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This study examines the life and works of the poet Friedrich
Leopold Graf zu Stolberg(1750-1819). It begins with an analysis of
Stolberg's essays on poetic expression in relation to Romantic
thinking, and the impact of his poetic style on Novalis's early
poetry. Stolberg's aesthetic education in Italy is examined as well
as his challenge to the idea that classical sculpture was always
the pinnacle of beauty and that the culture of antiquity was the
highest form of humanity, The detection of melancholy in Greek
sculpture, which arises from the transfer of anxieties about
redemption from the artist to the artefact, affected his response
and detracted from the beauty of the sculpture. This view amounted
to an attack on Goethe and Schiller, as it identified the issue of
salvation and death as a weakness in the classical paradigm. The
picture of Italy that Stolberg offered was overshadowed by a crisis
of confidence in the aesthetic insights both of Winckelmann and of
Lessing and was also the basis for lib reception of Raphael and
Michelangelo, Stolberg arrived at a response to Renaissance art and
artists that marginally predates the early German Romantic worship
of artists in the 1790s. The book concludes with a discussion of
Stolberg's support of Romantic politics and Romantic conversions.
Dieser Band untersucht die literarische und filmische Behandlung
halboeffentlicher Raume im Verlauf des zwanzigsten Jahrhunderts.
Bahnhoefe, Hotels und Cafes werden hier als topografische Fixpunkte
verstanden, die angesichts politischer, kultureller und sozialer
Veranderungen jeweils neu erschlossen oder wahrgenommen werden. Auf
diese Weise koennen Narrative konkretisiert, soziale
Konstellationen ausgeleuchtet und historische Umbruche
nachvollziehbar werden. Wahrend der Schwerpunkt auf dem deutschen
Sprachraum und hier wiederum Berlin liegt, findet, wo angemessen,
auch der europaische Kontext Berucksichtigung. Die chronologisch
angelegte Auseinandersetzung mit Schriftstellern und Regisseuren
schliesst unter anderen Joseph Roth, Gabriele Tergit, Vicki Baum,
Walther Ruttmann, Klaus Mann, Lion Feuchtwanger, Ingeborg Drewitz
und W.G. Sebald ein und konzentriert sich erst auf die
Zwischenkriegszeit und den Zweiten Weltkrieg, dann auf die
Nachkriegszeit und den Kalten Krieg bis zur Wiedervereinigung
Deutschlands. Daruber hinaus werden die halboeffentlichen Raume
auch in Hinblick auf ihre Rolle in der Kriminal-und Reiseliteratur
und als Spiegel von Regional-und Landesgeschichten aufgegriffen.
This 1972 text provides the student of German literature and
European drama with a general introduction to Grillparzer's work.
Dr Yates begins with a substantial biographical introduction which
is one of the most detailed of its kind in any language. He then
turns to the writings and introduces them linked by theme,
identifying as Grillparzer's finest achievements the series of four
dramas completed between 1823 and 1832. He also indicates the
virtues characteristic of Grillparzer's work in general: the
subtlety of his characterisation, his concern with moral values,
the consistent ideals underlying his view of history and the human
condition, and the essential theatricality of his drama. Dr Yates
quotes freely; quotations from Grillparzer's prose are given in
translation, those from the plays and poems are in the original
with an English translation at the foot of the page. The aim
throughout is to show the reader what is characteristic in the
plays.
Johann Nepomuk Nestroy (1801-1862), for a quarter of a century the
dominant actor on the popular Viennese stage, was the author of
over eighty dramatic works, all but one of them comedies in the
local Viennese tradition. It was only in the twentieth century that
Nestroy's influence, above all as a satirist and master of
language, was recognised. In this 1972 publication, the first book
in English on Nestroy, Professor Yates centres his discussion of
the possen (theatrical comedies) on the dominant comic elements of
satire and parody, which are considered in close relation to the
sources. He examines in detail five of Nestroy's best-known plays,
considering them in relation to their Viennese setting and
providing an introduction to the history and conditions of Viennese
popular theatre from the early eighteenth century up to Nestroy's
times, including an assessment of its relationship to other
traditions of popular drama.
