Presse- und Öffentlichkeitsarbeit in Kulturbetrieben (German Edition)
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I am taking advantage of a slight delay to speak to actress Maria Neumann. Fifty-five-years old at the time, she has been at the theatre since , making her one of the longest-standing ensemble members. This latter play is one of two that tour to Algeria—the other being a recent production in which she took over a role. As a core ensemble member involved in many plays over decades, she began to distance herself from the daily rehearsals of the theater. In her view, the intellectual and political dis- course around the significance of public theatres has become too stag- nant and introspective.
Nonetheless, Maria emphasised that she owes her entire artistic development to the Theater an der Ruhr and finds it important to continue working with the institution. These plays are intense narratives, weaving together a literary adaptation with site-specific histories and an intimately personal contextualisation of the performance in her own practice and understanding of theatre as a form of social process. Waiting for the bus in the theatre foyer, Maria suggests we go out- side for a stroll. She walks through fallen leaves from the old beech trees jonas.
We stop at a beech that has been blown over by the strong winds this morning. Looking over my shoul- der to see if anyone else is with us, she expresses some of her grievances. Our conversations were to continue in Algeria. He described to me the friendship with Meriam, the Tunisian lawyer and director, whom we were going to meet in Algeria.
The Theater an der Ruhr had in the years leading up to this travel become her patron, Rupert recounts. He thinks that interna- tional travel is precisely about such long-lasting encounters through art: I remember vividly how moved I was when we were performing in Iran, over a decade ago, and the audience was so thrilled about our performance that they came on stage and shook my hand afterwards. In such moments, I notice how much responsibility we have as actors — for the emotional effect of our art, but also as privileged hosts or official guests in precarious regions of the world.
Our journey was seriously delayed since we were asked to wait for a police escort. Two white police cars escorted us for the next five hours, often turning on their blue lights and sirens to get us through dense traffic. While many people in the bus found these jonas. Has anybody thought about who is organising this festival? I asked him if he had always thought this way about the international travel of the theater, reminding him how highly he spoke to me ear- lier about the first Yugoslav collaborations.
Ciulli, he said, was different and had created an institution that for a long time practised a different kind of theatre politics, one that was inclusive and negotiated the diplomatic power of art creatively. This reflection and self-criticism had ceased to be as lively as it used to be, he concluded. Our conver- sation was abruptly stopped when our bus came to another halt at a crowded bridge. The police cars started their sirens to cut through the traffic jam. As if she had waited for him to leave, Maria slipped into his seat.
Wearing a black suit, black shirt, black jacket and dark sunglasses, she looked as if she was in a role already. Do we, does a critical community of art- ists, or are we just here to function as cultural capital for the local cultural brokers? Otherwise, she said, one would run the risk of becoming part of a neo-colonial spectacle in which European theatre is exibited with no real chance for dialogue. At this point, she turned to me, like the other actors and ensemble members before, underlining how important a criti- cal reflection of travel and exchange was for them.
For her, my obser- vation of audiences was key: Photograph by the author jonas. They were giving away several programmes with background to each play, as well as several books on Ciulli and the Theater an der Ruhr. Many local artists had heard of the theatre and its reputation for having travelled the world. They left me notes with their addresses, or brought gifts for the ensemble, such as a book about the cultural history of the city. I later brought these to the actors, telling them about our brief encounters.
Some were touched and regretted not having more time to talk to these artists who wanted to get in touch Fig. When the doors opened at 7 p. I barely found a place myself, eventually sitting down next to three elderly men in the last row. They had kindly invited me to Fig.
We introduced each other just as Rolf Hemke began his introduction in French, in which he explained that the play Kaspar addresses the historical case of Kaspar Hauser who was found without speech in the German woods and became a subject of medical and social attention, specifically of a brutal process of language socialisation which broke him psychologically.
Hemke mentioned that the Nazi period in Germany was an important backdrop for the ensemble and their inter- pretation of the play, but deliberately left it open to the audience what they might perceive as the right analogy or association. It was the kind of introduction that allowed for the contextualisation Maria had thought necessary, not least because it was held in French. After the play, the three men told me that they were fascinated by its powerful evocation of what violence can do to people.
