19th- and 20th-century German and Austrian literature

Ilse Aichinger zählt zu den besten österreichischen SchriftstellerInnen, wovon ihr bemerkenswerter Roman Die größere Hoffnung aus dem Jahr 1948 zeugt. Diese vorliegende Bachelor-Arbeit hat zum Ziel, diesen Roman in einigen wichtigen Standpunkten zu bearbeiten. Die Abschlussarbeit gliedert sich in zwei Teile. Der erste Teil beschäftigt sich mit der Frage der Autobiographie. Da Die größere Hoffnung Aichingers erster und einziger Roman ist und unmittelbar über das Alltagsleben der Kinder während der Zeit des II. Weltkrieges handelt, wird die Handlung oft mit dem Leben der Autorin verglichen, die ebenfalls ihre Kindheit während des Krieges verbrachte. In diesem Teil der Arbeit wird sich mithilfe bestimmter Argumente und Zitate aus dem Werk herausstellen, in wie fern dieser Vergleich unternommen werden kann. Zuerst befasst sich dieser Teil der Arbeit mit Ilse Aichingers Biographie. Dementsprechend wird auch die Hauptfigur Ellen vorgestellt und analysiert. Da die Erzählerform in diesem Roman von großer Wichtigkeit ist, wird auch sie mithilfe der Literaturtheorien in das Thema des ersten Teiles miteinbezogen. Zuletzt wird ein Vergleich zwischen der Beziehung der Autorin mit dem Vater, der Mutter und Großmutter im wahren Leben und ihre Einstellung zu denselben Figuren in ihren Werken gemacht. 
Der zweite Teil bearbeitet das wichtigste Motiv des Romans und zwar die durch den Glauben an Gott und an das Jenseits erzeugte Hoffnung. Der Titel des Romans deutet darauf hin, dass es irgendwo eine „größere“ Hoffnung gibt, eine Hoffnung, die viel mehr bietet, als diejenige auf der Erde. Demzufolge wird zuerst der politische Hintergrund bearbeitet, um das Nachträgliche deutlicher darstellen zu können. Demnach wird das Hauptmotiv bearbeitet, das die „größere Hoffnung“ repräsentiert. Der Glaube an das Jenseits gibt den Kindern Mut und Kraft, um weiterspielen zu können, denn im Leben nach dem Tod gibt es keine Verbote und niemand wird jemals als „falsch“ angesehen. Zum Schluss befasst sich die Arbeit mit dem Motiv der Natur, die eng mit dem Glauben und mit den Gefühlen der Kinder in Verbindung steht.

This paper seeks to establish whether the attention that both Hugo Hofmannsthal and Arthur Schnitzler lend to the French Revolution during the last decade of the nineteenth century is linked to the end of the “habsburgical myth”, as Claudio Magris has argued, and wether that interest involves an aesthetic and political stance in favor of tradition or history. The analysis concentrates, on the one hand, on two Hofmannsthal’s sketches dated in 1891 and 1893: the first is linked directly to the French Revolution; the second, in return, is inspired by the Austrian revolutionary episodes of 1848. On the other, it examines the Schnitzler’s grotesque theater piece Der grüne Kakadu (The Green Cockatoo), written in 1898.

Since the second half of the twentieth century various routes, including history and literature, are offered in dealing with the catastrophe of World War II and the Holocaust. Historiographies and novels are of course written with words; how can they bear witness to and reverberate with traumatic experience, which escapes or resists language? In search for an alternative mode of expression and representation, this volume focuses on postwar German and Austrian writers who made use of music in their exploration of the National Socialist past. Their work invoke, however, new questions: What happens when we cross the line between narration and documentation, and between memory and a musical piece? How does identification and fascination affect our reading of the text? What kind of ethical issues do these testimonies raise? As this volume shows, reading these musical biographies is both troubling and compelling since they 'fail' to come to terms with the past. In playing the haunting music that does not let us put the matter to rest, they call into question not only the exclusion of personal stories by official narratives, but also challenge writers' and readers' most intimate perspectives on an unmasterable past.

"Megaleh Temirin (Revealer of Secrets), ed. Jonatan Meir, Three volumes, Mosad Bialik, Jerusalem

Megaleh Temirin (Revealer of Secrets), first published in Vienna in 1819, is one of the sharpest and wittiest pieces of Jewish literature written in the first half of the nineteenth century, and is perhaps the most important piece of Hebrew prose composed before the stories of Mendele Mocher Seforim. A sly and complex story deriding Hasidism and Hasidim, it is told through the correspondence between the beadles of Hasidic courts and contemporary rabbis, and it presents a dark picture of  avaricious frauds and swindlers whose main concern was control over territory and the souls of believers, a goal achieved by beguiling the authorities and attacking all opponents. Perl lends his book a ‘Hasidic’ feel both in its physical design and in its language, presenting a Maskilic version of In Praise of the Ba’al Shem Tov that lays Hasidism bare so that no reader will ever be able to look at that, or any other Hasidic book, in the same way again. In addition to the book’s satiric sting, which would have been enough to bring its readers a dual pleasure, Perl’s hints at contemporary people and places, hidden within anagrams and numerological tricks. With the unraveling of these clues, which also include the use of actual Hasidic sources, the book is a valuable, contemporary view of historical reality. A meticulous reading of the book may therefore open a window on the hidden worlds of Hasidism and the Haskalah at the start of the nineteenth century.


The first volume (Imagined Hasidism) serves as an introduction to the complex satirical writings of Josef Perl of Tarnopol (1773-1839). At the center of the book stands an analysis of the satires, Megaleh Temirin (1819) and Bochen Tzadik (1838), including a systematic treatment of the ‘characters’ in the central works and a discussion of the dozens of manuscripts to be found in the Perl Archive in Jerusalem. Perl’s writings are analyzed here in the fuller context of Hebrew and Yiddish literature in general and Maskilic and Hasidic literature in particular, as well as other polemical writings and governmental records critical of Hasidism. The study thus presents a complex and nuanced picture of the relationship between literature and history, between the anti-Hasidic reports and the more complicated historical reality, and lays the groundwork for further research into the genre of nineteenth-century Maskilic satire.

