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Rönne, ein junger Arzt, der früher viel seziert hatte, fuhr durch Süddeutschland dem Norden zu. Er hatte die letzten Monate tatenlos verbracht; er war zwei Jahre lang an einem pathologischen Institut angestellt gewesen, das bedeutet, es waren ungefähr zweitausend Leichen ohne Besinnen durch seine Hände gegangen, und das hatte ihn in einer merkwürdigen und ungeklärten Weise erschöpft.
Jennifer Anna Gosetti-Ferencei demonstrates that the exotic, as reflected in major works of German literature and in the philosophy and art that inspires it, provokes central questions about the modern self and the spaces it inhabits. Exotic spaces in the writings of such authors as Thomas Mann, Franz Kafka, Stefan Zweig, Robert Musil, Hugo von Hofmannsthal, Gottfried Benn, and Bertold Brecht, along with the thought of Nietzsche, Freud, Levi-Strauss, and Simmel and the art ofGerman Expressionism, are shown to present alternatives to the landscape and experience of modernity. In an examination of the concept of the exotic and of spatial experience in their cultural, subjective, and philosophical contingencies, Gosetti-Ferencei shows that exotic spaces may contest andreconfigure the relationship between the familiar and the foreign, the self and the other. Exotic spaces may serve not only to affirm the subject in a symbolic conquering of territory, as emphasized in post-colonial interpretations, or project the fantasy of escapism to a lost paradise, as utopian readings suggest, but condition moral, aesthetic, or imaginative transformation. Such transformation, while risking disaster or dissolution of the self as well as endangerment of the other, maypromote new possibilities of perceiving or being, and reconfigure the boundaries of a familiar world. As exotic spaces are conceived as mystical, liberating, erotic, infectious, frightening or mysterious, several possibilities for transformation emerge in their exposure: re-enchantment through epiphany;the collapse of the rational self; liberation of the imagination from the confines of the familiar world; and aesthetic transformation, revealing the paradoxically 'primitive' nature of modern experience. In strikingly original readings of canonical authors and compelling rediscoveries of forgotten ones, this study establishes that exotic experience can evidence the fragility of the European or Germanic self as depicted in modernist literature, revealing the usually unconsidered boundaries ofthe subject's own familiar world.
Traces literary developments in the German-speaking countries from 1900 to the present. This study of German literature in the past hundred years sets its subject clearly in the artistic and political context of developments in Western Europe during the century. It begins with the turn-of-the-century aestheticism andvisions of decay led by Schnitzler, Hofmannsthal and other Austrian writers, and the quite different explosion of new artistic energy in the Expressionist and Dada movements. These movements are succeeded by the rise of Modernism, culminating in the inter-war years: the poetry of Rilke, Brecht's epic theatre, and novels by Thomas Mann, Kafka, Hesse, Musil, Doblin and Broch; the influence of Nazism on literary production is considered. The study of developments after 1945 reflects the struggle to establish a post-Holocaust literature and to deal with the questions posed by the political division of Germany. Finally, the convergence of East and West German literature after unification is addressed. Ingo R. Stoehr teaches literature at Kilgore College, Texas, and is editor of the bilingual journal of German literature in English translation, Dimension2.
The study of Austrian and German modernist literature has a long and venerable history in this country. There have been no attempts yet, however, to reassess German and Austrian literary modernism in light of current discussion of modernity and postmodernity. Addressing a set of historical and theoretical questions central to current reevaluations of modernism, this volume presents American readers with a state-of-the-art account of German modernism studies in the eighties. Essays by Jochen Schulte-Sasse, Russell A. Berman, Peter Uwe Hohendahl, Judith Ryan, Mark Anderson, Klaus R. Scherpe, Biddy Martin, Klaus L. Berghahn and Acbar Abbas, center around German and Austrian literary and philosophical prose of the early twentieth century. texts by well-known authors -Kafka, Rilke, Musil, Doblin, Benjamin, Benn, and Junger - and less well-known ones -Franz Jung, Carl Einstein, Ernst Bloch, Lou Andreas-Salome, are examined. Particular attention is paid to the processes and strategies by which certain experiences of "modern life" are translated into modern aesthetic forms. The unique contribution of this volume is that it combines theory with an attempt to reintroduce an historical and contextual dimension. The authors believe that their revisions of Ausrian and German modernism will themselves be informed by a new set of questions pertinent to the modernist debate.
An extreme sensitivity to gathering social crisis, an accompanying angry enthusiasm for artistic experimentation and renewal – this compelling mix in German art, poetry, and drama of the period 1910 to 1925 continues to draw both scholarly attention and intense popular interest. In this book Augustinus Dierick focuses on another significant but hitherto neglected medium of German Expressionist thought – short narrative prose – in order to illuminate and evaluate the contribution of that genre to one of the twentieth century's most powerful artistic movements. Dierick's study includes a thorough analysis of the works of a broad range of Expressionist prose writers, from those of such specialists in the genre as Edschmid, Heym, Benn, Loerke, Frank, Sternheim, Ehrenstein, and 'Mynona' to the shorter prose works of such major figures as Alfred Döblin, Heinrich Mann, Max Brod, and Franz Werfel. Dierick isolates the thematic obsessions common among Expressionist writers: the pathos of the self in confrontation with nature and with God, the tension between self and the institutions of bourgeois society, and the attractions and dangers of eroticism. Throughout Dierick stresses the interrelationship between themes and their formal expression. He examines many apparent excesses in style and tone, many aberrations in structure and generic characteristics, and identifies them not as needless experimentation but as a necessary result of the attempt to find appropriate forms for extreme situations and complex ideas. Dierick's analysis makes clear that Expressionist prose has an intrinsic artistic value and, because of certain nuances and different accents, must be included in any estimation of the nature and importance of Expressionism as a whole.
New essays examining the complex period of rich artistic ferment that was German literary Expressionism.
In recent decades, developments in research technologies and therapeutic advances have generated immense public recognition for neuroscience. However, its origins as a field, often linked to partnerships and projects at various brain-focused research centres in the United States during the 1960s, can be traced much further back in time. In A New Field in Mind Frank Stahnisch documents and analyzes the antecedents of the modern neurosciences as an interdisciplinary field. Although postwar American research centres, such as Francis O. Schmitt's Neuroscience Research Program at MIT, brought the modern field to prominence, Stahnisch reveals the pioneering collaborations in the early brain sciences at centres in Germany, Austria, and Switzerland in the first half of the twentieth century. One of these, Heinrich Obersteiner's institute in Vienna, began its work in the 1880s. Through case studies and collective biographies, Stahnisch investigates the evolving relationships between disciplines – anatomy, neurology, psychiatry, physiology, serology, and neurosurgery – which created new epistemological and social contexts for brain research. He also shows how changing political conditions in Central Europe affected the development of the neurosciences, ultimately leading to the expulsion of many physicians and researchers under the Nazi regime and their migration to North America. An in-depth and innovative study, A New Field in Mind tracks the emergence and evolution of neuroscientific research from the late nineteenth century to the postwar period.
Donahue presents Krolow's career from a wholly new perspective, presenting in sum, but overturning, decades of Krolow criticism that, begun on a false footing, missed the real historical depth in Krolow's poems: the depth of avoidance."--BOOK JACKET.