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The People of Seldwyla (Die Leute von Seldwyla) is a two-part novella cycle. The first five novellas, Part I, were written by Keller between 1853 and 1855 in Berlin, and they were published in 1856 by the Vieweg Verlag. The subsequent five novellas, Part II, were composed in several stages between 1860 and 1875, primarily during Keller's tenure as State Secretary in Zurich. It comprises ten "life portraits" (the working title during the Berlin phase), interconnected by a shared setting—the fictional Swiss town of Seldwyla. With the exception of "Romeo und Julia auf dem Dorfe," an adaptation of Shakespeare's tragedy, the Seldwyla stories are comedies in novella form, characterized by a strong satirical and grotesque element. Two of the novellas, "Romeo und Julia auf dem Dorfe" and "Kleider machen Leute," hold a place in world literature and are among the most widely read narratives in German-language literature. They have been adapted into films and operas multiple times, translated into numerous languages, and are available in an extensive array of editions. "The People of Seldwyla," is regarded as a masterpiece of 19th-century German narrative art and is representative of the poetic realism style. If one disregards Goethe's writings, the best German book there is: what actually remains of German prose literature that deserves to be read again and again? Lichtenberg's aphorisms, the first book of Jung-Stilling's Lebensgeschichte, Adalbert Stifter's Nachsommer and Gottfried Keller's The people of Seldwyla, - and that will be the end of it for the time being. Nietzsche, Human, All Too Human ("Menschliches, Allzumenschliches") Part I Pankraz, the Schmoller Pankraz, der Schmoller is the first story in Die Leute von Seldwyla, which was published in Braunschweig in 1856. The title character works his way up from a day thief in Seldwyla to a colonel in the French legion, but is unable to find happiness. Romeo and Juliet in the village In this tale, Keller adapted a true incident that he had taken from a newspaper report. Two neighboring farmers live together in harmony until they begin to quarrel over a small piece of land. Frau Regel Amrain and her youngest Frau Regel Amrain und ihr Jüngster is a story from the cycle of novellas Die Leute von Seldwyla, published in Braunschweig in 1856. It is about the education of a boy to become an upright man and citizen. Franz Duncker had the text printed in the Berlin Volks-Zeitung in 1855. Mr Amrain, a former button-maker, had mixed with the speculators of Seldwyl and bought a quarry on the outskirts of the small town. He never quarried any stone, however, but merely speculated on the new property. When a conservative financier saw through the liberal Mr Amrain, he withdrew his capital from the quarry. Mr Amrain then left his wife Regula and their three children in Seldwyla and left for North America. The Three Righteous Comb Makers (Die drei gerechten Kammacher) The story is about three German journeymen craftsmen who work for a master craftsman in Seldwyla, all three of them hardworking, thrifty, frugal, calculating, and conflict-averse. Despite this - or perhaps because of it - they become fierce rivals: each wants to buy the comb-making business, and each wants to marry the same wealthy maiden to do so. A decisive race ensues, which ends badly for two of the Mirror, the kitten (Spiegel das Kätzchen) An animal fable within the tradition of the classical-romantic art fairy tale. His tomcat "Spiegel" (Mirror in German), so called because of his shiny fur, is inclined to philosophical contemplation like Puss Murr and, like Reineke Fuchs (a famous fairy tale by Goethe), possesses the gift of saving his head through tall tales and cunningly contrived intrigues. This novella is one of Keller's best-known tales and has been adapted several times.
A new translation of "The Seven Legends" (sieben Legenden) by Gottfried Keller. The Seven Legends is a novella cycle initially published in 1872 but conceived during the author's time in Berlin. This slim work established Keller's reputation in Germany, although it sparked controversy. The Legends' centerpiece is the Virgin Mary, depicted in an interpretation and form divergent from both Catholic and Protestant perspectives. She assumes the role of the "magna mater of earthly and affectionate love," embodying a syncretic deity merging elements of Paganism and Christianity into a feminine trinity of love or a post-Christian Mother Earth. While Theodor Fontane found it repugnant for deviating from the natural simplicity of the legend form, Eduard Mörike was captivated by it. In this collection of allegorical tales, Keller delves into the realms of myth and spirituality.