The second and third volumes (Megaleh Temirin) present for the first time an annotated edition of Megaleh Temirin. It is based on the first edition and the scattered manuscripts and it includes a comparison to its Yiddish translation. The book is accompanied by appendices on its origins and contents, including fundamental treatments of several passages: an explication of the encoded names, the Hasidic sources used by the author, and the variants found in the manuscripts and in the only edition of the book in Yiddish.

The editor of the book, Professor Jonatan Meir, teaches in the Goldstein-Goren Department of Jewish Thought at Ben-Gurion University. He has published several articles on the Haskalah of Eastern Europe, Hasidism, and a number of varied topics in twentieth-century Kabbalah.


Contents

Volume 1  - Critical Edition

Concerning this edition
Key personalities
Sefer Megale Temirin – Critical Edition


Volume 2 - Appendixes:
1. Glossary, Abbreviations, Acronyms
2. Explanation of the Speaking Names
3. Perl’s Hasidic Sources
4. Manuscripts of Sefer Megale Temirin
5. Yiddish Introduction to Sefer Megale Temirin
Bibliographic Abbreviations

-------------------------------
Reviews:
(1) Dan Meron, 2013, ‘Megaleh Temirin’, Kivunim Hadashim 29, 55 pages (Hebrew)
(2) David Assaf, 2014, ‘Hasidim will not Read it but Tear it’, Haaretz, Tarbut ve-Sifrut, p .6 (Hebrew) http://onegshabbat.blogspot.co.il/2014/04/blog-post_18.html
(3) Eliezer Brodt, 2014, 'New book Announcement- Megale Temirin', The Seforim Blog http://seforim.blogspot.co.il/2014/01/new-book-announcement-megale-temirin.html
(4) Matan Hermoni, 2014,  הסבתא המופקרת של הספרות העבריתHaaretz, Sfarim (Hebrew) http://www.haaretz.co.il/.premium-1.2382365
(5) Shinichi Yamamoto, 2015, 山本　伸一, "ヨナタン・メイール編著『想像のハシディズム』", ユダヤ・イスラエル研究　第28号  http://www.waseda.jp/assoc-jsjs/jistudies.html
(6) David Biale and David Assaf,, 2015, 'Revealer Revealed', Jewish Review of Books, pp. 17-21  http://jewishreviewofbooks.com/articles/1454/revealer-revealed/
(7) Hillel Halkin, 2015, "Sex, Magic, Bigotry, Corruption- and the First Hebrew Novel', Mosaic Magazine,  http://mosaicmagazine.com/observation/2015/05/sex-magic-bigotry-corruption-and-the-first-hebrew-novel/
(8) Tomer Persico, 2015, "Interview", Lula'at haEl Blog, http://tomerpersico.com/2015/08/10/meir_perl/

This article uses multiple examples from the Czech lands? Jewish community (S. Kapper, F. Adler, A./E. Kraus, C. Hoffmann, O. Pick, P. Eisner, A. Auředníčková, G./L. Reiner(ová)) to outline the special traits of the cultural environments in both of these(former) provincial languages.

Der "Mythos vom deutschen Sonderweg" spielt seit jeher eine fundamentale Rolle in den öffentlichen Debatten um die nationale Identität der Deutschen. Auch wenn seit 1945 dessen negative Deutungsvariante als Weg in die "deutsche Katastrophe" dominiert, liegt dessen Ursprung doch in einem positiv verstandenen deutschen Sonderbewusstsein, das Kaiserreich und Weimarer Republik prägte: dem Mythos von der ästhetischen Erfindung der Nation in der "deutschen Bewegung" um 1800, von Deutschland als "unpolitischem" Land der "Dichter und Denker". Diese Studie fragt erstmals nach Figurationen und Funktionen, aber auch nach dem kulturellen und historischen Ort der Rede von der "deutschen Bewegung" um 1900.

The satirical writings of Lucian of Samosata had a tremendous influence on the literature of the Eastern European Haskalah, shaping its criticism of the burgeoning Hasidic movement in the nineteenth century as if there were no gap between it and the Roman Empire of the second century. Lucian’s criticism of false prophets, self-proclaimed philosophers, and common fools and frauds, like his satirical dialogues with the world of the dead, provided the perfect model for those Maskilim who opposed the revelations of the Hasidic movement in both theological and social realms. One particularly salient testimony to the classical satirist’s influence is the astounding translation of his story “Alexander the False Prophet” by the Maskilic writer Meir Letteris, the first translation of Lucian’s work into Hebrew. The translation, printed in full below, was based on the German edition of Christoph Martin Wieland and published in the journal Ha-Tsefirah, which Letteris edited in 1823. As with every translation, it is a new product, shaped in and by its own context. This essay discusses the tendencies and apparent goals of the translator, the additions and omissions he made to the text, and the influence of Lucian’s satirical style on the Haskalah.

Megaleh Temirin (Revealer of Secrets), first published in Vienna in 1819, is one of the sharpest and wittiest pieces of Jewish literature written in the first half of the nineteenth century, and is perhaps the most important piece of Hebrew prose composed before the stories of Mendele Mocher Seforim. A sly and complex story deriding Hasidism and Hasidim, it is told through the correspondence between the beadles of Hasidic courts and contemporary rabbis, and it presents a dark picture of  avaricious frauds and swindlers whose main concern was control over territory and the souls of believers, a goal achieved by beguiling the authorities and attacking all opponents. Perl lends his book a ‘Hasidic’ feel both in its physical design and in its language, presenting a Maskilic version of In Praise of the Ba’al Shem Tov that lays Hasidism bare so that no reader will ever be able to look at that, or any other Hasidic book, in the same way again. In addition to the book’s satiric sting, which would have been enough to bring its readers a dual pleasure, Perl’s hints at contemporary people and places, hidden within anagrams and numerological tricks. With the unraveling of these clues, which also include the use of actual Hasidic sources, the book is a valuable, contemporary view of historical reality. A meticulous reading of the book may therefore open a window on the hidden worlds of Hasidism and the Haskalah at the start of the nineteenth century.

