|
Showing 1 - 10 of
10 matches in All Departments
Demonstrates, contrary to conventional wisdom, that European
modernism developed not only in the great metropolitan centers, but
also in provincial cities such as Jena. The conventional wisdom is
that the cultural sea change that was European modernism arose in
urban centers like Berlin, Paris, Munich, and Vienna. Meike G.
Werner's book, now in English translation, is a study of modernism
in the provinces. Taking the small provincial city of Jena as a
paradigmatic case, it re-creates the very different social and
intellectual framework in which modernist experimentation occurred
beyond the metropolitan centers. Invented traditions, social and
spatial "liminality," and new ideas of social and aesthetic
transformation combined in Jena to create a unique moment of
cultural innovation. In the years leading up to the First World
War, the Jena publisher Eugen Diederichs envisioned and guided the
development of this alternative modernism. Taken up by young
writers including Diederichs's wife Helene Voigt-Diederichs,
numerous intellectual outsiders from across Germany, Austria, and
Switzerland, and members of the Free Student movement and of Jena's
Sera Circle, this "other" modernism was above all a youth movement,
full of energy and bold optimism. Figures such as Rudolf Carnap,
Wilhelm Flitner, Hans Freyer, Karl Korsch, and Elisabeth
Busse-Wilson emerged from this Jena paradigm. Werner pieces
together the story of Jena's modernism in its full richness,
complexity, and inner contradictions.
This book offers a bold new view of the way in which modernist
fiction, painting, music, and poetry are interlinked. Dowden shows
that modernism, contrary to a longstanding view, did not turn away
from mimesis. Rather, modernism operates according to a deepened
understanding of what mimesis is and how it works, which in turn
occasions a fresh look at other related dimensions of the modernist
achievement. Modernism is neither "difficult" nor elitist. Instead,
it trends toward simplicity, directness, and common culture. Dowden
argues that naivete rather than highbrow sophistication was for the
modernists a key artistic principle. He demonstrates that
modernism, far from glorifying subjective creativity, directs
itself toward healing the split between subject and object. Mimesis
closes this gap by resolving representation into play and
festivity.
This book offers a bold new view of the way in which modernist
fiction, painting, music, and poetry are interlinked. Dowden shows
that modernism, contrary to a longstanding view, did not turn away
from mimesis. Rather, modernism operates according to a deepened
understanding of what mimesis is and how it works, which in turn
occasions a fresh look at other related dimensions of the modernist
achievement. Modernism is neither "difficult" nor elitist. Instead,
it trends toward simplicity, directness, and common culture. Dowden
argues that naivete rather than highbrow sophistication was for the
modernists a key artistic principle. He demonstrates that
modernism, far from glorifying subjective creativity, directs
itself toward healing the split between subject and object. Mimesis
closes this gap by resolving representation into play and
festivity.
The series Studien zur deutschen Literatur (Studies in German
Literature) presents outstanding analyses of German-speaking
literature from the early modern period to the present day. It
particularly embraces comparative, cultural and
historical-epistemological questions and serves as a
tradition-steeped forum for innovative literary research. All
submitted manuscripts undergo a double peer-review process. Please
contact the editor Dr. Marcus Boehm (marcus.boehm [at]
degruyter.com) for further information regarding manuscript
submission and subsidies.
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.
Essays in this volume seek to clarify the meaning of tragedy and
the tragic in its many German contexts, art forms, and disciplines,
from literature and philosophy to music, painting, and history. The
many catastrophes of German history have often been described as
tragic. Consequently, German literature, music, philosophy,
painting, and even architecture are rich in tragic connotations.
Yet exactly what "tragedy" and "thetragic" may mean requires
clarification. The poet creates a certain artful shape and
trajectory for raw experience by "putting it into words"; but does
putting such experience into words (or paintings or music or any
other form) betray suffering by turning it into mere art? Or is it
art that first turns mere suffering into tragic experience by
revealing and clarifying its deepest dimension? What are we talking
about, exactly, when we talk about tragic experience and tragic
art, especially in an age in which, according to Hannah Arendt,
evil has become banal? Does banality muffle or even annul the
tragic? Does tragedy take suffering and transform it into beauty,
as Schiller thought?Is it in the interest of truth for suffering to
be "beautiful"? Is it possible that poetry, music, and art are
important because they in fact create the meaning of suffering? Or
is suffering only suffering and not accessible to meaning, tragic
or otherwise? This book comprises essays that seek to clarify the
meaning of tragedy and the tragic in its many German contexts, art
forms, and disciplines, from literature and philosophy to music,
painting, and history. Contributors: Jeffrey A. Bernstein, Stephen
D. Dowden, Wolfram Ette, Jennifer Anna Gosetti-Ferencei, Barbara
Hahn, Karsten Harries, Felicitas Hoppe, Joseph P. Lawrence, James
McFarland, Karen Painter, Bruno Pieger, Robert Pirro, Thomas P.
