A History of Austrian Literature 1918-2000 (Studies in by Katrin Kohl, Ritchie Robertson

By Katrin Kohl, Ritchie Robertson

20th-century Austrian literature boasts many impressive writers: Schnitzler, Musil, Rilke, Kraus, Celan, Canetti, Bernhard, Jelinek. those and others characteristic in broader money owed of German literature, however it is fascinating to determine how the Austrian literary scene -- and Austrian society itself -- formed their writing. This quantity therefore surveys Austrian writers of drama, prose fiction, and lyric poetry; relates them to the targeted historical past of contemporary Austria, a democratic republic that was once overtaken by way of civil warfare and authoritarian rule, absorbed into Nazi Germany, and re-established as a impartial country; and examines their reaction to debatable occasions comparable to the collusion with Nazism, the Waldheim affair, and the increase of Haider and the extraordinary correct. as well as confronting controversy within the kin among literature, heritage, and politics, the quantity examines pop culture in response to present developments. individuals: Judith Beniston, Janet Stewart, Andrew Barker, Murray corridor, Anthony Bushell, Dagmar Lorenz, Juliane Vogel, Jonathan lengthy, Joseph McVeigh, Allyson Fiddler. Katrin Kohl is Lecturer in German and a Fellow of Jesus university, and Ritchie Robertson is Taylor Professor of German Language and Literature and a Fellow of The Queen's collage, either on the collage of Oxford.

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Extra resources for A History of Austrian Literature 1918-2000 (Studies in German Literature, Linguistics, and Culture)

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Sherriff’s Journey’s End (1931) — the powerful Wunder um Verdun (Miracle at Verdun, 1931) by Hans Chlumberg (1897–1938), in which the war dead briefly rise from the grave and return to their former lives, only to discover how little their sacrifice has wrought. 26 JUDITH BENISTON Established Reputations: Hofmannsthal, Schnitzler, Schönherr Of the two Austrian dramatists who had enjoyed international renown in the prewar period — Arthur Schnitzler (1862–1931) and Hugo von Hofmannsthal (1874–1929) — only the latter continued to enhance his reputation as a dramatist and to develop new areas of activity.

As Kraus observes in his introduction, tragic events are played out by a cast more suited to operetta; consequently, cabaret, puppet theater, and carnivalesque moments repeatedly intrude. Another formal model on which he draws is that of “cosmic” drama, of a theatrum mundi observed, and ultimately judged, from an extraterrestrial standpoint. Whereas the traditional Christian view is that all human activity has value and meaning if considered aright, for Kraus war is senseless, however one views it, and demonstrates only the moral bankruptcy of society.

The intruders’ creed founded on hatred is swept aside by the unshakable love and trust in humanity that flow from the girl’s Christian faith. Das Apostelspiel is a humorous, actorly little play written in a folksy verse reminiscent of Hans Sachs; just as strident in its condemnation of Communism as Hofmannsthal’s Calderón adaptations, it continued to be popular in Austria during the Cold War. DRAMA IN AUSTRIA, 1918–45 31 Responses to Expressionism While Mell drew on the folk traditions of his native Styria, much Austrian drama of the early postwar years was influenced, at least to some extent, by Expressionism.

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