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Excerpt from The Personal and Literary Relations of Heinrich Heine to Karl Immermann: A Thesis Submitted to the Faculty of the Department of Literature, Science, and the Arts of the University of Michigan for the Degree of Doctor of Philosophy Messias into Alexandrines. This, however, was more than the boy could stand: he could have died for France, but never would he write French verse! Heine first attended a Jewish school, but later entered the Lyceum, one of those French government schools, organized by Napoleon and placed under the control of the Minister of Public Instruction. As it was designed to further his political schemes, French was made the medium of instruction in all subjects, one-third of the time, besides, being devoted to French Grammar and Literature. The rector was a Roman Catholic priest and the teachers were nearly all Catholic. This same Rector Schallmeyer, so the poet tells us in the Gestandnisse' suggested often to Heine's mother that she allow him to be edu cated by the Catholic priesthood, but his mother, besides being more ambitious for a successful practical career for her eldest son, could not, as a strict deist, make the garb of a priest seem becom ing to him. With much glee Heine pictures himself in the role of Roman Catholic priest, cardinal, even pope, and declares that his mother regretted deeply not having followed the advice of her liberal old friend, who, she concluded, so early understood the physical and spiritual atmosphere that would be most salutary for him. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
The Bildungsroman, or "novel of formation," has long led a paradoxical life within literary studies, having been construed both as a peculiarly German genre, a marker of that country's cultural difference from Western Europe, and as a universal expression of modernity. In Formative Fictions, Tobias Boes argues that the dual status of the Bildungsroman renders this novelistic form an elegant way to negotiate the diverging critical discourses surrounding national and world literature. Since the late eighteenth century, authors have employed the story of a protagonist's journey into maturity as a powerful tool with which to facilitate the creation of national communities among their readers. Such attempts always stumble over what Boes calls "cosmopolitan remainders," identity claims that resist nationalism's aim for closure in the normative regime of the nation-state. These cosmopolitan remainders are responsible for the curiously hesitant endings of so many novels of formation. In Formative Fictions, Boes presents readings of a number of novels—Goethe's Wilhelm Meister's Apprenticeship, Karl Leberecht Immermann's The Epigones, Gustav Freytag's Debit and Credit, Alfred Döblin's Berlin Alexanderplatz, and Thomas Mann's Doctor Faustus among them—that have always been felt to be particularly "German" and compares them with novels by such authors as George Eliot and James Joyce to show that what seem to be markers of national particularity can productively be read as topics of world literature.
Georg Lukács was one of the most controversial Marxist philosophers of this century. In this book, however, he appears in another guise: as a literary historian in the tradition of Sainte-Beuve and Belinsky, offering an advanced introduction to one of the richest periods of European literature. These previously untranslated essays - on Heinrich von Kleist, Joseph Eichendorff, Georg Büchner, Heinrich Heine, Gottfried Keller, Wilhelm Raabe, and Theodor Fontane - were written between 1936 and 1950. They illuminate Lukács's enduring love of German literature and his faith in the humanist tradition. In all of them, moreover, he can be seen actively intervening in the cultural debates of the time - on the role of literature, on the literary tradition in society, and on the relationship between literature and politics. Although his defense of realism against the crudities of socialist realism is implicit throughout these essays, Lukács's main purpose was to illuminate the intellectual, historical, and literary context in which these great writers worked, to attain a fuller understanding of what they wrote, and also to settle accounts with contemporary German critics who were attempting to create a fascist pantheon.