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The series Studien zur deutschen Literatur (Studies in German Literature) presents outstanding analyses of German-speaking literature from the early modern period to the present day. It particularly embraces comparative, cultural and historical-epistemological questions and serves as a tradition-steeped forum for innovative literary research. All submitted manuscripts undergo a double peer-review process. Please contact the editor Dr. Anja-Simone Michalski ([email protected]) for further information regarding manuscript submission and subsidies.
New essays providing a comprehensive scholarly introduction to the great writer and thinker Canetti. The Bulgarian-born scholar and author Elias Canetti was one of the most astute witnesses and analysts of the mass movements and wars of the first half of the 20th century. Born a Sephardic Jew and raised at first in the Bulgarianand Ladino languages, he chose to write in German. He was awarded the 1981 Nobel Prize in Literature for his oeuvre, which includes dramas, essays, diaries, aphorisms, the novel Die Blendung (Auto-da-Fé) and the long interdisciplinary treatise Masse und Macht (Crowds and Power). These works express Canetti's thought-provoking ideas on culture and the human psyche with special focus on the phenomena of power, conflict, and survival. Canetti'smasterful prose, his linguistic innovations, his brilliant satires and conceits continue to fascinate scholars and general readers alike; his challenging, genre-bending writings merge theory and literature, essay and diary entry.This Companion volume contains original essays by renowned scholars from around the world who examine Canetti's writing and thought in the context of pre- and post-fascist Europe, providing a comprehensive scholarly introduction. Contributors: William C. Donahue, Anne Fuchs, Hans Reiss, Julian Preece, Wolfgang Mieder, Sigurd P. Scheichel, Helga Kraft, Harriet Murphy, Irene S. Di Maio, Ritchie Robertson, Johannes G. Pankau, Dagmar C.G. Lorenz, Penka Angelova and Svoboda A. Dimitrova, Michael Mack. Dagmar C. G. Lorenz is Professor of Germanic Studies at the University of Illinois-Chicago.
First published in 1996. This comparative study investigates thematic and technical similarities in the works of the two authors who shared a cultural heritage and achieved comparable status in their separate literary traditions. Drawing upon theories by Bloom, Bakhtin, and Lacan, the book examines ways in which Henry James and Thomas Mann treat the creative artist and analyze the creative and interpretive processes in their fiction. The texts covered range from early works to their great modern novels: The GoldenBowland Doctor Faustus To a great extent, the similarities between the works stem from the authors' preoccupation with artistic responsibility. Adopting Bloom's claim that the creative activity is an interpretive one, and that the reader, as well as the writer, interprets a text into being the book also investigates the reader's responsibility in confronting the dilemmas challenging James' and Mann's artist figures. Such challenges are "the dangers of interpretation" discussed in this book. Index. Bibliography.
During the years of Weimar and the Third Reich, Toller was one of the more active of the "other Germany's" left-wing intellectuals. A leader of the Bavarian Soviet of 1919, he had in addition won the Kleist prize and was recognized as one of Germany's best playwrights. Indeed, during the years of the Weimar Republic, the popularity of his works was unquestioned. His first play, Die Wandlung, was soon sold out and required a second edition; his dramatic works and poems were translated into twenty-seven languages. During the 1920’s it was said that he "dominated the German and Russian theatre" and that he was the "most spectacular personality in modern German literature." It was common for contemporaries to classify him as one of the foremost German writers of the Weimar era. During the 1930s, as an exile, he popularized to foreign audiences the idea of “the other Germany”and became a leading spokesman against Hitler. However, it is Toller the social critic rather than Toller the dramatist with which thisbook is concerned, his ideas, his visions for Germany and Europe as transmitted in his works of fiction and prose. The book reflects on the responsibility an intellectual-critic has when writing about a democratic society (the Weimar Republic) that is unsuccessfully balancing between survival and annihilation. Toller was furthermore a Jewish intellectual. How did his religious traditions shape his views? He was also German and this raises a whole host of specifically Germanic patterns of looking at the world. He was also a left-wing intellectual and Toller is set in the broader context of left-wing intellectuals in Weimar and the Nazi era. A related reflection is to ask: so what? What difference did it make? How much of an influence do intellectuals have in the development of society? What is the relationship between intellectuals and their readers in a troubled society?
In the decades surrounding World War I, religious belief receded in the face of radical new ideas such as Marxism, modern science, Nietzschean philosophy, and critical theology. Modes of Faith addresses both this decline of religious belief and the new modes of secular faith that took religion's place in the minds of many writers and poets. Theodore Ziolkowski here examines the motives for this embrace of the secular, locating new modes of faith in art, escapist travel, socialism, politicized myth, and utopian visions. James Joyce, he reveals, turned to art as an escape while Hermann Hesse made a pilgrimage to India in search of enlightenment. Other writers, such as Roger Martin du Gard and Thomas Mann, sought temporary solace in communism or myth. And H. G. Wells, Ziolkowski argues, took refuge in utopian dreams projected in another dimension altogether. Rooted in innovative and careful comparative reading of the work of writers from France, England, Germany, Italy, and Russia, Modes of Faith is a critical masterpiece by a distinguished literary scholar that offers an abundance of insight to anyone interested in the human compulsion to believe in forces that transcend the individual.
Includes the index to the Journal of the International Arthur Schnitzler Research Association, 1961-67.
Modern drama in theory and ... /J.L. Styan.-v.3.
This book examines the concept of meaning and our general understanding of reality in a legal and philosophical context. Starting from the premise that meaning is a matter of linguistic and other forms of articulation, it considers the inherent philosophical consequences. Part I presents Klages’, Derrida’s, Von Hofmannsthal’s and Wittgenstein’s explorations of silence as a source of articulation and meaning. Debates about 20th century psychologism gave the attitude concept a pivotal role; it illustrates the importance of the discovery that a word is globally qualified as ‘the basic unit of language’. This is mirrored in the fact that we understand reality as a matter of particles and thus interpret the real as a component of an all-embracing ‘particle story’. Each chapter of the book focuses on an aspect of legal semiotics related to the chapter’s theme: for instance on the meaning of a Judge’s ‘Saying for Law’, on law students training in varying attitudes or on the ties between law and language. Part II of the book illustrates our general understanding of reality as a matter of particles and partitioning, and examines texts that prove that particle thinking is basic for our meaning concept. It shows that physics, quantum theory, holism, and modern brain research focusing on human linguistic capabilities, confirm their ties to the particle story. In contrast, the book concludes that partitions and particles are neither a fact in the history of the cosmos nor a determinant of knowledge and the sciences, and that meaning is a process: a constellation rather than a fixation. This is manifest once one understands meaning as the result of continuously changing attitudes, which create our narratives on cosmos and creation. The book proposes a new key for meaning: a linguistic occurrence anchored in dimensions of human narrativity.