Download PDF by Neil H. Donahue: A Companion to the Literature of German Expressionism
By Neil H. Donahue
Greater than the other avant-garde move, German Expressionism captures the progressive depth of twentieth-century modernity in all its contrasts and conflicts. In non-stop eruptions from 1905 to 1925, Expressionism disappointed reigning practices within the arts: in its such a lot consultant style of portray and the visible arts, robust figurations and dynamic abstractions supplanted placid realism, and a palette of vividly luminescent shades eclipsed subdued earth tones. In literature, the switch used to be both stark: a heady intellectualism mixed with dramatic gesture, photo visions, exuberant feelings and pressing proclamations --along with a brand new feel of the unexplored efficiency and capability of uncooked language -- to forge forceful varieties of verbal expression. Expressionism brought into artwork, either visible and verbal, a surprisingly new depth with many points and lots of faces. This quantity provides German Expressionism when it comes to its literature, that's a long way much less identified within the English-speaking global, with essays via major students on Expressionism's philosophical origins, its thematic preoccupations, and its divergent stylistic manifestations in and throughout various genres via writers whose universal bond is depth and whose strains at the web page learn just like the gouges of a woodcut. An interdisciplinary part addresses Expressionism's gender family members, 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 know-how of expression, a brand new kind 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 enormously new and assorted kinds: in lots of methods, the margins are primary to the experimental artwork of Expressionism. This quantity gains figures similar 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 locations and public lifetime of Expressionism, the volume's hugely targeted, intrinsic analyses of texts and complete overviews of extrinsic contexts (and of the main up to date study) 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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Extra info for A Companion to the Literature of German Expressionism (Studies in German Literature Linguistics and Culture)
Various factions invoked, to varying degrees, the Russian Revolution of 1917 as a model 24 NEIL H. DONAHUE for German society. The active participation by many artists and intellectuals in the revolution of 1918–19, along with Ernst Toller’s position as chair of the First Revolutionary Council in Munich, signaled to many the coming together of radical art and radical politics, its effective union at last in the present, as a step toward a “concrete Utopia” (Ernst Bloch), — but such a hopeful condition did not last.
Gesammelte Werke: Prosa II. Frankfurt am Main: Fischer, 1951. Huyssen, Andreas, and David Bathrick, eds. Modernity and the Text: Revisions of German Modernism. New York: Columbia UP, 1989. Jelavich, Peter. ” In Passion and Rebellion: The Expressionist Heritage, ed. Stephen Eric Bronner and Douglas Kellner, 129–50. South Hadley, MA: Bergin, 1983; New York: Columbia UP, 1988. Kandinsky, Wassily. Über das Geistige in der Kunst. Munich: Piper, 1912. Rpt. Bern: Berteli, 1952. Kracauer, Siegfried. From Caligari to Hitler: A Psychological History of German Film.
The use of stunning backdrops and stark lighting collapses the three-dimensional space of the stage into a broken sequence (that is, without transitions) of virtually two-dimensional allegorical pictures or emblems. The emergence of the body and the elevation of physical gesture in Expressionist drama resulted from the reduction of stage décor (from the Naturalist stage) and the sparseness of design, as well 22 NEIL H. DONAHUE as from the reduction of language: instead of staying within the norms of conventional dialogue, the language swings from single explosive words to rhapsodic monologues, both of which can serve to frame a powerful silence that foregrounds the expressive body of the actor in its looming physicality.
A Companion to the Literature of German Expressionism (Studies in German Literature Linguistics and Culture) by Neil H. Donahue