The first volume (Imagined Hasidism) serves as an introduction to the complex satirical writings of Josef Perl of Tarnopol (1773-1839). At the center of the book stands an analysis of the satires, Megaleh Temirin (1819) and Bochen Tzadik (1838), including a systematic treatment of the ‘characters’ in the central works and a discussion of the dozens of manuscripts to be found in the Perl Archive in Jerusalem. Perl’s writings are analyzed here in the fuller context of Hebrew and Yiddish literature in general and Maskilic and Hasidic literature in particular, as well as other polemical writings and governmental records critical of Hasidism. The study thus presents a complex and nuanced picture of the relationship between literature and history, between the anti-Hasidic reports and the more complicated historical reality, and lays the groundwork for further research into the genre of nineteenth-century Maskilic satire.

The second and third volumes (Megaleh Temirin) present for the first time an annotated edition of Megaleh Temirin. It is based on the first edition and the scattered manuscripts and it includes a comparison to its Yiddish translation. The book is accompanied by appendices on its origins and contents, including fundamental treatments of several passages: an explication of the encoded names, the Hasidic sources used by the author, and the variants found in the manuscripts and in the only edition of the book in Yiddish.

The editor of the book, Professor Jonatan Meir, teaches in the Goldstein-Goren Department of Jewish Thought at Ben-Gurion University. He has published several articles on the Haskalah of Eastern Europe, Hasidism, and a number of varied topics in twentieth-century Kabbalah.



~~~~~~~~~~~~~~~~~


Contents


Introduction                                                                                     
Scholarship on the anti-Hasidic writings of Josef Perl • Hasidic hagiography and the emergence of satire • Two-fold reading of Perl’s writings and the gematriyot • Satire, literature, and history • ‘Holy Books’ and subversive books

Chapter 1: Josef Perl, Rabbi Nathan of Nemirov, and the ‘Holy Books’
Prayer of the fall of Hasidism and the expungement of their books • Sefer Shivhe ha-Besht and the critique of hagiography • Sefer Sipurey Ma‘asiyot and the parodic response to it • Rabbi Nathan of Nemirov, ‘heretical books’ and the ‘Holy Books’ • In praise of the true Tsaddikim • ‘Laughter of the heretics’: testimonies about the polemics against Sefer Shivhe ha-Besht • ‘Holy Books’, ‘sacredness of hagiography’, and parodies of hagiography • Appendix: Parodic manuscript about an opponent of the ‘Holy Books’ who was reborn as a horse

Chapter 2: Speaking Names in Sefer Megale Temirin                             
Time of the composition of Megale Temirin, censorship, and a note on the Buch • Hasidic books and the emergence of parody • Structure of Sefer Megale Temirin • The Introduction to Sefer Megale Temirin • Main Hasidic courts • The court in Żołyń (Łożne) and the peregrinations of the Buch • The court of Dishpal (Międzyboż), moneyboxes of the Besht, the holy relics • The court in Aklo (Olika) and the ritualized reading of Sefer Shivhe ha-Besht • Function of the footnotes and the parodic hagiography • History of the rabbis – clandestine opponents of Hasidism • The Besht in Tarnopol • Rabbi Meir Jacob of Zasław and the letters from Galicja  • Zaddikim in Galicja • Ciphered stories • ‘Holy Places’: reincarnations of a praise from Sefer Shivhe ha-Besht • The revelation of the Buch and the death of the secretary • ‘Gang of criminals’: another death and an escape to the Land of Israel • The End: Ovadia Ben Petahia and the rabbi of Opatów

Chapter 3: Joseph Perl, Hirsh of Zydaczów, and the Polemics of Gematriyot
Reb Zevi Hirsh of Zydaczów and Hasidism in Galicja • Maskilic opposition to the Zydaczówer • Letters concealed in Sefer Megale Temirin • A manuscript about the misdeeds of the Hasidim • Books, education, and a note on Reb Nathan of Nemirov • Zydaczówer’s ban on the Maskilim and the first Gematria • Parodic letter of Perl and the second Gematria • About the parodic letter and the jumble of gematriyot • Denunciation and expulsions of R Zevi Hirsh • ‘Father of impurity’: Joseph Perl and the writings of the rabbi of Komarno • Final note • Appendix: Parodic letter against the Zydaczówer

Chapter 4: Speaking Names in the Book of Sefer Bohen Zaddik               
The manuscript of Sefer Bohen Zaddik and the difficulties with its publication • Structure of the book • In search for the true Zaddik and the rabbi of Opatów • Travels of Ovadia Ben Petahia between the towns of Galicja • Kromcza Ruska (Zaleszczyki) or the entrance to Galicja • ‘Briks’ (Tarnopol): Rabbi Jehoshua Heschel Babad and the school • ‘Bicik’ (Lemberg) Rabbi Jacob Orenstein and a ban on the Maskilim • ‘Abdera’ (Brody) Rabbi Ephraim Zalman Margaliot and Sefer ha-Zoref • The explanation of the names of the rabbis • Utopia and dystopia • The hidden butcher and his kabbalistic writings • The discovery of the colonies • The image of the disciples of the Gaon and the ‘true Hasid’ • ‘The solution for the East’ or heterotopia •  The will to flee and the emissary

Chapter 5: The Imaginary Influence of Sefer Megale Temirin                     
The myth about the success of the book • Pamphlet Megale Sod • The manuscript about the misdeeds of the Hasidim • Dialogues about Sefer Megale Temirin • For whom Sefer Megale Temirin was intended and who read it • Note concerning Sefer Megale Temirin in Yiddish • Influence real and imagined • Was Sefer Shivhe ha-Besht written by a parodist? • Temerl Bergson and Sefer Megale Temirin • Writ of defense of Hasidism • Sefer Megale Temirin and the Hebrew literature • Appendix: writ of defense of Joseph Judah Lob Sossnitz

Afterword: Note on the Anti-Hasidic Outlook                                       

Bibliographic Abbreviations   

Reviews:
(1) Dan Meron, 2013, ‘Megaleh Temirin’, Kivunim Hadashim 29, 55 pages (Hebrew)
(2) David Assaf, 2014, ‘Hasidim will not Read it but Tear it’, Haaretz, Tarbut ve-Sifrut, p .6 (Hebrew) http://onegshabbat.blogspot.co.il/2014/04/blog-post_18.html
