By Neil H. Donahue
ISBN-10: 1571131752
ISBN-13: 9781571131751
Greater than the other avant-garde stream, German Expressionism captures the innovative 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 so much consultant style of portray and the visible arts, strong figurations and dynamic abstractions supplanted placid realism, and a palette of vividly luminescent colours eclipsed subdued earth tones. In literature, the switch was once both stark: a heady intellectualism mixed with dramatic gesture, image visions, exuberant feelings and pressing proclamations --along with a brand new experience of the unexplored efficiency and capability 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 by way of its literature, that is some distance much less recognized within the English-speaking international, with essays via prime students on Expressionism's philosophical origins, its thematic preoccupations, and its divergent stylistic manifestations in and throughout diverse genres by way 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 historical past, and the way the cultured 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 limits of traditional literary genres into enormously new and diversified types: in lots of methods, the margins are imperative to the experimental artwork of Expressionism. This quantity positive aspects figures equivalent to 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 historical past of the journals, exhibitions, and anthologies, the caf? assembly areas and public lifetime of Expressionism, the volume's hugely centred, intrinsic analyses of texts and entire overviews of extrinsic contexts (and of the main updated 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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Berkeley: U of California P, 1961. Strathausen, Carsten. The Look of Things: Poetry and Vision around 1900. Chapel Hill and London: The U of North Carolina P, 2003. Torgovnick, Marianna. Gone Primitive: Savage Intellects, Modern Lives. Chicago and London: The U of Chicago P, 1990. Vietta, Silvio. ” In Anz, and Stark, Die Modernität der Moderne, 9–20. Werenskiold, Marit. The Concept of Expressionism: Origin and Metamorphoses. Oslo: Universitetsforlaget; New York: Columbia UP, 1984. INTRODUCTION 35 Worringer, Wilhelm.
Berman, Russell. ” In Fascism, Aesthetics, and Culture, ed. Richard J. Golsan, 56–66. Hanover and London: The UP of New England, 1992. Brinkmann, Richard. Expressionismus: Forschungsprobleme, 1952–1960. Stuttgart: Metzler, 1961. ———. Expressionismus: Internationale Forschung zu einem internationalen Phänomen. Stuttgart: Metzler, 1980. Corngold, Stanley. ” In Franz Kafka: The Necessity of Form, 250–88. Ithaca and London: Cornell UP, 1988. Crockett, Dennis. German Post-Expressionism: The Art of the Great Disorder, 1918–1924.
Birth pangs without birth, hurtling down of the sun, quaking of space; Schürer, 3). Like so much of Expressionism in general, Kokoschka’s play crosses the bounds of established conventions in terms of genre (and morality) as a paradoxical sort of Gesamtkunstwerk of aggressive — not soothing — synaesthesia. This primitivist encounter of the sexes exploded the social nuance and delicacies of domestic drama, and of Viennese polite society. Kokoschka’s agonistic performance piece was partly modern dance (movement), partly poetry and music (verbal and nonverbal sound), and also partly painting (image) — not least for the play’s famous poster and the actors’ painted bodies.
A Companion to the Literature of German Expressionism (Studies in German Literature Linguistics and Culture) by Neil H. Donahue
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