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International conference proceedings, Institute of Germanic Studies, London, December 2003.
After Expressionism had run its feverish course, its foremost exponent Georg Kaiser (1878-1945) ‑‑ The Burghers of Calais, From Morn to Midnight, Gas ‑‑ proved equally adept at the lighter fare demanded by post-war audiences. Of some nine hundred comedies premièred in the Weimar era, his Pulp Fiction was an early triumph, often revived and played now as parody of a contagious literary genre, now as critique of Old World pieties. The New Woman emerged even more clearly towards the end of the ‘Roaring Twenties’ in Clairvoyance ‑‑ though now also as antagonist, from whose vampish sophistication the loving wife emancipates both self and wayward husband. Between these two comedies, in One Day in October (acclaimed especially in Gustav Gründgens’s gripping production) focus shifts to psychological wrestling in deadly earnest over the parentage of a child. A parallel dilemma underlies the compelling plot, rising tension and searing climax of Agnete ‑‑ an uncanny precursor of the ‘Heimkehrer’ literature inspired by soldiers and captives returning home after 1945. This was indeed a fitting play to mark the rebirth of the Federal Republic of Germany in 1949. Kaiser had died in exile, though not before taking leave, like Prospero, with another wry comedy, The Gordian Egg.
New essays examining the complex period of rich artistic ferment that was German literary Expressionism.
These previously published essays discuss Nietzsche's influence on Arthur Schnitzler, Carl Sternheim, Georg Kaiser, Robert Musil, and Hermann Hesse. As a Festschrift, it also contains a tribute to Herbert W. Reichert and a bibliography of his writings.
This is a brilliant, provocative long essay on the rise and fall and survival of modernism, by the English-languages' greatest living cultural historian.
Modern drama in theory and ... /J.L. Styan.-v.3.
This multifaceted book investigates the place of dance and performance in the development, confirmation and subversion of conceptions of Europe from the 20th century up until today. Its contributions unravel the nexus between Europe and dance from historical and contemporaneous perspectives, and testify to an understanding of Europe based on different constructions of (alternative) societies. Through the threefold themes of identities, languages and institutions, this volume reveals the complexity of this topic. It investigates the construction of European identities in and through performance and their intersection with local or global cultures; explores versatile models of European multilingualism and linguistic diversity on stage; and considers the constructions of Europe, in dance, as conditioned by institutional and socio-political frameworks. The first volume of its kind, it offers a collection of previously unpublished chapters by an international and interdisciplinary group of scholars. It will make essential reading for anyone interested in the fields of dance, performance and European Studies, and serve as an important springboard for future research in this area.
In this wide-ranging and original account of Modernism, Michael Levenson draws on more than twenty years of research and a career-long fascination with the movement, its participants, and the period during which it thrived. Seeking a more subtle understanding of the relations between the period's texts and contexts, he provides not only an excellent survey but also a significant reassessment of Modernism itself. Spanning many decades, illuminating individual achievements and locating them within the intersecting histories of experiment (Symbolism to Surrealism, Naturalism to Expressionism, Futurism to Dadaism), the book places the transformations of culture alongside the agitations of modernity (war, revolution, feminism, psychoanalysis). In this perspective, Modernism must be understood more broadly than simply in terms of its provocative works, experimental forms, and singular careers. Rather, as Levenson demonstrates, Modernism should be viewed as the emergence of an adversary culture of the New that depended on audiences as well as artists, enemies as well as supporters.