A Companion to the Literature of German Expressionism by Neil H. Donahue

By Neil H. Donahue

Greater than the other avant-garde circulation, German Expressionism captures the progressive depth of twentieth-century modernity in all its contrasts and conflicts. In non-stop eruptions from 1905 to 1925, Expressionism dissatisfied reigning practices within the arts: in its such a lot consultant style of portray and the visible arts, strong figurations and dynamic abstractions supplanted placid realism, and a palette of vividly luminescent shades eclipsed subdued earth tones. In literature, the swap used to be both stark: a heady intellectualism mixed with dramatic gesture, photo visions, exuberant feelings and pressing proclamations --along with a brand new feel of the unexplored efficiency and strength of uncooked language -- to forge forceful types of verbal expression. Expressionism brought into paintings, either visible and verbal, an incredibly new depth with many elements and lots of faces. This quantity provides German Expressionism when it comes to its literature, that's some distance much less identified within the English-speaking global, with essays through top students on Expressionism's philosophical origins, its thematic preoccupations, and its divergent stylistic manifestations in and throughout varied genres by means of writers whose universal bond is depth and whose traces at the web page learn just like the gouges of a woodcut. An interdisciplinary part addresses Expressionism's gender family, how ladies seemed within the literature after which disappeared from literary heritage, and the way the classy impulses of Expressionism entered into movie as a brand new know-how of expression, a brand new type of visible narrative. This quantity demonstrates how, among its origins in philosophy and its afterlife in movie, Expressionism's aesthetic energies stretched and revised the bounds of traditional literary genres into enormously new and diversified kinds: in lots of methods, the margins are critical to the experimental artwork of Expressionism. This quantity good points figures resembling Georg Kaiser, Walter Hasenclever, and Ernst Toller in drama; Gottfried Benn, Georg Heym, Else Lasker-Sch?ler, and Georg Trakl in poetry; Alfred D?blin, Carl Einstein, and Carl Sternheim in prose, to call quite a few. opposed to the heritage of the journals, exhibitions, and anthologies, the caf? assembly locations and public lifetime of Expressionism, the volume's hugely centred, intrinsic analyses of texts and complete overviews of extrinsic contexts (and of the main up to date learn) exhibits the fervor and complexity of the interval and its effulgent literary formations. Neil H. Donahue is Professor of German and Comparative Literature at Hofstra collage.

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Mai bis 31 Oktober 1960. Marbach: Deutsches Literaturarchiv, 1960. Philosophical Background 1: Metaphysical Mimesis: Nietzsche’s Geburt der Tragödie and the Aesthetics of Literary Expressionism Richard T. 1 Indeed, if one were to mentally subtract Nietzschean ideas and stylistic influences from the intellectual and aesthetic storehouse of Expressionism, what would remain would hardly be recognizable as the artistic and intellectual-historical configuration we know today as literary Expressionism.

Formprobleme der Gotik. Munich: Piper, 1911. In English: Form in Gothic, later reprinted as Form Problems of the Gothic. Trans. Herbert Read. London: Putnam’s Sons, 1927. ———. Fragen und Gegenfragen: Schriften zum Kunstproblem. Munich: Piper, 1956. ———. ” Reprinted in Fragen und Gegenfragen: Schriften zum Kunstproblem, 86–105. Munich: Piper, 1956. ———. Künstlerische Zeitfragen. Munich: Lecture (19 October 1920) for the Ortsgruppe München der deutschen Goethe-Gesellschaft. Bruckmann, 1921. Reprinted in Fragen und Gegenfragen: Schriften zum Kunstproblem, 106–29.

Mai bis 31 Oktober 1960. Marbach: Deutsches Literaturarchiv, 1960. Philosophical Background 1: Metaphysical Mimesis: Nietzsche’s Geburt der Tragödie and the Aesthetics of Literary Expressionism Richard T. 1 Indeed, if one were to mentally subtract Nietzschean ideas and stylistic influences from the intellectual and aesthetic storehouse of Expressionism, what would remain would hardly be recognizable as the artistic and intellectual-historical configuration we know today as literary Expressionism.

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