This is the first general history in English of theatre in Vienna,
the one German-speaking city which, in the eighteenth century and
for most of the nineteenth, sustained a theatrical life comparable
to that of Paris or London. The book covers this theatrical culture
from the beginnings of modern theatre in 1776 to the present day,
relating it to social, political and intellectual history. It
focuses primarily on the most important and productive theatres:
the Burgtheater of the nineteenth and early twentieth century and
the commercial theatres that housed Viennese dialect comedy and
operetta. Particular emphasis is placed on the dramatists and
composers from whom the lasting importance of the theatres chiefly
derives, and on the ideological pressures reflected in the
repertory, in censorship (to which one chapter is devoted), and in
press reception. The book draws on original documents including
diaries, memoirs and reviews, and is accessible to general readers
as well as specialists.
First survey of the history of criticism on the plays of the
Viennese dramatist Nestroy. Johann Nepomuk Nestroy (1801-62)
dominated the Viennese popular stage from the early 1830s until his
retirement in 1860, both as an actor, and as the author of some 80
plays, mostly satirical comedies with farcical plots illuminated by
virtuoso word play. His reputation, however, has always been mixed.
This book, the first ever survey of the whole history of Nestroy
criticism, traces the changing critical reactions to him, beginning
with contemporary records, which show how he often offended the
morals of conservative theatre critics; his acidic wit led to his
being considered a destructive cynic, an assessment which became a
critical orthodoxy in the half-century after his death.It was not
until 1912 that he was 're-discovered' by Karl Kraus as a
linguistic genius, and in the last 40 years the rise in his
reputation has been meteoric. The story Professor Yates traces is
not just one of changing fashion, with shifts in critical
judgement, but of the struggle to establish a reliable evaluation
of Nestroy's stature - reflected in the many attempts to establish
a definitive text of his work.
Louise von Francois (1817-1893) was a German realist writer whose
work appeared in several editions during her lifetime and was
translated abroad. Her most famous novel, Die letzte
Reckenburgerin, attracted significant critical attention from her
contemporaries and was regarded as one of the most innovative
novels of the century. Her other prose fiction, however, is less
well known. In the context of the ongoing re-assessment of
nineteenth-century women writers, this book evaluates the thematic
preoccupations and narrative technique of Francois's creative work
as a whole. Through a study of ten representative texts, most of
which have not been subject to detailed literary analysis in the
past, the author considers Francois's powerful portrayals of female
self-reliance, and seeks to elucidate aspects of her most cherished
convictions, which centred on values of honour and duty, and on a
vision of a more equitable and decent society.
This study examines the life and works of the poet Friedrich
Leopold Graf zu Stolberg(1750-1819). It begins with an analysis of
Stolberg's essays on poetic expression in relation to Romantic
thinking, and the impact of his poetic style on Novalis's early
poetry. Stolberg's aesthetic education in Italy is examined as well
as his challenge to the idea that classical sculpture was always
the pinnacle of beauty and that the culture of antiquity was the
highest form of humanity, The detection of melancholy in Greek
sculpture, which arises from the transfer of anxieties about
redemption from the artist to the artefact, affected his response
and detracted from the beauty of the sculpture. This view amounted
to an attack on Goethe and Schiller, as it identified the issue of
salvation and death as a weakness in the classical paradigm. The
picture of Italy that Stolberg offered was overshadowed by a crisis
of confidence in the aesthetic insights both of Winckelmann and of
Lessing and was also the basis for lib reception of Raphael and
Michelangelo, Stolberg arrived at a response to Renaissance art and
artists that marginally predates the early German Romantic worship
of artists in the 1790s. The book concludes with a discussion of
Stolberg's support of Romantic politics and Romantic conversions.
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