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In this 1982 book, Professor Bance sets the novels of Theodor Fontane in the context of nineteenth-century Europe in order to demonstrate that his œouvre can be seen in terms of a tension between a desire to present the facts and a desire to assert some transcendent poetic truth.
First published in Germany to popular and critical acclaim, this is a unique portrait of the life and work of Theodor Fontane, the greatest German novelist of his age, as well as a major poet and theater critic and much loved travel writer. Gordon A. Craig, one of the foremost scholars of German history, interpolates a cohesive historical biography of Fontane with his own reflections on the art, culture, and politics of Fontane's world. The ideas and impressions of Fontane and Craig echo one another throughout the book in compelling and fascinating ways. Fontane's travel accounts of Scotland and Prussia are enriched by Craig's discussion of Germany's increasingly national vision of itself and the world at the time of unification. Similarly, Craig's mastery of German military history dovetails remarkably well with Fontane's reportage on Germany's wars with Denmark, Austria, and France. Interesting are Fontane's ruminations over his great contemporary Otto von Bismarck, whom he revered as founder of the Reich but whose policies he feared would in the end be self-defeating. Although Fontane's Wanderings through the Mark Brandenburg and his novels are more widely read in Germany today than they were in his own time, and although his masterpiece Effi Briest was the basis for a famous Fassbinder film, Fontane remains little known in the English-speaking world. Theodor Fontane is the ideal introduction to this major European writer, a master of social analysis and one of the great letter writers of his age.
Assesses the relevance of the works of Fontane, perhaps the foremost German novelist between Goethe and Mann, for the twenty-first century. Theodor Fontane remains a canonical figure in German literature, the most important representative of poetic realism, and likely the best German-language novelist between Goethe and Mann, yet scholarly attention to his works oftenlags behind his stature, at least in the English-speaking academy. This volume, coinciding with Fontane's 200th birthday in 2019, assesses the relevance of his works for us today and also draws attention to the most current English-language research. Much has changed in the last two decades in critical theory, and the volume highlights how new methodological approaches and new archival research can update our understanding of Fontane's works. Although his novels are famously rooted in the details of quotidian life in nineteenth-century Germany, they also reflect larger historical transformations that resonate with our world today (e.g., financial crisis, class conflict, changing gender roles, and migration) and so speak to contemporary critical interests. The volume's contributors draw on literary and cultural studies approaches including gender and sexuality studies, emotion studies, transnationalismand globalization, media and visual studies, rhetorical criticism, paratextual criticism, and digital humanities. Their contributions survey a wide range of Fontane's literary production in order to speak to both German and non-German audiences in the twenty-first century. Contributors: James N. Bade, Russell A. Berman, Katharina Adeline Engler-Coldren, Todd Kontje, John B. Lyon, Ervin Malakaj, Nicolas von Passavant, Lynne Tatlock, Christian Thomas, Brian Tucker, Michael J. White, Holly A. Yanacek. John B. Lyon is Professor of German at the University of Pittsburgh. Brian Tucker is Associate Professor of German at Wabash College.
"Shows how the connection between divinatory magic and reading shaped the experience of reading and aesthetics among nineteenth-century realists and modernist thinkers, including writers, artists, and critics such as Gottfried Keller, Theodor Fontane, and Walter Benjamin"--
Consists of "accessions" and "books in foreign languages".
Ulrich Weisstein, an international authority in the fields of comparative literature and comparative arts, has been a pioneer paving the way for present-day intermedia studies. Among his broad intermedial interests opera has always held a central place. For the first time this volume makes available his major contributions to opera criticism in compact form, thus meeting a serious scholarly demand. The necessarily stringent selection of essays from Professor Weisstein's large output on opera, reflecting fifty years of involvement with the genre, is primarily governed by the wish to present texts that are representative of their author's work and, at the same time, are unlikely to be readily available through other channels. The fourteen essays collected are arranged in chronological order, some of them showing Ulrich Weisstein as an initiator of librettology, others tracing adaptive processes extending from textual sources to final operas, or investigating writer/composer collaborations. Further topics are satirical reflections on operatic activities in early-eighteenth-century Italy and practices of opera censorship, artist operas or definitions of romantic and epic opera. The essays are written in an accessible, essentially non-technical language and are expected to make both a profitable and a pleasurable reading for literary scholars as well as musicologists and general art lovers.