(3) Eliezer Brodt, 2014, 'New book Announcement- Megale Temirin', The Seforim Blog http://seforim.blogspot.co.il/2014/01/new-book-announcement-megale-temirin.html
(4) Matan Hermoni, 2014,  הסבתא המופקרת של הספרות העבריתHaaretz, Sfarim (Hebrew) http://www.haaretz.co.il/.premium-1.2382365
(5) Shinichi Yamamoto, 2015, 山本　伸一, "ヨナタン・メイール編著『想像のハシディズム』", ユダヤ・イスラエル研究　第28号  http://www.waseda.jp/assoc-jsjs/jistudies.html
(6) David Biale and David Assaf,, 2015, 'Revealer Revealed', Jewish Review of Books, pp. 17-21  http://jewishreviewofbooks.com/articles/1454/revealer-revealed/
(7) Hillel Halkin, 2015, "Sex, Magic, Bigotry, Corruption- and the First Hebrew Novel', Mosaic Magazine,  http://mosaicmagazine.com/observation/2015/05/sex-magic-bigotry-corruption-and-the-first-hebrew-novel/
(8) Tomer Persico, 2015, "Interview", Lula'at haEl http://tomerpersico.com/2015/08/10/meir_perl/
(9) Ariel Evan Mayse, 'Review', Jewish History (2015)ת  http://link.springer.com/article/10.1007/s10835-015-9245-2
(10) Review - Gal-Ed

C’est grâce à une Décade de Pontigny, que Curtius, en 1922, a pu faire la connaissance de l’écrivain français Charles Du Bos. Les deux écrivains vont alors entamer une correspondance appelée à  durer jusqu’en 1935. Pourquoi Curtius sympathise-t-il avec Du Bos? Sans doute parce que Curtius et Du Bos partageaient la même vision mystique de Proust, de Hugo von Hofmannsthal et du mystique russe Viatcheslav Ivanov.

Diese Masterarbeit (Paris-Sorbonne, 2015) behandelt einen bisher verkannten Teil der Kleist-Rezeption: die Opernbearbeitungen dessen Dramentexte. Ein Gesamtüberblick dieser Opern-Rezeption wird einleitend skizziert. Die Arbeit behandelt drei exemplarische Opern : "Penthesilea" von Othmar Schoeck (1927), "Der zerbrochene Krug" von Viktor Ullmann (1942) und "Der Prinz von Homburg" (1960) von Hans Werner Henze. Diese drei Opern sind allesamt "Literaturopern": der Text von Kleist wird originalgetreu als Libretto übernommen und vertont. In dieser Arbeit werden diese Opern in einem komparatistischen Ansatz erfasst: neben der gründlichen Analyse der erforderlichen Transformationen, um die Texte "operntauglich" zu machen, die entweder vom Komponisten selber oder von einem Librettisten vorgenommen wurden (im Falle der "Homburg"-Oper die österreichische Dichterin Ingeborg Bachmann), erfolgt eine Verortung der jeweiligen Opern in ihren gesamtgeschichtlichen und rezeptionsgeschichtlichen Kontexten. Durch diese Analyse wird der etwas starr gewordene Begriff "Literaturoper" neu definiert: Literatur-Opern sind Opern, die eine eigene Deutung der literarischen Vorlage versuchen und zugleich eine Aktualisierung, wie es der Fall in den untersuchten Opern ist.

Die Auflage lautete, einen Abriss der siebenbürgisch-deutschen Literatur zu verfassen. Nach einigem Besinnen gaben wir uns Rechenschaft, dass ein solches Unterfangen schwerlich zu einem guten Ende zu bringen würde sein, jedenfalls nicht im Rahmen einer so schmalen Arbeit, denn ein halbes Jahrtausend Literatur lässt sich nicht in –zig Seiten zusammenfassen, es sei denn, man lässt sich auf die Gefahr ein, wichtige Teile dieses literarischen Werdegangs der Siebenbürger Sachsen unberücksichtigt zu lassen.

Da kam uns die Idee, unseren Standort, Wien, mit dem gestellten Thema in Verbindung zu bringen: Die siebenbürgisch-österreichischen Literaturbeziehungen könnten der rote Faden der vorliegenden Arbeit werden, und zwar in allen ihren Facetten; es würden die Schriftsteller zu berücksichtigen sein, die, in Siebenbürgen geboren, einen Teil ihres Lebens in Österreich verbracht und da geschrieben haben, dann diejenigen Autoren, die in Wien oder anderorts in Österreich studiert und daselbst wichtige Impulse für ihr Schaffen empfangen haben; umgekehrt, Autoren, die in Österreich geboren und in Siebenbürgen gelebt haben; es werden auch Einflüsse österreichischer Autoren auf siebenbürgische Schriftsteller untersucht und auch solche angeführt werden deren Werke in Wien oder der österreichischen Provinz erschienen sind.

Desgleichen finden Autoren Beachtung, die in den Mittelpunkt ihrer Werke Themen mit Bezügen zu Österreich stellen, z. B. die Novellen, in denen das Ringen um die Vorherrschaft in Siebenbürgen zwischen dem österreichischen Kaiser Ferdinand und dem Fürsten Zápolya geschildert wird. Natürlich hätte solch eine austrozentrierte Darstellung ihre Lücken und Einseitigkeiten, deshalb werden in zusammenfassenden Passagen immer auch Übersichten über das literarische Feld in seiner Gesamtheit aus den entsprechenden Perioden gegeben. Literatur entsteht nicht im leeren Raum, deshalb erschien es nötig, jeweils den sozio-kulturellen Hintergrund zu beleuchten.

In diesem ersten Band wird die Literatur der Siebenbürger Sachsen von ihren Anfängen bis zum Jahre 1890 untersucht werden. In einem nächsten Band wird dann eine Übersicht über die Periode von 1890 bis in die Gegenwart gegeben werden. Weshalb das Jahr 1890 als Einschnitt in der siebenbürgisch-deutschen Literatur gewählt wurde wird an entsprechender Stelle erklärt werden.

Wir haben kein einheitliches Zielpublikum vor Augen, dasselbe ist vielmehr äußerst heterogen, sowohl was das Alter, als auch was nationale und soziale Herkunft anbelangt. Wir möchten gleichermaßen weniger junge Siebenbürger Sachsen erreichen, die sich in Österreich niedergelassen haben, als auch (um nur ein Beispiel zu nennen) die in der alten Heimat verbliebenen jungen Studenten. Andererseits ist die Arbeit nicht ausschließlich für Siebenbürger Sachsen geschrieben worden. So kommt es, dass für einige Manches vielleicht schon bekannt war, während es für Andere vollkommenes Neuland darstellte.
Arbeiten, die teilweise dasselbe Thema zum Gegenstand haben, wurden erst nach Fertigstellung dieses Abrisses eingesehen, und haben unsere Untersuchungen nicht beeinflusst.

Marlen Haushofer ist eine der bedeutendsten österreichischen Autorinnen der Nachkriegsgeneration und mit einiger Verzögerung inzwischen als solche anerkannt. Ihrem Werk – den fünf Romanen sowie einer Reihe von Erzählungen und Kinderbüchern – widmen sich in diesem Buch zehn ausgewiesene Expertinnen und Experten, die Haushofers Themen und Kontexte mit perspektivischer Vielfalt ausleuchten.
