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Investigates the function and meaning of sadness in German,
Austrian, and Swiss literature and culture from the 18th century to
the present. Established, commissioned, and edited by the
Department of German at the University of Edinburgh, the Edinburgh
German Yearbook is the only peer-reviewed German Studies
publication that each year invites scholarly contributions on a
single topic of current challenge to the field. Focusing on
"Sadness and Melancholy in German-language Literature and Culture,"
volume 6 investigates the often subversive function and meaning of
sadness and melancholy inGerman-language literature and culture
from the seventeenth century to the present where, arguably, it has
fallen from the heights of melancholy genius and artistic
creativity of earlier epochs to become the embarrassing other ofa
Western civilization that prizes happiness as the mark of
successful modern living. Interrogating the distinction between
sadness as an anthropological constant and melancholy as a shifting
cultural discourse, the contributionsexplore how different authors
use established literary and cultural topoi from melancholy
discourses to comment on topics as diverse as war, religion, gender
inequality, and modernity. As well as essays on canonical figures
including Goethe and Thomas Mann, the volume features studies of
sadness in lesser-known writers such as Betty Paoli and Julia
Schoch. Contributors: Per Brandt, Peter Damrau, Kristian Donko,
Svenja Frank, Jens Hobus, StephenJoy, Johannes D. Kaminski,
Franziska Meyer, Richard Millington, Karin S. Wozonig. Mary
Cosgrove is Reader in German at the University of Edinburgh. Anna
Richards is Lecturer in German at Birkbeck College, University
ofLondon.
Through close readings of poems covering the span of Georg Trakl's
lyric output, this study traces the evolution of his strangely mild
and beautiful vision of the end of days. Like much German-language
poetry of the years preceding the First World War, the poems of
Georg Trakl (1887-1914) are imbued with a sense of historical
crisis, but what sets his work apart is the mildness and restraint
of his images of universal disintegration. Trakl typically couched
his vision of the end of days in images of migrating birds,
abandoned houses, and closing eyelids, making his poetry at once
apocalyptic, rustic, and intimate. The argument made in this study
is that this vision amounts to a unitary worldview with tightly
interwoven affective, ethical, social, historical, and cosmological
dimensions. Often termed hermetic and obscure, Trakl's poems become
more accessible when viewed in relation to the evolution of his
methods and concerns across different phases, and the
idiosyncrasies of his strangely beautiful later works make sense as
elements of a sophisticated system of expression committed to
"truth" as a transcendental order. Through close readings of poems
covering the span of his lyric output, this study traces the
evolution of Trakl's distinctive style and themes while attending
closely to biographical and cultural contexts.
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