They alluded to the scenes in the play during which actors enacted, either without language or just by using gestures, noises and sounds, the devastat- ing effects of violence and mechanisation on human beings. Dystopian encounters between masters and slaves during the performance were evoking the negative effects that social assimilation and homogenisa- tion can have on the free development of subjectivity. One of the three men mentioned Nietzsche, the other said this was about moral lan- guage and its power to become a medium of suppression.
Yet, the three men had got so caught up in concerns about the literal rather than the visual language of the play that we ended up discussing differ- ences between the German, French and Arabic subtitles instead of their jonas. Our fascinating conversation continued for a little while, but I eventually had to join the ensemble for a brief meeting with the German ambassador before we headed back to the hotel. Later that night, one of the actors and I were standing outside the hotel to catch some fresh air before calling it a day.
His response contrasted with her comments, since he stressed the ethical importance of continued acting of the same roles. If you play something for twenty-five years, like Maria, you begin to meet yourself over and over again. For him, it was obvious that the repertoire system offered great educa- tional and transformative value. The performance and reperformance of characters in different countries and to different audiences is a practice of self-under- standing, he said.
He gave me a tour of their exhibition on theatre since Independence. He told me that they used to be what one German actor translated as a Dreispartentheater, that is, an institution presenting theatre, ballet and opera, but now it appeared to be mainly theatre and ballet. The play that evening began, as usual, with an address to the audi- ence—this time by Ciulli himself. In fluent French with thick Italian accent, he introduced the play: TINIUS During the break, visitors told me that they saw in it an analogy to the increasing censorship in the country, and what people are allowed to say or do.
But they were aware that this was their interpretation; the play, they told me, just acted as a catalyst for further associations on their part. An Austrian— English ensemble we had watched the evening before was present, and so, too, were five German academics teaching in the region as part of a German Academic Exchange Service DAAD programme and their students.
They all found the intensity and discipline, the estrangement and reduced language of the play noteworthy. Later in the hotel, I joined some of the actors in the bar.
It was often in response to their perfor- mances that they reflected on the values of theatre; sometimes acting styles were remarked upon, colleagues praised or challenged, but fre- quently discussions erupted over the purpose of a play, the audience reac- tion, or the rehearsals leading up to it.
This time, one actress commented that a literary symposium had been held in Algiers at the same time as they were there, on Islam, intimacy and the body—topics that would have been very appropriate for the themes they discussed and poked at with the two plays. The actors, who were later joined by two Tunisian and Syrian actors they had got to know over the course of the trip and from the local theatre, further reflected on the travel to Algeria.
It became evident just how important the integration of logistical arrange- ments with artistic ones is: In order to engage both artists and locals, one actress said, one needed to create possibilities for encountering one another. It does not suffice to arrive, perform, and then leave afterwards. The visit in Algeria was just a first encounter in a longer series of exchanges: Ciulli and I also discussed an article I had written about the international Theatrelandscapes pro- ject Tinius a , at which point we were joined briefly by an actress from the ensemble.
She knew about the article too and pointed out how important it was to write critically about their artistic projects: Their reluctance to rely on a fixed narrative and the significance of ambivalence in creating a play was a recurrent concern also during the many interviews I conducted with Ciulli and the ensemble during our trip to Algeria. I mentioned the commentary of the older men on the subtitles in Algeria, prompting Ciulli to reflect: I used to have a much more radical attitude towards language and images, which was to have no subtitles at all, ever.
We never subtitled Kaspar. If somebody watches a play and sees images [Bilder] that are only margin- ally affected by language-images [Sprachbilder], then he will engage more intensely with the play. Seeing a play through its images allows you to see the play doubly, from two angles: This is not just an aesthetic attitude, but also contains the essence of how I direct: I direct fundamentally through images.
The concept of the image holds the answer to the question whether the- atre has an abstract language that transcends concrete language. Theatre contains unthinkable images. Every director has to ask himself how he deals with this secret theatrical language that can transcend particular lan- guages. For every play, I meet with my costume designer, dramaturge, and jonas. These are never finite, concrete pictures, but elements of archetypal traditions. We create such arrangements because to speak of an image in theatre is always to speak of multiple potential images.
The images that theatre offers have to be so versatile as to encompass all the possible images that can arise in the imagination of an audience. If theatre manages to do that, it can speak to audiences in any language. The language of theatre, as conceived by Ciulli, thus seeks both to tran- scend images that unify different audiences and to contain a multiplicity of meanings.