Der Roman Die Wand hat seit seinem Erscheinen ein breites internationales Echo und mehrere Wiederentdeckungen erfahren. Als narratives Lockdown-Experiment ist er aktueller denn je. Auch das übrige Werk der Autorin ist ästhetisch bemerkenswert und rezeptionsgeschichtlich aufschlussreich. Zu Haushofers zentralen Themen zählen die Vertreibung aus dem prekären Paradies der Kindheit und das Fortwirken der nationalsozialistischen Vergangenheit. In formaler Hinsicht erweisen sich die perspektivische Beschränkung auf die Erlebniswelt ihrer Figuren und die Präsenz phantastischer und märchenhafter Elemente als Konstanten.

This article examines an astonishing parallel between two eminent literary works from the period around 1900: the motif of drawing a final stroke in Thomas Mann’s "Buddenbrooks" (1901) and Wilhelm Raabe’s "Die Akten des Vogelsangs" (1896). Both novels deal with an 'end' in two senses: firstly, the end of the individual family with its genealogy ("Buddenbrooks") as well as the individual subject with its specific life script ("Akten des Vogelsangs"); but also the end of the entire (bourgeois) age. The final strokes are thus to be interpreted as distinctive expressions of the Fin de Siècle. In this context, the world weariness of the characters turns out to be ambivalent: although the characters know for certain that an era is over (which they clearly articulate with their strokes) they cannot understand what is going on around them and within themselves. This demonstrates that the end of the familiar world, and the beginning of a new era, does not take place as an act of understanding or reflection; the sense of the end is a feeling which is both certain and nonetheless hard to pin down.

Was kann ausgerechnet Kierkegaard, der religiöse Schriftsteller, 1 für Juden bedeuten? Kierkegaards Denken war so stark auf das Christentum als Religion konzentriert, daß es schwerfällt, Anknüpfungspunkte zu finden. Um so erstaunlicher, daß es nach 1900, als Kierkegaard intensiv rezipiert wurde, auch unter einigen Juden theologisch, politisch und literarisch fruchtbar ge-macht wurde. Joanna Nowotny geht diesem Komplex in ihrer Zürcher Dis-sertation nach, die das besonders irritierende Phänomen untersucht, wie es dazu kommen konnte und wie sich diese Rezeption im einzelnen darstellt. 2 Nach einem Abriß der Forschungsfrage werden die historischen Kontext konturiert, einschließlich der bahnbrechenden Studie von Georg Brandes über Kierkegaard, der zum einen das Denken stark auf die Biographie be-zog und den Einzelnen, der von Kierkegaard entdeckt worden sei, in das Zentrum stellte. Auch spätere jüdische Autoren wie Gershom Scholem, die sich für Kierkegaard interessierten, hatten schon Brandes gelesen, und es ist dessen Generation, die im wesentlichen das Korpus für die Untersu-chung bereitstellt. Frauen sind nicht darunter (S. 34-35). Scholem war es auch, von dem das Titelzitat stammt, das er 1915 in sein Tagebuch eintrug (S. 16). 1 Siehe zu Kierkegaard als in IFB besprochene Werke: Sören Kierkegaard zur Einführung / Konrad Paul Lissmann.-5. Aufl.-Hamburg : Junius, 2010.-159 S. ; 17 cm.-(Zur Einführung ; 325).-ISBN 978-3-88506-625-5 : EUR 12.90 [#1425].-Rez.: IFB 10-4 http://ifb.bsz-bw.de/bsz334098254rez-1.pdf?id-sowie Der Rück-stoß der Methode : Kierkegaard und die indirekte Mitteilung / Philipp Schwab.-Berlin [u.a.] : De Gruyter, 2012.-XII, 599 S. ; 24 cm.-(Kierkegaard Studies : Monograph series ; 25).-Zugl.: Freiburg (Breisgau), Univ., Diss., 2009.-ISBN 978-3-11-025164-7 : EUR 99.95 [#2828].-Rez.: IFB 13-1

This article juxtaposes two aspects of the career of Karl-Emil Franzos (1848-1904): his editorship of Georg Büchner's dramatic fragment Woyzeck, which Franzos misread as Wozzeck, thereby bestowing the "incorrect" name on Alban Berg's 1925 opera; and his work as a leading German-language chronicler of Jewish life in late nineteenth-century Galicia and Bukovina. It is apparent in Franzos's fiction that his sense of melodrama informed his editorial decisions in shaping Büchner's manuscript. His misreading of Woyzeck as Wozzeck, by the same token, suggests both the linguistic and the perceptual limitations of describing eastern European ethnic groups from the perspective of the imperial (German) language. Franzos's approach to the fragmentation, alternately, of Büchner's manuscript and of the disintegrating Habsburg Empire anticipates the theoretical insights of Walter Benjamin and Theodor Adorno around the concept of the Trauerspiel (play of mourning) with which this discussion opens.

Between 1934 and 1945, an estimated 30,000 Austrian refugees from Austro-Fascism and National Socialism came to the United States; most of them were considered ‘Jewish’ according to the Nuremberg race laws of 1934, most of them never permanently returned to their home country, and a majority of them were intellectuals - scientists, scholars, writers, playwrights, publishers, producers, musicians, composers, actors, doctors, lawyers, film makers, etc. Austria still has not recovered from that massive exodus of creativity. What constitutes a major loss for the life and culture of a small country need not, however, have a noticeable impact on a country the size of the U.S.A¬.; ¬to which degree these refugees saw themselves as immigrants rather than just as temporary exiles is not only a matter of whether they returned after the war or stayed on, but depended on individual attitudes and abilities as well as on the degree of acceptance they experienced in their new host society. The transition from refugee to immigrant to ethnic involved a wide spectrum of choic¬es as well as necessit-ies. Some accommodated rapidly, like Karl Farkas, the brilliant cabaret entertainer and show master, Ernst Loth¬ar (a.k.¬a. Ernst Müller), a successful playwright and theater producer, or the novelist Friedrich Torber¬g, and yet they went back to Austria as soon as the war was over. Others were successful and stay¬ed on, like the novelist Franz Werfel; Her¬mann Bro¬ch, writer and social psychologist (Yale & Prince¬ton); Alfred Fara¬u, M.D. and cultural critic; Hert¬ha Pauli, author of children’s books and novels; or Vicki Baum and Frederick Morton, who became well-known ‘American’ writers. Still others never accommodated but stayed on nevertheless and remained in exile until their deat¬h, like the poet and novelist Hans Natonek ( 1963¬), Albert Ehrenstei¬n, an expressionist poet ( 1950), or Guido Zernatto, a poet and former Austrian minister of education, who arrived in the U.S. in 1940 and died three years later.

