By Katrin Kohl, Ritchie Robertson
20th-century Austrian literature boasts many amazing writers: Schnitzler, Musil, Rilke, Kraus, Celan, Canetti, Bernhard, Jelinek. those and others function 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 hence surveys Austrian writers of drama, prose fiction, and lyric poetry; relates them to the precise historical past of recent Austria, a democratic republic that used to be overtaken via civil warfare and authoritarian rule, absorbed into Nazi Germany, and re-established as a impartial kingdom; and examines their reaction to arguable occasions reminiscent of the collusion with Nazism, the Waldheim affair, and the increase of Haider and the extraordinary correct. as well as confronting controversy within the family members among literature, heritage, and politics, the amount examines pop culture in response to present traits. participants: 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 university, and Ritchie Robertson is Taylor Professor of German Language and Literature and a Fellow of The Queen's collage, either on the college of Oxford.
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Additional resources for A History of Austrian Literature 1918-2000 (Studies in German Literature, Linguistics, and Culture)
The concern to define and defend his understanding of Austrian identity that dominates Hofmannsthal’s wartime lectures and journalistic essays, culminating in “Die österreichische Idee” (The Idea of Austria, 1917), also underpins his work for the theater in the early years of the Republic. Indeed, in creative and ideological terms the collapse of the Monarchy appears not to have been a major caesura for Hofmannsthal: the comedy Der Schwierige (The Difficult Man) was substantially written between 1917 and 1919, while the Salzburg Festival, plans for which go back to 1916, was inaugurated in 1920 with a production on the cathedral square of his Jedermann (Everyman, 1911), and the Festival’s ideology of rooted cosmopolitanism — at once showcasing local traditions of folk drama and celebrating a broader European heritage — had needed little revision in 1918.
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.
In so doing, he not only helped to deepen the cultural rift between capital and provinces but also laid himself open to the charge of pandering to anti-Semitic prejudice. Nadler’s argument that the Austro-Bavarian “tribe” had a special talent for theater, first manifested in medieval folk drama and reaching its high point in the Baroque era, underpins Hofmannsthal’s Salzburg promotional material; it also provides programmatic justification for the centrality of Jedermann in the Festival repertoire and for the Baroque allegory Das Salzburger große Welttheater.
A History of Austrian Literature 1918-2000 (Studies in German Literature, Linguistics, and Culture) by Katrin Kohl, Ritchie Robertson