Travelling allows him and the ensemble to witness different interpretations and to be challenged to communicate to people unfamil- iar with their traditions of seeing. The challenge for theatre thus rests in allowing for and negotiating these forms of communication. If ever someone asked Ciulli or ensemble members what they meant with a par- ticular scene, both in Algeria and elsewhere, their response would always be to return the question: Ciulli described this confrontation with different perspectives, both abroad and in Germany, as one of the principal tasks for a political theatre: You force people to listen to you.
This is the way to create ter- ror — and not aesthetic experience. To seek out the infinite images that can be imagined by an audience is what has motivated the international work of the Theater an der Ruhr from its first days. Those plays that the ensem- ble considers to have achieved this nuanced instigation of reflection through its images particularly well are then incorporated into the reper- toire.
What if the demonic co- medy of homas Bernhard is identical to what Kierkegaard somewhat dero- gatorily calls the unwarranted comedy of despair? His mother is dead, and his sister is in a state of severe mental distress: And so he goes on a trip with his father, a doctor, who has to make his rounds, so to speak. In his rambling monologue, which takes up the second part of the novel, the prince ofers a diagnosis of despair similar to that of Kierkegaard: People running away rom themselves towards themselves.
And even though these people must be considered in a real sense to be unhappy in their despair, they also take pleasure in their very unhappiness, the prince claims: He also takes pleasure in his illness and assumed madness. As the story unfolds the self in his despair is digging a hole that is just geting deeper and deeper.
But what is the hole? Much of the same paradoxical logic goes for and marks Der Untergeher from In particular the sad, ridiculous human being Wertheimer, who kills himself because of the unendurable and enviable genius of the pianist Glenn Gould or because of the marriage of his sister to a native of Switzer- land of all places. In his all-embracing despair he is deeply miserable and yet strangely hungry for his own misery.
For instance we are told this telling thing about Wertheimer: To put it into a formula: A man who is happy in his very unhappiness: Fire and Frost Walk with Me Impossible Suicide An important insight in he Sickness unto Death is that the sickness unto death does not lead to death; death is not the ultimate outcome of the sickness, it is not, Kierkegaard underlines, the last thing: But I would argue that the cruel logic re- mains the same, the only diference being that, in the case of frost, it is a ques- tion of frost entering something that cannot freeze or cannot freeze over.
In fact, the two elements, frost and ire, do not only coexist but are thoroughly intertwined. At least not when it comes to the narrators themselves: But maybe, this paragraph seems to suggest, we should rather ask: In the autobiographical work Der Keller, the sequel to Die Ursache, we ind a depiction of how the young Bernhard, already immen- sely tired of going to school, was given the choice between being and being against everything, between commiting suicide and leaving the Gymnasium, if you will.
A few sentences from Witgensteins Nefe bring maters to a head: Moreover, in Die Ursache Bernhard is quick to point out that the only thought that preoccupied him in boarding school was suici- de. Whenever he is practicing his iddling in a Schuhkammer, he is constantly plagued by suicidal thoughts: But he does not do it. He does not want to do it. He refuses to resolve his des- pair. As for the narrators, nothing ever comes of their insistent and persistent suici- dal thoughts, even if the facts of the mater are that everything is an unceasing cause for commiting suicide.
According to Kierkegaard this is, as it will be remembered, precisely the torment of despair, the real sickness unto death: What we ind here is the dark comedy of the failed or, more precisely, the never-initiated suicide atempt: Woodcutters and So He Runs. Nowhere else is the despair more demonic and more comic. Here the narrator is at a dinner party, for which he constantly curses himself.
Auersberger, and the atmosphere is very Viennese. The Demonic Comedy of Thomas Bernhard Abendessen, the narrator sneers time and again, while siting in a wing chair denigrating all the other guests one by one in an inner monologue, many of whom he, for very good reasons indeed, has not seen for twenty-ive years. Obsessively he returns to the same litle phrases, the same corrosive thoughts.
He is, as it were, stuck: Out of this stuck-ness a great deal of comedy is generated, and this comedy is demonic in the sense that the typical Bernhardian protagonist is not a helpless victim but precisely a person who knowingly and willingly enters into a loathsome situation or environment and stays put.