Le mode, si sa, vanno e vengono: ora si sta profilando un ritorno della letteratura austriaca del Primo Novecento. Torna in libreria un romanzo inquietante La città senza ebrei (Chiare Lettere) di Hugo Bettauer (la prima vittima nel 1925 della violenza nazista), mentre la casa editrice Del Vecchio ripropone un classico 'asburgico': Andreas o i riuniti di Hofmannsthal, a cura di Andrea Landolfi. Inoltre l'editore Pendragon ha riscoperto Terra sconfinata (pagine 188, €15). Il dramma di Arthur Schnitzler di ottima 'fattura' lo si nota già dalle didascalie, precise, dettagliate. La scena è a Baden, la cittadina nei dintorni di Vienna, meta di villeggiatura con un celebre casinò, dove lo scrittore ambientò uno dei suoi racconti più drammatici, Gioco all'alba. Terra sconfinata raffigura l'ambiente sociale preferito di Schnitzler: l'alta borghesia, banchieri, imprenditori, liberi professionisti, ufficiale e belle donne, annoiate, tradite e a loro volta traditrici. Insomma il solito dramma a sfondo erotico di una società decadente alla vigilia del crollo dell'Impero. In realtà non è l'eros il vero protagonista del dramma, bensì la morte. L'azione parte con i personaggi che sono di ritorno da un funerale di un giovane pianista russo, che si è improvvisamente ucciso per amore della moglie del protagonista, che non aveva accettato la sua corte insistente per cedere poi alle insistenze del solito allievo ufficiale, che farà una brutta fine: muore in duello, sfidato dal marito, il quale, pur non amando più la moglie, non ammette di essere tradito. Una trama esile che diventa improvvisamente matura, forte per l'onnipotenza sottile della morte. L'incipit è un suicidio, la fine è una morte in duello; in mezzo una danza estenuante di dialoghi che girano a spirale sul tema della corrosione dei rapporti anche se si ha la sensazione che i mariti amano le loro mogli, ma il "girotondo" (per rifarci a un leitmotiv schnitzleriano) delle coppie è obbligato da quel vuoto di valori, in cui la società asburgica sta inesorabilmente precipitando. L'eros, il sesso è l'estrema zattera, cui aggrapparsi per un disperato tentativo di trovare una salvezza, un fondamento. Siamo nella Vienna di Freud e della psicanalisi, di Klimt e dei suoi baci, degli amplessi di Schiele, dei folgoranti nudi di Gerstl, dei tremori di Hofmannsthal e del tardo naturalismo di Schnitzler fedele al suo messaggio. Nei suoi drammi il sesso non maschera il nichilismo esistenziale dei personaggi: «Si scivola, e si continua a scivolare senza sapere dove». E la stessa comunicazione si rarefà in un gioco fantasmagorico. Le parole: «volano…si dissolvono tutte nell'aria, quelle parole gravi e schiocche» per attingere l'amarissima verità dell'irrealtà dei sentimenti, delle sensazioni, dei rapporti, delle percezioni: «Lo stato naturale … è il caos. Sì, l'anima … è una terra sconfinata». E in questa società, matura al crollo, dove nessuno avverte più la responsabilità, cala l'ultima realtà: la morte, irreversibile, definitiva. Il dramma, che corrispondeva alle febbrili aspettative del pubblico, venne rappresentato già nel 1911 nei principali teatri austriaci e tedeschi per poi essere dimenticato. In Italia, con i lavori di Roberta Ascarelli e Giuseppe Farese, abbiamo imparato ad

A cura di Micaela LatiniTraduzione di Irene Castiglia
Versione integrale dell’edizione originale
Robert Musil può essere a giusto titolo considerato il principale romanziere austriaco contemporaneo e
L’uomo senza qualità
è una pietra miliare nella letteratura europea delNovecento. Questo capolavoro indiscusso della civiltà letteraria di lingua tedesca si propone come un efficace ritratto delle
contraddizioni vissute dall’uomo nella modernità,lacerato tra il “mondo di ieri” e i nuovi tempi che avanzano. Il laboratorio di tali sconvolgimenti è per Musil la sua amata
-
odiata patria: l’Austria d’inizio secolo (la “Kakania”)
in cui la monarchia austro-
ungarica conosceva l’inizio della fine, esempio significativo di possibilità
insite nella storia di tutti i tempi. La caustica penna di Musil analizza conaccorata nostalgia e pungente ironia la società asburgica, facendone affiorare il volto nascosto. In alcuni casi però il sarcasmo cede il passo a una dimensione ben piùtragica, prefigurando la barbarie del nazismo. La scrittura oscilla tra la visione estatica e gli enunciati delle scienze naturali e subisce una radicale mutazione, superando
l’antinomia tra narrazione e descrizione, per approdare alla formula del “romanzo
-
saggio”
: il romanzo si dissolve, o meglio muore, per poi resuscitare dalle sue ceneri nella
saggistica. L’opera, rimasta incompiuta, apparve nel 1930 a Berlino, in un’edizione che comprendeva solo il primo libro, ment
re gli altri trentotto capitoli del secondo volume
furono pubblicati nel 1933; gli abbozzi e i frammenti dell’ultima parte vennero pubblicati postumi dalla moglie. Questo volum
e propone, in una nuova e aggiornata versione,
l’edizione originale dell’
Uomo senza qualità
curata da Musil stesso.

Дом Витгенштейна — Бернхарда: хождение туда и обратно / Логос. 2017. № 6 (27). С. 257-287

В статье рассматривается литературная интерпретация идей раннего и позднего Витгенштейна австрийским писателем Томасом Бернхардом. В центре внимания — поэтика романа «Корректура» (1975), в котором интертекстуальные связи с Витгенштейном наиболее очевидны. Фокусом исследования является пространственный образ романа — дом-конус, возведенный протагонистом романа и воплотивший его философские и архитектурные воззрения. В статье осуществляется сравнительный анализ проекта дома Витгенштейна — Энгельмана и вымышленного дома-конуса Бернхарда, позволяющий выявить эстетические и философские аналогии между ними. Бернхардовская философия языка, репрезентированная протагонистом Ройтхамером, эволюционирует от исследования условий языковой референции к сомнению в языке и к поискам выхода за пределы модели язык — мир к модели язык — дискурс. Крушение логицистской модели язык — мир изображено в романе на примере катастрофы утопического архитектурного проекта (строительство дома-конуса для сестры героя). Таким образом, роман манифестирует художественную аналогию между двумя этапами философии Витгенштейна: этапом «Трактата» и этапом «Философских исследований» — так называемыми Витгенштейном I и Витгенштейном II. Идеал языковой точности оказывается недостижимым для героя романа (как и для Витгенштейна I), ученого из Кембриджа, писателя и архитектора-дилетанта. Дискурс о мире представляется в итоге как бесконечная корректура, переписывание «предложений» (Sätze), которые никогда не могут быть точной «картиной действительности» (ein Bild der Wirklichkeit). Ключевой идеей статьи, таким образом, является выявление сложного отношения тождества/растождествления между героями-интеллектуалами Бернхарда и Витгенштейном, между литературным персонажем и реальным философом.

