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Nachdruck des Originals von 1930.
A fresh and extensive look at the works of the great Austrian novelist in the context of the German and Austrian culture of his time.
Although beset by social, political, and economic instabilities, interwar Vienna was an exhilarating place, with pioneering developments in the arts and innovations in the social sphere. Research on the period long saw the city as a mere shadow of its former imperial self; more recently it has concentrated on high-profile individual figures or party politics. This volume of new essays widens the view, stretching disciplinary boundaries to consider the cultural and social movements that shaped the city. The collapse of the Austro-Hungarian Empire resulted not in an abandonment of the arts, but rather led to new forms of expression that were nevertheless conditioned by the legacies of earlier ...
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Franz Blei und Yvan Goll haben, das ist kaum bekannt, die ersten deutschsprachigen Haikus veröffentlicht. In diesem Buch, herausgegeben von dem Literaturwissenschaftler und Historiker Moritz Wulf Lange, sind zum ersten Mal ihre gesammelten Haikus abgedruckt. Zwei Faksimile-Drucke sowie Biografien der Dichter runden das Buch ab.
Eigentlich hatte mich nur der Regen ins Olympia getrieben. Ich wollte nicht lange bleiben und nahm ein Promenoir, um einen Black and White zu trinken. Seltsam, wie mich an diesem Abend das gemalte Lächeln, die absurden Hüte, die aufreizenden Parfüms anwiderten. Ich konnte nur das nackte Elend sehen, das sich darunter verbarg. Und versank vor den Bettelnden, den Provokanten, den Ironischen, die sich um das Almosen von ein bißchen Liebe oder einem Geldstück bemühten, ganz in Bitterkeit. Da legte sich eine Hand auf meine Schulter. Wie wohl das plötzlich tat, in dieser traurigen Stunde die Hand eines Freundes zu fühlen. Ich hatte meinen Freund Cornavon lange nicht gesehen. »Nehmen Sie m...
In this study of the criticism of the most idiosyncratic voice of the German Sturm und Drang, the authors try to explain why critics have so often failed to come to terms with Lenz's refusal to encourage the middle class and to cater to its tastes. While many of the first reviewers found Lenz's work liberating, after his death the consensus of critics - when they gave him any attention at all - was that his works were second-rate or worse, and Goethe's negative comments were often used to support this verdict. This volume traces Lenz's reception from the earliest reviews through to New Criticism, Lenz's "rediscovery," and the changes in focus after the 1992 Lenz bicentennial.