And so the narrator of Woodcuters has come to the right place, indeed. Adding to the comedy is the fact that the narrator is, of course, just as ri- diculous as the people that he spends all his time ridiculing. At the very end the narrator himself turns out to be all too human and almost quite touching and moving.
It does not escape his atention how base and hypocritical and mendacious a human being he is too. Only in Bernhard the signs are reversed so that he says he hates Austria and Vienna he really hates it! And so he runs, while giving vent to his demonical and comical double-mindedness: One thing is a hundred percent clear, however: You laugh and laugh and laugh, and then suddenly you laugh no more. The Demonic Comedy of Thomas Bernhard without one last laugh at the narrator who has been exposed as human like everyone else and who seems suspended in his despairing Sturmlauf through Vienna.
At one and the same time he is on his way to his story and on the run, at full tilt, away from himself, from his life and, perhaps more than anything else, from the sound of demonic laughter echoing in the empty hall of the Austrian night. My ambition here has been twofold: First, to show that the dominating form of despair in Bernhard is a demonic despair. By using the agony and pain as an excuse to revolt against life, against the world, against the whole of existence, the person in demonic despair would thus rather be right than be redeemed. In other words, there is no way out, not even suicide and death— at least, not for the narrators themselves.
My other aim is to argue that a certain laughter arises out of this demonic despair. In fact, the very structure of despair is a comic structure, and that structure is one of contradiction, of a mis-relation in the self. His dissertation, Going Nowhere, Slow: He is also a literary critic at Politiken, the largest Da- nish newspaper. And we laugh, we laugh, with a will, in the beginning. Here and in what follows every reference to the German original will be accompa- nied by a reference to the corresponding page in the English translation when available.
See also Huber; Walitsch. See, for instance, Dowden; Sebald. See, for instance, Huber; Walitsch; Schmidt-Dengler. Also worth mentioning are Strowick; Schmiedinger; Egenberger. I am aware that the concept of despair has a religious meaning to Kierkegaard, but I argue that despair is not totally reducible to its Christian or religious dimension. In this, I am in full agreement with Klug. A very similar, demonic logic is to be found in Frost: What is wanting is passi- on: Some pages later Kierkegaard ofers the follo- wing conclusion, which indicates that the times have not changed that much ater all: Just as Kierkegaard developed his typology of despair as a critical diagnosis of contemporary so- ciety, Bernhard anatomizes and analyzes despair as a way of approaching and atacking the state of afairs in postwar Austria.
It would be a misunderstanding to regard literature as an escape from despair. Suicide and death are not an exit, not a possible way out, and neither is writing. Indeed, words only seem to add to the misery: Works Cited Amir, Lydia B. Humor and the Good Life in Modern Philosophy: State U of New York P, Faber and Faber, Suhrkamp Verlag, Frost. Translated by Michael Hofmann. Suhrkamp Verlag, Gargoyles. Translated by Richard and Clara Winston. Das Kalkwerk Werke 3. Suhrkamp Verlag, he Lime Works. Translated by Sophie Wilkins. Der Untergeher Werke 6.
Suhrkamp Verlag, he Loser. Translated by Jack Dawson. Eine Erregung Werke 7. Suhrkamp Verlag, Woodcuters. Translated by David McLintock. The Demonic Comedy of Thomas Bernhard —. Suhrkamp Verlag, Extinction. Deleuze, Gilles, and Felix Guatari. Toward a Minor Literature. U of Minnesota P, U of South Carolina P, A Grotesque Sickness unto Death. Edited by Jon Stewart. Zur Komik im Werk homas Bernhards. Erich Schmidt Verlag, Concluding Unscientiic Postscript to Philosophical Fragments. Edited and translated by Howard V. Hong and Edna H. Elemente des Komischen in der Autobiographie homas Bernhards.
Pieterlen and Bern, Switzerland: Edited by Mathias Konzet. Edited by Cornelia and Franz-Josef Deiters. We have also lost a witness of the National Socialist terror. Born in Vienna on August 8, , he was an only son from a truly Austri- an family. Ater the war the family moved to more eco- nomically promising Ecuador, setling in Cuenca. From to he taught at Harvard University. He then accepted employment at Washington University at St.
