longplayer auf den Markt geworfen. Und wer jetzt denkt, na, da haben wir gewiß nur einen Schnellschuß zum schnellen Kohle machen veröffentlicht,wird sich nach dem Hören dieser CD eines besseren belehren lassen müssen. Denn textlich so gut wie hier, haben sich „Rammstein“ seit „Sehnsucht“ nicht mehr geäußert. Das beginnt mit „Spring“, einem der grandiosesten Texte, den die Band jemals geschrieben hat und wird nur noch von „Mann gegen Mann“ übertroffen, einem Text über Homosexualität, die durchaus die Chance hat, in den Schwulendiscos dieses Landes zur neuen Hymne zu avancieren. Der Text ist sehr tiefsinnig und wirkt in keinster Weise diskriminierend. Ich glaube, es hat sich in keiner Form jemals ein heterosexueller mann künstlerisch so poitiv über dieses Thema geäußert. Respekt. 1/2 Doch auch Knaller wie „Zestören“, ein Song über Gewalt gegen Gegenstände „Stirb nicht vor mir“, ein wunderschönes Liebeslied, oder „Rosenrot“ wissen mehr als nur zu gefallen.
    [Show full text]
  • Lacrimosa Dr
    Juli / August 14 AusgAbe 37 - JAhrgAng 7 Deine Lakaien LacrimoSa Dr. mark benecke Letzte inStanz opeth grA mitnehmen entombeD a.D. tis zum otto Dix SubStaat 2 eDitoriaL inhaLt Hoherlehmer Straße 5 – 15738 Zeuthen Tel. 03376/2462946 www.negatief.de Nach zweijähriger Absenz wagten wir mit der letz- 31 Ankh ten Ausgabe den Sprung ins kalte Wasser und be- 8 Astari Nite Herausgeber, Vertrieb & V.i.S.d.P.: lebten das NEGAtief neu. Viel Arbeit und Idealismus 5 CD-Tipps Bruno Kramm ([email protected]) sind in das Heft geflossen und umso erfreuter waren 6 Deine Lakaien Chefredaktion & Redaktionsleitung: wir über die positiven Resonanzen, die wir auf Face- Sascha Blach ([email protected]) book, in den Clubs, von Labels und Bands und vor 15 Digitalis Purpurea Marketing: Johannes Thon ([email protected]) allem beim Wave Gotik Treffen in Leipzig bekommen 24 Entombed A.D. Marketing Multimedia: Yvonne Brasseur 10 Lacrimosa ([email protected]) haben. Vier Tage lang stand unser eifriges Team dort Layout: Miriam Barth ([email protected]) in der Agra-Halle am NEGAtief-Stand und sorgte da- 7 Letzte Instanz Internet: Sandro Griesbach für, dass es jeder, der ohne das Heft nach Hause ge- 19 Löwenhertz Redaktion: Sascha Blach, Daniel Dreßler, Gert hen wollte, schwer hatte. Unseren WGT-Nachbericht 16 Mark Benecke Drexl, Peter Istuk, Bruno Kramm, Jennifer Laux, lest ihr ebenso in der euch nun vorliegenden Juli/ Sigmar Ost, Stephanie Riechelmann, Peter Sailer, Lea 9 Multimedia August-Ausgabe wie spannende Storys über Lacri- 14 No:Carrier Sommerhäuser, Laura Thon, Frank „Otti“ van Düren, mosa, Opeth, Letzte Instanz, Substaat oder Deine Kerstin Vielguth, Paul Winterfeld 26 Opeth Lakaien.
    [Show full text]
  • Das Reich Der Seele Walther Rathenau’S Cultural Pessimism and Prussian Nationalism ~ Dieuwe Jan Beersma
    Das Reich der Seele Walther Rathenau’s Cultural Pessimism and Prussian Nationalism ~ Dieuwe Jan Beersma 16 juli 2020 Master Geschiedenis – Duitslandstudies, 11053259 First supervisor: dhr. dr. A.K. (Ansgar) Mohnkern Second supervisor: dhr. dr. H.J. (Hanco) Jürgens Abstract Every year the Rathenau Stiftung awards the Walther Rathenau-Preis to international politicians to spread Rathenau’s ideas of ‘democratic values, international understanding and tolerance’. This incorrect perception of Rathenau as a democrat and a liberal is likely to have originated from the historiography. Many historians have described Rathenau as ‘contradictory’, claiming that there was a clear and problematic distinction between Rathenau’s intellectual theories and ideas and his political and business career. Upon closer inspection, however, this interpretation of Rathenau’s persona seems to be fundamentally incorrect. This thesis reassesses Walther Rathenau’s legacy profoundly by defending the central argument: Walther Rathenau’s life and motivations can first and foremost be explained by his cultural pessimism and Prussian nationalism. The first part of the thesis discusses Rathenau’s intellectual ideas through an in-depth analysis of his intellectual work and the historiography on his work. Motivated by racial theory, Rathenau dreamed of a technocratic utopian German empire led by a carefully selected Prussian elite. He did not believe in the ‘power of a common Europe’, but in the power of a common German Europe. The second part of the thesis explicates how Rathenau’s career is not contradictory to, but actually very consistent with, his cultural pessimism and Prussian nationalism. Firstly, Rathenau saw the First World War as a chance to transform the economy and to make his Volksstaat a reality.