The People of Seldwyla (Die Leute von Seldwyla) is a two-part novella cycle. The first five novellas, Part I, were written by Keller between 1853 and 1855 in Berlin, and they were published in 1856 by the Vieweg Verlag. The subsequent five novellas, Part II, were composed in several stages between 1860 and 1875, primarily during Keller's tenure as State Secretary in Zurich. It comprises ten "life portraits" (the working title during the Berlin phase), interconnected by a shared setting—the fictional Swiss town of Seldwyla. With the exception of "Romeo und Julia auf dem Dorfe," an adaptation of Shakespeare's tragedy, the Seldwyla stories are comedies in novella form, characterized by a strong satirical and grotesque element. Two of the novellas, "Romeo und Julia auf dem Dorfe" and "Kleider machen Leute," hold a place in world literature and are among the most widely read narratives in German-language literature. They have been adapted into films and operas multiple times, translated into numerous languages, and are available in an extensive array of editions. "The People of Seldwyla," is regarded as a masterpiece of 19th-century German narrative art and is representative of the poetic realism style. Nietzsche wrote in Human, All Too Human ("Menschliches, Allzumenschliches") If one disregards Goethe's writings, the best German book there is: what actually remains of German prose literature that deserves to be read again and again? Lichtenberg's aphorisms, the first book of Jung-Stilling's Lebensgeschichte, Adalbert Stifter's Nachsommer and Gottfried Keller's The people of Seldwyla, - and that will be the end of it for the time being. Part II contains: Clothes Make the Man (Kleider machen Leute) The plot revolves around Wenzel, a penniless tailor from Seldwyla who, on his arrival in the Swiss town of Goldach, is mistaken for a young lord because of the luxurious suit he has made for himself. Wenzel is feted by the townsfolk and begins to attract the attention of a high-born young woman called Nettchen. The Blacksmith of his Fortune (Der Schmied seines Glückes) A humoresque by Gottfried Keller from 1865. In 1873, Ferdinand Weibert published the text in the third volume of the second part of the novella cycle Die Leute von Seldwyla by Göschen in Stuttgart. The Lost Laughter is a novella by Gottfried Keller, completed in 1874 and published by Göschen in Stuttgart in the fall of the same year as the "keystone" of the second part of the novella cycle The People of Seldwyla (Die Leute von Seldwyla) in German. The story follows a married couple - Jukundus and Justine - lose their laughter in a marital crisis. When the couple finds each other again, they find that laughter again. The Abused Love Letters (Die mißbrauchten Liebesbriefe) Die missbrauchten Liebesbriefe is a literary satire by Gottfried Keller from 1860. In October 1865, the text was preprinted in the Braunschweig "Deutsche Reichs-Zeitung". The story did not appear in book form until 1874, in the second part of the novella cycle Die Leute von Seldwyla, published by Göschen in Stuttgart. Dietegen The novella is set at the time of the Burgundian and Milanese Wars in the two fictional Swiss towns of Seldwyla and Ruechenstein. In Ruechenstein, the orphan boy Dietegen, who is kept like a slave as a lawless Verding child, is falsely accused of stealing a crossbow and hanged. Küngolt, a girl from Seldwyla, discovers that the boy is still alive in his coffin. According to the Rüchenstein legal system, whoever survives an execution is given life. From then on Dietegen grows up with Küngolt's father, the forester of Seldwyla, and his mother. Küngolt sees in him her future husband and treats him like her property. Dietegen overcomes his moral prejudice against the "harlot", goes to Ruechenstein and saves Küngolt from death. He takes part in the Milanese campaigns in which he falls, but from the marriage a "numerous lineage" is born.
Quinquennial supplements,1950/1954-1979/1983, compiled by Estelle A. Fidell, and others, published 1956-1984.
This ambitious and vivid study in six volumes explores the journey of a single, electrifying story, from its first incarnation in a medieval French poem through its prolific rebirth in the nineteenth and twentieth centuries. The Juggler of Notre Dame tells how an entertainer abandons the world to join a monastery, but is suspected of blasphemy after dancing his devotion before a statue of the Madonna in the crypt; he is saved when the statue, delighted by his skill, miraculously comes to life. Jan Ziolkowski tracks the poem from its medieval roots to its rediscovery in late nineteenth-century Paris, before its translation into English in Britain and the United States. The visual influence of the tale on Gothic revivalism and vice versa in America is carefully documented with lavish and inventive illustrations, and Ziolkowski concludes with an examination of the explosion of interest in The Juggler of Notre Dame in the twentieth century and its place in mass culture today. The Juggler of Notre Dame and the Medievalizing of Modernity is a rich case study for the reception of the Middle Ages in modernity. Spanning centuries and continents, the medieval period is understood through the lens of its (post)modern reception in Europe and America. Profound connections between the verbal and the visual are illustrated by a rich trove of images, including book illustrations, stained glass, postage stamps, architecture, and Christmas cards. Presented with great clarity and simplicity, Ziolkowski's work is accessible to the general reader, while its many new discoveries will be valuable to academics in such fields and disciplines as medieval studies, medievalism, philology, literary history, art history, folklore, performance studies, and reception studies.
This book analyzes the impact of historical, political and sociocultural contexts on the reading, rewriting and translating of texts. The authors base their arguments on their experiences of translating or researching different text types, taking in fiction, short stories, memoirs, religious texts, scientific treatises, and news reports from a variety of different languages and cultural traditions. In doing so they cover a wide range of contexts and time periods, including Early Modern Europe, post-1848 Switzerland, nineteenth-century Portugal, Egypt in the early twentieth century under British colonial rule, Spain under Franco’s dictatorship, and contemporary Peru and China. They also consider the theoretical and pedagogical implications of their conclusions for translation students and practitioners. This edited collection will be of great interest to scholars working in translation studies, applied linguistics, and on issues of cultural difference.
Survey of the criticism devoted to Gottfried Keller, the important nineteenth-century writer in German. The works of Gottfried Keller (1819-1890) rank alongside those of Goethe and Thomas Mann, yet this volume is the first in any language to examine the critical assessment and scholarly expertise devoted to him, ranging from the early stages of journalistic criticism to the present day. Professor Ruppel begins by exploring the literary industry in the nineteenth century, the literary market place, the tastes of the reading public, and the expectations of editors, before going on to survey representative journalistic assessments of Keller's writing, including critical correspondence from Keller's contemporaries. Subsequent chapters examine in chronological order the most important milestones in Keller scholarship, particularly twentieth-century criticism and the Anglo-American tradition. There is also a brief history of the translations of Keller's works into English, investigating some of the difficulties confronting English translators of Keller's poetically creative German. The study concludes with an overview of recent scholarly assessments covering the past twenty-five years.