Schwarz dared to go against the New Criticism, the dominant critical approach to literature at the time, no small feat for a scholar at the be- ginning of his career. Moreover, Schwarz was one of the irst scholars of exile literature to overcome the initial dismissal of its relevance by other scholars. It also taught him to re- ject any notion of national or ethnocentric essentialism.
Rather he pointed to the speciic sociohisto- rical developments as the deining and connecting element of any national literature. Egon Schwarz was an engaging raconteur, which is particularly evident in his autobiography. Chronik unreiwilliger Wan- derjahre ; second edition Unreiwillige Wanderjahre. Auf der Flucht vor Hitler durch drei Kontinente, , he told of his formative years in exile in an immensely captivating way.
Diminishing neither the despair of being expul- sed from his home nor the hardship of exile, Schwarz viewed the experience, not without justiiable biterness, as constitutive of the person he became. He atributed his open and cosmopolitan worldview to his light and expe- riences in South American. Egon Schwarz recounted the more pleasurable but no less adventurous travels he embarked on with his wife Dorle in his travel book, Die japanische Mauer. In Memoriam ventional wife supported at each turn.
He chose to accept a ive-day prison sentence rather than pay the mark ine for a traic violation in Germany; he and his wife do not hesitate to climb the wall of the closed Lafcadio Hearn Museum in order to get a glimpse of the castle. Although he never renewed his Austrian citizenship, Egon Schwarz re- connected to the city and its inhabitants in many ways. He readily recognized the role that Viennese culture and language played in his personal and profes- sional development. He welcomed the gestures of reconciliation that came from a younger generation of Austrian scholars.
Egon Schwarz was an incredibly generous person, as all his students and friends will atest. He loved to share his experiences, his insights, and his pas- sions. I cherish the memories of our deep conversations during walks through the botanical gardens of St. Louis, his acerbic comments about politics, and especially his ability for self-mockery which made him a igure straight out of a Schnitzler play.
When Egon Schwarz died on February 11, , in St. Louis, Missouri, a part of Austrian history died with him. Es sollte sein letzter Besuch in seiner Heimatstadt sein. Wie inden Sie das, dass Bob Dylan den Literaturnobelpreis bekommen hat? Ich inde das gut. Der Nobelpreis hat ja im- mer nicht nur literarische Ziele, sondern soll den Horizont verbreitern und hat auch eine politische Dimension.
Und dann hab ich gesagt, warum nicht, und hab angefangen. Zuerst in Harvard, dann bin ich nach St. Louis und hab das weitergemacht. Ist in Ihrer Familie gelesen worden? Meine Familie hat damit wenig im Sinn gehabt. Immerhin, meine Muter war eine Leserin, aber ich glaub, sie hat vor allem Schundromane gelesen. Dass man ein Buch kaut und liest, hab ich also zuhause gelernt. Das ist ein rasanter Unterschied zu jenen Emigranten, die in die USA gegangen waren, die woll- ten und mussten sich anpassen.
Was ja nicht leicht ist. Ich bin jetzt seit in den USA und immer noch keiner. Ich bin ein Pass-Amerikaner. Jetzt in Wahlkampfzeiten wahrscheinlich besonders ot? Nein, die braune Flut steigt wieder und gluckst. Na ja, Verleger wollen halt das Buch verkau- fen. Dann war das Buch jahrelang vergrifen. Das hab ich auch thematisiert in dem Buch. Uns hat man das ja sehr deutlich gemacht—kein Mensch wollte nach La Paz! Vor ein paar Jahren ist dort ein soziologisches Buch erschienen.
Er ist auch Sohn von Emigranten. Die Emigranten waren keineswegs dankbar, dass sie dort eingelassen wurden. Wir haben fast keine Beziehung zu dieser Gesellschat bekommen. Gab es ein gesellschatliches oder soziales Leben innerhalb der Emigranten-Community? Haben Sie die gekannt? Da war ich nicht mehr da. Man darf eines nicht vergessen, das ist ein Faktor, der kaum betont wird: Ich hate noch keine Ausbildung irgendeiner Art, die ich weiter verfolgen konnte, um mein Leben zu fristen, und von meinen Eltern wurde ich sofort getrennt, als ich 16 Jahre alt war.