Quinn, Mark W. Roche, Helmut Walser Smith. Stephen D. Dowden is
Professor of German language and literature at Brandeis University.
Thomas P. Quinn is an independent scholar.
Volume offering a guide to and reassessment of Thomas Mann's famous
novel. Thomas Mann was the first writer since Goethe to attract a
large international audience to stories written in German, bringing
German fiction into the mainstream of European literature. His
second major work, The Magic Mountain (1924), explores the heady
intellectual culture of the chaotic and broken Germany that emerged
from the First World War, and, along with the earlier Buddenbrooks,
earned him a Nobel Prize for literature in 1929. Mann himself
considered The Magic Mountain to be his greatest novel, and few in
his own day doubted the preeminence of this modernist classic;
however, many have argued that the age of literary modernism has
passed. If this is so, how might we best understand Mann's
masterpiece now? Topics covered in this volume, which aims to
provide both a survey of and new research into important aspects of
the work, include Mann's comic vision, his homosexuality, his
fraught attitude toward Jews, the place of his novel in the
landscape of postmodern life, the theme of solitude, music in the
novel, and technology. Stephen D. Dowden is Professor of German at
Brandeis University. Contributors: David Blumberg, Michael Brenner,
Stephen Dowden, Edward Engelberg, Ulker Goekberk, Eugene Goodheart,
Joseph P. Lawrence, Karla Schultz, Susan Sontag, Kenneth Weisinger.
Stephen D. Dowden is Professor of German at Brandeis University.
Proceedings of the Brandeis conference on Jewish Germanists who
fled Nazi Germany and their impact on Anglo-American German
studies. Among the Jewish academics and intellectuals expelled from
Germany and Austria during the Nazi era were many specialists in
German literature. Strangely, their impact on the practice of
Germanistik in the United States, England, and Canada has been
given little attention. Who were they? Did their vision of German
literature and culture differ significantly from that of those who
remained in their former homeland? What problems did they face in
theAmerican and British academic settings? Above all, how did they
help shape German studies in the postwar era? This unique and
important symposium, which convened at Brandeis University under
the auspices of its Center for Germanand European Studies,
addresses these and many other questions. Among its distinguished
participants--who numbered over thirty in all--are Peter Demetz
(Yale, emeritus), Gesa Dane (Goettingen), Amir Eshel (Stanford),
Willi Goetschel (Toronto), Barbara Hahn (Princeton), Susanne
Klingenstein (MIT), Christoph Koenig (Deutsches Literaturarchiv,
Marbach), Ritchie Robertson (Oxford), Egon Schwarz (Washington
University St. Louis, emeritus), Hinrich Seeba (UC Berkeley),
Walter Sokel (University of Virginia, emeritus), Frank Trommler
(University of Pennsylvania), and many more. The volume includes
not only the (revised) essays of the participants but also their
prepared responses, transcripts of the panel discussion, and
dialogue of the participants with members of the audience. Stephen
D. Dowden is professor of German at Brandeis University; Meike G.
Werner is assistant professor of German at Vanderbilt University.
Survey of the criticism devoted to Kafka's The Castle, his final
novel. Kafka's final, unfinished novel, The Castle, remains one of
the most celebrated yet most impenetrable masterpieces of modernist
fiction, and a focus of literary criticsm and theory. In this
chronological survey of the critical attention it has attracted,
both academic and non-academic, Professor Dowden emphasises the
acts of critical imagination which have shaped our image and
understanding of Kafka and the novel. He explores the historical
and cultural milieus of criticism, from the Weimar Era of Max Brod
and Walter Benjamin to Lionel Trilling's Cold War to postmodern
multiculturalism and 'cultural studies', showing how and why The
Castle has aroused strong opinionsin each generation of criticism;
he also accounts for those moments in which the novel escapes from
an historically anchored understanding into the realm of the
universal.
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.
|
You may like...
Ab Wheel
R209
R149
Discovery Miles 1 490
Loot
Nadine Gordimer
Paperback
(2)
R398
R330
Discovery Miles 3 300
Loot
Nadine Gordimer
Paperback
(2)
R398
R330
Discovery Miles 3 300
|