Visual Representation in the Work of Joseph Roth, 1923-1932 Sigrid Julia Newman Thesis submitted to the University of St Andrews for the degree of Doctor of Philosophy 25th September 2006 1 Abstract Through an examination of Joseph Roth’s reportage and fiction published between 1923 and 1932, this thesis seeks to provide a systematic analysis of a particular aspect of the author’s literary style, namely his use of sharply focused visual representations, which are termed Heuristic Visuals. Close textual analysis, supplemented by insights from reader-response theory, psychology, psycholinguistics and sociology illuminate the function of these visual representations. The thesis also seeks to discover whether there are significant differences and correspondences in the use of visual representations between the reportage and fiction genres. Roth believed that writers should be engagiert, and that the truth could only be arrived at through close observation of reality, not subordinated to theory. The research analyses the techniques by which Roth challenges his readers and encourages them to discover the truth for themselves. Three basic variants of Heuristic Visuals are identified, and their use in different contexts, including that of dialectical presentations, is explored. There is evidence of the use of different variants of Heuristic Visuals according to the respective rhetorical demands of particular thematic issues. It has also been possible to establish synchronic correspondences between the different genres, and diachronic correspondences within genres. Although there are examples within the reportage where the entire article is based on an Heuristic Visual, the use of Heuristic Visuals cannot be seen as a key organizing principle in Roth’s work as a whole. As his mastery of the technique reaches its highest point in the early 1930s, Heuristic Visuals are often incorporated into the reconstruction of a complete sensory experience. Analysis of Roth’s heuristic use of visual representations has led to important insights, including a reinterpretation of the endings of Roth’s two most famous novels: Hiob and Radetzkymarsch. 2 Declarations I, Sigrid Julia Newman, hereby certify that this thesis, which is approximately 80,000 words in length, has been written by me, that it is a record of work carried out by me and that it has not been submitted in any previous application for a higher degree. Date: 25th September 2006 Signature of Candidate I was admitted as a research student in September 2000 and as a candidate for the degree of PhD in May 2001; the higher study for which this is a record was carried out in the University of St Andrews between 2000 and 2006. Date: 25th September 2006 Signature of Candidate I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of PhD in the University of St Andrews and that the candidate is qualified to submit this thesis in application for that degree. Date: 25th September 2006 Signature of Supervisor 3 In submitting this thesis to the University of St Andrews I understand that I am giving permission for it to be made available for use in accordance with the regulations of the University Library for the time being in force, subject to any copyright vested in the work not being affected thereby. I also understand that the title and abstract will be published, and that a copy of the work may be made and supplied to any bona fide library or research worker. Date: 25th September 2006 Signature of Candidate 4 Acknowledgements I would like to thank the University of St Andrews for their generous financial support in awarding me a PhD studentship, without which it would not have been possible for me to undertake this research. Thanks are also due to the German Academic Exchange Service for awarding me a six-month scholarship which enabled me to spend six months researching at the Deutsches Literatur Archiv in Marbach. Profound thanks go to my supervisor, Professor Helen Chambers, for all her advice and unfailing support. Thanks are also due to Dr Fritz Hackert for his help and guidance during my six months at the Literatur Archiv, and to Heinz Lunzer at the Literaturhaus in Vienna. Sigrid Newman 5 Contents Chapter One: Introduction............................................................................................. 8 1.1 Aims ................................................................................................................ 8 1.2 Review of Secondary Literature...................................................................... 9 1.3 Methodology.................................................................................................. 10 1.3.1 Chronological Approach – Diachronic and Synchronic Analysis...... 10 1.3.2 Roth on seeing and writing reality...................................................... 11 1.3.3 Theoretical Considerations................................................................. 14 1.3.3.1 Defining Observed and Heuristic Visuals ....................................... 17 1.3.3.1.1 Observed Visuals.......................................................................... 17 1.3.3.1.2 Heuristic Visuals .......................................................................... 18 1.3.3.1.2.1 Basic Variants of Heuristic Visuals........................................... 20 1.3.3.1 Non-Literary Theoretical Approaches............................................. 21 1.3.3.2.1 Psychology of Perception............................................................. 21 1.3.3.2.2 Psycholinguistics .......................................................................... 22 1.3.3.2.3 Sociology...................................................................................... 25 1.4 Cultural Context: Roth’s work in relation to that of other writers and visual artists......................................................................................................... 26 1.5. Context ......................................................................................................... 27 1.5.1 Historical and Biographical Factors ................................................... 27 1.5.2 Publication Context in the Press......................................................... 32 Chapter Two: Reportage and Fiction 1923-1925 ........................................................ 37 2.1 Introduction ................................................................................................... 37 2.2 Reportage 1923-1925 .................................................................................... 38 2.2.1 People on the Margins........................................................................ 38 2.2.1.1 ‘Die Abseits-Menschen’.................................................................. 39 2.2.1.2 ‘Der Mann in der Toilette’ .............................................................. 43 2.2.1.3 ‘Die Toten ohne Namen’ ................................................................. 47 2.2.1.4 ‘Reisende mit Traglasten’................................................................ 49 2.2.2 Politics Past and Present..................................................................... 52 2.2.2.1 ‘Wahlkampf in Berlin’ .................................................................... 52 2.2.2.2 ‘Die Krüppel’................................................................................... 56 2.2.3 Popular Culture and the rise of Americanization through the eyes of Roth and his Contemporaries: ‘Die Girls’ and ‘Mütter in der Revue’.......................................................................................................... 62 2.2.4 Reportage 1923-1925: Summary........................................................ 73 2.3 Fiction 1923-1925 ......................................................................................... 74 2.3.1 Das Spinnennetz ................................................................................. 74 2.3.1.2 The Crisis of Male Identity: Lohse’s Psychology ........................... 74 2.3.1.3 Brutalization .................................................................................... 77 2.3.1.4 Systems of Social Recognition and Value....................................... 82 2.3.1.4.1 The Visuality of Poverty .............................................................. 82 2.3.1.4.2 Branding and the Mass ................................................................. 85 2.3.2 Hotel Savoy......................................................................................... 86 2.3.2.1 Displaced Identities: Gabriel Dan and the Heimkehrer................... 88 2.3.2.2 The Hotel......................................................................................... 91 2.3.2.3 The Town......................................................................................... 93 2.3.3 Die Rebellion...................................................................................... 95 2.3.3.1 The Overdependent Identity: Alienation from Societal Reality...... 97 6 2.3.3.2 Periods of Confinement: Physical Alienation leading to Self- recognition................................................................................................. 100 2.3.4 Fiction 1923-1925: Summary........................................................... 111 2.4 Chapter Two: Conclusion............................................................................ 112 Chapter Three: Reportage and Fiction 1926-1929 ...................................................