Interview mit Egon Schwarz Aber ich war eben dazwischen und kein ganz unbeschriebenes Blat mehr. Es hat auch in meiner Autobiograie eine sehr schlechte Note bekommen. Exakt, ich war eben undankbar. Die Menschen sind nicht dankbar. So war es eben. Das hat die sonderbarsten Szenen hervorgerufen: Ja, von Emigranten, die schon weiter gekommen waren—das war auch wieder eine Sache des Alters. Mit den Schulkameraden, zu ihnen ist eine enge Beziehung entstanden.
Mit Geduld kann man vieles erreichen. Ich hab mir ein Orchideenfach ausgesucht, bevor ich wusste, was das war. Und da drinnen ist es leichter, bekannt zu werden als in einem richtigen Fach. Sie hate auch viel weniger Chancen. Und ihr Buch ist wunderbar geschrieben. Den Ruhm, den sie hat, ver- dient sie auch. Das ist es, ja. Bis auf die Retung. Es ist schon, wie Benjamin gesagt hat: Das meiste, was geschieht, geschieht durch Zufall.
Bei einigen hat sich herausgestellt, dass sie nicht schreiben konnten—die sind abgesprungen. Diejenigen, die schreiben konnten, sind geblieben. Konnten Sie seinen Urteilen, die ja sehr ot extrem pointiert waren, manchmal auch eine polemische Wahrheit geborgen haben, immer etwas abgewinnen? Interview mit Egon Schwarz ES: Aber er formulierte gut, war sehr schlagfertig, sehr frech.
Also, wir sind uns schon in die Haare geraten, aber er war eine Erscheinung. Es war eine gute Kombination eigentlich. Das wollen wir jetzt nicht vertiefen, aber bleiben wir noch kurz bei politisch Unkorrektem: Nicht nur die Mehlspeisen verschwinden, es machen sich auch die Bezeich- nungen davon. Auch die wienerische Sprache. Die ist gesunken auf der sozialen Leiter. Besonders auf kulinarischem Gebiet ist Wienerisch sehr anders.
Und in der Aussprache. In Bolivien waren Menschen aus vielen Gegenden—das hat eingewirkt auf mein Deutsch. Ich bin ein hybrides Produkt. Meine erste Frau war Deutsche, Norddeutsche. Wie gehen Sie mit Wien um? Bellaria zum Beispiel, die Sirk-Ecke. Kommen wir noch einmal zum hema Exil. Ist das nicht eine Disziplin, die bald zu Ende gehen wird?
Ich bin mir etwas unsicher, ob dieses Wort auch gut ist. Aber ich hab Freunde, meinen Kreis und meine Familie.
Presse- und Öffentlichkeitsarbeit in Kulturbetrieben
Das kann nur ein Wissenschatler sagen! Da war ich sogar gut, ich war im Team der Stubenbastei. Sie kennen meine Autobiograie besser als ich. Wir haben sie grade wiedergelesen.
Presse- und Öffentlichkeitsarbeit in Kulturbetrieben by Hayat Caroline Issa on Apple Books
Es war immer davon die Rede, und dann wurde es nie gemacht. Ich werde dauernd abgelenkt durch die Aussprache. Ich rede jetzt also frei. Das hat den Vorteil, dass es lebendiger ist. Wo und wie haben Sie gelernt, frei vorzutragen? Und dann ge- schah Folgendes: Ich wollte im Erdboden versinken, was man aber bekanntlich nicht kann.
Welcome to Take Me To Auseless Website
Ich glaub, das letzte war das Wichtigere: Es war dann doch ganz gut, auch davon lernt man eine Menge. Biographie, will yield two results a volu- me published by Carl Hanser Verlag and an edition brought out by Wallstein Verlag over twenty years later, in From time to time a clause or sentence is added or omited.
Organization is improved by changes in paragraph breaks and inclusion of new subtitles. Indeed, only four sources published ater are listed. A generally convincing and thorough portrait of Stiter is drawn, supported by pertinent references to his iction. His works contain real landscapes and places as well as his traces of his experiences of revolution and political instability, lost love, and inancial and marital diiculties, including childlessness. His own emo- tional turmoil and swings from idealism and hope to resignation and despair also infuse his writings.