This paper offers an analysis of a literary interpretation of the early and late thought of Wittgenstein by Austrian novelist Thomas Bernhard. The poetics of "Korrektur" (1975) is at the centre of discussion of obvious intertextual links with Wittgenstein.
Particular attention is paid to the spatial image of the ‘cone house’: it was constructed by the character of the novel and became an embodiment of his philosophical and architectural ideas. A comparative study of the Wittgenstein-Engelmann project of the house and the cone house in Bernhard’s novel makes it possible to highlight the aesthetic and philosophical analogies between them.
Bernhard’s philosophy of language represented by the protagonist Roithamer evolves from a research of the conditions of language reference to doubting the possibility language, and ultimately to searching ways to go beyond the language-world model in favour of a language-discourse model. The failure of the logic of the language-
world model is represented in the novel through the crash of the utopian architectural project (the construction of the cone house for the character’s sister). Thus, the novel presents a fictional analogy between two stages of Wittgenstein’s philosophy: the stage of the “Tractatus” and the stage of “Philosophical investigations,” the so-called Wittgenstein I and Wittgenstein II. The ideal of verbal exactness is impossible, both for the character as well as Wittgenstein I, a Cambridge scholar, a writer and an amateur architect. The discourse about the world is consequently represented as a never-ending correction and rewriting of “propositions” (Sätze) which can never be an exact “picture of reality” (Bild der Wirklichkeit). The key idea of the present paper is focused on defining the ambiguous identity of Bernhard’s intellectual hero and Wittgenstein, the literary character and the real philosopher.

Adalbert Stifter’s short story “Turmalin,” from the collection Bunte Steine, centers on a failed act of revenge. Having been cuckolded by his wife with the actor Dall, the victim—known in the story only as the “Rentherr”—suffers a second blow when his plan of retaliation falls flat, sending him into a wounded retreat from society. And yet in this retreat, a displaced or proxy revenge is effected, in the form of the physical, mental, and linguistic stunting of the Rentherr’s young daughter. This article examines the well-known linguistic deformation of the girl at the center of Stifter’s story in terms of its both analogical and causal relationship with the Rentherr’s miscarried efforts at requital. Building on heretofore overlooked textual evidence, the article further argues that Stifter’s story constitutes an attempted revenge on the uncertain fidelity and rationality of language itself, in which not merely the adequacy of representation, but the very substance of thought and the idea of human reason is at stake.

The 12th century Old Slavonic epic: “The Slovo o Polku Igoryeva” (“The Song of Igor’s Campaign” may be interpreted as a deeply pagan text with a thin Christian layer. It reflects the spirituality of the time of religious transition. R. M. Rilke was deeply attracted to it on the background of his interest in Slavophile philosophy, in Russian Symbolism, in Spiritism, Orthodox spiritual culture. In particular he was well familiar with developments in Russian art. Rilke knew Russian and learned Old East Slavonic to translate this epic to German. He found his ideal of a "theurgic" spiritual poetry embodied and encoded in this epic. It formed his further poetological development, even after his focus of interest turned to France and to Western Symbolism in his later work. Rilke's translation and his poems inspired by Russian Orthodoxy and Paganism contributed to the formation of the image of "mystic Russia" in German culture.
This paper analyses in particular the Pagan stratum of the Song of Igor's camapign and Rilke's reception of its spiritual poetology and his reception of it in the context of Symbolism and his own development as a poet.

This article attempts to explore the intimate yet complicated friendship between Stefan Zweig and Joseph Roth through their exchange of letters. Their personal correspondence has always been regarded as a valuable resource for interpreting their works and for documenting the life of intellectuals during the National Socialist period. However, the relevance of their correspondence does not lie only in its literary and historical testimony, since it is also strictly related to its auto/biographical aspects. Adopting this perspective, the article offers a reading of the letters both as an autobiographical portrait of Zweig and Roth and as a distant narrative of their friendship, conceived as the only possible homeland for the two writers in exile.

One of the many enigmas related to Stefan Zweig’s final months in Brazil is the overly positive portrayal of his country of exile in Brazil, Land of the Future (1941). Was this because he did not know the country well enough to be able to look beyond its beautiful façade? Could the aristocratic character of the book be interpreted as a sign that, plagued by nostalgia, Zweig had tried to regenerate the bygone Austrian Empire in the Brazilian tropics? Or were the many parallels to Getúlio Vargas’ propagandistic image of Brazil signs that Zweig had been trying to obtain favors for himself or other Jewish refugees by rendering a service to the Fascist dictator? This article denies such insinuations and offers a different explanation by focusing on two works that influenced Zweig in his portrayal of Brazil: Gilberto Freyre’s Casa-grande & senzala (The Masters and the Slaves, 1933) and Sérgio Buarque de Holanda’s Raízes do Brasil (Roots of Brazil, 1936). It claims that the vision of Brazil as “land of the future” was not a Zweigian but rather a Brazilian creation with German-American roots, whose prophetic character can be traced back to Henry L. Mencken’s reading of Friedrich Nietzsche.

