Bernd Fischer's A Companion to the Works of Heinrich von Kleist (Studies in PDF
By Bernd Fischer
For over one hundred fifty years, Heinrich von Kleist (1777-1811) has been essentially the most broadly learn and played German authors. His prestige within the literary canon is firmly tested, yet he has continually been certainly one of Germany's such a lot contentiously mentioned authors. Today's severe debate on his exact prose narratives and dramas is as heated as ever. Many critics regard Kleist as a lone presager of the aesthetics and philosophies of past due 19th- and early twentieth-century modernism. but there might be absolute confidence that he responds in his works and letters to the philosophical, aesthetic, and political debates of his time. over the last thirty years, the scholarship on Kleist's paintings and lifestyles has departed from the existentialist wave of the Fifties and early Nineteen Sixties and spread out new avenues for coming to phrases together with his strange expertise. the current quantity brings jointly an important and cutting edge of those more recent scholarly ways: the essays contain seriously knowledgeable, up to date interpretations of Kleist's most-discussed tales and dramas. different contributions learn Kleist's literary skill and types and their theoretical underpinnings. They comprise articles on Kleist's narrative and theatrical method, poetic and aesthetic idea, philosophical and political inspiration, and insights from new biographical learn. participants: Jeffrey L. Sammons, Jost Hermand, Anthony Stephens, Bianca Theisen, Hinrich C. Seeba, Bernhard Greiner, Helmut J. Schneider, Tim Mehigan, Susanne Zantop, Hilda M. Brown, and Seán Allan. Bernd Fischer is Professor of German and Head of the dep. of German at Ohio kingdom collage.
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Extra resources for A Companion to the Works of Heinrich von Kleist (Studies in German Literature Linguistics and Culture)
After all, from the age of 1 Goethe until the 1880s, Kleist’s Penthesilea was almost exclusively either rejected or ridiculed as an extremely unpleasant play whose exaggerations allegedly bordered on the unintentionally comical; or it was seen as a feverish attempt to depict nymphomania as sexual obsession or as a purely fantasy portrait of female sadism — in short, as the expression of hysteria. It was not until 1895, under the influence of the battle of the sexes depicted in the works of Strindberg and Wedekind, that a few representatives of so-called modernism finally supported and heralded the drama.
Notes 1 “Könnte das Stücke nicht unchristlicher sein,” remarks Földényi 167. Wittkowski 1972, 166, had made a similar observation; cf. also Kleist 1:930. 3 Cf. Sammons 68–70; Fischer 66–67, remarking on the nearness of Kleist’s comedy to the “negative[ ] Romantik,” also adduces the Nachtwachen, a text that occurred to Sieck 310 in connection with the “Nihilismus” of Penthesilea. 4 Allan  points out justly that Ellis himself is hardly a model of undogmatic interpretation. 5 Cf. Theisen 19, 11–13, 18; on Amphitryon, which is said to push these effects to the limit, 77–93.
It is true that this reasoning causes a problem with what looks like Jupiter’s exclamation of triumph: Mein süßes, angebetetes Geschöpf! In dem so selig ich mich, selig preise! So urgemäß, dem göttlichen Gedanken, In Form und Maß, und Sait und Klang, Wie’s meiner Hand Äonen nicht entschlüpfte! 1569–73) Jauss suggests that Jupiter simply misunderstands her, unable to confront the defeat that seals his loneliness (1979, 244), Stephens that he “consistently pretended that all his defeats are really wins” (94).
A Companion to the Works of Heinrich von Kleist (Studies in German Literature Linguistics and Culture) by Bernd Fischer