On her second disappearance from home, the runaway commits sui- cide by drowning. In concluding remarks, Matz comments on his project: Saur Lamar University Pamela S. At the center of Pamela S. Saur rejects the outdated charge that Stiter was preoccupied with a simple description of the material world by showing how his repre- sentations of material objects are typically saturated with social signiicance.
Although Saur, to a great extent, yields a basic checklist of per- sonal belongings, she also emphasizes the cultural context of material items, although the examples she provides are not always connected in any mea- ningful way. She also locates the value of such possessions in the continuity of generations, another important theme of nineteenth-century realist lite- rature.
She atributes various gits to corresponding circumstances, such as marriage or victories in batle, yet she does not typically ofer much insight into the social practices themselves. As a result, analyses remain predominantly internal to the texts that she introduces. Due to this centrality, this chapter would act as a valuable source for students seeking a general introduction to this popular collection of stories. Relatedly, the study would also have beneited from a deeper engagement with secondary li- terature. She restricts these texts to products of an author and restricts the author to a irm set of Bieder- meier values.
Saur does not alter the standard account about Adalbert Stiter as an au- thor or the standard readings of his works. And she does not seek to do so. She aims to take seriously the claims about the relationship between the spe- ciic and the general that Stiter asserts in the famous Vorrede to Bunte Steine. Saur seeks to take stock of the speciic representations of material objects and illustrate how they correspond to sets of social values. Deak counters the dominant paradigm of Francis Joseph as the last towering igure of an empire that was destined to fail because it was an outdated, medieval, multinational state entrenched against the modern nation-state model Hegel proclaimed as the endpoint in history.
Although it is also of scholarly interest beyond the classroom, it will serve well as a useful and well-organized textbook to help students understand and apply one important contempo- rary method of literary analysis. However, that would have gone beyond the scope of the project. Without a doubt it fulills the purposes given in the title.
Ater detailing several other approaches, Poulain notes that interest in applying pragmatic linguistics to literature emerged toward the end of the twentieth century. A key question is whether a language act succeeds or fails. Considered are the intentions of the speaker, the reference or content of the uterance, the addressee, and the context.
Pragmatics emphasizes analysis of speech acts as developed by John Austin and John Searle. Further, Aus- tin distinguished between constative uterances, which provide information that can be veriied or refuted, and performative uterances. Among the literary genres, Poulain asserts that pragmatic analysis is most useful when applied to the novel, which emphasizes communicative and so- cial interactions between characters and their social environment.
Relevant are gestures, actions, and words of both speaker and ad- dressee, as well as time, place, and situation as well as social and normative cultural roles. As Poulain explains, at irst there is no trace of a narrator; the reader is thrust into the action. She comments on the levels of narration: Her analysis traces Josef K. Such communication is intertwined with spatial and situ- ational contexts as well as the development of Josef K. Poulain arrives at an answer to the question posed above regarding K. Interactions with his social environment, especially representatives of the court, bring about a progressive change in K.
However, Poulain does not overstate the results of the pragmatic approach. It produces no pat interpretation of the novel. Doubt and uncertainty remain: Any irst impression of this book as covering a narrow range vanishes on exa- mining its breadth more closely.
If it were conined to that, its value would indeed be limited, but the editors ofer such thoro- ugh contextual information and include so many more leters that this study emerges as comprehensive in its record of literary history, politics, and net- working from the early s to World War I.
Almost no writer active through those years is let out, thanks to a rich apparatus identifying and placing every person or work mentioned in the correspondence. His leters almost burst of the page in their humor, immediacy, and concentrated intensity of living. It really does appear as if no one ever disliked him despite his incessant cadging; afability on both sides—it does not exclude hilarious frankness—never falters or wears thin.
Negative assessements do seem not to exist. Audiences locked to his readings ater he started to become well known. Karl Kraus, never quickly fooled or easily pleased, proclaimed conidently as early as Richard Dehmel und Karl Kraus: One could do much worse than read through this commentary to get a full overview of literature in Ger- many and Austria at the time. For that reason alone, this volume is important beyond its narrower subject.
It involves thinking and feeling your way into the vast, uninished text with all its variants, now accessible digitally. It demands familiarity with the ever- increasing secondary literature. Perhaps the greatest challenge is the need to balance a detailed examination of selected parts of the text with a wide- ranging awareness of all of the aspects of modernity that concerned Musil. Stijn de Cauwer faces up to this challenge in this work. It is based on a PhD dissertation on Musil writen at the University of Utrecht that has been expanded through his current work in the Literature and Cultural Studies De- partment of the University of Leuven.