Seventy years after his death, and having fallen for some decades into an almost total oblivion, the works of Stefan Zweig enjoy a great success among the reading public; his skills as narrator and poet are praised by critics and readers alike. However, the academy has often –albeit recognizing his appalling success– branded Zweig an ingenuous and superfluous writer, an uncommitted poet hidden within the walls of the Ivory Tower. We must not forget the fact that Stefan Zweig is, after all, a man of his time; a time of change, conflict, and exile; a time which demands responsibility from those who are committed to humanity and its well-being. This M.A. thesis invites to reread and rethink Stefan Zweig’s works from the standpoint of his engagement, that is to say, from a perspective that allows his individual positioning before H/history to emerge. Taking his memoirs –"The World of Yesterday"- as the centrepiece of our discourse, we defend the existence of a project –both ethical and ideological– underlying the whole text. Bearing these premises in mind, this dissertation is divided into three parts. Firstly, we explore the writer’s context during his formative years, the fin-de-siècle Vienna, so as to later develop a brief biographical account. Secondly, and having attested the birth and development of an 'engaged' consciousness in Zweig, we examine the grounds upon which his project was based: its humanistic roots, the safeguarding of liberty, the opposition to nationalism and the cosmopolitan notion of 'the citizen of the world'. These bases throw light onto the particularities of both the historical discourse–according to which the memoires unfold as the story of a failed utopia- and the identity narrative of the text –whereby the notion of the 'citizen of the world' builds up as a sort of resistance identity. All in all, Zweig's memoires become the ultimate and most personal legacy of their author, delivering a 'truth' that must not be forgotten, a necessary warning for future generations. From this perspective, the third part engages in the critical assessment of Zweig's project, exploring its limitations and possibilities regarding the current debates on cosmopolitanism, universalism and the construction of Europe. Thus, we attempt to bring Zweig closer to the present: a voice opposed to violence and committed to difference, liberty and mutual understanding.

L’intervento si propone come analisi della novella Mendel dei Libri (1929) di Stefan Zweig nell’ottica tematica della rappresentazione della fine del mondo. Lo studio del testo in oggetto sarà funzionale a mettere in luce come Zweig declina il topos, inteso dall’autore quale sovvertimento di un ordine preesistente, innescato da un fatto storico traumatico scatenante drastiche conseguenze socio- culturali. La fama di Zweig quale cantore della finis Austriae è stata consacrata nel Mondo di ieri, affresco della Vienna fin de siècle come epilogo dell’“età d’oro della sicurezza”. Con il presente contributo si mirerà tuttavia a comprovare che il medesimo ‘mondo di ieri’ tracciato nell’autobiografia funge da cifra identificativa dell’intero microcosmo zweighiano, riverberandosi anche in altri scritti romanzati, dei quali Mendel dei Libri funge da esempio. Il Mendel del racconto è un modello antropico piuttosto desueto, un “libro-sauro di una razza in estinzione”, la cui identità ruota unicamente attorno a una straordinaria capacità mnesica. Esclusività e (auto)esclusione sono i poli di oscillazione di Mendel, finché la spada della storia trafigge questa bolla esclusiva, determinando la distruzione dell’habitat esistenziale del protagonista nonché la sua estinzione fisica e morale. Durante l’intervento verranno discusse le modalità rappresentative della fine del ‘mondo di ieri’ nella novella, che fungono al contempo da trait d’union del corpus zweighiano. Verrà evidenziato anzitutto come i terre/moti della storia siano registrati dai sismografi dei singoli individui, consentendo un’interpretazione generale del racconto quale allegoria della distruzione culturale causata dalla guerra (Frieden) e una più specifica come preconizzazione del destino ebraico in Europa (Le Rider). Ulteriori punti di discussione verteranno sulla costruzione del tragico tramite il contrasto tra poeticità espositiva (Dichtung) e brutalità della verità fattuale (Wahrheit) e sulla questione della redenzione, la cui prospettiva – pressoché assente a livello individuale per Mendel – si profila sul piano trascendentale attraverso la persistenza della memoria (Frieden).

http://www.turia.at/titel/dippel.html

Im Buchhandel erhältlich!

Anne Dippel hat auf der Basis von zweieinhalb Jahren Feldforschung und Archivrecherche ein ungewöhnliches Spektrum österreichischer Identität erschlossen. Dazu gehört wesentlich der Bereich der Kulturproduktion, insbesondere der Literatur die, so wie der Film und andere Künste, in Österreich eine unverwechselbare Signatur aufweist. Sprache, Nation und Kultur sind gemacht, nicht gegeben. Am Beispiel Österreichs lässt sich wie bei kaum einem anderen Land des heutigen Europa der komplexe Prozesscharakter kollektiver Identität veranschaulichen. Dieser Sachverhalt gewinnt durch den ethnographischen Blick einer in Österreich lebenden »Ausländerin« aus Deutschland neue Plastizität. Vor dem Hintergrund der österreichischen Geschichte bis hinein in die Gegenwart der weltweiten Verflechtungen und kulturellen Differenzkriege, anhand von vielen Gesprächen mit Akteuren und Akteurinnen der österreichischen Kulturszene, wird die Besonderheit des österreichischen Verhältnisses zur deutschen Sprache, das Dichten und Denken in Österreich, sichtbar.