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This collection of essays analyzes global depictions of the devil
from theological, Biblical, and literary perspectives, spanning the
late Middle Ages to the 21st century. The chapters explore demonic
representations in the literary works of Johann Wolfgang von
Goethe, Fyodor Dostoyevsky, Dante Alighieri, Charles Baudelaire,
John Milton, H.P. Lovecraft, and Cormac McCarthy, among others. The
text examines other media such as the operas Orfeo and Erminia sul
Giordano and the television shows Breaking Bad, The Sopranos, and
Mad Men. The Hermeneutics of Hell, featuring an international set
of established and up-and-coming authors, masterfully examines the
evolution of the devil from the Biblical accounts of the Middle
Ages to the individualized presence of the modern world.
In his prose fiction, memoirs, poetry, and drama, Thomas Bernhard
(1931-1989)--one of the 20th century’s most uniquely gifted
writers--created a new and radical style, seemingly out of thin
air. His books never “tell a story” in the received sense.
Instead, he rages on the page, he rants and spews vitriol about the
moral failures of his homeland, Austria, in the long amnesiac
aftermath of the Second World War. Yet this furious prose,
seemingly shapeless but composed with unparalleled musicality, and
taxing by conventional standards, has been powerfully echoed in
many writers since Bernhard’s death in 1989. These explorers have
found in Bernhard’s singular accomplishment new paths for the
expression of life and truth. Thomas Bernhard's Afterlives examines
the international mobilization of Bernhard’s style. Writers in
Italian, German, Spanish, Hungarian, English, and French have
succeeded in making Bernhard’s Austrian vision an international
vision. This book tells that story.
In his prose fiction, memoirs, poetry, and drama, Thomas Bernhard
(1931-1989)--one of the 20th century's most uniquely gifted
writers--created a new and radical style, seemingly out of thin
air. His books never "tell a story" in the received sense. Instead,
he rages on the page, he rants and spews vitriol about the moral
failures of his homeland, Austria, in the long amnesiac aftermath
of the Second World War. Yet this furious prose, seemingly
shapeless but composed with unparalleled musicality, and taxing by
conventional standards, has been powerfully echoed in many writers
since Bernhard's death in 1989. These explorers have found in
Bernhard's singular accomplishment new paths for the expression of
life and truth. Thomas Bernhard's Afterlives examines the
international mobilization of Bernhard's style. Writers in Italian,
German, Spanish, Hungarian, English, and French have succeeded in
making Bernhard's Austrian vision an international vision. This
book tells that story.
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