By Katrin Kohl, Ritchie Robertson
20th-century Austrian literature boasts many amazing writers: Schnitzler, Musil, Rilke, Kraus, Celan, Canetti, Bernhard, Jelinek. those and others characteristic in broader money owed of German literature, however it is fascinating to determine how the Austrian literary scene -- and Austrian society itself -- formed their writing. This quantity therefore surveys Austrian writers of drama, prose fiction, and lyric poetry; relates them to the specific historical past of contemporary Austria, a democratic republic that used to be overtaken by way of civil warfare and authoritarian rule, absorbed into Nazi Germany, and re-established as a impartial nation; and examines their reaction to debatable occasions equivalent to the collusion with Nazism, the Waldheim affair, and the increase of Haider and the extraordinary correct. as well as confronting controversy within the kinfolk among literature, heritage, and politics, the amount examines pop culture in response to present tendencies. individuals: Judith Beniston, Janet Stewart, Andrew Barker, Murray corridor, Anthony Bushell, Dagmar Lorenz, Juliane Vogel, Jonathan lengthy, Joseph McVeigh, Allyson Fiddler. Katrin Kohl is Lecturer in German and a Fellow of Jesus collage, and Ritchie Robertson is Taylor Professor of German Language and Literature and a Fellow of The Queen's collage, either on the collage of Oxford.
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Additional info for A History of Austrian Literature 1918-2000 (Studies in German Literature, Linguistics, and Culture)
By Erika Weinzierl and Anton Pelinka ([Vienna]: Verlag der Österreichischen Staatsdruckerei, 1987). ,” 25. 16 Hugo von Hofmannsthal, “Österreich im Spiegel seiner Dichtung,” in Hofmannsthal, Gesammelte Werke in Einzelausgaben, ed. by Herbert Steiner (Stockholm: Bermann-Fischer, and Frankfurt am Main: S. Fischer, 1945–59), Prosa III, 333–49; here: 345. 17 Hugo von Hofmannsthal, “Das Schrifttum als geistiger Raum der Nation,” in Hofmannsthal, Gesammelte Werke, Prosa IV, 390–413; here: 413. ” Gespräche und Interviews, ed.
Murray Hall identifies the traditional importance of German publishing houses for Austrian literature, tracing this to a highly restrictive approach to literature in the Habsburg Monarchy: a multitude of regulations, the prevalence of censorship, and lack of copyright protection in Austria meant that throughout the nineteenth century, Austrian writers often preferred to publish with German publishers. Hall depicts the interwar years as a period of rapid change, with more favorable conditions encouraging the emergence of new publishing houses in Austria — though many were short-lived, and Germany remained the dominant market.
Initially known as a lyric poet, and promoted by Hofmannsthal and Mell, he occupies an ambiguous position in both political and aesthetic terms. 8 Whereas Mell never loses sight of the Catholic heritage, in Billinger’s plays this is invariably in conflict with and theatrically subordinate to pagan myths and folk traditions — which are, in turn, infused with a strikingly modern eroticism. In Das Perchtenspiel, written for the 1928 Salzburg Festival, a misguided farmer puts his faith not in the “vierzehn Nothelfer” (fourteen helpers of the needy) but in the eroticized spirit world of the “Perchten”; and in Rauhnacht (1931), the celebration of Christmas is overshadowed by the Dionysian excesses that precede it.
A History of Austrian Literature 1918-2000 (Studies in German Literature, Linguistics, and Culture) by Katrin Kohl, Ritchie Robertson