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In this study of the imaginary universe of Germany's most famous author of fantasy, Kenneth Negus attempts to establish the coherency and fathom the depth of the "other world" manifested in Hoffmann's many tales. Proceeding mainly from Der Goldene Topf, Hoffmann's most fully developed mystical work, Negus shows how the figures, themes, and motifs Hoffmann established permeate his tales, forming a basic overall structure that embodies creation, destruction, and the interaction of the two extremes in a mythology that is a fantastic distillation of the real world with which it is often in conflict. This close and careful scrutiny of the work of E. T. A. Hoffmann should be of major interest to all teachers and students of German and Comparative Literature.
This selection of Hoffmann's finest short stories vividly demonstrates his intense imagination and preoccupation with the supernatural, placing him at the forefront of both surrealism and the modern horror genre. Suspense dominates tales such as Mademoiselle de Scudery, in which an apprentice goldsmith and a female novelist find themselves caught up in a series of jewel thefts and murders. In the sinister Sandman, a young man's sanity is tormented by fears about a mysterious chemist, while in The Choosing of a Bride a greedy father preys on the weaknesses of his daughter's suitors. Master of the bizarre, Hoffman creates a sinister and unsettling world combining love and madness, black humour and bewildering illusion.
Ten of Hoffmann's greatest tales, enormously popular in Europe but rarely seen in the United States: "The Golden Flower Pot," "Automata," "Nutcracker and the King of Mice," "The Sand Man," and 6 others.
This book offers a long-awaited opportunity to assess the thought and influence of one of the most famous of all writers on music and the musical links with his fiction. Containing the first complete appearance in English of Kreisleriana, it reveals a masterpiece of imaginative writing and whose profound humour and irony can now be fully appreciated.
Hoffmann is among the greatest and most popular of the German Romantics. This selection, while stressing the variety of his work, puts in the foreground those tales in which the real and the supernatural are brought into contact and conflict. The humour of these tales is a result of the incongruity of supernatural beings at large in an ostentatiously everyday world. They include The Golden Pot, recognized as Hoffmann's masterpiece by himself and posterity; its spine-chilling companion tale, The Sandman, which Offenbach drew on for his opera Tales of Hoffmann, and which Freud examines in his essay `The Uncanny'; two longer and more elaborate fantasies, set respectively in Germany and Italy; and the late story, My Cousin's Corner Window, which shows the powers of the imagination being applied to everyday urban life, and marks a transition in European literature generally from Romanticism to Realism. Ritchie Robertson's detailed introduction places the stories in their intellectual and historical context and explores their compelling narrative complexities.
This early work by E. T. A. Hoffmann was originally published in 1817. Born in Konigsberg, East Prussia in 1776, Hoffmann's family were all jurists, and during his youth he was initially encouraged to pursue a career in law. However, in his late teens Hoffman became increasingly interested in literature and philosophy, and spent much of his time reading German classicists and attending lectures by, amongst others, Immanuel Kant. Hoffman went on to produce a great range of both literary and musical works. Probably Hoffman's most well-known story, produced in 1816, is 'The Nutcracker and the Mouse King', due to the fact that - some seventy-six years later - it inspired Tchaikovsky's ballet The Nutcracker. In the same vein, his story 'The Sandman' provided both the inspiration for Leo Delibes's ballet Coppelia, and the basis for a highly influential essay by Sigmund Freud, called 'The Uncanny'. (Indeed, Freud referred to Hoffman as the "unrivalled master of the uncanny in literature.") Many of the earliest books, particularly those dating back to the 1900's and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions."
Hoffmann's stories highly influenced 19th-century literature, and he is one of the major authors of the Romantic movement. Hoffmann is one of the best-known representatives of German Romanticism, and a pioneer of the fantasy genre, with a taste for the macabre combined with realism that influenced such authors as Edgar Allan Poe, Nikolai Gogol, Charles Dickens, Charles Baudelaire, Fyodor Dostoevsky, Franz Kafka and Alfred Hitchcock. Hoffmann's work makes a considerable contribution to our understanding of the emergence of scientific knowledge in the early years of the nineteenth century and to the conflict between science and magic, centred mainly on the 'truths' available to the advocates of either practice. The Novels: 1. The Devil’s Elixirs 2. Little Zaches 3. Master Flea The Tales: 4. The Serapion Brethren 5. Weird Tales 6. Miscellaneous Tales
Whilst E.T.A. Hoffmann (1776-1822) is most widely known as the author of fantastic tales, he was also prolific as a music critic, productive as a composer, and active as a conductor. This book examines Hoffmann's aesthetic thought within the broader context of the history of ideas of the late-eighteenth and early-nineteenth centuries, and explores the relationship between his musical aesthetics and compositional practice. The first three chapters consider his ideas about creativity and aesthetic appreciation in relation to the thought of other German romantic theorists, discussing the central tenets of his musical aesthetic - the idea of a 'religion of art', of the composer as a 'genius', and the listener as a 'passive genius'. In particular the relationship between the multifaceted thought of Hoffmann and Friedrich Schleiermacher is explored, providing some insight into the way in which diverse intellectual traditions converged in early-nineteenth-century Germany. In the second half of the book, Hoffmann's dialectical view of music history and his conception of romantic opera are discussed in relation to his activities as a composer, with reference to his instrumental music and his two mature, large-scale operas, Aurora and Undine. The author also addresses broader issues pertaining to the ideological and historical significance of Hoffmann's musical and literary oeuvre.
Originally published as author's thesis (Ph.D.--Trinity College, Cambridge).