By Neil H. Donahue
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 disenchanted 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, photograph visions, exuberant feelings and pressing proclamations --along with a brand new feel of the unexplored efficiency and strength of uncooked language -- to forge forceful varieties of verbal expression. Expressionism brought into paintings, either visible and verbal, an incredibly new depth with many aspects and lots of faces. This quantity offers German Expressionism when it comes to its literature, that is a long way much less identified within the English-speaking international, with essays via best students on Expressionism's philosophical origins, its thematic preoccupations, and its divergent stylistic manifestations in and throughout diverse genres through 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 girls seemed within the literature after which disappeared from literary heritage, and the way the cultured impulses of Expressionism entered into movie as a brand new expertise 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 significantly new and various kinds: in lots of methods, the margins are important to the experimental artwork of Expressionism. This quantity good points figures akin 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 history of the journals, exhibitions, and anthologies, the caf? assembly areas and public lifetime of Expressionism, the volume's hugely concentrated, intrinsic analyses of texts and accomplished overviews of extrinsic contexts (and of the main updated examine) 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 college.
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Additional info for A Companion to the Literature of German Expressionism (Studies in German Literature Linguistics and Culture)
5 Richard Murphy’s study Theorizing the Avant-Garde: Modernism, Expressionism, and the Problem of Postmodernity (1999) belongs, despite its later date of publication, to the debates and developments of the mid- to late 1980s in its contestation of Peter Bürger’s theory of the avant-garde. His call for “precisely the kind of concrete analysis of individual texts that has become rather rare in the discussion” (4) argues a position that was valid in the 1980s but no longer, and unfortunately he ignores what has been done in the interim.
Orig. publ. as L’Ecran Démoniaque. Paris: Le Terrain Vague, 1952. Goebbels, Joseph. Michael: A Novel. New York: Amok Press, 1987. Golomstock, Igor. Totalitarian Art in the Soviet Union, the Third Reich, Fascist Italy and the People’s Republic of China. New York: Icon Editions / HarperCollins, 1990. , ed. Fascism, Aesthetics, and Culture. Hanover and London: The UP of New England, 1992. Gordon, Donald. ’” Journal of the Warburg and Courtauld Institutes 29 (1966): 368–85. Haxthausen, Charles W. ” In The Ideological Crisis of Expressionism: The Literary and Artistic German War Colony in Belgium, 1914–1918, ed.
Never before did the sphinx raise its head so high! But you see to the right and left of your path, Dauntless in the face of affliction, insanity’s abyss weeping! (DoH, 62–63)] Like the newspapers that bombard modern consciousness (and later all the more so with, successively, radio, television, and the Internet), the poem presents a catalog of images and phrases that characterize, along lines of dialectical opposition, the extreme situation of mankind in modernity: from harmonious lyricism (Gesang) to churning and cacophonous urban life (Riesenstädte); from intensely subjective and irrational oneiric interiority (Traum) to the impersonal and inexorable violence of nature (Lawinen); from the disappointments of nationalism (Verblaßte Länder) to those of internationalism (Pole ohne Ruhm); from the perceived transgressions of women (Die sündigen Weiber) as prostitutes outside bourgeois norms, or as housewives within those norms, to the heroism of those 18 NEIL H.