In the introduction, De Cauwer looks at Musil as a cultural theorist and stresses the open-ended and experimental nature of his work. In modernity, there is vast expansion of specia- lized knowledge, but a synthesis of the whole is no longer possible. Der Mann ohne Eigenschaten is an avant-garde ictional experiment that sets out to explore new ethical direc- tions, beter ways of living in the modern age.
Instead, De Cauwer emphasizes that earlier critics speculated too much on what the end of the novel might have been. Its organization and methodology might have beneited from more atention, however. It is writen in a stimulating way, without jargon and with many interesting generalizations, but reads at times like a series of seminar papers rather than a fully integrated book— for example, the digressions are not always suiciently linked to the main to- pic and have footnotes that are oten excessively long. Second, although this is a work of cultural studies not literary criticism, there are quite a few sec- tions where the general points needed to be supported by detailed reference to the text of the novel but are not: Lastly, although the English has clearly been checked, there are a number of slips in it which should have been corrected before publication.
In the end, however, her analytical scope is a bit too narrow to accomplish this goal. She summarizes the history of the German-speaking Czechs in Prague, citing Margarita Pazi, an eminent Brod scholar, to explain the enormous burst of creativity among the members of this group and its best-known representative, Kaka Similarly, the comparison to other Prague German authors does not delve deeply be- neath the surface.
Contemporary international methodologies inform the articles, whose authors are ailiated with Austrian and German, French, Polish, and Italian institutes. Such a third path was envisioned by Vienna intellectuals such as architect Josef Frank, who, as Zoltan reveals, ascribed to the Austrian mentality a sense of realism that resisted the experimentalism practiced in the Weimar Republic. Arturo Larcati discusses the reception of Italian Futurism in interwar Vienna and its key event, the inclusion of Futurists in the Vienna theater exhibit of that drew the engagement of intellectuals such as Friedrich Kiesler, whose impact on ilm Larcati notes as well.
On the s, political dimensions increasingly enter the discussion, and Larcati addresses possible concessions to Fascism by representatives of the Futurist movement. He emphasizes the ambivalence of the avant- garde, which is obvious from the debates and the cultural production. He concludes that such ambivalence is characteristic of international musical modernism and avant-gardism. Part 3 examines movements that run parallel to the avant-garde without displaying its formalist experimentation. In light of the par- ticular marginalization of women, these avant-garde expressions are oten overlooked or not recognized.
It is regretable that no other female authors such as Else Feldmann or Paula Ludwig were included in the discussions. Jachi- mowicz acknowledges the innovations the novel makes but remains uncon- vinced of the efectiveness of the blend of statistics, sociology, and iction. She criticizes the language of science in the novel, which, she concludes, merely illustrates the problems of the time without capturing the human dimension.
In light of the political debates of the s and s and the priority given to prose and political theater at that time, lyric poetry as a genre had lost its appeal for readers, stu- dents, and critics as well as for authors. Aichinger had writen and published a signiicant body of poetry during the postwar era, but like other poets of her generation, including Ingeborg Bachmann, she gave priority to diferent genres.
Markus writes that the Aichin- ger iles in the Deutsches Literaturarchiv in Marbach contain a large number of lyric texts and drats that reveal that the author never stopped writing po- etry. Markus mentions eight folders of poems and poetic sketches, many of which still await cataloguing She takes into consideration essential elements of text production, assessment, and interpretation. She establishes connec- tions between the unpublished works and the poems in Verschenkter Rat, which she treats as a collection of individual works rather than a poetic cycle or thematically ordered anthology.
Either view has its justiications: On the one hand, the poems in Verschenkter Rat do not follow a chronological or- der, which reveals that the author put them into a particular sequence, but on the other hand, they originated in diferent time periods, which suggests that they can stand on their own. She pays special atention to shits pertaining to themes of religion, death, and language. Markus also discusses some of the earlier prose poetry and other texts not included in Verschenkter Rat. Die Postmoderne ist im Alto Adige angekommen. Esther Bauer skillfully weaves connections among four novels: