By Raymond Furness
Containing entries on over 400 authors of fiction, poetry and drama from Germany, Austria and Switzerland, this helpful paintings of reference provides fabric of a variety and intensity that no different ebook at the topic in English attains. For the second one variation, the entries were up to date to incorporate the newest works of German literature. a few new entries were additional, dealing particularly with the East German literary scene and the altering literary panorama after reunification. as well as uncomplicated biographical proof, the better half deals summaries, info on involvement in literary teams and political advancements, colleges and pursuits, serious phrases and points of the opposite arts, together with movie.
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Extra info for A Companion to Twentieth-Century German Literature
Here the narrative is assigned to man and wife alternately, a technique elaborated in Haus ohne Hüter, Billard um halb zehn, Gruppenbild mit Dame and Fürsorgliche Belagerung. In Haus ohne Hüter (1954) two boys, whose fathers have died in the war, fail to find understanding from their mothers, who attempt to escape their fear of the present by means of nostalgia or a series of casual affairs. Das Brot der frühen Jahre (1955) is a love-story confined to a single day in which the empty life of a young man, whose humdrum job, repairing washing-machines, has followed a deprived childhood symbolized by hunger for bread, is transformed by his meeting with his future wife.
The major cycle ‘Der Stoff zum Leben’, part I of which appeared in the last of these collections, has since been extended to three parts. The stories ‘Der Schlamm’, ‘Der Hörsaal’ (1964) and ‘Die Bretter’ (1968), collected in Das ungezwungene Leben Kasts (1972, extended 1979 by the addition of ‘Die Tribüne’) are based on personal experience as a worker and student and mark a break with the earlier ‘Aufbauliteratur’ and the work which emerged from the Bitterfeld movement. Unvollendete Geschichte (1975) is still more openly critical of government mistrust of the people; its publication in the GDR’s leading literary periodical Sinn und Form was one of the earliest signs of a change in policy at the top adumbrated in Honecker’s programmatic anti-taboos speech of 1971.
Stifter, Rosegger and Waggerl, inverting its values to create black idylls. The formal principles of repetition and variation evident in the macrostructure of the novels can be traced to Bernhard’s knowledge of music, while their microstructure is defined by complex sentences artfully constructed like a series of Chinese boxes. g. Ludwig Wittgenstein in Korrektur, Paul Wittgenstein in Wittgensteins Neffe (1982), the pianist Glenn Gould in Der Untergeher (1983), the philosopher in Immanuel Kant (1978), the actor in Minetti (1977)).
A Companion to Twentieth-Century German Literature by Raymond Furness