    [Show full text]
  • Mapping Topographies in the Anglo and German Narratives of Joseph Conrad, Anna Seghers, James Joyce, and Uwe Johnson
    MAPPING TOPOGRAPHIES IN THE ANGLO AND GERMAN NARRATIVES OF JOSEPH CONRAD, ANNA SEGHERS, JAMES JOYCE, AND UWE JOHNSON DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Kristy Rickards Boney, M.A. ***** The Ohio State University 2006 Dissertation Committee: Approved by: Professor Helen Fehervary, Advisor Professor John Davidson Professor Jessica Prinz Advisor Graduate Program in Professor Alexander Stephan Germanic Languages and Literatures Copyright by Kristy Rickards Boney 2006 ABSTRACT While the “space” of modernism is traditionally associated with the metropolis, this approach leaves unaddressed a significant body of work that stresses non-urban settings. Rather than simply assuming these spaces to be the opposite of the modern city, my project rejects the empty term space and instead examines topographies, literally meaning the writing of place. Less an examination of passive settings, the study of topography in modernism explores the action of creating spaces—either real or fictional which intersect with a variety of cultural, social, historical, and often political reverberations. The combination of charged elements coalesce and form a strong visual, corporeal, and sensory-filled topography that becomes integral to understanding not only the text and its importance beyond literary studies. My study pairs four modernists—two writing in German and two in English: Joseph Conrad and Anna Seghers and James Joyce and Uwe Johnson. All writers, having experienced displacement through exile, used topographies in their narratives to illustrate not only their understanding of history and humanity, but they also wrote narratives which concerned a larger global ii community.
    [Show full text]
  • Afd) a New Actor in the German Party System
    INTERNATIONAL POLICY ANALYSIS Alternative für Deutschland (AfD) A New Actor in the German Party System MARCEL LEWANDOWSKY March 2014 The Alternative für Deutschland (AfD – Alternative for Germany) is a new party in the conservative/economic liberal spectrum of the German party system. At present it is a broad church encompassing various political currents, including classic ordo-liberals, as well as euro-sceptics, conservatives and right-wingers of different stripes. The AfD has not yet defined its political platform, which is still shaped by periodic flare-ups of different groups positioning themselves within the party or by individual members. The AfD’s positions are mainly critical of Europe and the European Union. It advo- cates winding up the euro area, restoration of national currencies or small currency unions and renationalisation of decision-making processes in the EU. When it comes to values it represents conservative positions. As things stand at the moment, given its rudimentary political programme, the AfD is not a straightforward right-wing populist party in the traditional sense. The populist tag stems largely from the party’s campaigning, in which it poses as the mouthpiece of »the people« and of the »silent majority«. With regard to its main topics, the AfD functions as a centre-right protest party. At the last Bundestag election in 2013 it won voters from various political camps. First studies show that although its sympathisers regard themselves as occupying the political centre, they represent very conservative positions on social and integra- tion-policy issues. Marcel Lewandowsky | ALternativE füR DEutschland (AfD) Content 1. Origins and Development.
    [Show full text]
  • Center 5 Research Reports and Record of Activities
    National Gallery of Art Center 5 Research Reports and Record of Activities ~ .~ I1{, ~ -1~, dr \ --"-x r-i>- : ........ :i ' i 1 ~,1": "~ .-~ National Gallery of Art CENTER FOR ADVANCED STUDY IN THE VISUAL ARTS Center 5 Research Reports and Record of Activities June 1984---May 1985 Washington, 1985 National Gallery of Art CENTER FOR ADVANCED STUDY IN THE VISUAL ARTS Washington, D.C. 20565 Telephone: (202) 842-6480 All rights reserved. No part of this book may be reproduced without thc written permission of the National Gallery of Art, Washington, D.C. 20565. Copyright © 1985 Trustees of the National Gallery of Art, Washington. This publication was produced by the Editors Office, National Gallery of Art, Washington. Frontispiece: Gavarni, "Les Artistes," no. 2 (printed by Aubert et Cie.), published in Le Charivari, 24 May 1838. "Vois-tu camarade. Voil~ comme tu trouveras toujours les vrais Artistes... se partageant tout." CONTENTS General Information Fields of Inquiry 9 Fellowship Program 10 Facilities 13 Program of Meetings 13 Publication Program 13 Research Programs 14 Board of Advisors and Selection Committee 14 Report on the Academic Year 1984-1985 (June 1984-May 1985) Board of Advisors 16 Staff 16 Architectural Drawings Advisory Group 16 Members 16 Meetings 21 Members' Research Reports Reports 32 i !~t IJ ii~ . ~ ~ ~ i.~,~ ~ - ~'~,i'~,~ ii~ ~,i~i!~-i~ ~'~'S~.~~. ,~," ~'~ i , \ HE CENTER FOR ADVANCED STUDY IN THE VISUAL ARTS was founded T in 1979, as part of the National Gallery of Art, to promote the study of history, theory, and criticism of art, architecture, and urbanism through the formation of a community of scholars.
    [Show full text]
  • 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).
    [Show full text]